Connect with us

Features

BAILA KING & I: 1987-1993

Published

on

CONFESSIONS OF A GLOBAL GYPSY

By Dr. Chandana (Chandi) Jayawardena DPhil

President – Chandi J. Associates Inc. Consulting, Canada

Founder & Administrator – Global Hospitality Forum

chandij@sympatico.ca

Today, instead of chronologically narrating another episode of the story of my career, I will write about a music legend. Uswatta Liyanage Ivor Sylvester Sunil Perera left us this month, saddening generations of Sri Lanka music lovers around the world, including me. Many tributes have been written about him during the last few days. Therefore, in this tribute, I will focus on my entertainment collaborations with Sunil during six short years three decades ago. It was a period when I was closely involved with the western music scene in Sri Lanka.

First Meeting in 1972

In early 1972, when I was a trainee waiter at the Mount Lavinia Hyatt Hotel, I was asked by the Food and Beverage Manager to work at a special beach party. A new band formed in 1970 with a young, eighteen-year-old lead singer performed at that event. I was thrilled with the energy of their performance. For nearly 50 years since then, I was always entertained when I listened to the music of the band Gypsies, led by Sunil Perera.

Since then, I occasionally saw Sunil and Gypsies, performing at weddings, dances and music shows. They released a string of pop hits enhanced with dynamic stage acts and various props. Sunil was the mastermind in such innovative initiatives. Inspired by Sunil’s creativity I was convinced that hospitality is very much like showbiz. Entertaining and pleasing our customers is common in showbiz and hospitality. That concept had an impact on my decisions on the event calendars throughout my career as a hotelier. Event creation, planning, organizing, choreography and creativity in promotion, all are exciting and enjoyable work in the hospitality business.

Second Meeting in 1986

I spoke with Sunil for the first time at Le Galadari Meridien Hotel in 1986. Gypsies were performing at a wedding and I was the Director of Food and Beverage of this five-star 500-room hotel. Sunil liked to talk a lot. He was often out-spoken about his ideologies. Topics for our quick chats after that included music, entertainment, shows and my desire to make Le Galadari Meridien Hotel the centre for food and beverage events and entertainment in Colombo.

I was concerned that after the wedding season (June and July) there were four months when the banquet business went down considerably. I commenced brainstorming with my team of managers and supervisors, finding creative ways to fill our large banquet rooms with additional events. Among other ideas, I decided to get into music show production to increase the income of the departments I managed. This concept was fully supported by our in-house musicians and bands including Sohan and The X’Periments, Apple Green, Dream Team, Burn, Noeline, Dalreen, Suriyakumar, Judy, Kanthie and a few others. Gypsies were not a part of the in-house musicians I had under contract, but Sunil fully supported my showbiz ambitions and music show initiatives.

The first show I produced with input from a galaxy of musicians was ‘The Musical Stars of 86’. It included several weekly competitions for aspiring musicians from all main cities in the country. We ended the season with a grand finale show which featured the winners of the weekly competitions and the leading western musicians in Sri Lanka. Sunil helped me as a judge and a performer. His support was encouraging.

A Seminar for Musicians

In 1987, led by musicians under contract at Le Galadari Meridien Hotel and Sunil, the western musicians of Sri Lanka formed a dynamic association – Sri Lanka Association of Musicians (SLAM). Noeline Honter was the first President of SLAM. I worked closely with SLAM to organise a seminar for professional musicians and also produced their first fund-raiser show. I invited Sunil to join the seminar panel, which included, Noeline Honter, Sohan Weerasinghe, Harold Seneviratne and a few other well-known musicians. Surprisingly Sunil declined my invitation, but instead, offered to perform a ‘fun’ act to enhance the seminar. Sunil’s performance with his band members in the characters of his 1987 top of the pop songs, – ‘Uncle Johnson’ and ‘Lunu Dehi’ were the highlight of that seminar. Sunil was a master in always being in the limelight.

‘Lunu Dehi’ (Lime and Salt) were the ‘fun’ characters most popular among Sri Lankan kids at that time. On the day of the seminar, when he heard about Sunil’s act, my (one year old) son, Marlon, insisted that I must take him to the hotel to meet his idols. At age one, Marlon, like many Sri Lankan kids, was a fan of Sunil. That made Marlon’s day, but he was a bit scared when he realised how big his favourite characters were!

