Singing in praise of God

Pic by Sakuna M Gamage

“Sinhala ithihasa pothe ran akurin liyawuna, Lassana podi punchi puthek lak manita nathiwuna…” He was a Muslim singing in Sinhala. He was from the Eastern part of the country came to sing in the north. Bawa Nasrudeen Kaleefa was one of the performers who grabbed attention at the Jaffna Music Festival. Nasrudeen came all the way from Akkaraipattu to perform at the Jaffna Music Festival. He led a group of eight singers, all Sufi musicians, which represented Islamic Social Heritage Association. 

“Performing at the festival makes me happy. It makes us all happy,” he said in an interview with The Nation at the Jaffna Municipal Grounds. He doesn’t speak Sinhala although he sings fluently in Sinhala. With the support of the coordinator of the Muslim Sufi Group Muszhaaralff in translating his words to English, he said, that performing their music at any event or time gives him immense pleasure.

Nasrudeen had started his journey in music when he was barely 20 years old. Today, he speaks about his 40-year-experience as a Sufi musician with pride. He didn’t attend any music school, but learned the basics about music and singing from his spiritual teacher and practiced what he learned until he became perfect. The purpose of his singing, he said, is to show his passionate love towards God.

According to Nasrudeen, Sufism is not a division of Muslim, rather it is considered a part of Islamic teaching that deals with the purification of inner self.  They believe that focusing on the more spiritual aspects of religion as striving to obtain direct experience of God.

Sufi music is the devotional music of the Sufis, inspired by the works of Sufi poets, like Rumi, Hafiz, Bulleh Shah, Amir Khusrow and Khwaja Ghulam Farid. Sufi communities or orders are found throughout the Muslim world, from South and Central Asia through Turkey, Iran, Kashmir, India, the Levant and northern, eastern and western Africa and also England. Sufi love songs are often performed as Ghazals and Kafi, a solo genre accompanied by percussion and harmonium, using a repertoire of songs by Sufi poets.

With the wide geographical and cultural spread of Sufism itself, Sufi musical practice is itself equally diverse. As Nasrudeen explained, each Sufi order or brotherhood has its own traditions, and forms of Sufi practice which varies greatly from region to region. However he further said that all these different facets of ritual and performance have the same goal in mind. “We use music to remember God and to move closer to the divine,” he said.  

He further defined Sufism as purely based upon the beliefs of Islam and the teachings of Muhammad although ‘ordinary believers’ of God have obligations towards Sufism and their aesthetic performances. He expressed his grief on how some sects of Muslims are reluctant to accept Sufi music.  Some Muslims prohibits any form of music that is not entirely devotional to Allah. A general perception is that Islam bans all music, but Nasrudeen said that this is not true. Islam only prohibits non-devotional music and when it is associated with other sins such as drinking alcohol, which is entirely prohibited. “Music reflects Allah. It creates a path for me to address him,” he said.  

Muslims believe that they will see God in the afterlife. The Sufis devote their lives to seeing God now, in this life, and becoming closer to the divine by following Islamic law. As he mentioned before, Muslims do not always agree with this aspect, but Sufism certainly does provide a spiritual, supreme root for the popular practice of Islam, as it is with most other religions.

Commenting on the music festival, Nasrudeen emphasized that setting effort to introduce different cultures to everyone and make them familiar to each culture in the country is a great way to rebuild harmony. “We lost many things during the thirty years of war. This is essential to bring everyone closer again. Each of our cultures has good things to share, good things we couldn’t share for a long time,” he iterated. “Especially music has components which can bring back harmony,” he said adding that music is understood by everyone although one language is not understood by everyone, taking himself as an example. He said that he enjoys listening to Sinhala songs and singing them although he can’t communicate in Sinhala.

He also expressed his sadness about the disputes between certain Sinhala communities and Muslim communities. He said that nobody who admires the spiritual aspects of a religion would fight each other. “None of the religions teach people to fight each other for materialistic themes. Religions teach people how to love and accept each other,” he stressed. “I believe the problems start when people try to focus more on the rituals rather than the spirituality,” Nasrudeen opined.

