Srilankan old hits and more

H . R.Jothipala

2011-07-30T15:39:00.000-07:00

This is not a Torana Property. this is ITN Property...torana kumara kothalawala is record and publish un authorised copyrights...This is example..???He disable to Jothi Videos in Youtube.....???
Hettiarachchige Reginald Jothipala (February 12, 1936 – July 7, 1987) was a prolific playback singer in the Sinhala cinema. His voice, style and songs are a blessing to the numerous listeners, who are musically inclined and could make a quote that none of those duplicated voices match the golden voice of this gifted singer.Jothipala rendered his voice to all classes of actors ranging from Eddie Jayamanne, Ananda Jayaratne, Gamini Fonseka, Vijaya Kumaratunga, Sanath Gunathilaka, Ravindra Randeniya and several others of young generation Actors in Sri Lanka.
Jothipala was born the first child of a middle-class family from Southern Sri Lanka. He attended St. Lawrence College in Maradana and St. John’s College in Dematagoda. Jothipala would visit tea kiosks during this period to hear music as his family didn't own a radio.

Jothipala made his debut as a playback singer on Cyril P. Abeyratne's Surathalee singing, "Siriyame Sara," in 1956. Prior to this he had recorded a song for the late Sirisena Wimalaweera's Podi Putha. This song didn't make the final cut, as the Indian film composer on the film didn't consider Jothipala's voice good enough.

Jothi has said that he contemplated taking his life when he went with his friends to watch Podi Putha and found out that his song was not included. Later when Surathalee producer Jabir A. Cader wanted to hear one of his songs to consider him for the film, Deathless Jothipala almost passed on the offer as he did not possess enough money to cut a record. He was helped out by veteran musician Stanley Omar who financed him for the sum of 35 rupees – a large amount at the time. Deathless Jothipala's song on the film, "Siriyame Sara," still remains popular in Sri Lanka. He sang the popular number under the direction of T.R. Papa at Wahini Studio in India.

Jothipala has worked with many reputed directors of Sri Lanka. In the early stages of his prolific career,Deathless Jothipala got the chance to work with prolific film maker, Lester James Peries on the movie Sandeshaya. Jothipala sang the song "Puruthugeesikara" for the film, which was composed by the legendary Sunil Santha and written by veteran lyricist Arisen Ahubudu.

Jothipala was the undisputed choice in films that were made in the late sixties and through the seventies, the period during which he also began to act. Though Jothi was criticized for singing to the tunes of popular Hindi songs he also sang under the batons of Pandit W. D. Amaradeva, P.V. Nandasiri, Premasiri Khemadasa, Sarath Dassanayake and Milton Mallawarachchi.
He sang in hundreds of films including popular hits like Kasthuri Suwanda, Thushara, Sweeep Ticket, Hitha Honda Minihek, Kawuda Raja, Hondata Hondai, Wasana, Sangeetha and others. The award-winning singer also played some memorable roles in films including Ethulweema Thahanam, Sulalitha Sobani, Sujeewa, Sukiri Kella, Abirahasa, Bonikka, Shanthi and his own production Sumithuro'and "Obai Mamai".

In the music scene, no musical show was complete without Jothi in the seventies and eighties. Jothipala died in the first week of July in 1987.in to Gamudawa live show...

Mohidin Beg

2011-07-30T14:55:00.000-07:00

Baig was born in India and moved to Sri Lanka in 1932. Baig recorded his first song 'Karuna Muhude Namu Gileela' as a duet with K. K. Rajaluckshmi in 1934. He debuted as a playback singer in 1947 on the second Sri Lankan film Ashokamala.
Baig achieved fame singing songs like "Buddhang Saranang," "Maya," "Girihel Mudune," "Adara Nadiya Gala," "Pem Mal Mala," "Wella Simbina Rella," "Anna Sudo," "Thaniwai Upanne," and "Loke Sihinayak Wageya." In 1956 S.W.R.D. Bandaranayake gave him a "distinguished citizenship." Baig's popularity led to appearances at distinguished events like the first Independence Day Ceremony and the 1974 Non-Aligned Summit.
Baig won the Kalashoori Award in 1983 and 1987.
Mohideen Baig (1919–1991) was a popular Sri Lankan musician. He was a Muslim who moved to Sri Lanka from Salem in Tamil Nadu, India.Beg's son, Ishak is also a singer but not that popular in Srilanka like his father was. Baig has dueted with H. R. Jothipala, G.S.B. Rani Perera, Latha Walpola, Sujatha Attanayake and Jamuna Rani among others. He was also the only Sri Lankan to duet with Lata Mangeshkar.
Even though he was not a Buddhist, Baig sang a lot of Buddhist related songs. Because of his nature to support other cultures, he was one of the most influential multicultural/"multi-religious" figures in the Sri Lankan art history.

Mohideen Baig and Rukmani Devi sinhala old songs Re Mastered
"Sudata Sudey Siriya Diley" --Unmathu Vishwasaya, (1952)

Mohideen Baig and Rukmani Devi sinhala old songs Re Mastered
Perakadoru Bena (1955)

Tribute to Clarence W.

2011-06-30T21:24:00.000-07:00

Clarence Wijewardana (August 3, 1943 – December 13, 1996) was a Sri Lankan musician who pioneered the use of electric guitar in Sinhala music. He is said to have revolutionized Sri Lankan music in the 1960s and is often named as the father of Sri Lankan pop music - having influenced performers in ranging from W D Amaradewa, Premasiri Kemadasa to Athula Adhikari. His music is often characterized by simple melodies built around a melody that features the electric guitar - this style may be best illustrated by the song Malata Bambaraku Se (Translated: Like a Bee To a Flower)
Biography
Early life

Clarence Wijewardena was born on August 3, 1943, in Matale, Sri Lanka, to an estate medical practitioner. His family moved to Batugedara, Ratnapura, and abandoned a budding planting career to pursue music full time. He is married to Sheela Wijewardana and they have one daughter Amila Wijewardana.
Moonstones

Wijewardena formed the Moonstones at the age of 21 with Annesley Malewana as lead vocalist. Managed by a advertising icon, Sri Sangabo Corea, the group recorded several songs to be aired on the Saturday Star program in 1966. The young musicians were mentored by Sri Sangabo Corea together with veteran Radio Ceylon/SLBC broadcasters Vernon Corea and Vijaya Corea. Their 1968 debut EP Mango Nanda was released on the JVPC007 Philips label selling up to 5000 copies. It included the songs "Mango Nanda," "Ruwan Puraya," "Seetha Ude" and "Menike." The sophomore release More Hits by the Moonstones came out November that year on the Sooriya label and included the hits "Kalu Mama", "Rosa male", "Ramani" and "Goyam Kapanawa." "Mango Nanda" was selected the best Sinhala song by the Hit Parade program on Radio Ceylon. In 1969 the Moonstones welcomed female vocalist Indrani Perera who sang lead on the best selling "Dilhani." Wijewardena himself only sang lead on "Dileepa Podi Puthu," an adaptation of a poem written by Karunarathne Abesekara to his son.
During the 'Moonstones' era, Wijewardena, who performed as a composer and music director, became a singer. Wijewardena took the initiative to start a three-man band, he was only the finest self-taught guitarist, and as yet unknown. However, later the 'Moonstones' were formed with Annesley Malawana playing the key role as lead singer. Since then this exceptional man and his music dominated the Sinhala pop music industry. He is regarded by many as a pioneering Sri Lankan musician in the realms of Sinhala popular music.

After he left the Moonstones in 1970, he held a musical show in Moratuwa with Shanaka Perera and Wijith Peiris and the show was named as "Breakaways from the Moonstones".

Golden Chimes

Wijewardena departed the Moonstones and formed a new music group called the Golden Chimes, with ex-Moonstones bassist Chanaka Perera and Lankika Perera in January 1971. Their first release included "Kimade Nawe", "Mage pelpathe", "Sihin Sinawai" and "Samanalayo." Subsequently English language vocalist Anil Bharati joined. The second EP on Philips label contained "Malai Velai", "Sihil Nuwan", "Surangana Vesvala" and "Mage Viyowen" and third EP contained "Iru Dina", "Sandai Tharui", "Muhudu Rella" and "Thakkita Tharikita."

At this time Wijewardena found a professional lead guitarist at a wedding. He was the maestro Dixon Gunaratne.

When Christmas bells chime this man is never forgotten with the breeze in December. The Sinhala channels take the lead with the popular Christmas hit "Bethlehempure". He is none other than the popular man who emerged from another Wijewardena group "Golden Chimes" – Anil Bharati. Clarence is a man who found new talent into Sinhala pop scene. Anil was one of them.

After evaluating Anil's performance for one year, Wijewardena decided to enter him into the Sinhala pop music scene. Wijewardena composed "Ada Wei Iru Dina" for Anil which became an all time hit followed by the lovely Christmas song "Bethlehempure" and "Maa Adarai Nangiye". Clarence offered him another all time hit "Tikirimalee" with "Ma Mulin Liyu Pem Pathe", "Desa Vidala", "Bambaraku Aduna", "Sarojini" and "Iru Dina Pamanak".

In 1972, Wijewardena and Dixon Gunaratne left the Golden Chimes and they both formed a new band known as Super Golden Chimes also with the support of Annesley Malawana in 1973.
The Super Golden Chimes

Wijewardena formed the "Super Golden Chimes" back in the company of his lifelong friend Annesley Malawana. It was one of the most productive music groups in Sri Lanka and together they hit the number one slot in the Sri Lankan music charts on both the Sinhala and English Services of Radio Ceylon and subsequently the Sri Lanka Broadcasting Corporation. For many years they enjoyed the reputation as Sri Lanka's number one group in the 1970s and 1980s. After three years Wijewardena decided to go solo when Annesley Malewana announced his plans for marriage. The late Mike Gunesekere took over the Super Golden Chimes after Clarence left the group.

Super Golden Chimes

Super Golden Chimes LP label
Experiments in Music

Wijewardena, like the Beatles, experimented with sitar music and introduced the sitar to some of the songs of the 'Moonstones.' Wijewardena was a musician's musician. He had the ability to grasp new trends in modern popular music. For the first time (for a recording) he used a guitar wah wah pedal for the song 'Pemkathwawa.' Also the song 'Sigiriya' was the first Bossa nova beat song in Sri Lanka & later he used this beat for the songs Piyaneni, Mage Palpathe, Muhudu Rella, Renin Piyabanna, Maliniye, Ramya (Previously sung by Wijewardena in 4/4 beat), Ran Monarun (Winslow Six), Lalitha Kala (Chithra Somapala) etc. Also he used two guitar players to play lead parts & counter parts of songs such as Sumudu Mal Pipinu, Dileepa Podi Puthu etc. For the first time in Sri Lanka he used the blocked guitar tone for the song 'Kusumalatha'. Wijewardena introduced some of the guitar techniques through his songs via a single guitar harmony style in the introduction of "Dellepa podi puthu" and arpeggio styles in "Sihina Lowak" and "Malata Bambareku Se".

"The Twist" was a dance in the 1960s, inspired by rock and roll music of the West. It became a worldwide craze, enjoying immense popularity among young people and drawing fire from critics who felt it was too provocative. Wijewardena composed a song Ma langin for this style and released the song in "Ugayen ugayata" cassette in 1989.

For "Dineka me nadee thira" he used mute guitar technique for the introduction. Some of the guitar techniques Clarence used in his songs are alternate picking, Chicken picking, Carter Family picking, Cross picking, Flat picking, Golpe, Hammer-on, legato, Pick tapping, Pinch harmonic, Pull-off, Slide guitar, Sweep picking and tap harmonic.
Tribute songs

Wijewardena has composed and directed music for a number of songs for the daughters and sons of his friends and relatives. He composed 'Piyaneni' in memory of the late Reverend Canon Ivan Corea who was the father of Radio Ceylon broadcaster, Vernon Corea. Wijewardena had met Corea in Maha Nuge Gardens in the 1960s during his visits to meet with Vernon Corea. The song became an instant hit in South Asia and to this day it is sung by Annesley Malewana on his world tours.

Wijewardena composed a song for the son of Mr and Mrs. Vijaya Corea and it was titled as "Viran Bilindhu Puthe" After that Wijewardena changed the chorus part of the song and sang that songs as "Kiri Muhuda Kalabala" Also Wijewardena composed a songs for the son of Chanaka and Lankika Perera and it was titled as "Sihina Pathum Wimane" Also the song "Bethlehempure" which was written by Sri Lanka's famed lyricist, Mr Karunaratne Abeysekera, became an instant hit on the island. It was one of many songs capturing the Christmas spirit and the birth of Jesus. Wijewardena also composed 'Naththal Seeya' in the early 1970s.

Wijewardena's first solo is 'Dileepa podi puthu' was written by Radio Ceylon broadcaster, Karunaratne Abeysekera for his own son. Wijewardena appreciated the work of Karu and wrote an instant song Seetha Pawan to express his gratitude on the day of the funeral of Karunaratne Abeysekera.
Film music

Wijewardena entered the film music industry at that time. The first film with music directed by Wijewardena was 'Sikuruliya' and the sound track was supplied by the Golden Chimes - the film includes a scene where Wijewardena and the Golden Chimes perform at a party. Also for the music of the songs of Sikuruliya film, Wijewardena used western musical instruments as well as eastern musical instruments. The song 'Wasanthaye Mal Kekulay' which was composed by Wijewardena was the first song that consists of five lines in the chorus part of the song. He directed music for the films in a different and unique style of his own.
Outstanding skills

Clarence in early 1980

Wijewardena showed his outstanding music skills during this time. He composed and directed music a song named as "Maha Balwathune" for the conference of the Non-Aligned Movement held in 1975 in Sri Lanka. He composed and directed music a song for the SAARC Conference as well. At the same time he sang the song "Duwani Sirima" when Hon. Former Prime Minister Mrs Sirimavo Bandaranaike arrived as the chief guest for the opening ceremony of Ceramic Cooperation. Also Super Golden Chimes supplied music for that opening ceremony. Wijewardane certificated as the most popular composer in Sri Lanka for the years 1974 and 1976 by a pop poll conducted by Pop and Teen Fanfare. The song "Kataragama" which was composed by Wijewardane also certificated as the best song in Sri Lanka for the year 1974 by a pop poll conducted by Pop and Teen Fanfare. Wijewardena composed most number of songs for Kataragama God.

In the early 1970s, Wijewardena invited Radio Ceylon broadcaster, Vernon Corea who had mentored him from the start to write the notes on a Lotus LP sleeve. Vernon Corea wrote: "We have all shared the treat of your lovely Lyrics, your tuneful compositions, your friendly presentation and your spontaneous sense of sharing with your followers, your treasury of talent. Keep going, keep growing, keep glowing".[1] In 1976, when Vernon Corea was invited to present the first Asian radio programme in English on BBC Radio London called 'London Sounds Eastern' he played the music of Wijewardena and Annesley Malewana, introducing them to a whole new audience in London.

Wijewardena started to sing for the Sinhala films under other music directors. Subsequently a cassette tape known as "Any Time Any Where" was released in Colombo. In 1979, Wijewardena left the Super Golden Chimes and started a solo career.
Cricket fan

When the Sri Lankan cricket team entered the world of test cricket in 1982, Wijewardena produced a cassette tape that contains songs regarding cricket. Also Nihal Nelson, Vernon Perera, Mariazelle Gunathilake, Freddie Silva, Saman De Silva and Wijewardena vocalized this cassette tape. "Thana nilla dige" of Saman De Silva became a super hit during the season of test matches and every big match in Colombo.

Wijewardena was very worried and made a statement to 'Sathsara"(an art magazine in Sri Lanka) regarding the song "Thana nilla dige" and its singer Saman De Silva for not giving the due credit for the ownership of the song.
New career

Wijewardena joined Sing Lanka Ltd. and acted as the General Manager. Sing Lanka recording studio was the first recording studio in Sri Lanka with multi tracks and Wijewardena was the pioneer to introduce this recording studio. During that time he directed music for a number of artists in Sri Lanka. He also produced a cassette tape named "Clarence with the Rising Stars".

Clarence with Vernon Perera, Sarath Munasinghe and Hemasiri Halpita
Directing music for tele dramas

Wijewardena directed music for the tele dramas Susima and Nidikumba Mal. He was the composer and the music director for all the six songs of Susima tele drama. During this time he got a special chance. That he was able to compose and direct music for Pandit Amaradewa. That song was Sasara Gewa Yana Diwi Gamane which contained in tele drama Nidikumba Mal. Also he composed and music directed a song which says about child abuse and other prohibited things happen in present society. That song was "Daesawan Dase" which contained in the Sihiwatana II Cassette Tape. When the royal tusker of the Temple of Tooth Relic died, Wijewardena composed and music directed a song about the royal tusker and it was named as "Kandu Sikarin Wata Senkadagala Pura". It was vocalized by the Ananda Perera who was the leader of the Siha Shakthi music band.

