Midweek Review
The Gift of Music:Sons and Fathers
a film by Sumathy – Part II
by Laleen Jayamanne
There is a recurrent discussion among the film industry personnel in the film about the desirability of ‘originality’ in Sinhala music and also in films, which translates as the need to abandon copying Indian genre films or anything Indian for that matter. One opposing view interrogates the possibility of originality itself, asking ‘what is originality? Are we original?’ Yet another view is expressed by Upul Shantha Sannasgala, in favour of anything that creates box office success, citing the triangular plot of his new film which describe exactly the outrageously plotted, sexist film, Samiya Birindage Deviyaya (The Husband is the Wife’s God,) with the leading star and singer, Rukmani Devi and its arch villain, Domi Jayawardena. The desirability of nationalising the film industry and the creation of ‘our’ studios (meaning with Sinhala ownership, breaking the Tamil monopoly) is also expressed as the racial tensions outside reaches a critical point, when several army officers are killed by the LTTE near Jaffna and kindling the State terror of July 83. When Rex is put on the spot by friends and asked for his views on politics, he says he doesn’t know anything about politics and all he knows is music, adding that music has no race or country, while Sannasgala comes to his defence with; ‘Master is music, music is master!’
Writing or Drawing a Character
In the world’s oldest film school in the former Soviet Union (USSR), there was a practice of getting the students to first draw their characters and ideas on paper before writing with words. The teachers who devised the practice knew that drawing a line, as in a line drawing, would activate a mental process different from writing using words. Highly experienced mentors like Mikael Romm practiced this pedagogy with his students, one of whom was Andre Tarkovsky. The stimulation of the student’s imagination and extra-linguistic sensory powers was one of their aims. It is said that he urged his students to reach into their ‘darkness’ so that they might be able to find a way to speak, find a ‘language’. He protected his students from the communist thought police. Honouring this process of teaching and learning, as I try to do also in my writing, I like to resist asking a director why s/he did such and such, a sad and intellectually feeble resort. Such blunt questions blunt one’s own imaginative capacity to make multi-sensory connections, especially when it’s about cinema. Lucky’s haunting question ‘Appa, what language?’ requires a critic to become self-reflexive about how she uses linguistic-language in writing on film, which doesn’t behave like language as such. As Pasolini rather impatiently pointed out (to the eminent semiologists, including Roland Barthes, at the Pesaro Film Festival) that unlike language with its denotative, finite number of words, there is no dictionary of images we can draw on for film and nor are words similar to images.
So, it’s best not to ask directors what they meant either, because when trying to write a book on his cinema, I once asked Kumar Shahani why an ‘epic persona’ in his film did something, he said ‘I don’t know.’ Was he being a Zen Master, I wondered, a bit taken aback. But then chatting with him I realised the truth of what he was saying, that sometimes artists make their characters do stuff in such a way that it is fruitless to try to find out the motivation for an action, as though every act is a perfectly rationally explainable response to a stimulus, like Pavlov’s poor dog, salivating at the ring of a bell. Some artists want to be able to sustain a degree of freedom in their thinking, that is, keep that which is barely consciously sayable, especially to themselves (at three o’clock in the morning, as they say in the Blues) in a shadowy subconscious state. They might feel its necessity, without being able to put it into words and not even wanting to do so, as it might kill their evanescent impulses. Artists are creatures who trust their impulses and fluctuating sensations trying to harness them in a disciplined and skilled way, lest they get derailed, overwhelmed by their surfeit. But then, I believe that it’s a critic’s responsibility to think about what one sees and hears and feels by posing questions that might open up a train of thought for oneself at first. This is not like revealing hidden meanings, but rather, understanding how something works or doesn’t, its aesthetic logic and feelings, pulses, and how they might connect with some other thing through a style of writing, hoping that readers themselves might take it yet in another unforeseen direction.
sivamohan’s main characters, Rex, Kanthi, Lucky and the quiet Mala, are created and act in such a way that not all their feelings are transparent, nor are all their motivations explained or even explainable. They have an interiority we can sense but to which we don’t have a privileged access and I suspect that the director also might feel that about the people she has created. This may sound strange as sivamohan has said that she modelled Rex, in part, on Rocksamy’s history in the film industry and that Lucky was modelled on the well-known musician Anthony Surendra, the son of Master Anthony, himself a musician. That they have in various ways suffered greatly as Tamils in the film and music industry is an important fact, which sivamohan builds on, with some of the best dialogue I have ever heard in the Sinhala cinema, for sure. And I am thinking here especially of the serious ‘Civil-War Films’ by some of our most talented, senior filmmakers. Some of them have crafted a new ‘anthropological type’ it would seem, with the silent, traumatised young Tamil women doggedly following former soldiers without uttering a word. Here, I don’t wish to comment on these films except to say that they appear to have constructed ‘The Tamil Woman’ as an enigma in her silence. Why Sinhala male directors are drawn to create such figures is something the Sinhala cinephiles and critics themselves should really take up, making a sustained study of the films, especially because now, sex, whether consensual or coercive as in rape, is permitted on the screen by the National Censorship Board.
sivamohan does assiduous ethnographic research for drawing her characters, but they are not Bio-Pics of these particular artists and nor are they phantasmatic figures, but appear to be composites of several real persons in the film and music industries. Hers is not the problem of ‘Realism in the cinema,’ which codes expression in the three-act drama I referred to earlier, and which Stefan Brecht (cited at the beginning) rejects. Within the known historical discrimination suffered by the Tamils of Lanka, sivamohan (who has lived through civil war years both in Jaffna and the South and lost a sister and close friends to it), has created her characters themselves with a degree of opacity, with regard to their subjectivity (reminiscent of Robert Bresson’s Models) but none of them is enigmatic. For me, this is part of the charm and subtlety of these characters who form a multi-ethnic Lankan family. The different ways in which Kanthi and Lucky sing the same song, his ‘mother’s song’, adds a rich affective density to their characters and the ballad-like song itself. Rex at first seemed the simplest, the most transparent, with his open smile, and yet gradually he too becomes much more complex, dark (as he faces direct racist violence), lashing out at those closest to him in despair as his soul is destroyed.
‘Ammi, did he kill her to stop the music?’
