21 January 2026

Anjana Ariyarathna's time-travel machine

 

It is quite likely that there are people, even millions of them, who have never made paper boats. Or paper airplanes for that matter. Not everyone lives in places where winds are kite-worthy. Some do, though.

I have never made a kite. That was the preserve of my elder brother. Come kite season, the house would be cluttered with kite-making material. I helped him make them airborne. Once they were up and faraway, I would be allowed to hold the string, but always under his supervision. I adhered to the strict conditions he imposed on me. For the most part, though, I delighted in watching brightly coloured kites of different shapes floating over rooftops and tree lines.

I’ve made paper airplanes. The rise, dip and swerve of paper airplanes never failed to enchant me.  Not all of them flew. Adjustments had to be made. I knew that if I got it half-way right, hours of pleasure would follow. There were occasions when I did get it right.

Paper boats were of a different order. I suppose any body of water would do, even a bathtub or basin, but in my case it was the rainwater drain that skirted my maternal grandparents’ house in Kurunegala.

Rain, at times, was spectacular, especially if there was wind as well. The rain would come as waves. It would sweep across the landscape. Loud and insistent. Typically the drain would be full of fast moving water. Paper boat time.

So my brother, sister and I would make paper boats, colour them and even make tiny flags which we stuck on them. We placed them gently and watched them speed away. We were ship captains, all of us. We rushed from room to room, window to window, cheering our ‘ships’ on, until they floundered in the large pool that formed where the drain ended.

For those few minutes or hour or two, we sailed high seas, braved enormous waves and terrible storms. We were sailors.

It all came back to me yesterday when Anjana Ariyarathna, my friend and sometime colleague at Phoenix Ogilvy showed me an album of photographs which he had posted on Shutterstock. Anjana is not a professional photographer. It’s one of the many things he does for the pure joy of it all. A Senior Art Director who has worked in advertising for almost 15 years, Anjana is more a painter than a photographer. He shares his experiments with brush, colour and canvas on his YouTube channel ‘Kandyan Art.’

Not being a student of photography myself, I couldn’t really go too far away from ‘hmm’ and ‘lassanai (pretty),’ but one capture stopped me. It was of a little boy seated on an oruwa, probably on the beach, watching a boat out at sea in Trincomalee.

What captured me was the boy and the boat. What thoughts crossed his mind, I wondered. I wondered if he, as I had done a long time ago, imagined himself as the captain of a splendid ship.  

I know of a boy Kumara Bandarage Chamod Pasindu Dilshan who studies at the Mercmarine Seafarer Training Institute (MSTI). An only child, his parents had wanted him to get a degree in Information Technology. A quiet, sober, obedient boy, Pasindu had agreed. It was later that the parents had found out that the boy wasn’t too keen on IT. He wanted to be on a ship.

Apparently, that particular seed had been planted in his imagination by the older brothers of school friends who worked on ships. He had learned about ships and seamen through YouTube videos. Most significantly, that early interest had been rekindled when he took the train to Dehiwala to attend lectures. He would see the ships off the Colombo coast. He convinced his parents that he should pursue his oceanic dream. Eventually they had agreed.

A few days ago. Young Pasindu returned from his first voyage. It was a six-month internship that was part of the degree program. He had tales to tell.

A little boy in Trincomalee happened to be looking at the sea just as a boat was passing. Someone who he didn’t know at all, happened to be passing by. That stranger saw the boy and the boat. The boat was at sea. The boy was probably in the clouds. Some dreams can be captured, it occurred to me. Some dreams come true too, I know.

My seaman fantasy died when the monsoon was done. It was resurrected when it rained again. Died again. I never went out to sea. I didn’t fly kites, but loved watching them. I have watched the lights of ships off the Western coast on certain nights. I’ve wondered what they carry and where they are going.

There are kids, boys and girls, who dream longer and whose determinations don’t go dry. They give life to the notions of exploration and adventure. They go to far away places. They sail towards magical horizons, they fly to splendid skies. I am thankful that they do. And I am grateful to my friend Anjana Ariyarathna for allowing me to use his time-travel machine, and taking me to distant places that are either from a long ago that’s unreachable or a mystical space I seldom thought of visiting.

16 January 2026

Mahagama Sekera: the book of verse and the [glass of] wine


 

[published in the Daily News, January 15, 2025] 

The late Pundit Amaradeva would frequently refer to his friend and collaborator, Mahagama Sekera, during concerts. Inevitably he would draw from the song ‘මීවිතයි ගී පොතයි (the book of verse and the [glass of] wine),’ which was written by Sekera, to pay homage of sorts to their partnership. And everyone applauds, typically. In

The following lines about Amaradeva, written by another prominent lyricist, Bandula Nanayakkarawasam, resurfaced around the time the celebrated singer passed away and they came to me last night as I thought of what I could write of Sekera today, on the eve of his 48th death anniversary. 
 
ගම අමතක වීද ඔහුගෙන් විමසන්න
නගරය මග හැරුනිද ඔහු සොයා යන්න
රට අමතක වීද ඔහු ඇති බව අදහන්න
ගහ-කොළ, ඉර-හඳ, ඇළ-දොළ, සමුදුර, කුරුළු-ගී
ඈ නෙක දියදම් අරුම නොපෙනී නොඇසී ගියේද
ඔහු ඇසි දිසි මානයේ රැඳෙන්න
මේ පුංචි කොදෙව්වේ, මව් දෙරණේ
මේ සියල්ල ඔහුය 
 
‘If you’ve forgotten the village, ask him
If you are lost in a city, go find him
If you forgot the nation, believe that he lives
The trees, the sun and moon, the ocean, bird song…
These and other enchanting things……..
should you not see them, should you not hear
Go stand before him, stay within the circle of his gaze.
In this tiny island, in our motherland
He is all these things.'
 
Sure. It works. And yet, it occurred to me, that if the above lines were read without knowing who wrote them or about whom, the reader could ascribe any name he or she believes can be associated with the sentiments. For me, its Sekera. Yes, more so than Amaradeva, no disrespect intended. 
 
The length, breadth and depth of who he was and who he still needs to be measured not only in terms of his voluminous works across genres but the creativity deployed to obtain the most salient of human verities. Human and not simply Sri Lankan, let me emphasise. Perhaps an incident which occurred some years ago may serve as elaboration.
 
It happened at a book launch at the Library Services Board Auditorium. In fact several books were launched that day, a set of excellent translations of Pablo Neruda by Indrani Ratnasekera who, unlike many who translate Neruda into Sinhala (from English), had actually studied Spanish and Spanish literature for years and therefore was probably more insured against mis-translation and of course misrepresentation. It happened when the inimitable W A Abeysinghe addressed the gathering.
 
Ever the student of global literatures given to serious reflection on the way social, economic, political, cultural and philosophical factors leave their traces on words and lines, Abeysinghe offered Neruda in a nutshell. It was like a poem. And it included a poem. A Sinhala translation of an English translation which, I am sure, Indrani Ratnasekera could have probably improved much, no offence to Abeysinghe.
 
I may have zoned out for a moment and if Abeysinghe had given a preamble, I must have missed it. I listened to the recitation and somehow felt that I had heard/read it before. I will get to it shortly. 
 
Abeysinghe, towards the end of his speech, made the following observation: අපි මොනතරම් කුඩා ද! Yes, that argument could be made if one were to compare and contrast the work of any nation or community or culture or language against the full corpus of world literature, but Abeysinghe was drawing from the dimensions of Neruda’s literary universe. And he may have been right. 
 
Thankfully, I had to speak after this elder or even the eldest statesman of Sinhala literature, unsung and unhonoured for no fault of his. Thankfully, because he had provided me an entry point. He may have mentioned this, I do not remember, but anyway, by the time I got to speak I knew that the poem he had translated was one of Neruda’s featured at the end of the movie Il Postino (The Postman) based on the 1985 novel by Antonio Skármeta titled Ardiente paciencia (Burning Patience). This was why it was familiar. 
 
And it was at that age...
Poetry arrived in search of me. 
I don΄t know, I don΄t know where it came from,
from winter or a river.
I don΄t know how or when,
no, they were not voices, 
they were not words, nor silence,
but from a street I was summoned, 
from the branches of night,
abruptly from the others,
among violent fires or returning alone, 
there I was without a face
and it touched me.
I did not know what to say,
my mouth had no way with names
my eyes were blind, 
and something started in my soul,
fever or forgotten wings, 
and I made my own way, 
deciphering that fire 
and I wrote the first faint line, 
faint, without substance, pure nonsense,
pure wisdom of someone who knows nothing, 
and suddenly I saw the heavens unfastened
and open planets, palpitating plantations, 
shadow perforated, riddled with arrows,
fire and flowers, 
the winding night, the universe.
And I, infinitesimal being,
drunk with the great starry void,
likeness, image of mystery,
I felt myself a pure part of the abyss. 
I wheeled with the stars; 
my heart broke loose on the open sky.
 
