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The Allegation and Suspension Sri Lanka’s Buddhist hierarchy has suspended a prominent senior monk accused of sexually abusing a child, in the religiously conservative nation’s highest-profile case involving a local clergyman. The monk, 71-year-old Pallegama Hemarathana, was stripped of his responsibilities on Saturday as the chief custodian of a highly venerated Ficus plant grown from a sapling of a tree believed to have sheltered the Buddha. The Investigation and Legal Proceedings Police arrested Hemarathana on May 9 following allegations he sexually abused an 11-year-old girl in 2022 at the venerated Jaya Sri Maha Bodhi temple in Anuradhapura, 200km (125 miles) north of Colombo. Hemarathana was detained during his stay at a private hospital in the capital Colombo, where he had checked in for treatment as the criminal investigation progressed. Authorities said the victim’s mother had also been arrested for aiding and abetting the monk. The Impact on the Community The temple draws thousands of people daily who pay homage at the tree Buddhists believe is closely connected to the same Ficus that sheltered the Buddha when he attained enlightenment. Hemarathana’s suspension came on the same day Sri Lanka celebrated Vesak, the anniversary of the Buddha’s birth, enlightenment and death. The Context of Clergy Abuse in Sri Lanka There have been several cases of clergy abusing children in Sri Lanka, but Hemarathana is the most senior monk to be accused of such a crime. Last month, 22 monks were arrested at Colombo’s international airport after 110kg (242lbs) of cannabis was found hidden in their bags, in what was the biggest drug smuggling discovery ever in the facility. The monks have remained in custody pending prosecution, but have not been suspended from the priesthood. The Future Outlook Hemarathana has since been granted bail while a court has barred him from travelling abroad. The Council of Monks of the Malwatte Chapter decided to suspend Ven. Hemarathana until the conclusion of the legal proceedings against him. This case highlights the challenges faced by religious institutions in addressing allegations of abuse within their ranks.

The Return of the Medieval Tiles: A Conscience-Driven PilgrimageSimon White, a 68-year-old retired chartered surveyor, has completed a remarkable act of restitution, returning three fragments of a medieval tiled floor to Wenlock Priory that he pocketed as a nine-year-old boy nearly 60 years ago. The handover marks the end of a long journey for the tiles, which survived decades hidden in a toffee tin, and serves as a poignant reminder of how historical preservation attitudes have evolved.The Toffee Tin Discovery and Historical ContextThe incident dates back to the late 1960s when White, then just nine years old, took the decorative clay tiles during a family visit to the historic site in Shropshire. He recalled his father encouraging the act, telling him, "Oh, this is pretty – take it home." The fragments were rediscovered by White during a recent house move and, despite the passage of time, he felt a moral obligation to return them.Age at Theft: 9 years oldYear of Theft: Late 1960sCurrent Age: 68 years oldStorage Method: Old toffee tinUncovering the Unknown: The Dragon MotifThe return of the tiles has yielded significant historical value. Matty Cambridge, assistant curator at English Heritage, confirmed that the fragments are indeed from Wenlock Priory, narrowing the origin down from three potential sites in Shropshire. The most exciting discovery is a dragon motif on one of the tiles, which was previously unknown at the site. Another fragment depicts a face thought to be a lion or a grimacing expression.A Shift in Heritage Ethics: From Laxity to PreservationThis story highlights a stark contrast between the laxity of the 1960s and the stringent preservation measures of today. While it is not unheard of for mementos to be taken from historic buildings, it is rare for such artefacts to be kept in such pristine condition for nearly six decades. The "pilgrimage" White undertook to return the items suggests a growing societal emphasis on the ethical treatment of cultural heritage, even decades after the transgression.The Future of the ArtifactsWhile the tiles will not be re-laid on the floor of Wenlock Priory due to their fragility, they will be moved to an English Heritage archaeology store for further analysis. The discovery of the dragon motif may prompt a re-evaluation of the site's history, offering new insights into the Cluniac monks who once inhabited the priory and their architectural preferences.

On Easter Sunday, a group of monks gathered in the Old City of Jerusalem to perform traditional prayers. The ceremony took place under an uncharacteristically quiet backdrop, as the historic quarter was largely deserted.The presence of the monks underscored the enduring religious significance of the site, even as the usual crowds were absent. Observers noted the stark contrast between the solemn ritual and the empty streets, a scene that emphasized both the spiritual continuity and the unique circumstances of this year's celebration.

The Unicorn Theatre's production of 'A Midsummer Night's Dream' is a playful and punchy adaptation of Shakespeare's romantic comedy, made accessible to a young audience. Co-directors Rachel Bagshaw and Robin Belfield have trimmed down the original language while incorporating slapstick comedy and playful captions.The production feels like the start of a brilliant venture, still finding its feet. The editing is smart, but could have been more radical. The framing story in Athens has been cut down but not excised, making it harder to understand.The magical elements are kept low-key and gently engaging, with Titania's fairies conjured up using childlike voiceovers, Holly Khan's delicate soundscape, and Will Monks' entrancing word projections. Joséphine-Fransilja Brookman's Puck is an impish schoolkid who climbs up balconies, jumps on tyre swings, and causes mischief.The standout star is Emmy Stonelake as Bottom, a natural comic and talented Shakespearean who raises big laughs without compromising the language. When Bottom is turned into a donkey, Stonelake cries out: “This is to make an ass of me!” and is met with big laughs and heavy sighs.The most lucid and enjoyable scenes are those with the rude mechanicals as they rehearse their (terrible) play. There's a whiff of the CBeebies panto to these encounters, with the actors dressed in neon costumes and delivering their gags with gusto. The hard-working ensemble jump from playing heartsick lovers to hammy actors with real aplomb.At the Unicorn theatre, London, until 10 May.