Midweek Review

Training actors through Angampora:

Published

5 years ago

2021/01/27

Guru Karunapala and his angampora team at Sri Jayawardhanapura University, Gangodavila, Nugedoda. Photo credits Saumya Liyanage 2020.

A project to seek alternative paradigm at UVPA Colombo

By Saumya Liyanage | Lyudmyla Honcharova | Banduka Premawardhana

The concept of ‘actor training’ or ‘performer training’ has developed through the modern era of theatre and dance pedagogies. Western actor training traditions started with the influence of master actor trainer and theoretician Konstantin Stanislavski. As early as the beginning of the 19th century, Stanislavski started his theatrical exploration at his main laboratory known as the Moscow Arts Theatre (MAT) in Russia. His lifelong quest for actors’ arts and his passion for finding a methodology to develop an actor training system continued at the MAT theatre. However, Stanislavski’s actor training system is the most misinterpreted performer training system used in Europe, America, and Asia. As Alison Hodge argues, Stanislavski’s exploration of actors’ arts was more into actors’ inner and outer faculties and further discusses how this interior and exterior interact with each other (Hodge, 2010). Although Stanislavski’s teaching has been variously interpreted and adapted for diverse purposes to train actors, his influence in the modern theatre is still influential in theatre and performance studies (Liyanage 2016).

As Sharon Carnicke believes that Stanislavski wanted his actors to train their ‘selves’ to develop the rounded and full-fledged characters they portray (Sharon Marie Carnicke, 2009). For instance, Stanislavski’s early psychological approaches were influenced by French psychology, and he was continuing his exploration to cater to the emergence of the symbolism and naturalism introduced by the theatre texts of Ibsen, Gorki, Chekov, and others. The need of developing systematic ways to train actors was not an abrupt action that emerged at the MAT Theatre but a purposeful intervention to absorb the modern theatre tradition and the naturalistic dramatic texts that were germinating in early 19th century Europe.

Intercultural performer training

It is inevitable that Western actor training has been heavily influenced by Eastern performance traditions. From the father of modern acting, Konstantin Stanislavski, to Bertolt Brecht in Germany, Jerzy Grotowski in Poland, and Antonin Artaud in France, Western actor training has been directly or indirectly influenced by one or more Asian performer training paradigms such as hatha yoga, Balinese dance, or Indian dance dramas such as kathakali and kuttiyattam. Theatre historians have observed that at the MAT, Stanislavski was preparing to produce a Sanskrit play and conducting hatha yoga practices through an Indian yoga master. Further, it is widely discussed that Bertolt Brecht encountered Peking Opera actor Mei Lanfang during his visit to Russia (Tian, 1997, Brecht & Bentley, 1961).

In the late 19th century, theatre practitioners such as Eugenio Barba, John Littlewood, Peter Brook, and Mnouchkine borrowed intercultural performance elements from Asian traditions. However, borrowing and assimilating cultural elements from an alien culture posed several problems. Some critics have questioned the ways that the European avant-garde were looking at cultural ‘others’ in the peripheral world. They argued that the modernist theatre directors’ ideology behind cultural appropriation was constructed within the binaries of ‘culture and savage’ (Gale et al., 2016). Alison Hodge also argues that ‘Asian actor training traditions run the risk of being exoticised or simplistically appropriated by practitioners in the West’ (Hodge, 2010, p. xxi). Jerzy Grotowski has argued that Asian performance traditions are not to be directly used to codify actors’ bodies (Jerzy Grotowski et al., 2015). Rustom Bharucha has extensively discussed the misappropriation, misinterpretations, and mythologisation of Indian dramatic heritage by Western theatre practitioners such as Brook, Schechner and others (Bharucha 1984, P. 2-3).