Here’s his translation:
ඒ දවස්වල තමයි
කාව්යය
මා සොයාගෙන ආවෙ
සීත සමයේ සිටද
ගඟක ඉඳලාවත්ද
කෙසේ නම්, කවදාද
මා දන්නේ නැත්තේය
නැත,
කටහඬක් නම් නොවේ
වදන්ද නොවේමය
නිශ්චලත්වයද නොව
වීදියේ සිටිය මට ආයේය කැඳවුමක්
රැයේ අතුපතරතින්
ආපහු එමින් සිටියෙ මි බිහිසුණු ගිනිදැල් මැදින්
මා සතු නොවිය මුහුණක්
එය පැමිණ
ස්පර්ශ කළේය මා.
කියන්නේ කුමක්දැයි
සිතා ගත නොහැක්කේය
මගේ මුවට
නාවේය කිසි නමක්
මගේ දෑස
තාමත් අන්ධය
ආත්මය තුල
කැළඹුණිය කිසිවක්
උණ ගැනිලාවත්ද?
මම ගියෙමි ආ මඟහිම
කියවන්ට තතනමින්
ඒ ගින්න අතරින්ම
එවිට මම ලියුවෙමි
මගේ මුල්ම කවි පදය
බොහොම දුර්වල
හරයක්තද ඇත්තේ නැති
නියම මනස්ගාතය.
කිසිවක්ම නොමදන්න කෙනෙකුගේ
පවිත්ර ප්රඥාව
දුටුවෙමිය මම එසඳ
දෙව් ලෝ තල අගුල් ගැලවෙනු
ග්රහලෝක විවර වනු
හෙවණැලිද විදගෙන
වගාවන් සසල වනු
ඊතලද ගින්දරද මල්ද
පහන් වන රාත්රියේ, මුළු මහත් විශ්වයද.
තුන් තේරවිල්ලක්ය
අල්ප වූද, ක්ෂුද්ර වූද
ජීවියෙක් වූ මම
තරු පිරිවැරූ මහා අනන්තයෙන්
මෝහනය වී
විශ්වයේ අනන්ත ගුප්තභාවය
හා සමාව සිටින්නෙමි සිතුනේය මට එසඳ
මාද මේ අගාධයෙහි
කොටසක් බව භ්රමණය වීමි මමද
තරු සමග
නිදහස් වුණු මගේ කඳ
පියාඹන්නට විය මන්ද මාරුතය හා. 
 
And I shared with the audience the first thought that had come to mind listening to Abeysinghe’s recitation, a thought not precipitated by knowledge of the original or the context, for that had come later: ‘One of Sekera’s poems.’ And I said, ‘අපි මොනතරම් විශාලද…නේද අබේසිංහ මහත්තයෝ (we are not small, are we Mr Abeysinghe?)’ 
 
He smiled, this good humoured man, an nodded his head in agreement, for one does not preclude the other. We are small and also great. Such verities did Sekera reveal to us, such greatness did he bestow on all of us.
 
Mahagama Sekera was not adjunct to Pundit Amaradeva or anyone else. He was not one part of some duality. He was and is the gee potha and the meevitha — the book of verse and the [glass of] wine, both. He would probably brush it off, for he, according to all accounts, was humble. Small. And that is also an aspect of greatness.

15 January 2026

Rajitha Dissanayake and houses that are marked for burning

Review of Rajitha Dissanayake's 'Ape Gedara Gini Thiyaida (Will they burn our house down)'

 

 

Rajitha Dissanayake’s plays are very much like himself. A most unassuming playwright, Rajitha has ‘everyday’ written all over, almost to the point of not being noticed. 


Theatregoers, whether or not they have ‘everyday lives’ (who does not, anyway), are a select crowd. They go for entertainment and what they come off with depends on what they bring. Rajitha doesn’t disappoint.

There’s enough humour to prompt some laughs, relationship dilemma that makes one wonder if the playwright is a voyeuristic and secret miner of people’s private lives, enough ‘drama’ to keep the audience riveted, plot twists that pique curiosity, and social and political commentary for those who find such things interesting.

His latest, ‘Ape Gedara Gini Thiyaida (Will they burn our house down?),’ is no different.  Humour, romantic intrigue and political satire are delivered with deft brushstrokes of suspense and extremely clever criss-cross of dialogue. He makes the character indulge in soliloquy masqueraded as conversation even as he grapples with the contemporary political firmament and perennial philosophical questions such as truth, dimensions of loyalty, and the meanings of justice, crime and punishment.  

Rajitha, true to form, is minimalistic in set, word and movement. It’s all elegant nevertheless and speaks of accomplished craftsmanship. He does add to ‘stage life’ so to speak with music and song, none of which is intrusive but in fact integral to the plot. 


 

Four friends, classmates from an all girls’ school who were once in the same choir, meet after a long time. So there’s reminiscing that is worked into conversations that seem titled ‘Tell me about your life.’ Two are married, one divorced and one single. Their life trajectories have taken them to different shores in terms of profession and relationships, as is not uncommon. Deep down or, in fact, not too far from the surface of things, there are commonalities. There’s conviction and doubt, comfort zones and unease, and the inevitable interplay of emotion and reason, especially when the party is wrecked by an incident seemingly external and yet somehow containing enough of the ‘internal’ to bring to a halt the festivities.

Niroshi (played by Ama Wijesekara), Tharushi (Yasodha Rasanduni), Sujeewa (Jayani Senanayake) and Nayani (Bimsara Premaratne) all give good accounts of their acting capabilities. They no doubt found a convenient prop in well-crafted dialogue, but then again words alone are never enough to yield consistency in character portrayal. They were as good ‘in silence.’ 

They have men in their lives or wish there were. Men they have relationships with and men they can’t get out of their minds. And the men (there are four in all, three we see and the absent fourth the principal character, strangely and yet believably) gave excellent performances too. Vijith (played by Pradeep Aragama), Sunimal (Prasad Sooriyarachchi) and Heshan (Tharusha Kumarasinghe) are as authentic in the portrayal of, let’s say, ‘everyday people we know in our lives.’  

That’s also part of Rajitha’s genius. The characters, dialogue, plot-unfolding, never seems contrived. The magic is in the way he strings it all together to say something less said and make us think again of things we may have believed we had thought out, concluded and laid to rest.

Certain things of course are never really buried for good. The perennials referred to above, for example. They surface again and again in our lives or find residence in other lives, generation to generation. It’s the details and frills that change. Especially in politics, as the play tells us.  

‘Will our house be burnt down?’ Now that’s a question that directly takes us to the days of the ‘Aragalaya’ (the quotation marks are not for language but the claim — given the play of ‘orchestration’ in what was largely marked by spontaneity and of course the outcomes compared to desired result).

 

But what is this ‘house’? Is it an architectural form within which some human beings live or is it the structure of an individual's mind or is it a larger entity, a composite of individuals, families, relationships or even a social order or polity? Is that polity on fire? Is it made of arsonists (of a kind), considering social-media sparks that ignite much more than the curiosity and imagination of the consumer? Is Rajitha making his players ponder over the possibility of arson or is he making us ask the same question from ourselves or is he offering what could transpire in the future, distant or even not so far away? Who does the burning? A stranger, an acquaintance, a loved one or are we ourselves the arsonists?

There are the par-for-the-course tidbits of political satire. He seems to have deliberately set the play at a time before the last two major elections, throwing in claims and hopes of candidates, parties and voters which, naturally, force the audience to compare-and-contrast all of that with what we have. The laughs thus generated say something of the sentiments of the general polity.

Again, what struck me most was the less said and not-said-at-all. That’s the space in the theatrical canvas Rajitha has offered us to paint as we wish. Rajitha Dissanayake is never in-your-face. Neither is his work. And yet, he has this damning ability to crawl surreptitiously into heart and mind. He awakens those in slumber and those awake he does not allow to sleep again.    


 

'You are right, I may be wrong!’



‘I may be wrong’ is a rule of thumb that’s probably among the least used rules of thumb. Indeed it is probably not even considered to be a rule of thumb.  

It makes sense for people to base their decisions on what they know. After all, they can’t decide based on the unknown. That’s if they are pushed to a decision. If not, it makes sense to postpone or suspend a decision, especially if there’s a sense that there could be factors that ought to be taken into account.

We can take a long time to reach ‘conviction’ but we can also go with ‘gut.’ We do both, given contexts, and no one can be faulted. The problem arises or rather can have enhanced and even dangerous consequences when decisions have the potential to impact many. One may trip over one’s delusions, one might trip a couple of others in the process, but one can cause monumental devastation and dispossession too. It’s about power.

