The photographies of the protests thus visually encompassed the tension between the counter-political and the anti-political permitted by the volatility of photography whereby a national kinship is claimed. Kannan Arunasalam’s poignant The Tent captured this tension in a film installation (2019).

Vindhya Buthpitiya, Absence in Technicolour: Protesting Enforced Disappearances in Northern Sri Lanka, Journal of the Royal Anthropological Institute