The Cinematic Pulse: Exploring the Necessity of Dance in Sinhala Cinema

Introduction

Cinema is a multi-faceted art form. Visual rhythm and narrative depth coincide here. The primary goal of any motion picture is to tell a story. However, its success depends on how it integrates secondary art forms. Acting remains the primary thread. Various supplementary arts are woven in to enhance the emotional and visual impact. Among these, dance stands out as a powerful medium. Globally, Bollywood, Hollywood, and Kollywood use dance as a hallmark of their identity. In Sri Lanka, a “cinema-specific dance profession” is not formally institutionalized. Yet, the history of Sinhala cinema reveals a profound reliance on dance.

The Necessity of Dance in Cinema: A Multi-Dimensional Purpose

The inclusion of dance is rarely a random choice. It is a calculated artistic decision. This necessity can be understood through the theories of musician Aeron Copland. Copland identified five functionals ways music contributes to film. These same principles justify the role of dance:

Categorizing Dance in Sinhala Cinema

We can introduce a new systematic classification for dance in Sinhala cinema. Based on scholarly observations by Praneeth Abeysundara, it can be categorized into several types:

• Integrated Song and Dance: Films featuring both elements.
• Songs without Dance: Films with musical numbers but no choreographed dancing.
• No Songs or Dance: Productions that exclude both elements entirely.
• Dance without Songs: Films containing intermittent dance moments without songs.
• Dance-Centric Fims: Special productions where dance is the primary focus.

The Structural Implementation of Dance

Dance manifests in various forms based on the script:
• Solo Performances: A single actor or actress carries the emotional weight of a scene.
• Duets: Focusing on the chemistry and relationship between two lead characters.
• Group Sequences: Lead actors perform with a dance troupe to create a visual spectacle.
• Guest Appearances: Professional dancers are brought in for high-impact sequences.

The Technical Complexity of Cinematic Dance

Creating dance for the screen is a highly technical process. It requires an understanding of how movement interacts with the camera lens. A successful sequence involves a synchronized effort:
• Camera Technology and Lighting: Capturing movement to emphasize grace and dynamism.
• Set Design and Space: Managing physical space for complex choreography.
• Editing and Post Production: Cutting shots to match the rhythm and tempo.
• Lip-Syncing and Expression: Precise lip-syncing and facial expressions (Bhava) are crucial for believability.
The role of the Dance Director (Choreographer) is indispensable. These specialists bridge the gap between pure dance and cinematic storytelling. They ensure the dance feels “cinematic” rather than a recorded stage play. This art form in Sri Lanka began with the first Sinhala talkie, Kadawunu Poronduwa. Every decade since has seen a transformation. The journey reflects the changing cultural and technological landscape of Sri Lanka.

Conclusion

Dance in Sinhala cinema is a vital organ of the cinematic body. It serves as a bridge between the audience and the character’s internal world. As the industry evolves, the “rhythm of the human body” remains a constant force. It drives the emotional heart of Sri Lankan films.

References

Amarasena, A. U. (2008). Sinhalaye maha sinama wanshaya [The great cinematic chronicle of the Sinhalese]. Borella: Bookpost Publishers.
Herath, S. (1995). Sinhala chithrapata geetha sahithyaya [Sinhala film song literature]. Colombo: S. Godage and Brothers.
Mihindukula, S. (1997). Panas wasaraka Sinhala chithrapata namavaliya [A catalogue of fifty years of Sinhala cinema]. Colombo: National Catholic Cinema Council.
Ratnavibhushana, A. (Ed.). (1997). Cinesith No. 34/35. Boralesgauwa: Asian Film Centre.

Janith Dissanayake
Faculty of Humanities and Social Sciences
University of Sri Jayewardenepura
janithdissanayake@sjp.ac.lk