Rex and Kanthi
Shamala Kumar (in her hauntingly personal account in the island), on seeing Sons and Fathers with Malin her thirteen-year-old son, tells us that he kept asking her questions loudly while watching the film, to which she had to say ‘I don’t know.’ She says that about the many incomprehensible events of racialised violence shown, including the burning of the film director Venkat in his car. Later at home Malin had asked his mother, ‘did he kill her to stop the music?’ The mother comments on her child’s thoughtful question saying, it was as though he was pleased to be able to piece together a tentative reason for why Lucky fired that shot in a movie theatre. Lucky had come to a cinema where the film of the opening song and dance sequence is repeated in colour, this time round showing us an utterly absorbed audience in a few shots. Lucky, standing at the back of the theatre appears to take a gun out and point it at the screen. Though no gun is visible, we infer that it is one because we see the familiar gesture (seen in countless Westerns and Gangster films), hear the shot and see the dancer on the screen falling down. Some viewers rise up in consternation, one which we share. The reverse shot cuts to a close-up of the bleeding singer who appears to be ‘real,’ rather than a projected image, but films can wound us, make us cry as in life. The next cut shows a singular image, a painterly shot of a splash of red on a white surface. The entire series of shots are hard to make clear sense of, hence the child’s considered question to his mother. It is a puzzle for me as well, because it doesn’t quite compute as a sensory-motor action, say, as a shot fired in a gangster film would be. Usually such a generic shot is clearly motivated, the gun essential to the action as are the hero and villain. I feel a bit like Malin, baffled and startled by that scene. And each time I try to work out how it works, it slips away but returns to me unwittingly just as I drift off into sleep. I feel I can’t quite compute it. But slowly I was able to see why it’s a scene that troubles the mind in a manner quite different from the horrific sequence of the burning of Venkat in his car.
Through this comparison, it dawned on me that sivamohan shifts planes of action and composition (in all three of her films), at certain critical violent moments. She plays with fire; there is the burning tea bush in Ingirunthu which does not turn to ash, and in A Single Tumbler, the single metal tumbler catches fire in the microwave, a truly disturbing, scary image. The fire power of Lucky’s gun shot is slightly different, but all three instances shift gear, so to speak. They do something which impels our minds (if receptive like that of a child), to return to the scene repeatedly. What is it about these sivamohan scenes that make our minds to return to them irresistibly? They are not played out on a clear realist spatio-temporal plane, though these films have a precise sense of historical space/time.
On a meta-cinematic plane, Sivamohan is paying tribute to the process of Montage which created the magical appearances and disappearances, what Eisenstein called, the defining cinematic act of the medium of film. These singular scenes puzzle the mind because their violence is not like the realistically presented violence of say, burning a man alive or the mass destruction of buildings and property with fire. The violence of shooting at the image of the dancer (but not the flesh and blood actor/dancer), enacts a form of ‘counter-violence,’ as response to the normalised violence of racism, exploitation, torture and murder, which we have become all too familiar with as Lankans (we hear a victim of the pogrom say, ‘last time we lost all’). How many more times will history repeat itself with such horrific violence, one wonders.
A beautiful scene honours actual persons from the film industry, the editor Aliman (a Muslim), with his old editing machine to cut (the now obsolete) celluloid film, expertly handling the film, searches for the 28 missing shots with the director Siva (a Tamil). These two men from the film industry, with their dry humour, were well known personnel who did pass away quite poor.
Allegory as Counter-Violence
There is a large body of philosophical and programmatic writing on revolutionary- violence in anti-imperialist national struggles, as a form of ‘counter-violence.’ I am trying to use the idea differently though, not by citing chapter and verse from, say Lenin’s What is to be Done, or Che Guevara, beloved of the JVP of the April ‘71 rebellion. Rather, I want to understand the precise imaginative ways in which the shooting of the dancer has been staged allegorically, rather than realistically, which I would argue to be an ethico-aesthetic decision by sumathy in her film, which is also about the State sponsored pogrom against the Tamils in July 83.
sumathy’s allegorical scenes are not cliches that she whips up to resolve her films when the situation becomes unendurable, when the violence reaches a level of horror and ‘The Scream’ appears to be the only expression available. It’s the internal dynamics of the fascist violence of the State and of reactive terrorism of the LTTE which is displaced in the movie theatre, with an allegory of cinematic violence, countering the sure-fire ingredients of ‘Action, Sex and Violence’ (mentioned as desirable by a producer in the film), as ingredients of exciting marketable films now. The process of countering these violent logics of actions and reactions is linked to how the theatre scene is constructed as an allegory, what I am calling an enactment of ‘counter-violence’ through a film-allegory.
The Lens as A Brush
Godard, when asked once why there is so much blood smeared liberally on his characters, in one of his polemical post 68 experimental films famously snapped back, ‘It’s not Blood, its Red!’ Similarly, the striking splash of red on a white surface (which appears soon after the dancer is shot down bleeding profusely on the floor), punctuates the scene emphatically and calls attention to its minimalist painterly gesture. Why is this striking singular painterly shot inserted there between shots of the bleeding dancer on the ground? A white surface, whether a wall or the screen itself is not visible there in the theatre. We have heard Lucky being repeatedly called a ‘tiger cub,’ even by his best friend and the other Sinhala musicians refuse to work with him as the suspicion against all Tamil young men as potential terrorists intensifies in the South.
This trend reaches a peak when his ‘girl-friend’ Champa, on hearing Lucky sing his ‘mother’s song (Tharaka Hanga) at the club, asks him what it is and if he would teach it to her. Like the sweetly naive person he is, he agrees gladly. But instead of waiting, Champa goes to Lucky’s house and learns the song directly from his mother herself. As he returns home they meet unexpectedly at his door and sees her guile when she tells him that she is off to India to be trained as a singer. As she walks away Lucky shouts out her; ‘My father is not a Terrorist. I am a Terrorist. I will carry the Tamil newspaper gladly.’ His mother has previously warned Rex not to be seen carrying a Tamil newspaper. The sense of the crescendo of Lucky’s surprising outburst is muted as it’s a Tamil newspaper which he thinks to carry, not a weapon of choice for a terrorist of any ethnicity! It’s the repeated branding of Lucky as a terrorist by his peers which makes his persona as a ‘terrorist’ in the movie theatre credible. There, Lucky is presented as an actor in the ‘film within the film,’ who acts out an allegorical scene of shooting at an image. Because, if he is an actor playing a Terrorist, then his sole imperative is that he must kill. But if it’s an allegorical action, then the question as to motivation can have no realist answer. The splash of blood-red on the pristine white screen is a sensuous abstract image of ‘pure’ violence, enabled by Lucky’s equally abstracted gesture of shooting an image with an imaginary gun, in the film within the film Sons and Fathers that we have been watching for over an hour by then. So, I read the entire scene of Lucky shooting the dancer and the audience watching it, as a film-within-a-film (a meta-film) crystalising, in an abstract image of violence, the discussions on the need for racial and cultural purity, also encoded in the song Jaya Pita Deas. The sonic montage, the contradiction between the hybrid image and sound, and between images themselves, is the kind of sequence which Eisenstein called ‘Intellectual-Montage.’ They cut across the compartmentalised brain. These conceptually sophisticated audio-visual montage techniques, stimulating feelings and thoughts all at once, would have been why Sons and Fathers received the prize for music, at the Jaipur International Film Festival in 2019.