“As a Sufi, I have been taught to see everyone as God, every place as God and everything I associate as God.  So, I don’t understand the reasons why we are quarreling with each other. Why fight with our own God?” he raised a question.

Rodney Warnakula - Caught in a wave called comedy

 “There are dramatists who preserve their individual work. Yet, what we want is a collective system where all theater work will be preserved for the use of next generations,” Rodney Warnakula, one of the most celebrated Sinahala artistes who conquered the stage, television as well as the silver screen as an actor, producer and also as a singer said during an interview with The Nation. Warnakula made these comments when talking about the resolutions that should be brought for the betterment of the Sri Lankan arts field this year (2015). He pointed out that there is no fine method to preserve the stage dramas or stage drama songs in the country. According to him, even now it’s too late for some of the theater components to be preserved. “We at least get to see reproductions of stage plays. But what about the Teetar, Naadagam and Kolam?” he queried. “Those components too should be preserved so that it provides an example of how rich our old traditional art is,” he emphasized.

Warnakula is from Bopitiya, Ja-Ela. Receiving the primary education from Bopitiya Roman Catholic Boy’s School he entered Pamunugma Maha Vidyalaya for higher studies. His interest, while in school, was the stage because he was a much loved singer and skilled actor.   

In 1980, young Rodney received an opportunity to join the Tower Hall Theater Program. There he said that he received the greatest opportunity of meeting theater legends Anula Bulathsinhala and Lucien Bulathsinhala. “Meeting them was a turning point in my life. They invited me to act in Tharawo Igilethi in 1981. That was the first time I set my foot on the popular stage,” he recalled. Since then he has been working in the field for 33 years and has made contributions to more than 45 theater productions. These include Nari Bena, Vanisiye Welenda, Ananda Jawanika, Madura Jawanika, Guru Tharuwa, Mee Pura Wasiyo, Saranga Nawen Awith and Padada Asapuwa. Among these Saranga Nawen Awith was Warnakula’s debut stage play production.

He also spoke about his connections with the Sri Lanka Broadcasting Corporation. “I was a singer before I was an actor. Starting from school, I featured in many musical programs including amateur singer’s programs at SLBC,” he recalled. He was selected for both SLBC’s ‘Sarala Gee’ program and as a dubbing artiste. He reminisced the times he featured in the radio program Thaksalawa, mentioning how he was invited to make contributions in dubbed television programs.  He specifically mentioned that he believes that it was a blessing to work under the guidance of Athula Ransirilal in Inguru Paan Malliya,Kolikuttu Sahodarayo and Dangara waliga lapa wanara.

Warnakula’s stage roles are remembered for his remarkable voice. He is an icon in the Sri Lankan musical theater.    ‘Kumatada Sobaniye Kandulu Salanne…’ in Nari Bena,  ‘Yasa isuru pirunu thana, Siri dew du sitina thanaa ’ in Rathu Hattakari ‘Kadeta palayan Chun Chan…’ in Saranga Nawen Awith, ‘Hanika Warew Kollene..’ in Bera Handa and  ‘Sobawa de…’ in Tharawo igilethi with U Ariyawimal are some of the popular stage plays where one can hear his songs.  

He considers the opportunity he received to play the fox’s character in late veteran Dayananda Gunawardana’s Nari Bena as the greatest fortune in his career. He believes that destiny also played a role in him being selected for the character. He joined the Nari Bena crew in 1993, ten years after the play was first staged. Since then for 21 continuous years, he has played the role of the fox.

Few years into his stage career, Warnakula received the opportunity to enter the electronic media (television) and the silver screen. His first studio drama was Sutin and Martin. Gradually he received invitations to act in tele-dramas.  Among his most celebrated characters are the roles he played in Bodima, Nonawaruni Mahathwaruni, Ethuma, Sodona and Sayawana Patumaga. His character in Nana Kamaraya- a tele-drama mostly popularized through DVDs- is rated among the successful roles he played.

The debut film role he played was the character in Bahuboothayo (a Sinhala comedy). He mentioned that filming the second part of Bahuboothayo has now been completed – good news for fans who enjoyed the first part.  Sikuru Hathe is another in a series of popular films to which he has contributed with acting roles.

