Malaka Dewapriya

Malaka Dewapriya
Born
Grardhiwasam Lindamulage Malaka Dewapriya

Colombo
NationalitySri Lanka Sri Lankan
Other namesMalaka Devapriya, Mālaka Dēvapriya
EducationBA (2005) MFA (2009)
Alma materAkademie Schloss Solitude, University of Colombo, Ananda College
Occupation(s)film maker and visual artist
Known forvisual arts and film
Notes

Malaka Dewapriya (Sinhala: මාලක දේවප්‍රිය, IPA: [maːləkə deːʋaprijə])[1] is a Sri Lankan film maker, visual artist, Sinhala Radio Play writer, short film and video director.[2][5]

Biography

Born in Sri Lanka, Malaka Dewapriya earned his BA (Special) from the University of Colombo in 2005.[2][4][6] Following graduation, he was awarded the prestigious Baden-Württemberg scholarship for Video/Film/New Media, which enabled him to pursue an academy program at Akademie Schloss Solitude in Stuttgart, Germany (2007–2008).[2][4][7] He was awarded the Asia Pacific Artists Fellowship,[8] supporting his short-term residency as a visiting artist at the GoYang Art Studio—part of,National Museum of Contemporary Art in Seoul, South Korea, from 2008–2009 ("5th period", "no. 671").[5]

Dewapriya’s artistic journey began in theatre, where he started performing, writing, and directing short plays as early as 1989.[4] Over the years, his practice has evolved into a richly interdisciplinary one, encompassing film, photography, theatre, and radio drama.[9]

Dewapriya holds the distinction of being the first filmmaker in the history of Sri Lankan cinema to present a film internationally as a student director.[2][4]

An interdisciplinary artist working across audio and visual media, Dewapriya is deeply committed to revitalizing Sri Lankan radio drama through alternative platforms. His oeuvre includes a range of innovative productions that challenge conventional aesthetics and seek to re-engage public audiences with the expressive potential of sound-based storytelling.

Critics have hailed his debut feature, Bahuchithawadiya (The Undecided) , as the fourth turning point in Sri Lankan cinema, citing its conceptual boldness, its innovative use of visual and sonic narrative that departs from traditional forms, and its philosophical portrayal of social life.[4]

Beyond his creative output, Dewapriya has played a vital role in shaping Sri Lanka’s cultural landscape.

Short films experience

Dewapriya emerged onto the Sri Lankan cinematic landscape as a pioneering student filmmaker. His early short film Anxiety (Sammanaru) was awarded Best Film by the National Youth Services Council (NYSCO) Video Production team in 1998—an early testament to his bold aesthetic and thematic sensibilities. As a student of the acclaimed Sri Lankan filmmaker Dharmasena Pathiraja, Dewapriya carried forward a legacy of socially engaged cinema, though refracted through experimental forms and global dialogues. His short films have garnered international acclaim and played a vital role in re-establishing a culture of student short filmmaking in Sri Lanka. In 2004, while still an undergraduate at the University of Colombo, Dewapriya’s short film Life Circle (5:31) was selected for the juried competition at the 10th International Student Film Festival in Tel Aviv, Israel—held from 5 to 12 June.[1][10][11] According to Sunday Times, this marked the first time a Sri Lankan student film had been chosen for a recognised international film festival history of Cinema of Sri Lanka. The selection as a crucial moment for revitalising short film culture in Sri Lanka."[9] "This was the first time a Sri Lankan student's film was chosen in an internationally recognised festival.[12] And the selection was a big step to re-establish short film culture in Sri Lanka."[13][14][15]

Life Circle went on to be screened at numerous international venues, including the Chimera 25th Anniversary Digital Video Student Film Festival in New York, Cinestud International Student Film Festival in Amsterdam, and the Osian Cinefan Film Festival’s Talent Campus Forum in New Delhi(2004 and 2005).[16][17][18] His short experimental film Exchange, exploring "colonial Sri Lanka under the British rule", was presented under the auspices of the University of Colombo and became "The first Sri Lankan entry" at the Tokyo Short Shorts Film Festival in October 2004.[19] Screened under Program A: "Short Shorts: Ghost Short Shorts," the work showcased Dewapriya’s ability to interrogate historical memory through non-linear form and thematic fragmentation. [20]

In 2006, Dewapriya’s 30-minute short Transference received the "Silver TEN Award" in the Short Films category at the inaugural Mumbai, India, International Sport Movies & TV (FICTS) Festival.[2][21][22] The film was also selected for screening at the South Asia Film Festival New Delhi, the Berlin Asia Film Festival, and the Karafilm Festival in Karachi , consolidating his presence across key South Asian and European cinematic flatforms. [4][23]

Today, Another short film developed during his residency at Akademie Schloss Solitude in Stuttgart, Germany, was chosen for the final round of the CinemadaMare Film Festival in Italy in 2008, competing among over 150 directors in the semi-finals[13][24]

Dewapriya’s innovative engagement with the short film genre revitalized its cultural significance in Sri Lanka. Moving beyond its traditional framing as student work or marginal practice, he positioned short filmmaking as a distinct aesthetic form. Through technically sophisticated and socially attuned works, Dewapriya affirmed its potential for narrative complexity, public engagement, and media innovation.[25]

Filmography

Full Length Films

Year Title Credited as Notes
Directors Screenwriters Producers
2018 Bahuchithawadiya (The Undecided) Yes Yes Yes [26][27][28][29]

Bahuchithawadiya(The Undecided) has indeed stirred critical discourse as a landmark in Sri Lankan cinema. Critics have positioned it as the fourth major rupture in the cinematic tradition, following the stylistic and thematic shifts introduced by Lester James Peries, Dharmasena Pathiraja, and Asoka Handagama. Film has become a landmark in contemporary Sri Lankan cinema, igniting broad and multi-disciplinary critical discourse. The film has attracted sustained attention across traditional and digital media, inviting divergent readings on its aesthetic, ideological, and socio-political layers.This critical momentum has produced a rich body of commentary, with Thilak Kodagoda’s 350-page monograph, Ehima Sudumeli Pitapathak, emerging as a standout. His work offers a deep formal, symbolic, and contextual analysis, situating the film within the evolving landscape of Sri Lankan cinematic modernity.