The different views expressed about Sinhala cinema and the desirability of ‘cultural purity’ appears as an open question here. Historically, these questions were resolved in favour of the Nationalisation of the film industry according to the recommendation of the Royal Commission into the Lankan Film Industry in the 1960s. The examination of the successes and problems of that policy, in the creation of a ‘truly national (Sinhala) cinema’ by instituting the State Film Corporation of Lanka, is best left to historians. But the question of whether the significant new national cinema, created in its wake, also ignored Lanka’s ethnic minorities from the desired national identity, is also one for our film critics to worry over. The allegorical gesture of Lucky, shooting down the film image, in the guise of a Sinhala persona allegorised as a Tamil Terrorist, still remains tantalising to my mind despite what I’ve written here. But we Sinhala critics will learn much, I believe, through serious scholarship and critical writing on Lankan cinema and exploring how sumathy’s cinematic project might be theorised within its dynamics. Such work will require interrogating the long-standing (taken for granted) Sinhala idea of sanguine ‘generational change’ among talented men, because ‘history’ is not a natural event.
The Mother’s Song and its Loss
Towards the very end of the film we see Rex, Kanthi and their daughter absorbed in something on their TV. For the first time we see them in large close-ups (rare in this film), while the camera tracks between them, bringing each of them very close to us. A cut to the TV reveals Champa singing Lucky’s ‘mother’s song’ with orchestration, in a polished, well trained, sweet voice, dressed tastefully in a matching sari and blouse, producing the requisite well-rehearsed gestures and artfully-wistful smiles for the camera. What we have heard and seen so far is of this song’s unusual circulation from a mother to a son whose childhood was nourished by his mother singing it often. We see its social circulation when Kanthi is invited to sing a song by her guests who appreciate her voice and the song. She sings with ease and grace, dressed now in an Indian sari, wearing a pottu and her knee length hair in a single braid. But we also hear the song at intense moments of fear and sadness, as when Kanthi sings it to herself after having looked at a photo album. But on the television it appears as a song ‘stolen’ from the family by Champa, without a thought for royalties, having violated something above and beyond the provenance of a song. As the threesome watch Champa’s polished performance of their own song, Kanthi begins to mouth it silently, while Rex looks on utterly bereft but still beating time to the song he composed for his beloved wife, while the camera rests on Mala who looks straight at us for the first time, as the shot ends. Was she angry I wondered, trying to read her contained intense expression. The careless, cool ease with which Champa becomes a professional singer and sings the song publicly contrasts starkly with a singular rendition of it by Lucky. While in his bedroom (with a blurred poster of John Lennon on his wall), Lucky spits out a snatch of Rock music, but in the club, he sings his mother’s song almost to himself, in a caressing whisper, before the band has to strike a ‘Happy Birthday’ with the sound of breaking glass in the distance; a complex sequence in montage.
Lucky is presented as a tender, generous and most vulnerable young man, and through his allegorisation as The Terrorist, at the movie theatre, we might be able to see how even such a person may become a ‘terrorist,’ cornered, crushed, with avenues for professional movement all blocked for him and his family. In doing this the director makes an exemplary figure of a Lankan artist whose cultural heritage is mixed, hybrid, not monoculturally pure. It’s nothing to do with his ‘pure blood’ (Sinha-ley,) but rather a matter of access to learning, fair opportunity and a shared understanding of a rich multi-cultural world (including India), open to the outside world. That it is a Sinhala actor who is personified as a Tamil Terrorist (who in his actual life sings in Tamil), is significant, because some of that brutalising process is ‘demonstrated’ through the political device of allegory. There is no ‘conversion’ of Lucky into a Terrorist because we see both Lucky and the persona of the Terrorist in his gesture of shooting at an image, with an invisible gun. In the movie theatre, he is not a symbol or a metaphor, but functions as an allegorical body. Allegory makes us see double, and stays with the unresolved duality, and lets it trouble us, as it did Malin and me. That splattered red on white appears as both blood and some red paint, and the white background both a movie screen and a pure white surface, both at once. Such a mode of allegorical viewing goes against our habitual and ingrained ways of consuming films.
Some of us, who have spent all our working lives teaching film and have also grown-up watching lots of all kinds of films (in a long-ago vanished Ceylon in my case) believe that when it’s time to take leave, the Angel of Death will arrive and give us a chance to see just two film clips one last time. Now, I will unhesitatingly choose Dharmasena Pathiraja’s film Ponmani, made with his Tamil friends, while he was teaching Sinhala literature and Media Studies at the Jaffna University in the ‘70. It’s the haunting funeral procession of Ponmani, with her coffin in a horse-drawn glass carriage, led by a slender man in shorts, filmed in a formal long-shot against a lagoon and an expanse of sky, with her father walking alone some distance away from the mourners, as his Vellala family was estranged from her. For having violated caste taboos, she was shot dead by a killer hired by her betrothed, as she came out of a church with her new kin group. The Karnataka song we had heard sung repeatedly, by a group of seated female singers (about longing for Krishna to appear), plays across this desolate shot one last time.
The other clip is of the seemingly every-day banal high-angle-shot of the family of three walking towards us on a railway platform. In long to medium shots from Sons and Fathers, we see Rex, Kanthi and Lucky as a boy, walking between them carrying small suitcases of their possessions. The couple has just got married at a registry (with minimal formality, with just four smiling in-laws) and are coming home to live with Rex. Kanthi is dressed in a Kandyan sari and Rex has long curly hair tied at the back. Seeing that shot of the threesome, who are being observed by an adult Lucky leaning on a railway bridge (a pensive ‘recollection image’), it becomes an iconic shot for Sinhala cinema, suggestive in its promise of rich potential for our art and much else. Variations of this shot, of them climbing the long steps of the station, are repeated several times like the refrain of Lucky’s beloved mother’s song.
sumathy wrote the lyrics for two of the four songs in the film. Vantharu Vanthachu (‘He is coming’ with apocalyptic events of bombs destroying the earth, elephants in trees, wrapped in a love song), is sung in Tamil. The Mother’s Song, written in English, is translated for the film by Amarakeerthi Liyanage, a Professor of Sinhala and a specialist in Comparative Literature. Anthony Surendra, the Tamil music director of the film, wrote, composed and sang My Heart (Ma Hade) in the film at a recording studio and is the song Kanthi hums to Rex’s accompaniment at the keyboard (and also to an infant Kamala), in a most unusual romantic scene. When asked, sumathy said that she was thinking of Desdemona’s Willow Song while writing what she calls ‘The Mother’s Song’ for the film. The Shakespearean ballad was given to Desdemona by her mother who had received it from her maid. She makes a significant change in her song, the ‘betrayal’ there is no longer sexual as in the original folk ballad sung by Desdemona before Othello kills her in a fit of jealousy. But in the film, it becomes Champa’s thoughtless, cunning betrayal of Lucky and his mother.