Although Warnakula plays many roles on the stage, he seems to be framed into similar type of characters when it comes to television and the film industry. Warnakula is one of the very few comedians with the ability to make people laugh without putting much effort. Yet this didn’t make it necessary to frame him to a set character, a funny servant or an office assistant. He acknowledged that he feels his talents are limited by set boundaries on television and the silver screen. “I keep on receiving similar roles in acting. When a character is successfully played and loved by the audience, producers tend to recreate similar roles. This stereotype characters bore the actors as well as the audience. “I have turned down many invitations to play such characters,” he stressed.

Warnakula along with his co-artiste Priyantha Seneviratne received the opportunity to continue the radio comedy Vinoda Samaya from its original presenters Annesley Dias, Berty Goonathilake and Samuel Rodrigo after several productions. “After these three superstars, Mr. Amarasoma Samarakkodi continued the program for a period. Eventually we also received an opportunity to perform,” he said. “Unfortunately, the SLBC didn’t want to continue with the program. Eventually we had to give up,” he said in a sad tone.

Commenting further on the contemporary comedy programs he said that it is essential that the comedy programs come along with visuals today because the audience demands visuals. “Dialogues solely can’t make people laugh today,” he noted. “Our audience relies too much on visuals today. They have been made to depend on visuals,” he said adding that this implies the fact that the creativity of the audience has declined. “Mindset of the people is shaped according to the speed rhythm media makes people follow. Sometimes it is confusing what people appreciate as art today.”  

He further said that the reason behind the lack of fine comedy programs could be the complexity of the today’s society. “People are suppressed by different problems. They are too stressed to think. Therefore sometimes people don’t understand satire,” he said. “It’s sad when the part including satire has to be pointed out for the audience,” he lamented. Warnakula further stressed that the lack of good satirical scripts is proof for the lack of well read artistes.

Warnakula launched his first music album ‘Ha ha lande’; a collection of stage drama songs in 2000. In 2011, he launched his second album ‘Sanda Eliya Wage’. His other songs don’t seem have grabbed attention of the radio program producers although his drama songs are played on radio channels from time to time. Warnakula said that he is not concerned about these songs not been played on radio channels that his intentions were not to sell his songs. However, speaking of his New Year resolutions he said that now it is time that he start another theater production, after Saranga Nawen Awith.

Voice of courage

Artiste Neela Wickramasinhe of ‘Master Sir’ fame talks about her 47-year-career in the music industry 

It’s not only her songs that are remembered when the name Visharad Neela Wickramasinghe is heard. As much as her flexible voice is widely admired, social services she has rendered are also remembered and valued. Among all, Sri Lanka will not forget her service in helping the Polio eradicating program in the late 1980s.

Neela’s voice was first introduced to radio listeners in 1959 through a program in Radio Ceylon titled ‘Adunika Handa’ (Amateur’s Voice). In 1966, she bagged the opportunity to become a playback singer for Sinhala films. “Singing is what I do since I was just three years old,” she told The Nation. “I have been in the field for 47 years. This was not an easy journey,” Neela said recalling the path she has traveled. She is also an accomplished music teacher as well as a versatile music composer.

Neela believes that she inherited her musical talents from her parents. Her mother and father were both known for their skills in singing. Neela said that her path to success was cleared for her by her reputed music teachers. Among them are Amara Athukorala, Vincent Somapala, Ananda Jayasinghe, Sarath Dassanayake and Premadasa Mudunkotuwa. In 1967 she had the privilege to record her first song, ‘Sende ambare nisha mal yata’ with Radio Ceylon. By 1973, she was an A grade artiste on the merit of the songs sung for the research section of the SLBC.

In 1974, she graduated with a Sangeeth Visharad degree after studying North Indian Classical Music. Completing her studies, Neela opted to become a music teacher. “I was a teacher for 23 years till I retired in 1998,” she said. 

Going on to establish her career, she won her first Sarasaviya Award in 1984. She secured this award for her song ‘Bodhiye Viharaye…’ sung for the film Ethin Ethata. “Since then I have won a number of awards. After a few I stopped counting,” she laughed. “I don’t believe that it is a wise idea to run behind awards anyway,” she said.

