Features
Confronting Dadayama : Some Reflections on Sinhala Feminity
By Uditha Devapriya
Combing through my essay on Dadayama from two weeks back, I realise I reflected less on the film and more on the middle-cinema space it occupied. To be sure, the one cannot be written about in isolation from the other. But there is no point talking about the middle-cinema, and more generically about the shifts in taste and attitude that characterised the Sinhala popular culture of the 1980s, without dwelling at some length on Obeyesekere’s film. That is what I intend to do in this essay.
In my column I noted how, throughout Dadayama, the director presents us with one trope of mainstream Sinhala film after another, and then proceeds to shatter them. One example stands out in particular: Irangani Serasinghe, who by the time of the film’s release had been firmly established as a “hitha honda ammandi” – to invoke a famous epithet hurled at her by the press – playing a chain-smoking brothel owner.
At this point Serasinghe was at the peak of her career. She had become a permanent fixture, so to speak, in Sinhala pop culture, embodying all the qualities associated with the Sinhala mother: warmth, empathy, protectiveness, and above all the assurance that she can never be or never do wrong. By the time of her entrance, the protagonist, Rathmalie (Swarna Mallawarachchi) has lost all hope: she has been raped and abandoned not once, but twice. Serasinghe, who introduces herself as her tormentor’s mother, exudes the warmth and the protectiveness that Rathmalie, and her family, so desperately want.
In undermining these archetypes in that rather unforgettable scene where Irangani smokes behind a table – “What a scandal that provoked!” she told me when I interviewed her 10 years ago – Obeyesekere deprives Rathmalie of the last possible emotional resort she had: the kindly mother-figure. In a way, this signals a turnaround in the film. Until that moment, she had been nursing hopes of reconciling with her tormentor (Ravindra Randeniya). The sequence at the brothel convinces her that she has no choice but to confront him. From the naïve idealist girl, she turns into a hard, harsh woman of the world.
Kadapathaka Chaya (1989)
It is against this backdrop that she writes the man, Priyankara, a letter requesting him to meet her at once. Interestingly, the confrontation that unfolds thereafter, at a small beachside resort, was the first scene to be filmed. When I sat down and talked with Swarna a year or so ago, she explained its importance in the story.
“Obeyesekere advised Ravindra to appear unsettled and told me to act calm. Until then it was my character who was romantic, full of dreams, emotional, while he was the cool, calculating figure. Now the roles reverse, the tables turn.”
I don’t think this scene has been appreciated enough by critics or scholars of the Sinhala cinema. In his review of the film, Regi Siriwardena observes correctly that “the heroine grows with her experience, that by the end she is no longer the naïve romantic of the early scenes, that she is no resigned victim.” It is that confrontation which sets in motion that transformation and paves the way for the tragic finale, in which, to quote Siriwardena, “she dies protesting and resisting in an assertion of her human dignity.”
Vasantha
In my previous column, I noted that the landmark Sinhala middle-cinema films of the 1970s – Sikuruliya and Duhulu Malak in particular – presented a different kind of woman, rebelling if not raging against tradition. Yet, nonconformist as they were, the women of these stories could not extricate themselves completely from a patriarchal order. Thus, in Duhulu Malak, the woman chooses her husband over her lover. In Obeyesekere’s Palagetiyo and, to an extent, Dharmasiri Bandaranayake’s Hansa Vilak, the “amoral” girl is somehow “punished” for her “loose morals”: in both films, the male lover – played by Bandaranayake – murders her after discovering that she has fallen in love with another man.
Dadayama inverts this trajectory by first telling us everything from the woman’s perspective and then immersing us in her transformation from naïve idealist to harsh realist. One can argue that both Sikuruliya and Duhulu Malak do this too. Yet the transformations the women in these films undergo do not entirely free them from the social order that has subjugated them. In Duhulu Malak, the sympathy the woman, played by Nita Fernando, elicits from the audience is contingent on the choice she has to make. We are willing to sympathise with her situation and dilemma, but not to the extent of condoning her affair. After all, “good” Sinhala women don’t leave their husbands for other men.
