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Where the world of academic, performer and musician blends

A well-thought- out educational policy should be mapped out for Aesthetic education - Prof. Kolitha Bhanu Dissanayake

By Ranga CHANDRARATHNE

A defining feature of Prof. Kolitha Bhanu Dissanayake is the delicate fusion of academic, performer and a musician. A significant feature of these diverse roles is that each one is complimented and rather enriched by the other. His creations are outstanding not only from research and academic perspectives but also from creative perspectives. His voice is unique among the few male voices in the contemporary music arena. In an exclusive interview with the Sunday Observer, Prof. Kolitha Bhanu Dissanayake deals with crucial issues in the field of music, system of university, in academia and in the field of popular music. Excerpts;

Question: As an academic and teacher, how do you look at the state of education of performing arts in general and music in particular?

Answer: It is my view that the attention paid to the education of Performing Arts is lessening. We are really happy about the appointment of over 3,000 teachers who teach Performing Arts. I thank the Government for the appointments. But we cannot improve the education of Performing Arts only by appointing teachers.

Prof. Kolitha Bhanu Dissanayake

Statements such as, “We will develop performing arts or education of Performing Arts” would not be of any use unless concrete steps are taken to implement them. These statements should be reinforced through the Government’s policies of education. There are numerous programs are being implemented either to aesthetic curriculum or to improve aesthetic skills of students at schools.

If there isn’t a socially recognisable subject with no professional stability or if society does not demand such highly qualified professionals for the subject, students would only follow aesthetic subjects just for fun or entertainment.

If a talented student is directed towards learning aesthetic subjects by the education policy itself, the student will convince that there is a social recognition for the subject.

Then he or she would be proud of the subject; he or she would then try to learn humanities with insatiable desire for knowledge.

Basket system

According to unconfirmed sources what is clear is that the basket system is going to be used to select aesthetic subjects. If there is an institute or education policy which pushes aesthetic education to such a narrow level, a well-thought- out educational policy should be mapped out for Performing Arts. Reports indicate that some damage is to be caused to the Performing Arts education.

Education

Former Education Minister Dr.Badudeen Mohamed had done a great service by making aesthetic subject mandatory. He also made parallel professional / vocational subjects as Prag Vurthiya ; Workshops for metal work and carpentry were set up at schools. Motor mechanic sectors were set up and the students were taught how to make utensils out of braze and metal. Society needs met by scientists, Artists, carpenters and even workers.

The issue is the social recognition for such professions. The education policy should ensure that each and every profession is recognised in society ensuing dignity of labour.

Societal attitudes are formed in accordance with the recognition accorded to subjects in the education policy. Do those who travel by vehicles recognise the service of the labourer who cleans roads? Do we accord a value to that service?

Vision

Though we have syllabi for aesthetic subjects and Performing Arts, teachers of Aesthetic Subjects, University of Performing Arts, Performing Arts Theatre, what we are lacking is a vision for Performing Arts subjects. We have failed to apply that vision to develop the humanity at large.

Those resources and personnel are used only in a limited manner to develop human intelligence. It is my view that first and foremost aesthetic subject and sports should be made mandatory subjects at school level for students. The monastic education institutions (Pirivenas) should not be an exception.

All the heavy teaching materials which are not relevant but have already been included in the syllabus for aesthetic subjects should be removed from the syllabus.

The aesthetic subject should be taught in such a manner which would attract students, improving their sense of appreciation, psychological development and inculcating positive values in them which would help develop their personalities.

If such a development is achieved, a mature student, a girl or boy, would think of his or her future considering the societal recognition accorded to the subject. Then only, society will recognise the value of the education policy and social framework. Shouldn’t we, as adults, make that education policy and social framework?

Nature

The present syllabus for aesthetic subject is one which is formulated to show off the erudite nature of those who formulated it. The prescribed songs in the music syllabus were composed either by the chairman of the board or members of the board which formulated the syllabus. There are a couple of popular songs which have also been included in the syllabus. There are business motives behind the move.

