Exploring Mahagamasekara’s halo
Francis KEENAWINNA
Mahagamasekara would have been 82, had he lived with us today. He
would have celebrated his 83rd birthday on April 7. Sekara’s name is
apparently household – at least still it is so – for his contribution to
Sri Lankan song. His contribution is not immense in number, but it is
immeasurable in value and content.
Versatility is a characteristic not many artistes would be blessed
with. Sekara, so to say, was blessed with versatility. He was an
artiste, translator, radio artiste, novelist, film-maker, cartoonist and
so on – but above all, a poet. But versatility did not do much wonders
to Sekara’s career.
 The poet in him outshone his other talents. The poetic nature in him
influenced him in every artistic project he undertook. Sekera’s greatest
contribution to Sinhala Music is his moving and melodious lyrics.
With his rich vocabulary, he was able to use words with fine delicacy
and skill. The imagery he used gave special richness to his
compositions.
In a bid to build up an indigenous music based on folk and other
essentially local themes, he presented a series of musical programmes
with Maestro Amaradeva, titled Madhuwanti. These compositions brought in
a new depth to the Sinhala music.
Sekara, without doubt, is an artiste with an immense talent. He is
truly an artiste, compared with overnight popular artistes we get to
encounter in the modern society. He was an artiste above average.
He was often being imitated but never duplicated. As a poet and a
lyricist he developed the prevailing tradition and drew upon the
language of the folk to up shape a modern lyrical and poetic diction. He
was a poet, lyricist, painter, broadcaster, playwright, novelist, short
story writer and also became a reputed moviemaker after directing his
semi-autobiographical novel Thun Man Handiya as a motion picture.
Mahagama Sekera embraced a vast territory of concerns in his creative
process with a sensitivity that recognized humanity and life. Having
rendered a great service to the nation through his multifaceted
contributions which reflect an ever-continuing significance, he still
holds and is very much a part of the contemporary consciousness.
He entered Heywood – now University of Visual Arts and Performance –
and obtained a diploma in painting. He furthered his studies at the
Teacher Training College (Male), Maharagama. He subsequently joined the
staff of Hewavitharana Buddhist College, Rajagiriya, as an Art teacher.
In 1956, Sekara published his first book, a translation. It was
titled as Dhawala Senanka. The year was instrumental since he received
an award for his painting titled ‘Mahabinikmana’ as well. In 1960, he
was appointed as Programme Producer at the Radio Ceylon.
Throughout his career Sekara produced over 100 paintings in various
media such as oil on canvas and water colors. Most of them are currently
not available. Some of the paintings exhibited here were taken from The
Times of Ceylon Annual ’69 magazine. Around thirty of his paintings were
exhibited at the Serendib Gallery in early 1970s. The whereabouts of
those paintings and the ones which are not displayed here remain
unknown.
Sekara, in his paintings, did not attempt an analysis into the
mechanics of form; instead, his creative bursts are born out of a few
symbols like masks, plants, boats which make strong impressions; and the
familiar voluptuous imposing curves are replaced by extremely simplified
outlines.
Sekara breathed his last on January 14, 1976. About 45 years have
lapsed since his death. Sri Lanka Press Council hence has taken the
initiative to commemorate the late artiste’s life and times. It will be
a discourse formed by Jayalath Manoratne, Buddhadasa Galappatty and Daya
Dissanayaka. The session is moderated by Professor Sunanda Mahendra.
Professor Mahendra succeeded Sekara as the Scriptwriter at the Radio
Ceylon in the sixties. He was a close friend of Sekara: Sekara had
designed the covers for some of Mahendra’s books – including his
award-winning ‘Hevaneli Eda Minissu’, while Mahendra had written the
preface for Sekara’s ‘Nomiyemi’.
The discourse titled ‘Mahagamasekara Res Valalla’ (The Mahagamasekara
Halo) will be held at Mahagamasekara College, Radavana, on January 14 at
9 am.
“’Halo studies’ is a branch of studies undertaken for research at the
modern universities. When you study most great artistes, you can observe
they have had more than one talent. It’s like a halo. When you explore
the depth of such artistes’ works, it is called halo studies.” Mahendra
explained. Despite his short life span, Sekara could offer a wide range
of contributions to the country’s art field.
“Sekara was only 47 when he passed away. But during that limited
period, he made his presence known. More than whether his works are
important or not, what matters is what influenced him. We need to
rediscover him for that matter. Rediscover his halo.”
Such a process, he added, will influence the modern artiste and
scholar. The modern artiste must derive their inspiration and influence
from the ancient classics. It would not be whole imitation, but some
kind of guidance.
An epic poetry book titled ‘Sekarata Gamen Liyumak’ penned by Kumara
Kaviraja will also be launched to coincide with the death anniversary
commemoration. It is written in a form of a verse letter to Sekara how
the modern village has changed, deviating from its own ancient classical
traits.
Mahagama Sekera started his doctoral studies at Vidyodaya University
of Ceylon in 1974. His thesis on Sinhala Gadya Padya Nirmana Kerehi
Ridmaya Balapa Athi Akaraya (Influence of Rhythm on the Sinhala Prose
and Poetry) was submitted to the University in 1975. At the time of
passing away in 1976, he was attending to the final editing of the
thesis as recommended by the supervisors. The University of Sri
Jayewardenepura posthumously awarded him the Degree of Doctor of
Philosophy (PhD) for his research thesis at the Convocation held in
1981.
On the occasion of Mahagama Sekera's 25th Death Anniversary, in 2003,
his Ph.D. research thesis was launched as a publication titled Sinhala
Gadya Padya Nirmanayanhi Ridma Lakshana (Rhythmic Features of the
Sinhala Prose and Poetry).
His brief involvement with movie making extended into making of the
‘Siya Wasa’, a documentary made by the Ministry of Education to mark the
Education Centenary in 1969. Initial sketches of a script found among
the vast collection of his manuscripts reveal that he was involved in
making a film as a learning aid.
(Some information for this essay are gathered from mahagamasekara.org.)
[Poetry]
Vyanga (with K. Jayatillake)
Sakwa Lihini
Heta Irak Payai
Mak Nisada Yath
Rajathilaka Lionel saha Priyantha
Bodima
Nomiyemi
Prabudda
Maranaya
[Novels]
Thun Man Handiya
Mano Mandira
[Films]
Thun Man Handiya
[Songs in brief]
Adawan Desin Pawasanu Rahasin
Ama Ganga Galala
Ambiliyo Ambiliyo
Anna Balan Sanda
Apara Vu Akase
Ase Mathuwana Kandulu Bindu Gena
Atha Gau Ganan Durin
Atha Kandukara
Atheethayen Ganga Gala Basi
Epa Puthune Mudu Yannata
Gala Halunu Ganga
[Awards]
1966 Sarasaviya Film Festival: Award for the Best Lyric Writer
For the lyrical composition ‘Me Sinhala Apage Ratai’ in the film Sara
1968 Sarasaviya Film Festival: Award for the Best Lyric Writer
For the lyrical composition ‘Sinidu Sudu Muthu Thalave’ in the film Sath
Samudura.
1970 Sarasaviya Film Festival: Award for the Best Lyric Writer
For the lyrical composition ‘Ratakin Ratakata Para Asagena’ in the film
Binaramalee. |