Sumitra Peries’s Gehenu Lamayi is another case in point. The film explores another trope in mainstream Sinhala cinema and popular literature, the good sister versus bad sister. The good sister, played by Vasanthi Chathurani, stands as a contrast to her rebellious sibling, who wants to become a famous actress and unashamedly begins an affair with a director. When that director abandons her with a child, she is condemned to a life of indignity. Interestingly, unlike most Sinhala films or popular novels, where the “good” girl emerges triumphant, Sumitra offers her heroine a fate no different to her sister’s: her cousin, who had promised to marry her, abandons her when class compulsions come into play.
The point I am trying to make is that there were at least half a dozen films before Dadayama which prefigured, presaged, and predicted the heroine in Dadayama. Yet crucially, none of the women in those stories resist their fates. Some, like Dhammi Fonseka from Palagetiyo, do attempt to fight their fate. Eventually, however, they succumb to it. Others, like Sabeetha Perera from Devani Gamana, overcome their situation through the intervention of a male hero. What distinguishes Dadayama, and makes it the landmark it is, is how its heroine rises above these limitations to confront her circumstances – and her oppressor.
This calls for a footnote. In my previous column, I argued that Obeyesekere’s next film, Kedapathaka Chaya felt like a pale replica of Dadayama. Responding to my piece, a keen observer of Sri Lankan art and culture contended that Kedapathaka Chaya took Dadayama’s trajectory forward and completed the circle. In Dadayama, the woman dies resisting her fate. In Kedapthaka Chaya, she resists – by throwing acid on her tormentor – and survives her act of resistance. The tormentor himself is a much darker persona than his predecessor in Dadayama: not just a rapist, but a proto-paedophile.
These are valid points, and I agree with them. Perhaps I should qualify my earlier argument. Dadayama’s achievement was that it ruptured popular conceptions of femininity in the Sinhala cinema. Having ruptured it, it enabled Sinhala filmmakers – including Obeyesekere himself – to explore these conceptions, to question, challenge, and then undermine them. Kadapathaka Chaya completes this circle, so to speak. But the circle could not have been completed if it weren’t for Dadayama, and for the possibilities it opened Sinhala directors to. That achievement cannot be emphasised enough.
Uditha Devapriya is a writer, researcher, and analyst who writes on topics such as history, art and culture, politics, and foreign policy. He is one of the two leads in U & U, an informal art and culture research collective. He can be reached at .
US Secretary of State Marco Rubio’s warning to the International Criminal Court (ICC) was stark: ‘Either the ICC will end its threats, or we will end the ICC.’ It followed US central administration accusations that the court was unfairly targeting Americans on the basis of trumped-up war crimes charges.
However, a new plethora of sanctions has been clamped on the ICC by the US, which in turn has spurred accusations by sections of the world that the latter has unleashed an ‘assault’ on the international legal order.
What some of the sanctions would mean for the ICC was outlined by Rubio: ‘We will ban transactions with this rogue court, cutting off their resources and crippling their ability to operate against us.’
The ICC has shown consistency of purpose over the years. Despite some operational constraints it has indicted a large number of political strongmen from around the world, accused of war crimes and other governance excesses that come under its purview. Two such recent figures are: Russian President Vladimir Putin and Israeli Prime Minister Benjamin Netanyahu.
Rather than enjoy a mere nominal presence in the world community, the ICC has proved its effectiveness by detaining and bringing to justice scores of VIP politicians and others of their ilk who have been found guilty of human rights abuses and kindred excesses that come within the terms of reference of the ICC.
Accordingly, the international justice system would be stymied considerably as a result of the ICC being dis-empowered, particularly financially. Needless to say, potential and real perpetrators of the species of crime coming under the jurisdiction of the ICC would stand to gain most from such anarchic tendencies. That is, political repression globally would be enabled to enjoy a new lease of life.
A detailing of the types of crime coming under the purview of the ICC provides an idea of what it would cost the international community if the ICC’s operations are gravely hampered. They are mainly: genocide, war crimes, crimes against humanity and the crime of aggression.