Star of the Shows and the Producer – Late 1980s

Encouraged with the popularity and the financial success of my maiden music show – ‘Musical Stars of 86’, I produced a string of stage shows. We sold out around 1,000 tickets for each of these shows staged at the packed Bougainvillea Ballroom of Le Galadari Meridien Hotel. Sunil became a key performer and a main attraction for most of these shows. My productions included shows such as ‘A Farewell to Priyanthi & Raja’, ‘Noeline – A Celebration’, ‘M1’, ‘Slam 1’ and the first-ever ‘Model of the Year’.

Impressed with quality of my productions at Le Galadari Meridien Hotel, Ivan Alvis who was in charge of the teen/music page of the Island Newspaper, invited me to produce their annual awards show. I conceptualised, produced and promoted the largest four annual ‘Island Music Awards’ events for the Island Newspaper in 1988, 1989, 1991 and 1992.  Ivan Alvis chose the judges for the selection of winners and I looked after the production of the show. Sunil was a key member of my creative team for those four events as well as for a dozen other music shows/events I produced in Sri Lanka between 1987 and 1993.

The Show Goes On – Early 1990s

After doing two short contracts for the Oberoi Hotel chain in Iraq and the Schiller International University in the United Kingdom, I returned to Sri Lanka to manage the Mount Lavinia Hotel as the General Manager. In 1991, Ivan Alvis contacted me and checked if I would like to produce the ‘Island Music Awards’ event in Mount Lavinia. As I was also the General Manager for the catering operation at BMICH – national conference centre, I told Ivan, “Let’s make the show bigger by staging it at BMICH for an audience of over 1,500.” We agreed and I contacted my friends Sunil and Sohan first to seek their support. We took the show to a new level, and achieved the target of a full house. That year Sunil won the main award – ‘Showbiz Personality of the Year’ and I was the first to congratulate him.

More Collaborations with Sunil

1) Six New Year’s Eve Dances – In 1991, Mount Lavinia Hotel set a record by being the first and only hotel to organise six New Year’s Eve dances. We held dances at the Terrace and pool deck, Empire Ballroom, Regency Ballroom, Little Hut Night Club, Paradise Beach and the Roof Top. I contracted Gypsies as the main band at the main dance. Sunil was a tough negotiator and insisted that I approve a larger fee for Gypsies, stating that, “New Year’s Eve is the entertainer’s bonus day!” I eventually offered him a little less than what he was demanding, and also got him to sign the contract stating that he will do guest appearances at the other five dances. Sunil was our key attraction and it worked. Mount Lavinia Hotel attracted a record-setting 3,000 people to usher in 1992 from this historic hotel.

2) The Show – In 1992 I produced my biggest show. I worked with a diverse team of 157 professionals (musicians, stage managers, choreographers, dancers, ballerinas, set designers, special effects engineers, lighting and sound technicians). At one point during the production process, owing to a delay in completing an important task, I decided to replace a set designing company. I refused their appeal for me to re-consider my decision. They then had approached Sunil, who called me on their behalf. Sunil guaranteed that they would honour the contract as per my deadline. I finally agreed. Sunil always acted on behalf of other entertainers and service providers. He was more like an ambassador for his profession.

3) More Shows at the Mount in 1993 – Sunil became a lead performer for other shows I produced at the Mount Lavinia Hotel. Each performance was unique, innovative and extremely entertaining.

4) The Story Board for a Controversial Song – By 1993, I had gained experience in song writing and music video productions for TV. My first video direction – for my friend Sohan’s popular song ‘Whispers in the Sand’ was nominated for the ‘Music Video of the Year’ Golden Clef Award. Soon after that Sunil invited me to write a story board and then direct a music video for his popular song – ‘Wine, Women and Song’. I immediately worked on it and created a detailed story board and short-listed a group of well-known comedy actors to perform in the music video. Unfortunately, this song faced some censorship challenges due to Sunil’s controversial lyrics. We decided to drop the video production.

5) Profit-sharing – In 1993 I managed to convince the two top bands in Sri Lanka (‘Gypsies’ and ‘Sohan and The X’Periments’) to perform without a fixed fee to usher in 1994 in a venue never before used for a New Year’s Eve dinner dance – BMICH. I negotiated a three-way equal profit-sharing contract between the two bands and the Mount Lavinia Hotel. Unfortunately, owing to a management change, this did not materialise.

