Messenger - 2013 His Excellency Oswald Gomis, and Msgr
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POPULAR LIST 1.ABA RUK SAVANALLY 2.Adara Madura
POPULAR LIST 1.ABA RUK SAVANALLY 2.Adara Madura Athethay 3.ADARA MAL PAVANE 5.AIY NAVEY 6.ANNA SUDO 7.Anndha Sagaray 8.Asoka mal mala 9.BILDA NALAVAY 10.CHANDRMEY RA PAYA 11.DANNA PRIYE 12.DASA RIDANAVA 13.DILEEPA PODI PUTHU 14.DINAKA ME NADI 15.DURA KATHANAKIN 16.EDA RAA 17.Egodath Megodath 18.GAGAVAY MAHA MHUDA 19.GIYAKIN KESY 20.Hethay Irsha Hanga 21.JEVANYE MEE VANYE 22.Kakiri Palena 23.KAL;AK AVAMAN 24.KALAK THISSE 25.KESYE KIYANADA 26.KIMADA NAVAY 27.KIMADA SUMI HIRIYE 28.Kodi Ga Yata 29.MA ITHIN YANNA 30.MABALA KALLE 31.MAGE SUDU MAME 32.MAL BARA HIMDIRIYE 33.Mal Hegena 34.MANA MALI 35.MAVINDA VADANAVA 36.May Mayi Gaha 37.May Mayi Gaha 38.MEE PIRUNU 39.MEE VADAYAKI 40.MEEDUM GALA KANNDE 41.MHA DANATHI VANA BABARA 42.MHUDU RALLA OSSE 43.MINI KINKINI 44.MULADI BANDA 45.OBA MASATHU VAYY 46.OBA NIDANNA 47.PAYA AIY HINAHANNE 48.PIYAMHI PANI BOTHI 49.RA THRAKA OO 50.RUVAN PURAYA 51.SADA MODU VALA 52.SADA VATA RAN THRU 53.SADAY THARUY 54.SADE SADUN 55.SAEREY PIPASEY 56.SHINA LOVE 57.Shinen Oba Mata 58.SODURU LOVATA 59.SUDU PATA MHIDUM 60.SULAGE PAVEE 61.SULAN KURULLO 62.Sulan Ralla Say 63.SURAGANA VASA VALA 64.SURAGANA VASA VALA KAROKE FROM DVD'S 1.ADARA MAL PAWEENE 2.ADHA WEYI IRUDENA 3.AHA NEELA WARAL PERALA 4.AWASARA NATHA MATA-R 5.DASA WEEDHALA 6.DAWASAK THEEWAVI 7.DENEKA RAN SALU PALANDHA 8.DHASAK MAL PIPELHA 9.DOLOS MAHE PAHANA 10.DONA KATHIREENA 11.DOTIN DOTHI 12.EGODA GODAY MAL 13.ELA DOLHA PERUNA 14.ERA PAYA 15.ETHA EPITA AKASAY 16.GEVEETHE PRITHI SANSARAY 17.GEYA KIYA DAMALA 18.HADAPATULAY 19.HANDANA EPHA DAN 20.HANIKA YAMAN -
An Overview About Different Sources of Popular Sinhala Songs
AN OVERVIEW ABOUT DIFFERENT SOURCES OF POPULAR SINHALA SONGS Nishadi Meddegoda Abstract Music is considered to be one of the most complex among the fine arts. Although various scholars have given different opinions about the origin of music, the historical perspectives reveal that this art, made by mankind on account of various social needs and occasions, has gradually developed along with every community. It is a well-known fact that any fine art, whether it is painting, sculpture, dance or music, is interrelated with communal life and its history starts with society. Art is forever changing and that change comes along with the change in those societies. This paper looks into the different sources of contemporary popular Sinhala songs without implying a strict border between Sinhala and non-Sinhala beyond the language used. Sources, created throughout history, deliver not only a steady stream of ideas. They are also often converted into labels and icons for specific features within a given society. The consideration of popularity as an economic reasoning and popularity as an aesthetic pattern makes it possible to look at the different important sources using multiple perspectives and initiating a wider discussion that overcomes narrow national definitions. It delivers an overview which should not be taken as an absolute repertoire of sources but as an open pathway for further explorations. Keywords Popular song, Sinhala culture, Nurthi, Nadagam, Sarala Gee INTRODUCTION Previous studies of music have revealed that first serious discussions and analyses of music emerged in Sri Lanka with the focus on so-called tribal tunes. The tunes of tribes who lived in stone caves of Sri Lanka have got special attention of scholars worldwide since they were believed of being some of the few “unchanged original” tunes. -