It is incumbent on the powerful, positioned as they are to impact many rather than a few, to exercise utmost caution when making decisions. Such individuals, if they are too arrogant to think ‘I may be wrong,’ are err regardless can unleash untold misery.

It comes down to conviction, even convictions of ‘the greater good.’  

So consider a leader who truly believes that he has no personal agenda and is absolutely unconcerned about the political future of the party he belongs to. Suppose he believes that his every act is prompted by absolute conviction that the outcome would benefit the entire population or in the very least the vast majority.  In his mind he is a man of the people, a true representative of people’s interest, mandated to represent and to decree for the betterment of the people etc.

If there be such an individual and he believes that he is 100% in concert with ‘people’s interest’ there can be few who could be as dangerous. Of course it can be worse. Donald Trump, for example, has said that his morality is above all laws, domestic or international. He believes that ‘[his] morality, [his] mind is the only thing that can stop [him].’

But even if it’s something less grand, if the idea of being driven by people’s interest has taken hold to the point that it is the core belief, any opposition from any quarter or any kind would be immediately seen as ‘anti-people.’ Simultaneously such a leader, again in the name of the people and people’s interests, would have no qualms about quelling such dissent.

In such a scenario ‘other people’ cease to count. ‘Other people’ as in the objectors, that is. That’s where fascism begins. It comes without announcing itself, it comes without an introduction or name card. It has already taken root.

Fascist roots grow into enormous trees very fast. Its fertiliser is a simple formula: ‘I am right, therefore you must be wrong; I am for the people, therefore you must be against the people; I stand for progress, therefore you must stand for stagnation or worse.’

Those who think this way will not suffer criticism. Worse, they will not be self-critical. They see no reason to question themselves because they are convinced that they are right. And when things go sour, it’s someone else who is to blame. It could start, for example, with political opponents. Then the blame is shifted to officials. Eventually, the people.

Sometimes it is not really the arrogance (not courage) of convictions. It is fear. The powerful fear nothing more than to be seen as weak. Acknowledgment of error, in their book, amounts to a flaw. When flawlessness is assumed, even a single hairline fracture is seen as a chasm of gigantic proportions. When one sees one’s flaws in such dimensions it is inevitable to believe that others see them in similar proportions. That should not be allowed to happen. That’s the thinking, typically.

There’s just yes and no. Nothing between. Black or white, no other colours, no shades even. If honour claims are called to question, the fear is that one has been found guilty of being dishonourable. Nothing less than impeccable would do.  But then one doesn’t have to be impeccable. All that matters is to convince oneself that one is impeccable. So even error is not seen as such.

It’s for all these reasons that over the centuries people have come to understand that humility more than anything else is the true signature of greatness. No braggadocio. No false claims. No strutting. Do what needs to be done without fanfare. Take praise in one’s stride and take seriously any criticism that may come one’s way.  

Maybe we ought to practice saying the following: ‘Yes, you are right; I may be wrong.’ Makes it easy to actually say it when the occasion arises. 

 [This article was published in the Daily News under the weekly column title 'The Recurrent Thursday']
 
Malinda Seneviratne is a freelance writer. malindadocs@gmail.com

13 January 2026

Cpl H.R. Ratnayake saw way ahead than most of us



He is known.  To family, friends and comrades-at-arms. And fellow inmates at Ranaviru Sevana.  Corporal H.R. Ratnayake hails from Dambemeda, a village located between Ratnapura and Embilipitiya.  He joined the Army on the 17th of May, 1995.  He put his life on line for country and fellow citizen. 

I don’t know his battle-field story.I don’t know what he left behind when he joined the Army.  I don’t know what he acquired in addition to salary.  I don’t know of the rigors of training.  I know nothing of the thoughts that crossed his mind, his hopes or his fears, the bruises and the bleeding, the trials that make up battle-field experience, the heroics and his grief of losing friend and comrade.  
 
All I know is that his entire world went black three years later.  He was rendered totally blind by a blast on the Pranthan-Mullaitivu Road at approximately 1.00 am on the 29th of November, 1998.  I know that a few days ago, Cpl Ratnayake won the National Chess Championship for the Visually Handicapped. 

He was introduced to the game by the ‘Anda Jana Seva Mandalaya’, the authority dedicated to serving the visually handicapped, through the good offices of the Ranaviru Sevana.  This was in the year 2000.  His teacher was Mr. Sumanapala, who was a civilian blind from birth. 

Now there are those who play blindfold chess.  They are not visually challenged in any way.  They’ve played long enough, studied thousands upon thousands of position and are therefore able to visualize the 64 squares and the potential for magic therein without any difficulty.  It is different when your first encounter with the game is through touch.  In fact, thinking about it, I feel it is impossible for someone who ‘sees’ to understand how easy or difficult it is for someone who does not. 

Cpl Ratnayake picked up the game.  It captured his imagination.  He spent hours playing and learning.  He became reasonably good at chess.  He even went to India in 2003 to participate in a 16-nation tournament, winning 4 out of the 7 games he played. 

I didn’t know of Cpl Ratnayake until a few months ago.  I didn’t know that there were many blind servicemen who played chess.  Not until a close friend of mine took me to Ranaviru Sevana to show me the amazing lives led by those who have given so much and incapacitated themselves just so we can all live limbed, seeing, hearing, fear-free lives.  It was humbling and empowering to learn about how they overcame injury, trauma and the shattering of life-dreams.  Each serviceman at the facility has an epic story.  Each story would evoke admiration, each inspire the nation to be more determined in efforts to validate, again and again, the sacrifices made by the particular individual and of course those of the thousands who have gone forever from this land and from collective memory. 

A few days before the tournament, Cpl. Ratnayake called me to clarify something.  A few days later, my friend called me.  She was excited and said that two young men from the Ranaviru Sevana, Ratnayake and Upul Indrajit had made it to the Semi-Finals.  She wanted me to talk to them.  I didn’t have much to say except a simple elaboration of ‘All the best’.  That evening, Cpl Ratnayake called me to share with me the joy of having won the event.  Indrajit finished 4th, courtesy a mis-application of rules pertaining to time controls.  Major Dushyantha Yapa, a live wire at the Ranaviru Sevana who had helped whip up enthusiasm for the game, had lost at an earlier stage of the tournament. I am sure they shared Ratnayake’s joy. 

Cpl Ratnayake, by the way, is a three-time National Draughts Champion (among the visually handicapped).  Speaking strictly for me, I just cannot imagine the effort and commitment that this young man must have expended to learn these games, practice, develop techniques and play well enough to emerge as champion.  I can only assume that it is this same commitment that helped this nation prevail over the world’s most ruthless terrorist outfit and that this is exactly what will help stop those who harbour insidious designs on our resources, labour, cultural preferences etc. 

The nation knows the leaders, appreciates the sacrifice, sweat and blood shed and so on.  The political leadership too.  It is easy to celebrate the collective and necessary too.   We are, nevertheless, indebted to each and every man and woman who laboured one way or another to bring us the peace and create the fear-free environment we enjoy today.  Cpl Ratnayake is one among many, yes, but let’s raise a cheer to this remarkable young man, who exemplifies those qualities that saw us through our darkest days and will save us in the future too, as they saved our ancestors and a civilization from all kinds of marauders in all kinds of disguises. 

You’ve made your wife Surangani and your 6 year old child proud of you.  All the rest of us are too. And so, Cpl Ratnayake, Sir, take a bow.  And may the 64 squares conjure more magic than meets the naked eye of us lesser mortals.   

[First published in the Daily News, September 2, 2011, under the title 'Cpt H R Ratnayake won the war for us]

11 January 2026

Sama Dharmaratne’s loves

 


I knew Sama Dharmaratne, who was also known as Sama De Silva, first as the mother of a trio of young Nalandian chess players. She was also the teacher-in-charge of chess in that school. The eldest was Shehenaz, who was my age, the second was Sidath and the youngest was Dinoo, who would have been around eight years of age.

This was in 1978, at Ananda College, where the Inter-School Championship was being held. I believe it was later that I found out that they had an older brother, Samath, who attended Royal and became a member of the senior chess team.

There were the usual rivalries but all of that was just over the 64 squares. Friendships were formed and they erased school-related distinctions. There were tournaments held at Nalanda and since the Dharmaratnes lived close by, that’s where we went after the rounds were done.

She was kind. She was always with a smile. I remember Dinoo clinging to her whenever things went wrong. I remember his younger sister Sanjeewa hanging around until the brothers were done. They were a handful, but their mother managed somehow.

