Melody of life through the flute

Kumara Liyanwatte’s music is acclaimed here and abroad as one of the melodious emanating from the flute. Apart form being an academic, Kumara also proved his metal as a performer. Strangely no Sri Lankan newspaper in Sinhala or English has so far not featured him though he had been widely reviewed by the Indian press.

This is an indication that Sri Lanka has not recognized talents. Kumara Liyanawatte earned his qualification with flying colours (1st class in his Bachelor’s degree as well as his post-graduate degree).

He is a senior Lecturer in music in the Faculty of Music in the University of Visual and Performing Art.

He is a prominent figure in classical and fusion music scene and performs among classical and fusion musicians. I met him at my alma mater Ananda College when Shri Ram was staged there. It was there that I, in point of fact, witnessed his expertise in playing flute. The divine notes on the flute emerged as fine motifs of originality in a tapestry of fusion music.

Flute did not loose its grasp even amidst diverse traditions of music.

Q: How do you perceive the present status of criticism on music in Sri Lanka both in print and electronic media?

A:The present status of criticism on music in Sri Lanka is at a very low stage. For instance, a fair appreciation of different segments in music such as popular music, creative music, classical music, folk music and studies of music has not been done in a way that recognised merits of these segments and were brought to life.

However, in India persons representing diverse segments of music have been appreciated on almost equal footing.

For instance, Indians respect Rabindranath Tagore who stirred Indian nationalist sentiments, Bhathkhanda (Researcher and educationist on music), Latha Mangshkar as play back singer in popular music and Ravi Shankar as a master Sitarist who brought North Indian classical music to world stage and Ustard Bishmillah Khan and Ustard Allauddeen Khan were popular as teachers. They (Indians) have appreciated all the musicians with assigning distinct values for them.

Here in Sri Lanka, there is a widespread belief that all the musicians should get on to the popular platform in order that they be considered as musicians. Musicians engaged in the Education Section have been rarely mentioned in the media and most of them are unknown to Sri Lankan audience.

Unfortunately in Sri Lanka, we do not find such recognition of musicians among the audience. For instance, pioneers like Lionel Edirisinghe and Victor Perera should be appreciated as educationists in music.

Makuluoluwa and C de S Kulathilaka should be considered as researchers in music. Sunil Shantha, W.D Ameradeva, Victor Ratnayake and Rohana Baddage belong to master vocalists who made a contribution to music in their respective capacities.

Those vocalists in the popular music arena have also contributed to the field. Premasiri Khemadasa and Rohana Weerasinghe are dominant figures in the area of creative music. So, different segments of music ultimately make up the Sri Lankan music scene. In Sri Lanka, there is no proper recognition of persons who made a contribution to different areas of music.

Q: Are you of the view that attitudinal change should be brought about with regard to the public perception of classical music?

A: Another issue that confronts contemporary music is the misperception, on the part of the public, of classical music and researches conducted on music. If a person is to be recognized as a musician he or she should appear on television or render voice to a song. In India, musicians are highly respected even at public spaces like in at a fair.

This, I think, is caused in Sri Lanka by lack of informed criticism on music. For instance, it seems that the only qualification to peak on music is to be a singer on most occasions or else he or she should be a professor.

There are discrepancies on the diverse interpretations of music made by academics who are specialized in subjects such as Sinhala and Sociology.

This approach has caused serious confusion in the terminology used in teaching music. For instance, some are of the view that we can discard ‘Tradition’. I am of the view that there was no person who had not been evolved from a tradition; Beethoven, Yehudi Menuhim, Ravi Shankar or Michael Jackson, have all emerged from their traditions.

However, this does not mean that one should stick to the tradition. One can make creations while preserving the tradition in its purest form. If we confuse both, we, eventually, loose the tradition and would be deprived of a system of education. In India diverse traditions such as Thumri, Drupad have still been preserved and performances were held according to the tradition.

Here, there is a trend that every musician should come to the popular stage. These traditional techniques have been used in composing music for the film “Dev Das”.

The appreciation of teachers of music like Victor Perera has not been done properly in media where music is measured by ratings on different programmes.

If a creation does not make a meaningful contribution to society, such creation would be harmful to the wellbeing of society. For instance, there was a fracas at a recently held concert. People could not fight as it was a place where artist performed. Art should commence in delight and end in wisdom. Characteristics of a work of Art should be studied to find out whether our work of arts contains those characteristics.

Another important point is that creation of music has characteristics that are not confined to music. Fans are attracted to well-dressed fashionable performers. Here it is not the music that plays a vital role in attracting the audience but the make up.