Wijewardena became famous for his melodious and catchy jingles aired over the Sri Lanka Broadcasting Corporation. These jingles were Elasto, Bata, Astra Margarine, Bristol Cigarettes, Arpico, Dot Toffee, Singer, Edna Chocolate, Thultex, Ice-Cream Soda, Development Lottery, Dasuna Cartoon Paper, Atlas pens, Orex pens, Building Materials Co-operation (in Sinhala and English), Keels and Health Joy Soap etc. The song "Sigiri Ru Ladun Paradai" which he composed for the beauty queen contest became an instant hit.
Discovering new Sri Lankan music talent

He formed the Sri Lankan band "Madhara" in 1985 with Rookantha Gunatilake (keyboards), Mariazelle Gunatilake (keyboards/female vocals), Raju Bandara (lead guitar), Keneth De Silva (bass guitar), Prabath Bandara (lead guitar), Ajantha Dhampa Gamage (drums) and rest of the other members of the group. During the 1980s, he composed and directed music for number of songs and performed with well known music directors in Sri Lanka.

All of Wijewardena's compositions have been recorded at some of the island's best recording studios and under the best producing labels in Sri Lanka. Some of the early 1960s recordings were at Augie Ranaweera's studio in Bambalapitiya.
Later career

Wijewardena organised three musical shows with his lifelong friend Annesley Malewana and Indrani Perera at BMICH in Colombo.

Wijewardena proved to be quite a hit in London when broadcaster Vernon Corea broadcast his music on BBC Radio London 206 on his popular radio programme, London Sounds Eastern. Wijewardena and Annesley frequently toured the United Kingdom in the 1980s playing to huge audiences in London.

Lyrics and music composition for Three Sisters

Due, however, to the popularity of his songs (which has grown since his death), they have also become the subject of a lawsuit over illegally recorded renditions sampled by other Sri Lankan artists. Wijewardena's widow recently filed suit against Sebastian , hoping to recover a portion of the income earned through the use of her late husband's work.
Music

Sri Lanka's musician, Clarence Wijewardena, composed and sang over 1000 of songs but 40% of them were not released because the master recordings were under the custody of record producers[citation needed]. Some of the songs were released to the market without any authorized label after his death. They did not get the attention of his fans because they were considered to be illegal and most of the FM broadcasting channels in Sri Lanka were not aware of them. It is unfortunate that most of these songs are not released officially and Wijewardena did not get the due credit for them.

Wijewardena spent more of his composing time for his fellow singers and he had never been offered the credit for them.

In the course of his career, Wijewardena wrote several songs that became classics in his own time - among these; Gamen Liyumak (Translated: A Letter From the Village), Hiruge Lowedi (Translated: In the World of the Sun), Kanda Surinduni ("O Lord God of the Mountain"),Piyaneni ("Father"), and Malata Bambaraku Se (Translated: Like a Bee To a Flower)
Sri Lanka's 'King of Pop'

Wijewardena died on December 13, 1996, at the age of 53, in Sri Lanka after a brief bout with cirrhosis of the liver. He also suffered from diabetes. Many of his songs are considered classics, and continue to enjoy ample airtime on Sri Lankan television and radio broadcasts and on some overseas radio stations. He will always be remembered as a pioneering musician from Sri Lanka and one of the island's 'greats' in terms of popular music. He was undoubtedly Sri Lanka's 'King of Pop.'

Latha Walpola – Nightingale of Sri Lanka

2010-04-07T05:16:00.000-07:00

By T.K.Premadasa

Latha Walpola – celebrates 60th Anniversary of her reign in singing overwhelmingly rising to the highest echelons as the incontrovertible Nightingale of Sri Lanka.

Latha Walpola – Nightingale of Sri Lanka

Latha, born and bred in Galkissa emerged her inborn talents of singing as a leading singer in a Church Choir. Known by her childhood name as Rita Jenevi Fernando she was introduced to then Radio Ceylon (Now-Sri Lanka Broadcasting Corporation) at the age of 13 years with her mother’s permission by her family friend C.A.Fonseka, a popular Radio dramatist at the time. She started her career in playing different characters in C.A,Fonseka’s radio dramas very popular from late 50s to mid 60s. He was the father of Radio artist C.D.Fonseka.

In 1947 she made her debut in singing “Kandulu Denethe Vehena”, song composed by Vincent de Alwis, the versatile violinist at Radio Ceylon and sang duets with him in his Sarala Gee Programs conducted by Radio Ceylon. Observing her congenital talents and skills Vincent de Alwis introduced her to Susil Premaratne and C.T.Fernando. “Namo Mariyanee” recorded by her in 1948 with her melodious voice became a household favorite in Sri Lanka showered upon with outstanding success. “Seethala Duruthu Mahe”, “Mihiri Suwanda Vihiduwa” “Nunwa Jaya Handa Pem”, “Soka Nege Den”, “Oba Prema Raja Mage” and many other songs recorded in 1948, 1949 and 1950 became highly popular together with Carroll songs composed by Fr Mercelyn Jayakody.

She was fortunate to have recorded a few songs like “Sukomala Banda Lelawa”, “Dunhinda Helena” and “Diyaluma Helena” originally sung by Chitra Somapala. By 1950 she became a shining spectacle invading the living rooms of each and every household in Sri Lanka by her beaming golden voice. Mohamed Ghouse, P.L.A.Somapala and B.S.Perera the famous musicians at the time brilliantly utilized her harmonious voice of high-pitched tone into their musical creations.

It is hard to reminiscence the exact number of songs that she has recorded so far. The proximate number of songs she is credited with could be penned 6000 as known at the 50th Anniversary of Celebrations in 1997. Basically it is presumed that the total number of songs would be 6500 by now.

In recognition of her miraculous voice par with the award winning Latha Mangeshkar, Queen of Music in India, deep voice playback singer Susil Premaratne named this future Nightingale of Sri Lanka as one and only Latha of the island of Sri Lanka.

Latha made her debut in playback singing for film “Eda Rae” in 1952 albeit it was screened in 1953. This sparkling artist recorded songs for three films during the same year as an amateur. Latha and Dharmadasa Walpola began their career as the most successful playback singers by singing in “Prema Tharangaya” for the first time. It is historically significant that it was Music Director Muttusami’s first film too. The melodious songs such as “Honda hondama veya lowa kisima thenaka nehe”, “Pera kala pawa paladee pape gewawi” have remained etched in our memories for decades. Embraced with abundance of affection and attachment, this singing duo got married and Latha became known as Latha Walpola. By 1958 Latha & Dharmadasa were the only two leading playback singers in Sri Lanka film industry. Amazingly Latha had contributed to a record number of 22 films after five years of her debut in film industry that is by 1958 while versatile actress-singer Rukmani Devi had made it for only 10 films. During the last 54 years Latha has made a reputation of recording for nearly 580 films some of which are yet to be screened. Film.

It was a great honor to those Radio artists Susil Premaratne, C.T.Fernando, C.D.Fonseka, Edward Perera, B.P.Wickremasinghe, Clarence Wijewardana, Haroon Lanthra, Dharmadasa Walpola, Mohideen Baig, W.D.Amaradeva, Milton Perera, H.R.Jothipala, Victor Ratnayake, T.M.Jayaratne, Milton Mallawarachchi, Sanath Nandasiri, M.S.Fernando, Rukhantha Gunatilleke, Gratien Ananda, Samantha Perera, G.S.B.Rani Perera, Indrani Wijebandara and Sujatha Attanayake to have absorbed into singing with this acclaimed artist during the last six decades.

Music Directors Mohamed Ghouse, R.Mutthusami, B.S.Perera, Sunil Shantha, R.A.Chandrasena, W.D.Amaradeva, P.L.A.Somapala, Premasiri Khemadasa, Sarath Dassanayake, Stanley Pieris, Rohana Weerasinghe and Samantha Perera thrilled with admiration of her musical brilliancy have stimulated her contribution of professional singing to their innovative creation of music.

The island recognized lyric writers Ananda Samarakoon (Composer of the National Anthem), Arisen Ahubudu, Karunaratne Abeysekera, Chitrananda Abeysekera, Hugo Fernando, D.T.Fernando, Ananda Sarath Wimalaweera, Fr. Mercelyn Jayakody, Herbert M. Seneviratne, Madawala S.Ratnayake, Chandraratne Manawasinghe, Sunil Ariyaratne, Sunil Sarath Perera, Mahagama Sekera, Ajantha Ranasinghe and Premakeerthi de Alwis shared their intellectual compositions soaked with scintillating lyrics of touching moments in life to this great unassuming singing persona who has conquered the seven seas with an immense reservoir of singing aptitude

She holds the record for being the only artist to have sung with South Indian musicians like Dakshinamurthi in film ‘Duppathage Duka” and “Suraya”, Sathyamurthi, T.R.Papa, Jamuna Rani, K.Rani, Saraswathi and Sri Lankan film stars Herby Seneviratne, Dommie Jayawardana, Vijaya Kumaratunga and Ravindra Randeniya.

Latha the only Sri Lankan artist who was fortune to playback singing under the direction of famous Indian Musicians such as Darshana Murthi, S.S.Weda,T.R.Papa, R. Sundaranam , Raja Thangendra, Gowradanam, and Jayadev.

Latha Walpola has made an exemplary contribution to enrich Sinhala music with her unique style of singing in a lilting and mellifluous voice that has captivated the hearts of young and old equally at home and abroad with lasting memories. “Mathalang” and “Ahankara Sthree” were two films of gorgeous music orchestrated by Music Maestro R.Muttusami featuring the superior skills of Dharmadasa and Latha. “Jevithe vikareki”, “Lankaren malak pipee” with Dharmadasa Walpola (Ahankara Sthree)”, “Pem mala gotha gele” with Dharmadasa, “Ranvan dul karalin pesila” (Mathalang)” and “Loke jeevath vannata dedeneku one wei” with Clarence Wijewardane (Janaka saha Manju) and hundreds of unforgettable lovely songs remain delineated on the lips of music fans living around the globe.

A special feature is that Latha has recorded play back singing for every actress in Sinhala cinema except Rukmani Devi, the Queen of Sinhala filmdom. She started playback singing for Sita Jayawardana in film “Eda Rae” to present day Chaturika Pieris and Anarkalee . In coincidence with her insurmountable musical career, she not only sang playback for actresses Rohini Jayakody and Girley Gunawardana in 50s and 60s but also enjoyed the rare opportunity of singing behind their two actress daughters Veena Jayakody and Sabita Perera in later years.

Since the inception of film industry in Sri Lanka it was she who recorded playback singing for every main actress in Sinhala films. Rukmani Devi sang only for her role by herself. Latha who is recognized to be with a screen voice was aptly offered playback singing for other actresses matching her voice with theirs.

As far back as 1960s it became largely a profitable business to dub Sinhala dialogue into Hindi and Tamil movies running popular in Sri Lanka. In most films the main actresses were Vyjanthimala, Nimmi, Shawithri, Nanda Chitra Krishna Kumari, Achala and Nadira. Latha Walpola was adjudged the best for her pre-eminent singing over original playback singers in India. Playback singing in films ‘Pathiwatha’, Ahinsaka Prayogya,Mage Putha , Angulimala, Sudu Nangi, Shimbo,Veera Putha , Veera Vicrama and ‘Anjalee’ is a clear testament to her masterly performance of fascinated singing.

In the initial stages of the emergence of film industry in Sri Lanka, filming was done mostly in South India since advance technology was not available in Sri Lanka. Propensity of the producers to hire popular South Indian playback singers was challenged by Latha Walpola singing 90% of songs with high degree of unparalleled passion of melody. Indians sang one or two songs for a lesser rate compared to Latha’s nearly 8 songs in each film.”Veera Vijaya”, “Suraya”.and Mathalan are the few example. The most significant contribution she made to the Sri Lanka film industry is that the way she challenged to Indian artists and broken down their monopoly.

Latha is recognized as the only female singer who has a combination of singing caliber of Classical songs, Chorus songs, Baila songs, Vannam and Western songs.

It is said that Latha with Fanto Fernando sang a Western song in the monthly musical program known by “Masika Renguma” music orchestrated by B.S.Perera and conducted by the then Radio Ceylon was vehemently criticized by the listeners for the mere reason it was of westernized culture.

She is not only the leading playback singer but also invariably the successful singer in Kalasuri Khemadasa’s famous gee nalu ‘Bari Sil’, ‘Kela Mal’ and ‘Nawarella’. Kalasuri Latha Walpola sang major songs in “Daskon” drama produced by Herberat M. Senaviratne and in “Kumara Kassapa” opera telecast by the Sri Lanka Broadcasting Corporation. It has been noted that currently she has been singing the theme song in most of the television dramas.

In addition to her singing she has played a few mini roles in “Eda Rae”, “Prema Tharagaya” and “Radala Piliruwa” and shared her acting capability while singing ‘Ale Nam Kale Nambuwa Soya’ in film “Radala Piliruwa”.

The Buddhist Jathaka story of ‘Angulimala’ filmed in Hindi and later dubbed into Sinhala became a box office movie in Sri Lanka in which Latha dubbed her pristine voice for world popular Indian film star Nimmi.

She missed the golden opportunity of recordings with many high profile singers and frequent travel to India for recordings due her demand of highly expensive charges.

On account of her outstanding contribution to Sinhala music during the last sixty years, Latha’s name will glow writ large in letters of gold in the history of Sri Lankan music. It was just after six years from her entrance to Kala Lokaya that a certain popular newspaper conducted a gallop poll in 1953 to determine the Best Female Singer in Popularity at the time. Vasantha Sandanayake, Vivienne de Silva Boralessa and Latha Jenevi Fernando became the first, second and third respectively.

In the latter part of 1960, a polling contest was organized by the ‘Visithura’ cinema newspaper to determine the Best Popular singer of the era. Latha polling a record highest number of votes became the Best Popular Singer while W.D.Amaradeva, Mohideen Baig, Dharmadasa Walpola and H.R.Jothipala respectively won the second, third, fourth and fifth positions.

Latha the oleaginous four-time Sarasavi Award winner has won the Golden Conch Award in 1995, Golden Jubilee Presidential Award for Pioneers of Film Industry in 1997 and Appreciation Award of OCIC among a number of other accolades presented to her in recognition of her grandiose performance of indomitable competence in singing.

In her accomplishment as the greatest artist of all times, she won the Life Time Awards known as the Golden Swan Award presented by the Lake House of the Associated Newspapers in 1992, OCIC Golden award in 2006, U.W.Sumathipala Memorial Award by the Sumathipala Group and Swarnabhimani Golden Award by Swarnavahini.

In 1974 Deepasika Award was presented to her in appreciation of her achievement as the only female singer who remarkably contributed a maximum number of songs to the film industry in Sri Lanka.

As a tribute to her outstanding presentation of musical brilliancy, the Government of Sri Lanka has quite appropriately honored her with Kala Suri Award distinctively awarded to the rare and precious greatness of inestimable contribution made to Arts & Culture.

Latha, gifted with artistic aptitude albeit no education background in music, has surprised the versatile musicians with her adaptable high scale singing. She has developed her innate talents during the last 60 years of singing with primordial function of voice rising to the loftiest heights of her musical career. Sri Lanka lends a degree of credence to her glistening glory in music and owes a debt of gratitude for her admirable dedication to music in entertaining the people home and the Sri Lankan expatriates abroad. She is a National Treasure worthy of emulation. Latha Walpola is the indisputable Nightingale of Sri Lanka.

- Asian Tribune -

Mervin Perera

2010-04-05T08:50:00.000-07:00

Abeywardena Balasooriya and Milton Mallawaarachchi song

2010-03-28T06:25:00.000-07:00

ARADHANA FILM SONG

Singer Abeywardena Balasooriya passes away

2010-03-28T05:57:00.000-07:00

Renowned Sri Lankan singer in the 70’s Abeywardena Balasooriya passed away at the Neuro Trauma Unit of National Hospital in Colombo.

His body remains at his residence at 37, Yahampath Mawatha, Maharagama.

M. S. Fernando

2010-03-25T08:36:00.000-07:00

M. S. Fernando (died April 9, 1994) was a Sri Lankan baila singer. He is heralded a major player in the development of baila music and was widely popular among Sri Lankan audiences.

Fernando received many accolades in his long career including the Golden Lotus Award presented by Sri Lankan President William Gopallawa in 1973 and over 159 silver trophies in various Baila contests he entered. He was able to sing in five languages and incorporated dancing into his act. Fernando performed in England, France, Australia, Canada, Singapore and Middle East to Sinhala audiences,
Fernando was born in Mount Lavinia to Laron Fernando and Lilee Gomes on March 4. He attended St. Anthony's College, Mt. Lavinia and Christ Church, Dehiwela. Fernando studied under veteran musician J. A. Sathiadasan. He debuted as a singer with the duet, "Malak Kada Konde Gasala," done with Pushparani Ariyaratne. It was written by Karunaratne Abeysekera.