Philosophical Depth: The film explores themes of alienation, desire, and the illusion of mobility. It’s not just about going abroad — it’s about the existential weight of being stuck in between, both socially and psychologically.

Conceptual Boldness: The film interrogates the fragmented psyche of post-war youth, especially those caught between economic precarity and digital escapism. The protagonist, Sasitha, embodies the “Bahuchithawadiya” — the undecided, multi-minded figure adrift in virtual and real worlds.

Narrative Innovation: Dewapriya blends realist and surrealist modes, using Facebook chats, Skype calls, and digital interfaces as narrative devices. This breaks from conventional linear storytelling and introduces a hybrid visual grammar.

Sonic and Visual Language: The use of cinematography creates a layered sensory experience that mirrors the protagonist’s fractured interiority.

Sound design incorporates: The film’s music and sound design incorporates ambient urban noise, digital glitches, and intimate voiceovers, crafting a sonic landscape that’s as disorienting as its central character.

International Recognition: The film premiered in the NETPAC (Network for the Promotion of Asia Pacific Cinema) in the competition section[30] competition section at the 40th Moscow International Film Festival 2018, where it was part of the “Discovery: Sri Lankan Cinema” showcase. It went on to win the Best Independent Film Award at The Best Independents International Filmfestival (BIIF) in Karlsruhe, Germany,[31] and received the Lester James Peries Special Jury Award for Debut Film at the 34th Sarasaviya Film Festival 2018. At the 8th SAARC Film Festival, it earned the Special Jury Award for Best Direction, with the jury praising its daring critique of Sri Lankan values through humour and accuracy. The film also won Best Film in the Cinema of Tomorrow 2017 category at the Derana Film Awards, and was screened at the 26th Love is Folly International Film Festival in Bulgaria.

Short films

Year Title Credited as Notes
Directors Screenwriters Producers
1998 Anxiety (short film) Yes Yes National Youth Services Council [13]
2002 Penetrate (short film) Yes Yes University of Colombo [13][20]
2003 Exchange (short film) Yes Yes University of Colombo [19][20]
2004 Life Circle (short film) Yes Yes University of Colombo [19][20]
2006 Transference (short film) Yes Yes University of Colombo [13][21][32][33][34][35]
2007 Today (short film) Yes Yes Akademie Schloss Solitude [13]
2008 Malte (short film) Yes Yes Akademie Schloss Solitude [13]

Radio Play experience

Since his school days, he has been a prolific writer of radio plays, many of which he submitted to the Sri Lanka Broadcasting Corporation (SLBC). In 1995, he passed SLBC’s audition and earned recognition as a qualified radio play performing artist. His creative output has yielded several published collections, including "Off with the Head (Uge Hisa Ivarai, 2005)", "May You Attain Comforts of Worldly Life in Japan (Nihon Sapa Labewa, 2012)", and "Balance Bareke Busheka Burul (Wobbly Bush in the Balance Bar, 2023)".[36][37][38][39] A landmark moment came in 2016 with the release of Kanata Parak (Earful of Visuals), a dual audio CD anthology of 14 radio plays that marked a radical aesthetic shift in Sri Lankan radio drama, redefining the sonic and narrative possibilities of the medium after nearly 90 years. Earful of Visuals has vocally contributed nearly 80 prominent Sinhala and Tamil artists. Featuring the vocal talents of Sinhala and Tamil artists, the project stands as a testament to collaborative artistry. It was funded by Artlink of FLICT (Facilitating Initiatives for Social Cohesion & Transformation), also known as GIZ, and presented by Contemporary Art Commune, amplifying its social resonance and cultural impact.[40][41][42]

Volume 1 [43]

  • I.Bashmanthara (between two mind) Sinhalese
  • II.Nihon Sepalebewa (May you attain comforts of worldly life in Japan) Sinhalese
  • III.Rangadena Kapuwo (Trickster Matchmakers) Sinhalese
  • IV.Alayaka Damanaya (Love Tamed) Sinhalese
  • V.Nawanalu Dahama (tele drama worlds order) Sinhalese
  • VII.Ore idaththil soolaludhal (stagnation) Tamil

Volume 2, [44]

Malaka Dewapriya’s pioneering contributions to Sri Lankan radio drama were formally recognized at the inaugural State Radio Awards Festival, held at the Nelum Pokuna Theater on 13 February 2017. Organized by the Ministry of Internal Affairs, North-Western Development and Cultural Affairs, in collaboration with the Department of Cultural Affairs and the State Advisory Board for Radio, the event marked a historic moment in the institutional acknowledgment of radio as a serious artistic medium. Dewapriya was honored with the Best Radio Drama Writer Award, affirming his role in revitalizing the genre through experimental form and socio-political critique.[45]

Two years later, at the Second State Radio Awards Festival on 12 February 2019, Dewapriya was once again celebrated—this time as Best Radio Drama Scriptwriter. The festival also recognized veteran performers Iranganie Serasinghe and Ramya Wanigasekara with special jury awards for their compelling performances in Dewapriya’s radio plays, underscoring the collaborative strength and aesthetic depth of his productions[46]

State Radio Awards

Year Nominee / work Award Result
2017 Rangadena Kapuwo (Trickster Matchmakers) Best Radio Play writer Won
2019 Indrajalika Magul Senakeli (Magical festival) Best Radio Play writer Won

Radio Play Controversy

Dewapriya was interrogated by the Police Organized Crimes Prevention Division (OCPD) for approximately four hours on October 17, 2019, for the second time, following a complaint about his radio dramas broadcast by ITN FM in 2018. .[47] The complaint had been lodged by a group of monks from the Buddhist Information Centre, led by Angulugalle Siri Jinananda monk.[48] They alleged that the titles of Dewapriya’s dramas were blasphemous distortions of Buddhist terminology. It appears that the content of these dramas sparked controversy and led to criminal proceedings against him, with a filed case number B/98930/01/18 under relevant Sections 291A and Section 291B of the Penal Code and the International Covenant on Civil and Political Rights Act (ICCPR Act) No. 56 of 2007.[49] The phrases “Tharuwan Saranai” and “Nihon Sapa Labewa,” a playful twist on commonly used phrases, were deemed offensive by those who interpreted them. However, the content of the radio dramas was far from religious. For instance, “Tharuwan Saranai” explored the public's obsession with superstars and reality shows, while “Nihon Sapa Labewa” satirized the consistent attempts of Sri Lankan youth to emigrate to Japan in search of greener pastures.[50] In response, Dewapriya filed a human rights petition under case number SC(F/R)No349/18 in the Supreme Court, claiming infringement of his fundamental rights (FR). This case was taken up in 2019 before a three-bench comprising their Lordships Justices S. Thureraja, E.A. G. R Amarasekara, and presided over by Chief Justice Jayantha Jayasuriya. However, the court refused to grant Leave to Proceed on 30 October 2019. Malaka Dewapriya’s creative work stirred controversy, leading to legal scrutiny. The International PEN organization [51][52] [53] and other social movements protested against the infringement on fundamental religious autonomy. Dewapriya’s commitment to defending his rights remains steadfast as he navigates the complexities of artistic expression and legal challenges in Sri Lanka.[54][55]