So far, she has won the Sarasaviya Award thrice, Presidential award, Sumathi Tele award Zonata and Vanitha award. However, she said that she felt gratified when the USA presented her with the International Award of Excellence on 100th International Women’s Day in 2011 and Vishva Abhimani together with a Gold Medal by the Human Rights Organization of Justice and Peace in recognition of her contribution as a singer in the field of music.

Although she was first identified as a young voice which was mostly suitable for the folk music, later in her career, she evidenced that her voice is versatile enough that it also suits heavily westernized compositions as well. Best examples for this are her songs such as ‘Viyo Gee’, ‘Rantikiri Sina’ and ‘Master Sir.’

Looking back, she said, she is shocked by the transformations in the Sri Lankan music field. “The song has elements which can directly address the human heart.  Therefore song should only be used to convey worthy messages,” she explained. “Some songs today, depress me; the language used or the messages conveyed are sometimes unbelievably horrible. I believe these songs can do more harm than terrorists. Terrorists’ harm was visible. We were able to stop them. Yet, harm done by cheap art creations is indistinguishable in that no one sees the depths of the damages done,” she iterated.

She held the media responsible for the changes made. According to her, media is open to anyone who can produce a song which is high in marketable value regardless the quality of music or the meaning. “If they can make it a hit, it’s all what matters,” she expressed her grief. She compared the contemporary field with the days when she was still an amateur. “Today becoming a singer follows an instant procedure. Sometimes, media men come to the studio, wait till a new comer finishes a song to collect it. Next day, this song tops the charts. Isn’t it a pun played on listeners?” she raised a question. Neela also said, back then, a song had to undergo several assessments before it was broadcast. She believes that this would have been the reason why 70s is called the golden era of the Sinhala Song.

She prefers to give talented young musicians their due place. “We see that there are some new singers having lots of potential. But the way they are made to become popular don’t allow them to remain in the field for a long time,” explained Neela. She affirmed that this situation affects the future of the song industry. “We will not be there forever. There will be a day that I cannot sing. There should be a generation which can take the industry into their hands safely when we are no more. But, I don’t see anyone who has entered the field during the last two decades capable of taking this responsibility,” Neela lamented.

She also said that although media is very enthusiastic about new songs of amateurs, they have closed their doors fully to new creations of veterans. “Most veterans in the field are not silent. They too work on new creations. But for a reason which is hard for me to understand, media is not open to new creations by us. They play and replay the old songs,” she said adding that the stage is the only place open for new songs of old people.

Wickramasinghe also spoke about the Music Research Unit of Sri Lanka Broadcasting Corporation (SLBC) where her talents were identified. Veteran broadcaster C de S Kulathilake, shares credit for introducing Neela to the field though his series of programs on Sinhala folk music on SLBC’s music research unit. Her debut song, ‘Dethata Walalu’ was written and music composed by C de S Kulathilake based on Sinhala folk music.  She also recalled how SLBC was also in its golden era during late Mr. Ridgeway Tillakaratne’s time. “Even SLBC is not giving the due space for a veteran to present something new. Leaders of the media institutions should be held responsible for this,” she further opined.

On 2012, to mark 45th anniversary of her musical career, Wickramasinghe started a solo concert named ‘Master Sir’. The popular song ‘Master Sir’ was a creation of veteran musician Nimal Mendis for the movie ‘Kalu Diya Dahara in 1974. Master Sir Solo concert has travelled across the country as well as the globe since 2012. She iterated that the feedback she receives for this show is enough evidence that there is still demand for decent music. “Listeners can’t be fooled. They are much ahead of our media men,” she stressed. “This is the reason why there is a high demand for classical music concerts. If and when media deprives them of what they want, they will always find a way to fulfill their need,” she emphasized.

Wickramasinghe participated in the UNICEF Project to save the children by eradicating polio from our country in 1989. She sang a song composed for this campaign, which was heard frequently over the radio and TV channels. Her efforts helped immensely to eradicate polio as through this campaign. Sri Lanka was able to eradicate Polio by 2000. She said that she is proud and content about the life she led, her achievements and the social services. She added that she believes that it is her duty to serve the country to her fullest capabilities through her ‘The Mother’ organization. Wickramasinghe founded this charity organization in 2002 with the aim of catering to children, elders and artists who made a lifetime contribution to the field.