Years passed. I played on the same team as Samath, who was a few years older. He went on to become a doctor, as did his sister. I really don’t know what Shehenaz did or does. Sidath, who passed away around 16 years ago, was the one closest to me. We served together in the Chess Federation almost twenty years ago. Dinoo became a lawyer.

We never kept in touch, but whenever we met, randomly and infrequently, it was like old time — friends, brothers, reminiscing and affection untarnished by distance or years.

Last morning Dinoo called me. He said he wanted to meet because he wanted to see all his friends before he died! He was always mischievous and irreverent. So we agreed to meet at 6 o’clock in Kottawa. I was late. We talked for several hours. And he told me about his mother, the sweet, kind lady who I last met at Sidath’s funeral and who passed away a few years ago. Dinoo told me her story or rather the story of his mother, chess and Nalanda College.

The boys had been into outdoor sports such as cricket and hockey. There had been a chess board at home but no one played. No one knew how to play.

One day, their mother had gone to the British Council and borrowed a book titled ‘Simple Chess.’ She had taught herself the game so she could teach her children. This was when she realised that although there was a board at home, there were no pieces.

‘She cut a sheet of paper into squares and wrote letters on them to indicate what the piece was. Q for Queen, B for Bishop etc. Upper case for the white ‘pieces’ and lower case for the black.’

That’s how it all began. Sidath won the National Junior title, i.e. for players under 12 years of age. Dinoo won it three years in a row. Shehenaz was solid but his younger siblings were the stars. Sidath even made it to the Nationals. Samath never played junior chess.

‘He would have been around 14 when Amma taught us chess. She could be strict. She would say “sit” and that’s what we did!’

Samath was one of the few who made it to Royal’s senior team without ever playing in the junior team.  

‘Nangi wasn’t interested, although she played for Colombo Campus and represented Medical College the year I captained the Law College team. So we were on opposite sides of the Law-Medical encounter,’ Dinoo said.

We talked late into the night. I dropped Dinoo at his place in Maharagama and came home. I couldn’t stop thinking of his mother.

Apparently, she was one of three or four girls who had attended Mahinda College, Galle. Arisen Ahubudu had taught her. She later moved to Visakha Vidyalaya. Her husband, Dharmaratne De Silva was a principal who served in Kotmale, among other places, and eventually retired as Commissioner of Education.

She may have told her children why she wanted them to play chess. I should check with Dinoo or Samath. What matters is how she went about it. Learning a game from scratch, indeed teaching herself the basics, the A-B-C of the moves, so to speak, could not have been easy, especially with five children to take care of. It must take a special kind of determination not to be deterred by the fact that there were no pieces. And then, to start chess at in one of the leading schools in the island!

Nalanda has produced many strong players over the years. Susal De Silva, won the national title at the age of 16 and went on to retain the title the next two year as well. Susal is the youngest Sri Lankan to secure the International Master title. Then there’s young Chenitha Karunaratne, just 10 years old and already one of the strongest players in the country.

It’s many years since she passed away and even longer since she retired; I wonder if present day Nalandians know what Sama Dharmaratne did for their school and in particular chess at Nalanda. Those of us who played chess as schoolboys in the 70s and 80s got to know her boys. We played with and against them. We became friends. We knew their mother was the teacher-in-charge of chess.  

We didn’t know her, really. A kind, sweet, lovely lady who treated us as though we were her own sons, yes, but not as the formidable force that turned Nalanda into a chess heavyweight, so to speak. Nalanda’s success made other schools stronger. That’s how it works. We all owe her much.

How little we know about teachers, I find myself thinking. My thoughts go back to that tender time at her house, at tournaments and finally at my friend Sidath’s funeral. She smiled when she saw me and softly spoke my name. ‘Aney Sidath,’ she said even more softly.

She’s a poem that cannot be transcribed and therefore I must end this with the following (favourite) verse from the Rubaiyat of Omar Khayyam:

'Tis all a Chequer-board of Nights and Days
Where Destiny with Men for Pieces plays:
     Hither and thither moves, and mates, and slays,
And one by one back in the Closet lays.


We’ve lived well, I must tell Dinoo. Fortunate were we. Privileged to have been sons to Sama Dharmaratne.   

 [This article was published in the Daily News under the weekly column title 'The Recurrent Thursday']

08 January 2026

Sanjaya Epa Senevirathna’s word-ink brush strokes


The unit of time was transformed from hours to litres. The long hand is now at the edge of an Asoka glass. The first pouring began when the short hand was at the three hundred and seventy five millilitre level. Thereafter having ventured into the regions of solitude, the cleared pathway led to the bottom of the glass where all hands collapse.

Along the way, thoughts that arrive from the void meet words subjected to self-inflicted incarceration . Once they meet the journey is no longer one of solitude.    

The past converses quietly with words associated with to generate compatibilities and leave short notes of it all the following morning. The new day arrives through the previous day’s notebook. The note lengthens as new words join those scribbled before. Since I am partial to associating words that graze entirety and context or leave them altogether I have kept them thus. Those that left did not just up and go. Some of them cut, chopped and in other ways hurt with pens of various colours while others received torrents of foul language. Those that are not found herein would forgive, I believe.


The above is the preface to the debut collection of poems by Sanjaya Epa Senevirathna titled ‘Aadara Saadaya,’ (literally ‘The feast of love,’ but dubbed ‘Coffeed Poetry’ by the poet). It doubles as an acknowledgments note. I usually get to the frills, if you will, such as forewords, addendums and acknowledgments only after I’ve got through the main literary course. If at all. In this case, I did, again after reading the poems. The poetry and the poet compelled me to venture to the periphery. That too was poetic. Unexpected and delightful. In fact I can’t think of any such ‘peripheral’ note that complements a collection of poems so beautifully. The first thought that came to mind was, ‘Sanjaya should write prose too.’

Sanjaya may not. He confesses that he had promised himself that he wouldn’t write anything until he turned 40. He didn’t publish, but he did write, but sporadically. He penned a few songs for well-known artists such as Kasun Kalhara, Kithsiri Jayasekera, Chandana Liyanaarachchi and Nirosha Virajini. He produced advertising copy too, but a long time ago. Poetry had come  ‘writing’ had been slow. Maybe what happened was that he translated poetry into another art form, like hours to litres.

Sanjaya Epa Senevirathna is best known as an award-winning designer of book covers. What had become a flirtation in his school days seems to have blossomed into a lifelong love affair. So far he has designed around 300 book covers. The cover for Kasun Pussawela’s telling account of the Welikada riots, ’10, 11, 12,’ won the State Literary Award for the Best Book Cover in 2017. Incidentally, that’s the only award on offer for book covers Sri Lanka. Sadly.

Having read the preface/acknowledgments I asked him, ‘why not a novel or short stories?’ Sanjaya said it could be on account of his work as a copywriter and art director: ‘I must have been framed by advertising briefs — I couldn’t get out of the A4 sheet of paper.’ Maybe one day he will.

So, that’s the poet. What of the poetry?

Upul Shantha Sannasgala in his foreword, written as a poem, likens him to an Indian Gooseberry or nelli. ‘A nelli-flavoured poet,’ is how he describes Sanjaya. The Indian Gooseberry has five identifiable flavours. Sannasgala believes that the poet has evolved into a many-flavoured man of words.

The poems, untitled, speak of and to perennial themes such as love, relationships, things that come together and are torn asunder. They are rich in metaphor and elegant in economy. Maybe this is because he has, as a cover-designer, has much practice in condensing much into few.

Having awoken
in a new territory
language we abandoned
in favour of essence.


The above verse perhaps reveals the poetic mind and explains stylistic preferences. In fact, although inserted in metaphoric sense, he offers…

Let us remove
unnecessary words
and our glasses fill
in the space thus created.


The artist, who is necessarily concerned with line and space, pours familiar techniques into his poetry. He advocates and indeed creates breathing space for the reader, a moment and place for reflection, a pathway into thought and thought process wherein one can become happily trapped and lost but nevertheless find solace of one kind or another.

He concludes, ‘it is in the sound of patience / that (one) can hear love.’

Endowed with such a gift for finesse it is difficult to understand why Sanjaya, at times, feels a need to elaborate. The same poem has the following lines thrust somewhere in the middle:

The sounds of quarrelling
which filled silent spaces
moves through tension, sweat, and
among streaming tears
to moisten the territory…
so tender leaves can sprout.


Such expansion is sometimes necessary, but not in this instance. He says so much with so little and seems to have forgotten himself and his operative principle to brevity.

Consider this:

Direct the uncluttered gaze
beneath the surface…
at the water’s depths
there are words to be found
more polished and spherical than necessary.  


Such words can delight of course. They can detract too. When poetised, the blemishes can be retained but this does not mean they are unpolished. It is an invitation to write as well as read or rather how to write and write and how not to.

