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With the 1983, i lost being a sinhalese and a buddhist. because the sinhalese and buddhists could do this kind of this much of violence to some innocent people. so clearly in your work, you ve been very much a loud critic of state violence, as you put it, against the tamil community and it s led perhaps to a growing isolation for you from your own sinhalese community. i mean, has it given you a kind of crisis of identity? yes, it is. it is. like, you know, but you see, what we did was then we made up a collective of artists. we kind of buttressed ourselves in this artist collective called theertha, which lalith manage, that you referred to, was part of it. so we made our own world, you know, to deal with this. and lalith manage says ....
So clearly in your work, you ve been very much a loud critic of state violence, as you put it, against the tamil community and it s led perhaps to a growing isolation for you from your own sinhalese community. i mean, has it given you a kind of crisis of identity? yes, it is. it is. like, you know, but you see, what we did was then we made up a collective of artists. we kind of buttressed ourselves in this artist collective called theertha, which lalith manage, that you referred to, was part of it. so we made our own world, you know, to deal with this. and lalith manage says about the arts collective that you, and i quote, wanted to drive home the point that the political and the religious connection is problematic and undesirable to the nation. yes. ....
Yeah. but it s notjust sri lanka s past, it s a particularly bloody past that you choose to focus on. why? that is what i call the history of the present. you know, we have a long history coming from, like, fifth century bc, and, you know, there s this great history of sri lanka or south asia. but the 20th century history is i call the history of the present, which is.defines myself and my art and my thinking. lalith manage, who is co director of an arts collective which you helped co found, says, you cannot talk about weerasinghe s work without talking about the history of the land. but can you only create your best art through that terrible lived experience of sri lanka? what about using the power of the imagination to create positive works of art? you know what? you see, i m a buddhist, sri lankan, born and bred here, went to a buddhist school ....
Why? that is what i call the history of the present. you know, we have a long history coming from, like, fifth century bc, and, you know, there s this great history of sri lanka or south asia. but the 20th century history is i call the history of the present, which is.defines myself and my art and my thinking. lalith manage, who is co director of an arts collective which you helped co found, says, you cannot talk about weerasinghe s work without talking about the history of the land. but can you only create your best art through that terrible lived experience of sri lanka? what about using the power of the imagination to create positive works of art? you know what? you see, i m a buddhist, sri lankan, born and bred here, went to a buddhist school and my parents were buddhist ....
A sinhalese and a buddhist. because the sinhalese and buddhists could do this kind of this much of violence to some innocent people. so clearly in your work, you ve been very much a loud critic of state violence, as you put it, against the tamil community and it s led perhaps to a growing isolation for you from your own sinhalese community. i mean, has it given you a kind of crisis of identity? yes, it is. it is. like, you know, but you see, what we did was then we made up a collective of artists. we kind of buttressed ourselves in this artist collective called theertha, which lalith manage, that you referred to, was part of it. so we made our own world, you know, to deal with this. and lalith manage says about the arts collective that you, and i quote, wanted to drive home the point that the political and the religious connection is problematic and ....