Theatre

He began his journey in stage drama as a child actor in 1989, marking the beginning of a vibrant and award-winning career in Sri Lanka’s theatrical landscape. Early on, he collaborated with several emerging dramatists and contributed as a performer in critically acclaimed productions staged at both the National Youth Drama Festival and the State Drama Festival. His acting credits include The Plague (Mahamariya) by Upali Gamlath (1991), Shadows and Men (Sevaneli saha Minissu) by Prasanna Jayakody (1992), Kaspa by Markwart Müller-Elmau (1993)[1] , and Trojan of Women (Ghathakaswara) by Aravinda Hettiaachichi (1994), each reflecting distinctive aesthetic and thematic concerns of the time. In addition to acting, he played an integral role backstage, serving as a stage manager for productions led by dynamic young dramatists such as Dhananjaya Karunaratna and Piyal Kariyawasam, further sharpening his understanding of theatrical craft and collaborative process.

His passion for theatre extended into his student years, during which he wrote and produced several short plays. These works earned recognition at school, inter-school, and all-island competitions, where he was honored as a best writer, director, and actor—affirming his multifaceted talent and creative promise.

In 2001, he directed his debut full-length play, Harold Pinter’s One for the RoadOne for the Road, staged at King George Hall, Colombo, Colombo as a University of Colombo production. The play was selected for performance at both the Youth and State Drama Festivals, where it received multiple awards—solidifying his transition from emerging artist to accomplished theatrical director.

Director; translator (from English into Sinhalese)
Director; (Original in Sinhalese)
  • 1992 Volcano – (short play)
  • 1991 Forgiveness – (short children's play)[4]

Exhibitions

  • 2014 Colombo Art Biennale Colombo, Sri Lanka(31 January 2013 to 9 February 2013)[61]
  • 2012 Colombo Art Biennale Colombo, Sri Lanka(15 to 15 February)[62]
  • 2011 4to Internacional Festival of Video Art, Camagüey 2011 Camagüey, Cuba (25 November 29 )[63]
  • 2011 "Videoholica" – 4th International Video Art Festival, Varna Puppet Theatre BLOCK RE-A Varna, Bulgaria (7 August )[64][65]
  • 2010 "Earseyes" – Tokyo wonder site, Tokyo, Japan (25th'Sat' December)[66]
  • 2010 "Urban Civilization and Humanity" – Yeosu International Art Festival, Jinnam Art and Culture Center Yeosu, South Korea (1–10, October)
  • 2010 "Short video of Modern Musical Performance" – "Ears and Eyes" at KNUA Hall, Seoul, South Korea (9 August )[67]
  • 2010 "Experimental Sound, Art & Performance Festival-Osaka" at The Phoenix Hall, Osaka, Japan (4 August )[68]
  • 2010 "Earth"–Supernatural / Video Art Festival Miden in Kalamata's Historic Centre, Kalamata, Greece (8–10, July)[69]
  • 2010 "Silent art films xx contemporary music":Experimental Sound, Art & Performance Festival,2009 –Video, at Tokyo wonder site, Tokyo, Japan (27th'Sat' February )[70]
  • 2009 "Ok" Video Comedy, 4th Jakarta International Video Festival, Jakarta, Indonesia (28 July – 9 August 2009)[71]
  • 2009 "Open Studio5" (part1) – Video installation (Group show with National and international Artist, National Goyang Art studio), Seoul, South Korea (24 – 26 April)[72]
  • 2009 "Hi Asia":Contemporary art Exhibition –Video installation (Volition)at Sungsan Art Hall, Changwon, South Korea(17 April-5 May)
  • 2009 "Rhythmic flow "– Video installation at Art Center Nabi, Seoul, South Korea (1 – 30 April )[73][74]
  • 2009 "Mind Street "– Video installation (Group Exhibition at EM art Gallery), Seoul, South Korea (13 – 20 March )[75]
  • 2008 "She Fits" (aka "SheFits" and "Shifits") – Video installation in Group Show: Fetish and Consumption (29 May – 5 July)at Akademie Schloss Solitude, Solitude 3, Stuttgart, Germany;[76][77] participant in Long Night of the Museums (5 April), at Akademie Schloss Solitude, Römerstrasse 2, Stuttgart, Germany.[78]
  • 2007 "Silence through Colours, Shapes and Darkness" in My Oasis of Silence – Photography and video, at Goethe-Institut, Colombo, Sri Lanka[79]
  • 2006 "Human, Texture and Pattern" in Imagine Tropics – Photography, at Goethe-Institut, Colombo, Sri Lanka[3]
  • 2005 "Life" – Photography, at Lionel Wendt Memorial Art Centre gallery, Colombo, Sri Lanka[4]
  • 2003 "Chayavalokana" – Photography, at University of Colombo, Colombo, Sri Lanka[4]