It’s the second verse, longer than the first and even more lengthier than the third and last which I believe captures and holds the idea on its own:

All people have stories
but letters are only found
upon riverbeds where dreams have dissolved…


Such ‘editing’ cries out in other poems as well. Consider the following obtained by removing an equal number of lines/words:

Could you be a womb
wherein I could curl
and be reborn
in the sounds
of a pulsating heart?


Such love
I still need
you know?


What can be said of fathers and sons, what of what’s said in slivers of time or volume, minutes or litres?  

Who else listened
to stories that fathers
don’t even tell mother(s)
but men?


Would have sounded better if ‘men’ or let’s say ‘males’ which is the correct translation of the original ‘pirimi’ was replaced by ‘sons,’ I felt. That said, to me it is the most beautiful poem in the collection. Well, the most beautiful verse, for it’s just the first few lines of a longer poem.

‘Men,’ does make sense because the rest of the poem speaks of the work of males, as lovers and friends. Could have been another poem, though.

The poet reveals himself and like an accomplished artist hides himself as well. There’s a Sanjaya Epa Senevirathna who arrives and one who has just left signs of presence, within reach but untouchable.

He writes of an addressee resisting capture in any form.

In all poetry read so far
you are not evident
no, not even in a single line


He continues and I paraphrase: ‘No, not in a text or subtext, not in a tone, a rhythm, not in a brushstroke, or piece of fiction; [you] are in your existence, but I am not.’

I did not distance you,
friend,
into a different circle
I entered
that’s all;
there’s no one else,
but me.


For a friend or a lover where friendship or love has run its course, a word of consolation? Perhaps. Perhaps it’s simply the truth, as in the common ‘it’s not you, it’s me.’  But it seems to me that Sanjaya is where he is as he has always been. In his circle. Alone. From there he gazes upon the world around him, the people who venture close or towards whom he moves along with his circle-residence, condensing treatise into lines, hues and spaces, removing unnecessary words, creating breathing space so readers can sip a cup of coffee and feast on love at their own pace.

The cup runneth over not, but a few drops remain. Just enough to flavour love, among other things.

Malinda Seneviratne is a freelance writer. malindadocs@gmail.com.

06 January 2026

Gananath Obeysekere’s ‘foolishness’ and the liberation from complicities


One of the most fascinating lectures I’ve attended is the one delivered by Gananath Obeysekere at the Royal Asiatic Society of Sri Lanka on the Vädda, more than twenty years ago. It was based on research conducted in the Bibile region with H G Dayasisira in 199-2001. Further research had been conducted between 2007 and 2009. The project apparently was one that ‘envisaged a critique and a follow-up of ‘The Veddas,’ the classic study by C G and Brenda Z Seligmann who believed they were dealing with one of the world’s most ‘primitive’ hunting and gathering groups. The outcome of the exercise was Gananath’s 2002 book ‘The Creation of the Hunter.’

The title has the following rider: ‘The Vädda presence in the Kandyan Kingdom: A re-examination.’ The keyword is ‘re-examination.’ Obeysekere revisits the wild man thesis offered by the Seligmanns and of course his own research a decade or so before. Indeed, Obeysekere’s academic life is essentially filled with revisitations of one kind or another.  

Liyanage Amarakeerthi, in a speech delivered in August 2023 on the occasion of an event where Obeysekere handed over his personal library, the Obeysekere Collection, to the University of Peradeniya, details instances where Obeysekere has challenged received knowledge. For example, he cites Obeysekere’s engagement with Edmund Leach in ‘Medusa’s Hair,’ with Marshall Sahlins in ‘The apotheosis of Captain Cook,’ with Western rationalism in ‘Awakened Ones: Phenomenology of Visionary Experience,’ and with what Amarakeerthi sees as ‘nationalist forces that brought the county down, [by] promoting extreme chauvinism and xenophobia,’ in ‘The many faces of the Kandyan Kingdom.’ One could add to this, ‘Buddhism Transformed: Religious Change in Sri Lanka,’ which Gananath co-authored by Richard Gombrich.

These revisitations certainly generated debate and fuelled much academic forays into the fields that Obeysekere explored. Revisitation of re-examination as Obeysekere puts it is obviously a key element in the social sciences in general and in history and anthropology (and related fields) in particular. Theses are generated by the examination of and reflection on information available or unearthed. Further discoveries compel scholars to revisit theories and make necessary adjustments or even abandon them altogether.

Obeysekere acknowledges the import of reconsideration, even of his own work. In an interview with Jayadeva Uyangoda aired on YouTube in 2016 titled ‘The foolishness of Gananath Obeysekere,’ when he was already close to 90 years of age, the anthropologist admits that he ‘made errors of fact and errors of interpretation.’ He quotes Friedrich Nietzsche: ‘One must be very humane to say I don’t know that.’  He asks (and answers), ‘How many of us are capable of pleading ignorance? I am. That’s why I praise foolishness.’

He eloquently summarises the dilemmas of the social sciences. ‘Human sciences are vulnerable. The human sciences have an adolescent character. That is, he (Nietzsche) calls it the fate of our times. With these kinds of work there’s a kind of incompleteness. We can’t produce a finished product. All of anthropology is like that.’

He adds, ‘ours, as against the kind of natural sciences, are argumentative disciplines. And as argumentative disciplines they are also vulnerable. You can’t produce some kind of inter-subjective consensus that everyone will agree to. We may claim to be objective. You have to balance yourself, produce your empirical investigations which require evidential support. We are creatures who are basically argumentative. There is truth-value, otherwise we won’t be writing, but truth, as I always say, should be in inverted commas.’

This is why Obeysekere probably revisited his work and that of others. He was relentless. Truth, as received, comes in inverted commas. Unfortunately, there are certain truths which those who champion Obeysekere choose to write without the qualifier, as Obeysekere himself has done on occasion. That’s a disservice to Obeysekere, obviously, and one likes to think that Obeysekere, if such errors of commission and omission, i.e. of both fact and interpretation, were pointed out, would have engaged with such theses in the spirit of the foolishness that he praises.

It is important to examine the truths (without inverted commas) that seem to have pervaded Obeysekere’s work, especially on two important scholarly interventions, his explorations of the Vädda and related and preceding narratives, and his essay on Dutugemunu’s conscience, the latter ‘truth’ being reiterated by like-minded scholars in the social sciences and humanities, again without inverted commas.

‘Duṭṭhagāmani and the Buddhist Conscience’ was an essay derived from a lecture by the same title delivered by Obeysekere at the 13th conference on South Asian Studies at the University of Wisconsin, Madison, USA in November 1984. It was included in a collection titled ‘Religion and political conflict in South Asia,’ edited by Douglas Allen in 2004. The text was translated into Sinhala in the early 1990s by Sunil Gunasekera and published by the Social Scientists’ Association in the magazine ‘Yathra’ and later in the website www.kathika.wordpress.com by the ‘Kathika Sanvada Mandapaya.’

The truth (or otherwise) presented by Obeysekere in his essay was comprehensively reviewed by Ishankha Malsiri in ‘Dutugemunuge Harda Saakshiyata Pilithurak (A response to Dutugemunu’s Conscience),’ in 2016. Malsiri examines Obeysekere’s sources and in some instances points out errors of omission and commission, especially with regard to the ‘true’ location of Elara’s grave and the purported mischief indulged in by archaeologists, as representative of the state, implying of course some ideological bent and outcome preferences subscribed to by some at the time. He points out the contradictions, inconsistencies, ambiguities and witting or unwitting obfuscations in the text and concludes that the thesis is untenable.

Interestingly, Malsiri includes in his book, as addendum, the Sinhala version of Obeysekere’s talk/essay. Obeysekere’s angst is evident therein, as it is in his work on the Väddas, the contemporary expression of Buddhist practices and the intrigue associated with the Kandyan Kingdom. He correctly and importantly points to the danger of a single narrative and the tendency of such positions to concretise or, as he would put it, remove the inverted commas of ‘truth,’ and thereby argues for a more nuanced, tolerant and humane reading of history, in particular the caricatured versions as touted by the politically inclined, including certain scholars. Nevertheless, Obeysekere cannot seem to divest himself of his own reading of the antecedents of the crises or turbulences he was born into and lived through, especially after political independence was obtained from the British. It is a malady that seems to have infected his ideological fellow-travellers who, interestingly and in contradistinction to Obeysekere’s conscious embracing of foolishness, appear not to have the wider-gaze, if you will, of the anthropologist.

Whereas Obeysekere uses Dutugemunu’s ‘avowed’ discovery of a conscience towards the end of his, Dutugemunu’s, life in order to champion multiple and even contradictory narratives, his, Obeysekere’s, acolytes remain uncritical and ‘un-foolish’ even as they rant and rave against the alleged foolishness (not in the vein that Obeysekere uses the word of course) and even mischievous ways of those who are ideologically and politically opposed to their point of view.

