'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.