The way Sumathy presents Rex Periyasami, Mudiyanselage Kanthilatha, Lakshman and Mala as a multi-ethnic family, makes one feel that they will survive the fire that set Lanka ablaze then, stronger in the essential values that bind them together, but no doubt at great cost to their livelihoods and futures, in creating the hybrid music, their very life-blood, which Kanthi says emphatically, ‘saved them’. Sumathy’s Sons and Fathers is her poetic tribute to those values that bind that family and the ethnically diverse Lankan popular film and music industry where those values also flourished, once.
However, Malin’s singular question to his mother, and Mala’s last look to the camera, perhaps of anger, make an old critic like me imagine that they must be big by now. And in so doing, I hear faintly Rukmani Devi singing, ‘mavila penevi rupe hade …swapneya chaya …’ (in my heart emerges a dream-image … of life) as I fall asleep, perchance to dream. (Concluded)
Midweek Review
Ranil reveals bid to get rid of him while GR was fleeing to Trinco on board SLNS Gajabahu
By Shamindra Ferdinando
Attempts had been made to compel UNP leader Ranil Wickremesinghe to give up the premiership immediately after the then President Gotabaya Rajapaksa had left Janadhipathi Mandiraya in the early afternoon of July 09, 2022.
That had been the devious Aragalaya strategy meant to pave the way for Speaker Mahinda Yapa Abeywardena to assume executive powers as a mere figurehead and with them easily controlling him with the threat of further upheaval. Obviously Aragalaya strategists wanted to force Wickremesinghe out of office before President Gotabaya Rajapaksa quit the presidency.
However, they may not have expected President Gotabaya Rajapaksa to flee President’s House immediately after protestors breached its main gates.
As we recall the law enforcers simply did nothing to halt the advance of the mob right into the President’s House, as people like US Ambassador Julie Chung openly prevailed on law enforcers not to act against what she repeatedly termed “peaceful protesters”, even after they, in a preplanned operation, meticulously burnt down more than hundred properties of government politicos and loyalists, across the country, on May 09/10, 2022. So they were on the whole the proverbial wolves in sheep’s clothing working with the Western regime change project here as was previously done in places like Libya and Iraq.
President Wickremesinghe discussed the challenge faced by him at the time of the Aragalaya, when he addressed a group of young legal professionals at the Presidential Secretariat on May 28.
Among those who had been at the head table was Colombo District SLPP lawmaker Premanath C. Dolawatte, an Attorney-at-Law and now widely believed to be one of those pursuing the UNP leader’s agenda.
Stressing the importance of the executive presidency in restoring stability, President Wickremesinghe recalled the situation as Aragalaya forced Gotabaya Rajapaksa out of Janadhipathi Mandiraya. The President said that some persons had asked him to resign as President Gotabaya Rajapaksa was on board a ship and on his way to Trincomalee.
The President’s Media Division (PMD) quoted him as having told the young professionals how he declined to resign unless an MP, who commanded the confidence of the majority in Parliament, emerged against the backdrop of chaos. The President said that even if he wrote a letter of resignation, he couldn’t have handed it over to President Gotabaya Rajapaksa when he was on his way to Trincomalee in a ship or flying to the Maldives to escape mob justice.
The President said that if he resigned, due to pressure brought on him by a particular person, or due to the destruction of his residence, at the top of 05th Lane, in Colombo 07, near Royal Primary, also on July 09, 2022, someone would have secured power outside the democratic process.
The President’s comments on Aragalaya didn’t attract sufficient media attention. In fact, the coverage of the Presidential Secretariat event had been influenced by the PMD media release. Both print and electronic media focused on the President pointing out that none of those contesting the forthcoming Presidential poll had assured so far that executive powers would be done away with.
Actually, at the 2019 Presidential election, SLPP candidate Gotabaya Rajapaksa never referred to the abolition of the Executive Presidency or further dilution of executive powers. The wartime Defence Secretary aspired to be an all-powerful Executive President and, in fact, further enhanced the presidency with the enactment of the 20th Amendment, enacted in late October 2020. The move to introduce a new Constitution was also meant to further enhance the Executive Presidency. That report, prepared at a tremendous cost to the taxpayer, is gathering dust, probably at the Presidential Secretariat. Perhaps Gotabaya Rajapaksa should inquire from his successor Ranil Wickremesinghe what he intended to do with it. The former President has every right to seek an explanation, not only from the President, but the Cabinet-of-Ministers as well.
Let us get back to President Wickremesinghe’s disclosure of the bid to force him out of office soon after President Gotabaya Rajapaksa boarded SLNS Gajabahu (formerly Sherman of the US Coast Guard), at the Colombo harbor, to escape the pursuing mob.
Now that President Wickremesinghe again made reference to Aragalaya’s bid to get rid of him, who could have asked Premier Wickremesinghe to resign on July 09, 2022? Had there been similar demands/requests in the run-up to Wickremesinghe receiving the appointment as President on July 14?
Perhaps, President Wickremesinghe would never reveal the identities of those who demanded his resignation, obviously on more than one occasion during July 09-14 period.
Political party system in a bind
Post-Aragalaya political leadership conveniently refrained from inquiring into the overthrowing of President Gotabaya Rajapaksa. Nearly two years after Gotabaya Rajapaksa’s ouster, there hadn’t been an effort, at any level, to conduct a thorough investigation into Aragalaya.
No holds barred investigation into Aragalaya shouldn’t be mixed up with individual cases, such as the killing of SLPP lawmaker Amatakeerthi Atukorale and his police bodyguard, at Nittambuwa, on the afternoon of May 09, 2022, or the killing of a protester at Rambukkana on April 19, 2022. A proper probe into Aragalaya should focus on the circumstances leading to the eruption of violent protest campaign, outside President Gotabaya Rajapaksa’s private residence at Pangiriwatte, Mirihana, on the night of March 31, 2022, and the period till President Wickremesinghe deployed the military and the police, including the Special Task Force (STF), on July 22, 2022, to clear the Presidential Secretariat of protesters. And all those who were threatening to die for the “system change,” they were ostensibly clamouring for, simply vanished into thin air. How convenient! And how conveniently Julie Chung’s trap, too, shut on behalf of Aragalaya?