Tourist Drivers / Assistants Who Obtained the Covid-19 Tourism
Tourist Drivers / Assistants who Obtained the Covid-19 Tourism Operational Guidelines Awareness and Knowledge under the Supervision of Sri Lanka Tourism Development Authority Published by Sri Lanka Tourism Development Authority Serial No. Name. Category Contact Number 1 SLTDA/CAS/1427 W.Prabagaran Tourist Driver O77 6 676 338 2 SLTDA/CAS/2308 G.H.Janaka Saman Tourist Driver 0785 947 538 3 SLTDA/CAS/2053 S D Gamini Senarath Tourist Driver 078 9 568 862 4 SLTDA/CAS/1296 S.M.J.N.Suriyagoda Tourist Driver 078 8 882 727 5 SLTDA/CAS/2482 Weerasingha Arachchige Ranesh Lakmal Tourist Driver 078 8 765 392 6 SLTDA/CAS/2498 W.K.S.Fernando Tourist Driver 078 8 015 003 7 SLTDA/CAS/2395 M.P.champika Janadara Van Driver 078 7 064 026 8 SLTDA/CAS/1615 R.M.C.T.Ratnayake Tourist Driver 078 7 050 777 9 SLTDA/CAS/3387 M.F.M.Ruhaib Tourist Driver 078 6 432 303 10 SLTDA/CAS/2256 S.V.L Senavirathna. Tourist Driver 078 6 293 632 11 SLTDA/CAS/2655 W.W.Prasanna Pathmakumara Mendis Tourist Driver 078 5 701 701 12 SLTDA/CAS/3247 Mohamed Riyas Tourist Driver 078 5 628 648 13 SLTDA/CAS/2667 Ross Pereira Tourist Driver 078 5 624 327 14 SLTDA/CAS/3038 P.P.E.Wijayaweera Tourist Driver 078 5 365 827 15 SLTDA/CAS/2010 Anthonidura Prasal Nilujpriya De Silva Tourist Driver 078 5 014 088 16 SLTDA/CAS/2798 A.W.R.S.D.M.R. Upali Baminiwatta Tourist Driver 078 4 977 373 17 SLTDA/CAS/2169 D.V.Dewin De Silva Tourist Driver 078 4 451396 18 SLTDA/CAS/1125 R.P.S.Priyantha Tourist Driver 078 3 565 371 19 SLTDA/CAS/1382 B.G.S.Jayatissa Tourist Driver 078 1 784 651 20 SLTDA/CAS/3141 -
Survey of Fishing Effort for Sri Lankan Blue Swimming Crab in the Northwest and Northern Coast of Sri Lanka and Development of a Management Plan
ii BOBLME-2015-Ecology-62 The designations employed and the presentation of material in this publication do not imply the expression of any opinion whatsoever on the part of Food and Agriculture Organization of the United Nations concerning the legal and development status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The BOBLME Project encourages the use of this report for study, research, news reporting, criticism or review. Selected passages, tables or diagrams may be reproduced for such purposes provided acknowledgment of the source is included. Major extracts or the entire document may not be reproduced by any process without the written permission of the BOBLME Project Regional Coordinator. BOBLME contract: LOA/RAP/2015/06 For bibliographic purposes, please reference this publication as: BOBLME (2015) Survey of fishing effort for Sri Lankan blue swimming crab and development of a management plan. BOBLME-2015-Ecology-62 ii Technical report on Survey of fishing effort for Sri Lankan blue swimming crab in the Northwest and Northern coast of Sri Lanka and development of a management plan November 2015 Department of Fisheries and Aquatic Resources New Secretariat, Maligawatte, Colombo 10, Sri Lanka iii Survey of fishing effort for Sri Lankan blue swimming crab and development of a management plan Table of contents 1. Introduction ................................................................................................................................. -
Western Music