6) The ‘Fitness Fever’ Cassette – In 1993, the fourth song I wrote was recorded. I convinced twenty leading singers in Sri Lanka, including Sunil and his brother Piyal to sing ‘Fitness Fever’. I organized a competition and the fans who were able to name all twenty singers were given season passes to the Little Hut, which by then had become the most popular night club in Sri Lanka. The song rose to the number one slot in pop charts soon after its release and remained so for a long period. Soon afterwards I produced a cassette and donated all proceeds to Ranvirusevana (fund to rehabilitate soldiers wounded in the civil war). Sunil fully supported this initiative and encouraged all artists to attend the cassette launching event at the Little Hut Night Club.

Thank You for the Music!

Sunil and I had mutual respect for each other and he was a friend of mine, as well. Sunil was the first to hug and congratulate me when I won the Island Music Award for the Composer of the Year (jointly with Noeline Honter) in 1993. In early 1994 I left Sri Lanka to embark my international career. I followed Sunil’s remarkable career and innovative contributions to the world of entertainment with great pride. I remained an ardent fan of Sunil.

Under the leadership of Sunil, Gypsies became the most successful Sri Lankan band of all time and toured the globe to entertain their ever-growing numbers of fans with Sri Lankan heritage. Sunil cannot be described simply as a successful bandleader, vocalist, guitarist, songwriter and composer. He was larger than life and was an icon. He was easily one of the most famous singers of all time, in Sri Lanka, as well as one of the most recognizable faces. He elevated Sri Lanka’s Baila genre, and gained the nickname “Baila Chakravarthy” (Emperor or King). Sunil inspired generations of musicians. There were many celebrations in the recent years when Gypsies completed 50 years in the entertainment industry and when Sunil turned 65. It was a heart-warming testimony to Sunil’s popularity among peers, when a new song and a music video was released by western musicians in Sri Lanka about Sunil as one his surprise presents for his special birthday.

Dear Sunil, thank you for the music and innovative entertainment over fifty years! I was fortunate to have the opportunity to artistically collaborate with you for a short period of time. You were the undisputed champion of showbiz in Sri Lanka! Rest well, my friend!



Continue Reading
Advertisement
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Features

Matrimony in crisis: Economic volatility, youth outflow, and changing fabric of Sri Lankan families – I

Published

on

by Prof. M. W. Amarasiri de Silva

Sri Lanka’s official crude divorce rate is among the lowest in the world, sitting at roughly 0.15 divorces per 1,000 people per year, which translates to about nine legally finalised divorces, daily, nationwide. However, legal scholars and sociologists emphasise that this figure does not reflect a lack of marital distress or separation. Instead, the low official number is primarily a result of the country’s stringent legal framework, complex judicial procedures, and deep-seated socio-cultural factors that prevent couples from seeking formal legal dissolutions.

A primary driver of the low official rate is Sri Lanka’s fault-based legal framework under general civil law. Unlike jurisdictions that allow “no-fault” divorce or swift mutual consent dissolutions, Sri Lankan civil law requires a petitioning spouse to legally prove specific statutory grounds in court, such as adultery, malicious desertion, or incurable impotence present at the time of marriage. Proving these fault grounds often leads to protracted, emotionally exhausting, and financially draining court battles, discouraging many individuals from pursuing a final decree. Furthermore, personal status matters for Muslim Sri Lankans are governed separately under the Quazi court system via the Muslim Marriage and Divorce Act, which operates under distinct statutory procedures.

Because navigating the formal legal system is so cumbersome and costly, hundreds of couples choose informal separation rather than court litigation. Living apart without legally dissolving the marriage on paper remains a common alternative, meaning official marriage registries undercount the true rate of domestic breakdown. Additionally, strong cultural norms, family expectations, economic dependencies, and social stigma—particularly affecting women—exert significant pressure on spouses to remain legally married even when cohabitation has permanently ceased.

Sri Lanka and other countries

Comparing Sri Lanka, India, and the United States reveals stark contrasts in divorce rates, legal frameworks, and societal attitudes toward marital dissolution. Statistically, Sri Lanka reports an official crude divorce rate of approximately 0.15 divorces per 1,000 people, annually, while India reports a rate of roughly 1 per 1,000. In contrast, the United States records a significantly higher crude divorce rate of around 2.5 per 1,000 people, with roughly 40% to 45% of first marriages ending in divorce. However, these figures reflect distinct judicial mechanisms and cultural expectations rather than a simple measure of marital harmony.