Angampora

The project, which seeks to develop an actor training system through the Sri Lankan combative art, angampora, also bears such cultural complexities when adapting and assimilating a martial arts practice that has been passed down to generations of practitioners through guru-shishya-parampara model. There are many angampora groups and schools in the country and each group has its own ways of tracing their historical affiliations to myths and legends that explore various avenues and genealogies of angampora. Many believe that it was introduced by the Yakkha tribe. In more recent history, the ten warrior giants of King Dutugemunu were the first recorded practitioners of Illangam Satan (the use of weaponry in combat), each having specialised in a unique weapon, and technique.

The advances of the Portuguese were resisted by fighters such as King Rajasinghe, the Battle of Mulleriyawa being one such instance. The Kandyan Kingdom resisted the colonizers with the use of angam fighting strategies and techniques. Eventually, the combative art form that received royal patronage through time became the first martial art in the world to be prohibited; the British banned it in 1818 under the governance of Robert Brownrigg.

Suspect practitioners were shot below the knee, while confirmed angampora martial artistes were put to death. angampora was hidden away in various dance forms such as the koti netuma, and more popular styles such as udarata and pahatharata schools of dance. Following Independence, angampora has resurfaced and is becoming popular in Sri Lanka.

Actor Training and Martial Arts

It might seem that actor training and martial arts are disciplines that have nothing in common. However, this assumption is wrong. Obviously, both are forms of art which share similar approaches. In many martial arts performances, one can observe that performing elements such as fighters’ presentations and demonstrations of fighting skills is accompanied with music. In line with this, theatre performance can also be considered the demonstration of an actor’s skills since the actor shows his/her body-mind integration during performance which are gained in a process of training. It is observed that body-mind integration is a common feature in both arts. Therefore, it is clear that martial arts practitioners and actors are experts of the body. ‘In most drama schools of European traditions, actors are trained to use their bodies (Barrault cited in Bloch, p. 220).

It should be noted that martial arts methodologies are comparatively older and have more defined training structure than actor training. Since first actor training systems evolved in the end of the 19th century in the West, it is not surprising that theatre practitioners were using martial art principles during the creation of their actor training methodologies. Such practitioners were Scott, Copeau, Zarilli, Suzuki, and others. For instance, ‘Scott used tai ji quan as an actor training discipline, was not only a rejection of American actors’ exclusive attention to a psychologically/behaviorally based paradigm of acting, but also an attempt to actualize an alternative paradigm’ (Zarrilli 1995, p. 185). They were paying attention to techniques that strive to develop presence, awareness, and a holistic approach to body-mind work in acting. Many of these actor trainers have referred to Asian martial arts styles.

AHEAD Project 2019-2021

In 2019, Prof. Saumya Liyanage and research assistant to the Faculty of Graduate Studies (FGS) University of Visual and Performing Arts (UVPA) Mr Samal Vimukthi Hemachandra submitted a research proposal titled, ‘Lamp in a windless place: developing an actor training methodology through Sri Lankan martial art’. This research proposal won a competitive grant of Rs. 10 million from the Accelerating Higher Education Expansion and Development (AHEAD) project to pursue a three-year-long actor training exploration. The project was initially influenced by the works of the late Phillip B. Zarrilli, Professor of performance practice and well-known theatre scholar at Exeter University, UK. His research on kalaripayattu martial arts in Kerala India and his years of first-hand experience with kalaripayattu martial arts, kathakali and kuttiyattam dance dramas in India had allowed him to formulate an intercultural actor training system derived mainly from kalaripayattu martial arts in Kerala.

Project Team at UVPA Colombo

Prof. Paul Bowman and Prof. Jonathan Pitches are authorities on martial arts studies and performer training in the world and both professors work as foreign consultants to this actor training project. Prof. Bowman is working at Cardiff University, UK and he has written much about martial arts practice. His latest book is Deconstructing Martial Arts published by Cardiff University Press in 2019. Prof. Jonathan Pitches is a professor of theatre and performance at the University of Leeds and has published many leading academic texts on theatre and actor training. His latest publication is Performing Mountains published by Palgrave McMillan in 2020.

