Showing posts with label Gamini Haththotuwegama. Show all posts
Showing posts with label Gamini Haththotuwegama. Show all posts

09 October 2025

No requiems for the Scandal of the Century


 
There’s an old song probably penned by Gamini Haththotuwegama, widely recognised as the Father of Street-Theatre in Sri Lanka, which speaks of the violence associated with the insurrection of 1971. That song was probably more appropriate for the ‘bheeshanaya’ of the late eighties. Looking back, the two insurrections were quite distinct from one another and hindsight makes us wonder who the ‘rebels’ were fighting for. For real.  

The song had this line: 'amu amuve goda gaehuva, vala nodamaa pilissuva, aesipiya nohela oba dutuva, mama dutuvaa…daena daena apa atharin nopeni giyaa.’ So, the translation: ‘[they] were piled up alive (raw), weren’t cremated but buried..you saw and so did I…and with our full knowledge they disappeared.’

This song came to me as I was seeking some solace from Gabriel JosĂ© GarcĂ­a Márquez. As often happens in moments of despair, I seek out my favourite writers. Sometimes it’s Márquez, sometimes Pablo Neruda. Sometimes, Faiz Ahmed Faiz or Nazim Hikmet.

Sometimes just a random page in a random book answers the unanswerable, but I wasn’t looking for an answer. I had just read a BBC report where the US Ambassador to Israel, Mike Huckabee’ had suggested that ‘Muslim countries’ (their quote) should give up some of their land to create a future Palestinian state.  He said, also, that ‘maybe, if there is such a desire for the Palestinian state, there would be someone who would say, we’d like to host it.’

Sounded like a requiem. In his thinking, there’s no Palestinian state (true, technically) and those who want a state for Palestinians should facilitate a mass exodus and generously offer real estate to those forced out of their homes, their homeland. That kind of logic could have been used by those who supported Zionism back in the day to, say, carve out a Jewish enclave somewhere in the USA.

Things don’t happen that way. Politics inform the cartographer. Countries are born, they decay and they die. Boundaries are made and erased and redrawn. That’s the history of the world.

Anyway, Huckabee made me think of a collection of essays by Márquez titled ‘THE SCANDAL OF THE CENTURY and Other Writings.’ For me, at least, the massacre of Palestinians by Isreal forces with the unabashed and absolute support of the US and her allies in Europe and other parts of THAT empire which includes, at least, Australia, is THE scandal of this century. So far. The world, or rather the hegemonic media houses of the world, have seen and looked the other way while people were buried alive in their thousands.

Among those buried are infants, pregnant women, the sick, elderly and dying. Among them are UN workers and doctors whose only objective was to respond to a humanitarian crisis of unprecedented proportion.

They were slaughtered in cold blood. And the excuse has been ‘Isreal has the right to defend her existence.’

If defending existence is the rule of thumb then every single response to Zionist aggression over many decades, whatever the form that response took, terrorism included, is justified.

But that’s wrong, isn’t it? Or is it? The logic of the Zionists and their vocal apologists in fact validate any and all acts of violence because all the violent have to say is ‘we are defending our right to exist.’ Subjectivities explode, friends.  And people die. In their thousands. Sorry, they don’t die, they are butchered. And there’s no butchery in this century that comes anywhere close to what happens in the hell that Israel has turned Occupied Palestine into.  

Márquez, in a speech titled ‘The beloved though distant homeland,’ delivered in MedellĂ­n, Colombia, in 2003, quotes Don Miguel de Cervantes Saavedra: ‘All these squalls to which we have been subjected are signs that the weather will soon improve and things will go well for us, because it is not possible for the bad or the good to endure forever, and from this it follows that since the bad has lasted so long a time, the good is close at hand.’

Cervantes wasn’t talking of Colombia, but Márquez says it applies to his country.

He explains thus.

‘Last year [that is, in 2002] close to 400,000 Colombians had to flee their houses and land because of the violence, as almost 3 million others had already done for the same reason over the previous half-century.’

Cervantes (and Márquez) could have been talking about Palestine.

But Márquez believes that ‘we still have a deeper country to discover in the midst of disaster: a secret Colombia that no longer fits in the moulds we had forged for ourselves with our historical follies.’

‘A secret Palestine’ also works. But Márquez is generous and self-effacing. The ‘forging’ he speaks of was not the product of collective decision-making. There was no unanimous vote on measures that turned Occupied Palestine into the hell it has become. There were deliberate decisions. Genocide was an objective. It still is. Huckabee would know, for that’s the history of his country as well.  