The primary legal distinction lies in the availability of “no-fault” divorce mechanisms. All 50 US.states allow no-fault divorce, enabling either party to dissolve a marriage by citing irreconcilable differences without assigning blame. India occupies a middle ground, where major personal law codes—such as the Hindu Marriage Act—permit divorce by mutual consent, provided the couple undergoes a court-mandated waiting period intended for potential reconciliation. Sri Lanka maintains the most restrictive regime among the three, requiring a petitioning spouse under general civil law to prove specific statutory faults, such as adultery or malicious desertion, through formal adversarial court proceedings.

Pluralistic personal law systems also shape how marital disputes are handled in South Asia compared to North America. Both Sri Lanka and India apply distinct personal status laws, based on religious or ethnic identity, such as Kandyan and Muslim laws in Sri Lanka, or Hindu, Muslim, and Christian personal codes in India. In contrast, the US relies strictly on uniform state civil codes for property division, spousal maintenance, and child custody, eliminating religious adjudication from the legal process.

Official divorce rates in Sri Lanka and India significantly undercount actual marital breakdowns. High legal costs, protracted court battles, and strong social stigma often lead estranged couples in both South Asian nations to choose informal, permanent separation over formal legal proceedings. In the United States, clear statutory procedures for asset distribution and custody arrangements encourage individuals to formally conclude their marriages through the judicial system rather than living in legal limbo.

Unmarried Sri Lankans

Data from the Department of Census and Statistics reveals that the proportion of the population that has never married has risen dramatically to over 40 percent. This shift reflects a major demographic transition characterised by delayed marriages, changing socio-economic priorities, and economic instability that has led many young adults to postpone or forego marriage altogether.

While both men and women are increasingly remaining unmarried, the trend manifests differently across genders due to distinct socio-demographic factors. Men generally marry at an older age than women—with the average age at first marriage rising toward 29 years for men compared to around 25 to 26 years for women. As a result, in younger adult cohorts, a noticeably higher percentage of men remain single at any given time.

Conversely, a different demographic dynamic affects women in older age cohorts. Sri Lanka exhibits a distinct gender imbalance in its total population, with women outnumbering men—there are roughly 93 males for every 100 females nationwide. This imbalance, combined with higher female life expectancy and significant labour migration of men seeking overseas employment, creates a structural shortage of eligible partners for women in certain age groups, contributing to a growing number of women remaining unmarried or living alone in later life.

The marriage expectations and ages by gender can be inferred through matrimonial advertisements in newspapers. Matrimonial advertisements, published in leading Sri Lankan weekend newspapers, offer a revealing look into the country’s shifting demographic trends and evolving marital preferences. These classified sections, traditionally placed by parents or family elders, rather than the individuals themselves, reflect a structured marriage market where personal expectations, economic security, and socio-cultural compatibility intersect.

The age profile of individuals advertised in these columns mirrors the broader national trend toward delayed marriage. For women, the typical age range featured in listings spans from 24 to 32 years, while for men, advertisers generally range between 28 and 38 years. Furthermore, advertisements for individuals in their late thirties, forties, or older have become increasingly common, particularly in notices seeking secondary marriages following a legal divorce or the loss of a spouse. The concentration of listings in older age brackets highlights how higher educational pursuits, career establishment, and economic challenges have pushed marriage further into adulthood.

Horoscope compatibility

Expectations detailed in newspapers emphasise a combination of traditional socio-cultural criteria and modern status indicators. Horoscope compatibility remains a fundamental requirement across a large majority of listings, alongside considerations of caste, religion, and regional background. Personal character is heavily weighted, with advertisements for men frequently specifying a desire for non-smoking, non-drinking partners, while descriptions for women routinely emphasise moral standing, domestic capability, and physical attributes.

Socio-economic standing and professional qualifications serve as primary benchmarks in prospective partner selection. Listings placed by women’s families heavily prioritise male suitors with secure employment in established sectors, such as medicine, engineering, law, management, or government service, alongside evidence of financial stability or asset ownership. Advertisements for men similarly seek educated and career-minded partners, though often balancing professional credentials with traditional family values. Notably, both publications feature a substantial proportion of listings placed by or seeking non-resident Sri Lankans and dual citizens, reflecting the strong pull of foreign residency and international mobility as desirable attributes in prospective matches.