The song became popular and allowed Fernando to become a playback singer. His first song in the field, "Sili Siliye Nava Suvandak," was also a success. Fernando would eventually lend his voice to over 150 films. He also pursued an acting career appearing in over 25 films and several teledramas, most notably Udagira,

Mathalan 1954

2010-03-23T08:41:00.000-07:00

Name : Mathalan
Category : Drama
Colour : Black & White

mm : 35mm
---------------------------------------------------
Main Actor : Klaris Da Silva
Main Actress : Shesha Palihakkara
Director : A.S. Nagarajan
Producer : S.M.Nayagam

Nelungama documentary

2010-03-23T08:14:00.000-07:00

Documenting the documentary

“Documentaries are just not my favourite kind of movie watching. The fact is I don’t trust the little bastards. I don’t trust the nature of those who think they are superior to fiction films, I don’t trust their claim to have cornered the market on the truth, I don’t trust their inordinately high, and entirely underserved, status of bourgeois respectability.”

Strong words – and especially ironic as they form the opinion of Marcel Ophüls, one of the great masters of documentary film-making. Those who have seen his powerful The Sorrow and the Pity (1969), about the schizophrenic way the French responded to Nazi occupation – some becoming resistance fighters, some collaborators – will know what I mean.

A still from Song Of Ceylon

Like Ophül, many film critics have reservations regarding documentaries. As historian Arthur Schlesinger Jr. remarked: “The line between the documentary and the fiction film is tenuous indeed. Both are artifacts: both are contrivances. Both are created by editing and selection. Both, wittingly or not, embody viewpoint.”

Another concern is the tendency of films to lull the critical powers of viewers. Nevertheless, it is apparent that documentaries have potential benefits – to inform, move, inspire, to promote positive social change, to strengthen group identities and to provide glimpses of the world beyond our knowledge. Presumably it was the belief in such benefits that inspired Ophüls to continue making documentaries despite his professional mistrust of the form.

Reel Two

It all started in 1926 with the following statement: “Of course, Moana, being a visual account of events in the daily life of a Polynesian youth and his family, has documentary value.” Thus wrote John Grierson -the founder of the pioneering British documentary movement, who ran the artistically-free General Post Office (GPO) Film Unit - in a review of the sequel to the revolutionary Nanook of the North (1921). This ‘actuality’ film (i.e. made prior to Grierson’s coinage), the first example of what was later called docu-fiction, was directed by the American pioneer Robert Flaherty.

While this was the first use of “documentary” in connection with film, what we understand by the word precedes Grierson. In fact, documentary can be traced back to the very birth of cinema, for it began in 1895 with documentary material such as the films of the Lumière brothers – The Arrival of the Train, A Sea Bath, Demolition, and Leaving the Factory.

But audiences soon lost interest in watching trains arriving at stations (at first inexperience was such that audiences fled their seats with the screening of an oncoming train). As the theoretician Brian Winston remarked: “Audiences in the 1890s required what they expected of older media – stories, narratives with beginnings, middles, dénouements, ends. Only when Flaherty began to structure his actuality material so that it might satisfy those needs could Grierson detect a new form and name it ‘documentary.’”

As it happens, in the adventurous early documentary era, Ceylon inspired one of the finest examples ever made, an experimental work that featured extraordinary modernist visual-sound collages. In 1971, while I attended a British Film Institute course on Realist cinema, and before I had visited the island, there was a screening of Song of Ceylon (1935), produced by Grierson at the GPO for the Ceylon Tea Propaganda Board. It was directed by Basil Wright, who was among a number of talented film-makers working for Grierson. This screening remains the most significant cinematic experience of my life.
Wright started with the parochial The Country Comes to Town and O’er Hill and Dale (1932). He then travelled to the Caribbean, where he demonstrated a penchant for exotic locations and developed a symphonic style – an ideal preparation for Song of Ceylon - with Windmill in Barbados and Cargo from Jamaica (1933).

I viewed Song of Ceylon in Wright’s company. Afterwards I asked him about filming in Ceylon. He said the island was the most entrancing country he had worked in. (See “An Island on the Screen: The 70th Anniversary of Song of Ceylon”, The Sunday Times, October 31, 2004.) He later directed The Waters of Time (1950), World without End (1953), co-directed with Paul Rotha, and Immortal Land (1958).

Song of Ceylon wasn’t the first documentary about the island, for there are at least two much earlier actuality films, Charles Urban’s A Ramble through Ceylon (1910) and Curious Scenes in India (1912). On YouTube can be found James FitzPatrick’s travelogues Charming Ceylon (1931) and Tropical Ceylon (1932) - a far cry from the quality of Song of Ceylon - which have condescending, sometimes racist narrations employing words such as “primitive”, “child-like”, and “effeminacy”. Wright had the intelligence to choose passages from Robert Knox for his script.

Reel Three

During the Second World War British military film units shot much footage, some of which, concerning the British Eastern Fleet operating out of Trincomalee, has been gathered together. The indigenous documentary film industry began at Independence in 1948 when equipment from the disbanded film units was given to the government. Consequently the Government Film Unit (GFU) was born.

You would be forgiven for not realizing that September 2008 is the 60th anniversary of the GFU, established to produce documentary films on development, social and artistic aspects of the newly-independent nation. These documentaries were not only viewed in cinemas prior to the main feature, but also in impromptu fashion in villages, thanks to vehicles equipped with projectors and screens.
Although the country was seeking a post-Independence identity, the lack of Ceylonese technical personnel necessitated the recruitment of outsiders – in the first instance two Italians, Gulio Petroni and Federico Serra. Restricted to one room in the Department of Irrigation, the fledgling GFU began by producing short news films such as Ceylon’s Farewell to the Sanchi Relics (1949), and Air Ceylon’s New Wings (1949), regarding the delivery of two Skymaster planes.

Within a year the GFU was shifted to an ex-British armed services cinema on a Moratuwa coconut estate that had a dubbing theatre and film processing laboratory. There the first documentaries of significance, Hill Capital (1950) and New Horizons (1951), were produced, both directed by Petroni. The latter explained the government’s colonization programme, but Prime Minister DS Senanayake didn’t appreciate it and Petroni departed in 1952.

The Film Producers’ Guild in London sent Ralph Keene, a leading light of the second wave of British documentary-makers, who had directed New Britain (1940), Crofters (1944), and Cyprus is an Island (1946). Keene had travelled to Ceylon before to make String of Beads (1947) for the Ceylon Tea Propaganda Board, but he lacked Wright’s feeling for the culture. His first GFU film, which he wrote rather than directed, was Fishermen of Negombo (1952). The director was George Wickremasinghe, consequently the pioneer of indigenous documentary-making.

Keene then directed Heritage of Lanka (1952), about Mihintale, Anuradhapura, Polonnaruwa and Sri Pada, and Nelungama (1953), the story of a village and its people. He left for Malaysia soon afterwards and Wickremasinghe became head of the GFU.

Reel Four

In 1954, the GFU was shifted to its present site in Polhengoda, equipped with an especially-built studio, editing suite, laboratory and film library. Now was the time for Ceylonese directors to cut their teeth. Amid the scores of films made during the halcyon years of the 1950s, Lester James Peries’ Conquest of the Dry Zone (1954), on the measures adopted to combat malaria, received a special mention at the Venice Film Festival.

George Wickremasinghe’s The Kandy Esala Perahera (1958) won awards at three international film festivals. Pragnasoma Hettiarachchi’s Makers, Motives and Materials (1958), concerning the making of traditional handicrafts, was awarded the Golden Mercury Prize at the Venice Film Festival.

Irwin Dassanaike’s The Living Wild (1959), on Ceylon’s wildlife, and incorporating unique footage of Veddahs, received an honourable mention at the Vancouver International Film Festival. Pragnasoma Hettiarachchi’s Rhythms of the People (1959), about southern folk songs and dances, received an honourable mention at the Karlovy Vary International Festival.

There was a notable non-GFU production during this period, Englishman Mike Wilson’s Beneath the Seas of Ceylon (1957), the first underwater film concerning the island, sponsored like Song of Ceylon and String of Beads by the Ceylon Tea Propaganda Board.

By the mid-1960s the GFU had reached a state of creative stagnation, partly due to the uninspiring films commissioned - Ceylon Toys (1961), Ceylon Asbestos (1963), and Poultry (1966). Basil Wright expressed willingness to help out, as the following letter he wrote to George Wickremasinghe indicates:
“The length of my stay in Ceylon would depend on the size and scope of the film or films to be made . . . As regards technical assistance, I have the impression that you have a well-equipped and experienced Unit, members of which I would be glad to work with.” But Wright never made his return to the island. Bureaucratic indifference resulted in a consummate opportunity being squandered.

However, the renowned German director Paul Zils joined the GFU during 1968-69. A favourite of Goebbel, he had fled Nazism but was arrested in Bali by the British in the Second World War and made a POW. But his film-making was appreciated and on release he was appointed head of Information Films of India, similar to the GFU, and directed many excellent films on the country, pioneering the Indian documentary movement. He also made Buddhism in Ceylon (1963). On his second visit he directed Meditation (1968), a beautiful, reflective docu-fiction about a middle-aged doctor who, after reviewing his life, decides to become a Buddhist monk.

My thumbnail documentation of the documentary in Sri Lanka ceases at this point. After 1970 the GFU never regained its former glory: besides, the ‘pure’ form of documentary epitomized by Song of Ceylon was over. A new age of non-fiction film had dawned. And a decade later the advent of television in Sri Lanka was inevitably deleterious. Nevertheless, the GFU remains to celebrate its 60th birthday.

The pioneer who dedicated his wide knowledge of cinematography for amelioration of the cinema industry notches 90 years on April 05, 2009. The inestimable contribution made by this great son of Sri Lanka to bring Sinhala cinema to the pinnacle of its glory is historical.

At the time the Indian film industry had an influence on Sri Lanka, monopolizing their power of technology in the production of films, the cultural background here was almost South Indian. Sri Lankan producers were inclined to produce films on a commercial basis caused by the want of technical infrastructure. It was then that this young cameraman contemplated to exert his cinematic know how towards resilience of the film industry by his influence on productions depicting indigenous culture. He is the world acclaimed cinematographer, Dr Lester James Peiris, who established the global image of Sri Lanka in the cinema industry.

Lester James Peiris was born to a reputed Roman Catholic family in Dehiwala on April 05, 1919, whose residence was known as ‘Sinhagiri’. His father Dr James Francis Peiris was a medical doctor who graduated in Scotland. Ms Ann Gertrude Winifred Jayasuriya, a student of St. Bridget’s Convent, Colombo, was his mother who became the first girl to pass the Senior Cambridge Examination from the same school. He had two brothers, Ivan & Noel and a sister Erica. His brother Ivan, a skilled painter was a close associate of the internationally famous artist George Keit. Lester’s life was significantly influenced by these professional artists. He started his preliminary studies at St. Mary’s Primary College, Dehiwala, later known as Holy Family Convent and later joined St. Peter’s College, Bambalapitiya.

He was more attentive to lectures on the arts, inspired by the films he was fortunate to watch through projectors made available to him. He was 11- years- old when he was ptedented with a 8 mm Kodasco projector by his father. He started writing to the blue pages of the ‘Ceylon Daily News’ at the age of 17. In 1939 he joined the ‘Times of Ceylon’ newspaper and displayed his skills under the Indian editor Frank Moraes and also reviewed books over Radio Ceylon (now SLBC). "The Teacher" & "The Saree" are two short stories written by him. In the view of Prof. Sunil Ariyaratne, the young Lester enjoyed the presentation of the book called "Cathedral and a Star" authored by him to Pandith Sri Jawaharlal Nehru, the first Prime Minister of India.

Lester traveled to England in 1947 as advised by his mother to join his brother Ivan, who was on a scholarship in London. This young journalist of competent skills in journalism, wrote articles to the ‘Ceylon Daily News’ column from London on the request of the editor Moraes under the heading "Letter on Arts from London".

Lester’s debut in production was the "Farewell to Childhood" in 1950, a short film based on the story written by him called "Saree". The Amateur Cine World Silver Plaque was awarded to this experimental film among the 10 best films produced in Great Britain. His second film was "A Sinhalese Dance" and the final film "Soliloquy" was produced in London in 1951, a 20 minute short film based on a threefold love story. The Mini Cinema Cup for short films was awarded to this production for its best technical proficiency by the Institute of Amateur and Experimental Film Makers’ Festival-Great Britain (1951).

On his return to Sri Lanka Lester joined the Government Film Unit (GFU) and worked with Ralph Keene, who was the director of GFU. In the first instance Lester assisted Keene to make a documentary film "Nelungama". Later two documentary films, "Conquest in the Dry Zone" (1954), on the Malaria epidemic and "Be Safe" or "Be Sorry" (1955),were produced for the GFU by him. The film, "Conquest in the Dry Zone" won the Diploma of Honor at the Venice Film Festival in 1954. He left the GFU in 1955 after he formed his ambition to produce Sinhala films on his own.

Significantly, the year 1956 became historic by the revolutionary changes that took effect in political, social and cultural fields in Sri Lanka in the interest of the entire nation. "Rekhawa", the debut production, disporting his extraordinary knowledge in the techniques of the film industry, by Lester James Peiris in December 1956, earned him a great reputation as the best production in Sri Lankan cinema. Starting from his masterly production "Rekhawa", this great cinematographer accredited with an abundance of knowledgeable skills in film industry, elevated the Sri Lankan cinema to the zenith of its glory by numerous films, winning international awards, an inestimable honour to the nation.

Dr Lester James Peiris has directed around 20 films during the last 50 years of his experience in the film industry, enlivening Sri Lankan cinema with accolade after accolade, both locally and abroad. Sri Lankan nation owes him a debt of gratitude for his immeasurably high quality productions of international acclaim, namely, Rekhawa (Line of Destiny 1956), Sandeshaya (The Message 1960), Gamperaliya (Changing Village 1964), Delovak Athara (Between Two Worlds 1966), Ran Salu (The Yellow Robe 1967), Golu Hadawatha (The Silence of the Heart 1968), Akkara Paha (Five Acres of Land 1969), Nidhanaya (The Treasure 1970), Desa Nisa (The Eyes 1972), The God King (1975), Madol Duwa (Enchanted Island 1976), Ahasin Polowata (White Flowers for the Dead 1978), Pinhami (1979), Veera Puran Appu (Rebellion 1979), Baddegama (Village in the Jungle 1980), Kaliyugaya (The Era of Kalli – The Changing Village Part II, 1982), Yuganthaya (The Changing Village Part III, 1983), Awaragira (The Sunset 1995), Wekande Wallauwa (Mansion by the Lake 2002) and Amma Varune (Mothers 2007).

In addition to his contributions of documentary films to the GFU, Lester produced 10 documentary films on requests by various other institutions. Among them were, "Too Many and too Soon" (1961), "Home from the Sea" (1962), "Forward into the Future" (1964), "Steel" (1969), "Forty Leagues from Paradise" (1970), "A Dream of Kings" (1971) and "Kandy Perahera" (1971).

Appreciative expressions on the perceptive vision of Dr Lester James Peiris have been articulated by world renowned professionals on many occasions. It is related in the book authored by Ronald Fernando that the popular Indian super star, late Raj Kapoor, highly impressed by the movie "Rekhawa" had recommended to Sri Lankan producer K.Gunaratnam, to utilize the talents of this consummate cinematographer, Lester, in his future productions. In consequence Mr Gunaratnam offered the direction of his film "Sandeshaya" to Lester James who exhibited a marvellous array of innate skills in his performance as the director, to bring the film to the pinnacle of international acclaim.

Remarkably, a number of books have been written by various scholars on the life of this reputable character and his award winning productions. In addition, a documentary film by the name, "The Foot Steps of an Asian Master", was directed by Neil I.Perera in 1985 and another film "The World of Peiris" directed by Bickram Singhare on behalf of the Ministry of External Affairs, India.

He not only won the first international award for Sri Lanka in London in the early ‘50s but also achieved the Golden Peacock Award presented by Delhi International Awards and Golden Head of Palenque Award from Mexico World Film Festival for "Gamperaliya", a story which turned a new page in Sri Lankan cinema as the best film. It was Lester who represented Sri Lanka with his film "Rekhawa", first at the Cannes Film Festival in 1957. The number of local awards won by him from Rekhawa to Amma Varune, is a potent estimation of his exemplary contribution to Sri Lankan cinema. Recognition of his productions at high degree of excellence by the international cinema not only demands absolute technique but involves tremendous amount of dedication and determined effort. In appreciation of his invaluable contribution to cinema he was honoured with the title Commander in the Order of Arts and Letters by the Government of France in 1997, The Lifetime Achievement Award and the Golden Lotus by the Government of India at Delhi International Film Festival and the Asian Cinema Person at Cannes International Film Festival. He has also discreetly performed an extraordinary service as a member of the jury at the International Film Festival with distinctive responsibility. The entire nation is profoundly delighted by the global tribute of high regard extended to this indomitable personality over his intellectual expertise in the film industry.

