In Sri Lanka, decades of conflict have left deep scars on society, with reconciliation and transitional justice still proving elusive. Amid this backdrop, Jayathilaka Bandara’s life exemplifies how cultural activism can heal wounds and foster dialogue. A singer, peace activist, and artist, Bandara has spent over 50 years using art to bridge divides, leaving a legacy that underscores the transformative power of cultural expression in post-conflict societies.
From Music to Activism: The Early Years
Jayathilaka Bandara’s journey began at Anuradhapura Central College, where his passion for music and theatre first took root. However, his journey into cultural activism began 1971 youth uprising, which eventually led to his imprisonment. As a political prisoner, in prison, Bandara turned to music and theatre as tools of survival and resistance.
“In those dark days,” he recalled, “The young people were distraught. Their friends had died and they were alone. Some planned to escape from prison. Some actually did it. Therefore, to strengthen their minds, we needed to sing songs, create plays and engage in literary activities.”
Bandara’s artistic endeavors behind bars reflected not only his resilience but also his realization that art could be a powerful force for healing and unity.
Art as a Bridge in a Divided Nation
The 1980s and 1990s were marked by ethnic violence, state repression, and escalating divisions in Sri Lanka. Bandara’s work gained prominence during this period as he used his songs to challenge divisive narratives. His art aimed to humanize the “other” and dismantle entrenched stereotypes.
One of his most profound contributions was the Thileepan Song, a tribute to a Tamil political martyr who died during a hunger strike:
“Gaze at the sky and endure the flames of injustice. Watch the ocean cry with your blood. Thileepan, our brother who sacrificed your life, we are bound as siblings, born of the same mother.”
During a time when the South largely demonized Tamil rebels, Jayathilaka Bandara courageously performed this song, written by a Buddhist monk, urging the majority community to view their brethren in the North with compassion and humanity, recognizing their fight for rights and dignity.
Despite his efforts, Jayathilaka Bandara, Karunaratne Divulgane and Gunadasa Kapuge faced severe backlash, particularly from nationalist groups in the south. They were censored and expelled from Rajarata Sevaya radio station, where they worked.
Jayathilaka Bandara faced criticism from nationalist groups and state authorities, who viewed his work as undermining Sinhala identity. “Some people thought I was weakening their cause,” he noted. “But I was showing strength—the strength to empathize, to reach out, and to see the humanity in others.”
Despite threats and censorship, Bandara continued his work. His resilience serves as a powerful lesson for contemporary cultural activists, who often navigate similarly polarized environments.
Cultural Activism and Transitional Justice
Bandara’s life highlights how cultural activism can complement transitional justice. In societies emerging from conflict, legal mechanisms often fail to address emotional and psychological scars. Art fills this gap, providing a platform for truth-telling, acknowledgment, and collective healing. Jayathilaka Bandara sang the voices of tortured, killed and disappeared people and the plea for truth, justice and reconciliation.
His performances resonated deeply with war-affected communities, offering solace and hope. Bandara often performed among the people affected by conflicts, including displaced persons’ camps and conflict zones, where his songs acknowledged their suffering and validated their experiences. These acts became a form of symbolic reparation, empowering survivors to process their grief and look toward reconciliation.
His interactions with Tamil communities fostered dialogue and understanding and created a foundation for reconciliation.
Bandara’s experiences offer crucial lessons for transitional justice initiatives. First, they underscore the importance of addressing the emotional dimensions of conflict. Legal mechanisms may provide accountability, but art fosters healing.
Second, his work highlights the necessity of inclusivity. By engaging marginalized voices, Bandara showed that cultural initiatives could create a more comprehensive understanding of conflict and its impact. “Reconciliation isn’t just a political process,” he said. “It’s a human one. It starts with understanding each other’s pain.”
At 71, Bandara remains committed to his mission. While acknowledging the challenges of measuring the impact of his work, he finds solace in the belief that his efforts have made a difference. For Bandara, the journey of cultural activism is far from over. He calls for continued collaboration between artists, activists, and policymakers to ensure that reconciliation becomes a reality.
“I believe that this society has not descended into chaos because of the contributions of good-hearted and virtuous individuals. We are compelled to continue our work because this society has not yet reached a truly virtuous state. To build reconciliation and foster justice and humanity, we will need to keep singing songs and carrying forward our efforts.”
