Life style
Golden Jubilee years of Sinhala Pop Music;
Christian youth herald an Integrative revolution
By Dr D.Chandraratna
Right at the outset I need to justify the above subtitle. The readers may be understandably perturbed that the use of the word Christian is an irrelevant identity marker, given the violence that identity markers have caused in Sri Lanka. I am acutely conscious of Amartya Sen’s advice, ‘Reason before Identity’ before we classify groups (Identity Violence, 2007). However this identity profiling is only an empirical generalization contextualized here because it has contingent social significance.
I wish to demonstrate how young, predominantly Christian youth, through Sinhala song stumbled on to foster amity, dialogue and communication between communities, ‘unloading a million bricks’ out of the Sinhala psyche (Langston Hughes, The Big Sea, 1986). Having relieved my burden I shall come to the subject proper. This article is to celebrate more than half a century of the continued dominance of Christian youth led popular Sinhala music where they reigned supreme.
Bands Galore
At independence while Sinhala music was experimenting with different forms, amidst debate and rancour the city dwelling youth were emulating the sprouting bands and vocalists in the West, and Latin America. The Beatles, Shadows, Kinks, Rolling Stones etc. and generally fast rhythm music was mimicked by the westernized youth who were mostly Christian whose talents were honed in the arts and performances of the church. The bill was split between competing groups. Among the most popular were La Ceylonians, Moonstones, Sunflowers, La Lavinians, Los Flamingos, Hummingbirds, La Bambas, Los Muchachos, Los Serenaders, Los Caberellos, Beacons, Peddlers, Sunflowers, Spitfires, Gypsies, Eranga and Priyanga and many more in the country towns including the North. The Christian schools in Colombo as St Thomas’, St Peter’s, St Joseph’s, St Benedict’s provided much needed youth to work the bands. Likewise the Christian Schools in towns of Kandy, Ratnapura, Nawalapitiya, Galle, and Jaffna followed suit supplying vocalists and instrumentalists.
The dawn of the ‘people’s revolution’ in the late fifties was turbulent. It was a time Sri Lankan society was badly challenged by language and religion thereby partitioning the pluralities and diversities that were considered the norm. The revolution was executed in a rush without debate and dialogue. Exultation was short lived and as the ideals became distant many communities felt betrayed and perceived to feel outside the Sri Lankan heritage. The thesis canvassed here is that Sinhala popular music championed by Christian youth, led an integrative revolution, which was successful in no small measure.
The sudden loss of the conviviality and robust richness of the cultural mix that was their world may have driven the youth to yearn for a mechanism to return to the beautiful old days. Sinhala pop music beckoned them as the integrative solution that many were yearning for. Their school education, mainly in the liberal arts, equipped them with a number of competencies; an intellectual tolerance, substantial questioning of dogmatism, social maturity, rejection of authoritarianism and a degree of secularizati
on outside of books. They were not oblivious to many aspects of the contemporary world.
Meteoric popularity of the Sinhala bands
With apologies to many bands and artists of yore including the Dharmaratna brothers who were the stars of the Sinhala pop I will limit myself to the trio, Indrani Perera, Annesley Malewana and Clarence Wijewardena. Indrani of the Three Sisters and Clarence and Annesley of Golden Chimes, and their bittersweet re-union in Super Golden Chimes were at the helm for the entire period. Their stamp in the pop scene has survived all these years and naturally they have been dubbed the Queens and Kings of the fifty plus year’s history of the Sinhala popular music.
The stars of Indrani, Annesley and Clarence have burned brighter for more than half a century and I will be excused for selecting the three for the purposes of this article. Indrani’s crystalline voice delivering folk like verses were framed in exquisite musical arrangements prepared by Clarence Wijewardena, the songwriter and producer extraordinaire. He was bass guitarist devising dynamic guitar breaks as a value add, especially to the moody emotion filled songs such as Dilhani and Kalpani Duwani. He once said in public that as a teen he was an avid listener to Beatles and Shadows with Cliff Richard and that after secondary school all he wanted was to make actual music with his interiorized musicality. Indrani’s vocals were often multilayered with harmonies by her sisters. Annesley’s dusky voice ranging in delivery from home based country anthems to solemn folk balladry attracted large crowds and sold the records under numerous labels.
Trained in gospel singing, in Indrani and others the Sri Lankan audiences discovered a national treasure That won lasting affection for bringing us nostalgic experiences of our own lives; beauty of the landscape, undiluted romantic innocence, and the warmth of a human community. Throughout their long and brilliant careers spanning five decades they entertained millions of Lankans. Working long hours in a undervalued vocation in the 60’s and 70’s we who are the recipients of their precious gift owe them an enormous debt of gratitude. A career in music is hard work, a lot of sacrifice, but more importantly need a lot of perseverance and patience.