There are, however, nations we can re-imagine and populate. Gentler ones. Gamini Haththotuwega knew this. And that’s why the song has these lines as well:

‘Unge leyin, dadi mau-piya gunayen, game godin sidaadiyen, kadaagena ena haema paeththen, ranchu gaesee enavaa, satan vadee enavaa.’

(From their blood, from the timbre of motherhood and fatherhood, from village and city, breaking through from all sides, as a multitude, they [will] arrive fighting, again and again.’)

We could write a requiem for the scandal of this century.

Later, perhaps. For, like W H Auden said in his celebrated poem on the Spanish Civil War, ‘today, the struggle.’ The struggle for a country that was, is and will be. Palestine. 

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

02 August 2023

On 'true' national anthems


Way back in the late eighties, a group of students silenced politically on account of holding views that were at odds with those of the ‘Action Committee’ of the University of Peradeniya, ventured into theatre. The intention was probably not one of finding a different platform to express themselves, but that invariably happened.

The late Gamini Haththotuwegama, known variously as GK, Haththa and Hatha, widely accepted as ‘The Father of Street Theatre in Sri Lanka,’ who was at the time a visiting lecturer attached to the English Department of the Faculty of Arts, organised a ‘drama workshop.’ Haththa casted the  ‘outcasts’ into various roles over the course of several months.

‘Sarasavi Kurutu Gee’ or ‘Campus Graffiti’ was episodic. It was a collage of skits that commented on the condition of ‘studentship’ of those tense times which the students themselves didn’t really know would quickly move into a theatre of abduction, proxy arrests, torture and mass slaughter (there’s no other word for what happened in 1988-89).

This was pre-bheeshanaya, but the ominous clouds hovering over the entire island did not spare the universities either. So they ‘played’ the conditions of not just studentship but citizenship. At least one of the players, a student from the Medical Faculty named Atapattu, would be ‘disappeared’ not too long afterwards. Most of the boys had to endure untold hardships just to survive.

Typical of Haththa’s productions, ‘Sarasavi Kurutu Gee’ was full of political commentary, but laced with humour, song, clever turn of phrase and theatrical innovation, throwing light on what was as well as what was likely to be. All of these were evident in one particular piece or episode.

There were three chairs on stage. Three players were stretched out on their stomachs behind the chairs, their heads protruding through them. The audience therefore could see just their faces. They were supposed to be television presenters of news. So they ‘read’ the news. At one point another player walked on to the stage, which was by the way the Sarachchandra ‘Wala’ or the Open Air Theatre. He recited a few lines from Wilfred Owen’s ‘Anthem for Doomed Youth.’

What passing-bells for these who die as cattle?
      — Only the monstrous anger of the guns.
      Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells; 
      Nor any voice of mourning save the choirs,—
The shrill, demented choirs of wailing shells;
      And bugles calling for them from sad shires.


If I remember correctly, it was just the first four lines or maybe just the first two. Sinhala and Tamil versions were also recited. Then there was silence.

Then one of the presenters blurted out, ‘ŕ¶śැŕ·„ුŕ·€ා ŕ¶±ේŕ¶Ż ŕ·€ැරදි ඇන්තම් ŕ¶‘ŕ¶š! ŕ¶śŕ·„ŕ¶±්නයි ŕ¶šිŕ·€්ŕ·€ේ ŕ·„ŕ¶»ි ඇන්තම් ŕ¶‘ŕ¶š! (Essentially, ‘That was the wrong anthem, now you’d better sing the correct anthem!)’ And so the all the players, huddled at that point on one side of the stage, broke into song.


Jana Gana Mana Adhinaayak Jaya Hey,
Bhaarat Bhaagya Vidhaataa
Panjaab Sindhu Gujarat Maraatha,
Draavid Utkal Banga
……Sri Lanka….

Vindhya Himaachal Yamuna Ganga…..Kadinam Mahaweli Ganga

‘Sri Lanka’ as just another state of India, following the Indian invasion a year before. The Mahaweli not just another ‘Indian’ river but an ‘accelerated’ one; the reference being to the Accelerated Mahaweli Development Project of the then government.

Funny. Political. Creative. Nicely executed as well — the full audience appreciated.