Had Wickremesinghe lacked the courage to do so, regardless of “international “condemnation”, the Aragalaya could have been still in control of the President’s House, Presidential Secretariat, etc. Wickremesinghe acted swiftly and decisively as he realized the danger in failing to bring back the situation under control, within a short period of time. Or was that all a show to hoodwink the country? May be he knew too much about JVP shenanigans, especially with the West for them being the principal mover of the demand for system change, too, to go silent, like obedient kittens, with Ranil at the helm.
National Freedom Front (NFF) leader Wimal Weerawansa, MP, in April 2023, named outgoing US Ambassador Julie Chung as one of the key Aragalaya conspirators. The former JVP heavyweight went to the extent of alleging that Ambassador Chung personally met Speaker Abeywardena at the latter’s official residence in the wake of President Gotabaya Rajapaksa fleeing Janadhipathi Mandiraya.
Speaker Abeywardena never denied Weerawansa’s claim, though Ambassador Chung dismissed the allegation. However, President Wickremesinghe latest disclosure should be examined, taking into Speaker’s declaration in March this year that those who spearheaded Aragalaya even threatened him unless he cooperated with them. Speaker Abeywardena declared that Aragalaya wanted him to accept the presidency, though the Constitution stipulated that the Premier should succeed the President.
Then, obviously, those who demanded Wickremesinghe to resign, and Speaker Abeywardena to accept the Presidency in July 2020, must be the same. There cannot be any dispute whatsoever regarding the Aragalaya strategy. Obviously, ousted President Gotabaya Rajapaksa, in his widely read book ‘The Conspiracy to Oust Me from Presidency’ failed to properly deal with external intervention, particularly the interventions made by Ambassador Chung.
The US, through Ambassador Chung’s interventions, ensured protection for Aragalaya throughout the high profile project as President Gotabaya Rajapaksa’s control rapidly eroded. The then government never really comprehended the grave implications of the April 19, 2022 Rambukkana incident. The senior police officer in charge of Kegalle, Senior Superintendent of Police K.B. Keerthiratne, had to undergo the humiliation of being arrested and remanded over a police shooting that claimed the life of a protester. Had Keerthiratne failed to order that shooting, the protesters would have set ablaze a fully loaded bowser, carrying petrol, strategically placed across the rail tracks there to create chaos and disrupt rail transport By the time the SSP and three other policemen received bail, in August, Wickremesinghe was the President.
The former President should have dealt with the Rambukkana issue in his memoirs. There cannot be any doubt, or dispute, that the utterly irresponsible government response to police firing at Rambukkana discouraged the military from taking tangible measures to thwart the overrunning of Janadhipathi Mandiraya.
The Aragalaya opened Janadhipathi Mandiraya and Presidential Secretariat for the public and they remained in their hands until President Wickremesinghe regained control on July 22, 2022.
Prez draws sharp criticism
Sri Lanka couldn’t have continued with chaos caused in the wake of the political-economic-social crisis that threatened the ruination of the war-winning country that also successfully undertook so many development projects, like building expressways in the country for the first time, badly needed new international airport and even an international harbour, that became the envy of even our giant neighbour. Speaker Abeywardena, whatever his shortcomings and failures, should receive the respect and gratitude of all for saving the country from a horrible fate. Sri Lanka’s unitary status had been at stake and the country faced the risk of disintegrating.
Having been elected as the 8th Executive President on July 20, 2022 by the SLPP parliamentarians, who had the majority in the House, the UNP leader moved swiftly to regain control. Since then, Wickremesinghe, in spite of being reduced to just one National List MP in Parliament, never looked back as he advanced his agenda.
The President’s decision to do away with the Galle Face protest site earned the wrath of those who hoped for a different outcome. They expected Speaker Abeywardena, as Head of State, at least for a brief period, pending post-Gaddafi-style Libyan administration.
The following are some of the statements issued by the “usual suspects” who blindly tow the US line, in the wake of President Wickremesinghe’s directive:
UN Human Rights Commission:
“We are alarmed by the unnecessary use of force by security forces to break up a protest camp near presidential offices in Colombo. We condemn reports of beatings of protesters, journalists and lawyers and urge authorities to halt the use of force.”
The UNHRC Sri Lanka Core Group (consisting of Canada, Germany, Malawi, Montenegro, North Macedonia, the USA and the UK):
“peaceful protest is fundamental to any democracy and dismayed at the violence which took place at Galle Face on Friday.” The grouping called for full respect for human rights and the rule of law.
Amnesty International South Asia:
“…the attack on ‘GotaGoGama,’ the peaceful protest site in Colombo by the police and the military is unacceptable and authorities must stand down immediately. The right to protest must be protected. Sri Lankan authorities must immediately cease these acts of violence and release those arrested unlawfully in this manner. Authorities must also protect the freedom of the press. Journalists must not be barred from ‘GotaGoGama’. Blocking journalists from doing their jobs directly violates freedom of the press.”
Human Rights Watch South Asia Director Meenakshi Ganguly said:
“President Ranil Wickremesinghe has been telling donors and friends that he is committed to resolving the economic crisis, and yet among his first acts was to deploy a midnight security forces raid to disperse the peaceful protesters. The international community needs to act now, send a strong message that the global efforts are directed to support the people of Sri Lanka, and not to prop up abusive political leaders who undermine fundamental freedoms.”
UN Resident Coordinator Hanaa Singer-Hamdy said she was gravely concerned by the use of force to disperse protesters.
“Journalists and human rights defenders have a right to monitor demonstrations and their functions should not be impeded. Actions that stifle protests and right to peaceful assembly can worsen economic and political stability in Sri Lanka. Peaceful solutions in accordance with broad public consultations is the only way forward.”
The European Union:
“Freedom of expression proved essential to Sri Lanka’s current transition. Hard to see how severely restricting it can help in finding solutions to the current political and economic crises.”
UK High Commissioner Sarah Hulton expressed concern over the attack and said:
“We have made clear the importance of the right to peaceful protest.”
US Ambassador Julie Chung:
“Deeply concerned about actions taken against protestors at Galle Face in the middle of the night. We urge restraint by authorities and immediate access to medical attention for those injured.”
Canadian High Commissioner David McKinnon:
“It is crucial the authorities act with restraint and avoid violence.”
The Presidential Secretariat remained in the hands of protesters till midnight July 22, 2022, out of the three State properties they took control of on July 09. Protesters evacuated from the other two – the President’s House and Temple Trees ahead of any confrontation with the military tasked to remove them!
In the absence of proper investigations…
Chief Government Whip Prasanna Ranatunga is one of the few lawmakers to question the failure on the part of relevant authorities to investigate organized attacks on government MPs. When the writer raised this issue with Minister Ranatunga a few moons ago, the Gampaha District SLPP strongman expressed serious disappointment over the status of the investigations.