The integrative revolution
The singer and audience relationship is about connection; above all an emotional bond that make you cry, laugh, think, hold out a hand, in brief empathic union. The bands playing western music were moving the people on the dance floor while the Sinhala groups were moving people in an atmospheric emotional direction. Beyond the form they also were driving hard a message to bring the nation together. In sonata style, without big guitar moments, warbling in unhurried tunes, fittingly mellow with mundane lyrics made an impressive appeal.
It was the immense capacity to put together a poetic collection of images, sounds, scents and stories, wrapped in mellifluous but simple words. They produced a grand alchemy of songs all testimony to the indigenous artists’ engagement with the country and its people, the common folk. At the same time they evoked something within all and we felt connected. It was a part of the little tradition of the Sri Lankan culture that brought us together.
This change in the music topography and culture that took place from the decade of the 60’s points to something beyond the confines of musical creation and musical thought to the wider sphere of social life and social strife. This was an integrative revolution responding to kindred developments in the realm of wider society. The integrative revolution was led by the suburban Christian youth.
Clarence Wijewardena, mindful of the furious forces that were beating against the barriers that hemmed them in, stuck to his motto throughout: semplice-sempre, simple in style and presentation. Contemporary reality mirrored and expressed in spirited conversations with few instruments, he was able to compose songs like Sigiriya, Ruwanpuraya , Kalu ganga Udarata Kandukaraye, Dunhinda Manamali, Wana bambaro ohoma hitu, Dilhani, Ela dola piruna Gon Bassa, Mango nanda, Gamen liyumak avilla, Udarata niliya heda wage, Kalu mame, and many others disregarding formalistic aspects of language and idiom. Of course some of the words were criticized and even censored for being rustic.
Use of words such as Himihita wetiyan, Umbata rideyinam, ohoma hitu, and bithu sithuwam neluwo were subjected to trenchant criticism. But the most important fact was that this music, lyrics and tempo appealed to all segments of society, Buddhists, Christians, Hindu and Muslims could enjoy breaking ethnic and class barriers. In sociological parlance it can be said that while the earlier bands and music were westernized, the Sinhala pop music was sanskritized.
The authoritative Indian sociologist M.N.Srinivas captured the social changes in the 1960’s in India by devising the term sanskritization for a similar process that we can freely use to describe the changes in Sri Lanka ushered in by popular music. Even to the urban society it impressed both on an intellectual and emotional level. I may be pursuing a tenuous connection leading to a dead end but I considered it necessary to record this transformation as a valuable contribution, as reminded by Reverend Malcolm Ranjith quite candidly. It was a social movement and the implied consequences may not be intended. However as Hegel once noted philosophy should avoid political entanglements.
Music and song became the catalyst that unleashed the forces and opened vistas of all communities including the upper middle classes to fall in line. No doubt there was opposition but there were also entrepreneurs like Gerald Wickremasooriya who unstintingly offered assistance. Perhaps they understood the underlying integrative element because it was a contrapuntal message, given better than any political pamphleteer. Popular artists liberated the melody from its tight constrictive wordy bodice and made it part of the common man’s idiom. More importantly, the text invited all social classes and communities to embrace the ethos of our common Sri Lankan heritage. Maw bima obei sithala, rata deya kere bandila, panamen obei sithala, pili gatha yuthui puthune, they pleaded.
One needs only a comparative perspective to understand how the thought content of their music presented a contrasting but an inclusive society in which all communities and religions to wipe out that ordre positif of the old feudal regime and enter a much better ‘ordre naturel’ preordained by the all-wise and all loving deities whose work men can mar but never mend. Was that the confidence they possessed to accomplish their task fighting all barriers that playwrights like Professor Sarachchandra could not easily dismantle.
Professor K.N.O Dharmadasa noted in an introduction to a booklet on Maname the interesting and enlightening dialogue between Professor Sarachchandra and a Cinnamon Gardens lady on the steps of the Lionel Wendt theatre on one of the early days of Maname where the lady said that Sinhala nadagama appealed nicely to the likes of her kitchen maid. No more profound expression of the class divide of the Sri Lankan Weltanschauung is needed. The upper classes were steeped in a world quite alien to the common Sri Lankan heritage. We therefore pose the question whether the musicians, mostly brought up in the Christian Church background lifted the impenetrable barricades as they sang ‘Api enawa murakawal okkoma bindala’ with much more ease, one wonders.