He was felicitated by his own nation with the title Kala Keerthi in 1980, issue of a stamp to mark his birthday in 2002, highest honour of Sri Lankabhimanaya in 2007, naming Dickman’s Rd as Dr Lester James Peiris Mawatha and a new orchid flower named after Lester James Peiris by M.L.SW.Wanigathunga , chairman of Lakmalsala Amerasekera. It is significant that he was honoured with doctorates by the Universities of Colombo and Peradeniya in 1985 & 2003 respectively.

The latest felicitation for this doyen of Sri Lankan cinema is from UNESCO , the world’s most prestigious institution for culture for his Gamperaliya production.

Dr. Lester James Peiris’ ‘Sonduru Minisa’ has exalted the image of Sri Lanka in the global cinema with a high degree of respect. He is regarded as a leading cinematographer along with world renowned Satyajith Ray of India and Akerawar Korusowa of Japan. The resplendent contribution made by Lester to Sri Lankan cinema will be etched in the memories of the citizenry of Sri Lanka.

Rukmani Devi

2010-03-23T07:50:00.000-07:00

A documentary film Rukmani Devi, Produced by Government Film Unit, Government Information Department, Sri Lanka
Clips from "Kadavunu Poronduwa" and "Kapati Arakshakaya" directed by J. Singhe restored beautifully by the GFU.
Christy de Mel as Gunapala (the whipped lover) and the mustached authoratarian (Mark Samaranayake or Stanley Mallawarachchi ).
Rukmani Devi (January 15, 1923–September 25, 1978) was a Sri Lankan singer and actress, who was often acclaimed as "The Nightingale of Sri Lanka"[1]. She made it to the silver screen via the stage and had acted in close to 100 films, at the time of her death. Having an equal passion for singing as well as a melodious voice, she was Sri Lanka's foremost female singer in the gramophone era. After her death, she was awarded the Sarasaviya 'Rana Thisara'- Life Time Achievement Award at the 1979 Sarasaviya Awards Festival.
Rukmani Devi, was born as Daisy Rasammah Daniels to a Colombo Chetty Christian family on January 15, 1923 at Ramboda in Nuwara Eliya, Sri Lanka. Second, in a family of five, her father, John Daniel worked on a plantation and her mother, Helen Rose was a teacher.

She grew up in Colombo and had her early education at St. Matthew's School and then moved on to St. Clare's School, Wellawatte.

As a little girl, Daniels showed an inborn talent to sing and dance. At the age of seven she was picked to sing Christmas carols. Impressed with her ability to sing, dance, and also to act, she was selected to perform a main role in a Christmas play, 'The Shoemaker's Wife'.

The stage play was trained and presented by St. Clare's School, Wellawatte.

Watching her play this role much enthusiastically, Walter Abeysinghe, a drama producer sought permission from her father, to invite her to play the lead role of 'Sita' in his drama 'Ramayanaya.' Thus, in 1935 at the age of just 12 years she performed in this stage play, presented by the 'Sinhala Natya Sabha'.

She was married to veteran dramatist, actor and singer, Eddie Jayamanne, whom she fell in love with as a result of her close association with him, when performing in dramas produced by "Minerva Dramatic Club" founded by B. A. W. Jayamanne. They lived at "Jaya Ruk", at Angurukaramulla, Negombo.
his marked the beginning of an illustrious career that would span over four decades. As her performances were highly appreciated by the packed audience, well-known dramatist Dick Dias chose her for two of his stage plays, "Jana Kiharanaya" and "Mayawathie". She was now flooded with stage dramas, as she became Mayawathi in Charles Dias' 'Mayawathi', Juliet in a Sinhala adaption of Romeo and Juliet, playing the lead female role in all of them.

With her first audio recording of the famous song "Siri Buddhagaya Vihare" with Master H. W. Rupasinghe in 1938, she captured the hearts of the masses and she shaped her career from that of an actress to that of an actress turned singer.

Her unique voice attracted many music directors, as her singing career moved from the stage to the silver screen.

It was also, around this time that her name underwent a change from Daisy Daniels to the well known 'Rukmani Devi'. There are two schools of thinking as to how the name "Rukmani Devi" originated. According to one school, the late H. W. Rupasinghe maestro created the name, while the other believe that Jayantha Weerasekara and Michael Sannas Liyanage who is in his 90s, created it[2].

B. A. W. Jayamanne, founder of "Minerva Dramatic Club" of Negombo took Rukmani to perform remarkable roles in his interestingly featured dramas, such as 'Apparition', 'Broken Promise', 'Changing Fate, 'Defeated Aim', 'Evasive Denial', 'Fanatic Faith', 'Grisly Guardian', 'Hasty Decision' and lastly 'Irangani'. Above-mentioned plays followed the English alphabet.

The popular play 'Broken Promise', was adapted into a film by B. A. W. Jayamanne. This was the first Sinhala film - Kadawunu Poronduwa, screened on January 21, 1947. Rukmani Devi, who also began her film career through the role of 'Ranjani' in this film, also became the first local actress. Her film career, which thus began spread over a period of more than three decades.

According to Sri Lankeya Cinema Vanshaya (pp 637 - 638) written by Nuwan Nayanajith Kumara, from Kadawunu Poronduwa in 1947 to Ara Soyza in 1984, Rukmani Devi had played different roles in 99 films, up to the time of her death.

An equally talented singer, some of the immortal songs she sang for films are Sandyave Sriya for 'Kadawunu Poronduwa', Pinsara Mage Soyura for 'Kapati Arakshakaya', Gala Kandeni, and Moranawa Preme Hade for 'Weradun Kurumanama', Nindede Rathri Yahane for 'Peralena Iranama', Mavila Pena vi Rupe for 'Kela Handa', Pem Sihina Loke Maya for 'Mathabhedaya', Melavi Yanna Hada Mage for 'Daiva Yogaya', Suva dena Sita Sanasum for 'Ladalu' and Doi Doi Puta for 'Ahasin Polavata'.

In the mid sixties she joined the sinhala calypso musical group 'Los Cabelleros' led by late Neville Fernando. They recorderd ever popular sinhala songs such as 'Malbara Himidiriye','Menike Obe sinawe' & 'Sandak nage'.

Rukmani Devi was also featured prominently on the airwaves of Radio Ceylon, the oldest radio station in South Asia.
[edit] Death

Rukmani Devi, the singing star, stage and screen idol died in a tragic motor accident near St. Mary's Church, Thudella on September 25, 1978. She was returning after a musical show in Uyanwatte, Matara. Her funeral ceremony was attended by a very large gathering; film makers and dramatists, friends, politicians, relatives and her beloved fans.

She was the most celebrated Sri Lankan artiste and a statue in memory of her was erected at the Kanuwana Junction, Ja-Ela, as she still lives in the hearts and minds of the Sri Lankan people. The road on which the Rukmani Devi Museum in Negombo is located was also re-named 'Rukmani Devi Mawatha' by President Ranasinghe Premadasa, on October 28, 1990.

Neville Fernando

2010-03-23T07:43:00.000-07:00

Gayana Geyum" performed by Los Caballeros led by Neville Fernando from Sir Lester James Peiris's movie "Delovak Athara". Listen to the rich vocal harmony arranged by Neville himself and recorded...
This song is from Sir Lester James Peiris's movie "Ransalu" (1967)
Lyrics by B.T. Mendis
Music by W. D. Amaradeva
Performed by Neville Fernando
Ran Salu
Directed by Lester James Peries
Produced by Upasena Marasinghe
L. M. Simon
Written by P. K. D. Seneviratne
Starring Tony Ranasinghe
Punya Heendeniya
Anula Karunatilleke
Music by W.D. Amaradeva
Editing by Sumitra Gunawardana

Old Songs Collections

2010-03-23T07:40:00.000-07:00

This is perhaps the best song sung by Susil Premaratne who passed away on the 11th Feb 2010.
The original recording of the "Sandak Nage Sandak Gile" by Neville Fernando & Rukmani Devi with Los Caballeros. This is a beautiful song with nice vocal harmony,melody & music, arranged by Neville ...
Rukmani Devi was the Silver screen queen from 1940s to 1960s. She happens to be the only actress who performed both singing and acting simulataneously. 'Adaraya Nisa' was one of the popular songs ..

OLD SINHALA SONGS COLLECTION

2010-03-23T07:32:00.000-07:00

Kanthi Wakwella

2009-11-25T07:27:00.000-08:00

Appreciations
Kanthi Wakwella

Seventeen years ago, a sudden hurricane turned my life upside down, when I lost him. He was my inspiration, my companion, my everything. Echoes of his beautiful voice, visions of his warm smile, memories of his loving ways, hardships and difficulties he had to undergo, just to achieve his dream of winning me as his life keep coming back to me, almost everyday. He will never know how much I miss him or how much I wish everyday to see him even in my dreams. My elder son has taken after him. He sings beautifully bringing tears to my eyes, memories to my mind and silent aches to my heart, but I am grateful to him for making me feel his father is still with me.

Even though so many years have gone by, I will never get over missing him, because he was and still remains so very special to me, a lasting memory to my family, today, tomorrow and throughout my life.

Karuna

One was B. S. Perera and the other P. L. A. Somapala. It was B. S. Perera who composed the tunes for a host of evergreens from Kanthi Wakwella's 'Dura Penena Tenitala', Vincent de Paul Peiris' 'Siripade Samanala Knada Pene' & 'Bicycale', Rohitha Jayasinghe's 'Sobana Sendewe' to Rukmani Devi's 'Vana Bambara'. P. L. A Somapala's 'Lalitha Kala', 'Dunhinda Helena' & 'Sukmala Banda Lelava' were among the many favourites he composed in the western mould.

Among others moving in this direction were C. T. Fernando, Susil Premaratne, Sydney Attygalle and Maurice Dahanayake.

J. A. Milton Perera

2009-07-31T01:50:00.000-07:00

J. A. Milton Perera (1929–1991) was a leading playback singer of Sri Lankan cinema during the '60s and '70s.

Milton was born on May 9, 1929 the son of J. A. Edwin Perera, also known as Tabla Podi Appuhamy, an accomplished tabla player. Inspired by his father, Milton became proficient on the tabla at a young age.

In 1940, Milton sang his first song for Radio Ceylon, "Alehi Bendi Jeewitha". It was written by Aloy Gunawardena around a Mohamed Sally melody. He subsequently had several popular songs on the radio, "Kale Api Denna," "Oba Wewa Wewa Pahana Mage," and "Kalyaniye."

Somatilaka Jayamaha

2009-07-25T16:30:00.000-07:00

Seldom heard

There are still a few singers like Somatilaka Jayamaha who are not swayed by big money to sing anything in the name of Sinhala music.also continue the policy of lending a hand to the talented singers who wish to do something good.'Siri Yahane' is the title of Somatilaka Jayamaha's latest release containing 16 well-rendered songs. Here again, they are sober numbers when compared with the jazzy stuff we hear throughout the day on the numerous radio channels. Listeners seldom get a chance of hearing Somatilaka's voice over them. What the criterion is, in selecting numbers for broadcast, we do not know.

Mervin Perera

2009-07-23T08:57:00.000-07:00

It Was a sad News

2008 Dec 07, Kalubowila: One of the most popular Sri Lankan singer and musician Mervin Perera died this afternoon at the Colombo South Teaching Hospital in Kalubowila.

According to family sources Mervin Perera had suffered from diabetes for sometime and he was hospitalized at the Kalubowila Hospital for the past few days.

Mervin Perera, a father of three children, was born on September 21st, 1940 at Kuda Payagala in Southern Sri Lanka.

A Catholic, he learned the first notes of music from his father Herman Perera, a music master, who first taught him how to hold a violin.

Following fathers guidance young Mervin entered the Kalayathanaya in 1959 and after six years of training, started his teaching career as a music teacher in a remote village in Ampara.

Completing almost 50 years in the music arena, Mervin has come a long way since his days as a member of the village church choir.

Mervin Perera has many lilting melodies to his credit and was much loved by Sinhala music lovers.

His songs such as ‘Sanda midulata enawa’ and ‘me nagaraya’ were popular among Sinhala music fans.

An icon of the Sinhala music industry at one point, two years ago he released a collection of

Sinhala songs after a long interval of 12 years.

The collection entitled 'Suwanthethi Kusumaka' comes almost a decade after the CD 'Nilupul Yuwale' of the veteran singer-composer who has already enriched the local music with many melodious tunes.

Among his most memorable songs are 'Oba Dedunna', his debut released in 1972 which turned out to be an instant hit, 'Me Nagaraya' and 'Adare Ran Bingun' which have earned him accolades from both the adult and the young generations.

Despite the immense popularity his talents both as a singer and a musician brought to him, Mervyn always preferred simple things in life and shied away from the limelight.Mervyn has come a long way since his days as a member of the village church choir.

A Catholic, he learned the first notes of music from his father Herman Perera, a music master, who first taught him how to hold a violin. Young Mervyn entered the Kalayathanaya in 1959 and after six years of training, started his teaching career as Music teacher in a remote village in Ampara.

`It was in Ampara that I started composing music. Before I left for the job, my friend Tilakasiri Fernando gifted me with a guitar. So when I am in a pensive mood, I would just take the guitar and compose different tunes`.

Not for a moment did he fancy that these tunes composed as a past time would later adorn many a beautiful and memorable songs like `Pawe Wala` sung by Victor Ratnayake and `Ayanna Kiyanna` and `Nilambare` by Nanda Malini.

According to Mervyn, his career as a singer really started after he got a transfer to a Colombo school in 1970. That year, he participated in a Sarala Gee program at the Sri Lanka Broadcasting Corporation.

Two years later recorded his first song `Oba Dedunna` written by Premakeerthi de Alwis which mesmerised Sri Lankan music fans. His successive works rich in both entertainment and meaning, proved to be equally good, if not better than, the first hit, and brought him to the zenith of popularity in the late 1970s.

Among his most memorable songs are `Oba Dedunna`, his debut released in 1972 which turned out to be an instant hit, `Me Nagaraya` and `Adare Ran Bingun` which have earned him accolades from both the adult and the young generations.

Veteran artistes like Premakeerthi de Alwis, KDK Dharmawardene, Prof. Sunil Ariyaratne and GSB Rani Perera made a lasting impact in his music life.

Ranmuthu Doowa Film

2009-07-23T08:14:00.000-07:00

Sri lankan First Colour Movie - 1962 Director & Writer : Mike Wilson Producer Shesha Palihakkara, Cast : Gamini Fonseka Joe Abeywickrama Shane Gunaratne Jeevarani Kurukulasooriya Tilakasiri Fernando Vincent Waas,This is may be first Film to Asia with underwater scenes,may be world also...???
This is very rare Chance to see full movie,Because no Any Of Full copy even National Film Cooperation SriLanka too,
All of original negatives and copies cannot find out.this was produced to 16 MM version then after blow up to 35MM,
part 1

part 2

part 3

part 4

part 5

part 6

part 7

C. T . Fernando

2009-07-22T18:00:00.000-07:00

Cyril Tudor Fernando (January 28, 1921 1977) was a popular Sri Lankan singer.
Fernando entered music in the 1940s. He was praised by critics for the themes and wording of his songs like `Vana Bamaru,` `Bilinda Nelwa Ukule` and `Rosa Male.` His other popular songs include `Lo Ad Giles Male Tarawa` and `Mariya Mawu Kuse.`

Biography

Early life and career
===================
Fernando was born in Kadalana, Moratuwa and educated at St. Mary`s College, Nawalpitiya. As a student Fernando showed interest in the arts participating in school dramas and singing with the local church choir.
In 1946, Fernando successfully auditioned for a position as grade one radio artist on Radio Ceylon. There he had his first popular song with `Pinsinduwanne,` a plea to children to stop harming birds. The song was written by R. N. H. Perera.

Commercial artist

---------------
In 1952 Fernando branched out as a commercial artist signing with HMV subsidiary Cargills Company. He recorded many of his popular songs with the label including `Pinsiduwanne`, `Suwanda Rosa`, `Bara Bage`, `Ambilimame`, `Lo Ada Ninde`, `Gilimale Taruwa`, `Kimada Sumihiriye`, `Amba Ruk` and `Bilinda Nelawe Ukule`.
From 1959 to 1960 Fernando was rated the most popular singer in the country. He continued his recording career recording the LP `The Golden Voice of C.T. Fernando` with the Lewis Brown company. His recordings featured lyrics by Lalith S. Maithripala, Karunaratna Abeysekara, Sarath Wimalaweera and Wimaladasa Perera.
Fernando recorded a popular duet, `Pun Sanda Hinahenne,` with Rukmani Devi. Another duet, `Selalihini Kovul Handa,` was done with Lata Walpola.