Publications

  • Dewapriya, Malaka. Bahuchithawadiya (The Undideded ). Screen play. Surasa pulishes, Colombo 10 :2025. ISBN 978-624-204-248-0. ( published in Sinhalese).
  • Dewapriya, Malaka. 'Balance Bareke Busheka Burul'( wobbly bush in the balance bar). Radio Drama Collection. VAPA University Press, Colombo 7 :2023. ISBN 978-624-5785-16-2.( published in Sinhalese)[80][81]
  • Dewapriya, Malaka. "Sri Lankan Experience of the Short Film". Artslant Magazine (First 2009). artslant. artslant.com. World Wide Web. Retrieved on 2009-01-18.
  • Dewapriya, Malaka. 'Nihon Sepa Lebewa' (May you attain comforts of worldly life in Japan). Radio Drama Collection. Kolamba:2012. ISBN 978-955-98140-2-3.{{cite book}}: CS1 maint: publisher location (link)(Author publication in Sinhalese)[82][83][84][85][86]
  • Dewapriya, Malaka. Magical Festival: A Radio Drama. Colección nueva narrativa y poesía sudaca border año 2007. Buenos Aires: Eloísa Cartonera, 2007. OCLC 233002160. (Corrugated board bindings.)[87][88]
  • Dewapriya, Malaka. Uge Hisa Ivarai (Off with His Head). Radio Drama Collection. Kolamba: Mālaka Dēvapriya [sic], 2006. ISBN 978-955-99772-0-9. (Author publication in Sinhalese).[88][89][90][91][92]