In the 1950s and sixties the freedom, equality and liberty that independence had granted to Sri Lanka was blotted out by dark shadows of communalism and religious bigotry, a society already fractured by caste and creed. The Bandaranaike revolution was hardly inclusive. The politics at the time failed to create a liberated society, a society that is able to express a richer and fuller life. The people’s revolution brought out the monstrosity of communalism more repulsive than the semi feudal class oppression that it was intent on driving out.
Here we draw the power of the form and thought of creative art in song and music. These musicians, who were the progeny of parents outside the ‘purists’ managed to enter the depths of the consciousness of those who were distracted by the people’s revolution and unobtrusively connected them with the Sinhala mainstream society. While appealing to the common multitude they also entered the homes of the rich and famous freely and all this without political undertones.
All we can say is ‘Thank you for the music and thank you for bringing us close’.
The avurudu table of any Lankan home is complete only when it is laden with kevum. Dating back to ancient times, many types of kevum are chronicled even in our classical texts. The Dutch rulers of the island are said to have relished them, some even asking if they grew on trees… A delicacy which was offered to visiting dignitaries, kevum was revered by our kings even in the battle field not only as an energy-booster but also as a wound disinfectant.
BY RANDIMA ATTYGALLE
The culmination of Avurudu preparations in my childhood with my grandparents was marked by the ritual of Kevum-making. Athamma would ‘book in advance’ the kevum specialist Soida Hami (Soida aachchi to us children), and install a special hearth in her back verendah for the grand moment. I would watch Soida aachchi in wonderment as her thick batter of rice flour and best of kithul treacle shaping into kevums in a hot wok of coconut oil. The long kevum koora in her nimble fingers would achieve the feat of the perfect konde. It was almost a rite of reverence, so much so I was not supposed to talk to her until the first batch of Konda-kevums was completed. Like many old-folk of her vintage, Soida aachchi believed that talking while the first few kevums are done would result in a flawed product.
She would then place each perfect Konda kevuma on a banana leaf for the excess oil to drain. Once the whole exercise was completed, she would place Konda-kevum in large earthen pots and store them in the dum messa or the storage area above the main hearth of the kitchen. She would spare me only one kevuma and the rest had to wait until the auspicious time on avurudu day!
Travellers’ records
Robert Knox an English sailor who was held in captive in the court of the Kandyan King Rajasinghe II and one of the prolific chroniclers of ancient Ceylon in his famous work, An Historical relation of the Island Ceylon documents on the sweet meats of Lankans with a special account of kevum.
‘They have several sorts of sweet-meats. One they call Caown. It is like to a fritter made of Rice-flower and Jaggory. They make them up in little lumps and lay them upon a leaf, and then press them with their thumbs and put them into a frying-pan and fry them in Coker-nut Oyl or Butter. When the Dutch came first to Columba, the King ordered these Caown to be made and sent to them as a royal treat. And they say, the Dutch did so admire them, that they asked if they grew not upon trees, supposing it past the Art of man to make such dainties.’ (Spelling as in the original Knox)
The account of Knox enables rich insights into this wonder of a sweet meat which enthralled many a traveller to the island including dignitaries. The European trader Cosmas who visited Ceylon in 545-550 AD, documents that along with gems, Kevum and Kalu dodol from Ceylon were taken to the Roman court of Emperor Claudius during the sixth century.
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- Mun kevum
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- Konda kevum
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- Athirasa
Classical literature
Kevum dates back to ancient times and our classical texts such as the Ummagga jatakaya, Pujawaliya and Saddharma Ratanawaliya bear evidence to this fact. “Originally known as poopa this sweet meat came to be known as kevum in the Dambadeniya-Kurunegala era. Jathaka atuwa getapadaya mentions 18 kinds of sweet-meats found in the ancient Sri Lanka and among them are several types of kevum such as sendi kevum, mal kevum, athirasa, pena kevum, raa-kevum,” says Prof. Kusumalatha Lankamulla from the Department of Sinhala and Mass Communication at the University of Sri Jayewardenepura.
