Journal of Aesthetic and Fine Arts(JAFA)

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An ethical model for the wildlife photography of Sri Lanka,
(Journal of Aesthetic and Fine Arts, University of Kelaniya, 2016) Podduwage, D.R.
Wildlife photography or filming is associating with nature and wild animals capturing them in their natural habitat. When dealing with nature and animals, photographers have to be circumspect about themselves as well as the knowledge of flora fauna and their environment. They should support to conserve and protect the nature and its wildlife. Therefore, establishment of practical ethical model for wildlife image capturing processes has been an important necessity. The model would be related to Sri Lanka and it is a basic ethical approach for the inland wildlife image capturing processes, which suggests and developed some standards and framework under suitable equipment, disturbance limits, responsibilities, and many various analyses. It is consisted with suggestions and solutions to prevent unethical wildlife photography practices as well. So as the wildlife photographers can utilize the model as a guide to their works.
my voice!’ a study of Sinhala Language ethnic radio programs in Melbourne
(Journal of Aesthetic and Fine Arts, University of Kelaniya, 2016) Dissanayake , Charitha.
This article presents findings from a small-scale study of Sinhala radio programs in Melbourne, Australia in serving the Sri Lankan community. The Australian government introduced ethnic radio programs to fulfill migrants’ needs in their settlement in Australia. However, it has not reviewed their goals, and listeners’ current interest in them, since initiating them in 1975. Therefore this study focuses on the present need for ethnic radio programs in Australia and on listeners’ feedback about their content and presentation. This study also reviews how ethnic radio programs have addressed the issues that had initially been identified as the reason for their introduction in 1975. The listeners state that the Sinhala radio programs do not help them to settle in Australia. The issue of participation is critical, and most of the participants complained that the same people have run the programs for a long time. Everyone unanimously agrees that ethnic radio programs play a big role within the community, which is completely neglected by mainstream media. This study has opened the doors for further study or development of a new model for ethnic listeners in Australia. A further in-depth study would identify the needs of the present listenership, which may lead to a broader listenership.
Aural mementoes: memories of Sri Lankan migrants in Melbourne,
(Journal of Aesthetic and Fine Arts, University of Kelaniya, 2016) Munasinghe, T.
Memory is an integral part of our character and individuality wherever we live. Sound memories provide a diverse path through which migrants can preserve cognition and reconstruct past practices, usually for present purposes. Our communal roots build the social identity, with both geographical and psychological memory offering insights into the very core of our identity. This research focuses on the sound and music memories that Sri Lankan emigrants carry from their mother country and how they are integrated into the Australian sound environment. Ten members of five Sri Lankan families were engaged in recorded conversations regarding their memories of environmental sounds, music, and language, both form their motherland and from contemporary Melbourne. These memories of Sri Lankan emigrants in contemporary Melbourne help to explore the connection between a person’s past sound and music memories and their experiences of sound and music in their displaced location. This paper delineates the connection of place with memories and how these effects upon their lives, irrespective of where they live.
Translations and theatrical adaptations of greek plays in sri lanka from 1990 to 2005 for the Sinhala readers and (multi-ethnic) audience
(Journal of Aesthetic and Fine Arts, University of Kelaniya, Sri Lanka, 2016) Dandeniya, T.
Despite the historical relationship between Sri Lanka and Greece via the ancient Silk Road on the sea, the classical Greek play has been introduced to monolingual Sinhala audiences only since the mid-twentieth century. This paper examines the play texts and cross-cultural performances of ancient Greek dramas in Sri Lanka between 1990- 2005. This paper also analyses effective theatrical practices and textual modification of the Greek plays in Sinhala, which are adapted by local academics and practitioners for different intentions. Furthermore, it examines enculturation, adaptation and translation effectiveness in the examples to provide a theoretical introduction to the translation and theatrical adaptation projects in the future.
Multicultural music education in Victoria and the efforts of Australian,Sri Lankan community artists to sustain cultural traditions
(Journal of Aesthetic and Fine Arts, University of Kelaniya, Sri Lanka, 2016) Nethsinghe, R.
This study explores the benefits of multicultural music education and efforts of Australian/Sri Lankan community arts practitioners considering data from literature reviews, three research studies conducted and researcher experiences/observations (as an artist in residence) thus offering a phenomenological account to the reader. The author points out that community arts experts successfully manage to engage learners and effectively deliver related content, transmitting the knowledge of multicultural arts (music) what ‘qualified’ teachers in formal educational settings struggle to accomplish.
The Tapestry of Rashomon an Analysis of its Social Background,
(Journal of Aesthetic and Fine Arts, University of Kelaniya, 2016) Ratnayake, P.
The film Rashomon of Akira Kurosawa is a work of art (Tatara 2011), produced in the 20th century that can be compared to no other classical work produced in the era. Kurosawa has not only represented the human activities of the social, political and economical environment but had also reflected in depth the deeper realities of humanity itself (Macfarlane 2003). The literary journey he undertakes is a result of the depression that had sunk to the depths of his innermost mind. In doing so one could observed that he had been influenced by the techniques belonging to the world and culture of the short story writer Ryunosuke Akutagawa who had composed Rashomon and In a Grove. In producing Rashomon he had concentrated more on transcribing the plot to a film script.
Assessing the competency of high dynamic range technique in Architectural Photography
(Journal of Aesthetic and Fine Arts, University of Kelaniya, 2016) Nayanapriya, M.G.T.
In photography field although there are number of categories, the category of architectural photography takes a unique place among the other categories because in architectural photography the abiotic subjects are represented as an artistic way. However, when capturing architectural subjects, photographers face many problems such as lighting issues, lack of dynamic range etc. that eventually reduce the quality of the photograph. Although the technique of High Dynamic Range (HDR) is introduced to minimize the above problems in other photography categories, in architectural photography this technique is not widely used because of some hollow sentiments of architectural photographers. By conducting the questionnaire, it was identified that most of the architectural photographers are not aware about the benefits of the HDR technique. Also, from the practical session it was observed that the architectural HDR photographs are more useful than the ordinary photographs because in HDR photographs the colour depth, dynamic range and the details of the architectural structures are well captured than the ordinary photographs. The results of this study proves that the HDR technique is suitable to capture the architectural photographs because it helps to resolve the problems which photographers face mainly due to the lack of dynamic range.
“Bokken ranga pamuda” gut feeling instinct and rhetoric of Sri Lankan Actor Learnings
(Journal of Aesthetic and Fine Arts, University of Kelaniya, 2016) Liyanage, S.
The mental representation of learning as a dominant model of knowledge acquisition has been a long-standing formula for Western pedagogy. Within the sensation-idea-response model, the subject perceives the objects, conceptualizes ideas in the brain, and generates actions through the body. Thus, the relationship between perception and action is hierarchical as the action is secondary to the perception. This epistemological problem is the result of the disembodied mind propagated by the Cartesian tradition. It is no exception when it comes to the discourse of acting: this split has also affected the rhetoric of acting; the actor’s mind is regarded as the rational knower and the active mover of the body. However, some actors in Sri Lankan theatre often refer to the phrase ‘bokken ranga pāmu’ (act from the gut) as a metaphorical expression of how the actor should act truthfully. It further means that the good actor does not act from the heart nor the intellect but from the ‘gut instinct’ of the body. This metaphorical idea of gut replaces the disembodied rational thinking in the mind with something fleshy embedded in the ‘intestine’ of the actor’s body. In this paper, I want to show how a group of Sri Lankan actors challenge the idea of mental representation of learning by introducing a visceral origination of their knowing and the synergy of thoughts and imagination coupled with the lived body.