And today, with all the noise about the national anthem, it’s alleged butchery and its alleged meaninglessness, I wonder which country’s national anthem would we sing (with a few twists) if 'Sarasavi Kurutu' Gee was played again with adjustments for time, personality and event. The Indian, Chinese or the American?

Come to think of it, we could have played with the lyrics of the Sri Lankan national anthem too (the tune after all is the same as ‘Olu pipila vila lela denava,’ and there’s nothing sacrosanct about music, lyrics and even nation and nationality).

People have a right to criticise. People have a right to ridicule. People have a right to scoff, innovate and critique. They will hurt feelings and they will in focus, target and brashness reveal who they are, where their loyalties lie and which flags they would love to have flying over land and citizenry.  

Meanwhile, there’s a country that bears the full weight of leaders’ sins, citizen-complicity and machinations of enemies, within and without.

This is not a time to sing the national anthem, I feel, unless one feels it is useful to whip up courage and resolve. This is the time to do what is necessary to make it possible to sing all the songs that resonate nation and citizen, history and heritage, vision and moment, in whatever language we like.  

The players went to their hostels after the show. The time for song and laughter came to a halt. They scattered to places of refuge not too long afterwards. Blood was shed. No one talked of flag and anthem. A nation survived.  

malindadocs@gmail.com

['The Morning Inspection' is the title of a column I wrote for the Daily News from 2009 to 2011, one article a day, Monday through Saturday. This is 187th article in the new series but it was not published perhaps because it was seen to be controversial. Links to previous articles in this new series are given below] 

Other articles in this series: 

Do you have a friend in Pennsylvania (or anywhere?)

A gateway to illumination in West Virginia

Through strange fissures into magical orchards

There's sea glass love few will see 

Re-residencing Lakdasa Wikkramasinha

Poisoning poets and shredding books of verse

The responsible will not be broken

Home worlds

Ownership and tenuriality of the Wissahickon

Did you notice the 'tiny, tiny wayside flowers'?

Gifts, gifting and their rubbishing

History is new(s)

Journalism inadvertently learned

Reflections on the young poetic heart

Wordaholic, trynasty and other portmanteaus

The 'Loku Aiya' of all 'Paththara Mallis'

Subverting the indecency of the mind

Character theft and the perennial question 'who am I?'

Innocence

A degree in people

Faces dripping with time

Saji Coomaraswamy and rewards that matter

Revolutionary unburdening

Seeing, unseeing and seeing again

Alex Carey and the (small) matter of legacy

The Edelweiss of Mirissa 

The insomnial dreams of Kapila Kumara Kalinga 

The clothes we wear and the clothes that wear us (down) 

Every mountain, every rock, is sacred 

Manufacturing passivity and obedience 

Precept and practice 

Sanjeew Lonliyes: rawness unplugged, unlimited 

In praise of courage, determination and insanity 

The relative values of life and death 

Feet that walk 

Sarinda's eyes 

Poetry and poets will not be buried 

Sunny Dayananda 

Reunion Peradeniya (1980-1990) 

What makes Oxygen breathable?  

Sorrowing and delighting the world 

The greatest fallacy  

Encounters with Liyanage Amarakeerthi 

Beyond praise and blame 

Letters that cut and heal the heart 

Vanished and vanishing trails 

Blue-blueness 

A forgotten dawn song from Embilipitiya 

The soft rain of neighbourliness  

The Gold Medals of being 

Jaya Sri Ratna Sri 

All those we've loved before 

Reflections on waves and markings 

A chorus of National Anthems 

Saying what and how 

'Say when' 

Respond to insults in line with the Akkosa Sutra 

The loves of our lives 

The right time, the right person 

The silent equivalent of a thousand words 

Crazy cousins are besties for life 

Unities, free and endearing 

Free verse and the return key

"Sorry, Earth!" 

The lost lyrics of Premakeerthi de Alwis 

The revolution is the song 

Consolation prizes in competitions no one ever wins 

The day I won a Pulitzer 

Ko? 

Ella Deloria's silences 

Blackness, whiteness and black-whiteness 

Inscriptions: stubborn and erasable  

Thursday! 

Deveni: a priceless one-word koan 

Enlightening geometries 

Let's meet at 'The Commons' 

It all begins with a dot 

Recovering run-on lines and lost punctuation 

'Wetness' is not the preserve of the Dry Zone 

On sweeping close to one's feet 

Kumkum Fernando installs Sri Lanka in Coachella, California

To be an island like the Roberts... 

