On the evening of 25 May, nestled within the heart of the Kandyan Kingdom, the auditorium of E.L. Senanayake Library became the stage for the Adler Antonian Alumni Chorale’s presentation of ‘Themagula’.
‘Themagula’ marks a new chapter in the pages of the Adler Chorale, which hitherto had been defined predominantly by its Western musical expressions. Unlike traditional Vesak song celebrations, this event sought to redefine the experience with a unique interpretation featuring a selection of songs rarely found in the usual Vesak playlist. A capacity crowd, undeterred by rain, had come not for the typical Vesak melodies, but for ‘Themagula’, to be engaged by the chorale’s mellifluous storytelling of the Buddha’s eminent life.
The live orchestra, masterfully led by Kavish Sirisena, showcased a fascinating interplay between tradition and innovation. The core of the performance rested on oriental instruments which was enhanced by the inclusion of electric guitars and drums. This fusion of East and West wasn’t a clash, but a conversation.
This fresh perspective penned an enduring narrative of spiritual enlightenment, inviting reflection on the crux of the Buddha’s teachings and fostering an appreciation for unity amidst diversity; celebrating the beauty found within our differences while acknowledging our shared humanity.
‘Ipadeema’
Divided into three sections and an epilogue, each resonating with retrospection, ‘Themagula’ unveiled with an air of reverent solemnity, the timeless chronicle of the Buddha and the deep wisdom inherent in his philosophy.
The lighting design employed a clever interplay of colours. Five prominent pillars, mirroring the shades of the Buddhist flag, served as canvases to the musical storytelling. Each segment of the performance was bathed in a distinct hue and this subtle use of light transformed the stage, creating a visual connection between the performance and the core tenets of Buddhism.
The opening chapter, ‘Ipadeema’ (Birth) began with a melody seldom heard during Vesak celebrations – ‘Sapa Ninde’ – a tender ode to Queen Mahamaya’s ethereal dream, where a majestic white elephant foretold the miraculous birth of Prince Siddhartha Gautama.
Following this prelude, the chorale shifted into a celebratory mood, exalting the divine arrival of Siddhartha with two songs cherished by every Sri Lankan: ‘Danno Budunge’ and ‘Lamba Sawan Ran Patin’. With each soaring chorus, the chorale elevated the spirit of Vesak, kindling a sense of celebration for the genesis of this illustrious human.
‘Buduweema’
Turning the page to the second chapter, ‘Buduweema’ (Enlightenment), the spotlight shifted to the Buddha’s profound sacrifice – a testament to his devotion to humanity’s advancement. Confronting adversities that hindered societal progress, the significance of his sacrifice resonated with the challenges and opportunities of our contemporary world.
This chapter opened with a solo performance by guest singer Upeksha Lankathilake, who soulfully rendered ‘Yashodara Kavi’. This poignant piece honoured Yashodara’s essential role in the Buddha’s journey, emphasising the often-overlooked sacrifices made by those close to him. The Adlerites’ tribute shed light on the integral part women played in the broader narrative of enlightenment and spiritual resilience.
What truly set this chapter apart was ‘Mahamaya’, a rock ballad that pulsated with raw emotion. Sung from King Suddhodana’s perspective, the song resonated with his inner turmoil of losing a son, a desperate plea for solace reaching out to his deceased wife Mahamaya.
‘Mahamaya’ proved to be a bold choice for the Adlerites, defying expectations for a traditional Vesak celebration. This unexpected twist transcended conventional norms, articulating the power of music to evoke emotion and provoke thought regardless of genre. It proved that devotion in music knows no bounds; it breaks through barriers.
Notably, the songs featured in this chapter were refreshingly novel to Vesak celebrations, with ‘Dasa Bimbara Mara Senaga’ and ‘Wandimu Sugatha Shakya Sinha’ joining the repertoire.
‘Piriniwan Pama’
In the third and final chapter, ‘Piriniwan Pama’ (Nirvana), the Adler Chorale highlighted a crucial message: peace, contentment, and nirvana stem from within rather than external sources. Two carefully selected songs were tenderly sung, chosen precisely to pay homage to the occasion.
‘Ama Dahara’, a cherished melody close to the heart, beckoned with its familiar strains. Then came ‘Daham Kamala’, another song from the shadows of obscurity. Here was a song that demanded attention. Ravindu Peiris, the virtuosic violinist, whose mastery of strings had enthralled the audience thus far, sang with a haunting beauty that cast a spell of reverent silence over the gathered crowd.
Using drums as the driving force, they infused the song with a raw intensity that spoke of loss – a powerful musical reflection on Nirvana.
As ‘Themagula’ drew to a close, it left us with catharsis: while the journey to find peace through nirvana may seem distant, the act of bringing peace to others is within our grasp. It’s a message that resonated deeply with me. And so, the evening concluded with the heartfelt rendition of ‘Buduhamuduwo’, a Victor Rathnayake classic.
In the capable hands of the Adler Chorale led by Anaz Haniffa, these timeless melodies became more than just songs. The meticulous song selection along with live orchestral music crafted a performance where each piece resonated with tones perfectly attuned to the chapters of ‘Themagula’. This thematic precision resonated like a rallying cry, demanding a reevaluation of perspectives in how music can be used to transform our understanding of the world.
The Adlerites’ approach wasn’t merely innovative; it was revolutionary – a melodic manifesto of their resolute resolve to break barriers and forge paths anew.
(The writer is an educator of English language and literature, a theatre practitioner, a creative writer, and a TEDx speaker)