Ceylon Today Editorial

NOC favours and IOC code of ethics

05 November 2016

The Sri Lanka National Olympic Committee (NOC) played dodge ball with the press for a long time. From time to time this dodge balling of the press resulted in the Minister of Sports being regularly pressed for answers regarding the Sports Act and related matters such as elections at NOC, by journalists. Although the NOC President was present at the press briefings, the Secretary who was the more important to be questioned was still missing. These mysterious matters with the NOC were the reason once, for the short-circuiting of relations with the International Olympic Committee (IOC).

The IOC permits NOCs to act on their own and whatever is to be taken up with the IOC has to pass through the NOC. This alone makes the NOC especially in Sri Lanka, an impenetrable fortress. They are all what they should not be, arrogant, incompetent, corrupt and abusers of power. They use their power as do dictators; NOC used it to such an extent of even not allowing the auditing of their finances. On the question of finances not being audited the NOC stood on grounds the monies were coming directly to them and it is not the responsibility of locals to audit those finances.

Such acts make it so clear of the power wielded by the NOC; the best evidence came recently at the meeting that had been arranged by the Sports Ministry. At this point it looked certain that the Sports Minister was very much interested in what the journalists had to say. Probably most of it the minister was already aware of; i.e. what appeared in news media up to then and what had been relayed to him by the journalists close to the ministry.

Most likely noticed was the body reactions of the head of the NOC and the departure that seemed to say he did not like what was going on, but held a poker face in front of the questioners' and most importantly the fact the Minister was there said it all.
When the questions focused on those who had been invited to into the fold to Rio, the answer was straight out of an Andare folklore. The fact that a puppet could not be let down was made to look like a story recently heard of a good Samaritan visiting a house and handing over a bagful of gems. The man begged for a place to join the Jing-bang and an order had been made to include him. So we believe, this type of unruly behaviour would have been in existence in the NOC ever since.

For someone used to an environment as such described earlier, to question of ethics in sport may not be a reality. The NOC chief must know that, as he says he has been in this environment for twenty two or so years. He must also remember that, that is precisely why the IOC exists.

Behaviour on the part of people is something not controllable; especially in sport it is something that has to be given a lot of thought in terms of having equal competition. Let us see how the IOC stands on sports and ethics. In keeping with the values and principles in the Olympic Charter the implementation of the Code of Ethics Committee proposals took place in 1999. The new happening was because of the need for closer investigations on new behavioural patterns in Olympic sports. The code of ethics applied to all stakeholders who had to respect its implementing to the utmost, and all NOCs were part of it.

Let me quote here from the latest edition "The 2016 edition of the collection 'Ethics' includes the IOC Code of Ethics and all its implementing provisions, including the Rules of Conduct for the Candidature Process Olympic Games 2024, the Rules Concerning Conflicts of Interests, the Basic Universal Principles of Good Governance of the Olympic and Sports Movement, the new Olympic Movement Code on the Prevention of the Manipulation of Competitions and its application for the Rio de Janeiro Olympic Games, the statutes of the Ethics Commission and its Rules of Procedure."

Conflict of interest here may have been meant for the games, but it is still the same issue with conflict of interest when it comes into play anywhere. The journalist in question held the issue on ethics of sending favoured persons to the Olympics, and for the head of NOC to ask "is there ethics in sports" shows how he cares about conflict of interest, from answers given. If the NOC was to stand by those ethics they would put good governance in the forefront they would not get entangled with athletes or journalists.

Daily News Editorial

Amaradeva

05 November 2016

Amaradeva. The name says it all. It is a name that is embedded in the heart of every Sri Lankan regardless of community and religion, from the toddler to the centenarian, living here or overseas. Music, they say is a universal language and Pandit Amaradeva spoke it fluently. Indeed, his music and songs have transcended our national boundaries and reverberated in India and Maldives and thanks to our Diaspora, practically all over the world.

One can hardly find a Sri Lankan who had not been moved by the mellifluous voice of this iconic maestro, who was undoubtedly a national treasure. Nearly all his songs are popular, but even among them, a few stand out for sheer creativity and melodious harmony. “Sasara Wasana Thuru”, “Maa Mala Pasu Sohon Kothey”, “Nim Him Sewwa Maa Sasare”, “Hanthane Kandu Muduna Sisara”, “Maha Wessaka Pera Nimithi”, “Mindada Hee Sara”, “Pera Dinayaka Maa”, “Vikasitha Pem”, “Sannaliyane”, “Piley Pedura”, “Sanda Horen Horen”, “Ran Dahadiya Bindu Bindu” and “Paaramitha Bala” are among his best known songs. Amaradeva’s songs have broken through the generational gap – whether you are eight or eighty, these songs will permeate right to your heart and soul. His songs cover a variety of genres – patriotic, devotional, cultural and romantic, but they are all inherently evocative of Sri Lankan vistas and ethos.

Born Albert Perera in Moratuwa in 1927, Amaradeva was brought up in a multi-cultural background that truly reflects Sri Lanka’s diversity. The son of a humble carpenter, Amaradeva got a sense of his future career by fiddling with violins that customers had handed over to his father for repairs. (Later, Amaradeva would go on to win an All-India violin contest). He felt equally at home in the temple and the church, being the star performer of devotional songs at both places of worship.