Horoscope matching and dowry expectations in Sri Lankan matrimonial advertisements reflect a delicate interplay between longstanding cultural traditions and modern socio-economic realities. These two elements serve as primary filtering mechanisms during the initial stages of family-mediated matchmaking, helping families gauge spiritual alignment, family background, and long-term economic compatibility.

Horoscope compatibility remains a nearly indispensable prerequisite across a vast majority of Sinhala and Hindu marriage notices. Advertisements routinely include explicit phrases such as “send copy of horoscope with reply” or “astrologically compatible match sought,” underscoring the belief that planetary positions at birth dictate marital longevity, health, and mutual prosperity. Families often consult professional astrologers (nakath karayo) to compare charts (Janma-pathra) before engaging in direct personal meetings. Beyond general alignment, specific astrological conditions—such as Kuja Dosha or planetary placements associated with delayed marriage—are actively declared or sought out to ensure balanced pairings, making astrological clearance the first major gatekeeper in the proposal process.

Dowry expectations

Dowry expectations have undergone a significant transformation in contemporary Sri Lanka, evolving from explicit demands for wealth into subtle indicators of financial security and asset sharing. While direct references to cash or specific dowry amounts have largely disappeared from modern newspaper classifieds due to changing social norms, advertisements routinely signal material contributions through references to family assets. Listings placed by a bride’s family frequently highlight inherited residential properties, land parcels, vehicles, or substantial financial savings, framed positively as background assets rather than a mandatory transaction. Conversely, advertisements placed by grooms’ families often emphasise secure professional income and housing ownership, establishing an expectation of shared socio-economic parity between both lineages.

Ultimately, the portrayal of horoscopes and dowry in matrimonial advertisements illustrates how Sri Lankan families preserve traditional cultural safeguards while adapting to contemporary legal and economic environments. Horoscopes continue to function as an essential spiritual and psychological reassurance of harmony, while evolving dowry practices reflect a mutual investment strategy focused on helping young couples navigate modern economic pressures and establish financial stability.

Digital matrimonial platforms

Digital matrimonial platforms, dedicated matchmaking websites, and social media networks are reshaping traditional matchmaking practices in Sri Lanka. While the core objectives—securing compatible, stable, and family-approved partnerships—remain consistent, the shift to digital infrastructure has decentralised the matchmaking process, giving individuals greater agency while altering how personal data and socio-economic expectations are presented.

Specialised digital matrimony sites, such as Poruwa.lk and Matchmaker.lk, have modernised print classifieds by replacing brevity with structured digital profiles. Unlike newspaper advertisements, which are constrained by line limits and word costs, digital profiles allow candidates, or their families, to upload detailed personal biographies, verified educational certificates, career histories, and multiple photographs. Privacy controls on platforms, like Poruwa.lk, allow users to restrict photo visibility and obscure contact details until a mutual interest is established, offering safety and discretion that public newspaper columns cannot provide.

Social media platforms, particularly dedicated Facebook groups and WhatsApp channels, have democratised proposal exchanges across urban and rural demographics alike. These informal digital groups allow families and self-registering candidates to post notices directly without incurring publishing fees or relying on commercial matchmaking brokers. The interactive nature of social media enables direct messaging between interested parties, reducing the initial lag time typical of postal or phone responses generated by newspaper listings.

Digital matchmaking has also transformed how traditional criteria like horoscopes and dowry assets are handled. Many online platforms integrate digital horoscope software directly into their search filters, enabling automated chart matching before contact is initiated. Similarly, asset preferences are often communicated through structured fields detailing property ownership, foreign residency status, or career mobility, rendering explicit dowry discussions obsolete. By streamlining preliminary vetting, digital platforms allow Sri Lankans, especially young professionals and expatriates, to balance traditional familial expectations with modern efficiency.

Family-mediated marriages

While subtle differences exist in framing, with a popular English weekly in Sri Lanka leaning toward urban, English-speaking, and expatriate circles, and its Sinhala counterpart serving a wider Sinhala-speaking demographic, both mediums demonstrate that family-mediated marriage in Sri Lanka remains deeply anchored in structured compatibility, educational status, and long-term financial security.

