“This is a story about love, but it
is also a story about democracy.”
-- Visakesa Chandrasekaram
Yesterday we went to the Galle Literary
Festival, a celebration of writers,
filmmakers and intellectuals from Sri Lanka and around the world. We watched the
first ever Sri Lankan gay romance movie: Frangipani, a story about a
love triangle between two gay men and a woman in a rural village. It
was a harsh tale of the desperation when the desire to be loved and
the desire to fit in becomes incompatible. Beautiful and sad, it
managed to present a tragic story without vilifying or valorizing
any of the characters: deeply flawed and deeply human.
The context of the film is perhaps as
interesting as the film itself. In Sri Lanka, anti-sodomy laws are
still on the books. However, this is rarely enforced because
conviction requires three witnesses, and it would have to be some
unusual sodomy indeed to have been directly observed by so many. What
this does mean however, is that police have a scare tactic to use
against any suspected homosexual who crosses their path. People are
frequently arrested on Friday nights, leaving them to wait in jail
over the weekend until judges comes in on Monday to throw out the
case. It is a delicate topic. Colombo has a yearly pride festival in
June which I can't wait to take part in. The intellectual westernized elite
has begun to accept homosexuality as it is understood in the West, as demonstrated by accepting a gay film into the largest
festival in the country. The quote which begins this blog is how the director introduces the film to a Sri Lankan audience, appealing to both emotions and to the desire to be a Western and egalitarian society.
However, it may be this westernized
understanding which makes life impossible for people like the
protagonists in the film, who come from rural and deeply religious
backgrounds. My friend Kenneth is researching LGBTQ Health in Sri
Lanka for his Fulbright, and this is what he has been able to find
out so far. Like everywhere else, homosexuality has existed in Sri
Lanka for a long time. Up until a movement towards westernization in
70s, many gay men had the male equivalent of mistress alongside their
wife, something not quite talked about, but not quite reviled. Not
until the import of the idea of 'Gay' as a fixed and constant
identity arrived from the West was homosexuality officially scorned.
Now as westernization infiltrates more fully into the culture,
perhaps it will become more acceptable. Perhaps not. I think it will
depend largely on the poor majority's relationship to the upper
class, and to the Western power which it represents.
This is a relationship I am not sure
the Galle Literary festival bodes well for. A day ticket cost 3500
Sri Lanka Rupees (around $25), more than a month of poverty-level
wages. While all the events I attended yesterday were free, they were
clearly by and for the elite and international crowd – and designed
to be comfortable. A talk on the Muslim minority included no mention
of the oppression they have received at the hands of both the Tamil and the Singhalese. The festival was attended by the Colombo elite, just shifted South a couple hundred kilometers. I ran into people from
my work, from Fulbright, from the art community, even the Prime Minister was there. A part of me is delighted to see the vast
intellectual power and creativity in Sri Lanka celebrated on an
internationally known platform. Truly, the intellect in this country
floors me. I feel dwarfed by my co-workers at CEPA, most of whom have
PHDs, and are all experts in their fields. I am also awed by the
diversity of talent here – the man who directed Frangipani is also
an internationally recognized human rights lawyer who fights torture
in Sri Lanka's prisons. The woman who runs Fulbright is also an award
winning poet and journalist. It is wonderful to see such talent
recognized. And yet, the festival did nothing to assuage the sense of
foreboding I have that this recognition, rather than uplifting Sri
Lanka as a whole, may further divide it.
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