This scholar with research interest in Culture, Traditional and Modern Literature goes onto note that Mahawamsa in its 32nd chapter refers to two types of kevum in the context of alms offered by King Dutugemunu. The two types- thel kevum and maha de kuvum mentioned, were fried in ghee. “Many of our classical texts mention kevum in multiple festive contexts beyond avurudu. In Ummagga jathakaya, kevum is mentioned as a fitting gift to be taken when visiting parents. Saddharma Ratanawaliya refers to boxes of kevum or kevum pesa.“
Narang kevum
An energy booster
Among the popular kevum types found today are Konda kevum, athirasa, mun-kevum, naran kevum and hendi-kevum. Although the ingredients used for each type may slightly differ, rice flour and treacle (now largely replaced with sugar) remain common to all. The much sought after Konda kevum which is relatively a later addition to the range of kevum found here at home is believed to have originated during the Kandyan period says Prof. Lankamulla. “During the Kandyan period, men were prohibited from cutting their hair off and they had to tie it in form of a knot on top of their heads. Konda kevuma is believed to have been inspired by this practice.”
Traditionally, Sinhalese soldiers were given a bag of kevum when going to war. History has it that King Dutugemunu went a step ahead and used kevum to treat wounded soldiers. His army used to prepare kevum months in advance and keep them exposed to air so that the mould can grow on them.
This mould in today’s language had ‘antibiotic properties’ and was used on the wounds of the soldiers to prevent them from festering. “In a bid to undermine the pride of place given to kevum as a super food by the locals, the British coined the famous derogatory adage: ‘Sinhalaya is a fool but is an ace at eating kevum’. (Sinhalaya modaya-kevum kanna yodaya)
Steeped in tradition
Superstitious beliefs surrounding the process of kevum-making are not uncommon and these vary from region to region in the island, says Prof. Lankamulla. Regardless of the region, several common traditions were followed by our ancestors and these still continue to be observed in several parts of the country, she says. “The frying pan with coconut oil to prepare the kevum was kept on fire at an auspicious time and village matriarchs who were highly skilled were mobilized for the occasion. Women also believed that they must refrain from talking when the first kevum is being made. For centuries, the first kevum was considered to be the ‘konduru kevum’, dedicated to the sledge-fly or the konduruwa. The village women would hang the first kevum up for the insects so that the rest would be unspoilt.”
Sybil Wettasinghe’s work celebrating kevum
Prof Kusumalatha Lankamulla
With the passage of time, many Lankans, particularly city-dwellers depend on commercially available avurudu kevili including kevum. Although kevum is synonymous with avurudu, today people get to enjoy it round the year thanks to many sweet meat kiosks found in cities. Although these outlets have best sales during avurudu, they get plenty of orders from Lankans travelling abroad or coming home for vacation at other times of the year as well.
One such die-hard kevum fan is Uthpala Ranatunga from Ottawa, Canada. “My Loku amma (oldest aunt) makes it a point to pack me a parcel of best quality Konda kevum to take with me whenever I’m in Sri Lanka for a vacation.
I deep-freeze them for longer use and eat them sparingly,” says Uthpala to whom kevum is always a strong reminder of home. “Each time I indulge in them I feel nostalgic and miss home.”
Kevum is an integral part of the Lankan culture, finding its way from ancient classical literature to that of the contemporary including children’s literature and arts. The much-loved sweet meat is celebrated in the work of Sybil Wettasinghe – the iconic story teller and illustrator.
Come avurudu, we often hear the intonation of Lionel Ranwala, the eminent musician, vocalist and an authority on Sri Lankan folk music, whose tribute to the enduring legacy of this delicacy is one of the best in our times:
Me avurudu kale -sinaha weyan rale
Thel ihirunu kewum gediya wage…
Nethara Collection ,is a world of export quality garments in Diulpitiya, Boralesgamuwa, is infused with an ultra festive spirit this season catering to the women of today. Unbelievable offers and discounts from Nethara for Sinhala anTamil new year. On selection of women’s clothing, ranges from casual options to formal occasion wear,all at friendly prices,to enhance your wardrobe this festive season.
Nethara collection, started small in 2017, but soon it outgrew, today with an ever increasing customer base, branded and non branded clothing this shopping centre has become very popular. Export quality , stylish dresses, crop tops, fancy blouses, trousers and many more to flaunt yourself and enhance your wardrobe.Their extensive collection, maintain low pricing allowing everybody to have a chance to shop till they drop dead. From casual wear to formal wear,they have women to men’s items like tee shirts, shirts for every occasion.
Nethara clothing has long remained a name that has struck a chord with Sri Lankan shoppers. “We believe our success has been based up on the premise that absolute sincerity towards customers and no matter what the economic situation that prevails, we try our level best to keep our prices low and within everybody’s budget, said managing director, Nethara Collection Sampath Kumara.
This April season Nethara collection brings an all new collection of export quality seasonal wear. Celebrate the season with exclusive offers made just for you! Dresses, blouses, casual, formal wear denim, men’s shirts and many more… world of limitless style and joy!
