Biography of w d amaradeva jagan

There's beauty, anger and difference

By Asoka de Zoysa

"Harmony", the first ever group exhibition to be organized by the Indian Cultural Centre in association with the Vibhavi Academy of Fine Arts brings together five artists from different cultural backgrounds.

Some artists like Kushan Manjusri inspired by Buddhist philosophy use varied metaphors of South Asian art deriving from murals in cave temples to Rajasthani miniatures. It is nevertheless difficult to brand Kushan's paintings as Indian art or Sri Lankan due to his individual style. He also draws much inspiration from the West. The other artists Muhanned Cader, Godwin Roger Constantine, G. Kailasanathan and Nilanthi Weerasekara seem to have been influenced by the masters of classical modern art. This is not surprising as all these artists, except for Kailasanathan, who had his formal training in Kopay Training College, Jaffna have had direct contact with western art academies. They can be regarded as the mentors of avant garde art in Sri Lanka today.

What is most fascinating is that these artists have not painted for the sake of producing art. Going by their works exhibited or published so far, they show individual developments in recent years, each artist following his or her highly individual agenda at times to protest, at times to create awareness, at times to make one rethink standards and notions carried down for generations.

Naturally, those who try to discover the cultural identity of each artist on the base of his language, ethnicity or religion, will most likely be disappointed.

These artists have gone beyond picturesque representations, just to please the eye. No ruins of ancient temples, no sunsets, no sedate villagers in timeless space and no beggars of romantic squalor. Instead they use symbols sometimes with an overt message. Quite often these symbols are twisted the other way round, like in the case of Muhanned's paintings, when he makes a laconic comment to a social reality

Victor's 'Sa' - still refreshing

As Victor Ratnayake begins to sing, the packed Elphinstone Theatre bursts into applause. 

For three hours Victor kept us spellbound just as he did 27 years ago, on July 20, 1973 at the Lumbini Theatre inaugurating the 'Sa' musical presentation. Having enjoyed his performance that day, it was with mixed feelings that I walked into the Elphinstone. The man is older by 27 years. Will he have the stamina to go through the three hour performance all by himself, as he did then? Having stopped performing 'Sa' nine years ago (after a record thousand performances all over the island including the North and East where the response was marvellous), how would he fare? 

These were my concerns. They disappeared as soon as Victor began singing.

Victor's voice still has that golden touch. He hasn't aged except that his long hair gives him a mature look. He is still the same disciplined musician. 

He doesn't believe in unnecessary trimmings-there are no youthful dancers accompanying him. He depends solely on his voice, as he did then. What a satisfying performance it was. An abject lesson to all those who resort to numerous gimmicks in the name of music. 

It was a fine gesture on the part of Rohana Weerasinghe, Edward Jayakody, Lakshman Wijesekera, Ananda Perera and Niranjala Sarojini to join in the chorus as they did at the inaugural show. Then they were hardly known. Today they are big names in the music scene. 

Yet they were there for the memorable occasion. Victor paid tribute to his fellow artistes who had helped to make 'Sa' the grand success it has been over the years. And to all those who had appreciated his music over the years. He called the show 'Sahurdabinandana'.

Victor proved how good songs stay for ever. The lyrics are meaningful. The mel

By Dickson Hemantha – Gaithersburg, State of Maryland, USA  (Asian Tribune)

Shantha Mae Rae Yaame the song resonating at the apex of Pandith Dr W.D. Amaradeva

Its popularity among young and old in every household, musical function and school excursion reminds the immortal name of the world acclaimed Sri Lanakn music maestro Amaradeva the national treasure of Sri Lanka. Pandith Dr W.D. Amaradeva is regarded as the legendary musical genius of the era.

Known by his birth name W.D.Albert Perera was born on December 05, 1927 in Koralawella, Moratuwa. Encouraged by the innate talents at the age of 8 years his father a carpenter by profession carved a violin of his own and gifted to this future fastest musical brain of all times.

He was 17 yrs of age when he won the Gold Medal for his magnificent performance of a violin recital at Moratuwa. At the beginning he played by ear and later mastered the instrument with competence to the zenith of its glory. Mohamed Ghouse famously known as Ghouse Master an Indian musician was in Sri Lanka for direction of music for the historic Sinhala film ‘Asokamala’ screened in 1947. Impressed by the resounding skills of violinist Albert Perera, Ghouse Master enrolled him in his orchestra. As the male singer failed to reach the quality recording, Albert Perera had the fortune to sing two songs “Aei kare yamek aale” and “Bhawe bheetha hera” for ‘Asokamala’ his debut in playback singing.

He was playback-singer for the film ‘Daskama’ after a lapse of 10 years since the film ‘Asokamala’ was screened. This young man became associated with Ananda Samarakoon, Sesha Palihakkara, Chitrasena, Sunil Shantha and Prof Ediriweera Saratchandra whose expertise strengthened his artistic acumen shedding light upon producing innumerable number of compositions destined to be imaged for ever.

The sensational lyrics written by the luminaries Mahagama Sekera, Chandraratne Manawasinghe and Madawala S.Ratnayake emboldened him in the i