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 playback 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. rangac@sundayobserver.lk

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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 playback 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.