Western Music Grade - 13 Teacher’s Instructional Manual (This syllabus would be implemented from 2010) Department of Aesthetic Education National Institute of Education Maharagama FOREWORD Curriculum developers of the NIE were able to introduce Competency Based Learning and Teaching curricula for grades 6 and 10 in 2007 and were also able to extend it to 7,8 and 11 progressively every year and even to GCE (A/L) classes in 2009. In the same manner syllabi and Teacher's Instructional Manuals for grades 12 and 13 for different subjects with competencies and competency levels that should be developed in students are presented descriptively. Information given on each subject will immensely help the teachers to prepare for the Learning - Teaching situations. I would like to mention that curriculum developers have followed a different approach when preparing Teacher's Instructional Manuals for Advanced Level subjects when compared to the approaches they followed in preparing Junior Secondary and Senior Secondary curricula. (Grades 10,11) In grades 6, 7, 8, 9, 10 and 11 teachers were oriented to a given format as to how they should handel the subject matter in the Learning - Teaching process, but in designing AL syllabi and Teacher's Instructional Manuals freedom is given to the teachres to work as they wish. At this level we expect teachers to use a suitable learning method form the suggested learning methods given in the Teacher's Instructional Manuals to develop competencies and competency levels relevant to each lesson or lesson unit. Whatever the trarning approach the teacher uses it should be done effectively and satisfactorily to realize the expected competencies and competency levels. -
Acknowledgments
acknowledgments I wish to acknowledge the support of the individuals and institutions that helped me to complete this project. At Wesleyan University my adviser Mark Slobin at- tentively guided this project from its inception, constructively criticized my writ- ing, and helped me clarify my thoughts. B. Balasubrahmaniyan and David Nelson mentored me from my first day as a graduate student. Andrew Colwell, Sarah-Jane Ripa, Amanda Scherbenske, Pete Steele, and Shoko Yamamuro put smiles on my face. Aaron Paige, my brother in a previous life, supported me in a myriad of ways for which I can never repay. Krishna Winston painstakingly edited my fellowship proposals. When I was bringing this project to a close, she again offered dynamic emendations and suggestions. I thank the U.S. Department of Education for granting me a Fulbright-Hays award. The award enabled me to complete two unforgettable years of research in Sri Lanka. In Sri Lanka Sandagomi Coperahewa engaged me in lively discus- sion, shared hard-to-locate resources, and provided opportunities to present my research at the University of Colombo at a Sinhala Studies Seminar and a seminar for the Centre for Contemporary Indian Studies. At the American Institute for Sri Lankan Studies, Ira Unamboowe, Deepthi Guneratne, M. de. S. Weerasooriya, and Lorette Weeraratna assisted me in my research and shared in much amusement. The Ranasinghes were sources of great hospitality, warmth, and friendship. Also in Sri Lanka, Praneeth Abeysundara, Ranjana Amaradeva, W. D. Amaradeva, Sunil Ariyaratne, Dhammika Dissanayake, Mudiyanse Dissanayake, Ranjit Pranandu, Nishoka Sanduruwan, and Ratnasri Wijesinghe patiently an- swered my questions. -
Construction Craftsman(Masonry).Pdf