She encountered many hurdles on the road she has travelled. Yet she was courageous enough to pass through all this. She attributes the blessings of people, who admire her songs, to her success in the music industry. “I know I have done my best. My efforts in art were never a fake.  Proof for the genuineness of my work is the appreciations I receive from music lovers. It will always come as a blessing for me,” she concluded. 

The sound of folk song grows soft

Recently, Visharad Wasantha Madurangani successfully staged her folk music concert at Viharamahadevi Open Theater celebrating 25 years in the field of music

“Now I can die in peace. I have the feeling that I have done something for my country. That’s the most important achievement of Sanda Saawi Maa - Folk Song Concert,” Visharad Wasantha Madurangani said. She is a student of late Maestro Lionel Ranwala and mostly familiar with the Sinhala song audience through Ranwala group’s folk songs and her solo ‘Sanda Saawi Maa.’

Last week, she successfully staged her folk music concert at Viharamahadevi Open Theater celebrating 25 years in the field of music. Almost thousand folk songs were sung on stage for 24 hours continuously by Madurangani and her team. The concert was a free and open event for all. “The initial plan was to sing 1000 folk songs, but we ran out of time,” she said. “During these 25 years, I have always tried to do the best I can for Sinhala folk music. This is why I still couldn’t do a CD. This is why I planned to invite all music lovers free of charge for the concert,” she said. “Doing the concert for free was not an easy task, but I saw this as an opportunity to bring folk songs into the limelight again.”

Magurangani is from Athurugiriya. “I entered the field in 1990. I met my master, Lionel Ranwala back in 1980s. I was only 15 years old when I joined his Lama Jana Gee program at Rupavahini. I met him at the preliminary dance examination and he invited me to join the program. I think he identified my talent,” Madurangani said. She said that she should be grateful to all her teachers for what she is today including Lionel Ranwala. “My first music teacher was the music teacher at Bibilegama Maha Vidyalaya. I learnt Hindustani music under maestro B Victor Perera and then mastered playing the violin under Ajith Jayaweera sir,” she recalled.

Madurangani said that she is also thankful to Lionel Ranwala for introducing her to media, due to which she first got the opportunity to sing for a Television program under his guidance. “I gradually developed a taste for folk music and songs and along with it my interest grew. By 1990 I was a permanent member of the Jana Gee team,” she reminisced.

She spoke further about her master, Lionel Ranwala who passed away twelve years ago due to an accident. “He was successful in introducing Sinhala folk tunes and melodies to popular Sri Lankan music without damaging the original tune, exemplified by his songs. I don’t know why the media only remembers him and his songs during the Aluth Avurudu season,” she expressed her grief. She believes that Ranwala was a better teacher than an artiste.

“He was a great artiste; he was an exceptional teacher. I have never seen any other teacher more capable of understanding his or her students. When I was a student I used to wonder how he did it, but now I sometimes try to guess how he did it when I face difficulties with my students,” she said. Madurangani teaches music at her art institute Thimanjala in Athurugiriya. “He always taught us how to face different situations as he taught us music. He shaped our personalities.”

Madurangani was Ranwala’s student for twelve years. She also spoke about Thaalama Foundation and the folk singers group. “Earlier we didn’t have a team as such. Whenever we get an invitation to sing, he would send us a postcard with information about rehearsals,” she recalled how keen he was that students took part in rehearsals on time and RSVPed to the postcards he sent. “We didn’t have phones to communicate. It was postcards and letters. He made sure he sent us information early enough.”

She also called to mind how people were reluctant to give real value to folk singers when they wore cloth and jacket for their performances. “People were unwilling to except cloth and jacket with high regard. People in the city seemed to condemn this, maybe they thought folk music and songs were only for the village folk,” she said. “Then Sahan Ranwala, Ranwala mater’s son joined the team and made a few changes in the appearance of the singers,” she said that Sahan Ranwala indentified how to tackle media in approaching the audiences with folk music. “That’s how Lionel Ranwala Folk Music Group was established.”

