• Instrumentalist cum cellist Saranga Cooray expresses concerns regarding the challenges of entering, professionally-excelling, and earning a living as an instrumentalist, including industry politics  

Although Sri Lanka has produced locally and internationally-recognised instrumentalists who have contributed to the advancement of the field, in Sri Lanka, being a professional, full-time instrumentalist is an arduous task. On the one hand, the nature of the field in the Sri Lankan context is more difficult than usual for newcomers to enter and excel in. On the other hand, even if one entered and excelled in the field, being a full-time instrumentalist is not a job that has significant financial or professional benefits.

Given this situation, according to cellist Saranga Cooray, this field in Sri Lanka is in need of great support including from the Government. Adding that those within the industry should support aspiring instrumentalists while other parties should support the industry as a whole, in conversation with The Daily Morning, he expressed concerns about the state of instrumentalists in the country. Industry politics is also a challenge he flagged as hindering the field’s advancement.

Below are excerpts from the interview:

How has the recent crisis situations affected your field and you?

The field was considerably affected by the economic crisis and also during the Covid-19 pandemic. I felt that impact because I play the cello for a profession. I did not get jobs as usual, and sometimes, was not offered work at all. This is despite having worked in the field for more than 13 to 14 years. When it comes to instruments, their prices have skyrocketed. Cellos are very expensive now, and having a good set of strings installed costs a fortune. My students are also struggling. A cello that used to cost around Rs. 40,000-60,000 now costs around Rs. 150,000. That is the lowest quality one. A handmade cello (in Sri Lanka) costs around Rs. 400,000. This is a big challenge.

What are the main challenges that instrumentalists face, especially when working independently, in Sri Lanka?

During the 2018-2019 era, I used to play the cello at a famous hotel in Colombo. Later, the music contract (of that hotel) had been given to the same person for around five years in a row. When this happens, it is difficult for a newcomer to establish themselves as an independent instrumentalist, because the opportunities are limited to a certain select group. Some places have favouritism. In Sri Lanka, opportunities for those who are talented and genuinely want to play instruments are considerably low. Many talented musicians are at home.

Is being an instrumentalist something one can do as a full-time job in Sri Lanka?

I am a full-time musician. If one can endure unfair treatment, bow down to certain people, maintain non-confrontational relationships with everyone, remain silent in the face of injustice, not expect to be valued, and expect only money, I think that one can be a full-time musician. Even if untalented, within the existing system in this field, one can go a long way. There are dozens of unqualified musicians in the field in Sri Lanka. Some teach with below average qualifications. The current, corrupt system provides an environment for such a situation. In Sri Lanka, it is difficult for a qualified and an honest musician to live like that. In many other countries, being an instrumentalist is considered a job. Most musicians in foreign countries work as freelancers. However, they receive an income that is sufficient to maintain a good life. The situation in Sri Lanka however, is not the same. I can barely make ends meet from my income. There are talented musicians in Sri Lanka who have the potential to play at the same level as international musicians. However, they don’t have the opportunity to achieve that. To get a platform (to showcase their talents), they have to bend down in front of a lot of people, and have to change their image in manners that they don’t want.

There are Sri Lankan instrumentalists who have gone to the international level but do not seem to receive adequate attention in the country or in the local media. What is your opinion about this situation?

There are a number of Sri Lankan instrumentalists that are recognised internationally. Shani Diluka, Sujeeva Hapugalle, Rohan de Saram, Taniya Ekanayake, Ashan Pillai, and Ashan Peiris, to name a few. There are many like this that primarily perform in other countries but visit Sri Lanka for various concerts and projects. However, a lot of them don’t have the potential to do something for the progress of local talents or to create a professional platform in the country for local talents. I was once part of a concert that was headed by such a musician. I was not able to cancel my work (as an instrumentalist) to attend rehearsals one day. I was fired from the group because I missed one rehearsal. That was unethical. They will come, play, and leave. We have to continue to live in the country.

How is the relationship between senior musicians and newcomers in this industry?

There are many good seniors who support and teach juniors well. However, there are also those that completely do the opposite.

Western classical music does not seem to be a mainstream type of music in Sri Lanka or something that is reaching more people. What do you think about this situation?

Many in Sri Lanka, especially those in higher social classes, play classical Western music as a fashion, to show off their class. They have no intention to create an economy for musicians. In other countries, music is used to change society. But, in Sri Lanka, there seems to be no attempt to let every person listen to Western classical music and to spread this music among more people. In Sri Lanka, in many cases, Western classical music is limited to a certain social class, and is taught as a subject mostly in a limited number of urban schools. That subject does not spread adequately, while only a certain crowd comes to listen to Western classical music regularly. The situation in other countries is not the same.

What is your opinion about the education system that is available for instrumentalists in Sri Lanka?

When it comes to Western music, European countries have what is known as music conservatories. They produce high value musicians. When you look at a professional orchestra, there is no one in such groups that have studied music from YouTube videos or from other informal methods. Almost all such instrumentalists are qualified individuals that have studied in conservatories. Those countries have such systems. However, we don’t see the same in Sri Lanka. Although there is a Visual and Performing Arts University, it does not create such a musician. Their purpose is somewhat different. There are, however, good private teachers, and I even studied from such a teacher.

In your opinion, what sort of support does this field require including from the Government?

The field does not receive any support from the Government. There is no support from the private sector either. If we take orchestras in other countries, including in Europe, those orchestras are sponsored by their Governments. The situation in Sri Lanka is completely different. What we need is a fair music society, where musicians’ talents and qualifications are valued properly. There should be a system that allows talented individuals to rise to prominence, instead of the current system where even untalented people get opportunities. I am not saying that not everybody deserves an opportunity. But, the process that this involves should be fair and non-discriminatory.