TEMPARARY REGISTRATION OF CONSTRUCTION CRAFTSMAN AS AT 27.11.2020-NON NVQ SE. NO. DISTRICT NIC NO. NAME ADDRESS TELEPHONE CIDA HOME MOBILE REFERANCE NO. AMPARA 1 195709503478 K.UTHAYAKUMAR K.UTHAYAKUMAR PILLAIYAR KOVIL ROAD NATPIDDIMUNAIKALMUNAI - 01 0765358150 CIDA/SCC/8785 2 196114703184 T. PADMANATHAN NO. 305D PILLAIYAR KOVIL ROAD NATPIDDIMUNAIKALMUANAI - 02 1C 0771173851 CIDA/SCC/6908 3 196701204258 U.D.DHARMASENA 27/06,KETHSIRIGAMA KOKNAHARA AMPARA 0714902769 CIDA/SCC/2864 4 196711301487 S.M.ABERATHNA NO.108E NAWINNA PADIYATHALAWA 0722955400 CIDA/SCC/2500 5 196800503502 A.NITHIYANANTHARAJA A.NITHIYANANTHARAJA G.P.S.ROAD KALMUNAI - 1D 0777858145 CIDA/SCC/10103 6 196936510014 K.P.A.NANDASIRI DA SILVA233/C 50 MILE POST KEHELULLA PADIYATHALAWA 0779404148 CIDA/SCC/2488 7 19711320279 S. THASLEEN NO. 715A NEW THOMPAR ROADSAINTHAMARUTHU 17 0778327935 CIDA/SCC/6897 8 197113202795 S.THASLEAN NO.715A NEW THOMPAR ROAD SAINTHAMARUDHU - 17 0778327935 CIDA/SCC/8743 9 197320702730 S.MOWRUP NO.101/B KOVIL ROAD NINTHAVUR - 07 0754835426 CIDA/SCC/10027 10 197327402524 Y.T.M.ANSHAR NO.85A AL MASLAM ROAD NINTHAVUR - 07 0776144303 CIDA/SCC/10028 11 197331901449 M.SURESH NO.130/1A THOMPUTHAR ROAD PANDIYIRUPPU - 01KALMUNAI 0756807132 CIDA/SCC/8790 12 197412204402 M.NASAR NO.167/A G.M.M.S.ROAD SAINTHAMARUTHU - 10 0775152545 CIDA/SCC/10036 13 197534503520 R.D.GUNARATHNA 291,GALKANDA DEWALAHIDA AMPARA 0756389922 CIDA/SCC/2469 14 197626004086 NO126, LAKPADURA, DEHIATHTHAKANDIYA 0711078091 CIDA/SCC/7723 15 197713410035 V. ARUMUGAM B5/F/7 ISLAMIC RELEEF APPERTMENT PERIYANEELAVANAIKALMUNAI 1B 0757519782 CIDA/SCC/6933 16 197815803456 H A CHAMINDA KUMARA NO.966/72/1 DIYAWIDDAGAMA HAWAMEDAGAMA 0762154320 CIDA/SCC/12231 17 197825501116 N.KARUNAHARAN N.KARUNAHARAN SILAGURU ROAD PERIYANEELAVANAI - 01A CIDA/SCC/8823 18 197833601833 H.M.AJITH BANDARA NO.50/A KEHELULLA PADIYATHALAWA 0713169951 CIDA/SCC/2493 19 197836304040 A. -
The Regional Nationalism of Rapiyel Tennakoon's Bat Language and Sunil Santa's "Song for the Mother Tongue"
Commonalities of Creative Resistance Commonalities of Creative Resistance: The Regional Nationalism of Rapiyel Tennakoon's Bat Language and Sunil Santa's "Song for the Mother Tongue" Abstract This article highlights commonalities of regional nationalism between the poetry and song of two Hela Havula (The Pure Sinhala Fraternity) members: Rapiyel Tennakoon and Sunil Santha. I reveal how their creative works advocated indigenous empowerment in opposition to Indian cultural hegemony, and against state solicitations for foreign consultation about Sinhala language planning and Sinhalese music development. Tennakoon challenged the negative portrayal of Sri Lankan characters in the Indian epic, the Ramayana, and Santa fashioned a Sri Lankan form of song that could stand autonomous from Indian musical influence. Tennakoon lashed out against the Sinhala-language dictionary office's hire of German professor Wilhelm Geiger as consultant, and Santa quit Radio Ceylon in 1953 when the station appealed to Professor S.N. Ratanjankar, from North India, for advice on designing a national form of Sri Lankan music. Such dissent betrays an effort to define the nation not in relation to the West, but to explicitly position it in relation to India. A study of Tennekoon's and Santa's careers and compositions supplement the many works that focus on how native elite in South Asia fashioned a modern national culture in relation to the West, with an awareness of the regional nationalist, non-elite communities—who also had a stake in defining the nation— that were struggling against inter-South Asian cultural hegemony. Keywords: Regional nationalism; Sinhala poetry; Sinhala music; Linguistic politics; Song text; Modernist reforms. -
Asian-European Music Research