This festive season Nethara unwraps a celebration of warmth, style and sophistication. Immense yourself in a vibrant festive atmosphere as you explore thier collection under one roof 345 Boralasgamuwa With a focus on quality, affordability and customer satisfaction, Nethara export quality boutique invites you to celebrate the Sinhala and Tamil New Year in style.
(Zanita)
Sri Lanka Tourism Bureau hosted a landmark event at cinnamon Life for an ambitious campaign to spotlight Sri Lanka as a top travel destination. This initiative hosted international influencers and local media to capture the unique charm of Sri Lanka’s destinations. These travel influencers will share thier real time content across platforms like Instragrams Tik Tok and youtube amplifying Sr Lanka as a must visit destination. Many media personal, bloggers and influencers participated in this event which will take them on a tourism travel featuring some of Sri Lanka’s top destination.
Sri Lanka Tourism Promotion Bureau (SLTPB) hosted a landmark event at the Cinnamon Life Hotel, Colombo. The event was led by . Deputy Minister of Tourism, Prof. Ruwan Ranasinghe, with the participation of SLTPB Chairman Buddika Hewawasam, officials, travel influencers and their families, as well as journalists specializing in tourism sector reporting. The gathering set the stage for transformative initiatives aimed at bolstering Sri Lanka’s tourism sector and redefining its global image.
In his opening remarks, Buddika Hewawasam underscored the challenges facing the tourism sector, particularly the seasonal dip in arrivals during the summer months. “The next few years will be the most challenging period for all of us,” Hewawasam stated, emphasizing the need for international collaboration and strategic development. He further highlighted the critical role played by international travel influencers and media professionals in raising awareness of Sri Lanka’s hospitality and inspiring tourists worldwide to visit.
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- Dileep Mudadeniya
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- Deputy Minister of TourismProfess or Dr Ruwan Ranasinghe
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- Guests
The Deputy Minister of Tourism, Prof. Ruwan Ranasinghe, detailed the innovative nature of the campaign and its importance in showcasing Sri Lanka’s rich heritage, natural beauty, and diverse travel experiences to mainstream and emerging tourism markets.
During the event, several prominent travel influencers shared their thoughts about Sri Lanka’s uniqueness as a destination. They highlighted that Sri Lanka is a country where travellers don’t need to worry about finding incredible experiences—nature has already done the hard work. The influencers remarked on Sri Lanka’s unparalleled diversity, noting that it is possible to experience a range of climates within just a few hours by travelling to different parts of the island. From sun-soaked beaches to misty highlands, and from lush forests to cultural treasures, Sri Lanka offers a world of adventures in a compact and accessible setting.
In comparison to destinations like Bali, which some influencers noted as overcrowded, Sri Lanka stands out with stable and balanced tourism activities. The event attendees were thrilled by the country’s warm hospitality, authentic DDirector cuisine with an impressive variety, long history, and rich culture. These qualities make Sri Lanka not only inviting but genuinely unforgettable for visitors.
Buddika Hewawasam, Chairman (SLTDA)and Sri Lanka Tourism Bureau
The travel influencers in attendance expressed strong confidence in their ability to share this powerful message with the world. They were determined to shape international travel trends by showcasing Sri Lanka’s unique appeal, while also helping to attract new types of guests. The influencers represented a diverse range of travel segments, including family travellers, solo female travellers, honeymooners, and adventure seekers. Their efforts were supported by Sri Lanka Tourism officials and journalists representing both local and international media agencies.
The ‘Sri Lanka, A Story for Every Season’ campaign represents SLTPB’s first large-scale effort to boost summer travel through digital storytelling and influencer collaboration.
Featuring a curated destination familiarization tour, the campaign will spotlight wildlife safaris, cultural heritage, spiritual pilgrimage sites, scenic landscapes, and adventure tourism. Influencers will produce high-impact content for platforms like Instagram, YouTube, and Facebook, reaching over 2.2 million travel enthusiasts globally.
Sri Lanka Tourism shared impressive winter peak season results, with international arrivals reaching 665,295 by March 23, 2025—a marked increase compared to the previous year. These figures illustrate the sector’s potential for growth, and the campaign aims to sustain momentum throughout the summer months.
The event was a call to action for stakeholders to unite in elevating Sri Lanka’s global tourism appeal. With plans to generate over LKR 32 million worth of media coverage and connect with diverse travel segments, the campaign underscores Sri Lanka’s commitment to redefining itself as a leading destination for year-round travel.
By Zanita Careem
Pix by Darmasena Welipitiya
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