Prof. Saumya Liyanage works as the coordinator of the project and its chief investigator. Dr Samith Herath from the Faculty of Visual Arts is the deputy coordinator of the project. His expertise in virtual reality applications and biofeedback technology also help project researchers to capture and monitor actors’ movement works and their biofeedback impulses through cutting edge technology. Natasha Hillary and Sachini Athapaththu work as admin assistants of the project.

In the initial stages of this project, the research team explored the traditional practice of angampora of Guru Karunapala, an 80-year-old angampora master, at his angampora maduwa located in Mirihana, Nugegoda. The field research and embodied practice of angampora are conducted and his legacy of angampora martial arts and indigenous corporeal practices are further explored. Research assistant Lyudmyla Honcharowa explores angampora martial arts with Guru Karunapala while investigating indigenous healing practices of body and mind. Lyudmyla Honcharowa is an actor from Ukraine reading for her MPhil research degree under Prof. Saumya Liyanage’s supervision to explore the connections of actor training methodologies in Europe and Asia. Banduka Premawardhana. also a research assistant of this project, is also reading for his MPhil degree under Prof. Liyanage. He explores how a traditional martial art like angampora could facilitate the training of actors for film and digital medium.

The second phase of the project will start with establishing an actor training laboratory at the Faculty of Dance and Drama, UVPA Colombo. The AHEAD grant supported in renovating an existing rehearsal room into a fully equipped studio space. At the first stage, a group of actors will go through angampora training under supervision of Guru Karunapala to understand and embody angampora principles. During the second phase of laboratory work, actors will be introduced to methods that will be an amalgamation of acting methodologies and angampora martial arts. All stages of actors’ laboratory work are going to be video recorded. Further, actors will be writing personal journals with reflection on the training process which will serve as a source of material for developing a new actor training methodology. In the last stage of the project, a workshop demonstration will be created and performed in front of a selected audience to evaluate the impact of actors and their engagement with the audience. As a part of the project, several angampora groups are chosen for field visits around the country. Project members will also be presenting papers and sharing their findings at international conferences during the project.

Conclusion

The COVID-19 pandemic has adversely affected the activities designed for this actor training project in 2020. The project team was planning to conduct a six-month-long actor training laboratory at the newly renovated studio located at the Faculty of Dance and Drama. However, due to the pandemic situation, these actor training activities have not been able to proceed. In 2021, and with institutional support, the project team is looking forward to launch their laboratory actor training sessions.

UVPA Vice Chancellor Senior Professor Rohana Mahaliyanaarachchi and his office, the Dean of the Faculty of Dance and Drama, Dr Indika Ferdinando and the OTS office director Dr Anusha Jayasiri and her team have extended their fullest support for the project, which is the first actor training project initiated in a State University in Sri Lanka. This project further intends to work with the University Business Linkage (UBL) office and the Director of UBL, Dr Priyeshni Peiris to seek a business model to use this methodology in the creative industry in Sri Lanka and beyond.

Acknowledgements

Authors of this paper wish to thank Himansi Dehigama and Sachini Senevirathne for proof-reading this paper.

About authors: Prof. Saumya Liyanage is a well-known actor and an academic currently working at the Faculty of Dance and Drama, University of the Visual and Performing Arts, Colombo. Lyudmyla Honcharova and Banduka Premawardhana are both working as research assistants to AHEAD DOR HEMS actor training project and they are reading two MPhil degrees exploring martial arts and actor training under the AHEAD grant scheme.

References

Bharucha, R. (1984). A Collision of Cultures: Some Western Interpretations of the Indian Theatre. Asian Theatre Journal, 1(1), 1. https://doi.org/10.2307/1124363

Brecht, B., & Bentley, E. (1961). On Chinese Acting. The Tulane Drama Review, 6(1), 130. https://doi.org/10.2307/1125011

Gale, M. B., Deeney, J. F., Rebellato, D., & Lavery, C. (2016). The Routledge drama anthology and sourcebook : from modernism to contemporary performance. Routledge.

Hodge, A. (2010). Actor training. Routledge.

Jerzy Grotowski, Barba, E., & Brook, P. (2015). Towards a poor theatre. Bloomsbury Methuen Drama.

