Social crusader for generations
From the insufficiency to the limelight:
Commenting on the banning of a work of art, Nanda Malini stated that
the banning of a work of art is a great injustice as artist's creation
which is based on imagination and inspiration. As this will deprive the
artist of his or her means of earning, it would inhibit artist's
creativity. It also seriously infringes audience's right to consume a
serious work of art.
She believes that issues discussed in Pavana such as youth
unemployment, youth unrest and social injustice are still relevant even
in contemporary context. It was the unpalatable and harsh truth that was
turned into a series of songs.
She is of the view that banning of a work of art amounts to killing
an artist. On the other hand, it is brazen violation of listeners' or
the viewers' rights. As a result of Pavana her songs were banned in SLBC
and SLRC. The Pavana concert was also banned.
Nanda Malani and Prof. Sunil Ariyaratne received death threats.
Subsequently, they had to leave the country for some time because of
death treats. However, this strengthens her resolve to use her voice for
the benefit of the people. She rendered her voice to many struggles
including a strike at Bogala Graphite mine, 1980 July strikers' protest
and placed her signature on the petition against the deprivation of the
civic rights of Mrs. Sirimavo Bandaranaike.
In spite of the ban of her songs in SLBC and SLRC she refused to make
a public statement withdrawing her signature from the petition on
insistence of powerful personality.
Nanda Malini proudly acknowledges that she is a product of Sri Lanka
Broadcasting Corporation (SLBC) and soon made her imprint as an A grade
singer. Remembering the hard working conditions she worked in, Nanda
Malani is of the view that though there were hardships under
technological constrains, the period she entered the field was the
golden era of Sinhala music.
Another advantage at the time was the absence of Television and the
listeners were always prepared to listen to musical programmes aired on
radio. It was an era where sheer talent of the artists counted as there
were no separate tracks in recording.
Her first song track she sang for a film was Prof. Sunil Ariyaratne's
Podi Malli. By that time, Nanda Malani had sung for scores of films
including her first play-back song which she sang for the first Sinhala
colour film Ranmutuduwa. The quality of the songs in terms of their
music was very high so as the listeners' response.
Speaking on the present depression in the field of music in Sri
Lanka, she states that injustice has been caused to deserving listeners
who favour higher quality songs against pop songs. Though her songs have
been aired on private radio channels, stiff competition among a plethora
of radio channels resulted in the creation of substandard songs with
cheap music.
However, she is optimistic of the new generation who enter into the
field. She attributed songs with higher taste to the work by Pandit
Ameradeva. She is of the view that new comers to the field should have
an education in music and should be guided by a clear vision defining
the ideals to be emulated, the target audience. Education and training
in music is essential to be able to voice control and to achieve
maturity.
She is quite happy about the large number of accolades and awards she
received in recognition of her contribution to popular music in the
country. She won the Sarasaviya Award in 1963.
She remembered with gratitude the giants of the field that crossed
her path. The long list includes Pandit Ameradeva, Mahagamasekara, and
Rev. Jayakody.
One of the ventures she embarked on is to compile the songs she sang
for films and copied onto CDs as a step towards preserving them for
posterity. Rankenden, Ethakanduyaye contain film songs including lesser
known films such as Ambu Samiyo and Rajini, the songs won Presidential
and Sarasaviya awards.
Nanda Malani passionately believes that song have a social role to
play. As she experienced abject poverty, she thought that social issues
should be highlighted through her songs.
Perhaps, this benevolent attitude coupled with her determination to
serve the downtrodden emboldened her to produce Pavana, a cassette
containing songs with strong messages against the period of terror in
1989 and counter insurgency strategies of the then Government which also
contributed immensely to make our motherland a cultural desert. It was
the worst period that the country ever experienced and roads were strewn
with bodies.
She appreciates plain living and high thinking and as she sang songs
appealing to many sections through her songs, she lives in the heart and
mind of thousands of fans. A singular feature of her songs is that they
captured the imagination from children to elder generation. She
attributes her success to dedication and hard work.
Though her name is associated with the Sri Lankan music arena perhaps
as the most famous melodious voice, she was born into a family with a
legacy of poverty in a remote hamlet of Levvanduwa in Aluthgama.
However, subsequently the family moved to Kotahena as her father was
a tailor. Born as the fourth child of a family of nine children, Nanda
Malani never thought that life has so much to offer her in terms of fame
and name and enable her to make a lasting contribution to the arena of
Sri Lankan music as a songstress.
Brought up in an environment of deprivations, Nanda Malani received
her education at Gunanada Vidyalaya in Kotahena, a school with bare
facilities.
Reminiscent of her childhood that taught her to be frugal, Nanda
Malani recalls her father's vision for his nine children. Father not
only tailored garments to be sold but also tailored hopes and
aspirations of the children. Household dominated by religion and rituals
ensued a frugal and disciplined life for children.
Her early talents were spotted by her class teacher Margaret Perera
which eventually led her to become the most-sought-after singer of her
generation in the country. She recollects vividly her memories of
singing the song dedicated to Gunandanda Thero at the unveiling of the
statue of Ven. Migettuwatte Gunananda Thero in Panadura.
She also won the first place at the all island poem recital contests.
Unlike today, doors were opened for talented children to come into
limelight irrespective of the place of origin.
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Writer's response to a brutal comment
Referring to Nanda Malani as play-back singer, one fossilized
half-baked critic who holds an obsolete ideology stated that she is the
most unsuccessful play-back singer in Sri Lanka.
The pernicious and baseless argument has muted out in Tamil Nadu and
the graduate without a history further stated that Sri Lankan play-back
signing has been enriched by wording copied Hindi notations.
Strangely the argument was supported by a veteran film maker who runs
a triangular institute for the preservation of diverse art forms. It is
pathetic that the particular critic who also happened to be a member of
the endangered name-sake political party which members including the
executive committee can comfortably travel in a trishaw, should
understand that Nanda Malini's contribution to Sinhala films as a
play-back singer is substantial.
However, the argument by the veteran film maker that Sinhala cinema
was enriched by such copied Hindi tunes, is both affront to the original
artistic films including his own films, commencing from Rekhava. It
should be stated here that Nanda Malini was destined to sing her first
play-back song Galana Gangaki Jeevithe for Ranmuthuduwa.
She won award for the most talented singer for Galana Gangaki
Jeevithe. This along would nullify the argument that audience got
attracted to Sinhala films on account of Hindi tunes.
I can still recall the very words, note and the aesthetic quality of
the song Eka Mawakage Diyaniyak Novee which she sang for Sumithra
Peries's Yahalu Yeheli. I watched this film at Ananda College hall as a
12 year old child.
The particular scene and Nadeeka Gunasekara's impressive acting edged
on my mind because of the matching song and the singer's striking voice.
***
A matured artist's plea...
The present legal position on the songs favours the lyricist and the
composer. This situation has been exploited by shred black market
merchants. Nanda Malani has filed cases against piracy.
She is of the view that the ownership of the song should be vested
with singer, lyricist and the composer. She urges the Government to
intervene to put a full stop to piracy of songs and producing CDs and
also to rectify legal barriers for singers. She is grateful to the late
Lalith Athulathmudali as Minister of Trade for his effort to rectify
this situation.
Dullas Alahapperuma as Deputy Minister of Cultural Affair also
attempted to right the situation. It is a pity that the assert of the
nature who suffered social injustice as a child selling garments at the
door-steps of the rich, is still subject to injustice as her songs were
pirated en mass and pirated CDs are being sold on street corners and
pavements. |