Notes & References

  1. ^ a b c "Student Guests" (Web). 10th International Student Film Festival. International Student Film Festival, Tel Aviv, Israel. 5–12 June 2004. Retrieved 10 February 2009. "Student Guests" listed from Sri Lanka"Malaka Dewapriya Grardhiwasam Lindamulage" .
  2. ^ a b c d e f "Fellows: Malaka Dewapriya" (Web). Akademie Schloss Solitude. Retrieved 10 February 2009.
  3. ^ a b "Malaka Dewapriya: Imagine Tropics" (Web). srilankapicturs, Sri Lanka). blogspot.com. 2010.
  4. ^ a b c d e f g h i j k l "Other" (Web). Malaka Dewapriya. Webpage in personal Website; see also introductory welcome page. Cf. "CV view" via GoYang Studio search facility.
  5. ^ a b "Final result of the Asia Pacific Artist fellowship program II". Retrieved 10 February 2009. International Artists Studio Program Korea, Changdong & Goyang, run by National Museum of Contemporary Art, now announces final result of the successful candidates on the Asia Pacific Artist fellowship program 2008–2009: Goyang art studio: … Yasuaki Onishi (Japan)[;] … Thu Kim Vu (Vietnam)[;] … Malaka Dewapriya ([Sri Lanka]).
  6. ^ "Malaka Excels with Short Films" (Web). Sunday Times (Colombo, Sri Lanka), Mirror Magazine. Wijeya Newspapers Ltd. 5 September 2004. Retrieved 18 February 2009.
  7. ^ Cf. "Fellowship Conditions" (Web). Akademie Schloss Solitude. Akademie Schloss Solitude. 2008–2009. Retrieved 16 February 2009. Fellowships are awarded to artists who finished their basic studies not more than five years before applying to Akademie Schloss Solitude or who are not older than 35. University or college students will not be considered for selection. Several fellowships are also awarded regardless of the applicant's age. It is possible to complete a project within the framework of the fellowship. 50 to 60 fellowships are allocated every 24 months. Akademie Schloss Solitude has 45 studios at its disposal.
  8. ^ Cf. "Asia Pacific Artists Fellowship Residency Program III" (Web). National Museum of Contemporary Art, Korea. 2009. Retrieved 17 February 2009. (2009 competition deadline: 1 March 2009.)
  9. ^ a b Sachie Fernando (25 July 2004). "Spell of Stage and Screen" (Web). Sunday Times (Colombo, Sri Lanka), Mirror Magazine. Wijeya Newspapers Ltd. Retrieved 9 February 2008. Young undergraduate Malaka Dewapriya talks to Sachie Fernando of his local and international exposure in drama and cinema. [Interview with Dewapriya.]
  10. ^ "Film Search: Life Circle" (Web). 10th International Student Film Festival. International Student Film Festival, Tel Aviv. 5–12 June 2004. Retrieved 15 February 2009.
  11. ^ "The Winners" (Web). 10th International Student Film Festival. International Student Film Festival, Tel Aviv. 5–12 June 2004. Retrieved 15 February 2009.
  12. ^ "Malaka makes to Amsterdam". Sunday Times. Retrieved 4 December 2019.
  13. ^ a b c d e f g Susitha R. Fernando (27 July 2008). "Malaka's International Mark in Short Movies" (Web). Sunday Times (Colombo, Sri Lanka), TV Times. Wijeya Newspapers Ltd. Retrieved 10 February 2009. [Interview with Dewapriya.]
  14. ^ "About Us" (Web). 10th International Student Film Festival. International Student Film Festival, Tel Aviv. 5–12 June 2004. Retrieved 15 February 2009.
  15. ^ "Contemporary movie completes shooting" (Web). sundaytimes. sundaytimes.lk. Retrieved 20 May 2012.
  16. ^ Susitha R. Fernando (4 December 2005). "Malaka's Movie Makes Its Mark in New York" (Web). Sunday Times (Colombo, Sri Lanka), TV Times. Wijeya Newspapers Ltd. Retrieved 9 February 2009. Student filmmaker Malaka Devapriya's short film 'Life Circle' has been selected for the Chimera 25th Anniversary Digital Video Student Film Contest, in New York. [Interview with Dewapriya.]
  17. ^ Susitha R. Fernando (15 May 2005). "Malaka Makes to Amsterdam" (Web). Sunday Times (Colombo, Sri Lanka), TV Times. Wijeya Newspapers Ltd. Retrieved 9 February 2009. [Student filmmaker] Malaka Dewapriya … left for [the] Netherlands to participate at the International Competition of Cinestud's, Amsterdam this year. [His] contribution is his [short film] 'Life Circle'. … On a scholarship, Malaka is presently undergoing his higher education on 'film, video and new media' at Akademie Schloss Solitude in Germany and [another short film] 'Today' is one of the production[s] he did in Germany with production support of the academy. [Interview with Dewapriya.]
  18. ^ "Student Filmmakers: Life Circle, by Malaka Dewapriya" (Web (MPEG)). StudentFilmmakers.com. Chimera Digital Video Student Film Contest (Welch Media). 3 November 2005. Retrieved 11 February 2009.
  19. ^ a b c "Malaka Excels with Short Films" (Web). Sunday Times (Colombo, Sri Lanka), Mirror Magazine. Wijeya Newspapers Ltd. 5 September 2004. Retrieved 18 February 2009. A short film 'Exchange' made by young filmmaker Malaka Devapriya has been selected for the final round of the 'Shorts Shorts' International Short Film Festival. The festival scheduled for October is a competition that runs parallel to the Tokyo International Film Festival. … The film is a presentation of Cinema and Photographic Society and Media Unit of Colombo University. [Interview with Dewapriya.]
  20. ^ a b c d "Exchange, by Malaka Devapriya" (Web). ShortShorts.org. Short Shorts Film Festival Asia. 2004. Retrieved 11 February 2009.
  21. ^ a b "Results" (Web). Sport Movies & TV. 1st Mumbai International FICTS Festival. 2006. Retrieved 13 February 2009. [The India FICTS Festival] is the most active and fastest growing festival movement in India. Set in the heart of India's Film world[,] Mumbai and 'Bollywood', where close to 1000 films are made every year, [Ten Films] and [FICTS] have joined hands to organize the Sport Movies & TV India FICTS Festival. ("About the Festival")
  22. ^ "Malaka's 'Transference' in Berlin and Karachchi" (Web). TV Times. sundaytimes. 2006. Retrieved 22 October 2006.
  23. ^ "Transference" (Web). South Asia Film Festival. 30 October 2006. Retrieved 18 February 2009. All films with English subtitles. … 30 minutes. Sinhalese.
  24. ^ "CinemadaMare Film Festival: 7th Edition: Concept" (Web). CinemadaMare Film Festival. 2009. Retrieved 18 February 2009. The biggest gathering of young Filmmakers in the world(Website for festival dates: 4 July – 16 August 2009): "CinemadaMare Film Festival aims to be the ideal formative experience for all filmmakers and cinema students: that kind of experience that achieves its goal – professional and human growth – through enjoyment and entertainment."
  25. ^ Malaka Dewapriya (2009). "Sri Lankan Experience of the Short Film" (Web). ArtSlant Magazine. Colombo Film Circle. Retrieved 9 February 2009. (Free access.)
  26. ^ "Malaka Makes Maiden Feature" (Web). sundaytimes. sundaytimes.lk. Retrieved 22 May 2011.
  27. ^ "Bahuchithavadiyage Agamanaya". dailynews. dailynews.lk/. Archived from the original (Web) on 29 July 2012. Retrieved 26 December 2011.
  28. ^ "'Malaka brings 'Bahuchithawadiya'" (Web). sundaytimes. sundaytimes.lk. Retrieved 15 January 2012.
  29. ^ "Malaka Dewapriya to release maiden feature, says cinematographers must contribute towards socio-cultural boost". Daily FT. ft.lk. Archived from the original (Web) on 16 February 2012. Retrieved 28 January 2012.
  30. ^ "Discovery. Cinema of Sri Lanka" (Web). moscowfilmfestivalT. 40.moscowfilmfestival.ru. Retrieved 20 April 2018.
  31. ^ "BIIF-Awards 2018" (Web). bestindependentsfilmfestival. bestindependentsfilmfestival.com. Retrieved 20 April 2018.