Amarakeerthi, for example, while claiming, probably correctly in the main, that ‘Obeysekere was turned into a national villain in [the] extremely one-dimensional nationalist/racist press,’ and that Peradeniya university produce[d] scholars who argue that Dutugemunu, by extension Sinhala people, has no sense of guilt in their conscience,’ inexplicably jumps to the following conclusion: ‘No wonder that Sri Lanka has descended into the political, ethical, cultural abyss that it is in right now.’ He opines that ‘nationalist forces’ are promoting extreme chauvinism and xenophobia, a claim that can be defended in the case of certain nationalists but not all, but his assertion that it was nationalist forces ‘that brought the country down,’ is a frivolous, mischievous, unsubstantiated and reductionist claim. Obeysekera, for all his problemetisation of identity and pluralisation postulates, does descend to the kind of monolithisation, if you will, that such claims are predicated upon. We shall return to this presently.

Malsiri proposes that Obeysekere’s objective is to denigrate contemporary Buddhist society which, admittedly, Obeysekere often treats as a monolithic entity and frivolously implies is lacking in conscience. In this, as Malsiri points out, Obeysekere is not alone. Malsiri offers a list of academics whose work is premised similarly, i.e. the Sinhala-Buddhist is the villain of the piece not only for what is erroneously or at least incompletely described as ‘the ethnic conflict’ but all major ills that has plagued the island nation for many, many decades. They include Bardwell Smith, Sachi Ponnambalam, S J Thambiah, George Bond, Jeyaratnam Wilson, Stephen Kemperer, David Littleton and H L Seneviratne.  

The ontological error is most evident in Obeysekere’s work on the Väddas. The text reads as an illuminating narrative on who was who and when of peoples in the island, pertaining to the Väddas and the Sinhalas and the overarching factor of Buddhism, Buddhist (society) and related othernesses. He not only rubbishes the notion of the Vädda as a wild character as described by the Seligmanns and others, but problematises identity and relatedness of both the Väddas and the Sinhalas in the areas he focused his research on.  Obeysekere forces the reader to consider the likelihood that the Vädda-trace, if you will, even if ever they lived in isolation, was not and, as importantly, is not absent in ‘Sinhala’ DNA. Nevertheless, and surprisingly, he is flippant when it comes to the origin of the Sinhalas and, inter alia, the Tamils, in this island.

Obeysekere, referring to legend of Vijaya as chronicled in the Mahavamsa, notes that this adventurer from across what came to be known as the Palk Straits developed a union with Kuveni, the Yakka princess who helped him vanquish her kinfolk, and then ‘abandoned her for what was considered legitimate union with a princess from Madurai in the Tamil country.’ Then he slips in the following: ‘As for the Sinhalas they are a product of the union between Vijaya and his followers and the women of the Tamil country which of course means, according to the Mahawamsa, that the Sinhalese are a genetic intermixture between a possibly north or eastern Indian (sic) group of men who landed in Sri Lanka and Tamil women from Madurai.’

An entire race, the Sinhalese, then, grew out of a union between Vijaya and this princess from Madurai, and that of Panduvasdeva, Vijaya’s nephew, whose father, Sumitta had married a Tamil princess from Madda, which Obeysekere offers is possibly ‘Madras in today’s nomenclature.’  He concludes without substantiation that ‘ordinary Sinhalas were directly descended from the marriage of Vijaya’s followers with Tamil women.’

Obeysekere proposes that the Mahavamsa is a frank recognition of Sinhala hybridity that was the empirical reality at the time the Mahavamsa was first composed, i.e. in the 5th Century of the Common Era, that is almost a millennium after the purported arrival of Prince Vijaya. By this time, note, there had been several invasions by various groups from the southern part of what came to be known as India who ruled parts of the island for a total of a little over 100 years. Hybridity of one kind or another is a plausible conclusion. Indeed, Obeysekere is probably correct about hybridity in the early centuries following Vijaya’s arrival, but what is important here are the dimensions of that hybridity and even more so the composition.

Just as the Mahavamsa chronicler, Reverand Mahanama, may have projected into the past some of the empirical realities of the day, so too may have Obeysekera, especially given his antipathies to Sinhala Buddhist nationalism and some of its advocates who floated and still float the idea of a pure race ‘unadulterated’ by Tamils, Väddas or others including non-Tamil speaking Dravidians from across the Palk Straits. Obeysekera perhaps inadvertently acknowledges that the dominant entity in all hybridisation happens to be the Sinhalas or at least it is the Sinhala identity that triumphed in the respective encounters, indicating the probability that those with other and even contending identities were either small in number or weak politically. Indeed, Raja Raja 1, the Chola Emperor who ruled from 985 to 1014 CE, when listing the lands he plundered in inscriptions at temples built with the loot refers to this island as ‘The land of the warlike Sinhalas.’  This indicates the erroneous nature of the flippant use of terms such as hybridity. It is, to use a more contemporary example, akin to descriptions of the Sri Lankan polity as being ‘multi-ethnic’ and/or ‘multi-religious’ without mentioning numbers and percentages. It also brings to mind the tendentious use of terms from 1983 (or even before) to the present such as ‘North-South’ indicating a 50-50 division of territory, and that of ‘border villages’ which is a tacit positing of some boundary established historically or legally.

There are other problems associated with Obeysekere’s thesis regarding the evolution of the Sinhalas. There’s nothing to say that the princess brought down from ‘Madda’ or Madurai was ethnically a Tamil. Neither is there any reference to Sumitta having married a Tamil princess from Madda. More seriously, those who draw heavily from Obeysekere’s truths (without inverted commas) frequently rubbish the Mahavamsa and yet do not object to Obeysekere using the very same Mahavamsa to support an arguably problematic narrative of how the Sinhalas came to be.

Obeysekere’s conjectures maybe questionable, but this does not necessarily mean that there were no Tamils involved in the genetic evolution of the Sinhalas. What, we need to ask, are the references to ‘Tamil’ either in archaeological artefact or historical tract?

First let us consider the inscriptional evidence. Senarath Paranavitana, in his ‘Inscriptions of Ceylon, Volume 1’ covering cave inscriptions from the 3rd Century BCE to the 1st Century CE, claims that the word ‘Dameda’ found in four inscriptions is the prototype of ‘Damela’ or ‘Demala.’ However, Ven Ellawala Medananda disputes this claim. His contention is that it is derived from ‘Drameda’ which is one of 25 Brahmin sects, 24 of which were found in the island. The word is used to refer to traders as well, Ven Medananda points out in an article titled ‘Girilen pidu janavargaya kavareda? (What ethnic groups gifted caves?),’ published in the ‘Divaina’ in March2002.

Let us assume that Paranavitana was correct. The question is, ‘why the qualifier, “Dameda”?’ Consider an inscription found in the southern part of present day India where there is reference to someone from this island, ‘Eela Kutumbika’ or ‘the householder from Eela (or Lanka).’ The ‘ethnic’ qualifier is required simply on account of the fact of the particular individual being from somewhere else. Similarly, if indeed, the word referred to Tamils, the insertion indicates ‘foreign’ at some level. Hence, we get references such as Dameda Samana (shramana or monk), Dameda Vanija (trader) and Dameda Grahapathi (householder). We don’t get such references in the southern part of the Indian peninsula and neither is there any equivalent to ‘Eela Kutubika’ in the island. Damila, note, has been used as a word equivalent to ‘foreign(er)’ even in the Rajavaliya, where even the Portuguese were referred to by that term, a reference to non-Sinhala or simply ‘not from here.’ as pointed out by D Obeysekera in ‘The History of Ceylon.’

How about the characters in inscriptions? There are Brahmi inscriptions which contain the random Tamil Brahmi character, but even these are rare, just one or two dating back to the 2-1 BCE. It’s a weak claim and one that is disputed. The indisputably Tamil Brahmi characters appear only inscriptions dated to the 8th Century CE. It must be mentioned that in the northern part of the island, most inscriptions are in Sinhala Prakrit and go back as far as the 2nd Century BCE.

There are references outside the inscriptions of course. Rev Mahanama, in the Mahavamsa, uses the word ‘Damilo’ in reference to Elara: ‘Elaro namo damilo’ or ‘the Damila (Tamil) named Elara.’ It must be mentioned that Rev Mahanama does not inscribe any negative traits upon this particular Tamil, Elara. According to the Mahavamsa, there had been no less than 32 fiefdoms north of the river Mahaweli, with Elara heading just one of them. Some of the rulers had Sinhala names but are referred to as Damilas, further supporting the idea that the word was used not to refer to a particular ethnic group but ‘enemy’ or ‘foreigner.’ Dutugemunu either defeated in battle or subdued in other ways 31 of them before taking on Elara. The process took 15 years. While this does not deny the existence of a Tamil community, it shows that the use of the name is more complex that implied in the Sinhala and even anti-Sinhala nationalist discourses.