C,T s son Priyantha Fernando live in Auckland, 2007 .NZ. Music by panduka. Naveen and Bruce on guitar, Levon on sax, Hayden and Thilanka on trumpet, pandu on bass, Nilu and Anil on keys, Amila and Alistair on drums.
Video done by Shyam

Nevil Fernando

2009-07-22T14:17:00.000-07:00

MATHAKA SUWANDA….

will be remembered of those our Srilankan sinhala artists…this is only a few collection…i hope to add more and updated weekly…

Nightingale of Sri Lanka

2009-07-22T14:06:00.000-07:00

In the year 2007, Latha Walpola – celebrates 60th Anniversary of her reign in singing overwhelmingly rising to the highest echelons as the incontrovertible Nightingale of Sri Lanka. Latha Walpola – Nightingale of Sri Lanka

She was fortunate to have recorded a few songs like “Sukomala Banda Lelawa”, “Dunhinda Helena” and “Diyaluma Helena” originally sung by Chitra Somapala. By 1950 she became a shining spectacle invading the living rooms of each and every household in Sri Lanka by her beaming golden voice. Mohamed Ghouse, P.L.A.Somapala and B.S.Perera the famous musicians at the time brilliantly utilized her harmonious voice of high-pitched tone into their musical creations.

It is hard to reminiscence the exact number of songs that she has recorded so far. The proximate number of songs she is credited with could be penned 6000 as known at the 50th Anniversary of Celebrations in 1997. Basically it is presumed that the total number of songs would be 6500 by now.

In recognition of her miraculous voice par with the award winning Latha Mangeshkar, Queen of Music in India, deep voice playback singer Susil Premaratne named this future Nightingale of Sri Lanka as one and only Latha of the island of Sri Lanka.

Latha made her debut in playback singing for film “Eda Rae” in 1952 albeit it was screened in 1953. This sparkling artist recorded songs for three films during the same year as an amateur. Latha and Dharmadasa Walpola began their career as the most successful playback singers by singing in “Prema Tharangaya” for the first time. It is historically significant that it was Music Director Muttusami’s first film too. The melodious songs such as “Honda hondama veya lowa kisima thenaka nehe”, “Pera kala pawa paladee pape gewawi” have remained etched in our memories for decades. Embraced with abundance of affection and attachment, this singing duo got married and Latha became known as Latha Walpola. By 1958 Latha & Dharmadasa were the only two leading playback singers in Sri Lanka film industry. Amazingly Latha had contributed to a record number of 22 films after five years of her debut in film industry that is by 1958 while versatile actress-singer Rukmani Devi had made it for only 10 films. During the last 54 years Latha has made a reputation of recording for nearly 580 films some of which are yet to be screened. Film.

It was a great honor to those Radio artists Susil Premaratne, C.T.Fernando, C.D.Fonseka, Edward Perera, B.P.Wickremasinghe, Clarence Wijewardana, Haroon Lanthra, Dharmadasa Walpola, Mohideen Baig, W.D.Amaradeva, Milton Perera, H.R.Jothipala, Victor Ratnayake, T.M.Jayaratne, Milton Mallawarachchi, Sanath Nandasiri, M.S.Fernando, Rukhantha Gunatilleke, Gratien Ananda, Samantha Perera, G.S.B.Rani Perera, Indrani Wijebandara and Sujatha Attanayake to have absorbed into singing with this acclaimed artist during the last six decades.

Music Directors Mohamed Ghouse, R.Mutthusami, B.S.Perera, Sunil Shantha, R.A.Chandrasena, W.D.Amaradeva, P.L.A.Somapala, Premasiri Khemadasa, Sarath Dassanayake, Stanley Pieris, Rohana Weerasinghe and Samantha Perera thrilled with admiration of her musical brilliancy have stimulated her contribution of professional singing to their innovative creation of music.

The island recognized lyric writers Ananda Samarakoon (Composer of the National Anthem), Arisen Ahubudu, Karunaratne Abeysekera, Chitrananda Abeysekera, Hugo Fernando, D.T.Fernando, Ananda Sarath Wimalaweera, Fr. Mercelyn Jayakody, Herbert M. Seneviratne, Madawala S.Ratnayake, Chandraratne Manawasinghe, Sunil Ariyaratne, Sunil Sarath Perera, Mahagama Sekera, Ajantha Ranasinghe and Premakeerthi de Alwis shared their intellectual compositions soaked with scintillating lyrics of touching moments in life to this great unassuming singing persona who has conquered the seven seas with an immense reservoir of singing aptitude

She holds the record for being the only artist to have sung with South Indian musicians like Dakshinamurthi in film ‘Duppathage Duka” and “Suraya”, Sathyamurthi, T.R.Papa, Jamuna Rani, K.Rani, Saraswathi and Sri Lankan film stars Herby Seneviratne, Dommie Jayawardana, Vijaya Kumaratunga and Ravindra Randeniya.

Latha the only Sri Lankan artist who was fortune to playback singing under the direction of famous Indian Musicians such as Darshana Murthi, S.S.Weda,T.R.Papa, R. Sundaranam , Raja Thangendra, Gowradanam, and Jayadev.

Latha Walpola has made an exemplary contribution to enrich Sinhala music with her unique style of singing in a lilting and mellifluous voice that has captivated the hearts of young and old equally at home and abroad with lasting memories. “Mathalang” and “Ahankara Sthree” were two films of gorgeous music orchestrated by Music Maestro R.Muttusami featuring the superior skills of Dharmadasa and Latha. “Jevithe vikareki”, “Lankaren malak pipee” with Dharmadasa Walpola (Ahankara Sthree)”, “Pem mala gotha gele” with Dharmadasa, “Ranvan dul karalin pesila” (Mathalang)” and “Loke jeevath vannata dedeneku one wei” with Clarence Wijewardane (Janaka saha Manju) and hundreds of unforgettable lovely songs remain delineated on the lips of music fans living around the globe.

A special feature is that Latha has recorded play back singing for every actress in Sinhala cinema except Rukmani Devi, the Queen of Sinhala filmdom. She started playback singing for Sita Jayawardana in film “Eda Rae” to present day Chaturika Pieris and Anarkalee . In coincidence with her insurmountable musical career, she not only sang playback for actresses Rohini Jayakody and Girley Gunawardana in 50s and 60s but also enjoyed the rare opportunity of singing behind their two actress daughters Veena Jayakody and Sabita Perera in later years.

Since the inception of film industry in Sri Lanka it was she who recorded playback singing for every main actress in Sinhala films. Rukmani Devi sang only for her role by herself. Latha who is recognized to be with a screen voice was aptly offered playback singing for other actresses matching her voice with theirs.

As far back as 1960s it became largely a profitable business to dub Sinhala dialogue into Hindi and Tamil movies running popular in Sri Lanka. In most films the main actresses were Vyjanthimala, Nimmi, Shawithri, Nanda Chitra Krishna Kumari, Achala and Nadira. Latha Walpola was adjudged the best for her pre-eminent singing over original playback singers in India. Playback singing in films ‘Pathiwatha’, Ahinsaka Prayogya,Mage Putha , Angulimala, Sudu Nangi, Shimbo,Veera Putha , Veera Vicrama and ‘Anjalee’ is a clear testament to her masterly performance of fascinated singing.

In the initial stages of the emergence of film industry in Sri Lanka, filming was done mostly in South India since advance technology was not available in Sri Lanka. Propensity of the producers to hire popular South Indian playback singers was challenged by Latha Walpola singing 90% of songs with high degree of unparalleled passion of melody. Indians sang one or two songs for a lesser rate compared to Latha’s nearly 8 songs in each film.”Veera Vijaya”, “Suraya”.and Mathalan are the few example. The most significant contribution she made to the Sri Lanka film industry is that the way she challenged to Indian artists and broken down their monopoly.

Latha is recognized as the only female singer who has a combination of singing caliber of Classical songs, Chorus songs, Baila songs, Vannam and Western songs.

It is said that Latha with Fanto Fernando sang a Western song in the monthly musical program known by “Masika Renguma” music orchestrated by B.S.Perera and conducted by the then Radio Ceylon was vehemently criticized by the listeners for the mere reason it was of westernized culture.

She is not only the leading playback singer but also invariably the successful singer in Kalasuri Khemadasa’s famous gee nalu ‘Bari Sil’, ‘Kela Mal’ and ‘Nawarella’. Kalasuri Latha Walpola sang major songs in “Daskon” drama produced by Herberat M. Senaviratne and in “Kumara Kassapa” opera telecast by the Sri Lanka Broadcasting Corporation. It has been noted that currently she has been singing the theme song in most of the television dramas.

In addition to her singing she has played a few mini roles in “Eda Rae”, “Prema Tharagaya” and “Radala Piliruwa” and shared her acting capability while singing ‘Ale Nam Kale Nambuwa Soya’ in film “Radala Piliruwa”.

The Buddhist Jathaka story of ‘Angulimala’ filmed in Hindi and later dubbed into Sinhala became a box office movie in Sri Lanka in which Latha dubbed her pristine voice for world popular Indian film star Nimmi.

She missed the golden opportunity of recordings with many high profile singers and frequent travel to India for recordings due her demand of highly expensive charges.

On account of her outstanding contribution to Sinhala music during the last sixty years, Latha’s name will glow writ large in letters of gold in the history of Sri Lankan music. It was just after six years from her entrance to Kala Lokaya that a certain popular newspaper conducted a gallop poll in 1953 to determine the Best Female Singer in Popularity at the time. Vasantha Sandanayake, Vivienne de Silva Boralessa and Latha Jenevi Fernando became the first, second and third respectively.

In the latter part of 1960, a polling contest was organized by the ‘Visithura’ cinema newspaper to determine the Best Popular singer of the era. Latha polling a record highest number of votes became the Best Popular Singer while W.D.Amaradeva, Mohideen Baig, Dharmadasa Walpola and H.R.Jothipala respectively won the second, third, fourth and fifth positions.

Latha the oleaginous four-time Sarasavi Award winner has won the Golden Conch Award in 1995, Golden Jubilee Presidential Award for Pioneers of Film Industry in 1997 and Appreciation Award of OCIC among a number of other accolades presented to her in recognition of her grandiose performance of indomitable competence in singing.

In her accomplishment as the greatest artist of all times, she won the Life Time Awards known as the Golden Swan Award presented by the Lake House of the Associated Newspapers in 1992, OCIC Golden award in 2006, U.W.Sumathipala Memorial Award by the Sumathipala Group and Swarnabhimani Golden Award by Swarnavahini.

In 1974 Deepasika Award was presented to her in appreciation of her achievement as the only female singer who remarkably contributed a maximum number of songs to the film industry in Sri Lanka.

As a tribute to her outstanding presentation of musical brilliancy, the Government of Sri Lanka has quite appropriately honored her with Kala Suri Award distinctively awarded to the rare and precious greatness of inestimable contribution made to Arts & Culture.

Latha, gifted with artistic aptitude albeit no education background in music, has surprised the versatile musicians with her adaptable high scale singing. She has developed her innate talents during the last 60 years of singing with primordial function of voice rising to the loftiest heights of her musical career. Sri Lanka lends a degree of credence to her glistening glory in music and owes a debt of gratitude for her admirable dedication to music in entertaining the people home and the Sri Lankan expatriates abroad. She is a National Treasure worthy of emulation. Latha Walpola is the indisputable Nightingale of Sri Lanka.

By T.K.Premadasa

- Asian Tribune –

Sunil Santha

2009-07-21T21:39:00.000-07:00

Baddaliyanage Don Joseph John alias Sunil Santha was born on 14th of April 1915 at Dehiyagatha, Jaela. His parents died whilst he was still a baby, so he was brought up by his grand mother and uncles. His youngest uncle Mr.M.J.Perera was a music lover. Sunil Santha learned to play the harmonium from him.

He came first in the island in the school leaving certificate examination and won the Weeraratne award. In 1933 he passed the Teachers Final Examination. As a teacher at Mt.Calvary School he exhibited his talent in drama, vocal, music, art and handwork.

From 1936 to 1939 his students won the competition at the Southern Schools Music Competition thrice and the challenge cup was given to the Calvary school. In 1938 he passed the Intermediate Gandarva Examination and also obtained a certificate in physical training and learned to play the piono accordion and the gitar. He learned Sinhala folk songs and Wannam from Urapola Banda Gurunnanse.

Before long ,however he gave up teaching to pursue a musical carrier ,and in 1939 left for India where he studied ndustani,Classical and Bengali Orchestral and Vocal music, first at ShantiNiketan. After spending one year he went to Batkhande Sangeeth Vidyapeeth. ,Allahabad. He became first in the first Division in instrumental(sitar)and first Division in vocal where he obtained Sangeeth Visarad Degree after four year course of study

In 1944 he returned to the Island as Sunil Santha. He met Mr. Kapukotuwa and as The Government had appointed a person for the post of music inspector he refused the music teachers appointment. He read the books by Munidasa Kumaratunga and Raphiel Thennakoon and realized the necessity of creating Sri Lankan music.

He wrote a letter titled Montessori Method of Music to the Silumina Newspaper and on shorter method to learning music to Prabodaya. He started a music class at Kanuwana, Jaela. In 1946 he stayed in the house of Suriyashankar Molligoda at Bambalapitiya and started his quest to find Sinhala Music. On the 2nd of March 1946 he sang songs at the Kumaratunga Commemoration ceremony, soon he became a superstar after he recorded Olu Pipila at the Sri Lanka Broadcasting Corporation. That was the first song recorded in a record.

The people who saw him performing those days compared him to a Greek god. Another compared him to a handsome Indian prince with Aryan features. His skin was ivory in colour. He was five feet 11 inches tall.

In 1946 he published his first song book "Ridi Walawa". He created songs which he sang for various charity songs like Home for the Elders of Mallika in Colombo. He published many song books. They are Hela Ridi Walawa, Mihiriyawa Mal Mihira, Heli Mihira, Sunil Handa, Song Folio, Song of Lanka, Guvan Thotilla, Desheeya Sangeethaya, Sangeethaye Atthiwarama as Sunil was against Indian Ragadari music his enemies started a battle to expel him form the Radio Ceylon.

They damaged across his discs and some of the people who were with him at the beginning pirated his songs and published them to earn money. Sunil attacked these people in his song books. In 1951 Peramuna news paper did a survey and named Sunil Santha as the most popular singer of the year.

Meanwhile the enemies of Sunil Santha who favored Hindustani Music laid a trap on him. That was to get down Mr. Ratanjankar from India to audition the Sinhala artists. They mentioned that anybody who refused that audition would be expelled from the Sri Lanka Broadcasting Corporation. The Lankadeepa News paper published an editorial against the audition of Mr. Ratanjankar. They questioned about the special reason for bringing down Ratanjankar to audition the Sinhala artists. Would that be necessary for his pupils like Sunil Santha to face that audition? Is it necessary to audition artists at this time? Are they doing that for the progress of art? That news paper protested against the audition of Ratanjankar.

Sunil Santha boycotted the audition of Ratanjankar. He was expelled from the SLBC. In 1952 he married Bernadet Leelawathi Jayasekara. She was a trained teacher.

In 1953 Sunil started his classes in the Maradana Newton building. He promised to teach 10 pupils free of charge. At that time Mr. Albert Perera (W.D. Amaradeva) who played the violin for Sunil Santha’s songs was having financial difficulties. Sunil Santha helped him by allowing him to teach music in his Panadura music classes.

In 1955 the great journalist D.B.Dhanapala started a campaign and exposed the plight of Sunil Santha through the columns of Lankadeepa. The money collected by the paper was given to Sunil Santha.

In 1956 Doctor Lester James Pieris invited Sunil to make tunes for the songs of "Rekhawa" and "Sandeshaya". The songs were masterpieces and even now they are very popular.

Sunil tried various trades like selling clothes and doing photography. He became very close to poor people's hearts. Many parents sent their teenage sons to get advice from Sunil Santha.

In 1967 Director General Mr. Neville Jayaweera invited Sunil Santha to the Sri Lanka Broadcasting Corporation and asked him to do programs in music. He created revolutionary music and created songs in one note and four notes and five notes. Mr. Jayaweera asked Sunil to audition the artist. Mr. H.W. Rupasinghe and W.D.Amaradeva assisted him.

In 1970 Sunil moved to his uncle’s house as the land lady wanted the house. Mrs. Agnes Perera the widow of his uncle was very kind to Sunil Santha’s family and asked them to live in a section of their house. His cousins cleaned the poultry shed. They used that as a study room for the family. Sunil and Leela had three sons and one daughter.

Sunil continued to repair radios and other electrical equipments. In 1977 Mr. H.M. Gunasekara who was the Director of Sri Lanka Broadcasting Corporation produced a record named "Sunil Gee." There was a debate about whether there is a written music in the Sigiri songs. Some scholars opposed that idea. Sunil created Sigiri Gee and showed that there is a possibility of written music in Kurutu Gee as our ancestors were so intelligent in constructing such great buildings as Lovamahapaya and Sigiriya.