ASIAN-EUROPEAN MUSIC RESEARCH E-JOURNAL No. 3 (Summer 2019) ISSN 2625-378X COTTBUS/BERLIN: WENDISCHER VERLAG ASIAN-EUROPEAN MUSIC RESEARCH E-JOURNAL SPECIAL PRINT No. 3 (Summer 2019) ISSN 2625-378X COTTBUS/BERLIN: WENDISCHER VERLAG AEMR-EJ Editor Xiao Mei, Shanghai Conservatory of Music, [email protected] Reviews Editors Tan Hwee San, SOAS, [email protected] Chuen-Fung Wong, Macalester College, [email protected] Send books, films, links and other materials for review to: Tan Hwee San, Chuen-Fung Wong, Gisa Jähnichen, Xiao Mei Co-Editor Gisa Jähnichen, Shanghai Conservatory of Music [email protected] Editorial Board • Ako Mashino (Dr., Tokyo University of the Arts, Japan) [email protected] • Alexander Djumaev (Dr., Union of Composers of Uzbekistan) [email protected] • Chinthaka P. Meddegoda (Dr., UVPA, Colombo, Sri Lanka) [email protected] • Chow Ow Wei (Dr., Putra University, Malaysia) [email protected] • Earl Jimenez (MA, Philippine Women’s University, Philippines) [email protected] • Esbjörn Wettermark (Dr., Office for Cultural Development Gävleborg, Sweden) [email protected] • Helen Rees (Prof. Dr., UCLA, USA) [email protected] • Liu Hong (Dr., Shanghai Conservatory of Music, China) [email protected] • Xu Xin (Dr., China Conservatory of Music, Beijing, China) [email protected] • Razia Sultanova (Dr., Cambridge University, UK) [email protected] • Tan Shzr Ee (Dr., Royal Holloway, University of London, UK) [email protected] Asian-European Music Research Journal is a peer-reviewed academic journal that publishes scholarship on traditional and popular musics and field work research, and on recent issues and debates in Asian and European communities. -
Remembering Rabindranath Tagore Volume
Remembering Rabindranath Tagore 150th Birth Anniversary Commemorative Volume Compiled and edited by Sandagomi Coperahewa University of Colombo High Commission of India, Colombo Indian Cultural Centre, Colombo India-Sri Lanka Foundation, Colombo University of Colombo Cover Portrait of Tagore taken while he was in Sri Lanka in 1934. Courtesy : Rabindra Bhavana, Santiniketan. Views expressed in the articles are those of the contributors and not necessarily of the High Commission of India, the Indian Cultural Centre and the University of Colombo. Published by University of Colombo 2011 Printer Softwave Printing & Packaging (Pvt) Ltd. 107 D, Havelock Road, Colombo 05. Contents Message from His Excellency the President of the Democratic Socialist Republic of Sri Lanka Message from His Excellency the High Commissioner of India Message from the Vice Chancellor, University of Colombo Introduction Page 1. Tagore and Sri Lanka: The Highlights of an Abiding Relationship 01 K.N.O. Dharmadasa 2. “ The Inside Story” : Gender and Modernity in Chokher Bali 08 Radha Chakaravarty 3. A South Asian Alter-realism: Tagore's Art of Short Story (in Sinhala) 15 Liyanage Amarakeerti 4. The Musical Journey of Rabindranath Tagore 32 Reba Som 5. An Insight into the Impact of Rabindranath Tagore on Sinhala Art 39 and Music Sunil Ariyaratne 6. Bengali Renaissance, Tagore and Sri Lanka (in Sinhala) 48 Chintaka Ranasinghe 7. Nationalism and National Freedom: Tagore’s Perspective 71 Nirosha Paranavitana 8. Modern Sinhala Literary Arts Discourse and 81 Rabindranath Tagore (in Sinhala) Sarath Wijesooriya 9. Philosophy of Humanistic Universalism of Rabindranath Tagore 91 (in Tamil) Mallika Rajaratnam 10. Educational Thoughts of Tagore (in Sinhala) 97 Piyal Somaratne 11. -
Parliamentary Election 2020
