• W.B. Makulloluwa, the pre-eminent activist in preserving folk music in Sri Lanka

As vibrant as he was, his vision was set on establishing an identity for his motherland through music. He was ready to face any challenge and lived a disciplined life. He is William Banda Makulloluwa (W.B. Makulloluwa), a pioneer in the revival of Sri Lankan folk music. 

Makulloluwa was born on 17 February 1922 in the village of Idamegama in Harispattuwa, Kandy. His parents were engaged in agriculture. The seeds of a musician were planted in Makulloluwa at a very early age. Young Makulloluwa frequently heard “goyam kavi”, “nelum kavi”, “kamath kavi”, “andahera”, “kohomba kankari”, and “pirith”, and all these influenced and shaped the artist within. Makulloluwa began his formal education at the village school in Idamegama before joining Rahula College in Kandy. Later, he enrolled at Ananda College, Colombo to further his education. He departed to Santiniketan in India, to further his musical studies. From 1944 to 1948, he studied instrumental music and “Rabindra sangeets”. He studied Manipuri and Kathakali Indian dance as well as drama performances, under the guidance of Rabindranath Tagore.

In 1953, he was appointed as a Music Inspector in the Ministry of Education, and in 1956, was promoted to Chief Music Inspector. In 1972, he was appointed as the Director of Aesthetic Studies in the Ministry of Education. After a stint there, in 1973, he was called to Giragama Teacher Training College as its Principal. He was appointed Art and Design Director in the Ministry of Cultural Affairs in 1976.

He retired from government service in 1982 after many years of service in various positions. He dedicated his time to various artistic pursuits. He was diagnosed as having cancer and died on 8 September 1984 at the relatively young age of 62. Prof. Sunil Ariyaratne, says in his book titled Makuloluwa and Kulathilaka, if not for Makuloluwa, our folk music would have been lost many years ago.

Makulloluwa’s music vision

Makulloluwa is a stalwart who has worked tirelessly to revitalise our folk music. His vision was to build an independent system of Sri Lankan music. Makulloluwa preserved the old Sinhalese musical melodies unique to the Sinhalese from being lost or destroyed by the influence of other foreign music, established a formal system of local singing, and laid the foundation for Sinhala folk music style. Makulloluwa sought the identity of our culture and music and encouraged folk music in the country.

Makulloluwa’s methods for the preservation of indigenous music

He was aware that traditional music is our cultural identity and if not preserved, will become extinct. So he journeyed to villages and recorded songs in the actual folk singer’s voice and style. One of Makulloluwa’s greatest achievements was the introduction of folk music into the school curriculum, enabling students an opportunity to learn, practise, and perform traditional music and folk songs such as plough songs (“andehare”), planting songs (“nelum kavi”), harvesting songs (“goyam kavi”), cartmen’s songs (karaththa kavi), boatmen’s songs (“paru kavi”), watchmen’s songs (“pel kavi”), songs of praise (“vannam”), songs sung during the Sinhala and Tamil New Year season (“onchili kavi”), and lullabies (“daru nalavili”), etc. 

This can not only aid in the preservation of these songs and melodies but also foster in students an attraction to these tunes and inculcate a sense of belonging to the nation. This ensured the continuation of our folk traditions. Music teachers too were given special training in folk songs. He did many workshops to improve the teaching methods of school music teachers. In order to increase music teachers’ familiarity with and proficiency in ensemble musical activity, he founded a music teacher orchestra. Makulloluwa also used well-known programmes of cultural awareness and concerts to promote folk music as a means of its preservation. Teachers and students alike enjoyed the centennial ensemble concert he directed. The post of Chief Music Inspector in the Ministry of Education helped him to carry out these activities.

His documentation of traditional music knowledge boosted our heritage and made these melodies and music styles immortal. His book Hela Gee Maga, published in 1962, received the State literary award in 1963. Ranjith Fernando, an ethnomusicology professor at the University of the Visual and Performing Arts, claims that this book provided a clear musical system that served as the basis for the Sinhala tradition of music and served as a source of national pride. Makullolowa published Hela Gee Maga, Abhinava Moolika Geetha, Dances of Sri Lanka, and Singithi Geetha books intended for use by teachers and students.

He conducted various concerts to improve the musical taste of the community by demonstrating the beauty of traditional melodies. The “Hela Mihira” concert he produced using folk songs demonstrated the artistic value of the nation’s unique singing practices. He created the musical drama Depano as a result of his research into folk tunes and melodies. He adopted the operatic tone for this creation. His musical symphonies such as Goyam Da Magula, Mara Parajaya, Siragein Marumuwata, and Mahabhinishkramanaya were created with the help of folk music and became very popular.

He believed that in order to preserve folk song styles, they should be exposed and imbibed by everyone in the community. He propagated folk songs and tunes over the radio by using talented singers in programmes. Through his nationwide lectures and demonstrations, he raised folk song awareness in the community. Among these, the lecture demonstration on methodical traditional singing styles helped many in the appreciation of Sinhala music.

He founded the State dance and music ensemble to encourage folk dance and music. He had the opportunity to promote local dance and music, both locally and internationally, with the help of this State dance and music group, where talented folk singers were recognised and featured. 

He was the pre-eminent activist in the folk-song revival in Sri Lanka. Makuloluwa took the initiative and a selfless interest to preserve and document Sinhala folk songs while dedicating himself to the task of recognising, conserving, and gifting them to the next generation.

(The writer is a Senior Lecturer at the University of the Visual and Performing Arts)