Apparently, those songs have been included with the intention of selling the CDs at reform conferences. Improving aesthetic music is not a business but a service. Developing the education of aesthetic subject is one objective and improving the knowledge of aesthetic subjects is another. In the statement formulated by Mahagamasekara in 1974 entitled ‘Aesthetic Education Number 2’, 13 objectives of Aesthetic Education stated;

* Improving the sense of appreciation
* Producing artistes
* Expanding the horizons of life
* Personality development
* Controlling the psychological impulses
* Training the child in creative thinking
* Improving the power of expression
* Improving the power of observation and analysis
* Spending the leisure meaningfully
* Applying Aesthetic Education in life
* Understanding the local and international culture
* Directing the child’s aesthetic concepts towards nature
* Enjoying the work

The current syllabi focus more on improving the knowledge of aesthetic subjects rather than on the above objectives. As a result, the syllabus has been expanded to include deeper areas of the subject making teachers as well as students tired of the subjects. This has effectively discouraged students from studying aesthetic subjects.

There are two principal reasons that prompted students not to take up aesthetic subjects; one is the current policies of education and other being the heavy learning materials included in the syllabus. The Government’s policy at the time we learnt aesthetic subjects was appropriate and we learnt the subject with help of the teachers under the government’s policy on aesthetic education.

Qualifications

Q: Selection of students for universities, particularly, for performing arts, their pedagogic qualifications should match their inborn talents and aptitudes in a given field of studies such as arts or music. Do you think that the current system of examination with Z score would enable talented students to enter the university?

A: The knowledge of performing arts and knowledge of a discipline are relative streams of knowledge which cannot be evaluated through technical methods. One’s inborn talents or innate abilities should tally with knowledge of a discipline. “Competency” should be measured through practical tests. It cannot be measured through certificates.

If not the student should possess pedagogic knowledge and competency. The best student can be selected by the tallying of inherent skills with pedagogic knowledge. Z score and its theory of evaluation do not appropriate, at all, in recognising performing arts skills of a student. I make this statement through practical experience.

At the practical test conducted by the University of Visual and Performing Arts, the student who scored highest marks on Z-score, does show relatively low skills. Most of the students, who showed higher degree of aptitude at the practical test, were those who scored less marks on Z-score.

The student who focused more on aesthetic subject tends to pay less attention to other subjects. They concentrated on their innate abilities such as Music, Dance and Arts.

Z-score

According to Z-score, these students scored lesser marks for other subjects, resulting in obtaining low Z-score marks. One may argue that students should also be interested in subjects other than aesthetic subjects. The fault lies not in students’ less interest in other subjects but in the system of evaluation of soft skills such as skills in aesthetic subjects.

However, the end result of the system of evaluation is that virtually closing the doors for deserving students to enter the University of Visual and Performing Arts. This issue cannot be dealt with from the perspective of policy making.

The issue should be dealt with, from subjective and emotional points of view. Artistic abilities are soft and intangible and in dealing with such soft skills, one should pay attention to physical and psychological process associated with soft skills. If the Z-score system of evaluation was implemented at the time we sat the Advanced Level examination, I would not be in my present position. Most of the talented musicians of my generation would not be in the field. Are we not the product of the society at the time? Weren’t there teachers of mine of us under that system? Weren’t there policy makers and those who dealt with the examination at the time? Does not the contemporary society demands a broad-minded bureaucracy?

We learnt that there is a move to do away with the practical tests for the entrance of the University of Visual and Performing Arts and technical institutions. The generation of students who have scored higher marks on Z-score for subjects such as Economics, Geography and Logic and failed to enter university to study those subjects, would enter the University of Visual and Performing Arts. Talented students would fail to enter the university and they would hate the university. It is imperative in this context for the policy makers to identify the subject specific philosophies.

Admission

The policy of admitting students to the Medical Faculty or University of Moratuwa does not apply to the University of Visual and Performing Arts. Each university should have its own admission policy. It is obvious that universal formula for all the universities does not, unfortunately, applicable to aesthetic subjects.