Amaradeva was fortunate to emerge at a time when a brave new crop of local musicians and lyricists were breaking free from the then prevailing trend of totally imitating North Indian music. Having lived and breathed Indian classical music at Bhatkhande in Lucknow where he emerged as one of the top students, Amaradeva realised the importance of creating a unique Sri Lankan musical identity that still paid homage to the fundamentals of Oriental Music. Hence his later experimentations with a finely tuned combination of Sinhala folk music and Indian Ragas. Living legend Lester James Peries’ “Rekhava” (Line of Destiny) showed the way with truly indigenous songs whose lyrics were penned by Rev. Fr. Merciline Jayakody and music composed by the inimitable Sunil Shantha.

Amaradeva was among the many aspiring musicians of the time who were impressed by Sunil Shantha’s localized flair and fare. The story of how a young Amaradeva auditioned in front of Sunil Shantha, doyen of dance Chitrasena and A.J. Ranasinghe is well known and the rest, as they say, is history. Doyen of local journalism D.B. Dhanapala laid the foundation for Amaradeva’s future by establishing a scholarship for his studies in India through the Lankadeepa.

Amaradeva was inspired by legends such as Prof. Ediriweera Sarachchandra of Maname fame (who gave him the name Amaradeva), Sri Chandraratna Manawasinghe, Ananda Samarakoon and Mahagama Sekara, who helped Amaradeva to straddle the fine line between folk music and poetry with finesse. In addition to becoming the country’s leading and most popular vocalist, Amaradeva turned into a versatile musician who composed music across genres such as ballet (Karadiya, Nala Damayanthi), film (Ran Muthu Duwa, Gam Peraliya, Thun Man Handiya) and drama (Wessanthara). He would also inspire the careers of Nanda Malini, Victor Ratnayake, Edward Jayakody, Sunil Edirisinghe and Neela Wickramasinghe who have since gone on to carve a niche for themselves in the music world.

Amaradeva was a man of our times and we are indeed fortunate to have lived in his lifetime. Amaradeva was also a man who changed with the times, even though his songs will always be perennial favourites. Nothing exemplifies his never ending quest for musical experimentation than his recent hit song “Hanthane Sihine” with new generation singer Umariya Sinhawansha and his rendition of “Shantha Me Re” with the Marians. From the scratchy LP records of yesteryear to the sophisticated music videos of today, Amaradeva strode the local music scene like a colossus who can never really be replaced or imitated. He may have been mortal, but his voice is not.

Today’s new generation artistes can draw many lessons from the life of Amaradeva who never ran after money or fame. Today, many “super stars” fizzle out after a few months of performing mediocre, meaningless and ephemeral songs, whereas the songs of Maestro Amaradeva will live in our hearts and waft over the airwaves for hundreds of years to come. Generations yet to be born will no doubt be mesmerized by his golden voice that has now been stilled. We hope the authorities will digitally remaster and store his songs for posterity. And may the Maestro be born again among us, as wished for in his song “Pin Ketha Hela Ran Derane Yali Ipadennata”.

The Island Editorial

End of an epoch

05 November 2016

 

Amaradeva sang and, therefore, he was. It was a treat to watch him perform. His life was a medley of beautiful songs replete with euphonious lyrics and mellifluous melodies, sung in a honeyed voice with a soul-stirring lilt to it. A nonpareil, he had greatness thrust upon him relatively early in life and became a national icon even before he reached middle age. The nation mourns his demise, which marks the end of an epoch in the history of Sri Lankan music.

It is said that when great humans are born they cry before the world and when they go the way of all flesh the world cries before them. This was true of the maestro we are grieving over; it is some consolation that he has been immortalised in his hypnotic, everlasting songs and compositions. He will continue to live in the hearts of grateful Sri Lankans forever as a great vocalist, violinist and composer.

Many artistes and others who had reached greats heights in their chosen fields became victims of a mega cultural tsunami triggered by the politico-economic tectonic shift in the late 1970s. Mushrooming bands cobbled together by pop star wannabes and calculating wealthy mudalalis thirsting for profits preyed on struggling talented musicians lured by dosh. Amaradeva was a notable exception; he was one of the few greats who refused to compromise principles and high standards they cherished.

Unarguably a lodestar for peers and upcoming artistes alike, Amaradeva was modesty personified in a field where even those with modest achievements are full of themselves. His trademark, sweet smile never faded except when he performed; he took singing very seriously and fell into a trance of sorts whenever he sang or played an instrument. He was known for his conviviality, guffaws and encouraging words for young artistes who loved his company as much as his guidance. He was a much revered guru to all of them.

A young, female musician once asked a world famous pianist after a concert whether she would ever be able to play the piano like him, according to an apocryphal story. Answering in the affirmative, the maestro said she would have to practise daily for eight to ten hours continuously. Excited, she asked how long she was supposed to do so. "At least forty years without a break," said the legend before walking away. Amaradeva is not known to have proffered any such advice tainted with egoism, but any young talented artiste desirous of being a maestro like him must prepare for decades of hard work.

Amaradeva’s fame was not confined to this country. He was recognised overseas as well. A proud recipient of much coveted Ramon Magsaysay and Padma Sri Awards, he was also honoured by France for his achievements and outstanding service to music. Most of the Colombo-based diplomats did not consider their functions complete without his graceful presence. Nobody could stop loving him.

One of the most important things that young artistes should learn from Amaradeva is to avoid divisive party politics. He was loved by one and all. Today, we carry a picture of the Head of State, together with others, carrying the casket containing his remains.

Green giants fall leaving huge voids which last for many years. The same happens when great men and women depart. Amaradeva was one in a million. There are, of course, other brilliant artistes who have done the country proud, but never will we have another maestro of Amaradeva’s calibre. His voice was so unique and therapeutic; it was a balm to every one’s spirit. His loss is sure to be felt for many more decades to come.