Twenty eighth of February of 1981 was the saddest day of Sunil Santha’s life. His third son Jagath was drowned in the Blue Oceanic Hotel Negombo. That death is still a mystery. Sunil suffered a heart attack and was admitted to the Colombo General Hospital. He died on the 11th April 1981.
His eyes were donated to two people.
On the 13th of April he was laid to rest in the Dehiyagatha cemetery.

දේශයක් පිනවූ නිහඬ උදාරකලාකරුවා

ආනන්ද සමරකෝන් පිළිබඳ මතක සටහන්

පුංචි දවස්වල සව් කඩදාසි කෑල්ලක් තොල්පටවල රඳවා පිඹිමින් සංගීතයක් පිට කිරීමට ඔහු පුරුදු විය. මේ පුරුද්ද දුටු වැඩිහිටි ඥාතියෙක් ඔහුට මවුත් ඕගනයක් තෑගි කැර ඇත. එදා සිට මේ දරුවා දවස ගෙවූයේ මවුත් ඕගනය දෙතොල රඳවාගෙනය. ඒ නිසා ඔහුගේ දෙතොල තුවාල විය.

ආනන්ද සමරකෝන් නම් ඒ මහා කලාකරුවා කුඩා වියේ සිටම සංගීතයට ලැදි බැව් ඇඟවෙන එක් අපූරු අවස්ථාවකි ඒ.

එපමණක් නොව සංගීතයට ලැදි සිය පියා (සැමුවෙල්) ඉදිරියේදි කුඩා ආනන්ද සමරකෝන් ප‍්‍රවීණ සංගීතඥයකු ගෙන් නියත වියරණ ලැබීය. ඒ රූපසිංහ මාස්ටර් ගෙනි.

පියා සාදිරිස් මාස්ටර් සහ රූපසිංහ මාස්ටර් සමඟ තබ්ලාව වයමින් විනෝද වූ දවසක වයලීනය රැගෙන එන ලෙස ආනන්ද නම් පුංචි කොලු පැටියාට අණක් ලැබිණි. කුඩා දරුවා වයලීනය රැගෙන ආවේ තත් මත ඇඟිලි තුඩු මෙහෙයවමිනි.

තත්මත ඇඟිලි රැඳුණු ආකාරය දුටු රූපසිංහ මාස්ටර් විමතියට පත්විය. ආනන්ද ගේ පියා අමතා "සැමි කවද හරි තමුසෙගෙ කොල්ලා ලංකාවේ ලොකුම සංගීතඥයෙක් වෙනවා" යැයි ඔහු එසැනින් කීවේ අනාගතය ඉවෙන් දුටු අයුරිනි.

නිදහස් දිනය සමඟ නිබඳව අපගේ සිහියට නැඟෙන ජාතික ගීයේ නිර්මාතෘවරයා වන ආනන්ද සමරකෝන් ගීත රචනය, සංගීත නිර්මාණය පමණක් නොව චිත‍්‍ර ශිල්පයට ද මහත් කුසලතා පෑ අසමසම කලාකරුවෙකි.

ශී‍්‍ර ලංකා මාතා
අප ශී‍්‍ර ලංකා
නමෝ නමෝ මාතා

ලොකු - කුඩා අප හැමගේ මුවග රැඳුණු මේ උදාර ජාතික ගීය පසුපස කතාව ද රසවත්ය.

ඔහු ඒ පිළිබඳ මතක සටහන් තබා ඇත්තේ මේ අයුරිනි.

“1940 ඔක්තෝබර් 20 දා සවස ගෙදර ගියෙමි. මගේ උපන් දේශය කෙරේ, මා සිත බැඳුණු උදාර සිතුවිලි හා සෞන්දර්ය කෙළවරක් නැත. මම කල්පනා කළෙමි. ඒ මේ අත ඇවිද්දෙමි.

රාති‍්‍ර 10 ට පමණ සිය පහන නිවා කළුවරේ කල්පනා කළෙමි. තරමක නින්දක් ගියේය. අඩ සිහිනයකින් මෙන් "නමෝ නමෝ" ගීතය මනසේ සටහන් විය. පසුදා උදේ එය ලීවෙමි"

ගාල්ලේ මහින්ද විද්‍යාලයේ සංගීත ගුරුවරයා ලෙස කටයුතු කළ ඔහු පසුවදා මේ ගීය පියානෝව වයමින් සිසු දරුවන්ට කියා දුන්නේය.

ඔහු රචනා කළ මෙ දේශාභිමානී ගීතය, එම විද්‍යාලයේ සිසුන්ට ඉගැන්වූ පසු ගීත පොතකට ඇතුළත් කෙරුණි. ඒ ඔහු විසින් රචනා කරන ලද "ගීත කුමුදුනී" නම් පොතටය. මේ කෘතියට ඔහු දේශාභිමානී ගීත රැසක් රචනා කළේය.

ආනන්ද සමරකෝන් කරලැයින් සමඟ විවාහ වූ දා

ඔහු මොහොතකටවත් නොසිතූ දෙයක් සිදුවිය. ටික කලෙකට පසු ඔහු රචනා කළ මේ ගීතය කමිටුවක් මඟින් තෝරාගන්නා ලදුව, නිදහස් දින උලෙළකදී ප‍්‍රථම වරට ගායනා කෙරිණි. ඒ 1949 වසරේදීය. කොළඹ මියුසියස් බාලිකා විද්‍යාල සිසුවියෝ "නමෝ නමෝ මාතා" යනුවෙන් එසේ සාමුහිකව ගැයූහ.

ඔහු විසින් රචනා කරන ලද එම "නමෝ නමෝ මාතා" ගීතය පසු කලෙක, "ශී‍්‍ර ලංකා මාතා" යනුවෙන් ලංකාවේ ජාතික ගීය ලෙස එවක රජය විසින් තෝරා ගන්නා ලදි.

ඉන් අනතුරුව 1951 වසරේ සිට නොකඩවා සෑම නිදහස් දින උලෙළකදීම මේ ගීතය, ගායනය කෙරිණි.

ජාතික ගීයේ ඉතිහාසයේ වගතුග සොයා යන ගමනේදී මේ උසස් නිර්මාණය දැයට තිළිණ කළ ඒ සෞන්දර්යවේදියා ගේ ජීවන ගමන ද අමතක කළ නොහේ.

1911 ජනවාරි 11 වැනි දින පාදුක්කේ වටරැක ලියන්වල නම් ගමේ දී ආනන්ද සමරකෝන් උපත ලැබීය. ඔහුගේ පියා සැමුවෙල් සමරකෝන්ය. මව ඩොමින්ගා පීරිස් වූවාය.

පිරිමි දරුවන් හතරදෙනෙකුගෙන් යුත් පවුලේ තෙවැන්නා ආනන්ද සමරකෝන්ය. ඔහු කුඩා කාලයේ සිටම කලාවට ඇල්මක් දක්වා ඇත. එනම් උපතින්ම සමරකෝන් හට සංගීතය පිහිටා තිබුණි.

ඔහු මූලික අධ්‍යාපනය ලැබුවේ පිළියන්දල වෑවල ගමේ පිහිටි රජයේ පාසලෙනි. ඒ වන විට ඔහුට වයස අවුරුදු 8 ක් පමණ විය. ඔහුගේ් නෙත ගැටෙමින් සොබා සෞන්දර්යයේ සිරි විඳ ගනිමින් පළමුව ගීතයක් ලියුවේත්, ලියා ගැයුවේත් වෑවල රජයේ පාසලෙහි කුඩා පංතිවල ඉගෙනුම ලබන කාලයේදීය.

කුඩා සමරකෝන් තමාට අපි‍්‍රය වූ ගණිත පාඩම වේලාවේ දී ගණිත පොතේ ගීයක් ලියුවේ පාසල අසලින් ගලා යන වේරැහැර ගඟ සිහි කරමිනි. මෙහිදි ගණිත පාඩම වේලාවේ බාහිර වැඩක නිරත වීම හේතු කොට ගෙන ගුරුවරයාගේ ඇනුම් බැනුම් වලටද ලක් විය.

සමරකෝන් නැගු සිතුවම්

ඉන් නොනැවතුණ ගුරුතුමා කුඩා සමරකෝන් හට තමා ලියූ ගීතය පංතිය ඉදිරියේ හඬ නඟා ගායනා කරන ලෙස දඬුවමක් පැනවූයේය. ගීතය ගැයීමෙන් ගුරුවරයාගේ කෝපය නැති කිරීමට කුඩා සමරකෝන් දරුවා සමත් විය. ඒ ඔහු කලාවට සම්බන්ධ වූ ප‍්‍රථම අවස්ථාවයි.

තරුණයෙකු ලෙස 1934 ඉන්දියාවේ "ශාන්ති නිකේතන විශ්ව භාරතී" විද්‍යාලයට ඇතුළු වූ ඔහු සංගීතයත් චිත‍්‍ර ශාස්ත‍්‍රයත් හොඳින් ප‍්‍රගුණ කළේය. රාගධාරි සංගීතයේ ද රවීÁද්‍ර සංගීතයේ ද මනා ආභාෂය ලැබුවේය.

ලංකාවට පැමිණ අප දේශයටම ආවේණික වූ ස්වතන්ත‍්‍ර සරල ගීත ශෛලියක් හඳුන්වා දුන්නේය. "පුදමු මේ කුසම්, බැස සීතල ගඟුලේ, විලේ මලක් පිපිලා කදිමයි, පුංචි සුදා සුදු කැටියා, ඇසේ මධුර ජීවනයේ ගීතා, සරු සාර කෙතේ, එන්ඩ ද මැණිකේ මමත් දියඹටා, වරෙං හීන් සැරේ, පොඩිමල් එතනෝ, සුනිලේ ගුවනේ පායා, අක්කේ අක්කේ අර බලන්නකෝ" වැනි ගීත ඒ සඳහා කදිම නිදසුන්ය.

ජන ගී ආරයෙන්, සංවාද සහිතව නිර්මාණය කොටගත් මේ ගීතවලින් එවකට පැවති සිංහල සංගීත රටාව නව මඟකට අඩි තාලම දැමීය.

චිත‍්‍රපට සඳහා ගීත රචනයෙන් ඔහු නොයෙක්වර දායක විය. 'සුජාතා' චිත‍්‍රපටයේ එන "මන රංජන දර්ශනීය ලංකා" "සැඩ සුළං" හී "ශී‍්‍ර ලංකා මා පි‍්‍රයාදර ජයභූමි" "ඉදිරියට යමු සැවොමා" "පෙම් කැකුළ පිපී එනවිට මහදේ" "ජීවන මේ ගමන සංසාරේ" වැනි ගීත රැසක් අදටත් ජනපි‍්‍රයය.

අම්බලන්ගොඩ ධර්මාශෝක, ගාල්ලේ මහින්ද විද්‍යාලය, කොළඹ ආනන්ද බාලිකාව, මාතර සුජාතා විද්‍යාලය, කොළඹ ආනන්ද, නාලන්දා වැනි විද්‍යාල රැසක ද චිත‍්‍ර සංගීත ගුරුවරයකු ලෙස සේවය කළේය.

සිරිල් වික‍්‍රමගේ

වික්ටර් බණ්ඩාර

නාරද දිසාසේකර

සුනිල් සමරකෝන්

ඔහු මෙරටට අග‍්‍රගණ්‍ය ගෝලයින් රැසක් දායාද කළේය.

සී ද එස් කුලතිලක, සරත් ප‍්‍රනාන්දු, අමරදේව, ආනන්ද තිස්ස ද අල්විස් ඒ අය අතර වූහ. ඒ අතර ඔහු විසින් ලංකාදීප, ජනතා, සිළුමිණ ආදී පුවත්පත් වල සැපැයූ ලිපි රැසකි.

ස්වර ලිපි සහිත ළමා ගීත සියයකටම ආසන්න සංඛ්‍යාවක්, පුවත්පත්, සඟා කෘති සඳහා සම්පාදනය කළේය.

අමරණීය කලා නිර්මාණ රැසක්, ඉතිරි කොට අනපේක්‍ෂිත මොහොතක (1962 වසරේදී) මොලොවින් සදහටම සමුගත් ආනන්ද සමරකෝන් ගේ සමීපතමයන් කීපදෙනෙක් ද ඔහුගේ ජීවිතය හා බැඳි වැදගත් තතු හෙළි කරන්නට අප හා එක්වූහ.

මුලින්ම ඒ මතකය අවදි කළේ රංගන ශිල්පී, සිරිල් වික‍්‍රමගේය.

සමරකෝන් මහතා මුලින්ම මම හඳුනාගත්තේ "ශී‍්‍ර ජයනා" ගුරුන්නාන්සේගෙන් නැටුම් ඉගෙන ගන්නා කාලයේදී. එතුමා නිර්මාණය කළ 'බැලේ' නාට්‍යයන්ට සංගීතය නිර්මාණය කරන්න ඔහු නිතර දෙවේලේ එනවා.

ඔහු සතු මානුෂීය ගුණය වඩාත් කැපිලා පෙනුණා. හැමෝමත් එක්කම සුහදව, සිත්දිනා ගෙන කටයුතු කරන ඔහු බෙහෙවින් පි‍්‍රයමනාප කෙනෙක් වුණා. අපි බොහොම මිත‍්‍රශීලීව කාලයක් ඇසුරු කළා.

මේ මිතුරුකම නිසාම කොළඹ ආපුවාම මා සමඟමයි නතර වුණේ. අවසන් කාලයේදී බොරැල්ල "ඩියුරෝයි" හෝටලයේ කාමරයක නතර වෙලා මාත් සමඟ නිර්මාණ කටයුතුවල යෙදුණා.

ඔහු ගැන කතා කරන කොට මහා සංගීතවේදියාණන් ගැන කතා කරනවද? නැතිනම් ඔහු තුල සිටින චිත‍්‍ර ශිල්පියා, එසේ නැත්නම් දේශපෙ‍්‍ර්මියා ගැන කතා කරනවද කියන එකයි ප‍්‍රශ්නේ.

මෙවැනි චරිත ගැන අද අපේ ළමා පරපුරට කියාදීම වැදගත්. මොහුගේ කලා කෞෂල්‍ය පිළිබඳව කතා දෙකක් නැහැ. ඔහු කළ මෙහෙවර පිළිබඳව කිසිම තැනකින්, රජයකින්, ඇගයීමකට ලක් කළේ නෑ. මා දන්නා විදිහට ඔහු, අවසන් කාලයේ දැඩිසේ හුදෙකලා වුණා. බොහෝ කලකිරුණා.

සමරකෝන් පදනමේ ලේකම් වික්ටර් බණ්ඩාර සේනාරත්න. ඔහු මගේ පියා (මේජර්වරයෙකු වන විමල බණ්ඩාර සේනාරත්න) ගේ අතිජාත මිත‍්‍රයෙක්. චිත‍්‍ර, සංගීතය, ගායනය, නැටුම්, ලේඛනය, පද රචනය, රංගනය මේ කොයික ගත්තත් ඔහු සතු දැනුම, නිර්මාණශීලීත්වය හරි අගෙයි. අතට අහුවුණ ඕනෑම සංගීත භාණ්ඩයක් වාදනය කිරීමේ හුරුව ඔහුට තිබුණා. දක්ෂ සිතාර් වාදකයෙක්.

උස අ' 5 අ'' 8 ක් පමණ හීන්දෑරි තළෙළු මේ අපූරු මිතුරා අපේ නිවහනේ තිබූ සංගීතකාමී පරිසරයට ආදරය කළා. ඔහු එහිදී නිර්මාණ කටයුතු රැසක් කළා. මට එතකොට අවුරුද දහයක කොලු ගැටයෙක්. මට මතකයි ඒ ගී තනු.

බැස සීතල ගඟුලේ.... සැඩ සුළං චිත‍්‍රපටයේ තේමා ගීතය වූ ශී‍්‍ර ලංකා, මා පි‍්‍රයාදර ජයභූමී, දුප්පතාගේ දුක, වැදිබිම චිත‍්‍රපට ගීත. ඔහු කලාවට වගේම පරිසරයට ඉතා ආදරය, ඇල්ම දක්වපු කෙනෙක්. ඔහුගේ ගීත ජනපි‍්‍රය වීමට හේතුව පරිසරය, සොබා සෞන්දර්ය, ජන ගීතය බද්ධව නිර්මාණ කිරීමයි.

ඔහු උපතින් කි‍්‍රස්තු භක්තිකයෙක්. උප්පැන්නේ තිබුණ නම පවා පසුකාලෙක ඔහු වෙනස් කර ගත්තා. සැම විටෙකම ජාතික ඇඳුම තමයි ඔහු ඇන්දෙ. ඔහු මියයන තුරුම බෞද්ධයෙකු ලෙස කටයුතු කළා.

හරිම සුන්දර හදවතක් තිබුණා. ඉතාම කරුණාවන්ත කෙනෙක් ඔහු. ඔහුගේ කලා හැකියාව අනන්තයි, අප‍්‍රමාණයි. හරියට මහා සාගරයක් වගෙයි. එවන් කෙනෙකුගේ් උපතත් දුර්ලභ දෙයක්.