Debts that can never be repaid in full

An island which no flood can overwhelm 

Who really wrote 'Mother'? 

A melody faint and yet not beyond hearing 

Heart dances that cannot be choreographed 

Remembering to forget and forgetting to remember 

On loving, always 

Authors are assassinated, readers are immortal 

When you turn 80... 

It is good to be conscious of nudities  

Saturday slides in after Monday and Sunday somersaults into Friday  

There's a one in a million and a one in ten 

Gunadasa Kapuge is calling 

Kumkum Fernando installs Sri Lanka in Coachella, California 

Hemantha Gunawardena's signature 

Pathways missed 

Architectures of the demolished 

The exotic lunacy of parting gifts 

Who the heck do you think I am? 

Those fascinating 'Chitra Katha' 

The Mangala Sabhava 

So how are things in Sri Lanka? 

The most beautiful father 

Palmam qui meruit ferat 

The sweetest three-letter poem 

Buddhangala Kamatahan 

An Irish and Sri Lankan Hello 

Teams, team-thinking, team-spirit and leadership 

The songs we could sing in lifeboats when we are shipwrecked 

Pure-Rathna, a class act 

Jekhan Aruliah set a ball rolling in Jaffna 

Awaiting arrivals unlike any other 

Teachers and students sometimes reverse roles 

Matters of honor and dignity 

Yet another Mother's Day 

A cockroach named 'Don't' 

Colombo, Colombo, Colombo and so forth 

The slowest road to Kumarigama, Ampara 

Sweeping the clutter away 

Some play music, others listen 

Completing unfinished texts 

Mind and hearts, loquacious and taciturn 

I am at Jaga Food, where are you? 

On separating the missing from the disappeared 

Moments without tenses 

And intangible republics will save the day (as they always have) 

The world is made of waves 

'Sentinelity' 

The circuitous logic of Tony Muller 

Rohana Kalyanaratne, an unforgettable 'Loku Aiya' 

Mowgli, the Greatest Archaeologist 

Figures and disfigurement, rocks and roses 

Sujith Rathnayake and incarcerations imposed and embraced 

Some stories are written on the covers themselves 

A poetic enclave in the Republic of Literature 

Landcapes of gone-time and going-time  

The best insurance against the loud and repeated lie 

So what if the best flutes will not go to the best flautists? 

There's dust and words awaiting us at crossroads and crosswords 

The books of disquiet 

A song of terraced paddy fields 

Of ants, bridges and possibilities 

From A through Aardvark to Zyzzyva  

World's End 

Words, their potency, appropriation and abuse 

Street corner stories 

Who did not listen, who's not listening still? 

The book of layering 

If you remember Kobe, visit GOAT Mountain 

The world is made for re-colouring 

The gift and yoke of bastardy 

The 'English Smile' 

No 27, Dickman's Road, Colombo 5 

Visual cartographers and cartography 

Ithaca from a long ago and right now 

Lessons written in invisible ink 

The amazing quality of 'equal-kindness' 

A tea-maker story seldom told 

On academic activism 

The interchangeability of light and darkness 

Back to TRADITIONAL rice 

Sisterhood: moments, just moments 

Chess is my life and perhaps your too

Reflections on ownership and belonging 

The integrity of Nadeesha Rajapaksha 

Signatures in the seasons of love

To Maceo Martinet as he flies over rainbows 

Sirith, like pirith, persist 

Fragrances that will not be bottled  

Colours and textures of living heritage 

Countries of the past, present and future 

A degree in creative excuses

Books launched and not-yet-launched 

The sunrise as viewed from sacred mountains 

The ways of the lotus 

Isaiah 58: 12-16 and the true meaning of grace 

The age of Frederick Algernon Trotteville 

Live and tell the tale as you will 

Between struggle and cooperation 

Of love and other intangibles 

Neruda, Sekara and literary dimensions 

The universe of smallness 

Paul Christopher's heart of many chambers 

Calmness gracefully cascades in the Dumbara Hills 

Serendipitous amber rules the world 

Continents of the heart
  
The allegory of the slow road  


 

04 June 2023

Saying what and how

In the late 1980s, during a theatre workshop at the University of Peradeniya, Gamini Haththotuwegama got the participants, all undergraduates, to do a simple exercise. He wanted them to pick a word or simple phrase and say it in different ways, using different tones, to convey different meanings.