She further expressed her grief at contemporary media that they still don’t give high regard to Sri Lankan folk music. “I am not sure whether it is the misfortune of the country or folk music and songs. Folk music is limited to the Auvurudu season. Maybe they are unaware of the varieties of music and the depth of the subject,” she opined. Although with the introduction of television, cassette player and radio folk songs were played frequently and demand was created. However with the commercialization of the media field these become unpopular. “I believe media should be held responsible for the folk song loosing popularity,” she rebuked.

Madurangani pointed out that people are being limited by days like Mothers’ Day or Fathers’ Day. “Media asks us to love our parents only one day a year. Likewise they’ve limited folk music to the New Year season,” she said.

She identified four steps to promote folk music. Firstly, experimental research should be undertaken. Secondly, research findings should be turned into creations and then those should be checked for quality and standards by specialists. The final creation, melody or song should be promoted via media; mainly, radio or television. “Although the first two steps are well under way, media doesn’t seem to do their part,” she reiterated. “We do our best to preserve this genre. But I’m afraid folk music will go extinct.”

She said that not everyone has a taste for folk music or songs in society. “I remember Ranwala master quoting Ven. Anagarika Dharmapala that one day when Sudda leaves he will leave a whole horde of Kalu-Suddas in the country. Maybe this is what has happened. There are ‘Sinhala’ people who can’t seek entertainment in our folk songs or literature,” she emphasized. She also said that it’s those Kalu-Suddas who demote the standards of aesthetic amusement. “The problem here is that people who desire high quality aesthetic amusement are the quiet lot. They don’t voice their demand. People who desire low quality amusement are always ready to rebel for what they desire,” she opined.

She emphasized how musicians in India are keen on developing their folk melodies. “They always admire local forms of art. Experiments are done with modern technology, where they try to get the maximum benefits,” she said. “We may not have as many folk melodies as India, but our melodies are varied enough that we could use them if we develop them further,” she reiterated. “It’s a shame that we always try to nurture and promote all things foreign.”

She also mentioned that the school curriculum should also include more folk music and songs for children to study so that they will develop an interest in the field. “If not for the book Hela Gee Maga by Dr. Makuloluwa published in 1959 the Education Department won’t have any reference material for folk music. To date, the only songs included in the syllabus are of the melodies in this book,” she reiterated. She also said that her next goal is to compile a book of songs and music chords consisting of the songs they sang at the Sanda Saawi Maa concert.  

Her most popular song, Sanda Saawi Maa was written by veteran lyricist Sisira Dissanayaka and music was composed by Ranwala sir using Vessanthara Viritha. “Sisira Dissanayaka came to one of our rehearsals with the song and wanted to see how it was. Ranwala sir showed how to sing it and asked me to sing. I don’t know how, one try and I was able to memorize the song and sing. Although it was not written for me they decided that I should sing the song,” Madurangani spoke about the song loved by many. She compared the Vessanthara Viritha and the song, exemplifying how strong Sinhala folk melodies are in addressing emotions. “If a Sinhala person can’t feel these melodies, a folk song or a traditional drum beat, I don’t know what to say except ask them to get their blood checked,” she said mockingly.

Pic by Chandana Wijesinghe

'Art can’t be faked’ - Sunil Edirisinghe

 

 “I believe what I sing through a song should be solely for the betterment of society” Pics by Chandana Wijesinghe

Only very few people can boast of having fulfilled their dreams. When Sunil Edirisinghe was young he too had a dream of becoming a singer one day. He had the talent, support, commitment as well as people to show him the way. He recognized this and used all these factors to become the best he could. Now a much older and wiser Sunil Edirisinghe, basking in this week’s spotlight of ‘The Notebook of an Achiever’, said that all these factors are vital prerequisites to succeeding in any field.

Edirisinghe was born and raised in Nugamugoda, Kelaniya. According to him the encouragement and influence of his own family contributed immensely to his success. “My mother could sing well and she used to recite poems at home. My father was also appreciative of art. I believe that my siblings and I were inclined to join the field of art because of our parents,” he said. He is the youngest in a family of eight and his eldest brother, PD Edirisinghe was the first to enter the field followed by Sathischandra Edirisinghe. Sunil Edirisinghe began his schooling at Sri Dharmaloka Vidyalaya in 1955. After completing his secondary education in 1969, Edirisinghe began working for the Government Printing Corporation.