මේ ලෙස තවදුරටත් අදහස් දක්වන්නේ එදා ඔහු හා හිතවතෙකුව සිටි ප‍්‍රවීණ ගායන ශිල්පී නාරද දිසා සේකරයන්.

ඔය 1954 වසර. මම ඒ කාලෙදි ගුවන් විදුලියේ වැඩ කළා. සමරකෝන්, සුනිල් ශාන්තයන් ද ඇවිත් වැඩසටහන් කළා. ඒත් හිටපු ගමන් මේ දෙන්නගේ වැඩ තහනම් වුණා.

වනවිට ඔවුන් අපටම ආවේණික වූ සිංහල සම්ප‍්‍රදායක් හඳුන්වා දෙමින් ඒ නිර්මාණ කටයුතුවල නියැළුණු නිසා ඔවුන් ගිය මඟ යන්න මට අවශ්‍ය වුණා.

ලංකා පාර්ලිමේන්තුවේදීත් ප‍්‍රශ්න කළා, මේ දෙන්නගේ වැඩ තහනම් වීම ගැන. නැවත ඔවුන්ගේ කැඳවීම් පණිවිඩය, ඔවුන් වෙතට එදා රැගෙන ගියේ මමයි.

ගුවන් විදුලියෙ නොයෙකුත් කප්පාදු නිසා ඔවුන්ගේ දැනුමෙන් උපරිම ප‍්‍රයෝජන ලබන්න අපට හැකි වුණේ නෑ.

මේ දෙදෙනා නිර්මාණය කළ සමහර ගී තැටි, යකඩ ඇණවලින් ඉරා විනාශ කරපු යුගයක ඒ ගී තැටි, හැකි පමණින් ආරක්ෂා කොට සංරක්ෂණය කරන්නට මට හැකි වුණා. මම නොහිටියා නම් ඒ දේත් වැළකී යනවා.

එවකට මම ගුවන් විදුලියේ ඉංජිනේරු අංශයේයි සේවය කළේ. ඉන්දියාවට ගොස් තාගෝර් තුමාගෙන් චිත‍්‍ර, සංගීත ශිල්ප ඉගෙන පැමිණියත් ඔහු කිසි විටෙක අනුකරණ වාදියෙකු වූයේ නෑ. ඔහු අන්තිමට ඉදිරිපත් කළේ පහණ හා රන් එතනා ගීත නාටකය. එහි ප‍්‍රධාන ගායකයා හැටියට මාව තෝරා ගත්තා.

ඔහු පිළිබඳව නොදන්නා බොහොමයක් දේවල් ගැන කතා කරන්න කැමතියි.

මෙසේ සංවාදයකට එළැඹුණේ සුනිල් සමරකෝන්. ඔහු ආනන්ද සමරකෝන් මහතාගේ සොයුරකු වූ බර්ටි සමරකෝන්ගේ වැඩිමහල් පුතණුවන්ය.

ඔහු ශ්‍රේෂ්ට චිත‍්‍ර ශිල්පියෙක්. ඔහු ඇඳ ප‍්‍රදර්ශනයට තැබූ සිතුවම් රැසක් තවමත් මා ළඟ තිබෙනවා. ඔහු චිත‍්‍ර ඇඳි ක‍්‍රමයේ ද විශේෂත්වයක් තියෙනවා.

එය හඳුන්වන්නේ "පිරිදෝ සිත්තම්" නමින්. පරිසරයෙන් ලබාගත් පස්, මැටි, ගල්, බොරලු, අගුරු, දුරු මිරිස් හා විවිධ ශාක පත‍්‍රවල යුෂ වලිනුයි චිත‍්‍ර ඇඳ ගත්තේ. විවිධ රටවලට ගොස් ඒවා ප‍්‍රදර්ශනය කළා. ඒ රටවල තවමත් ඒ සිතුවම්, කෞතුකාගාරවල දැක ගත හැකියි.

මුළු ලෝකය පුරාම චිත‍්‍ර ප‍්‍රදර්ශන පැවැත්වුවා. පසුකාලීනව කොළඹ විශාඛා බාලිකා විද්‍යාලයේත්, නුගේගොඩ ශාන්ත ජෝන් විද්‍යාලයේත් පාසැල් ගීත ඔහු විසින් නිර්මාණය කළා.

ඔහු බොහෝ ගීත ලීවේ තනුවද හිතට නඟා ගනිමින්. එය මා දකින සුවිශේෂත්වයක්. පවුලේ අයට හරිම ආදරෙයි. ලොකු අම්මා (කරලැයින්) ඔහුගේ කලා දිවියට සහාය වුණා.

ඔහු කලාව නිසා බොහෝ ළතැවුල්, වේදනාකාරී කටුක අත්දැකීම් ලැබුවා. කුළුදුලේ උපන් එකම දරුවා වූ පස් හැවිරිදි "අරුණාදීපගේ" වියෝව ඔහුගේ වේදනාව දෙගුණ, තෙගුණ කළා.

ඔහු "කලා සෙවණ" නමින් කලායතනයක් පවත්වා ගෙන ගියා. ගුවන් විදුලියේදී, කලා මණ්ඩලයේදී ඔහුට හිමිවූ තැන සතුරන්ගේ කුමන්ත‍්‍රණ නිසා අහිමි වුණා.

එදා ජාතික ගීය වෙනුවෙන් රජය පිරිනැමූ රු 2500 මුදල පවා ලබා ගැනීමට ඔහුට හැකිවුණේ නෑ. ඒ එදා ඒ ගීතය, "කුමුදුනී" පොතෙහි ප‍්‍රකාශයට පත්වීම නිසායි.

ලොකු තාත්තා දරුණු ලෙසම සිත් තැවුලට පත් කළ සිදුවීම නම්, එදා ඔහු ඉතා ගෞරවයෙන් ලියූ "නමෝ නමෝ මාතා" ගීයට එල්ල වූ අපවාදයන්.

1961 දී එවක රජය ඔහුගෙන් කිසිවක් නොවිමසා ඒ ගීය ආරම්භයේ එන "නමෝ නමෝ මාතා" වාක්‍ය ඛණ්ඩය වෙනුවට "ශී‍්‍ර ලංකා මාතා" යනුවෙන් කොටසක් එක් කළා. ගණ දොස් ඇති නිසා ජාතික ගීය සංශෝධනය කළ යුතු යැයි නැඟුණු උද්ඝෝෂණවලට මුවා වෙලා කෙරුණේ පලිගැනීමක්.

"මේ කලකිරීම එන්න එන්නම වැඩි වුණා. ඒ නිසා මහප්පා හුඟක් දුකෙන් සිටියා මතකයි.

ඒ ගීය වෙනස් කරපු දවසේ හවස ඔහු නුගේගොඩ පාගොඩ, අපේ නිවසට ආවේ කඳුළු පුරවාගෙන. මට එතකොට අවුරුදු 14 යි. එදත් ඔහු එයාගෙ සුපුරුදු බේබි ඔස්ටින් කාරෙකෙන් ආවේ.

"පුතා මගේ ඔළුව ගලවලා, වෙන ඔළුවක් හයි කළා." එදා ඔහු කීව දේ අරුත මට දැනුයි වැටහෙන්නේ."

මෙවන් නිර්මාණයක් කිරීමෙන් කිසිවකුගෙන්, කිසි බලධරයෙකුගේ නිසි ඇගයීමක් ලැබුණේ නෑ. අඩුම තරමේ ඔහු නමින් පාරක් හෝ ස්මාරකයක් වත් සාදා නැහැ."

"එදා 1962 අප්‍රේල් 02 වෙනිදා. හරියටම ඔහුගේ මවගේ උපන්දිනය දා. එදා ආච්චි අම්මා හිටියේ අපේ ගෙදර. ඒ දවසේ කාල බීලා, විනෝද වෙලා, ආච්චි අම්මාටත් වැඳලා ඔහු කළා අපූරු නිර්මාණයක්. බුදුන්වහන්සේව සිතුවමට නඟා, ඒ අසල හිඳින සුන්දර මුව පොව්වෙකු. මට ඒ දවසේ සහලෝලා උණ.

එදා ඔහු ගෙදර ගොස් ලොකු අම්මාත් සමඟ සුහදව කතා කරලා තිබුණා. නින්දට ගොස් ඔහු පහුවදා අවදි වූයේ නැහැ. ඔහු නිදි පෙති පානය කළ බව අප දැනගත්තේ පසුවයි."

කෙසේ වුවත් ඔහු ජනතාවාදී කලාකරුවෙකි. නිර්මාණශීලි කලාකරුවෙකුගෙන් දේශයට සිදුවිය යුතු උදාර මෙහෙවර ඔහු ඉටුකැර ඇත.

Ivor Dennis

2009-07-21T20:40:00.000-07:00

Ivor Dennis and His Master's Voice
by Cecil Perera
ersatile Singer and Music Composer Ivor Dennis will be 75 on 28th May, 2007. He was educated at Davi Samara, Seeduwa, Maris Stella College and Loyola College Negombo. Ivor is a genuine find and a disciple of maestro Sunil Santha.

In 1952, Ivor had participated in an amateur song festival of Radio Ceylon, wherein he sang Sunil Santha’s "Waren Heen Sare, Redhee Walave". Maestro Sunil Santha had heard the recital on the radio, inspite of a slight slur spotted by the maestro, he was confused, as the voice was almost identical to his own. On making inquiries the Great Maestro found out that Pasquelge Don Augustine Ivor Dennis of Seeduwa had been the singer. From that day, the relationship between the ‘Guru’ and the Disciple never wavered.

Genuine Sinhala music was first introduced to the local cinema in Dr. Lester James Peiris ‘Rekhava’ followed by ‘Sandesaya’. Sunil Santha composed the tunes for all songs in both films. Sunil did not travel to India for the recordings, instead he nominated Ivor to stand in for him. In addition to his singing, Ivor trained the playback artistes.

He was appointed an A grade singer in 1958. He won the Presidential Award for the best Playback Singer for the film ‘Hima Kathara’. He was closely associated in the productions of ‘Madhura Madhu, Pancha Madhura , Ran Walawa and Seegiri Gee’,during the second coming of Sunil Santha to Radio Ceylon or the SLBC. Ivor’s first song to be recorded was ‘Kurulu Paradiseye’ set to the music of the Maestro, and the lyrics were Thilak Sudharman Silva’s. His patriotic song, composed by him ‘Abhimananeeyavoo Navodeye Hiru’ written by Leslie Boteju is a masterpiece. His cassette ‘Abhmana Gee’ was produced in1984.

He was a consultant at the Government College of Music, and worked with W D Makuloluwa in ‘Depano and Pahanin Pahana’. He was a key singer in Premasiri Khemadasa’s operas, ‘Manasawila and Pirinivan Mangallaya’. He sang in Khemdasa Master’s cassette ‘Raja Weda’ and Ven. Rambukkana Siddartha Thero’s ‘Sansare Api and Gammane Api’. Ivor was a playback singer for many Sinhala films.

Ivor participated in song recitals in Japan, Indonesia, Italy, England and New Zealand.

After the initial breakthrough of Fr. Macelline Jayakody into local church music, the partnership of Rev. Fr. Moses Perera and his nephew Sunil Santha were almost revolutionary. The beautiful and meaningful lyrics of Fr. Moses were adorned by devotionfull and melodious tunes of Sunil Santha. The hymnal ‘Obata Pasasa Gee’ was published in 1964.

Ivor continued the good work of his Guru, and composed music for Fr. Moses in ‘Obata Pasasa Gee’ 2 and 4 in 1968 and 1973. He joined the Pubuduwa in 1974 and initiated a new trend in its musical prayers. Pubuduwa produced two cassettes ‘Ape pavulen oba mahimaya’ and ‘Obe wethi Rajindo’, wherein all the tunes were composed by Ivor. He received an OCIC award for the services rendered to Christian Literary Music.He was a pioneer of the ‘Rasanjalie Kala Kavaya’ which had a galaxy of stars. To name a few, Ralex and Tony Ranasinghe, Leslie Boteju, Jackson Anthony, Kumarie Munasinghe, Joe Dambulugala, Malkanthie Pieris, K Francis, Alexis Fernando, Francis Horana, Anthony Molligoda. Rev. Frs. Earnest Poruthota and Joe Quintus Perera were the clergy involved.

He composed music for the works of Rev. Frs. Molligoda Moses, and sang for his cassettes and that of Frs. Cyril Gamini, Cecil Joy and Anthony Hemantha. Those who were fortunate to participate at the centenary celebration of Fr. Moses at the Kuda Madhu Church, Dehiyagatha, which was presided over by Rt. Rev. Dr. Oswald Gomis and Rt. Ev. Dr. Elmo Perera still remember, how the congregation was stunned, and the deafening silence that prevailed when Ivor sang ‘Sirureni Seba Namo’ composed by him and written by Fr. Moses..

Though 75, he is very much active, being involved with his own compositions, carrying on the Sunil Gee tradition, and a live wire of the church musical activities. He has a host of competent disciples.

Ivor Dennis is a humble man not allured by gold or silver. We trust that he would produce a couple of CDs, so that the true music lovers and the future generations could appreciate and listen to his unique, melodious and powerful voice.
He was Sunil Shantha's much favoured disciple. He not only was able to follow his guru's vision and mission but replicate is voice. Veteran musician and singer Ivor Dennis has completed fifty golden years in his service to Sri Lankan music which to his master gave an identity.

Coinciding with his 75th birthday, Ivor released a compact disc with 15 of his new songs and a launch of a book titled 'Apa Dutu Ivor Dennis' edited by Chandra Keerthi Kularatne at a felicitation ceremony organised with a musical titled 'Uthurana Kiri Kalasa Vilasin' at the Elphinstone Theatre last week.
At the opening of the ceremony

Ivor's life took a , when Patrick Denipitiya brought the good news in 1951 that he is wanted by Sunil Shantha, who was a hero for him then and became this young man's mentor later. This was after the greatest musician and singer who was impressed by Ivor's voice, having heard him sing one of his songs over the radio, invited him to sing in his chorus. It was when Ivor was still schooling and took part in a programme for amateur singers on the radio. The song he sang was Sunil Santha's "Waren Heensare, Redee Walawe". If not for a slight hitch in his singing, Sunil Shantha would have had thought that he was hearing his own voice.

And he sent Patrick to Seeduwa to pick the young man who matched his voice identically. In fact, Sunil Santha who was in Ja-ela, used to pick him up and bring him for classes in Colombo. Ever since, Ivor was besides his master and has been his faithful follower,".

Starting a professional singing career in 1956, Ivor Dennis recalls 1986 as a memorable year in his life, for it was in this year that he won first place in an international singing competition organized by the Asian Broadcasting Union in New Zealand. For his service to the country and his guru, the cultural Ministry awarded Ivor with a special 'Desha Nethru' award for his contribution.

Following in the footsteps of his guru, Ivor never used his talent to profit for himself. He used it for others, for the country and to God. He was in charge of the music section of "Pubuduwa"-Catholic Renewal Movement and he was one of the leading lay artistes who changed the trend of inserting words into popular song to use in worship. Further his tunes had an eastern flavour and he played a pivotal role in localising church singing.

"Sunil Shantha was the greatest artiste born in this land and sacrificed his life for the principles he believed. By joining him in his journey, Ivor did great service to the country and its music," Rev. Fr. Oscar Abeyratne, the head of 'Pubuduwa' said. "Like his mentor, Ivor Denis never let himself be sold to wealth, money or any other worldly gain," Fr, Abeyratne said.