Ministry of Higher Education, A. O. (2020). Accelerating Higher Education Expansion and Development (AHEAD). https://ahead.lk/

Saumya Liyanage. (2016). Meditations on acting : essays on theory, practice and performance. Dev Publishing.

Sharon Marie Carnicke. (2009). Stanislavsky in focus : an acting master for the 21st century. Routledge.

Tian, M. (1997). “Alienation-Effect” for Whom? Brecht’s (Mis)interpretation of the Classical Chinese Theatre. Asian Theatre Journal, 14(2), 200. https://doi.org/10.2307/1124277

Zarrilli, P. B. (2002). Acting (re)considered : a theoretical and practical guide. Routledge.

Zarrilli, P. B., T Sasitharan, & Anuradha Kapur. (2019). Intercultural acting and performer training. Routledge.

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Midweek Review

Year ends with the NPP govt. on the back foot

Published

22 hours ago

2025/12/24

Sahan Weerasooriya

President Dissanayake addresses Parliament as PM Dr. Harini Amarasuriya looks on. Dissanayake is the leader of both the JVP and NPP

The failure on the part of the Janatha Vimukthi Peramuna (JVP)-led National People’s Power (NPP) government to fulfil a plethora of promises given in the run up to the last presidential election, in September, 2024, and a series of incidents, including cases of corruption, and embarrassing failure to act on a specific weather alert, ahead of Cyclone Ditwah, had undermined the administration beyond measure.

Ditwah dealt a knockout blow to the arrogant and cocky NPP. If the ruling party consented to the Opposition proposal for a Parliamentary Select Committee (PSC) to probe the events leading to the November 27 cyclone, the disclosure would be catastrophic, even for the all-powerful Executive President Anura Kumara Dissanayake, as responsible government bodies, like the Disaster Management Centre that horribly failed in its duty, and the Met Department that alerted about the developing storm, but the government did not heed its timely warnings, directly come under his purview.

The NPP is on the back foot and struggling to cope up with the rapidly developing situation. In spite of having both executive presidency and an overwhelming 2/3 majority in Parliament, the government seems to be weak and in total disarray.

The regular appearance of President Dissanayake in Parliament, who usually respond deftly to criticism, thereby defending his parliamentary group, obviously failed to make an impression. Overall, the top NPP leadership appeared to have caused irreparable damage to the NPP and taken the shine out of two glorious electoral victories at the last presidential and parliamentary polls held in September and November 2024 respectively.

The NPP has deteriorated, both in and out of Parliament. The performance of the 159-member NPP parliamentary group, led by Prime Minister Dr. Harini Amarasuriya, doesn’t reflect the actual situation on the ground or the developing political environment.

Having repeatedly boasted of its commitment to bring about good governance and accountability, the current dispensation proved in style that it is definitely not different from the previous lots or even worse. (The recent arrest of a policeman who claimed of being assaulted by a gang, led by an NPP MP, emphasised that so-called system change is nothing but a farce) In the run-up to the November, 2024, parliamentary polls, President Dissanayake, who is the leader of both the JVP and NPP, declared that the House should be filled with only NPPers as other political parties were corrupt. Dissanayake cited the Parliament defeating the no-confidence motions filed against Ravi Karunanayake (2016/over Treasury Bond scams) and Keheliya Rambukwella (2023/against health sector corruption) to promote his argument. However, recently the ongoing controversy over patient deaths, allegedly blamed on the administration of Ondansetron injections, exposed the government.

Mounting concerns over drug safety and regulatory oversight triggered strong calls from medical professionals, and trade unions, for the resignation of senior officials at the National Medicines Regulatory Authority (NMRA) and the State Pharmaceutical Corporation (SPC).

Medical and civil rights groups declared that the incident exposed deep systemic failures in Sri Lanka’s drug regulatory framework, with critics warning that the collapse of quality assurance mechanisms is placing patients’ lives at grave risk.