Declaring that his properties at Udugampola, Gampaha, had been set ablaze in the presence of law enforcement officers, Urban Development and Housing Minister Ranatunga said that he was still awaiting the conclusion of the investigation undertaken by the Human Rights Commission. None of those who had been identified as responsible for systematic destruction of houses and other properties belonging to government members and in some cases supporters hadn’t been dealt with.
President Wickremesinghe’s recent disclosure of efforts to force him out of the Premier’s Office revealed that there hadn’t been a proper investigation into the Aragalaya at all. What is the mysterious evil hand preventing justice being done to victims of mob justice by Aragalaya? But the evil West leaves no stone unturned in seeking “justice” on behalf of the LTTE and its sympathisers, who tried to break up this country through sheer raw terror.
It would be interesting to know the status of the investigation promised by the Attorney General Sanjay Rajaratnam, PC, into the May 9/10 attacks on politicians’ properties. A case filed by a group of politicians, demanding an investigation into these incidents, had been withdrawn in late May, 2023 on an assurance given by the Attorney General.
The State Counsel appearing on behalf of the Attorney General assured Court that the AG had received an assurance from the Public Security Ministry that there would be a formal investigation into the incidents and secondly, the Secretary to the President promised that the Wasantha Karannagoda Committee report on the May 2022 incidents would be brought to the attention of the President.
What is the status of the promised investigation? President Wickremesinghe cannot absolve himself of the responsibility for ensuring a comprehensive investigation into violence perpetrated during 2022.
In spite of allegations that the JVP instigated an attack on Samagi Jana Balawegaya (SJB) and Opposition Leader Sajith Premadasa at the Galle Face protest site on the afternoon of May 09, 2022, the main Opposition party never pushed hard for an investigation.
Recently MP Premadasa confirmed the alleged JVP plot when the writer sought his response to SLPP MP Johnston Fernando’s declaration that Premadasa would have been lynched if his driver failed to reverse the vehicle at high-speed after the JVP mob surrounded Premadasa. Sunil Handunetti declared that both Johnston and Sajith should have their heads examined. But JVP Leader Anura Kumara Dissanayake was virtually received with open arms by the same Aragalaya activists on the same day at the same venue
Another matter for serious concern is that all suspects arrested in connection with the killing of MP Amarakeerthi Atukorale were granted bail without the AG being consulted. The accusation has been made by the AG in respect of the decision taken by the Trial-at-Bar of the Gampaha High Court. We would refrain from commenting on the issue at hand as the matter is pending before the court.
The Wickremesinghe-Rajapaksa government has completely ignored ex-President’s allegations that the military deliberately failed to thwart the public protest campaign that was launched on March 31, 2022. Gotabaya Rajapaksa went to the extent of alleging that Chief of Defence Staff (CDS) General (retd.) Shavendra Silva and Defence Secretary General (retd.) Kamal Gunaratne may have failed to take tangible measures as they were under pressure due to war crimes accusations directed at them by the US. However, it must be pointed out that General Silva hadn’t been at the helm of the Army at the time Aragalaya overran Janadhipathi Mandiraya with ease.
President Gotabaya Rajapaksa replaced General Silva on June 1, 2022, following the May 09 incidents which shook his government with Vikum Liyanage, also of the Gajaba Regiment as the Commander of the Army, though various interested parties found fault with Silva, who headed the celebrated 58 Division that in way spearheaded the war victory, for not protecting Gotabaya Rajapaksa’s government.
The UNP also provided muscle to Aragalaya. Former MP and current presidential advisor Ashu Marasinghe and SJB MP and Minister Harin Fernando had declared the UNP’s direct role in Aragalaya whereas the JVP and its breakaway faction the Frontline Socialist Party (FSP/Peratugami Pakshaya) played a significant role. However, the vast majority of those who provided the real strength to the protest campaign were not members of any political party but angry Sri Lankans influenced by the collapsing of the economy. They also engaged in looting in some instances but there were organized groups which caused massive destruction, systematically at the behest of Aragalaya masterminds operating from behind the scene.
President Wickremesinghe should name those who had asked him to give up the premiership. Speaker Abeywardena, too, should reveal who threatened to harm him unless he fully cooperated with the Aragalaya.
By Lynn Ockersz
White-clad and smug,
In cavernous Limousines,
The dignitaries are back,
Trying out winning smiles,
Surveying the debacle,
Of these brave decades,
Of people and homesteads,
Sinking mercilessly,
In backwaters of neglect,
Which is the best proof yet,
That the land’s periphery,
Has not figured much,
On the planning boards,
Of those ‘strutting and fretting,
Their hour’ on high ground.
By Shamindra Ferdinando
Jaffna district parliamentarian Mathiaparanan Abraham Sumanthiran’s recent declaration supportive of the militarily defeated Liberation Tigers of Tamil Eelam (LTTE) particularly captured the public attention.
Then soon after, MP Sumanthiran surprised all by appearing on stage with President Ranil Wickremesinghe, in Jaffna, where the UNP leader bestowed land deeds on a selected group of people.
With them on stage were EPDP leader Douglas Devananda, MP, and Dharmalingam Siddharthan, MP, of PLOTE/TNA whose father, Visvanather Dharmalingam, MP (Jaffna District) was assassinated by TELO at the behest of Research and Analysis Wing (RAW) in Sept 1985. (Siddharthan himself told the writer that his father and colleague Jaffna District MP Arumugam Murugesu Alalasundaram were abducted and killed in a Mafia-style TELO operation). Will deal with Sumanthiran’s Jaffna move later.
Issuing a statement ahead of Tamil Genocide Remembrance Day that was marked on May 18 around the world, Sumanthiran, PC, now in his third term as a lawmaker, said: “Although it is my personal belief that a just political liberation cannot be achieved at the point of a gun, I have repeatedly stated that we cannot today decry or judge the decision taken by the Tamil youth who saw no other option at a time when oppression and military….”
The Illankai Arasu Katchi (ITAK) MP went on to say: “I have also consistently emphasized that the commitment and sacrifices unselfishly made by those who took up arms on our behalf should be regarded very highly.”
Sumanthiran tweeted hours before he paid respects to those who perished in fighting and the civilians at the Mullivaikkal commemoration site. However, Sumanthiran attended another commemoration also on the same day organized at the Viharamahadevi Park by several groups, including the Global Tamil Forum (GTF), to remember “all victims of war over 30 years in the North and South.”
Some found fault with MP Sumanthiran for attending the Colombo event where organizers quite rightly refrained from making reference to any particular group or community. There hadn’t been a similar remembrance event in Colombo since the end of the war 15 years ago. The same group organized an inter-religious prayer event at the Vavuniya Town Hall grounds, also on the same day.
The GTF should be commended for taking a courageous stand in spite of criticism by those who still seek advantage of the LTTE’s crushing defeat.