In any event, what Dutugemunu did, then, is to erase regional political entities and replace them with centralised rule. This is evident in the exchange with one of the ten generals, referred to as the ‘dasa maha yodayo (literally, ‘ten great giants),’ Theraputtabaya. When offered a position, Theraputtabaya says that he has a war to fight, to which Dutugemunu replies ‘what war now that we are under a single flag (or a single king), the term used being ‘ekachchattan karento.’ Theraputtabaya then responds that his war is that of defeating the kleshas, the emotional obscurations such as ignorance, hatred and desire.

The political intricacies of the time have since been ignored or completely erased to leave us with grand Sinhala-Tamil antipathies in the nationalist discourse which Obeysekere understandably laments. Sinhala nationalism drew from this easy portrayal and, it can be argued, contributed fuel to inter-ethnic mistrust and worse. What is pertinent here, however, is the worth of the Tamil-factor or trace in the peopling of or more correctly the peoples of the island. The 50-50, so to speak, that Obeysekere proposes (inadvertently and not mischievously we should believe) by referring to the Vijaya legend and his unwarranted insertion of a Tamil strain is not supported by either transcription or historical tracts he draws from, selectively and uncritically. Evidential support is woefully lacking.

To understand the propensity for error, in fact and interpretation, such as those Obeysekere was prone to, perhaps we should revisit the monolithisation referred to above. In what was common parlance in the 1990s and the early years of this millennium, we saw the liberal use of terms such as the ‘Sinhala Buddhist State’ or simply ‘the Sinhala state,’ and ‘Buddhist Society.’ Obeysekere’s work, paradoxically, questions such sweeping categories but seems to have relaxed analytical rigour when it came to the configurations of contemporary polities, which he acknowledges preoccupied him. Amarakeerthi alludes to Obeysekera’s focus on complexity in the speech referred to above, when he touches on the knowledge-power axis.

‘Obeysekere’s work shows a much more complex picture of that “knowledge/power” axis,’ he says. Amarakeerthi is referring to the work of Edward Said’s ‘Orientalism’ where ‘representations of other people, Asian, African, American, and so on, in colonial discourses is mediated by power, and that power to represent overlaps with power to govern, power to punish, and power to murder.’   Once a discourse is constructed around a subject and a knowledge is produced within that discourse, many people contribute to sustaining it and giving it a life of its own, as “The Doomed King” amply demonstrates.’

This, clearly, is most apparent in discourses that are unarguably dominant. However, it is not a malady that contesting narratives or discourses that contest the dominant ‘truth’ are immune to. The reiteration of tendentious claims clothed as truth or fact is not the preserve of the powerful. Selective and uncritical use of sources, sweeping generalisations, surreptitious insertion of terminology that is at best problematic and at worst untenable are readily available tools that tend to come into play when certain narratives are privileged on account of, for example, outcome preferences, or if prompted by a desire to deconstruct non-existent monoliths or ‘constructed monoliths.’  

For example, Sunila Abeysekera at a penal discussion during the Galle Literary Festival about 15 years ago lamented that ‘some people conflate the LTTE (Liberation Tigers of Tamil Eelam) with ‘Tamils.’ It was pointed out in the Question and Answer session that followed that ‘when some people say “the LTTE is the sole representatives of the Tamil people,” then we need to ask “who is doing the conflating here?’  Both conflations are not only problematic but are in fact pernicious, dangerous and anti-intellectual. That’s the natural and frequent product of monolithisation.  

So, if exclusivist historiography is problematic, so too is Monolithisation of whatever kind, whether proposed by majority or minority, the hegemonic (or perceived to be hegemonic) or those contesting dominant (or perceived to be dominant) narratives. Obeysekere’s work is fuelled by a need to contest what is perceived to be an exclusivity shared by nationalists in toto, never mind that neither Sinhala Buddhist Nationalism nor Sinhala Nationalism nor Buddhist Society is monolithic. Regardless of the political and ideological need that framed his research focus, Obeysekere did succeed in challenging exclusivist historiography. What he makes of it is not without problems though. The extrapolations, for example, are tendentious. As always, it’s the value attached to factors that can skew a reading. That which has been excluded needs to be included, yes, but what is included should be inserted in proportions that make sense given existing information. Again, evidential support is key.  

Amarakeerthi offers an interesting and valuable insight into Obeysekere’s approach and style. He says ‘His psychoanalytic approaches and extremely agile and fluid readings of classical historical narratives and historical characters have rendered them much richer than they had been represented in some colonial, nationalist, or postcolonial readings.’ Referring to Obeysekere’s ‘The Work of Culture,’ Amarakeerthi opines that it is a rich summary of the author’s previous work ‘and a demonstration of how a great thinker can work with already familiar materials and yet come up with new insights with surprise, delight and wisdom.’

There is certainly surprise and that can be good and bad. Delight of course on account of offering new and more compelling interpretation, at best, in a purely academic sense, but also because of affirming some dearly held version or buttressing prejudice. As for wisdom, Obeysekere might find it an odd word, especially given that for him it was honest engagement that hopefully yielded something that could inform involvement in more meaningful and productive ways with the objective of producing more wholesome outcomes.

Agility and fluidity, however, are certainly useful skills for an anthropologist or historian to have, especially if such scholars work on the premise that what is seen may not tell the whole story or indeed that it might very well obscure or twist what really happened. In such exercises, an obvious handicap is the burden, if such exist, of ideological and outcome preferences and of course treating one’s own and not necessarily true understanding of contemporary (or even previous) social formations as fact and not as, at best, hypothesis.

Obeysekere was clearly not impressed by neat, uncomplicated stories which unfolded neatly and produced neat outcomes. Life is not that clinical and neither is history, historical persona, event, metaphor or narrative. Such appreciation of complexity befuddles political activists (academics, NGO workers, journalists included). It is so much easier to have things in black and white and to wallow in untenable dichotomies. One could argue that such caricaturing not only makes for poor political decision-making but subverts sober, humane and truly transformational engagement.

In an article titled ‘Towards liberating ourselves from the complicities of stereotyping,’ published in the Daily Mirror in 2018, I offered the following ‘notes’ (more measured than the flourish implied in ‘agility and fluidity’) on the propensity of the allegedly subaltern or groups perceived to be or perceive themselves as being subjugated and their champions to indulge in caricature, might illustrate elements of this malady (note, again: caricature is not the preserve of the dominant).

‘If you talk about ‘Sinhala Only’ (as you should) and not talk about G.G. Ponnambalam’s ’50-50’ or Chelvanayakam’s ‘a little now, more later,’ or the ‘Tamil State Party’ or Ponnambalam Ramanathan’s Tamil chauvinism that detracted from his struggle with the Sinhalese and others against the British, if you talk about Anagarika Dharmapala and are silent about Arumugam Navalar, all of which preceded ‘Sinhala Only,’ then you are being mischievous at best.

‘If you talk of multi-ethnic and multi-religious (as you should) but don’t talk numbers and percentages, you are being mischievous, at best.

‘If you talk about all the failed agreements between Sinhala and Tamil politicians (as you should) but don’t talk about the implementation of important articles despite these ‘failures’ then you are being mischievous, at best.

‘If you talk about ‘Sinhala Only’ (as you should) and ignore the ‘English Only’ that preceded it for more than a century, if you talk about alleged ‘Buddhist hegemony’ and ignore the ‘Christian hegemony’ that had existed for 450 years and which included the destroying of temples and Kovils, murdering of bikkhus and the burning of manuscripts, you are being mischievous, at best.

‘If you talk about secularism (as you should) and leave out the fact that there are more holidays for Muslims than for Buddhists and that the number of Christian holidays are four times more than that for the latter and that the Hindus have just 3, then you are being mischievous, at best.

‘If you talk about a Sri Lankan identity (as you should) but balk at the idea ‘one country, one law’ you are being mischievous, at best.

‘If you talk about the contribution of all communities to the achieving of independence (as you should) and forget that in terms of percentages (since percentage-free numbers can be misleading) it was the Sinhala-Buddhists who sacrificed most by way of lives lost and properties destroyed, you are being mischievous, at best.

‘If you talk about the heroism of Muslim members of the security forces (as you should) in the defeat of the LTTE and ignore the fact that the freedoms enjoyed in a terrorism-free land were obtained at the cost of much higher percentages of the majority community giving their lives and limbs, you are being mischievous, at best.’

