In Nilar’s words

Channa Bandara Wijekoon

He is one among a few who had made colossal contributions towards the arts and culture of Sri Lanka. A Sri Lankan Muslim by birth, Nilar N Cassim’s role in the sphere of literature and lyric writing is significant and widely acclaimed by scholars and masses.

He had made a name as a poet, translator of Tamil literature, an author and a lyricist. Nilar had won many awards and accolades for his literary work, which includes the recognition he received at Bunka Awards 2007.

A significant aspect in Nilar’s lyric writing is the ability he possesses to closely interact with the veteran artistes as well as with the young and upcoming singers and musicians.

Nilar is an honors graduate in Sinhala and a visiting lecturer at Sripali Mandapaya of the Colombo University. He is also a member of the State Music Panel and had also done his bit as a member of State Literary Panel.

He is an Assistant Director of the Sri Lanka Rupavahini Corporation.

Q: You have carved a niche as a lyric writer. Your distinction lies in being a Muslim who writes Sinhala songs, many which have become evergreen hits. Tell us about your grooming period.

A: My parents, relatives and intimates are Muslims. My native town is Matara and I did my advanced level exam at Matara Rahula Vidyalaya, before entering Sri Jayawardenapura University. One significant aspect in my life was my parents requesting me to study in the Sinhala medium, when they themselves had studied in the Tamil medium.

This decision paved way for me to become a communicator who could cross the borders between the Sinhala and Tamil languages.

While in school I engaged in literary work and made contacts with Ruhunu Sewaya of SLBC. While studying in the university, I worked with the print media. I enjoyed contributing to tabloids and magazines like ‘Ravaya’, ‘Yukthiya’ and ‘Viwarana’ as a writer. Professors Tissa Kariyawasam, Sunil Ariyaratne and Balagalle taught me at the university.

I was in the editorial of the ‘Viwarana’ magazine when I was invited to participate in a television discussion at SLRC about my literary work. With the blessings of SLRC Director General Dew Gunasekera and Director Planning Chandrasoma Vithanage, I joined SLRC as a programme presenter. ‘Shanida Ayubowan’ and Sinhala Avurudu Sinhala programmes presented by me as a Muslim were well received by the audience.

In 1999, my compilation of lyrics ‘Pahasara Arunaka’ was launched. Prof Sunil Ariyaratne announced at the event, I was the first Muslim to earn a Sinhala honors degree from a Sri Lankan university. In 2006, the ‘Kiri Kodu Hithata’ mega event was held at BMICH, in which my lyrics were sung by respective artistes.

Q: What inspired you to become a lyricist?

A: While engaging in my literary work, I realized my passion was in lyric writing. Also I realized, my vision could be more freely communicated to a wider audience through songs.

I wrote my first song ‘Samanalun Rodak’ for Malini Bulathsinghala and to date have written around 600 lyrics to many senior artistes as well as to modern day artistes like Bhathiya and Santhush, Centigrades, Raini and Ravi Hans. I have had the ability to cater to their needs with much flexibility. I always have made emphasis on quality of my work. A talented musician and singer like Bhathiya had had the courtesy to announce in public that my lyrics have added credibility to their work.

Q: the 1970s decade is considered the golden era of Sinhala cinema. Don’t you regret not being in that context to work with singers like Jothipala, M S Fernando and Sujatha Aththanayaka?

A: It was indeed a golden era in the whole world. It was a different setting altogether. The socio-economic scene was very different then.

Yes. I wish I were there to work with Jothipala who had a marvelous screen voice and also to associate with lyricists like Mahagama Sekara, Karunaratne Abeysekera and Dharmasiri Gamage.

However, Uresha Ravihari is a songstress with a screen voice who has emerged to do justice to Sinhala cinema. After Gratian Ananda Sinhala cinema is lacking male screen voices.

Q: How do you see the association between the young artistes and senior ones?

A: The cream of young artistes in our country has mastered some form of music. Some have learned Karnataka music and other trends in contemporary music. There is also a set of youngsters who have not learned any form of music, who rely solely on electronic equipment to do their creations.

Interaction levels between young and senior artistes are poor. Yet, some senior artistes associate with youngsters in a very productive manner. They share many things to do innovations.

I had the privilege of writing ‘Yaalpanamen’ and ‘Dedunna Sedi’ to Hariharan of Colonial Cousins fame and the legendary singer Asha Boshlay when they recorded these songs with Bhathiya and Santhush.

I have witnessed their positive attitude towards working with young and talented artistes. They respect talent of any artiste more than age or seniority. New versions of Asha’s old evergreen songs are sung by young singers.

Sinhavalokanaya

Asai Mang Piyabanna

Super Six

Q: There is widespread criticism about inferior quality songs are made by young artistes.

A: There are around 50 studios functioning in town and around 50 radio channels operating. Unlike in olden days, music has become an industry and people are making money.

Artistes are not a set of people living in poverty anymore. Technology is much more advanced now. The young generation is dealing with technology in a more advanced manner.

The media is responsible for not being selective when it comes to the section process of songs to air. Standards should be there to judge the quality of songs, irrespective of an artiste’s seniority. Cheap and inferior songs have a tendency to emerge faster with the blessings of media and internet, which have become uncontrollable factors.

There are many local songs entering the small Sri Lankan market now. Thus the competition within, is much greater than that of 1970s decade. Communication has made the world, one village. In this scenario, people tend to find shortcuts to make their song popular and in the process, quality gets compromised.

The new generation clearly lacks knowledge in literature. Then again, it is not due to their fault. Socio-economic, political and educational factors are responsible for this.

This is a crucial juncture where the senior artists should come forward to give a helping hand to youngsters. Seniors should not have an all-negative attitude towards young artistes. They should actually blame not the youngsters but factors which contributed to this downfall in present society.

Q: What are the responsibilities of a lyric writer?

A: Firstly, a song must be a song and a lyric must be a lyric. One should know his or her onions first. A lyric should have its literary value. Compilation of any set of words to communicate an idea is not a lyric.

A lyricist or any artiste for that matter has a responsibility towards the society. We have no right whatsoever to fool or mislead our listeners. We have the responsibility of enhancing their levels of aesthetic appreciation.

There is a definition for ‘short-stories’ which says a short story should be a “slice of life”. It applies to other forms of art as well. A song too is a slice of our life. It could talk of love, romance or something else which is embedded to life.

A gifted lyricist could indirectly communicate ideas which are food for thought.

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