ANANDA SAMARAKOON MULTIFACETED ARTISTE ,LITERARY GENIUS,LYRICIST OF NATIONAL ANTHEM,PLAYWRITE,VOCALIST, ACCOMPLISHED PAINTER AT PINNACLE OF FAME – by Sunil Thenabadu
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Egodahage George Wilfred Alwis Samarakoon born on the 13th January 1911,to duo Samuel Samarakoon,the Chief Clerk the British owned Maturata Plantations and Dominga Peries in Watareka Padukka.He was popularly known as Ananda Samarakoon was born as the second of four sons to a Christian family. He became a multifaceted individual, possessing a sturdy backbone was an acclaimed Sri Lankan ,Sinhalese lyrics composer, vocalist, playwright , musician and an artist cum painter. He was educated at primary classes at the Wewala school, has had his secondary education at the CMS Sri Jayawardenapura College now renamed as Christian College. He composed the Sri Lankan ‘National Anthem”, ” Namo Namo Matha”, is considered the father of artistic Sinhalese music and founder of the contemporary Sri Lankan Sinhalese ‘Geeta Sahitya’ ,the Song Literature responsible for its status which exists to date. He committed suicide on 2nd April 1962, by swallowing an overdose of sleeping tablets ,possibly driven by unauthorized changes to lyrics in his composition of Sri Lanka’s ‘national anthem’. His Sinhala Guru was Pandit D.C.P. Gamalathge. Later he served his Alma mater as a teacher of Music and Art. Soon Ananda Samarakoon left to the Visva-Bharati University, Shantiniketan in India to study art and music. After six months he had abandoned his studies and returned to the then Ceylon, and changed his name to Ananda Samarakoon, embracing Buddhism.
Afterwards he served as the music teacher of Mahinda College ,Galle from year 1938 to 1942.In year 1937, the popular music of Sri Lanka comprised of songs derived from the North Indian Ragadhari music culture. The lyrics of all songs often contained meaningless phrases with little or no literary merit as for the North Indian music tracks, arbitrary words were inserted. Ananda Samarakoon set out boldly to generate a formula of a music that can be classified as Sri Lanka’s own, came out with the song ‘Ennada Menike’ (එන්නද මැණිකේ) in year 1940, that paved the preliminary foundation for the original artistic Sinhala music as the forerunner to songs of our own culture which was emulated by Gurudevi Sunil Santha subsequently. In year 1940, it is reliably learnt that he had suddenly got up from his deep sleep had in a mighty hurry composed the lyrics of ‘Namo Namo Matha’ to instil true patriotism and love for his native country. It was first sung by the little Mahindians at the prestigious Olcott Hall in Mahinda College. That song was later selected as the National anthem of Sri Lanka by the Sri Lankan government on November 22nd 1951.The incentive of Rupees two thousand five hundred offered to him as a payment too had been fictitiously claimed by the proprietor of Kumudini book publishers.
The love themed song ‘Endada Menike’ unfolds in the form of a dialogue between a young village boy and a girl. It was very poetical and stunningly rural, it became a success , Ananda Samarakoon followed it with a string of popular songs in the early to mid-1940s, the period considered as his golden age. Among his best-known works were: Podimal Etano (පොඩීමල් එතනෝ)Vilay Malak Pipila,Poson Pohoda,Asey Medura,Sunila Guvanay,Punchi Suda,Nilvala Gangay,Sumano,Pudamu,Kusum and Siri Saru Saara Ketay.
In year 1945, Ananda Samarakoon’s only son died at the age of five, when the grieving Samarakoon left Sri Lanka to India where he pursued a painting career had held eleven art exhibitions there. Though his painting were much-admired, he returned to music in native Sri Lanka in year 1951.One of Ananda Samarakoon’s early compositions, ‘Namo Namo Matha’ was designated as the national anthem and was officially adopted as the national anthem of the, then Ceylon on 22 November 1951, from a committee headed by Sir Edwin Wijeyeratne. Ananda Samarakoon with the assistance of Tagore had translated the Sinhalese words into Tamil vernacular to compile the national anthem in Tamil having the same meaning. Critics had unmercifully attacked Namo Namo Matha, particularly on the “Ghana” significance of the preliminary words (Namo Namo Matha) which labels disease and would bring ill luck to the political leaders of the country. Ananda Samarakone who had completed ‘Ghana Shasthra’ studies in India, clearly stated to the ones who were asking to change the lyrics, that he is the only one to have completed Ghana Shastra studies in India and that he would definitely know if there is any mistake or not. But after some days, he was asked to visit the Sri Lanka broadcasting corporation was made to listen to his song which had been changed without his knowledge and consent. But it was expressed in retaliation that Buddhists ‘Namothassa’ begins too with letter “N”. But having confidence Ananda Samarakoon had challenged the related authorities that the millions also utter ‘Namobuddhaya’ too begins with the letter ‘N’. After the authorities pointed out this discrepancy observed Ananda Samarakoon had conveyed this explanation to the authorities. But as there was no response to his plea for a period of one month, on 5 April 1962, at the age of fifty one, Samarakoon committed suicide by swallowing an overdose of sleeping tablets, and the motive is said to be because some lyrics of the Sri Lankan National Anthem were changed without his consent. Ananda Samarakoon had written a letter to Dudley Senanayake with a beautiful picture of Lord Buddha meditating under a tree with a ‘deer passing through. It is reported that Ananda Samarakoon used all natural colours for his extensive paintings.