Amarakeerthi seems to be convinced that Obeysekere was not handicapped in this manner: ‘He has been an inspiration in speaking truth to power, in keeping a critical distance from all centres of  power, and in feeling at home in the loneliness that often comes to you when you keep that distance.’

Power, however, is a problematic term here. There are of course structures of power and there’s resistance too, narrative and counter-narrative, version and contestation. Being at odds with perceived hegemonies of whatever kind, however, does not automatically confer greater truth-value to the contestant nor grant relatively higher moral high ground, whether the protagonist is a raw political animal or a scholar.

Obeysekere was certainly aloof vis-a-vis ‘power,’ more so than many who seem to be euphoric about his ‘findings’ and may indeed have been amused by and not necessarily approving of the encomiums. His agility and fluidity produced fascinating literatures, forced revisitations of many fields, events and personalities which in and of itself is not necessarily bad. He was probably right on many counts but dead wrong in others, as he himself admits. There were few bold enough to take issue with him and those who did were hampered by their own ideological and political trappings. Malsiri was an exception, but his work was published when Obeysekere was well over 80 years of age. It is incumbent, then, on the Obeysekerists to engage with him.

Obeysekere acknowledges the adolescent nature of the human sciences and is ready to say ‘I didn’t know’ and by extension, ‘I was wrong.’ It is unfair to castigate Obeysekere for being humble enough to acknowledge error and thereby admitting error and an adolescent engagement at times and to strut as adult at other times. Given the nature of his lifelong engagement with the world and indeed worlds around him, it is perhaps not unfair to presume that if he had the time and energy to engage with readings that are at odds with his own such as Malsiri’s critique, he would have, in the very least, offered elaborations to support his theses or admit error or place himself somewhere between these two extremes. He would do so with a smile that only a student deeply conscious of the complexities of the human condition and the adolescent nature of the human sciences can sport, at least according to those who worked closely with this unarguably tireless, relentless and engaging scholar who was as rigorous as he believed he could be.

Obeysekere, as Amarakeerthi contends, was agile and fluid. He delighted as much or more as he may have dismayed. He was meticulous in the gathering of information and there was flourish in his reading of the same. What he produced was not ‘neat’ in the sense referred to above, but it was certainly pretty. If indeed his narratives or interpretations seemed like finely crafted embroideries, one must not forget that embroidery rests on and is enhanced by spaces or gaps. Sometimes such gaps are deliberate and at times accidental. They are not ideology-free. They have that inescapable adolescence Obeysekere alludes to which is often inevitable when primary sources are ignored or just glossed over. Of Obeysekera it could be said that he was conscious of complicities and in his work there is a conscious effort to liberate himself from such as there may be.

Obeysekere was prolific. As prolific as he was it is unfair to expect him to have answered all unanswered questions regarding history. He shed light on the Väddas but at best only dabbled when it came to the Sinhalas and Tamils in terms of how they came about and how they transformed over time. There was truth-value but truth was always within inverted commas. He didn’t remove them and others should not either. He left gates open and those who wish to take the long and often arduous road into the matter of seeking information and interpreting the same do not have to pay a toll.

After delivering the Ludowyk Memorial Lecture of 2000 at the University of Peradeniya (“Voices from the Past: An Extended Footnote to Ludowyk’s ‘The Story of Ceylon’”), Obeysekere paused and offered, not academically but certainly with poetic license, that he felt the spectre of Ludowyk in the hallway outside the conference room.

Gananath Obeysekere passed away a few months ago. His spectre is likely to remain and inform the fields he made his tracks upon. Such fields are more fertile thanks to him, even when he erred, even when he was foolish. Had he not, we would have been that much poorer. That said, his legacy would certainly be enriched if there is greater acknowledgment of ‘foolishness.’ His humility, more than agility and fluidity, more than maintaining the critical distance from centres of power or being snug in resultant solitude, is perhaps the most endearing quality about the anthropologist. May it endure.


02 January 2026

Nandani Warusavithana’s sorrow

[Disclaimer: neither I nor Ruwan Bandujeewa know of a Nandani Warusavithana. If such a person does exist, please note that none of what follows has anything to do with her. It was a random name that the poet, Bandujeewa, came up with perhaps in the part-delirium of a persisting fever sometime in March 2025]

I’ve mostly met Ruwan Bandujeewa at the ‘Kavi Poth Salpila’ run by poet, novelist and publisher Mahinda Prasad Masimbula. That’s at the annual Book Fair. That’s the only stall I visit and I do so because for many writers, especially poets, it is a meeting point. I know that I will meet a few, whatever the time of day. We talk. I cherish the conversations because I always learn something from poets, especially those writing in Sinhala.

So we talk. Have tea.

We meet randomly at book launches, either at the Library Services Board auditorium or the Mahaweli Centre. Talk. Tea.

It is rare that we plan to meet. We did last week. At some point he told me about Nandani Warusavithana. Yes, the fictional character. I asked him how he came by that name. He laughed, almost in embarrassment, and said he did not know.

Here’s the context. As mentioned, he had a fever that kept him home for several weeks. On a whim, he had explored AI and tried his hand at fusing African and Chinese music. As he fiddled around he discovered that he could ‘sing’ as in, he would voice some words and the engine would generate melody and music. It would correct the obvious flaws of rendition. So he had written a few songs.

One was about the palaa-pala of moonlight, drawing from the superstitions related to geckos, i.e. what is portended by the place on the body that a gecko might fall. In Sinhala it is referred to as hoonu-palaa-pala or simply hoonu-saasthara. ‘Moonlight’ was the poetic twist. If it fell on the right eyebrow, what would it mean? If it fell on the shoulder, then? Such questions he answered in the song. I told him that he could publish a collection of these fever-day songs and call it ‘handa-eliye palaa-pala.’ He laughed.

Then he mentioned Nandani Warusavithana. Here goes:

Having visited Dambana
and met the ancients there
she noted they weren’t ancient enough for her
Miss Nandani Warusavitharana was inconsolably distraught

At the elephant orphanage
since not a single elephant smiled at her
Miss Nandani Warusavitharana was inconsolably distraught

At the museum
upon seeing a taxidermy mount of a bear
weeping like a female bear that had lost her cubs
Miss Nandani Warusavitharana was inconsolably distraught

At the planetarium
unable to find in the sky
that one star she loved the most
Miss Nandani Warusavitharana was inconsolably distraught


Simple stuff. Hilarious too. And that’s how this ‘works,’ at least for me. It reminded me of a conversation I had with my Grade 6 class teacher, Sunimal Silva. I wasn’t his best student but not the worst either. I did nothing noteworthy in that Grade 6 classroom.

Anyway, more than thirty years later, I happened to take my daughters to the school’s swimming pool because I had heard of a coach who was kind and grandfatherly. It was him. We had met many times over the years, so the recognition was immediate.

‘Are these your daughters? I will coach them!’

I didn’t even have to ask.  

‘Is this your wife?’

So I made the introductions. Then he declared, in Sinhala, ‘of all the students I’ve taught throughout my career as a teacher, he is the one who did absolutely nothing with the skills he had.’

I couldn't help but smile. That was the way he expressed affection, I now feel. And now, thinking of that moment, it occurs to me that Sunimal Sir actually believed I had skills.

I just responded, ‘sir, aathma thrupthiya neveida vadagath vanne (isn’t contentment what matters most)?’

His tone and demeanour changed immediately: ‘ow, ehemanam hariyatama hari (yes, if that’s the case, it’s all good).’  

I think I was just being clever. Somehow, over the years, I had acquired some decent level of competence when it comes to repartee.

Nandani Warusavithana is a random name that came to my friend from who knows where, but her grief is common to us all to the extent that we are enamoured with expectations, the splendour that’s in the advertisement but is less than promised, and sense of the exotic in place, artefact and love that is anticipated with such relish but disappoints and the promised land that’s non-existent.  

Contentment. That seems to be the key factor.

In Uruvela, a long time ago, the Buddha Siddhartha Gautama, elaborated on this to the Kassapas. It’s in the Santuṭṭhi Sutta (ref the Anguttara Nikaya or the Numerical Discourses of the Buddha).

‘When you’re content with what’s blameless, trifling, and easy to find, you don’t get upset about lodgings, robes, food, and drink, and you’re not obstructed anywhere,’ the Kassapas were told.

Not becoming agitated is what it is about. For example if a monk does not get a robe he should not be agitated, and if he does get one he should use it ‘without being tied to it, un-infatuated with it, nor blindly absorbed in it, seeing the danger in it, understanding the escape.’

Do we? Can we? Miss Nandani Warusavithana couldn’t. Her fascinations were mild, ours may not be. Ruwan Bandujeewa, as usual, touched a nerve. And laughed about it. At himself, at me, at all of us. I am enriched. Fascinated. Time to ‘see the danger.’ Time to stop.