Sri Lankan minister backtracks on probe into sexual harassment in media institutions

by Reshiga
Jun 24, 2021

File photo: Keheliya Rambukwella

The Sri Lankan Media Minister and Cabinet Spokesman Keheliya Rambukwella backtracked his decision to carry out an investigation into sexual harrasment operating in media institutions.

In his statement yesterday, Rambukwella insisted that he will "not launch an investigation based on social media reports of allegations of sexual harassment in media institutions" and that if there is an incident then a complaint must be made to the Police or the Media Ministry.

Despite saying last week that he had asked the Sri Lankan Government Information Department to investigate and ensure women journalists could work in a safe environment, Rambukwella stated that launching an investigation into any media institution without a formal complaint will be seen as "interfering in the media". 

Rambukwella also claimed last week that he was not aware of the allegations made by female journalists on social media of sexual harassment at media institutions. Rambukwella also stated that “we will take the sternest action possible” and ensure women journalists are able to work in a safe environment.

The investigation was supposedly to be ordered into sexual harassment operating in media institutions after being prompted by multiple female journalists who used the "MeToo" hashtag to name perpetrators. 

Earlier this month, journalist Sarah Kellapatha tweeted that a male colleague had threatened to rape her while working at a newspaper, with her tweets sparking and encouraging a catalogue of many others to come forward and go public with their own experiences. 

See the thread here.

Kellapatha published a statement on her Twitter on Saturday thanking everyone for the support she received for sharing her story and urged people to ensure that they validate other victims who come out to tell their story of abuse and harrasment.  

US journalist Jordana Narin, who had been an intern at the Daily News, said a senior colleague had sexually harassed her when she was just 22, until the chief editor forced him to resign.

“[He] was the best journalist Sri Lanka had ever seen. I couldn’t wait to learn from him […] instead, I [was] favoured by him, then yelled at by him, embarrassed by him, and groped repeatedly by him,” Narin said.

Former commissioner of the Human Rights Commission of Sri Lanka, Ambika Satkunanathan reiterated the importance of ensuring that allegations of sexual harrasment and abuse are listened to and taken seriously regardless of the NGO's or personnel implicated or being accused. Satkunanathan stressed that even if though the prospect of the Sri Lankan government deciding to weaponise the #MeToo movement for its own political advantage, this should not put off people from taking the victims of sexual harassment and abuse seriously. 

Read more here.

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Tamil asylum seekers in Australia mark 100 days of continuous protests for permanent visas

Over 200 refugees and supporters marked a significant milestone by marching 10 kilometers from Australian Prime Minister Anthony Albanese’s office to the Immigration Minister’s office this week, commemorating 100 days of continuous protest.

This demonstration, which culminated in a rally and speeches in Punchbowl, highlighted the plight of refugees denied permanent visas for over 12 years. Speakers at the event shed light on the profound impact of the current system, including barriers to higher education, employment, and access to essential services.

The protest has now entered its 100th day, with Tamil asylum seekers and their supporters continuing their relentless demand for permanent protection. For 38 days, they camped outside Australia’s Minister for Home Affairs, Tony Burke’s office in Sydney, calling on the government to end the visa limbo that has left many without basic rights and stability. Tamil asylum seekers have been in Australia for over a decade, living on short-term visas that must be renewed regularly. Without permanent residency, they are excluded from Medicare—Australia’s universal health insurance scheme—and are denied the right to work, study, travel, or access essential services. Many are also required to report to visa offices weekly.

The crisis is compounded by the controversial 'Fast Track' system introduced in 2014 by the Abbott government. According to the Asylum Seeker Resource Centre, this system has resulted in the rejection of around 8,500 asylum seekers' cases. It specifically targets individuals who sought asylum by sea and arrived in Australia between August 13, 2012, and December 31, 2013. Tamil asylum seekers, stuck in visa limbo for years, have launched protests nationwide, with 24-hour encampments in Melbourne, Perth, and Brisbane.

Amaran - Problematic propaganda

amaran

The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

 

 

 

The patriotic military films of Tamil cinema had taken a back seat for a while. The subject matter is now seldom a prominent theme of a film, instead lurking in the shadows peeking through such as via the heroes in the works of Nelson Dilipkumar. The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

The film follows the tale of Major Mukund Varadarajan (Sivakarthikeyan) and his partner Indhu Rebecca Varghese (Sai Pallavi), who meet at college and soon become lovers. Indhu grapples with her lover’s life ambition of becoming a soldier for the Indian army, admiring his courage and more than willing to become his doting wife at home. We then watch as Mukund is stationed in Kashmir and follow along with his various missions in the volatile area. The film’s depiction of the Indian army is one solely made up of heroes rescuing civilians and looking out for the public’s interests. It is not necessary to delve too much into why this is an oversimplified and problematic portrayal.

The central performances by Sivakarthikeyan and Sai Pallavi carry the almost three hour film adequately. Despite moments where Sivakarthikeyan lacks the intensity to land highly emotional scenes, the pair deftly share the screen between them, with Pallavi picking up any slack. Another notable performance comes from Geetha Kailasam, a character actor who has featured in many films recently in the role of ‘the mother.’ ‘Amaran’ gives her another opportunity to showcase her own humorous brand of motherhood.

Technically, the film runs smoothly. The film is decently shot and edited. Other than a few overly melodramatic moments, the screenplay is solid, albeit a little superficial. GV Prakash Kumar continues his trend of matching the quality of the film with the quality of his music. The track ‘Hey Minnale’ is an earworm, but the rest of the score and soundtrack does not shine through.

Overall, ‘Amaran’ is a straightforward piece of propaganda. A shot in ‘Amaran’ depicts a soldier of the Indian army blocking a closing door with his rifle. On the other side of the door is a Kashmiri child. To appease the child, the soldier sneaks a chocolate bar through the gap in the doorway. The reverse of this tactic is what director Rajkumar Periasamy employs to hook his audience in: the sweetness of the Penelope-Odysseus relationship between Mukund and Indhu hides the intrusion of the weapon of jingoist ideology. 

Krishna's rating: 2.5 stars

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Official trailer for film below.

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