My conclusion is that Z-score does not alone sufficient to identify and evaluate aesthetic and soft skills. I suggest that all the students who passed teh Advanced Level examination with flying colours and offering Aesthetic Subject and those students with a pass for Aesthetic subject and passed the AL should be allowed to face the practical test and be allowed to enter the university on the basis of marks scored at the practical test.

Each and every time such proposal was made, officials would come out with the idea that policies cannot be changed to suit the University of Visual and Performing Arts. What the benefit could the nation derive from national policies which effectively closes door for talented students? I firmly believe and emphasis the fact that a system of admission in accordance with the philosophy of aesthetic subjects should be adapted for the University of Visual and Performing Arts.

Q: What are the reforms that you would envisage to rectify this systemic defect which has virtually deprived university of the Visual and Performing Arts inborn talents who would in the long run make a lasting contribution to the field of music?

A: I would make the following suggestions;

* First and foremost, a subject-specific discipline should be instilled in the community of university students. This is an issue that should be discussed in-depth among the students’ community. The fact should be borne in mind that conflict resolution and conflict management is a part of the soft skills imparted by aesthetic subjects.

* The lecturers of the University of the Visual and Performing Arts should wholeheartedly commit themselves to the betterment of the subject and to elevate its social status. Instead of engaging in cheap progams in the media and at other institutions for earning fame or monetary gains, they should focus on fulfilling academic the responsibilities. (This is not applicable to all)

* The syllabi of the University of the Visual and Performing Arts should, at least, be updated once in five years.

* The university should intervene in the policy making process. It should be noted that such intervention should not be done in a hostile manner as academics act in an intelligent and logical manner.

* Attempts should be made to rectify media activities and policies regarding performing arts. This should be done in an upright manner irrespective of personal concerns such as ‘losing programs in the media or heads of the media institutions would not favour such moves.

* I suggest bringing the Ministries of Education and Higher Education under a combined coordination even under two ministers. It is imperative to conduct regular policy evaluation session of both ministries with the participation of the officials of the two ministries.

* I suggest that a national policy should be made on the social responsibility of all creations. This cannot be achieved through structures such as the Arts Council or Ministry of Cultural Affairs. This should function in the form of a commission accountable to the Government.

The commission should be tasked with implementing and steering a ‘National Policy for Performing Arts’. This would effectively put an end to present fraudulent activities, exploitation of intellectual properties and exploiting the minds of the masses.

Q: Popular music is a platform which could be effectively exploited to uplift the public taste to create an informed audience as in India. Such an informed audience would appreciate true talents in the field rather than media –hyped pop-music icons who largely depend on their public image. In India, the Government is generously sponsoring the classical music and has, thereby, created a space for classical music in the public sphere. What are the steps that you would think that the Government should take to uplift the public taste and create a space, particularly, in media for classical music?

A: The important fact that the Government should taken into consideration is that whether it is going to allow cheap programs in their present forms aired by majority of the electronic media institutions? The Government has a responsibility to deal with this issue. There was a move to establish a national broadcasting authority which is a salutary feature.

Minister of Media Keheliya Rambukwella and the Ministry of Information and Mass Communication is also responsible in addressing such issues. It is a home truth that electronic media influence the children and adults.

Isn’t it the electronic media in particular, influence the formation of perceptions on the part of students and teenagers? Why should the Government be silent until the media changed the societal ethos of the nation? These are major issues; there should be freedom of media and freedom of expression.

The freedom of expression should not be exercised in a manner creating a confused society but for the betterment and sustainability of the society. What are the idols that dominate children’s world; all of them are western trash. If there are heroes, they are all propped up by media or images either created by media or temporarily leased out by the media.

Public taste

To improve public taste, it is imperative to scrap off programmes which are anti-social and corrupt the minds of the masses from media institutions. The masses are not still aware of the danger posed by such program.