Perhaps, the GTF-led group should have made reference to Sri Lankans killed overseas due to terrorism, Indian military deaths here (July 1987-March 1990) and former Indian Premier Rajiv Gandhi’s assassination in May 1991 while campaigning during a general election by a brainwashed LTTE teenage suicide cadre.
The Tamil community shouldn’t confine the war dead commemoration to those who died during the last phase of the fighting with the focus on Mullivaikkal. Commemorations whether in the North, East or Colombo should be devoid of any petty racial connotation, for all were human beings. Such events shouldn’t be allowed to cause further divisions among the communities, under any circumstances. Those who make unnecessary interventions with a view to attracting media attention should be appropriately dealt with by law enforcement authorities.
We also like to ask self-proclaimed international do-gooders why they don’t show even an iota of interest in the unimaginable suffering undergoing by Palestinians at the hands of the Israelis, while they make a song and dance about imaginary genocide they claim to have happened here during the last phase of fighting.
The ITAK is the main constituent of the Tamil National Alliance (TNA) that had been formed in late Oct 2001 in line with the community’s overall politico-military strategy to achieve Eelam. Against the backdrop of the worst-ever battlefield defeat that had been inflicted on the Army in April 2000, Eelam seemed achievable. Having defeated the 54 Division, deployed at the Elephant Pass sector then widely believed to be impregnable, thereafter the LTTE almost succeeded in overwhelming the Army in the rest of the peninsula.
Muslims’ dilemma
The Sinhalese and Tamils should also publicly repent the suffering experienced by the Muslim community. That community suffered untold hardships for being steadfastly taking a stand against separatism. Had they thrown their weight behind the LTTE, the country could have been overwhelmed and the 2009 absolute victory over the LTTE couldn’t have been achieved. So, do not hesitate to recognize the Muslims’ commitment as a whole to Sri Lanka’s unitary status. They paid a very heavy price for being always supportive of the government stand for a united Sri Lanka, whoever was in power.
The 2019 Easter Sunday massacre, carried out by a group of extremist misguided Muslims, shouldn’t in any way be used against the community. Officers and men of the Muslim and Tamil communities served in the armed forces and police with distinction and made quite a contribution to the overall success of the war.
Just five months after the LTTE resumed war in June 1990 in the wake of the IPKF withdrawal from the temporarily-merged North and East Provinces, the LTTE ordered the Muslims out of the Northern region, comprising Jaffna, Kilinochchi, Mannar, Mullaithivu and Vavuniya giving them a matter of hours to leave. The then President Ranasinghe Premadasa’s government couldn’t do anything about it. The international community turned a blind eye. Tamil politicians remained silent. No one dared to challenge the LTTE’s inhumane and drastic move.
Twenty-one years later a deranged Norwegian Andres Breivik massacred 77 persons, mostly children in two attacks the attacker claimed was influenced by the LTTE’s eviction of the Muslim community from Northern Sri Lanka.
Did the late LTTE theoretician and ideologue Anton Balasingham approve of Velupillai Prabhakaran’s plan to force Muslims out of the Northern Province? Balasingham, the one-time British High Commission employee in Colombo, passed away in the UK, in Dec 2006, of kidney failure, a couple of months before the LTTE lost control of the Eastern Province.
Far right Breivik, then 32, a few hours before he went on the rampage on July 22, 2011, made reference to the LTTE’s eviction of the Muslim community from the Northern Province, in his so-called manifesto posted online. The following are the references (1) Pro-Sri Lanka (supports the deportation of all Muslims from Sri Lanka) (Page 1235) and (2) Fourth Generation War is normally characterized by a ‘stateless’ entity fighting a state or regime (the EUSSR). Fighting can be physical such as the Liberation Tigers of Tamil Eelam (LTTE) to use a modern example. (Page 1479).
Perhaps, Sri Lanka should have asked those who had been demanding international inquiry to include the Norwegian massacre in their agenda. One of Sri Lanka’s foremost diplomats, the late Jayantha Dhanapala, appearing before the Lessons Learnt and Reconciliation Commission (LLRC) in 2010, stressed on the need for accountability on the part of foreign governments. The then Mahinda Rajapaksa government, probably blinded by unfathomable victory, was not bothered. It only saw immediate political advantage out of the developments even forgetting the long term ramifications for the country.
Focus on Sumanthiran
Sumanthiran on his knees before the Mullaivaikkal monument
(pic courtesy Tamil Guardian)
Maybe MP Sumanthiran should have recognized the LTTE as the group that continued the war until the very end. The parliamentarian shouldn’t have hesitated to do so though terrorism cannot be justified under any circumstances. The LTTE, however, proved its conventional capabilities throughout the war. The casualties, and the losses the group inflicted on the Indian Army underscored its fighting capabilities.
As Sumanthiran entered Parliament at the 2010 General Election, perhaps he hadn’t been affected by the LTTE’s wartime strategies and unprecedented developments that characterized the conflict, with him comfortably settled down in Wellawatte.
The writer first met Sumanthiran at A.J.M. Muzammil’s (incumbent Governor of the Uva Province) residence at No 07, Alfred House Road, Colombo 03 in June 2011. Muzammil, who had been a UNP member of the Western Provincial Council (WPC), arranged the writer to interview former Tamil Nadu State Assembly Congress I member Hasanali Kuddus at his residence. The new entrant to the Parliament Attorney-at-Law Sumanthiran, too, was there on that occasion and the writer had an opportunity to seek his opinion on some contentious matters.
Naturally, matters raised herein included the recognition of the LTTE by the TNA as the sole representative of the Tamil speaking people ahead of the signing of the Ceasefire Agreement (Feb 2002), LTTE-TNA joint boycott of 2005 presidential poll that cost UNP leader Ranil Wickremesinghe victory (the writer wouldn’t humiliate the defunct LTTE by repeating allegation that the Rajapaksas bribed the LTTE to order the boycott. The LTTE may have accepted money but the boycott was not certainly inspired by that) and still unbelievable was the TNA backing for the war-winning Army Chief Gen. Sarath Fonseka at the 2010 Presidential Poll. The TNA ensured a comfortable victory for Fonseka in the entire then merged North-East Province though he lost badly in the rest of the country. Mahinda Rajapaksa secured a second term by obtaining 1.8 mn votes more than Fonseka. A silly claim of computer “jilmaart” by Fonseka’s camp made his defeat even worse.