The Medical and Civil Rights Professional Association of Doctors (MCRPA), and allied trade unions, accused health authorities of gross negligence and demanded the immediate resignation of senior NMRA and SPC officials.

MCRPA President Dr. Chamal Sanjeewa is on record as having said that the Health Ministry, NMRA and SPC had collectively failed to ensure patient safety, citing, what he described as, a failed drug regulatory system.

The controversy has taken an unexpected turn with some alleging that the NPP government, on behalf of Sri Lanka and India, in April this year, entered into an agreement whereby the former agreed to lower quality/standards of medicine imports.

Trouble begins with Ranwala’s resignation

The NPP suffered a humiliating setback when its National List MP Asoka Ranwala had to resign from the post of Speaker on 13 December, 2024, following intense controversy over his educational qualification. The petroleum sector trade union leader served as the Speaker for a period of three weeks and his resignation shook the party. Ranwala, first time entrant to Parliament was one of the 18 NPP National List appointees out of a total of 29. The Parliament consists of 196 elected and 29 appointed members. Since the introduction of the National List, in 1989, there had never been an occasion where one party secured 18 slots.

The JVP/NPP made an initial bid to defend Ranwala but quickly gave it up and got him to resign amidst media furor. Ranwala dominated the social media as political rivals exploited the controversy over his claimed doctorate from the Waseda University of Japan, which he has failed to prove to this day. But, the JVP/NPP had to suffer a second time as a result of Ranwala’s antics when he caused injuries to three persons, including a child, on 11 December, in the Sapugaskanda police area.

The NPP made a pathetic, UNP and SLFP style effort to save the parliamentarian by blaming the Sapugaskanda police for not promptly subjecting him for a drunk driving test. The declaration made by the Government Analyst Department that the parliamentarian hadn’t been drunk at the time of the accident, several days after the accident, does not make any difference. Having experienced the wrongdoing of successive previous governments, the public, regardless of what various interested parties propagated on social media, realise that the government is making a disgraceful bid to cover-up.

No less a person than President Dissanayake is on record as having said that their members do not consume liquor. Let us wait for the outcome of the internal investigation into the lapses on the part of the Sapugaskanda police with regard to the accident that happened near Denimulla Junction, in Sapugaskanda.

JVP/NPP bigwigs obviously hadn’t learnt from the Weligama W 15 hotel attack in December, 2023, that ruined President Ranil Wickremeinghe’s administration. That incident exposed the direct nexus between the government and the police in carrying out Mafia-style operations. Although the two incidents cannot be compared as the circumstances differ, there is a similarity. Initially, police headquarters represented the interests of the wrongdoers, while President Wickremesinghe bent over backwards to retain the man who dispatched the CCD (Colombo Crime Division) team to Weligama, as the IGP. The UNP leader went to the extent of speaking to Chief Justice Jayantha Jayasuriya, PC, and Speaker Mahinda Yapa Abeywardena to push his agenda. There is no dispute the then Public Security Minister Tiran Alles wanted Deshabandu Tennakoon as IGP, regardless of a spate of accusations against him, in addition to him being faulted by the Supreme Court in a high-profile fundamental rights application.

The JVP/NPP must have realised that though the Opposition remained disorganised and ineffective, thanks to the media, particularly social media, a case of transgression, if not addressed swiftly and properly, can develop into a crisis. Action taken by the government to protect Ranwala is a case in point. Government leaders must have heaved a sigh of relief as Ranwala is no longer the Speaker when he drove a jeep recklessly and collided with a motorcycle and a car.

Major cases, key developments

Instead of addressing public concerns, the government sought to suppress the truth by manipulating and exploiting developments

* The release of 323 containers from the Colombo Port, in January 2025, is a case in point. The issue at hand is whether the powers that be took advantage of the port congestion to clear ‘red-flagged’ containers.

Although the Customs repeatedly declared that they did nothing wrong and such releases were resorted even during Ranil Wickremesinghe’s presidency (July 2022 to September 2024), the public won’t buy that. Container issue remains a mystery. That controversy eroded public confidence in the NPP that vowed 100 percent transparency in all its dealings. But the way the current dispensation handled the Port congestion proved that transparency must be the last thing in the minds of the JVPers/NPPers holding office.