Socio-economic factors also drive these decisions differently across genders. For many men, the financial burden of establishing an independent household, securing stable employment, and meeting traditional expectations of financial provision causes prolonged delays in marriage. For women, expanded educational attainment and changing lifestyle expectations mean that marriage is increasingly viewed alongside career goals or personal independence, rather than as an immediate or mandatory life milestone.

The severe economic volatility and escalating inflation experienced in Sri Lanka have acted as direct catalysts in altering traditional family planning and delaying marriage. Establishing a new household requires significant upfront capital, including funding wedding ceremonies, housing deposits, and securing household goods. With sharp rises in the cost of living and persistent real wage stagnation, young adults face immense financial barriers, prompting couples to postpone marriage or avoid formal marital commitments until economic conditions stabilise. (To be continued)

Continue Reading

Features

What nature knows that humanity has forgotten

Published

on

Urban development

by Dr Debapriya Mukherjee                                  
Former Senior Scientist
Central Pollution Control Board

Human beings often treat nature as an unlimited storehouse, clearing forests, polluting rivers and degrading soil for immediate gain. Animals and plants, without environmental policies or scientific knowledge, survive through relationships with their surroundings and other forms of life. An elephant needs connected habitats; a bee depends on flowers; a tree supports organisms while drawing nutrients from the soil. Humans can understand these connections, yet too often act as if their consequences did not concern us.

Elephants remind us that habitats cannot survive as isolated islands. Elephants disperse seeds and shape vegetation through feeding. Roads, railway lines, mines and settlements can obstruct their movements, increasing the risk of accidents and encounters with people. An elephant entering a village may reflect not only animal behaviour but also habitat fragmentation or changes in access to food and water. Protecting elephants therefore means conserving the corridors connecting essential habitats, not merely preserving separate patches of forest.

Vultures reveal the value of nature’s unsung services. These scavengers consume carcasses and help remove decaying animal material. India’s vulture crisis, linked particularly to exposure to the veterinary drug diclofenac, showed how a chemical used for one purpose can disrupt a distant ecological process. A creature often dismissed as unattractive may perform a service whose loss has far-reaching consequences.

Bees and bats reveal the biological foundations of food security. Bees pollinate many crops and wild plants. Certain bats also pollinate flowers, disperse seeds or consume insects. Habitat destruction, pesticide exposure and loss of food sources can threaten these contributions. Agricultural success cannot be judged by yield alone; the health of pollinators and the wider landscape also matter.

Frogs can warn us of environmental disturbance. Many amphibians have permeable skin and depend on both aquatic and terrestrial habitats. Some populations are sensitive to pollution, pesticides, habitat loss and disease. Frogs also consume insects and provide food for birds, snakes and other animals. Their decline does not identify a particular pollutant by itself, but it can warrant investigation. A pond may still hold water while losing important elements of ecological health.

Earthworms and termites reveal the living world beneath our feet. Earthworms contribute to soil structure and organic-matter decomposition. Termites recycle plant material and influence soil formation in many environments. Alongside fungi and bacteria, these organisms sustain processes essential to soil health. This matters to agriculture: applying cow dung or vermicompost does not guarantee a good crop if soil conditions and nutrient requirements are unknown. Agricultural inputs should be chosen according to soil properties, water availability and crop needs.

“Elephants remind us that habitats cannot survive as isolated islands. Elephants disperse seeds and shape vegetation through feeding. roads, railway lines, mines and settlements can obstruct their movements, increasing the risk of accidents and encounters with people.” (A file photo by picture by Dilum Alagiyawanna.)

Mangroves

Fig trees and native grasses show why conservation must respect each habitat’s character. Many fig species depend on specialised fig wasps for pollination, while their fruits feed birds, bats and other animals. Native grasses provide food and shelter for insects, birds and grazing animals. Planting trees everywhere is therefore not necessarily ecological restoration. Converting natural grasslands into tree plantations can damage habitats adapted to open landscapes. Conservation must protect the ecosystem suited to each place, not simply increase tree numbers.

Mangroves and wetland plants provide natural protection. Mangroves support wildlife, trap sediments in suitable conditions and can reduce wave energy and coastal erosion. Wetlands store water, provide habitat and cycle nutrients; some also help moderate flooding. Neither can prevent every cyclone or flood, but destroying these systems without assessing their functions may increase risks and the cost of protecting communities.

