• The story of ‘Capturing the Handicrafts of Sri Lanka’

Sri Lanka is a country renowned for its natural beauty, wildlife, and rich cultural heritage. Yet, in the conversation about what makes the country unique, one topic that does not get much attention is our traditional handicrafts. 

For centuries, Sri Lankan artisans have honed their skills, producing heritage crafts and passing the knowledge down to their children to create generational treasure troves of knowledge that not only create functional products but are also deeply embedded in our island’s cultural identity. 

Sadly, with globalisation and mass production, our heritage craft products can often be overlooked in favour of other products that are cheaper, quicker to access, or more in line with global trends. Today, many of these heritage crafts are on the decline and some are at risk of dying out altogether, especially with younger generations opting out of these age-old craft traditions in favour of migration or other careers that are more lucrative. 

One way to keep these craft traditions going is to build awareness around them and reignite interest in the techniques and traditions of the past. Recognising this need to preserve and promote this often-neglected aspect of Sri Lankan heritage, amateur photographers Inoka Dias and Mahesh Wanigasooriya embarked on a unique project to track down and capture these ancient crafts in their upcoming book ‘Capturing the Handicrafts of Sri Lanka’.

Ahead of the launch of the book on Saturday (26), The Sunday Morning Brunch sat down with Inoka and Mahesh for a chat on the diverse and beautiful heritage craft tradition of Sri Lanka and their journey of documenting these crafts in ‘Capturing the Handicrafts of Sri Lanka’.

The coming together of two visual minds

Both Mahesh and Inoka come from corporate backgrounds in business operations and human resources, respectively, and are also certified coaches of the International Coaching Federation and practitioners of Neuro-Linguistic Programming (NLP). Their shared passions for photography, storytelling, and coaching were what led them to collaborate on this project. 

The book was initially conceived when Inoka sent Mahesh a long email, detailing her ideas about using their photographs to tell the story of Sri Lankan handicrafts. “We worked together in the same company, and I remember making fun of how she sent me this long email when she was sitting just two desks away,” Mahesh recalled. 

For Mahesh, his interest in photography was something that developed naturally and became an enduring passion. “I’ve been told I have a good eye for photography, but I never learnt how to take photos through a [formal] programme or anything like that. I always just felt drawn to the right way to look at something in terms of the composition of a photograph. That was what made me want to take photos.”

Inoka’s interest in photography stemmed from an interest in the arts and travel, and much of her photography deals with travel and wildlife. ‘Capturing the Handicrafts of Sri Lanka’ is actually an exception to the rule when it comes to the kind of photography Inoka enjoys most, but she was very clear from the start that she wanted to document Sri Lankan heritage crafts through photography.

“People ask a lot, why photography? It’s a very powerful means of communication; it can tell a lot of stories. I take so many photos, but I don’t really do much with them. I wanted to do something meaningful with photography.”

Inoka also has a personal connection to craft through her mother, who made crochet and tatting lace. This made her feel all the more keenly that there was a need to document Sri Lankan handicrafts, particularly those passed down through generations.

What began as an exchange of ideas with Mahesh has turned into a five-year journey across Sri Lanka, capturing images and stories of artisans from all corners of the country from Jaffna, the south, the central provinces, and the east. 

This herculean effort, however, came with its own set of challenges. “We work full-time and work crazy hours, so all of the photography was done during weekends or holidays. Many artisans don’t work on weekends, so we had to plan ahead and, in most cases, shoot everything in a day,” Inoka explained.

Craft and our cultural identity

Why is it so important to document and preserve Sri Lankan handicrafts? For both Mahesh and Inoka, the answer lies in the deep connection between craft and culture. 

“Handicrafts are always a big part of a country’s culture and heritage, but very little is known about most of these crafts,” Inoka said, pointing out that Sri Lanka, unlike countries such as India or China, was not widely recognised for its crafts. “We have a lot of things – nature, wildlife, etc. – but in terms of handicrafts, there aren’t many consolidated books or reading material.” 

‘Capturing the Handicrafts of Sri Lanka’ aims to fill this gap by documenting the work of artisans who have mastered their craft over generations. Many of these craftspeople use techniques passed down from their ancestors, making their work not only a form of artistic expression but also a living testament to Sri Lanka’s cultural history. 

“When we promote Sri Lanka as a tourist destination, we often highlight the sites – the temples, the beaches. But why not showcase our handicrafts as well?” Inoka questioned. She envisions a future where tourists can visit these artisans, see them work, and purchase authentic, handmade products, thus contributing to the preservation of these age-old traditions.

