Sunil Edirisingha:
The 'Sandakada Pahana' fame idol
Sunil Edirisinghe, one may say, is a
famous male vocalist that grew up within the Sinhala-Buddhist culture of
this island. Most of his songs after 1980s represent his nationalist
personality in art. But when he began singing career such an aesthetic
culture of local Sinhala nationalism was not prominent. Until the 1980s
Sunil was just a singer who made his mark through a film song named as "Sandakada
Pahanaka ..." He sang over the Sri Lanka Broadcasting Cooperation
between intervals. It is essential to read the colourful text of such a
vocal artist. We met him recently and gathered his views for this
article.
Aravinda HETTIARACHCHI
Q: What is the background you entered
into this field of music?
A: I had this talent from
my young age. My singing ability was highly admired in school and by my
family. My brother Sachischandra Edirisinghe's first film named 'Mathara
Achchi' was my first opportunity of sing. He asked me to sing 'Sandakada
Pahanaka' in this film. This song became a hit in the Sri Lankan hit
parade chart chart of 1970's.
Sunil Edirisingha |
Victor Rathnayake the veteran musician and my brother Sichischandra
were very enthusiastic with my singing, and asked me to study the exact
technicalities in music.
I didn't have the at least the acquaintance of basic music notes. So
I could not have my own projection of voice through the knowledge of
music.
Therefore I started learning the North Indian Classical Music from
the late P.V. Nandasiri was publically admired as an excellent tablist
and a vocalist.
He was a refine teacher who then taught music in the 'Heywood'
Institution of aesthetics. I studied under him for number of years.
My singing became natural and affective while I trained my voice with
the knowledge of music. This acquaintance with quality music and the
popularity I gained through the song 'Sandakada Pahanaka' gave me the
opportunity to enter the film screen with popular songs in 1973. The
songs such as 'Kuda Game Maddahane'(in the film 'Hulavali'), 'Hise Gini
Avilethe'('Sri Madara') are some of them. Later, the song titled "Wadakayaneni
Obe Sithraya" made me a significant singer over the Sri Lanka
Broadcasting Corperation. This song was written by Saman chandranath and
the melody composed by my teacher the late P.V Nanadasiri. Until 1980s,
I sang only few songs. Then, I had a chance to voice in an E.P
recording, which is technically limited to a recording space of four
songs. 'Chandamadala', 'Kaurunda Oba Mage', 'Pata Dedunu Sedila' and 'Thanikale'
are these songs.
These songs became hits that time and, this introduced my voice in
the field of music in a different way. I became an icon in the
Nationalist Music Culture. Dr Mrs Deepa Nago, the Acadamic vocalist who
came to SLBC from India graded me as a Super Grade Vocal artist. I
suppose that this was the turning point in my singing career.
And my superior predecessors of music such as Ananda Samarakoon,
Sunil Santha, Amradeva and others have already established themselves as
following a nationalistic approach. They showed me the path to built\d
my career in music.
Their mode of singing had not been taken from India. They were
originals. These originals derived from an independently experimented
mode, which was a blend with our Sinhala folk music and the
technicalities of North Indian Classical M\music.
The tendency of our music culture with local classics journeyed in a
middle path and became popular after the appearance of the veteran
musician and vocalist Victor Rathnayake.
He innovated a new unfailing style of popular music on our own and
this has greatly affected to his musical offspring of composers such as
Rohana Weerasinghe. On the other hand Somadasa Alvitigala, Lional Algama
and Premasiri Kemadasa have surfaced as film musicians into the song
chart of this country. Kemadasa was an outstanding artist among them who
fascinated an audience with a new dimension in Sri Lankan music. Expert
vocalists such as Nanda Malini and Amaradeva involved their vocal chords
with Kemada's highly experimental music compositions.
And no one of any musician in those days directly copied each other
though they were affected by the other's styles indirectly or
unconsciously. I entered into the arena of singing with this
environmental background of music.
Q: Most of your popular songs are
lyrical and metaphorical . They reflected Sinhala opinion . Why are you
bound to this pattern of vocal vocal music?
A: From my childhood I was
very fond of Amaradeva's music and singing. My two elder sisters
attended his music class. I used to go there with them and had a chance
to listen to his music. And I tried to sing his songs when I came back
home. The religious background of the Chief Thera and the Daham Pasal
(Sunday School) of our temple has enormously influenced my way of music.
Whenever I choose a lyric, this background instinctively affects me.
I don't think the nationalisticideology has directly affected my singing
voice.
Yet I am a person who is so enthusiastic with my traditional cultural
ideology and its values. Sometimes, the sound of religious Pirith may
have affected my vocal chords. Yet I am not so sure about that.
I prefer Tranquility and wisdom in an artistic creation. You need an
ego-less condition in spirit to taste art. The delicate nuances of the
singing tone of Amaradeva are very hard to identify with a mere mind.
You need a higher spirit with peace to catch them.
Q: Have you a space in this present
cultural scenario?
A: No. This culture
highlights only the market values.
The television and the mobile net almost captured this business of
music. Whenever talented children appeared in a Reality TV Show, they
get a chance to express their talent. Yet, before or after this, these
children should follow a better path in music. But the present
atmosphere of this cultural market won't allow it. We, in our days, also
had a market producing songs with cassettes. Yet It didn't harm this
much in music.
The law of Intellectual Property is very clear cut in this country.
Yet it is not put into practice. Art should move from fascination to
wisdom. Yet today the market has brought everything into a puzzle. |