That is, the part of the world to be worst affected would be the global South, since the latter is awash with the mentioned crimes. Needless to say, a chronically-disaffected South will sooner rather than later undermine the well being of the world dangerously. The world is already being put through these paces.
At the time of writing, ‘illegal migrants’ from the South, for example, are aggravating many a Western economy’s woes, besides creating for them acute law and order issues. The fact that these migrants’ presence goes on to become a virtual test of the migrant receiving states’ ability to forge domestic social inclusion in the face of jingoistic protests by mainly white supremacist groups is evidence of the latter. As is known, the US, to take just one example, has been up against this crisis for quite a while.
Accordingly, it will be in the best interests of the West if ‘illegal’ migrant arrivals on their shores are stemmed. If the socio-political and economic problems assailing the South are effectively managed through North-South collaborative, ‘trouble-shooting’ efforts the causes leading to ‘illegal’ migration and connected issues could be resolved at source as it were. For, it is the aggravation of the South’s material questions that lays the basis for the emergence of repressive and anti-democratic regimes in the hemisphere.
Until such time that the aforementioned issues in North-South relations are visited afresh and addressed urgently, a vibrantly functioning ICC would be needed. For, the latter would prove a deterrent to Southern political and military strongmen, highly prone to power abuse and like excesses, from coming into being in the wake of the South’s chronic material woes and the wars and conflicts that result from them.
It stands to reason then that the US would be acting in its own interests by enabling the ICC to perpetuate its mandate without hindrance. For a crop of issues that impinges negatively on internal law and order would be defused.
Meanwhile, there needs to be a meeting of minds among the rest of the West to put back in place a North-South dialogue process aimed at reducing some of the economic pressures that are weighing on the South.
Since economics usually drives politics it will be in the interests of the world community to scrutinizingly re-visit North-South issues of the past and put in place economic relief packages for Southern publics that would enable them to tide over their material hardships rather than permit the latter to aggravate into social disaffection and eventually armed militancy. It is the latter juncture that paves the way for the emergence of authoritarian rulers in the South who then go on to be a blight on their publics.
Accordingly, the Southern-based global development thinking of the past that envisaged a more equitable world economic order needs to be seen as an urgent need. That is, NAM’s international development paradigms need to be resuscitated to the extent possible.
It is unlikely that rightist governments of the West, such as the current Republican administration in the US, would find these projects feasible, but democratic states of Europe, led by perhaps the UK, are likely to think otherwise. For it would not be beneficial for the democratic world to be having on their hands repressive governments in the South who would be gravitating towards the major military and economic actors of the South, such as Iran and North Korea, who tend to be in constant power struggles with the West.
However, until such time that the mentioned, pro-people initiatives are given serious thought the ICC would need to be enabled by the international community to be in place comfortably and carry on with its mandate of bringing repressive rulers to book. Besides the ICC should pave the way for the peoples of the developing world to enjoy some substantial respite from the political repression and even terror which tend to be their lot.
Meanwhile, the wars of West Asia are relentlessly aggravating the economic hardships of people everywhere, driving the point home to enlightened sections that there is no alternative to peacemaking. A challenge is to convert the US under President Trump to this line of thinking.
This week, I give you five simple, time-tested homemade remedies that help reduce the appearance of blemishes, control excess shine and leave your skin feeling softer and smoother.
The Honey and Lemon Brightening Dab:
For stubborn blemish marks, this is a classic. Mix one teaspoon of pure bee honey with three to four drops of fresh lemon juice. Apply gently, only on the affected spots, and leave for 10 minutes before rinsing with lukewarm water. While honey soothes and softens, lemon helps to brighten naturally. Use twice a week in the evening.
Besan and Rose Water Oil-Control Pack:
An ideal remedy to combat shine, especially on the T-zone. Take two teaspoons of besan (gram flour) and mix with sufficient rose water to form a smooth paste. Add a pinch of turmeric for its antiseptic goodness. Apply evenly, keep for 15 minutes and wash off. It absorbs excess oil without over-drying, leaving a beautiful matte finish.