  32. ^ "Student Guests: Malaka Dewapriya: Transference" (Web). 11th International Student Film Festival. International Student Film Festival, Tel Aviv, Israel. 3–10 June 2006. Retrieved 12 February 2009.
  33. ^ Malaka Dewapriya. "Transference" (World Wide Web). Personal Website. Malaka Dewapriya. Retrieved 12 February 2009. Includes synopsis, production details, and "A Review by Harsha Nagaraju".
  34. ^ 1st Mumbai International FICTS Festival. "Silver TEN Award" (World Wide Web). smtvindia Website. smtvindia. Archived from the original on 20 August 2006. Retrieved 12 February 2009.{{cite web}}: CS1 maint: numeric names: authors list (link)
  35. ^ "Malaka's 'Transparence' in Tel Aviv" (Web). Sunday Times (Colombo, Sri Lanka). Wijeya Newspapers Ltd. 18 June 2006. Retrieved 9 February 2009. Young short-filmmaker Malaka Dewapriya's film 'Transparence' [sic] was screened at the 11th Tel Aviv International Student Film Festival, Israel. [The title of the film is misspelled; it is Transference, not Transparence.]
  36. ^ "Kanata parak redio katha" (Web). OPAC - National Library of Sri Lanka. National Library and Documentation Services Board. Retrieved 16 April 2016.
  37. ^ "AN EARFUL!" (Web). dailynews. dailynews.lk/. Retrieved 6 April 2016.
  38. ^ "Arts: Art of creating dramatic visuals through sound" (Web). Sunday Observer (Colombo, Sri Lanka). 13 July 2016. Retrieved 10 February 2017. CD is supported by vocal contributions of nearly 40 prominent artistes. These include Jayalath Manorathna, Dharmasiri Bandaranayake, Saman Athaudahetti, Lucian Bulathsinhala, Hemasiri Liyanage, W. Jayasiri, Buddhadasa Withanachchi, Chandra Kaluarachchi, Ramya Wanigasekara, Rathna Lalani, Damayanthi Fonseka, Lakashman Mendis, Saumaya Liyanage, Kaushalya Fernando, Darmapriya Dias, Deepani Silva, Chandrasoma Binduhewa, Raja Ganeshan, Niranjani Shanmugaraja and several others. Theme music for the CD has been created by Lakshman Wijesekara.
  39. ^ "Art of creating dramatic visuals through sound" (Web). sundaytimes. sundaytimes.lk. Retrieved 3 April 2016.
  40. ^ "On a creative path with a little help from Art linK". Sunday Times. Retrieved 15 April 2015. Art linK supports creative blood. Following the advertisements placed in newspapers, 126 proposals came in.The twelve grantees and the work they are to do are as follows:Musicmatters, led by Sumudi Suraweera, Sivamohan Sumathy with Villimbuhal on artists, Kandy Kathak Kendra led by Veronika Dassanayaka, M. I. Jaffir, together with Sirahununi Production House, Sudath Mahadivulwewa, with X 10 Productions, A. Jathindra head the Social Development and Research Organisation's (SDRO), Kalasuri Dharmasiri Bandaranayake led by Trikone, The Centre for Peace Building and Reconciliation (CPBR), led by Prof. Jayantha Seneviratne and Dilshani Jayaweera, Malaka Devapriya led by Contemporary Art Commune, Jayathilaka Bandara head NAFSO, Chandraguptha Thenuwara, working for Vibhavi Academy of Fine Arts, Delon Weerasinghe led by Dreamforge.Art linK is a programme implemented by Facilitating Initiatives for Social Cohesion and Transformation (GIZ-FLICT) – a bilateral cooperation between the German Federal Ministry for Economic Cooperation and Development (BMZ) and the Ministry of Public Administration, Provincial Councils, Local Government and Democratic Governance. .
  41. ^ "Art linK encourages artists to soar" (Web). srilankamirror. srilankamirror.com/. Retrieved 10 April 2015.
  42. ^ "On a creative path with a little help from Art linK" (Web). sundaytimes. sundaytimes.lk. Retrieved 12 April 2015.
  43. ^ "Kanata parak redio katha" (Web). OPAC - National Library of Sri Lanka. National Library and Documentation Services Board. Retrieved 16 April 2016.
  44. ^ "Kanata parak redio katha" (Web). OPAC - National Library of Sri Lanka. National Library and Documentation Services Board. Retrieved 16 April 2016.
  45. ^ "Malaka wins radio drama award" (Web). sundaytimes. sundaytimes.lk. Retrieved 16 April 2016.
  46. ^ "Soaring in the waves" (Web). dailynews. dailynews.lk. Retrieved 20 February 2016.
  47. ^ "ONUR-sponsored Radio Plays receive bad reception" (Web). sundaytimes. Retrieved 16 April 2023. The issue was first raised by Ven. Omalpe Sobitha Thera, over the Radio drama series, "Kanata parak", aired over State-owned ITN FM, which contain several phrases used by Buddhists and particularly, members of the Buddhist clergy, to greet/bless others.Ven. Omalpe Sobitha said the use of phrases of the Dhamma in this manner is tantamount to ridiculing Buddhism, and is an insult to Buddhists. Malaka Dewapriya, defended his play on words from Buddhist terminology, saying it was his right as an artiste to choose the title of his dramas. "Artistes must have room to be creative, otherwise we will become a regressive society. I ask those who criticise my productions to listen to them and come forward for an open discussions." he said."The Radio plays were reviewed by a committee of officials and artistes and given the go-ahead, following which ONUR had agreed to sponsor all 15 plays to be aired on ITN FM," he said. The Committee was made up of artistes as well as Additional Secretary (Media) of the Prime Minister's Office, Saman Athaudahetti.
  48. ^ "Playwright Dewapriya released after recording long statement" (Web). srilankabrief. 18 October 2019. Retrieved 16 April 2023. A strongly worded statement made by Devapriya on the matter had prevented the police from asking his client too many questions. As they were satisfied with the statement recorded today, the OCPD has told Devapriya that they will send a report based on the statement to the Attorney General's Department.
  49. ^ "Award-winning Sri Lankan playwright penalised under UN law" (Web). jdslanka. Retrieved 16 April 2023. Police in Sri Lanka have used a UN-backed law designed to protect fundamental rights including freedom of expression for legal action against an award-winning playwright. This is the second time this year that police used the ICCPR act to punish writers seen as critical by the dominant Buddhist hierarchy.
  50. ^ "Award-winning artiste Malaka Dewapriya decries censorship" (Web). sundayobserver. Retrieved 16 April 2023. Minister of Higher Education and Cultural Affairs Wijeyadasa Rajapakshe has ordered the Inspector General of Police to commence investigations. Speaking to the Sunday Observer Police Spokesman SP Ruwan Gunasekara confirmed that investigations have now commenced in this regard by DIG Crime and Organised Crime Kamal Silva
  51. ^ "Malaka Dewapriya Creative Artist, Dramatist" (Web). penorg. 28 April 2020. Retrieved 16 April 2023. STATUS Continued Harassment
  52. ^ "42nd Session of the Working Group on the Universal Periodic Review UN Human Rights Council" (Web). fidh. Retrieved 16 April 2023. Violations oftheright to freedom of expression have primarily stemmed from the enforcement of two laws, the International Covenant on Civil and Political Rights (ICCPR)and the PTA. In some instances, both laws have been used together to target individuals, especially those belonging to minority communities.
  53. ^ "Sri Lankan authorities delay on whether to prosecute" (Web). penorg. wsws. 16 December 2019. Retrieved 16 April 2023. On the eve of the recent presidential election, film director and playwright Malaka Devapriya was questioned by the Criminal Investigation Department over alleged violations of the ICCPR Act