* The JVP/NPP’s much touted all-out anti-corruption stand suffered a debilitating blow over their failure to finalise the appointment of a new Auditor General. In spite of the Opposition, the civil society, and the media, vigorously taking up this issue, the government continued to hold up the appointment by irresponsibly pushing for an appointment acceptable to President Dissanayake. The JVP/NPP is certainly pursuing a strategy contrary to what it preached while in the Opposition and found fault with successive governments for trying to manipulate the AG. It would be pertinent to mention that President Dissanayake should accept the responsibility for the inordinate delay in proposing a suitable person to that position. The government failed to get the approval of the Constitutional Council more than once to install a favourite of theirs in it, thanks to the forthright position taken by its civil society representatives.

The government should be ashamed of its disgraceful effort to bring the Office of the Auditor General under its thumb:

* The JVP/NPP government’s hotly disputed decision to procure 1,775 brand-new double cab pickup trucks, at a staggering cost exceeding Rs. 12,500 mn, under controversial circumstances, exposed the duplicity of that party that painted all other political parties black. Would the government rethink the double cab deal, especially in the wake of economic ruination caused by Cyclone Ditwah? The top leadership seems to be determined to proceed with their original plans, regardless of immeasurable losses caused by Cyclone Ditwah. Post-cyclone efforts still remain at a nascent stage with the government putting on a brave face. The top leadership has turned a blind eye to the overwhelming challenge in getting the country back on track especially against the backdrop of its agreement with the IMF.

Post-Cyclone Ditwah recovery process is going to be slow and extremely painful. Unfortunately, both the government and the Opposition are hell-bent on exploiting the miserable conditions experienced by its hapless victims. The government is yet to acknowledge that it could have faced the crisis much better if it acted on the warning issued by Met Department Chief Athula Karunanayake on 12 November, two weeks before the cyclone struck.

Foreign policy dilemma

Sri Lanka moved further closer to India and the US this year as President Dissanayake entered into several new agreements with them. In spite of criticism, seven Memorandums of Understanding (MoUs), including one on defence, remains confidential. What are they hiding?

Within weeks after signing of the seven MoUs, India bought the controlling interests in the Colombo Dockyard Limited for USD 52 mn.

Although some Opposition members, representing the SJB, raised the issue, their leader Sajith Premadasa, during a subsequent visit to New Delhi, indicated he wouldn’t, under any circumstances, raise such a contentious issue.

Premadasa went a step further. The SJB leader assured his unwavering commitment to the full implementation of the 13th Amendment to the Constitution that was forced on Sri Lanka during President JRJ’s administration, under the highly questionable Indo-Lanka Accord of July, 1987, after the infamous parippu drop by Indian military aircraft over Jaffna, their version of the old gunboat diplomacy practiced by the West.

Both India and the US consolidated their position here further in the post-Aragalaya period. Those who felt that the JVP would be in a collision course with them must have been quite surprised by the turn of events and the way post-Aragalaya Sri Lanka leaned towards the US-India combine with not a hum from our carboard revolutionaries now installed in power. They certainly know which side of the bread is buttered. Sri Lanka’s economic deterioration, and the 2023 agreement with the IMF, had tied up the country with the US-led bloc.

In spite of India still procuring large quantities of Russian crude oil and its refusal to condemn Russia over the conflict in Ukraine, New Delhi has obviously reached consensus with the US on a long-term partnership to meet the formidable Chinese challenge. Both countries feel each other’s support is incalculably vital and indispensable.

Sri Lanka, India, and Japan, in May 2019, signed a Memorandum of Cooperation (MoC) to jointly develop the East Container Terminal (ECT) at the Colombo Port. That was during the tail end of the Yahapalana administration. The Gotabaya Rajapaksa administration wanted to take that project forward. But trade unions, spearheaded by the JVP/NPP combine, thwarted a tripartite agreement on the basis that they opposed privatisation of the Colombo Port at any level.