Nature is not a world of perfect cooperation. Predators hunt prey, plants compete for sunlight, and organisms sometimes harm one another. Its lesson lies instead in interdependence, environmental limits and the consequences of disruption.

Development is often measured through roads built, buildings completed and economic returns. These achievements matter, but the picture is incomplete when ecological damage is ignored or its costs are transferred to other communities. Science enables us to examine impacts before approving projects, protect wildlife corridors before they are severed, test soil before choosing inputs and assess wetlands before filling them. Knowledge, however, protects nature only when it influences decisions.

Nature does not ask humanity to abandon progress. It asks us to distinguish genuine progress from activities that destroy their own ecological foundations. A vulture, frog, bat, termite or fig tree may seem insignificant in isolation; their importance emerges through the processes they sustain.

The living world offers no simple moral sermon, but a scientific truth: a civilisation that neglects the ecological relationships sustaining life ultimately undermines its own future.

Continue Reading

Features

Man Behind the Music: Ananda Ganegoda and Singlanka

Published

on

Ananda Ganegoda

A tribute to the man who believed Sri Lankan music deserved the very best

by Vindana Ariyawansa

Some people build companies. Others build institutions that outlive them. When Ananda Ganegoda passed away last week at the age of 81, he left behind something far larger than a business: a cultural landmark whose logo sits on the cassette shelves of countless Sri Lankan homes, and whose songs many of us grew up with without knowing the man who made them possible.

For decades, his name and Singlanka were one and the same. Both stand for the belief that Sri Lankan music deserved the highest standard of quality in its content, its production and its presentation.

“Singlanka: the symbol of excellence in creation and of priceless perfection in finish!”

That was the promise printed in the company’s advertising, and Ananda Ganegoda spent his life trying to keep it.

A friendship that changed a life

In the 1970s, Ganegoda was already a successful businessman from an industrialist family, running enterprises alongside his brothers. Then he met pop singer Milton Mallawarachchi, and the friendship became a turning point.

Through Milton, he came to know many of the country’s most celebrated artistes. He admired them deeply, and they welcomed him into their circle. Before long, the businessman had become something rarer: a patron who supported the country’s artistic endeavours out of genuine love for them.

Worried for the artistes

By the late 1970s the audio cassette had become the most practical way to sell music, and many businessmen rushed into the trade. Ganegoda watched this with concern. He worried about what it meant for singers’ creative and financial independence, and whether the people who made the music would share fairly in its rewards.

At the request of leading artists, he decided to enter music production himself. He did it, by every account, without commercial ambition. His only intention was to serve the artists.

18 March 1980

Singlanka was founded on 18 March 1980 as a limited company. Its founding team was remarkable. Clarence Wijewardana, the celebrated singer and songwriter, joined it. So did the renowned lyricist Kularatna Ariyawansa, who gave up his government job to be part of the venture, and continued to this day as its creative director. Vijaya Ramanayake, owner of the Tharanga record label, took charge of distribution.

Dozens of veteran artists who were close friends of Ganegoda handed over songs they had recorded independently to be released under the new label. Many new songs were recorded under the guidance of Clarence Wijewardana and Vijaya Ramanayake. In April 1980, Singlanka launched with 25 albums at once.

The first cassettes were produced in Singapore and imported. Because Sri Lanka then lacked the facilities to print Sinhala on the covers, the first sleeves carried their titles and information in English. Listeners objected, and the albums were quickly re-released with new covers in Sinhala.

By December 1980, 15 more albums recorded earlier in the year had followed. That same year, the Singlanka recording studio opened in Nugegoda under Clarence Wijewardana’s supervision. Equipped with the latest technology, it produced the country’s first eight-track recordings. Ganegoda invested heavily in it, and with veteran recordist Dayananda Perera at the helm it became the busiest and most respected studio in the country.

One roof, one family

The year 1981 was a landmark for the company. Ganegoda held a strong conviction that artists should not be left at the mercy of a fluctuating cassette market, which made careers unpredictable and unsustainable. If he could give them stability under one roof, he believed, they could give their energy to their art instead of worrying about money.