It is something we do all the time, but unconsciously. We say the same thing, even a single word, in different ways, in different contexts and to convey different meanings, but since they ‘saying’ of it happens at different times we don’t realise that variation in tone, inflection, the use of pause and emphasis, even pace can yield different meanings.

One of the students played with ‘nae (no)’ and another with ‘bae (cannot).’ Now ‘no’ could be used to say ‘can’t’ and that too was one of the meanings the particular student got out of the word.  Let’s just go with ‘no.’

No: as opposed to ‘yes.’ No: as an objection. No: as shock, denial, disbelief. No: rudely. No: politely as in ‘thank you, but no.’ No: firmly. No: hesitantly, as though you are saying ‘I’ll think about it.’ No: as answer in the negative to a question. No: vehemently and maybe with derision, as in ‘no way!’ No: with shifty eyes or eyes downcast when you aren’t really telling the truth. No: when you mean ‘yes’ but don’t want to admit something but nevertheless give yourself away by blushing, for example as a response to a question like ‘do you love him?’

Facial expression can also alter meaning. It could be a glance, an intense look straight into the eye of the person one is conversing with, a twitch of an eyebrow, a frown, a smile, a half-smile, a feigned smile or a slight movement of the head. These things add layers of meaning to a simple word such as ‘no’ or a phrase such as ‘I don’t know.’

Theatrics apart, there’s always a set of decisions one must make when speaking. It might come out as intuitive but there’s a lot of living, learning and communicating that bears upon ‘intuition.’ So there is a weighing of sorts. We decided whether to speak or to remain silent. If we decide to speak we need to decide when to speak, what to say and how to say it.  

Of course it is about what you want to convey.  It is not only about communicating a piece of information or a feeling, but sometimes there’s intent to birth in the receiver certain specific perceptions. We want to ‘send a message.’ It could be something that is benign. It could be some kind of assurance. Something that calms the other person. It could also be a nudge, prompting a certain course of action. It could be calculated to humour that person, make him or her laugh perhaps. It could be designed to annoy, to hurt and throw that person off balance, make him or her abandon reason altogether and focus on a feeling to the point that he or she might make a mistake.  Psychological games, then, are a part of it.

Will this hurt? Will this disenchant? Will this demoralise? Will this fuel anger? Will this, in this tone and at this moment lead to harmony or disharmony, the pleasant or unpleasant, discovery to concealment, the truth or a lie? These are the questions that ideally should precede word and the ways in which word is frilled. They are rarely asked and, even when considered, are often brushed aside.

And then there’s the problem of not having the option of taking it back. It has been said. It’s been said in a particular way. It has been heard and cannot be ‘unsaid’ or ‘unheard.’ Possibly not for a long, long time.

The ‘saying’ doesn’t always require words. A glance — that is all it takes to shatter someone’s world. A glance — that is all it takes to bring the constellations down. A glance — can say so much. A glance — can say nothing and sometimes this nothingness can be more devastating than the most hurtful word. A glance — there’s both the ‘what’ and ‘how’ of saying in it.

So, are we required to walk on eggshells, then? It might seem that way. However, just as that which is seen as ‘intuitive’ has an archaeology, there are ways of being, of thinking, of reflecting and measuring engagement which could ensure that the word said and the ways of saying it at some point in the future are less likely to leave a bad taste in the mouth, a vile odour in the air.

Reflection. Self reflection. We can rehearse the various shades of ‘no’ at times when we are not required to pick a particular form of ‘no.’  Then, when we do have to say it, it will be without rancour. It will be kind. It will be underlined by the virtues of compassion and equanimity. And a non-threatening (in the very least) fragrance will envelop conversations.

He’s long gone now, but it is as if Gamini Haththotuwegama sent me a single-word text message (as he had never done). ‘Yes,’ it said. It was soft. Wholesome.  

['The Morning Inspection' is the title of a column I wrote for the Daily News from 2009 to 2011, one article a day, Monday through Saturday. This is a new series. Links to previous articles in this new series are given below]

Other articles in this series:

'Say when'

Respond to insults in line with the Akkosa Sutra

The loves of our lives

The right time, the right person

The silent equivalent of a thousand words

Crazy cousins are besties for life

Unities, free and endearing

Free verse and the return key

"Sorry, Earth!"