In a piece of music, a larger portion of the work is made up of non-music elements. For instance, I have often heard announcers in television channels saying “Let us watch a song”. Here we look at the visual presentation of the song. However, we tend to forget it easily because there is very little music in it. What is important in a song is not what we can watch but the beauty in the composition of music.

In 1970s we listened to the songs and melodies registered in the mind. Though we watched Victor Ratnayake’s concert “Saa”, there presentation played a minor role. Most of today’s creations, presentation and editing play a much greater role than the music in the song.

Using children for various talent shows in televisions channels, though appreciable attempt, in a way is harmful to their growth. As a tree bears fruit at maturity, talented children should be nurtured instead of socializing or put into the limelight at a tender age.

As little tree could not bear fruits, children will be overburden by such activities. A child’s formal education would be the first victim. This trend will eventually destroy these emerging talents. These children are assets to the nation.

Q: Do you think that inborn talents play a vital role in making a student of music, a truly a talented performer?

A: According to ancient Hindu teaching, talents, knowledge. (Kushalatha, Danuma, Akalpa) and attitudes have been symbolized by idolatry; Brahma, Vishva and Siva. What Doctor and teacher provide is a service though they are professionals.

However, the relationship at the doctor and teacher has been a human relationship rather than a commercial one. Collapse of these relationships would contribute to the gradual destruction of a culture.

In structure of a university, that ancient system of values have been eroded and lecturers are preparing students for examinations and students are also interested in obtaining professional qualifications.

The issue is that ancient values that are associated with music, has not been integrated into the university system. However, this has been effectively done in India.

I believe that there is a crisis in the Sri Lankan education though the passing rates and number of graduates produced each year, is impressive. The objective of education should be character building rather than becoming a professional or earning a lot of money.

One factor which has been neglected is that the inability to recognize a work of art beyond its aesthetic values. For instance, songs like “Sasara Wasanathuru” and “Ratnadeepa Jammabumi”, “Dhanobudunge” represent culture, education and Sri Lankan values and make a lasting contribution to the society.

Though many other songs may surpass “Sasara Wasanathuru” and “ Dhanobudunge” in aesthetic quality, these songs will remain in the heart and mind of people.

Q: Is the system education imparting the knowledge to identify such songs?

A: Now parents are waiting to present their children for a television programme. The motive of the programme is financial. No one thinks of what would happen to these children at the end of the day. In some instances, these programmes would disrupt the education of these children.

Every one is born with talents and these born talents should be developed and sharpened through education.

Then the education will bring about an attitudinal change in an individual, discarding away biases, prejudices and wrong attitudes. In Hindu concept Brahma means the creator.

So the born talents should be developed (Vishva) through education and Mahesvara symbolizes concept of destroying the evils in the world. In other words, Mahesvara means getting rid of evils or biases and unhealthy attitudes.

“Guru Brahma, Guru Vishnu and Gure deva Mahesvara “(The teacher is the creator, developer and one who will destroy evil influences). I believe that these Hindu concepts can be integrated into the education.

No appropriate coordination

There is no appropriate coordination among Ministry of Education, Ministry of Cultural Affairs and Ministry of Media and Information. There is no policy with regard to the application of media in education. Media influences the collective conscience is a fact. Some of the best artistic songs were produced in 1970s.

Today the motive of creating songs is solely financial. One should posses born talents (Kushalata) in order to become an accomplished musician. Present Z-score has completely neglected this aspect in selecting students for the University of Visual and Performing Art.

Education is like mining gems. First it is the task of an education to find out hidden talents in children as gems in mud. Then the teacher as a gem-cutter sharpens and polishes the inborn talents in children and finally the gem should be imbedded in a proper place like in a king’s crown. That means the teacher must bring the child to prominent place in the society.

We have such gems hidden in diverse places in society. There are highly talented persons who, for unknown reasons, have not come into the limelight.

The education should be integrated into the culture and into the prevalent ethos of the time.

So the born talents should be considered in selecting students for the University of Visual and Performing Arts. For example, in the Haywood days, students were selected for diverse courses on the basis of their talents and giving due weight to their education qualifications.

Victor Ratnayake, Rohana Weerasinghe, Sarath Dasanayake, Laskman Wijesekara, Bandula Wijeweera, Sanath Nandasiri, who are now leading figures in the Sri Lankan music scene , are products of the Haywood or Government’s Institute of Music.

Education in music should be of practical fervour and though the theory is important, practical aspects cannot be neglected. More and more practical sessions should be conducted in order to produce a generation of talented persons who could contribute to the field of music in Sri Lanka. I urge authorities to devise a mechanism to ensure talented students enter University of Visual and Performing Arts.