Edirisinghe won the presidential award for playback singing in 1983 for Maya Miringuva Pirunu Lo Thale from Adhishtanaya. He was awarded with the Swarna Sankha Award for playback singing in 1988 for Thurulaka Hurathal from Mangala Thegga and for Walakulak Gena Muwa Karamu from Saharave Sihinaya in 1990. He has also won the Sarasaviya Award for playback singing several times.

“I remember, when I was just ten, I used to chaperone my sisters to music lessons,” recalled Edirisinghe. During these visits he developed the constructive habit of eavesdropping on what was taught in class. “I heard folk music in Dr. Makuluoluwa’s class and Ragas in Amaradeva Master’s class. I used to practice them by myself,” he added. He also remembers how he learnt, listening to his third brother Nimal Edirisinghe, who was a student of Haywood College. 

He said his first fans were his family and recounted how they encouraged him to improve vocal skills. He reiterated the importance of encouragement within the family system to help shaping a child’s future. “I remember, my father and mother embracing me, asking me to sing a song or recite a poem I learnt at school. I remember how they praised me. With time their appraisals made me realize what I could achieve,” he recalled. “I believe that what I received from my family is important to every child. The love, affection and kindness of family have the potential to shape the ideal child,” he said. He also remembered how he was loved by his classmates and music teachers at schools.

Not every singer is lucky to be recognized from his or her very first song. Not only was Edirisinghe fortunate enough to be recognized, his first song is still much loved. He entered the field in 1970 with Sandakada Pahanaka for his brother Sathischandra's film Matara Achchi. Music for the song was composed by Victor Ratnayake, the song was written by Wally Nanayakkara. “According to Wally Nanayakkara it was the first song he wrote. It was the first film Victor composed music for and this film was my brother’s first attempt at directing. And it was my very first recording,” he reminisced. In the field of arts, this song is known as a Siw Kulundul (a debut effort of four different artists) and Edirisinghe believes that is no other song which could be unique in that way.

Edirisinghe was recognized for his talent through this song and he was encouraged to study music by his family and as well as Dr. Victor Ratnayake. “It was a challenge for me as well as for my brother. If he didn’t have faith in me and give me that opportunity, things would have been different,” he spoke of how he accepted and the challenge as a youngster who didn’t have experience in the field.

As humble as he is, he had to accept that suggestion to study music. His first music master was, renowned musician, PV Nandasiri. In early 1980s Edirisinghe joined Sri Lanka Broadcasting Corporation and was graded an outstanding singer. According to him, meeting Dr. Rohana Weerasinghe and Kumaradasa Saputhanthri at SLBC was another milestone in his career. “Saputhanthri wrote many songs for me and Rohana composed melodies for them, which I believe, is the reason for the success in my career,” said Edirisinghe.

Since his debut song in 1970, he has been in the field for almost 45 years. Unlike many artistes who changed their style to suit the trend, Edirisinghe remained steadfast and consequently maintained the quality of his songs. None of his songs can be passed over as meaningless or not worth listening to. He attributes this pursuit for quality, as well, to the environment he grew up in, which inculcated in him a good taste for aesthetics. “I believe what I sing through a song should be solely for the betterment of society. I was trained to think like this because of the influence of my family throughout my childhood,” he said. “Credit for the lyrics should go to Kumaradasa Saputhanthri. Not only did he write most of the songs I sing, he also taught me how to choose songs,” said Edirisinghe.

According to him his friends, whom he considers a treasure, is another reason for his success. Apart from Rohana Weerasinghe and Kumaradasa Saputhanthri, he also mentioned Lakshman Wijesekara, Ananda Weerasiri, Kularathne Ariyawansha, Bandara Eheliyagoda, Sisira Wijethunge, Bandula Nanayakkarawasam and Wasantha Kumara Kobawaka. “They were always around. They were the influence behind choosing the best, always. It’s a rare strength for a person,” he said.

Compared with other mediums of art, song is considered powerful in that it has the capacity to change people. Edirisinghe explained why the song should be used for the betterment of society. “We should always seek ways to heal people as they are constantly suffering. The song should act as a salve for this suffering,” he explained. Pop art can only distract a person from his worries, he explained, there is a clear distinction in what a more meaningful art form can do. It has the potential to make a person realize the meaning of life, he pointed out.