Tabindranath Tagore’s visit to Sri Lanka in 1934 had created an enormous interest among the youths in our country to study art , music, dance and drama at the portals of Shantiniketan. Among those who went to India then was Ananda Samarakoon. The others were Deva Surya Sena, Saranagupta Amarasinghe, Anangalal Athukorala, Suriyasankar Molligoda, Sunil Shantha and W.B. Makuloluwa.
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Ananda has first studied at Wevala Government School, Piliyandala. In class in hated the subject ‘mathematics”. Owing to hating the subject he had been in the habit of writing lyrics of verses. When a teacher observed he was looking at a nearby ‘werahera’ river through a classroom window and writing verses, he had been told to compose music and sing for other students to hear but his attitude had been an annoyance to his teachers. Ananda had joined Christian College, Kotte in 1919 and passed the School Leaving Certificate Examination and excelled in art and music which enabled him to join the staff of the College in 1934. His father excelled as a violinist and his two brothers’ aptitude for art must have influenced Ananda Samarakoon to pursue on those lines having had inherited hereditary affiliations with innate talent.
On May 9, 1934 , Rabindranath Tagore visited Sri Pali in Horana and laid the foundation stone for a base of learning exclusively fine arts on the lines of Shantiniketan. Tagore’s party consisted of 40 artistes. They staged musical programmes in Panadura, Colombo and Kandy drawing many enthusiastic audiences. The interest in music sparked in the brain of Ananda Samarakoon to study art and music. He then proceeded to Shantiniketan and studied art under Nandalal Bosh and music under Shantidevi Gosh. The training he received in India was extensive such that it helped and guided him later to research unique techniques of presenting musical programs. The singers then sang devotional songs having had only a limited range of themes. Ananda Samarakoon with his experience was able to create a different mode of Sinhala music based on folk poetry.
Ananda Samarakoon using his experience made several compositions deviating from the then popular songs based on Buddhist themes. He used uncomplicated themes related to nature which appealed to both young and old. The folk vernacular helped him to sing melodies that became fashionable, widespread in the country. He derived his inspiration exclusively from the nature. Inspired by nationalism his songs conveyed patriotic approaches and temperaments. He taught music in several schools, namely; Mahinda College, Galle, Dharmasoka Vidayalaya, Sri Sumangala Vidyalaya Hikkaduwa, Sujatha Balika Vidyalaya, Matara, Ananda Vidyalaya, Colombo, Teachers’ Training College Balapitiya, University College Colombo. He also composed several school songs for Sujatha Balika Vidyalaya, Matara and Rahula Vidyalaya Matara etc.
His musical career was greatly influenced by Tagore’s masterpieces comprised in most od his compositions. He sang to the accompaniment of esraj, flute and jala tarang a melodic musical instrument. His compositions displayed his creative ability by using themes which were found in our folk verses. This aspect can be seen in his songs such as Panchi Suda Sudu Ketiya, Podimal Etano etc.Most of his duets had simple words to evoke emotions when one hears them sung, set to instrumental music. When one hears these songs, they arouse feelings of their old days in the village. He did admit that he was chiefly influenced by the music of Bengal. They could be sung alone or in a group. Here he laid his immense popularity, fame as a singer.
The songs had a direct appeal to the listeners. The poetic element can be noticed in his popular song, “Ennada Manike Mamath Diyambata”. His composition for a film: Irangani “Raniye Ennako Nagi ma Pem” conveys the affection of a love using communicative phrases without being ‘vulgar’. In his popular songs “Ese Madura Jeevanaye Geetha, Namu Ama Dahare” describes a pleasant night lit by the moon, painting the beauty of nature choosing the precise phrases. The most notable contribution of his was the national anthem. It needs to be emphasized about the pioneer efforts rendered by Ananda Samarakoon to the ‘Gramaphone” era in Sri Lanka as a pioneer, which needs to be commended.
After the national anthem was approved by the government it has had only three original recordings. It was these recordings that were copied and played at foreign embassies, schools, government officers, at all other functions. But it had been recorded with poor technology that existed then.But as an appropriate decision after the demise of Ananda Samarakoon with modern technology a rerecording had been done with forty eighty competent singers from all communities like Dalrene Suby, Kalawathie etc using modern technology. It is this version that is currently played at all embassies, schools, government offices and at all other functions.