But, the Colombo West International Terminal (CWIT) project, that was launched in November, 2022, during Ranil Wickremesinghe’s presidency, became fully operational in April this year. The JVP revolutionary tiger has completely changed its stripes regarding foreign investments and privatisation. If the JVP remained committed to its previous strategies, India taking over CDL or CWIT would have been unrealistic.

The failure on the part of the government to reveal its stand on visits by foreign research vessels to ports here underscored the intensity of US and Indian pressure. Hope our readers remember how US and India compelled the then President Wickremesinghe to announce a one-year moratorium on such visits. In line with that decision Sri Lanka declared research vessels wouldn’t be allowed here during 2024. The NPP that succeeded Wickremesinghe’s administration in September, 2024, is yet to take a decision on foreign research vessels. What a pity?

The NPP ends the year on the back foot, struggling to cope up with daunting challenges, both domestic and external. The recent revelation of direct Indian intervention in the 2022 regime change project here along with the US underscored the gravity of the situation and developing challenges. Post-cyclone period will facilitate further Indian and US interventions for obvious reasons.

****

Perhaps one of the most debated events in 2025 was the opening of ‘City of Dreams Sri Lanka’ that included, what the investors called, a world-class casino. In spite of mega Bollywood star Shah Rukh Khan’s unexpected decision to pull out of the grand opening on 02 August, the investors went ahead with the restricted event. The Chief Guest was President Anura Kumara Dissanayake, who is also the Finance Minister, in addition to being the Defence Minister. Among the other notable invitees were Dissanayake’s predecessor Ranil Wickremesinghe, whose administration gave critical support to the high-profile project, worth over USD 1.2 bn. John Keells Holdings PLC (JKH) and Melco Resorts & Entertainment (Melco) invested in the project that also consist of the luxurious Nüwa hotel and a premium shopping mall. Who would have thought President Dissanayake’s participation, even remotely, possible, against the backdrop of his strong past public opposition to gambling of any kind?

Don’t forget ‘City of Dreams’ received a license to operate for a period of 20 years. Definitely an unprecedented situation. Although that license had been issued by the Wickremesinghe administration, the NPP, or any other political party represented in Parliament, didn’t speak publicly about that matter. Interesting, isn’t it, coming from people, still referred by influential sections of the Western media, as avowed Marxists?

By Shamindra Ferdinando

Midweek Review

The Aesthetics and the Visual Politics of an Artisanal Community

Published

22 hours ago

2025/12/24

Sahan Weerasooriya

Through the Eyes of the Patua:

Organised by the Colombo Institute for Human Sciences in collaboration with Millennium Art Contemporary, an interesting and unique exhibition got underway in the latter’s gallery in Millennium City, Oruwala on 21 December 2025. The exhibition is titled, ‘Through the Eyes of the Patua: Ramayana Paintings of an Artisanal Community’ and was organized in parallel with the conference that was held on 20 December 2025 under the theme, ‘Move Your Shadow: Rediscovering Ravana, Forms of Resistance and Alternative Universes in the Tellings of the Ramayana.’ The scrolls on display at the gallery are part of the over 100 scrolls in the collection of Colombo Institute’s ‘Roma Chatterji Patua Scroll Collection.’ Prof Chatterji, who taught Sociology at University of Delhi and at present teaches at Shiv Nadar University donated the scrolls to the Colombo Institute in 2024.

The paintings on display are what might be called narrative scrolls that are often over ten feet long. Each scroll narrates a story, with separate panels pictorially depicting one component of a story. The Patuas or the Chitrakars, as they are also known, are traditionally bards. A bard will sing the story that is depicted by each scroll which is simultaneously unfurled. For Sri Lankan viewers for whom the paintings and their contexts of production and use would be unusual and unfamiliar, the best way to understand them is to consider them as a comic strip. In the case of the ongoing exhibition, since the bards or the live songs are not a part of it, the word and voice elements are missing. However, the curators have endeavoured to address this gap by displaying a series of video presentations of the songs, how they are performed and the history of the Patuas as part of the exhibition itself.