The grand speeches at political platforms alone would not serve the country’s culture and moral codes.

Although government has launched programs with the intension of fostering culture and moral values, they have to be reinforced and they exert a very little influence over the masses. This is similar to preaching in Sri Lanka (delivering sermons). Those who should listen to sermons are engaged in their usual corrupt practices.

A handful of educated and genuine people would enjoy the benefit of cultural and art –related activities while promoting cheap entertainments sponsored by merchants and patronised by heads of media institutions would also go on unabated. What a crime it is to be passive onlookers while allowing a millionaire or a marketer to decide on the morality and the culture of the masses?

Classical art

If I deal with the second part of your question, I would like to stress the fact that the Government should launch a program to foster and promote classical arts and master creations in the same manner it spends money on arts and culture.

A loan scheme should be introduced for research, creations, classical music (Western, Carnatic and North Indian music), traditional and classical dance, arts, ballet and opera.

It is a fact that artistes who have dedicated their lives for these classical art forms are not financially well-off. But they need money for their creations. The Government’s aid is necessary to improve classical arts.

There are such programs not only in India but also in the West. To put an end to present moral degradation, it imperative for the Government to standardise electronic media and also provide aids for classical arts.

Proactive role

Q. What is the proactive role that the university of the Visual and Performing Arts could play in this regard? Perhaps, the academics in the field of music could conduct radio and television programs aimed at improving the public taste?

A: There is a responsibility for the universities in this regard. But the issue is where to find room for such activities is. If there is a room, such space is available in the midnight, reaching a limited audience. Whenever we make proposals for programs for classical arts, we receive responses such as ‘you cannot sell those programmers’, ‘if we are to give you air time, we need a sponsor with a certain amount of money’.

According to such responses, artistes should come out with creations that can be sold. Classical arts which associate with high culture, morality and philosophy cannot be sold as commodities. The media should air them for the benefit of the masses. How foolish is it to consider everything as saleable?

If they identify them as ‘commercial institutions’ instead of identifying themselves as ‘media network’, we could mind our own business. When you ask what our role in media is, we are hapless. Even if we go after a sponsor, then we are going after a businessman. In such a scenario, we are virtually sandwiched between two businessmen; the sponsor and media. Unfortunately, some lecturers of the university appear in commercial programs and issue silly statements. We are ashamed of such statements and boasting.

Professional musicians

Q. It has been noted that certain groups of individuals have deliberately closed the door for students of the University of Visual and Performing Arts in the informal sector of music and arts education. As a community of academics at the university of the Visual and Performing Arts, what are the measures that you can take to educate the public and create a platform outside the university for talented students who could commence a career as a professional musician?

A: The university annually produces a group of highly talented graduates. There are graduates who passed out with ‘C’ passes for all subjects and thus barely earning the degree. But society can make use of the majority of graduates produced by the university.

The idea of closing the door for students is also valid for teachers. Some consider that talented lecturer as those who could only impart knowledge and those who could not make creations on their own. I on my own am engaged in creations and those who realised my potentials as a creator would give me assignments.

There is a systematic program to deprive graduates and lecturers of their rights as creative artistes. Look at the field of popular music. It has been dominated by a group. I am speaking only of classical arts. It has been noted that the same group would occupy the stage on many occasions. It is not out of jealousy that I state this fact.

Knowledge does not concentrate on a single group and it is unfair to virtually confine lecturers to the academia. For some, the very name of the university is anathema.

However, despite all the organised hurdles, students of the University of the Visual and Performing Arts emerge into limelight purely because of their talents. I consider myself as someone who emerged out of all the organised hurdles. From the student days, scholars should be aware of this fact.

Applied music

Q. Applied music is an area where even a full-time academic could put his or her theoretical knowledge into practices. You have done this in your CD Inspiration , thereby contributing to uplift the public taste. It seems that if musicians are keen in improving the applied music, it would, in the long run, contribute to improve the popular domain of music. Your views…?

