Arts
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the senses Starting off painting when he was just 13, Ali's first works were illustrations he copied out of different books. After passing his matriculation examination he started a dispensary course where he received his Pharmacist Diploma and went on to work at a hospital. His interest in painting never flagged, though, and after long hectic days in the hospital he would paint. Gaining admission to the National College of Arts and passing out in 2002, Ali is now a visiting lecturer at the college. Ali has worked with water based materials while following a miniature art tradition that makes him pay attention to detail. "Because of this most of my paintings take a long time to complete," he says. Mainly drawing inspiration from society and his inner self, he adds that he usually finds it difficult to explain his feelings through words, "I use visuals which means my painting are my voice." Extremely conscious of his identity, Ali says he always tries to make his paintings typically Pakistani. “I think this is something that is quite common with my generation." Ali Kazim's collection of paintings will be on display at the Paradise Road Gallery till June 25. Power
of language that gave rise to Arisen’s creations
Ahubudu accepted the offer. Result: Classic creations among Sinhala film songs with meaningful words set to the lovely melodies by Sunil Shantha. R.Muttusamy provided the music. 'Prootugeesikaraya' sung by the trio H.R. Jotipala, Sydney Attygalle and Dharmadasa Walpola became an instant hit and is sung at parties and gatherings to this day. Lata Walpola's rending of 'Sudata Sude Valakului' is one, if not the best lullaby sung in Sinhala. So was 'Punsanda Eliyayi' that she sang. Then there was Walpola singing the carter's song 'Kate Kiri Suwanda'. 'Ko Haturo' was another hit. Ahubudu thus made his mark as a lyric writer for Sinhala films. Ahubudu's forte is language. He is particular about correct usage. He doesn’t utter a word without carefully weighing it. And it's so pleasant to listen to him - even a casual conversation is a delight. Most of us are in the habit of running to him for a name for a new born, to get an auspicious time or even a suggestion for a product name. As for names he would give you a wide choice explaining the meaning and derivation of each patiently. Looking at him it's difficult to say that he is 85. "Mine is a disciplined life. Anger is not in my vocabulary. I lead a quiet, peaceful life," he says. His memory is extraordinary. He can quote from any of his compositions - be it prose or verse - with ease. I asked him the secret. "I meditate and observe sil on Poya days. Meditation helps to have a clear mind and to retain information," he explained. Born on March 18, 1920 at Mudiyallagahawatta in Malalaga, Koggala, he was given the name Ariyasena Aashuboda. He had his early education at the Kataluwa government school and joined the Nittambuwa Teacher Training College. It was after his close association with Hela stalwarts Vellala Jayamaha and Cumaratunga Munidasa in the thirties and forties that he sharpened his language skills. The name change to Arisen Ahubudu was also the result of this association. For 42 years, he served as a teacher. He was a devoted teacher and did much to mould his pupils to be useful citizens with a love for the language, race and country. Having first taught at Holy Trinity College in Nuwara Eliya, he moved to Mahinda College, Galle and later to Maha Bodhi College, Maradana. His longest stint came even later at S. Thomas' College from 1952 until 1979. To promote the use of Sinhala at a time when prominence was given to English, he began a free correspondence course for students whom he had never met or seen. Although Ahubudu's skills in the use of Sinhala were highly acclaimed, his popularity came mainly through the songs he wrote. He started writing songs as early as 1939. The first was the Teacher Training College song. The song he created on Sunil Shantha's invitation with the dawn of Independence in 1948 - 'Lanka Lanka Pembara Lanka' - with simple, meaningful words created such a nationalistic and patriotic feeling that many have accepted it as the unofficial National Anthem. In fact, it's with this song that many of us 'met' Ahubudu. 'Dakuna Negenahira' was another of the patriotic songs he created for Sunil Shantha calling for a united Sri Lanka. More recently, Victor Ratnayake sang 'Golumuhude Muthukete' - a song with a nationalistic flavour. Ahubudu's collection of children's songs is a valuable anthology. Here again he remains unique in the use of words. As a poet, he has created several classics. The best is 'Pareviya' (1961), the longest Sandesa poem in Sinhala where the message of peace is taken by the dove to China. It was turned into a ballet by Premakumar Epitawela. His versatility as a historian has come out in the form of several published works including 'Sinhala Vansa Kathawa' (1985), 'Irahanda Negi Rata' (1994) and 'Lanka Gam Vahara' (1987). He wrote the biography of Cumaratunga Munidasa ('Cumaratungu Asura' - 1957) at a time when writing biographies in Sinhala was not in vogue. Critics hailed his work as a fine example of how biographies should be written. He displayed his skills as a dramatist with 'Sakviti Ravana' written and produced by him. It was well received and became very popular. His early plays included 'Vetta Pittalaya' and 'Peraliya' (1945). He has edited magazines, written glossaries and served on the staff of the Sinhala Dictionary. Arisen Ahubudu is a rare individual possessing varied skills - all woven around the Sinhala language. Full-bodied