“Namo Namo Matha” a song conveying patriotism and the love for native Lanka. He composed songs for Sinhala films namely “Sujatha 1953, Sedasulang 1955, Duppathage Duka 1956, Dosthara also 1956 and Surasena 1957 ( Ananda had written all lyrics of the film theme) Wedibima 1961 and Wana Swargayak Kumatada in 1963 which was shown two years after his demise. As a singer and composer, he was keen to create music for children to inspire them in understanding the nature and its beauty through music. Ananda Samarakoon initially composed and sang ‘Kumudini’ then Singithi gee,Gee Kekula and Mahadenamuththa ( kavi) .For childrens’ songs he used his paintings to accompany them to thrill the kids.
There had been vivid memories of him by a nephew of his. He had been a happy-go-lucky man, but also highly looped, and emotional took part in parties and baila competitions, with all the children taking part. Most of all poignant memories of the day when he arrived in his baby Austin, parked near their gate and when he ran to greet him told him, “Puthe, mage oluwa galawala, when ekak hi karala.” (My head has been removed and another fixed.) The significance of which was nor understood by the boy his nephew ,who was only 11 years old at the time.
In the late fifties, controversy raged whether the “ghanaka in the lyrics of Namo Namo Matha were inauspicious. There was speculation that the country was facing tragedy, floods, other natural disasters because of them. But nothing had happened until August 1960, when the government of Sirimavo Bandaranaike decided to change them. The National Anthem was sung with the words ‘Sri Lanka Matha’ for the first time in February 1961 on the Independence Day.
It had been November 22, 1951, when Namo Namo Matha was accepted as the National Anthem, with a press release being issued by the then government on March 12, 1952. The irony is that ‘Namo Namo Matha’ was not composed as a national song, but was the last one in a song book Ananda Samarakoon called, ‘Geetha Kumudini’. He had been inspired to compose ‘Namo Namo Matha’ while on a plane, flying back from India ,where he had been studying at Shanti Niketan for just six months on viewing his motherland from the mid air. As he didn’t have money to publish ‘Geetha Kumudini’, he had sold his manuscript to printer R.K.W. Siriwardena for a minor sum.
When the government called for entries to be considered as the national song, Ananda Samarakoon was in India once again, and his wife and brother Berty, had submitted this entry. When ‘Namo Namo Matha’ was selected, the princely sum of Rs. 2,500 Samarakoon received at that time, automatically went to the printer, because he had sold his copyright. What this maestro couldn’t understand was why there was a clamour for lines in the National Anthem to be changed. His parting words before swallowing the drug overdose, in his letter to Dudley Senanayake, then Opposition Leader, were that he did not wish to live in this cruel society anymore.
But there were also happier times for the Ananda Samarakoon, when the three brothers would get-together with Amaradeva and hold ‘jam’ sessions into the night on the ‘verandah’ of their house. There were also the family functions, where Ananda Samarakoon would persuade his nieces and nephews to hold ‘baila’ competitions, mainly of his songs, and be the sole judge and jury in selecting the winner.
Not only was he a composer and singer but also a good painter. Sunil recalls how his uncle never used watercolours, only paints made of natural ingredients. The red was made from a stone called ‘sandalingam’ found in the south of the country, the green from midella and gotukola, the white from kirimeti or egg white and the black was taken off the lamp flame. To mix the paint he used cashew milk or divul kiri and it was the job of his nephews and their friends to roam the Ananda Samarakoons’ ancestral properties on Pagoda Road, Nugegoda in search of those. They would also hang around while he painted.There are over eighty such paintings preserved for posterity by his relatives which are all in perfect stead still
“The paintings are as good as new because he used such colours. You cannot imagine that they are more than 60 years old.Tragedy seems to have dogged Ananda Samarakoon. For he began painting in earnest and holding exhibitions abroad, after death snatched away his five-year-old son, Ranjith Aruna Deepa. Devastated when his son died of an incurable disease, Samarakoon had also composed the song ‘Pahana Nivi Giya’.
“The surprising thing was that though he was born a Christian and attended Christian College at Kotte now called Sri Jayawardenapura Maha Vidyalaya, he never painted anything about Christianity. Most of his paintings were Buddhistic in theme. When he went to Shantiniketan he was Egodahage George Wilfred Alwis Samarakoon, a Christian. When he returned, he was just Ananda Samarakoon who had embraced Buddhism.
Though this great composer, singer and painter died a disillusioned and bitter man, his memory will linger on. For as the high and mighty and more so the humble men, women and children across Sri Lanka stand ramrod straight and raise their voices in veneration of their motherland, Ananda Samarakoon lives on in Sri Lanka Matha, another Ananda Samarakoon would never ben born.
Sunil Thenabadu in Brisban,
e mail sthenabadu@hotmail.com..
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