Aloe Vera and Cucumber Ice Soother:
Blend fresh aloe vera gel with the juice of a grated cucumber and freeze the mixture in an ice tray. Each morning, wrap one cube in a soft muslin cloth and gently rub over a cleansed face for 30 seconds. It calms, tightens pores and imparts a baby-soft smoothness.
Oatmeal and Curd Gentle Polish:
Roughness and old blemish marks need gentle exfoliation. Combine one tablespoon of finely powdered oatmeal with one tablespoon of fresh curd (yoghurt). Massage very gently, in circular motions, for one minute, leave for five minutes and rinse. It removes dead cells and unveils softer, clearer skin.
Multani Mitti and Green Tea Magic Mask:
Brew some green tea and allow it to cool completely. Mix one and a half teaspoons of Multani Mitti (Fuller’s Earth) with the tea water to make a fine paste. Apply for 10 to 12 minutes – do not let it dry and crack completely – and wash off. It draws out impurities, fades blemishes and bestows a fresh, shine-free glow.
A Gentle Reminder:
As with any natural remedy, always do a patch test on your inner arm first. For those with oily or combination skin, avoid heavy coconut oil application and harsh scrubbing, as they tend to aggravate shine and blemishes.
Dream of performing on a world stage? Well, here is your unique, golden opportunity!
The World Championships of Performing Arts (WCOPA) — the one and only official “Talent Olympics” — is the world’s premier global platform for aspiring singers, dancers, actors, models, instrumentalists, etc., to compete, shine and be discovered!
And, yes, this world stage is open to YOU, Sri Lankans living in Sri Lanka and overseas!
Held annually in glittering Las Vegas, WCOPA brings together over 70 countries, all competing for Gold, Silver and Bronze Medals, just like the traditional Olympics.
Lakisha Bernard: Will represent Team Sri Lanka at WCOPA 2027
Outstanding performers vie for the coveted titles of Junior and Senior Grand Champion Performer of the World, with winners and standout participants awarded over $500,000 in scholarships, cash awards and prizes to catapult their education and careers!
Sri Lanka is already making waves! At WCOPA 2026, Natharie Wickramasinghe, representing Team Sri Lanka, made the nation proud by winning a Bronze Medal in the Ethnic/Folklore Dance category!
Lakisha: Accomplished freelance Model and Fashion Design graduate
Recruitment for this prestigious competition is handled through a system of scouts and licensed National Directors — and this is where our very own Chris Rajendra, now based in Las Vegas, and National Director for Team Sri Lanka, comes into the scene.
If you are a singer, dancer, actor, model, instrumentalist — if you have talent burning inside you — contact Chris Rajendra today for registration and, who knows, you may find yourself in Las Vegas, and proudly draped in the Sri Lankan flag, at WCOPA 2027!
The contact address is: Chris Rajendra, wcopa.nationaldirector.sl@gmail.com
or chris.rajendra@gmail.com
Meanwhile, a star is born for 2027, in the form of Lakisha Bernard who is all set to represent Team Sri Lanka at WCOPA 2027.
Originally hailing from the sun-drenched coastal city of Colombo and now carving out her creative career in Canada, 22-year-old Lakisha is stepping into the international spotlight.
This accomplished freelance Model and Fashion Design graduate has officially been appointed as the Team Sri Lanka Promoter for Canada as she prepares to represent Team Sri Lanka at WCOPA in Las Vegas.
Lakisha brings a unique blend of high-fashion sensibility, captivating camera presence and expert garment design to the Team.
Having built her career, from local college shoots to high-glamour concepts, Lakisha’s inspiring journey embodies the true spirit of cultural bridge-building and creative resilience, bringing immense pride and recognition to Sri Lanka on the global stage.
WCOPA 2027 will be held at the legendary Westgate Hotel & Casino, Las Vegas, from 12th to 20th July – the very same iconic arena where the late, great Elvis Presley himself performed!
Your moment is now. Your stage is Las Vegas, so hurry and contact Chris Rajendra.
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