COLLETTE: Cartoon comment in the Observer following a ‘43 Group exhibition.
Everybody enjoyed Aubrey Collette’s work though he would not have satisfied every political aspiration. You turned to him for your reading of the day, originally in the Times of Ceylon, later in the Observer, and then as ‘Spur’ in a series he did for the Daily News as well. He gave a sharp edge to his drawing which, indeed, was capable of cutting deeply but never maliciously. Collette had the rare and splendid gift of observation: to remember a foible, to swiftly size up a characteristic, and enjoy having summed up the hapless one who had fortuitously wandered into his sights. To have been noticed by Collette was itself honour enough, and those who had been so distinguished by a portrait, as in Collette’s 1954 FACES – a collection of seventy-three pastel studies – soon bought them up, more for the immortality it conferred on them than for the fear of what their enemies might make of the caricatures. Collette very simply had the gift of showing some how others saw them, bestowing upon them the poet’s wish. You might have rejected these insights as subjective had you not yourself been drawn inevitably into the process of assessing the subject.
Jeevan Thiagarajah in Daily News, 25 March 2019, with this title“Slaves built Galle Fort” … …. with highlighting emphasis imposed by The Editor, Thuppahi
The topic of the piece today was triggered by a conversation with the current High Commissioner in Colombo from South Africa, Ruby Marks, who has also posted on her Facebook page this passage, “Calvin Gilfillan, Head of Die Kasteel, affirmed what we suspected-the Dutch conceptualized and supervised, but it was the labour of an estimated 15,000 Africans brought from Portuguese and Dutch colonies, that did the back breaking work of actually building the Fort and the other ones scattered across Sri Lanka.I was shocked by how little was known in Sri Lanka about this. I visited the cramped quarters where the slaves were kept, the dungeons where they were imprisoned, and the cemetery-now a car park where they were buried. And my heart wept.
Mannar Unbound is a photographic documentation of wildlife and archaeological ruins of Mannar. The book is the result of over five years of fieldwork stretching across various seasons during which places were visited and then revisited in order to get the perfect shot……………………. .Dec 16, 2018
Mannar is a sand island perched on a limestone base. The hydraulic pressure of the groundwater in the kulamskeeps the sea water from intruding. As significant areas of Mannar Island are targeted for mineral sand mining, working to a depth of 12 metres, the result will be widespread sea water intrusion which will then contaminate the groundwater supplies –promoting the destruction of agricultural livelihoods.
As a small child, Shreen Abdul Saroor remembers getting up before dawn with her father to spy on the masses of migratory birds that would visit her island. The birds were on their way down the Central Asian flyway — a migration path that crosses 30 countries from Siberia to the Indian Ocean. “We would hide somewhere and … we don’t make any noise,” Ms Saroor recalls. “[Then we’d watch] them coming and landing in the causeway areas and then catching fish and taking off as a huge group covering the entire sky.”
Thuppahi's Blog · This web site presents the interventions of MICHAEL ROBERTS in the public realm with reference to Sri Lankan political affairs. It will embrace the politics of cricket as well. ROBERTS was educated at St. Aloysius College in Galle and the universities of Peradeniya and Oxford. He taught History at Peradeniya University and Anthropology at Adelaide university. He is now retired and lives in Adelaide.