N.B. - ThisI Extraordinary fldgi ( ^I& GazettefPoh -is YS%printed ,xld in m%cd;dka;s%l Sinhala, Tamil iudcjd§ and English ckrcfha Languages w;s separately. úfYI .eiÜ m;%h - 2020'06'09 1 A PART I : SEC. (I) - GAZETTE EXTRAORDINARY OF THE DEMOCRATIC SOCIALIST REPUBLIC OF SRI LANKA - 09.06.2020 Y%S ,xld m%cd;dka;%sl iudcjd§ ckrcfha .eiÜ m;%h w;s úfYI The Gazette of the Democratic Socialist Republic of Sri Lanka EXTRAORDINARY wxl 2179$7 - 2020 cqks ui 09 jeks w`.yrejdod - 2020'06'09 No. 2179/7 - TUESDAY, JUNE 09, 2020 (Published by Authority) PART I : SECTION (I) — GENERAL Government Notifications THE PARLIAMENTARY ELECTIONS ACT, No. 1 OF 1981 Notice Under Section 24(1) (b) and (d) GENERAL ELECTIONS OF MEMBERS OF THE PARLIAMENT WITH REFERENCE TO THE NOTICE NO. 2167/12 DATED 20.03.2020 ISSUED BY THE ELECTION COMMISSION NOTICE is hereby given under Section 24(1) (b) and (d) of the Parliamentary Elections Act, No. 1 of 1981 that – (I) the order in which the name of each recognized Political Party and the distinguishing number of each Independent Group and the symbol allotted to each such Party or Group appearing in the ballot paper of each such Electoral District shall be in the same order as given in the Schedule hereto ; and the names of candidates (as indicated by the candidates) of each recognized Political Party or Independent Group, placed in alphabetical order in accordance with the Sinhala alphabet, nominated for election as Members of Parliament from each such Electoral District and the preferential number assigned to each candidate, are as specified in the Schedule hereto ; (II) the situation of the polling station or stations for each of the polling districts in each such Electoral District, and the particular polling stations reserved for female voters, if any, are as specified in the Schedule hereto. -
Brothers of the Pure Sinhala Fraternity
2 Brothers of the Pure Sinhala Fraternity “By my reading, anticolonial nationalism creates its own domain of sovereignty within colonial society well before it begins its political battle with the imperial power,” writes Partha Chatterjee in The Nation and Its Fragments: Colonial and Post- colonial Histories. Before persons form anticolonial political movements, native in- tellectuals carve out unique spaces that Chatterjee designates the “inner domain.” The inner domain is a realm of authentic culture that native intellectuals imagine to remain untouched by colonialism.1 One of the main contributions of Chatterjee’s theory is the way it assigns a new starting place—cultural reform—for conventional histories of colonial-era nationalism, histories that customarily begin with narra- tives about anticolonial movements and battle with the imperial power. I accept the premise of the inner domain but disagree with the emphasis Chatter- jee places on intellectuals of colonized nations who create inner domains in relation to Western hegemony. Chatterjee focuses on Bengali cultural nationalism and its complex interaction with Western culture. But he considers Bengal, the metropolis of the British Raj, to be representative of colonized nations.2 In this chapter I con- tinue to explore the colonial period but focus on an alternative school of scholars, poets, and songwriters to reveal how one cultural movement in Sri Lanka sought to define the nation, not in relation to the West but in opposition to North India. THE LINGUISTIC PURISM OF MUNIDASA CUMARATUNGA By the early twentieth century, native elites throughout South Asia had begun to consider their language as a spiritually unifying marker of cultural identity.