Opinion

Vesak afterthoughts

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By Dr Upul Wijayawardhana

Ideally, the triple commemoration of the birth, enlightenment and Parinibbana of the Buddha ought to be a religious affair, but we have made Vesak the most colourful celebration, which eclipses the religious aspects of the event. On top of decorations and illuminations in every house and street, there are pandals depicting the life of the Buddha. Although we share these with many other Buddhist countries, our unique contribution is the ‘dansala’. Having missed Vesak celebrations for three consecutive years due to the Easter Sunday attacks in 2019 and the pandemic, there was great anticipation for a proper celebration this year, but unfortunately all hopes were dashed due to the prevailing politico-economic crisis.

In spite of shortages, some ‘danselas’ were held and few small pandals erected but even the weather-gods were against us, and overturned the pandal in Pettah. However, what was striking was the scant attention given by the mediat to the Vesak events. Perhaps, they had more important things to report on.

Being stuck due to the pandemic in UK, we had our own share of the problems. Most Buddhist temples here are not purpose-built; our temple Nottingham Shanti Vihara being no exception. We need to hire a venue on occasions like Vesak celebration and Katina ceremony to accommodate large crowds. We never got the opportunity to celebrate Vesak on the actual Poya day; celebrations were held during the weekends before or after that day. Due to the pandemic we had to make do with joining the celebrations via Zoom in the last two years. However, this year our Loku Hamuduruwo, Venerable Teldeniyaye Amith, was able to find a venue to celebrate Vesak, which fell on Sunday, and we were waiting in anticipation. Unfortunately, two days before the Poya Day, it was found that the venue had closed without any intimation! We had to make do with a Zoom ceremony for yet another year.

Although one of the most important messages of the Buddha is impermanence, not having developed a significant degree of detachment, I can’t help being a worrier. Therefore, these failings added to the gloom already created by the events back home. However, my mood was lifted thanks to Kirthie, Karunaratne Abeysekera’s younger brother, who sent me the link to a music programme, broadcast shortly before Vesak, where Ishak Baig sang Buddhist songs originally sung by his renowned father Mohideen Beg, whose beautiful voice entertained us for decades (https://www.youtube.com/watch?v=FXBX8YcX5Ro).

It is one of the best music programmes I have watched for a very long time. Sparsha, a music programme by Derana TV, recorded open-air in Kande Vihara displayed what a gifted singer Ishak is. He sings from his heart and displayed a wonderful understanding, especially for a non-Sinhala Buddhist, for the superb lyrics written by the great Karunaratne Abeysekera. Surprisingly, one of the songs which many assume to be written by Karunaratne, because of the style, was by his younger brother Gunaratne, who was overshadowed by Karuayya. Ishak’s conversation with the presenter Kokila Pawan was very informative. He revealed how Gunaratna had volunteered to compose a song on Buddha Gaya, which Mohideen Baig desperately needed. Beautiful music provided by Naada orchestra well rounded an uplifting programme.

“Buddham Saranam Gachchami”, which reverberates throughout Sri Lanka during Vesak was the first song in the programme. It is from the 1960 Hindi film “Angulimaal” starring Nimmi and Bharat Bhushan which was later dubbed in Sinhala. The original song is sung by Manna Dey, who, according to Ishak, was in the sound studio when Mohideen Baig sang the Sinhala version and congratulated Baig for singing better!

The second song Minisamai Lova Deviyan Vanne, Minisamai Lova Thirisan Vanne–– ‘It is man who becomes both God and animal in this world’––has a special significance to the present as it has the words, eka kusa ipadeela, vairen mathwela, thama sohoura marai, wasa visa deela” (… though born in the same womb, maddened with hatred, kills own brother, giving poison)!

The third song, Budunge ama dharme, nothere jana me (‘eternal truth of the Buddha, the ordinary not understanding it’) is yet another song where Karu Ayya makes a fine blend of musicality and Buddhism.

The next song, Amataka karalamu perani katha, ekvemu jathiye diyuna patha (‘Let bygones, be bygones, let’s get together for the progress of the nation’), surely, should be our theme song at this perilous hour!

Suvade, mata seethala sulanga pava, himi buduwuna Buddhagayawe

(‘Even the cold breeze which comes from where He attained Enlightenment, Buddha Gaya comforts me’) makes you feel as if you are in Buddha Gaya. It has been penned by Gunaratna. Ishak considers it a great privilege that he was able to sing this song and Buddhan saranam gachchami in Buddha Gaya. He says this unforgettable moment was capped by his receiving a small Buddha statue made of sandalwood, which he kept on his lap on the return flight. Interestingly, a Catholic friend of his father, borrowed the statue and kept it with him till his death and then Ishak got it back. Is this not Sri Lanka at its best?

Sinahaven ho kathawen be manninata miniha, sithe athide, sithe athide kauda danne, kiyannata wimasa

(‘You cannot judge a person by his smile or words’) is about those who eat together, drink together yet harbour hostile feelings.

The programme ends with the well-loved song, Giri hel mudune, mahanel nopipe, hiru nonage, avara girehe (On top of a hill, water lilies do not bloom, and the sun does not rise from the West). This song concludes with Dinu jathiya vatina Sinhale, abhimnawu deya me Sinhale, ee niga sirithe geli, ha noga edinu deli, parasiritheni oba hela meni eida soketa heluwe (‘Born to great Sinhale, proud land this Sinhale, indulging in shameless behaviour … why did you bring sorrow to Mother Lanka with misbehaviour?’).

I watched the entire programme with tears welling up in my eyes, especially as Ishak’s powerful voice rang out, echoing in the plains below the Kande Vihara––Oba Hela Meni, Eida Soketa Heluwe–– ‘Why did you bring sorrow to Mother Lanka?’

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