“Inspiration” by Kolitha Bhanu Dissanayake:

Exquisite blend of artistic genius and research perspectives

by Ranga CHANDRARATHNE

A striking feature of Kolitha Bhanu Dissanayake’s “Inspiration”, a CD based on meticulous research into the subtle nuances of the notes, is its sheer ingenuity in the applications of the knowledge of music with insights into the rich traditions of folk music in diverse contexts. The CD is not only a testimony to the knowledge and expertise of the musician but also the infinite possibilities found in the ocean of mosaic notes imbedded in the folk music tradition such as “Kuveni Asna”.

“Inspiration” an experimental suite enriched by moods and melodies of South Asia, a CD by Kolitha Bhanu Dissanayake which is based on research and experiments, is different to commercial albums issued by popular artists on many accounts.

For the six compositions in the CD, Kolitha Bhanu has used diverse practical sources. Although the creations are based, by and large, on Hindustani tradition of Music, there are instances where he draws mosaics of notes from diverse traditions of music such as classical Western music and rich tradition of Sri Lankan folk music.

Although there are different practical sources of music for compositions in the spectrum of diverse traditions of music, they can be categorised into five major sources; folk music sources, Eastern and Western classical music sources, the sources in the diverse styles of percussion and other instruments of music, applied sources of music and historical and theoretical sources.

Using diverse sources of music should be done sparingly and with an in-depth knowledge of each tradition as superficial rendering of notes would make a creation redundant. However, ingenious blend of traditions and diverse sources would make a composition rich so that, in the long run, it becomes a part of practical source of music. “Inspiration” is a rare collection of compositions that is an example of masterly blend of diverse traditions of music and research perspectives.

The CD is made up of two music scores out of the tradition of South Indian classical music, two scores based on specific themes, music score based on “Kuveni Asna” in Kohombakankariya and a music score based on a Rag. It is the belief of the composer that original notes can be presented creatively in a composition while retaining the salient characteristics of the original music score.

“Inspiration” commences with Swara Sadhana, a rendering of a Rag in the form of a research. The disciplinary training given to apprentices in the North Indian classical music tradition is known as Sadhana. It is a vocal creation based on Rag Jog. Kolitha Bhanu renders his voice to the piece. This piece can be considered as an attempt at giving a re-orientation to Rag through scores of music. In the composition, salient characteristics of the Rag which is in Alap and diverse scores of notes, Upaj are presented in orderly manner. However, techniques in the Western Classical music such as Harmony and Counters have been used in the composition. In reaching the climax, the composer has retained not only the Rag Rasa (sentiments of the Rag) but also Bhav (emotion).

‘Perception’ is based on Rag Bairagi which is Recluse in Hindi. As per the name, it is a very soothing Rag in Pentatonic Scale. This is a piece based on the North Indian Classical music. Suite appropriate for choreograph and musical dialogues have been used in the composition. The composition recreates a spiritual and emotional dialogue between Recluse and a female dancer. In order to represent two characters, Nada Swaram, a Carnatic instrument of Music representing the Recluse and Electric Guitar, female voice and Gejji have been used to represent female dancer. In addition other instruments of music have also been used to recreate the conversation and arguments. Significant aspect of the piece is that music has been used to depict the Recluse and the nature of his character, Female dancer and her nature and the passionate duet.

The objective of the composer is to make a creation based on a specific theme within the parameters of North Indian Classical Rag. Rashmi Sangeeta’s voice has been used to represent the female dancer. In this composition, the composer has been able to create the atmosphere where the Recluse meets the female dancer. With intonations, the mood of the Recluse and those of the female dancer is conveyed.

“Tears” which comes after ‘Perception’, is based on notes in ‘Kuveni Asna”.

“Kuveni Asna” is woven around the legend of Prince Vijaya and on the advice of his ministers, Vijaya banishes Kuveni. Grief-stricken Kuveni leaves palace and enters a forest with her two children. In composing the piece, it seems that the composer has tried to assimilate characteristics of ballet.

However, on some instances, he has to depart from the ballet structure in order to retain the unique signature of traditional drums of Sri Lanka.

Subsequent to the launch of the CD, this piece of composition which was not originally intended for choreographed dance recital, have been widely used as background music for dance recitals. One of the significant aspects of this composition is that its innate ability to recreate the atmosphere in which Kuveni curses Vijaya and laments over her banishment.

“The Evolution” is the piece which depicts the history of the conflict in terms of the evolution of distinct life styles of two ethnicities. The composition, instead of mere recreation of war, has attempted to strike home the fact the gory nature of the protracted conflict and the need for a conversation among cultures and promote ethnic harmony. This piece is based on Rag Hamsadhwani and a fusion of Sinhalese folk tunes, Sinhalese and Tamil percussion instruments and music and rhythmic dialogues have been used for the composition. Significantly at no instances, instruments from one tradition have not superseded the instruments from the other tradition. The composer has been able to strike a delicate balance in keeping with the theme of the piece. Through the delicately blended music scores, the composer strives to portray the evolution of the Tamil and Sinhala communities with their distinct traditions of music, language and cultures.

‘Ganga or Endless Journey’ is the only song in “Inspiration”. The lyric is composed by Prof. Praneeth Abeysundare and the music is by Darshanapathi Wijayarathne Ranathunge. The piece is based on Rag Bhimpalashri.

The Composition is based on the River Ganges in India which portrays the nature of life. According to Hindu tradition, bodies were dumped into the Ganges. The journey of the river is equated to the journey of life. Kolitha’s voice blends well with the music scores.

“Kothana Sita Enavada Nodane

Kothanakata Yanawada Nopene

Gangawa

Gangawa Gala Basi Andure”

(“Not know from where it comes

Not known to where it goes

The river

That flows in the dark”)

‘Sataala’, the last composition in “Inspiration” is a creation based on Khayal in Rag Thilakkamode. Since the genre of Khayal is intrinsically imbedded in Muslim culture, original song has been used for the creation.

Kolitha Bhanu has rendered his voice to it. Here the composer has exploited the greater freedom in the Khayal style of singing to blend it with Western music. However, he has been able to retain the original form of the style.

“Inspiration” is marked for its rich collection of compositions and of its unique music aesthetic value.