Aragalaya art: Preserve it for posterity
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Pic by Akila Jayawardana
Within weeks, the Aragalaya – the Sri Lankan youth-led protest movement, which began in early April this year, came to be seen as a symbol of unity and creativity, a siren call for political transformation. The people demanded accountability, honesty and transparency from their elected leaders. For the first time in living memory, a protest movement represented all segments of Sri Lankan society – they came from all ethnic groups and all walks of life.
In a country deeply divided along ethno-religious lines, multiple interfaith events were held in support of the cause. And Sri Lankans witnessed religion as it should be; a unifier and not a divider of people.
GotaGoGama – the Aragalaya protest hub at Galle Face became a hive of activity 24 hours a day. Sri Lankans from all parts of the country and from overseas visited the site to show solidarity as the call for political change resonated throughout the country. Dancers, poets, singers, actors and artists joined the protests using their art as a tool to convey the emotions of a peoples. Renowned dancer Upeka Chitrasena danced on the streets in support of the Aragalaya. The Samathai Drummers for Justice who came all the way from Batticaloa performed with their parais. The Workshop Players’ choir joined thousands in an open air rendition of “Do you hear the people sing” from Les Miserables.
“We brought in the art factor to the people’s struggle, introducing a new cultural dimension…” a local film director stated. The Teargas Cinema at GotaGoGama screened internationally recognised movies and documentaries followed by discussions and debate. GotaGoGama hosted a library, an art exhibition, musical shows, and functioned as a place of learning. A place where diversity was celebrated and became a source of inspiration. It enriched the experience of all those who visited.
In a short space of three months, a largely peaceful protest brought unimaginable political change – the resignation of the entire cabinet of ministers, the prime minister and eventually the president.
Organised mainly through posts on social media, the Aragalaya movement was hailed not just in Sri Lanka but in multiple countries. London-based actor Hiran Abeysekera dedicated his Laurence Oliver Best Actor Award for his role in Life of Pi on the West End, to the struggle and to Sri Lanka. Social media across the globe blew up with signs in support of the young Sri Lankans and what they had been able to achieve. “Sri Lanka is not in crisis, Sri Lankan protests are supposed to happen when you have corrupt governments” said an American TikToker. “Mad Respect” tweeted another. “The youth of Sri Lanka have set an example,” a South African social media personality noted. “Them boys in Sri Lanka, they are for real!” an African sports star asserted. “GO Sri Lankaaaa” a Bangladeshi exclaimed. “Sri Lanka allows protests, the iron fist doesn’t,” claimed a youth from Russia on social media.
“You messed with the wrong generation!” one of the rallying cries of the Sri Lankan protest was taken up by youth in many other countries in support.
Once a creative ground now devoid of all art and sculpture. Pix by Angeline Ondaatje
Protest art has the ability to inspire generations and throughout history has acted as an important tool to raise awareness and form social consciousness. Take Guernica, Pablo Picasso’s 1937 oil – one of the most powerful anti-war paintings for all time. ‘O Joquo Bonito’ (the beauti- ful game), created by the Brazilian street artist Paulo Ito depicts a crying boy with nothing on his plate but a football, capturing the mood of a nation aghast at the money spent on the FIFA football games. Chinese contemporary artist Ai WeiWei, describes his art projects as his personal rebellion against authorities that disregard the freedoms of the citizens they claim to protect.
A recent New York Metropolitan Museum of Art exhibition investigated the role art has played in revolutions, protests, and social activist movements from the 18th century to the present. It questioned why protest art is often not considered “art” by the literati.
It was saddening but inspiring to watch artist Sujith Rathnayake create art from the ashes of his work that had been burned the day before. And through his creativity continue to challenge the system. Indeed looking back, the Aragalaya may have been one of the most momentous and defining events in our history. Something for all Sri Lankans to be proud of, and its memory to be preserved for generations to come.
And yet, we must ask, what remains? Not just metaphorically but also rhetorically, what is left of the art, the music, the dance, the books? Where did it go?
Why didn’t we –as a people – insist on the events being captured and preserved by our museums, our art galleries, our cinemas? Why didn’t our leaders believe that this would have been an inspiring local and foreign tourist attraction? Why were we in such a hurry to “clear the site” that had inspired thousands, burn the art, break down the library, cart it away in garbage trucks? Why was GotaGoGama treated as if it was something to be ashamed of, even though most Sri Lankans had never been more proud?
The expression of peaceful dissent using art, sculpture, music, dance and parades is what made this movement distinctive and drew many of us to Galle Face, and why it was sustained for over 100 days. We need to preserve it as a demonstration of the best of our Sri Lankan spirit in the worst of times.
We as private citizens, call on the government, private citizens, the corporate sector, and the Museum of Modern and Contemporary Art, to protect and preserve what is left of the art inspired by this significant movement in Sri Lankan history. If not for us, then for future generations. For posterity.
Samantha de Silva and
Angeline Ondaatje
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