‘A visual story’

The result of Inoka and Mahesh’s efforts is ‘Capturing the Handicrafts of Sri Lanka,’ a beautifully crafted book that showcases 18 different traditional crafts, from pottery to lace-making. The book is more than just a collection of beautiful images. It is structured to tell the stories of the artisans behind each craft. 

“The cover has all 18 crafts covered, and inside we talk about the people we met, the materials they use, and the manifestation of the final product,” Inoka shared. From a design perspective, the book, with the designer’s input, keeps things very personal and simple, almost like a journal. 

The 18 crafts covered in the book are ‘una bata’ (bambooware), ‘batik’ (wax resist-dyeing), ‘piththala’ (brassware), ‘wewel’ (caneware), ‘ath yantra redi’ (handloom textile), ‘Dumbara ratā redi’ (Dumbara patterned textile) ‘Dumbara ratā kalāla’ (Dumbara patterned Agave cantala mats), ‘ābharaṇa’ (silver and gold jewellery), ‘beeralu renda’ (bobbin lace) ‘ath renda’ (crochet lace), ‘sambhānda’ (leatherware), ‘moorthy’ (stoneware), ‘bera’ (drums), ‘tal bhānda’ (palmyrah products), ‘mati bhānda’ (clay pottery), ‘lee bhānda’ (woodwork), ‘wes muhunu’ (masks), ‘rūkada’ (puppets), ‘sesath’ (palm leaf sunshades), and ‘laksha’ (lacquerware).

While they could have approached the book from a more academic angle, Mahesh and Inoka decided to keep it accessible. “We’re not experts in this area, but we have a love for handicrafts. We didn’t want it to be an academic book but rather a visual story,” Mahesh explained. 

This decision was also based on their understanding of how today’s audiences consume information. “Many people don’t have the patience or the time to read a full book nowadays. But pictures are a strong medium to tell a story, and that’s what we felt we were good at,” he added.

The pair has consciously designed the book to appeal to a wide audience, including younger readers. “One of my colleagues ordered the book to take with his little son on holiday, so that he can look at sections of the book whenever he comes across these crafts while travelling. It’s a bit more mobile than a traditional coffee table book and is something you can walk around with,” Inoka shared.

Challenges of documenting craft

The journey to complete the book was not without its challenges, with one of the biggest hurdles being finding the artisans themselves. 

“There’s no central database of artisans. We got some information from the National Crafts Council, but beyond that, it was colleagues and personal contacts who helped us get in touch with craftsmen,” Inoka explained. 

But once they found the artisans, they were met with overwhelming warmth and generosity. “It’s not easy to trust strangers in your home, but these people welcomed us. We played with their kids, had lunch with them, and shared tea with them. They were always accommodating and supportive,” she recalled.

The book is also entirely self-funded, a decision Inoka and Mahesh made after struggling to find sponsorship in the current economic climate. 

“We looked for partners, but it wasn’t the right time, given the situation in the country. We realised there would never be a perfect time, so we decided to move forward on our own,” Inoka said. This decision came with a multitude of challenges, but the pair remained committed to their vision.

Despite the difficulties, the project has been a deeply rewarding experience. For Inoka, the most memorable moments came from the personal connections they formed with the artisans. “Some of my favourite memories are just being welcomed into their homes, hearing their stories, and witnessing their humility and generosity,” she said.

For Mahesh, the journey has also been a learning experience on a personal level. “It wasn’t always easy. There were exciting days and exhausting days, days when we were mad at each other for whatever reason. How the journey unfolded and made us grow as human beings was also a significant part of the experience.” he reflected.

Looking ahead

At its core, ‘Capturing the Handicrafts of Sri Lanka’ is a call to appreciate the richness of Sri Lanka’s cultural heritage. 

“How do we build appreciation for what we really have? We need to acknowledge and appreciate the effort that these artisans put into making things. We’re very good at acknowledging what other countries have, but we need to look at what we have too,” Mahesh said.

Inoka echoed this sentiment, urging people to explore the crafts of Sri Lanka and to understand the deeper cultural significance behind them. “Discover what’s there in Sri Lanka, find ways to discover who we truly are, appreciate that, and live it,” she urged. For her, the book is not just about documenting handicrafts; it’s about preserving a part of Sri Lanka’s soul for future generations.

With ‘Capturing the Handicrafts of Sri Lanka’ officially launching on Saturday (26), Inoka and Mahesh are excited about the future possibilities. In an age where mass production often overshadows the value of handmade goods, they hope the book will serve as a timely and important reminder that craftsmanship, like culture, must be deeply valued.

Info box:

‘Capturing the Handicrafts of Sri Lanka’ will be available for purchase from 27 October and may be purchased directly via handicraftsofsrilanka@gmail.com or from Barefoot and selected Sarasavi Bookshop outlets