A: A scholar could contribute to the field of popular music. As you mentioned, my CD 'Inspiration' is a result of a study and research. Although pedagogic knowledge is used in research, in a creation theory and practice should be buttressed by sharp perception. In terms of music, a creator should posseses a creative knowledge directed by comparative vision. Applied music or act of creation is a subtle and carefully constructed subjective exercise.

It would be a more complex exercise when a creation is based on easter and western sources of music and on diverse traditional and indigenous music motifs. This is due to the fact that these sources have certain concepts and conventions. A creator should base his or her creation on those concepts and conventions and should not destroy them. When sources are preserved and used for a creation, both sources and creations would be preserved.

Traditions

Q; For your CD Inspiration, you have done a meticulous research, particularly, into the rich traditions of Sri Lankan folk music in diverse contexts. What made you to explore the tone mosaic in Kuveni Asna and what are the unique music prosperities in Kuveni Asna?

A: In this creation, I considered three factors; first is Kuveni’s state of mind at the time king Vijaya banished her with her two children and second is the primary music composition in the Kohoba Kankariya and third, how to improve it further with embellishments. Besides that, I still could recall vivid images when I composed music for the creations.

Different dancing postures still register in mind. They emerged as vividly realised scenes on the stage. Unfortunately, I cannot draw. These different tones and colours emerged out of those powerful and colourful characters. ‘Tears’ means how these vivid characters I realised in my imagination.

This furtive imagination is registered in every note of the creation. I consider composition ‘Tears’ as one of the best creations I ever did.

Q; One of the significant aspects of 'Inspiration' is drawn inspiration from gamut of entirely different music traditions such as Eastern, Western and folk traditions and used the sources in the diverse styles of percussion and other instruments of music, applied sources of music and historical and theoretical sources. In a way, you have enriched the practical source of music by sheer blending of diverse tradition into the matrix of your composition. What are the pitfalls in making such a creation which has a danger of becoming the creation redundant?

A: Making a creation out of traditional sources or mixing of diverse music traditions should be done with great care. Traditional music sources can be held sacred in the society they represent.

The great music traditions are entirely different to traditional sources of music. Traditional sources of music preserve their culture, uses, order and conventions. But a great music tradition represents the society, culture, discipline, order and the theory and practice of the system of music.

Such a research runs a risk of producing redundant notes or inappropriate bi-productions. Use of Western notes for North Indian classical ragas can be cited as example. This fusion should be done with care.

There are talented musicians who could perform this task with facility. We should focus on the kind of zest and defining characteristics of ragas.

There are some ragas with microtonal intervals which are outside the traditional Concert ‘C’. In making a creation out of such a raga, it is not advisable to go in search of microtonal intervals. In such instances, a musician should take the microtone but the nearest key on the keyboard into consideration.

Then justice is done to both raga and the creation. When this process is applied on indigenous music sources, a musician should consider many factors such as the base of the sound motifs of the source, cultural base as well as folkloric and historic basis of the indigenous music source. Successful creations can only be made if a musician takes those factors into consideration.

Object lesson

Q. ‘Inspiration’ is not only a CD which can be enjoyed for its rich blend of music traditions but also an object lesson for budding musicians on practising theoretical knowledge in applied domain. So it is clear that musician could improve level of appreciation on the part of the audience by widening his or her scope into applied domain of music. Given the deteriorating quality of popular music in both Western and Eastern music traditions, what is the pivotal role that musicians and academics play in attesting this negative trend?

A: I think that all should deeply concern about this fact. As a full-time scholar, one should contribute to the development of the field while preserving the professional dignity. Unfortunately, some are only paying lip service and such personal agendas would not contribute to the social discourse.

It is the responsibility of the academic staff to contribute to the humanity to the best of their abilities.

The opportunities, feasibilities for such an exercise should be identified. Challenges can be overcome by identifying such opportunities and realising one’s potential. This is a fact that I realised through experience. I have embarked on a long journey but with a slow phase so that I have ample space for observations.