Labambas In Srilanka

2009-07-21T19:34:00.000-07:00

During the time the music of Shadows, the Supremes and Ventures, Tony Brent and Ricky Nelson dominated the world music and fascinated Sri Lankan music fans in the early 60s , the
drummer(Congo) Brian Fenando’s Trevor went on to form a group called The Vampires.There were but a very few beat bands in the country at the time. “ Wheels and Beacons were among them,”remembered Brian , the leader of La Bambas as he leaned against the chair with his eyes
shut, delving into a musical past that most young musicians and music lovers of Sri Lanka have scarcely opened their minds to. There was bass , rhythm and lead guitar and drums.There were no keyboards. Infact nobody knew that keyboard existed at the time,” he exclaimed. “ But the sound was full and complete even without the keyboard.”Brian, his Thomian schoolmates Priya Peiris, Erinton Perera , Malsiri Wijesuriya and Rollinson Ferdinando, all members of the Labambas were in an interview with the In Tune last Tuesday about their evolution as a group in the 60s and their music. La Bamba stands out as a beat group that emulated voice harmony in their rendition of songs in the Sinhala language.The genre is popularly known as three and four part harmony in Western music. La Bambas was special because they carried originality with their creations inasmuch to represent Sri Lankan identity in their songs at a time the popular demand was for another Elvis or a local Tony Brent against their music. The members of the group were met at the residence of Interior designer Yohan Fernando, who plans to promote the band in 2009. La Bambas have produced four EPs (extended play records) for record labels,
Paradise in 1968, Philips in 1970, Sooriya in 1971 and Macbertan in 1972 including their popular hits such as Enna Yanna Nelum Wile,
Kurulan Piyambala, Lak
Nadee and Piyakaru Mala, and also evergreen singles in Sri Lankan pop such as Cock A Doodle Do and Nuwara Menikela.La Bambas have produced over 80 songs , among them “Welcome to Sri Lanka,Ayubowan and Cricket Lowe Jaya Apatai , which they released just after Sri Lanka
winning the World Cricket Cup in 1996. They also gave life to the Sri Lankan tea with their song “ Wake Up Sri Lanka To A Nice Cup of Tea.” As pointed out by La Bambas members they did not have a front line singer because their style of music did not need one for they were singing harmony. NEW CD They have remained unplugged for over 40 decades in spite of the advent
of electronic guitars and amplifiers in the late 60s into the local scene by various beat bands and now planning to release a CD album with a selection of their original songs , which they plan to
draw from their shelved reserves as well as from their discography of “best loved singles.”
Brian started his musical career as a congo drummer in the early 60s with Vampires
before he decided to form La Bambas after seeing a performance by La Ceylonians in late 1964 at Moratuwa Buddhist Halle. This is how Brian explained his La Ceylonians experiece. “This was amazingly new and soothing to the ear. La Ceyloneans played a style which was quite different to
what other musicians have been playing or singing at the time. I was wondering to which category of music that one can assign their music. Their music was initially Western with a Spanish blend with some characteristics of Sinhala folk , I would say although it was difficult to
describe.” “I can still remember how they came out with their single tiled “Hoiya Hoiya.” A
single like Hoiya Hoiya had never been been heard. There were songs by H.R.Jotipala and Milton, but this song was never to be identified with that category of songs. It was completely different.” “ I became an admirer of La Ceylonians , thereafter. And with that influence I
wanted to start a band that could play something similar to that of La Ceylonians’ flavour of music, which is the reason for the appearance of La Bambas.” Then the opportunity
presented itself on a newspaper, The Observer Talent Contest for the first time. “Welcome youngsters apply, here’s the coupon. I knew Priya whom I called over and went out together in
search of a guitarist. We found , who had a guitar and was trying to pick up his first few chords. We opted Rollinston to play the lead guitar and we found a singer in Lasla Fenando, the present
Choir Master of Holy Emmanuel Church in Moratuwa.” “Thus the band was formed and we wanted to compose two original songs. So we composed Poya Da and Menika.to slow tempo
compound duple meter for we had the influence of South American music,” said Priya Peiris. “ We named the band La Bambas because the song La Bamba was popular at the time.” LaBambas are planing to include Poya Da and Menika on their new CD. The songs are being recorded at
EV Creations recording studio at Moratuwa. THE AUDITION La Bambas applied for the
Observer Talent Contest .They were asked to come for an audition prior to the event.
The audition was held at Louise Brown Studios in Colombo. Brian , Lasla, Priya and Rolinston had to wait for months to get their letter of invitation for the audition.Mignonne Ratnam of Jetliners was conducting the audition together with the rest of the members of the Jetliners.
La Bambas passed their audition under the supervision of Jetliners. They gort therough the test just after singing the first two or three lines of their songs and were asked to come and perform at the Coconut Grove night club at the Galle Face Hotel, Colombo on May 25, 1966. La Bambas’ performance at the Coconut Grove was only to be rejected by those patronized the club for all the others sang in English that night although they were not originals of those artistes who
performed them.“ We went there that night with a lot of expectations which turned its back on us very badly with the crowd shouting at us in disagreement with our music and appearance,” remembered Priya Peiris. This was a too heavy a blow for a young musical outfit. “However, we
recovered from that incident with determination to make a name for us, We did not let
that debacle to pin us down . Instead we made it an opportunity to come out with best results,” he added. COCK A DOODLE DO The main figure behind the creation of La Bambas’ smash hit Cock A Doodle Do was Priya Peiris. Cock Adoodle Do was not aired by Radio Ceylon ( present
SLBC) during the time because there of the security situation prevailed in the country under JVP insurrection in 1971, Priya said, “Radio Ceylon did not broadcast , Cock A -Doodle Do because it had a line “half past two” in the middle of the song in 1971 stating that the rebels might use it as a time signal. They said, the rebel might use it to blow a police station or something. After Labamba’s experience at the Coconut Grove, Erinton stayed close with the
band playing occasionally on their stands whenever somebody was absent or sick, playing bass or rhythm instruments such as guiro, kaithalam, marakkas (shakers) or temple bells while
providing baritone for their songs who eventually becomes a permanent member. Malsiri Wijesuriya ‘s influence as a member of the outfit has been invaluable in producing various percussive effects for La Bambas tracks with percussion instruments and guitar.
Rolloinstone plays a prominent role with his nylon stringed guitar which he plays with a way of his own. He let his fingers speak for the most part, but sings as is required by the band. He is a
self-taught guitarist for that matter all the member of La Bambas are self taught musicians
with the background of church music associated with harmony as its intrinsic driver.
As a music group La Bamba didn’t do one thing. They did not change their original identity to suit the modern times in anticipation of commercial gains.
By
CHAMIKARA
WEERASINGHE
La Bambas after 42 years in music scene: (from left) Rollinson Ferdinando, Malsiri Wijesuriya, Erinton Perera,
Priya Peiris and Brian Fenando.

SAA LIVE MUSICAL SHOW….

2009-07-21T15:47:00.000-07:00

Victor is one of Sri-Lanka’s most respected and celebrated vocalists, he is also a violinist, a composer, an entrepreneur and above all a legendary musician of exquisite culture. Musician of Victor’s calibre are devotees to their art. They hone their craft through years of effort with prominence to innovation even as they create a cultural ethos that will remain in public praise long after their last performance. Victor has served his people in the midst of sizable critical acclaim since the year 1966. Victor’s melodies form an integral part of the renaissance in the indigenous music. Moreover, his work is seen by many as a continuum in the art forms that characterized the work of his predecessors Sunil Shantha and W.D. Amaradeva.

Victor Ratnayake (born February 18, 1942) is a popular Sri Lankan musician. He was the first Sri Lankan musician to hold a live one man concert; His concert known as “SA” was first performed in 1973, and was an instant success. Ratnayake credits his success to his “fitting blend of Western music with Ragadari classical music.” His songs deal with diverse themes that vary from love, to patriotism and Buddhism.
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Victor began his musical endeavours at the age of nine, when his father presented him with a harmonium for his birthday. In his teen years, he further honed his musical talents under the guidance of Cyril Perera at the M.P.G. Institute in Mulgampola and later at the Institute of Aesthetic Studies. Though formally trained in the oriental traditions, Victor has also grasped the intricacies of western music and has the celebrity of a distinct and recognizable style. Many, including Victor himself, credits his success to his ability to blend western melodies with ragadari traditions as well as his uncanny skill in selecting musical instruments combined with his inimitable musical arrangements.
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Being an entrepreneur, Victor was the first Sri Lankan musician to hold a live one man concert; His concert known as “SA” was first performed in 1973, and was an instant success. His public appearances number in the thousands. Each of them reach out to an audience who have been touched in no mean measure, and triumph his music in their hearts as representing a true Sri-Lankan art form. His themes range from romance, patriotism, Buddhism to an appreciation of the cosmos.
this sa is very ….

Rukmani Devii

2009-07-21T15:30:00.000-07:00

Rukmani Devi –

Thirty (30) years have lapsed since the startling news on the unendurable demise of the acclaimed the Nightingale Queen of Silver Screen shocked the entire country on October 28, 1978. Every Sri Lankan around the world was emotionally disturbed by this horrifying accident that stilled the colorful life of a legendary jewel worthy of treasure. She was the beauty queen, cynosure of all eyes indisputably the Nightingale Queen of the Silver Screen – Rukmani Devi.

The brimful gratitude disported by the Sri Lankan citizenry paying their highest tribute in commemoration of Death Anniversary of Rukmani.

Rukmani Devi - Nightingale Queen of the Silver Screen

She became popular in the theatrical arena by the name of Rukmani Devi even though her congenital name was Daisy Rasamma Daniels. It has been the common practice in Sri Lanka and India to introduce the artist by a prognostic name depending on talents. It is believed that it was her father who introduced the portentous name Rukmani Devi to this future Singing Queen of the Silver Screen.

Some people are of the view that her music teacher, singer H.W.Rupasinghe master introduced this insightful name by her magnificent performance of many inborn talents. Another disputing argument is that this name was presented by Jayantha Weerasekera and Michael Sannas Liyanage two famous personalities on the stage. Rukmani Vasundara was another unconfirmed name rejected by her father.

Daisy was born on January 15th of 1923 in Ramboda Nuwar Eliya to the parents of Colombo Chetty Christians as the second daughter in a family of six. In response to an article appeared in the Ceylon Observer of January 15, 2006 on her 83rd Birth Anniversary, Mr W.R.Daniels – Manager of Ceylon Observer for many years, a kinsman of Rukmani Devi wrote a letter to Sunday Observer of 5th February 2006 revealing that that she was born to Mr & Mrs Daniels in Inuvil, Jaffna. There was another speculation that she was born in Ratnapura.

Although she was born in Nuwara-Eliya she grew up in Wellawatte, Colombo, studied at St.Mathew’s School and St Clare’s School, Wellawatte. At 8 years of age, she began singing Christmas Carol songs and played a role in popular drama “The Shoemaker’s Wife”. She was just 12 years of age when she remarkably played the main female role of ‘Sita’ in Ramayanaya produced by Walter Abeysinghe in 1935 with prior permission of her father. and also performed in Janakiharanaya, Rohini, “Sirisangabo”, “Mayawathie”, “Romeo Juliet” et al during 1935 to 40’s.

In early 1940s she joined the Minerva Dramatic Club on permanent basis. She played the major role in every drama produced by the Minerva Dramatic Club in the entire country. On introduction of cinematic industry in Sri Lanka she was privileged to feature her skills on the screen in B.A.W.Jayamanne’s Kadawunu Poronduwa, the first Sinhala film ever screened in the island.

On account of her tight schedule of contract with film industry, she was compelled to leave the stage in the latter part of 1940s and 1960s.

She returned to the stage again in 1960 acting in the leading female role in Malyahanawa produced and directed by B.A.W.Jayamanne. Since then she continued to perform in Vessantara in 1961 followed by Othello, Ves Muhunu, Angulimala and Allapu Kamaraya. Accredited with ineffable versatility, her performance in ‘He comes from Jaffna’ a drama produced in English dialogue for the benefit of English speaking audience had gained credentials of high reputation.

In the latter part of 1946, competition in screening the first film was so intense between Ceylon Theaters Limited and A.V.Nayagam Industries since they both controlled the distribution of films.

A.V.Nayagam braving storms against his effort with his influence signed the contract with Minerva Dramatic Group and “Kadawunu Poronduwa” the first film was screened on January 21, 1947 making history of film industry in Sri Lanka. Rukmani Devi the most talented artist in her debut on the silver screen captured the hearts of young and old in the spellbound audience by her indomitable brilliancy in playback singing, acting and dancing performance.

During the period 1947 to1978 she demonstrated her skills in 98 films. Most importantly, she played the major role of Queen of Love in all the films from Kadawunu Poronduwa to Magul Poruwa subsequently with passage of time she turned into elderly characters by the emergence of new generation.

At the outset, she was bonded with responsibility for performance only in films produced by Minerva Dramatic Group. But later her popularity glorified in absolute demand that she was offered to play the heroine role of Malini in the famous novel Kelahanda written by W.A.Silva produced and directed by B.A.W..Jayamanne. Blessed with abundance of humility she performed the major female role in ‘Doctor’ a film produced by Cinemas Limited. She was the only actress who made a record-breaking achievement in playback singing behind her own character in all these films.

Sengawunu Pilithura, a Sinhala film produced and directed by B.A.W.Jayamanne was a resounding success. B.A.W’s intent was to film the same story of Sengawunu Pilithura in Tamil dialogue for the entertainment of the Tamil speaking audience as revealed by D.V.Seneviratne, the professional script writer.

In fruition of his ambition, Kusumalatha the leading character played by Rukmani Devi the first Sri Lankan artist to appear on Tamil screen was produced and directed by B.A.W. in 1952. Kathiruppean Unnakaga (I am waiting for you) in 1977 and Nan Ungal Tholan (I am your friend) in 1978 were the other two Tamil films of her talented career. She was a gifted artist capable of expression of dialogue in fluent Sinhala, Tamil and English languages.

Records indicate that the two films Siriyalatha and Mathabhedaya were joint productions of B.A.W. Jayamanne, Eddie Jayamanne and Rukmani Devi with box office collection.

At the time of the initial stages of the beginning of cinema in India and Sri Lanka it was the practice for the main actress to perform playback singing behind her own character on the screen. Noorjehan and Suraiya predominantly influenced the Indian screen while Rukmani Devi resembled in Sri Lanka. A reservoir of inborn talents not only dominated the queen of love on the silver screen particularly from Kadawunu Poronduwa to Pipena Kumudu throughout but also excelled as the only symbolic playback singer representing her own acting performance. Gala kandeni mathuwena, Moranawa preme hade, Anna sudo, Mewila penevi, Aadara nadiya gala, Vasanawantha kala labaa and Manahara geetha gayala together with much more songs will reverberate in our memories from generation to generation.

This incontrovertible beauty queen won the Presidential Film Award for the Best Playback Singer in 1979 for her brilliant performance of the lullaby song Doi Doi Doi Doiya Putha singing behind her own elderly role played in Ahasin Polowata directed by the great Dr Lester James Peiris. She played an elderly character in Chin Chin Nona also singing with Milton Perera and M.S.Fernando.

The popular Hindi film Devatha, the main female role played by Indian film star Anjali Devi, was dubbed into Sinhala as Pathiwatha (Chastity). She was honored with five songs in Pathiwatha and continued playback singing in Hadawath Neththo, Kadawunu Poronduwa (new cast) and Rahas Dupatha. It was her inspirational contribution to film industry by her fascinating performance on the screen in about 30 films and playback singing that she was crowned as the invincible Singing Queen of the Silver Screen.

Rukmani Devi at the height of her achievement in popularity wrote her autobiography Mage Viththi (My Life Story) in 1956 with a full coverage of information gathered from various newspaper articles appeared from time to time.

It is believed that our popular film star/playback singer maintained a cordial friendship with her contemporaries world acclaimed Indian film stars Dilip Kumar, Raj Kapoor, Dev Anand, Ashok Kumar, Nargis, and the Nightingale of India Lata Mangeshkar and many others.

It was a pristine glory for Rukmani Devi to have her photograph on the front page of the world recognized Indian Film Fare Magazine. She was the only Sri Lankan artiste to be honored by this international magazine. She was also featured in “ My Likes and Dislikes” column in Film Fare Magazine in 1958.

In a gallop poll conducted by Dinamina newspaper in 1955 she was elected the Most Popular Actress with a record majority of 13,000 votes over the first runner up. The Best Actress Award for her role Malini in the famous film Kela Handa was awarded to her at the Deepasika Film Festival in 1956. Accolades were flying one after the other for her outstanding contribution to the film industry. In 1966 Janatha Sammana was presented for the most popular Female Playback Singer at the Sarasaviya Film Festival.

She was felicitated with Deeparani Special Award at the Deepasika Film Festival in 1972 in recognition of her skilled character on the stage and the screen. In 1996 she was posthumously awarded with Sarasavi Sammana on her immeasurable contribution made in her capacity as the Silver Screen Idol of the era.

She was married to Eddie Jayamanne the renowned comedian of the Sinhala screen. The narration of their clandestine love marriage would be a highly desirable story for a film to attract a spellbound audience.

The issue of a commemorative stamp by the government, a distinctive tribute paid to the rare and precious greatness of a person, is the truest manifestation of highest regard to this immortal heroine of the silver screen. The memorial statue erected at Kanuwana intersection, Ja-Ela where the fatal accident occurred is the best example of a noble act of gratefulness by the nation demonstrated in deed when the good is relegated into the limbo of forgotten things in modern society. On behalf of the nation Rukmani Devi Museum and Rukmani Devi Mawatha in Negombo were opened with highest respect to this immaculate artist.

Words cannot express the high respect of the people moved by the example of her mighty ocean of humanity. She was a colossal image affluent with empathic generosity. The true sense of dignity was portrayed by her kindness in gifting a Morris Minor car to her driver Denzil out of the excellent pay received in recognition of her exhilarating performance of the main female character Malini in Kela Handa film.

Her fragrance of excellent qualities will remain etched in lasting memories of the entire Sri Lankan nation. Rukmani Devi was a proud daughter of Mother Lanka. She is immortal.

-Asian Tribune -