sounds from the Ampitiya national seminary Mr. Dhanapala first relaxed, enjoyed the opening cultural presentation of robust singing by the Academy Choir and the address by Moderator, Rev. Fr. Claver Perera. He then rose to express his admiration for the National Seminary's many creative talents and insisted: "The need of the hour is greater communication, greater community rapport and, above all, obedience to the dictates of the Christ who charged us with these three simple words: Love Thy Neighbour. It is this cosmic formula that brings not only hope but love to spring eternal in the human breast." The Chesterton Academy is a strong training ground for Catholic priests and religions of the future. Young men with an earnest desire to serve, responding to a higher calling. Yet, as the evening's proceedings revealed, they keep their roots strongly cleaving the rich earth of their country, and their minds soaring to meet and immerse with the cultures of the world beyond our shores. They come from many walks of life, many communities, bright-minded and bright-souled. The cultural presentation gave us a full-bodied male choir and the programme rose, with a choice of song; to the roof beams, Renditions of Brahms' "The Sandman" and "Lullaby", Pigarelli's Italian folk song "La Montanara", Simon and Garfunkel’s "Bright Eyes", Andrew Lloyd Weber's "Love Changes Everything", the theme that was rendered at the Barcelona Olympics: "Amigos para Siempre" - Friends Forever; and that old favourite, "Carnival of Venice". It was rather sad that the piano accompaniment for the opening numbers took little heed of the desired modulation of tone. The pianist, accomplished as he was, must have had in his mind that a baby grand must make as grand a noise as possible. He was heavy-handed, and the chords crashed. Brahm's babies would never be 'lullabyed' but would spend a tortured night indeed! The difference was very marked in the guitar/keyboard accompaniment for "Bright Eyes". The keyboardist played his clarinet tones excellently and the three guitars simply held the tempo for a superb alto-tenor rendition. "Love changes Everything" was too strident - as if singers and musicians competed to whack out the rhythm. However, the martial air of the song did allow for the thump of chords. "Amigos para Siempre" was sung at the opening of the Barcelona Olympics by tenor Jose Carreras and mezzo-soprano Sarah Brighton. A crowd-puller and heart-stopper to be sure, that raised awesome waves of adulation. The same pelting beat was presented in "La Mantera" where the first movement featured a much-too-loud organ/piano accompaniment that, thankfully, diminished appreciably in the second movement. "Carnival in Venice" delighted all. This old folk song, I recall, used to be sung at many parties in many homes in the old days. It raised images of canal lights and singing gondoliers. On stage, in true carnival spirit, 14 voices combined to bring back a song that many hummed on their way home that evening. The highlight of the evening was Haig Karunaratne's production of two Acts of "Macbeth" neatly director-cut to take in Macbeth's undoing and Lady Macbeth's "doings" Haig was assisted in direction by Chesterton's Bro. Shammi Nilantha and Drama Bros. Nalaka Silva and Sisira Samarakoon. Haig also said that Rev. Fr. Claver Perera overlooked the entire production. With a cast of 14, the two scenes were linked to an effective cut-off point and were dominated by the symbol of blood - that unhinges, brands and torments. The antics of the Weird Sisters (correction: weird Brothers?) made a good beginning. They were played by Bros. Sisira Samarakoon, Prageeth Dishan and Hiran Jayawardana. In their layers of tatters they bubbled, toiled and troubled with gusto. Macbeth, played by Bro. Madusha Rashmi, had a tendency to let his expression go vacant at times, but he did, and rightly so, conduct the attitude of a man who acquits himself with valour on the battle field only to become simp-whimp at home. Lady Macbeth, played by Bro. Antony Luxsman performed excellently in a red maxi. Cheers of approval greeted Macbeth's homecoming where he gives his Lady a husbandly peck. All in all, what grabbed me was the expressiveness plus good lighting, fine acting, although Haig would have done well to convert the lines to plain-speak. The audience did seem at a loss at times with all those "methinks" and "perchances" and "forsooths". It all ended on a very apt note - that life's but a tale told by an idiot - which, if you ask me, is too true! Life,
love and violence: Tackling the problems of youth In this film where the girl makes the first move (rare in Sinhala films, however much it may happen in real life), the problems of young people today are highlighted. Set in Colombo, the temptations of the city are well brought out and woven into the story. Life in rented rooms, the tuition classes, the public library where couples meet, the clubs with the snooker tables where men and women booze or make love, it's all there. Sex and violence, ingredients of the formula film but ever present beneath the surface in real life, are in the film too. When a girl is as badly traumatized as Chaapa is by living in the same house with her tormentor, she needs befriending before she can even think of falling in love. Kasun provides the listening ear and these two think they are in love. Young people face so many problems today and feel so alone that they bond with any sympathetic soul. Organisations like "Sri Lanka Sumithrayo" and Women in Need have been established to provide a confidential and free befriending service but how many are aware of these services and go for help? Over the years, if Chaapa had gone and poured out her sorrows, she might have been able to help herself instead of using Kasun as an emotional prop. Kasun came to the city from the village and he had a bright future ahead of him. He spoke eloquently at the school debate about how it is the young who can see injustice and want to do something about it. Later he conducted tuition classes and hoped to go to University. At the end of the story, Chaapa is dreaming of marriage and babies unaware that Kasun has given up his promising future for her. How would this young couple earn and have a happy family life, particularly when Chaapa is constantly looking over her shoulder afraid of Rohan's violence? While this film faithfully portrays the feelings and situations that exist today, it sends out the wrong message that this is true love leading to marriage. It is natural for young people to dream and Chaapa and Kasun's dressed-up fantasies in the bedroom are natural to a girl and a boy who are drawn to each other. The film's blurbs liken the film to "Golu Hadawatha" (The Speechless Heart), another film based on the love between a schoolgirl and a schoolboy. While the idea of young love captures the imagination, the story of Chaapa and Kasun should be considered the story of growing up with no wedding rings thrown in. Sri Lankan elders are so anxious to marry off their young that they often give immature girls and boys no chance to have a couple of broken love affairs, learn about themselves and grow up in the process so that they are then ready for the responsibilities of marriage as a lifelong commitment. This film should be viewed by all those with an interest in the youth of today and especially by those who try to handle youth problems. "Aadaraneeya Vasaanaya" should be made the theme of discussions among young people so that the issues it throws up can stimulate clear thinking on love, sex, violence and marriage. |
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