So, he invited them to join Singlanka, and they came. Amaradeva, Nanda Malini, Victor Rathnayaka, Sanath Nandasiri, Milton Mallawarachchi, Gunadasa Kapuge, Priya Sooriyasena, Sisira Senarathna, Indrani Wijayabandara, Malkanthi Nandasiri, Clarence Wijewardana, Anton Jones, Abeywardana Balasooriya and Niranjala Sarojini became exclusive Singlanka artists. Sunil Edirisinghe, T. M. Jayaratna, Somathilaka Jayamaha, Karunarathna Divulgane, Deepika Priyadarshani, Janaka Wickramasinghe, Rohan Bulegoda and Dayan Witharana joined them later.

Singlanka also produced best-selling albums by H. R. Jothipala, M. S. Fernando, Desmond de Silva, Nihal Nelson and Vijaya Kumaratunga.

The journey was not without heartache. Some ventures did not bear fruit, and it pained him when a few artistes left the label over the years. But the majority stayed, which says something about the man they stayed with.

A company of firsts

Singlanka’s catalogue reads like a record of firsts for Sri Lankan music:

· In April 1981, it released the first film soundtrack on cassette, for Sunil Ariyaratna’s Vajira.

· That year it also released Nanda Malini Live in London, the country’s first live-recorded cassette.

· In 1982, Ganegoda began replicating cassettes in Sri Lanka itself, having previously relied on Singapore. Veteran musician Rohana Weerasinghe left his government teaching post to join the company in 1983.

· In 1983, Prof. Ediriweera Sarachchandra’s iconic play Sinhabahu was released on a double cassette. Noorthi and Nadagam Songs, directed by Punyasena Gunasinghe, followed as another first.

· In 1984, under Sanath Nandasiri’s direction, came Madhubani, the country’s first album of classical instrumentals and songs, launched with a classical concert at Colombo’s Tower Hall.

· The same year, Nanda Malini’s double vinyl album Sathyaye Geethaya was released. Vinyl was not in popular demand at the time, so the experiment was not continued.

· In 1987, one of Ganegoda’s dream projects came true with Dorata Waduma, an album by six talented amateur singers. It introduced the singer Deepika Priyadarshani.

· In 1987, Sansare Api became the first collection of songs written by a member of the clergy, the Venerable Rambukkana Siddhartha.

· In 1989, Dhammapada Geethaya set verses of the Dhammapada to song.

The famous Singlanka logo was designed by Charlie Chang of Singapore. It has since become a timeless emblem of quality Sinhala music. In its first decade alone, Singlanka produced 136 original albums, a remarkable achievement for a company built on original recordings.

A patron of the nation’s culture

Ganegoda’s generosity reached well beyond his own studio. During its first two decades, Singlanka contributed financially to virtually every prominent national artistic event in the country.

In the early 1980s he sponsored concert tours to the United Kingdom for Amaradeva, Sisira Senarathna, Indrani Wijayabandara, Sunil Edirisinghe, Malani Bulathsinhala, Sanath Nandasiri and Malkanthi Nandasiri, carrying Sri Lankan music to audiences abroad.

He supported the first Sarasaviya Film Festival at the BMICH in 1980, the University of Colombo Art Festival, the G. B. Senanayake scholarship at the University of Sri Jayewardenepura, and the Mahagama Sekara Memorial Festival. He supported the Amaradeva felicitation event, the Children’s Books Society’s book exhibitions and prize-givings, the Bandaranaike Memorial Foundation Fund, and the Charles Silva Gunasinghe Memorial Fund. He supported the Vesak Bhakthi Gee Festival of the Lake House Buddhist Society, the “40 Years of Sinhala Cinema” event organised by the film critics and writers’ society, Prof. Sarachchandra’s drama festival, and the Premakeerthi Tribute Festival.

He also helped launch Amaradeva’s Naada Siththam, Dharmasiri Gamage’s Sulan Kurullo, and the concert Mage Swarayayi Obe Ridmayayi by Victor Ratnayake and Premasiri Kemadasa. These are only some of the many occasions on which he quietly gave his support.

More than a company

Today, Ananda Ganegoda’s name and Singlanka are inseparable. Singlanka is more than a record label. It is a cultural emblem of Sri Lanka, one that preserved the country’s musical heritage and identity for a generation and set a benchmark that the industry still looks to.

He began as a businessman who befriended a singer. He became a guardian of Sri Lankan music, giving artists a home, a stage and the security to create. Most of the millions who have hummed those songs may never have known his name. But every time a Singlanka melody plays, his dream is still being heard.

Continue Reading

Trending