The lost lyrics of Premakeerthi de Alwis

The revolution is the song

Consolation prizes in competitions no one ever wins

The day I won a Pulitzer

Ko?

Ella Deloria's silences

Blackness, whiteness and black-whiteness

Inscriptions: stubborn and erasable 

Thursday!

Deveni: a priceless one-word koan

Enlightening geometries

Let's meet at 'The Commons'

It all begins with a dot

Recovering run-on lines and lost punctuation

'Wetness' is not the preserve of the Dry Zone

On sweeping close to one's feet

Kumkum Fernando installs Sri Lanka in Coachella, California

To be an island like the Roberts...

Debts that can never be repaid in full

An island which no flood can overwhelm

Who really wrote 'Mother'?

A melody faint and yet not beyond hearing

Heart dances that cannot be choreographed

Remembering to forget and forgetting to remember

On loving, always

Authors are assassinated, readers are immortal

When you turn 80...

It is good to be conscious of nudities 

Saturday slides in after Monday and Sunday somersaults into Friday 

There's a one in a million and a one in ten

Gunadasa Kapuge is calling

Kumkum Fernando installs Sri Lanka in Coachella, California

Hemantha Gunawardena's signature

Pathways missed

Architectures of the demolished

The exotic lunacy of parting gifts

Who the heck do you think I am?

Those fascinating 'Chitra Katha'

The Mangala Sabhava

So how are things in Sri Lanka?

The most beautiful father

Palmam qui meruit ferat

The sweetest three-letter poem

Buddhangala Kamatahan

An Irish and Sri Lankan Hello

Teams, team-thinking, team-spirit and leadership

The songs we could sing in lifeboats when we are shipwrecked

Pure-Rathna, a class act

Jekhan Aruliah set a ball rolling in Jaffna

Awaiting arrivals unlike any other

Teachers and students sometimes reverse roles

Matters of honor and dignity

Yet another Mother's Day

A cockroach named 'Don't'

Colombo, Colombo, Colombo and so forth

The slowest road to Kumarigama, Ampara

Sweeping the clutter away

Some play music, others listen

Completing unfinished texts

Mind and hearts, loquacious and taciturn

I am at Jaga Food, where are you?

On separating the missing from the disappeared

Moments without tenses

And intangible republics will save the day (as they always have)

The world is made of waves

'Sentinelity'

The circuitous logic of Tony Muller

Rohana Kalyanaratne, an unforgettable 'Loku Aiya'

Mowgli, the Greatest Archaeologist

Figures and disfigurement, rocks and roses

Sujith Rathnayake and incarcerations imposed and embraced

Some stories are written on the covers themselves

A poetic enclave in the Republic of Literature

Landcapes of gone-time and going-time 

The best insurance against the loud and repeated lie

So what if the best flutes will not go to the best flautists?

There's dust and words awaiting us at crossroads and crosswords

The books of disquiet

A song of terraced paddy fields

Of ants, bridges and possibilities

From A through Aardvark to Zyzzyva 

World's End

Words, their potency, appropriation and abuse

Street corner stories

Who did not listen, who's not listening still?

The book of layering

If you remember Kobe, visit GOAT Mountain

The world is made for re-colouring

The gift and yoke of bastardy

The 'English Smile'

No 27, Dickman's Road, Colombo 5

Visual cartographers and cartography

Ithaca from a long ago and right now

Lessons written in invisible ink

The amazing quality of 'equal-kindness'

A tea-maker story seldom told

On academic activism

The interchangeability of light and darkness

Back to TRADITIONAL rice

Sisterhood: moments, just moments

Chess is my life and perhaps your too

Reflections on ownership and belonging

The integrity of Nadeesha Rajapaksha

Signatures in the seasons of love

To Maceo Martinet as he flies over rainbows

Sirith, like pirith, persist

Fragrances that will not be bottled 

Colours and textures of living heritage

Countries of the past, present and future

A degree in creative excuses

Books launched and not-yet-launched

The sunrise as viewed from sacred mountains

The ways of the lotus

Isaiah 58: 12-16 and the true meaning of grace

The age of Frederick Algernon Trotteville

Live and tell the tale as you will

Between struggle and cooperation

Of love and other intangibles

Neruda, Sekara and literary dimensions

The universe of smallness

Paul Christopher's heart of many chambers

Calmness gracefully cascades in the Dumbara Hills

Serendipitous amber rules the world

Continents of the heart