The unfamiliarity of the art on display and their histories, necessitates broader explanation. The Patua hail from Medinipur District of West Bengal in India. Essentially, this community of artisans are traditional painters and singers who compose stories based on sacred texts such as the Ramayana or Mahabharata as well as secular events that can vary from the bombing of the Twin Towers in New York in 2001 to the Indian Ocean Tsunami of 2004. Even though painted storytelling is done by a number of traditional artisan groups in India, the Patua is the only community where performers and artists belong to the same group. Hence, Professor Chatterji, in her curatorial note for the exhibition calls them “the original multi-media performers in Bengal.”

‘The story of the Patuas’ also is an account of what happens to such artisanal communities in contemporary times in South Asia more broadly even though this specific story is from India. There was a time before the 21st century when such communities were living and working across a large part of eastern India – each group with a claim to their recognizably unique style of painting. However, at the present time, this community and their vocation is limited to areas such as Medinipur, Birbhum, Purulia in West Bengal and Dumka in Jharkhand.

A pertinent question is how the scroll painters from Medinipur have survived the vagaries of time when others have not. Professor Chatterji provides an important clue when she notes that these painters, “unlike their counterparts elsewhere, are also extremely responsive to political events.” As such, “apart from a rich repertoire of stories based on myth and folklore, including the Ramayana and other epics, they have, over many years, also composed on themes that range from events of local or national significance such as boat accidents and communal violence to global events such as the tsunami and the attack on the World Trade Centre.”

There is another interesting aspect that becomes evident when one looks into the socio-cultural background of this community. As Professor Chatterji writes, “one significant feature that gives a distinct flavour to their stories is the fact that a majority of Chitrakars consider themselves to be Muslims but perform stories based largely on Hindu myths.” In this sense, their story complicates the tension-ridden dichotomies between ethno-cultural and religious groups typical of relations between groups in India as well as more broadly in South Asia, including in Sri Lanka. Prof Chatterji suggests this positionality allows the Patua to have “a truly secular voice so vital in the world that we live in today.”

As a result, she notes, contemporary Patuas “have propagated the message of communal harmony in their compositions in the context of the recent riots in India and the Gulf War. Their commentaries couched in the language of myth are profoundly symbolic and draw on a rich oral tradition of storytelling.” What is even more important is their “engagement with contemporary issues also inflects their aesthetics” because many of these painters also “experiment with novel painterly values inspired by recent interaction with new media such as comic books and with folk art forms from other parts of the country.”

From this varied repertoire of the Patuas’ painterly tradition, this exhibition focusses on scrolls portraying different aspects of the Ramayana. In North Indian and the more dominant renditions of the Ramayana, the focus is on Rama while in many alternate renditions this shifts to Ravana as typified by versions popular among the Sinhalas and Tamils in Sri Lanka as well as in some areas in several Indian states. Compared to this, the Patua renditions in the exhibition mostly illustrate the abduction of Sita with a pronounced focus on Sita and not on Ravana, the conventional antagonist or on Rama, the conventional protagonist. As a result, these two traditional male colossuses are distant. Moreover, with the focus on Sita, these folk renditions also bring to the fore other figures directly associated with her such as her sons Luv and Kush in the act of capturing Rama’s victory horse as well as Lakshmana.

Interestingly, almost as a counter narrative, which also serves as a comparison to these Ramayana scrolls, the exhibition also presents three scrolls known as ‘bin-Laden Patas’ depicting different renditions on the attack on New York’s Twin Towers.

While the painted scrolls in this collection have been exhibited thrice in India, this is the first time they are being exhibited in Sri Lanka, and it is quite likely such paintings from any community beyond Sri Lanka’s shores were not available for viewing in the country before this. Organised with no diplomatic or political affiliation and purely as a Sri Lankan cultural effort with broader South Asian interest, it is definitely worth a visit. The exhibition will run until 10 January 2026.