Kuddus, in an exclusive interview with The Island, strongly defended the eradication of the LTTE though concerns remained of atrocities allegedly committed by the military. Declaring that Sri Lanka couldn’t be punished on the basis of unsubstantiated war crimes allegations, Kuddus said that no country would be safe if legitimate governments were deprived of the opportunity to neutralize threats posed by terrorism. If Sri Lanka could be questioned over its right to hit back hard at the LTTE, what would be the position of the Indian military battling those who had taken up arms? (Congress I member Hasanali speaks out, The Island, June 16, 2011 edition)
At the April 2010 General Glection, the Tamil National Alliance (TNA) won 14 seats. Thirteen were elected while the party secured just one of the 29 National List slots. The TNA picked Sumanthiran as its NL member. It would be pertinent to mention that the TNA was placed third in terms of the number of seats won at that election. The UPFA secured a staggering 144 seats, including 17 NL slots whereas the UNP-led United National Front obtained 60 seats. Nine NL MPs were among them.
The TNA tally drastically dropped due to the eradication of the LTTE. At the previous general election conducted in April 2004, close on the heels of the devastating split in the group, the TNA won a record 22 seats, including two NL slots. The European Union Election Observation Mission, in its report found fault with the TNA for being the beneficiary of poll violence unleashed by the Tigers to stuff ballot boxes in TNA’s favour. That was the best outcome for the TNA at a general election.
At the last General Election, the TNA tally was reduced to 10 MPs. It is a pity that Sumanthiran couldn’t gain the leadership of the ITAK at a keenly contested election in January this year. Jaffna District lawmaker Sivagnanam Sritharan secured 184 votes while M.A. Sumanthiran obtained 137 votes.
Let us get back to MP Sumanthiran’s appearance on stage in Jaffna with President Wickremesinghe last week. During his brief statement, the President’s Counsel made reference to the LTTE-TNA boycott of the 2005 Presidential Poll that caused Wickremesinghe’s defeat, Mahinda Rajapaksa’s election and the unthinkable annihilation of the LTTE. The Presidential Media Division (PMD) quoted Sumanthiran as having told the gathering: “It is possible that the challenges in the North may have impeded your journey in 2005, a fact that I believe is now regretfully acknowledged by the people of the region.”
In the wake of a minor commotion over MP Sumanthiran’s appearance on stage with Wickremesinghe, the PC tweeted that his attendance at the state functions in his electorate shouldn’t be considered as an endorsement of the UNP leader’s candidature at the forthcoming Presidential Poll. The Jaffna District MP’s tweet is irrelevant. His declaration pertaining to the 2005 Presidential Poll clearly meant his support for Wickremesinghe.
The bottom line is that if not for that strategic mistake made by the LTTE and TNA in 2005, they could have achieved military superiority in the North after the then expected UNP victory as Wickremesinghe hardly making even a whimper against the LTTE. MP Sumanthiran’s politically charged statement in Jaffna should be examined also taking into consideration two key developments-in April 2003 (LTTE quit negotiating table) and January 2010 (backed General Fonseka).
The TNA could have used the opportunity to reach a consensus with President Rajapaksa if the party at least adopted a neutral stance. Instead, the TNA joined with the UNP and the JVP to defeat President Rajapaksa, thereby causing a lot of hostility. Backing Fonseka also dealt a severe blow to the TNA’s credibility in the backdrop of war crimes accusations directed at the Army.
GR meets Sampanthan at India House
Sumanthiran cannot be unaware of an attempt made by India in 2011 to work out an arrangement between President Rajapaksa’s government and the TNA.
TNA leader R. Sampanthan has been keen to normalize relations between his party and the government. The veteran politician appeared to have felt that such an arrangement could have helped his community and sought Indian intervention. But a section of the party sabotaged that effort, thereby undermining reconciliatory moves.
Following an incident at Alaveddi that had been staged by the group opposed to Sampanthan’s bid, an angry Defence Secretary Gotabaya Rajapaksa told the writer of a hitherto unreported meeting between him and Sampanthan at India House on June 08, 2011. The meeting that had taken place in the presence of the then Indian High Commissioner Ashok Kantha could have facilitated post-war reconciliation.
Pointing out that the June 16 incident at Alaveddi was meant to harm reconciliatory moves, Gotabaya Rajapaksa said that unwarranted interventions made by various interested parties, including the US, caused complications (GR alleges TNA split over Sampanthan’s reconciliation move with strapline ‘TNA pressured US State Department, several diplomatic missions to take up Alaveddi issue’ in the June 20, 2011 edition of The Island.
Recently SJB MP Mano Ganesan attacked TNA over what he called its post-war honeymoon with the government. A comprehensive post-war examination of political developments, commencing with the formation of the TNA at the behest of the LTTE, is necessary to comprehend the situation today.
The arrest of four persons in February 2017 during the Yahapalana administration, over an alleged attempt on Sumanthiran’s life, underscores the need for a wider examination of developments. The suspects held under Prevention of Terrorism Act (PTA) were granted bail in Oct 2022.
During that administration, the TNA played quite an important role with Sampanthan receiving the Opposition Leader’s post though his party had only 16 seats, including two NL slots whereas the breakaway UPFA faction comprised over 50 MPs. But, Yahapalana bosses decided in favour of TNA. In return, the TNA helped thwart President Maithripala Sirisena’s bid to form a new government under the premiership of Mahinda Rajapaksa. Formed in late Oct 2018, the Sirisena-Rajapaksa effort collapsed in 52 days. Sumanthiran played a significant role in the counter attack in support of ousted Wickremesinghe, who continued to insist he was the Premier regardless of the appointment made by Sirisena. Finally, the SC ruled in favour of Wickremesinghe. The rest is history. However, in the wake of 2019 Easter Sunday carnage, MP Sumanthiran said something which he shouldn’t have said under any circumstances. Addressing the first anniversary event of the political weekly ‘Annidha’ on April 29, 2019 at the BMICH, the TNA spokesman justified the heinous crime. He warned of dire consequences unless the government addressed the grievances of the minorities.
Sumanthiran is best remembered for his role in working out a tripartite agreement on a hybrid war crimes court as announced in Washington in June 2016.
Political parties need to make a genuine effort to move forward. The post-war reconciliation wouldn’t be realistic until parties represented in Parliament stopped playing politics with the war. The Tamil community should accept the LTTE had ample opportunities to reach consensus with the Sinhala leadership, particularly Ranil Wickremesinghe, who pursued a strategy even at the expense of his political life. The LTTE’s cardinal sin or serious error of judgment was the April 2003 withdrawal from the Norway-led peace effort. That was meant to create an environment conducive for full scale war that the group felt could have been brought to a successful conclusion by it. The LTTE was certainly ready for war in August 2005. If not, Prabhakaran wouldn’t have ordered Foreign Minister Lakshman Kadirgamar’s assassination. Full scale war commenced exactly a year later and what was widely believed to be an invincible force collapsed within two years and 10 months. Had the military not taken the civilian factor into consideration, the LTTE could have been wiped out much earlier. The ICRC said so as revealed by WikiLeaks.
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