  54. ^ "ONUR radio dramas, authors under fire despite lack of religious references in creative works" (Web). sundayobserve. 25 August 2018. Retrieved 16 April 2023. Author and Civil Society activist, Gamini Viyangoda expressed his dismay that the suppression of artistes should happen under the good governance government.Shakthika told the Sunday Observer that it has become a trend to arrest artists at the behest of extremists. "If they feel any artwork is anti-Buddhist they complain and use their civil powers to suppress artists," he said. According to him, this has instilled fear in artists, while also confusing Buddhism among the populace as it is a religion that encourages freedom of thought."If these extremist elements get stronger, will artists have to leave the country?" he questioned. "Freedom of expression must be protected at all costs," he added. Jayasekara agrees as he warns that if this situation may not be temporary, the danger continues to loom over the local art industry.According to the Chairman of the PPB, Saman Athaudahetti the current board has been liberal and not banned any artwork to date. "We even gave permission for films that had been shelved due to censors previously," he saidSpeaking in Parliament recently, Minister of Finance and Mass Media Mangala Samaraweera also expressed his dismay. Samaraweera claimed there was an attempt to create an image of the Government as 'Anti-Buddhist' through these efforts. recognizing the plays' adherence to authentic Buddhist principles after personally reviewing them. His parliamentary address emphasized their alignment with genuine Buddhist philosophy, countering allegations of blasphemy. This recognition of the plays' intrinsic value was documented in the Hansard at page 1374 of volume 262, 2018 "The summoning of Dewapriya shows the danger against artistes and freedom of art as well as expression," he noted. He says this is an attack on progressive art in the country
  55. ^ "Critics 'tune' into wrong frequency" (Web). dailymirror. Retrieved 16 April 2023. Jaylath Manorathna observed that it's the responsibility of readers, listeners, observers and viewers to listen, view and read these episodes before presenting opinions. "We are given the opportunity to enjoy the content while it can also be an opportunity to review the content and point out concerns, he said. "What we're seeing here is a blatant misuse of this opportunity. They have voiced their concerns prior to an inadequate study of the content. Their opinions have been based on the premise of an unsuitable title," he added
  56. ^ Malaka Dewapriya (2001). "One for the Road: A Play by Harold Pinter, Translated and Directed by Malaka Dewapriya" (Web). Personal Website. Malaka Dewapriya. Retrieved 10 February 2009. [Includes synopsis, production details, and photograph.]
  57. ^ "Arts: The Best of Them – Onstage: Second Round Selections – Length Dramas: One For The Road – Malaka Dewapriya" (Web). Sunday Leader (Colombo, Sri Lanka). 13 July 2003. Retrieved 10 February 2009. The 2002–2003 National Drama Festival second round will be held at Tower Hall from July 14 to August 5 from 6.30 pm onwards. One unique feature of the festival is that length dramas and short dramas will be held together with alternative theatre.
  58. ^ "Launch of three books on Sinhala theatre by Dr. Dharmasena Pathiraja" (Web). dailyft. 13 July 2017. Retrieved 10 February 2018. Dharmasena Pathiraja is hardly known to the present generation as a dramatist but it is ascertained that his early career was committed to the theatre of Sri Lanka. Pathiraja's ('Kora Saha Andaya', which was scripted by him as an original play and directed by veteran dramatist Dhamma Jagoda in 1970; 'Putu', a Sinhala translation of a play by Eugene Ionesco, directed by Pathiraja himself for the State Drama Festival in 1971
  59. ^ "Cinnamon Colomboscope" (Web). cinnamoncolomboscope.com. Retrieved 25 August 2016.
  60. ^ "John Keells Foundation supports local artists at Cinnamon Colomboscope" (Web). ft.lk. Retrieved 25 August 2016.
  61. ^ "Colombo Art Biennale" (Web). colomboartbiennale.com. Retrieved 31 January 2013.
  62. ^ "Colombo Art Biennale" (Web). colomboartbiennale.com. Retrieved 25 January 2012.
  63. ^ "Cita internacional para la videocreación contemporánea" (Web). arteporexcelencias.com. Retrieved 25 October 2011.
  64. ^ "Videoholica 2011– International Video Art Festival" (Web). thierryferreira.com/videoholica-2011-bulgaria. thierryferreira.com. Retrieved 1 August 2011.
  65. ^ "Videoholica Program 2011" (Web). videoholica.org. Retrieved 1 August 2011.
  66. ^ "Grand Prize-ensemble cross.art "earseyes"" (Web). Tokyo wonder site. tokyo-ws.org. Retrieved 1 November 2010.
  67. ^ "Ears and Eyes" (Web). mastmedia. mastmedia.co.kr. Retrieved 20 July 2010.
  68. ^ "Experimental Sound, Art&Performance Festival". ensemblecrossart. .ensemblecrossart.com. Retrieved 17 August 2010.
  69. ^ "Supernatural". estivalmiden. festivalmiden.gr. Retrieved 31 July 2010.
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  71. ^ "OK.VIDEO COMEDY Jakarta International Video Festival" (Web). 4th Jakarta International Video Festival. hokvideofestival.org. 17 July 2009. Retrieved 17 July 2019.
  72. ^ "artmuseums: Open Studio5 (part1" (Web). artmuseum. artmuseums dot kr. Retrieved 20 April 2009.
  73. ^ "comostory: rhythmic" (Web). nabi.or.kr. comostory dot com. Retrieved 1 April 2009.
  74. ^ "artwork: Earth" (Web). nabi.or.kr. nabi. Retrieved 1 April 2009.
  75. ^ "emarts: Mind Street" (Web). emarts. emarts dot kr. Retrieved 11 March 2009.
  76. ^ "Group Show: 18 Artists: Fetish and Consumption (final): 29 May 2008 until 5 July 2008 at Akademie Schloß Solitude, Stuttgart" (Web). ArtFacts.net. ArtFacts. 29 May 2008. Retrieved 10 February 2009.
  77. ^ "Fellows: Gallery of the Exhibition Opening Fetish and Consumption" (Web). 29 May 2008. Retrieved 17 February 2009. [Includes image of "She Fits" (aka "SheFits"), by Malaka Dewapriya, his entry in this exhibition.]
  78. ^ "Events: Long Night of the Museums" (Web). Events Archive: 19.00. Akademie Schloss Solitude. 5 April 2008. Retrieved 10 February 2009. As they do every year, Solitude fellows transform the Akademie's project space, located in the middle of Stuttgart's inner city, for the Long Night of the Museums. Fellows from the areas of architecture, video, visual arts, literature, music and performance will take part in the event in the Römerstrasse 2 outpost, which is used as studio and event space. … Participating artists are: Corinne May Botz, Malaka Dewapriya, Katalin Hausel, Matthias A. Megyeri, Donata Rigg, Helene Sommer, Roselyne Titaud. [Event announcement.]
  79. ^ "Silence through Colours, Shapes and Darkness" (Web). My Oasis of Silence Exhibition Catalogue. Goethe-Institut, Colombo, Sri Lanka. Retrieved 13 February 2009. (Participating photographer.)