When asked whether pop art, directed at satisfying pleasure senses is not necessary, Edirisinghe said, “Not everyone is intelligent enough to grasp the meaning of a song. Many covet simple things they can understand. It is the way of the world. We cannot change that.” Yet he said that it is the responsibility of the artiste to seek ways to provide society with meaningful songs in such a way that anyone could grasp. “They should look for ways to spiritually satisfy people while they also receive physical and mental satisfaction.”

Frequent Facebook users would have noticed a picture shared on Facebook, which compared Sunil Edirisinghe’s Malliye naraka mithuran piliganna epa and another new song sung by a novice singer which appreciates a thug’s life. The picture shared on Facebook compared the literary quality of songs now and then. It also pointed out how easy it is to remember these lyrics, but takes effort to by heart a meaningful song. “The human mind is reluctant to take the trouble to make sense of profound things. It can easily grasp the simple. A person’s education also plays a role in creating this attitude,” he said. “Even in Western countries few people enjoy a symphony. Millions would want to watch a popular music show,” he noted.

When it comes to meaningful songs, Sunil Edirisinghe’s Banen banda raja rata pedesinne and Miniseku pita nagi asaruweki, written by late Premakeerthi de Alwis are two examples for how songs can make a change in society. During the time these songs were first broadcast, beef consumption and gambling had dropped. “Once I was asked to do a program at SLBC on the value of cattle. I asked Premakeerthi whether he could write me a song for the program. He agreed and wrote a few songs on the topic and Banen bande was among them,” he recalled. “Premakeerthi wrote Miniseku pita nagi asaruweki for a Sarala Gee program.” He explained that it was capable of bringing about a change in society, pointing out certain lines from the songs.

“Heta mama gedarata sura sapa denawa…tomorrow I would treat my family to comforts of heaven, Ada raa lunu mirisen gatha wenawa…His children would have to satisfy their hunger with basic foods. But he won’t be able to give them the comforts he dreams of tomorrow either, as he loses his money betting on a horse race and the children would have to continue to sleep on their mats. Kasi malla sathekuge pita yanawa, Du daruwan padure nidiyanawa,” he explained how Premakeerthi de Alwis contributed to making a difference in the society. “These songs at least forces people to think and question what they do. That’s where change begins,” he reiterated.

Edirisinghe has this amazing ability to sing the song as if he is living in that moment. He makes the listener believe that it’s his experience and going beyond this, his voice makes the listener feel the same emotions that a person in that situation would feel. “If you contribute to a song, you should be honest to what you do. Art can’t be faked. When I receive lyrics and music composition, I should study both, so that I can make a note of where I should emphasize with feeling,” said Edirisinghe. It’s the kind of commitment Sunil Edirisinghe shows for his vocation.  Good lyrics, music composition, voice, rhythm, simple language, honesty and commitment; all these should come together to make a song successful,” he added.

According to Edirisinghe, this song Seethala diya piri sunila wilai, was selected from Mahagama Sekara’s book, Nopala Kavi (Unpublished Poems) after his demise and he considered it as one of the greatest opportunities of his singing career. “I have not met him, but I was fortunate enough to see him on several occasions at the Fort railway station. I was taking the train from Wellawatta as I took a typing course there. He takes the train from Fort. Unfortunately I never got a chance to speak to him,” he remembered. Edirisinghe was excited to see him, but he never imagined that he would sing one of his songs. “Sekara was a highly influential character back then. I put him on a pedestal, since I was young and I never imagined that I would ever get a chance to sing one of his songs.” After many years Edirisinghe was still excited to recount seeing his childhood idol.  

He expressed his grief at commercialization of the industry. “Time is money. This concept came to us from the West and we have also become slaves to money. Our society depends on money,” he said. “We travelled far with gifts bestowed on us by a culture based on the Buddhist philosophy. But now, we have to give up these time tested good practices, since we are obsessed with money. There were people who foresaw this Kaliyugg. What can be said but, Antho jata bahi jata, entanglement inside and out,” he concluded.