  80. ^ Cf. "Tapestry of a visual artiste" (Web). sundayobserverArticles. sundayobserver. Retrieved 2 July 2023. K. B. Herath Eminent Dramatist in Sri Lanka Writes as Johannes Biranger says, there is also an audio illusion in the post-modern era. Visual imagery as well as voice and rhythm have garnered unprecedented attention, with electronic sounds becoming the primary means of providing entertainment. It is in this backdrop that Malaka mentions the renaissance of radio drama around the world. And it is in this environment, the radio plays written by Malaka emerge as wonderful artistic creations in the field of performing arts . Malaka is the exception. His collection of ten radio drama series 'Balance Bar Eke Bush Eka Burul' (wobbly bush in the balance bar) is a masterpiece in script writing, showcasing his skills, imagination, talent and creativity . The first is the use his imagination that seamlessly shifts between reality and fiction. In dramatic art, human nature is created by the logic of imagination, with imaginary logic bridging the border between reality and illusion. This, according to Helen Nicholson, is not a copy of an existing situation, but a creation. Second is the narrative style, where all the stories are broadcast with a broad understanding of the artistic effects of theatre. How the narratives are structured generate meaning upon meaning, blurring the lines between reality and imagination is extremely interesting. A series of verbal gestures accomplishes much that visual images cannot. Amphibians are the main characters in many of these stories. That is; the fictional characters of the imagination represent the many pentacles of reality . Malaka's radio drama marks the birth of an independent writer with a rare talent. As Walter Benjamin said, storytelling is a place to explore and represent personality, culture, and society.'
  81. ^ Cf. "A Writer with a Nonconventional Practice" (Web). dailynews. 9 November 2023. Lucian Bulathsinhala pioneer Dramatist in Sri Lanka Writes as While retaining aspects of human stories, he chooses to emphasize the contradictions within them, bringing out characters, human behavior or situations that go against societal conventions or give rise to dilemmas. Through his writings – that draw on expressionism and sarcasm – he strives to confront us with the real society and patterns of human behaviorexperienced within social, political, and religious institutions that we inhabit in our daily lives. Instead offeel-good stories that warm the listeners' heart, bring a tear to their eye, or transport them to a dream world, Malaka's dramas confront the listener with the bitter reality that s/he is a part of. This endeavor by Malaka may be viewed by most as a self-defeating exercise. And it may not be surprising that when measured against traditional standards, characters and incidents in his plays are pronounced by some to be 'unreal' or 'impossible'. This collection of radio dramas reveals a creator who instead of remaining silent, chooses to engage in a practice that goes against traditional norms, in order to speak out about the tragedy of a society cursed with island mentality and slave mentality; a society that in the absence of rule of law and moral compass,is drowning amidst broken down and distorted social, political and religious institutions. '
  82. ^ "Book discussion on Friday" (Web). dailynews. dailynews.lk. Retrieved 1 April 2011.
  83. ^ "Malaka's role in Radio plays" (Web). sundaytimes. sundaytimes.lk. Retrieved 9 September 2012.
  84. ^ Cf. "Integrity of a non-conformist artist" (Web). ceylontoday. Retrieved 27 September 2012. Dr Nirmal Ranjith Dewasiri who Senior Lecturer of the department of history at the University of Colombo, Writes Malaka's work is a challenge for the Sinhala Buddhists and it is expose the Sinhala Buddhist mind, highlighting what was between the material life of the Sinhala Buddhist and the ideological curtain covering such material lives. Therefore, he describe the Sinhala Buddhist readership cannot deal with these texts without being critical of him/her. Such is the political importance contained in these works of art.
  85. ^ Cf. "Are we heading in the right direction" (Web). Daily News (Sri Lanka), Features. The Associated Newspapers of Ceylon Ltd. Retrieved 2 January 2013. a compilation of self-written radio-plays, one word can trigger a thousand visuals in a listener's mind. Malaka has compiled ten inspirational self-written radio-plays with rich content in his book. Amongst them, Nihon* Sepa Lebewa, Bhashmanthara, Mana Widamana and Nirabhishekana take reader on a trail towards a non-explored zone in human life.
  86. ^ Cf. "Mesmerizing Plays of Satirical Genre meant for Radio Media" (Web). BoondiArticles. Boondi. Retrieved 2 July 2013. Athulasiri Kumara Samarakoon who lecturer in Political Science, Social Studies Department, Open University of Sri Lanka, Writes 'Thematically, Malaka's plays are very rich and he has used his creative faculty to make an exciting experience for the reader. The reality that we talk about could always be 'out there', but still the 'unconscious' that we can never get explored totally is only an area to be explored by arts. Malaka has brilliantly examined the unconscious dimension of contemporary consumerist society, its human subjectivity and political economy in many ways shedding lights on some chosen characters from our own environment'.'Malaka's attempt in a way fills the vacuum created by artists in the caliber of Sugathapala de Silva and Henry Jayasena who consciously used their creations to expose the ideology and politics underpinning the social and economic system forced on our lives by history's circumstances. So, the art of the epoch have to be conscious of such circumstances and the dialectical forces of the history and thereby work for liberating the human beings from the agonizing political, social, cultural and economic circumstances enforced on their lives. And Malaka Dewapriya belongs to that rare caliber of artists who have identified the human potential of making history of their choice and also the need for conscious effort towards such transformations'.
  87. ^ Item Details. WorldCat. OCLC 233002160 – via OCLC.
  88. ^ a b "Dēvapriya, Mālaka" (Web). Identities (Beta). WorldCat. Retrieved 13 February 2009.
  89. ^ Malaka Dewapriya is both author and publisher; publication sponsored by Book Developing Fund of the National Library of Sri Lanka.
  90. ^ See also the National Library and Documentation Centre"Uge Hisa Ivarai: Radio Drama Collection" (Web). National Library and Documentation Centre-AfW Internet Inquiry. natlib. Retrieved 18 March 2010. Description198p.; 20cm; Subjects-Radoi plays Sinhalese drama; ISBN 978-955-99772-0-9; SupplierBook Development Project; NLC NLC 891.482 DEV; Barcode-112016; Accession No-112016
  91. ^ See also the collected radio dramas mentioned by Dewapriya in "Uge Hisa Ivarai: Radio Drama Collection" (Web). Personal Website. Malaka Dewapriya. Retrieved 16 February 2009. Devapriya has collected eleven [sic] of his Sinhala radio plays broadcast over the last ten [sic] years. … Note: Prof. Sunanda Mahendra writes that there are ten plays broadcast over the last three years. But as Author [I] [m]ention there are eleven plays which [were] broadcast from [sic] Sri Lanka Broadcasting Corporation since [sic] 1996 – 2005 over 10 years.
  92. ^ Cf. Sunanda Mahendra (27 September 2006). "Focus on Books: Literature" (Web). Daily News (Sri Lanka), Artscope. The Associated Newspapers of Ceylon Ltd. Retrieved 16 February 2009. Being an author publisher, Devapriya has collected ten [sic] of his Sinhala radio plays broadcast over the last three [sic] years. In his personal Webpage concerning Uge Hisa Ivarai: Radio Drama Collection cited above, Dewapriya provides this (hyperlinked) review published by Professor Sunanda Mahendra in the Sri Lankan Daily News: Artscope section, followed by his own "Note" correcting Professor Mahendra's mistake. Dewapriya's WriteClique.net profile reproduces the same ArtScope excerpt and "Note" as those that he has posted on his personal Website.
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