The sound of Parai against racism unites Black Lives Matter protestors in Sydney

by Geerthani
Jun 9, 2020

As protests across the globe continued in response to George Floyd's murder, a viral video of "Parai" drummer, Thirumeni Balamurugan, captured an act of solidarity as the sound of the Parai resonated among protestors in Sydney, Australia. 

The "Parai" instrument was played throughout a section of the demonstration on Saturday which drew crowds of protestors. A young woman protestor, followed by many others stepped in union with Balamurugan, expressing their solidarity through incredible perfomances of drumming and "Parai Attam" (dancing).

Protestors gathered in a circle clapping while many swayed captivated by the moment. Placards at the demonstration reading, “Justice for David Dungy", "No justice, no peace," and "Your silence is the oppressor's greatest ally" were paraded. 

Balamurugan, originally from Chennai, India is a member of the Australia Tamil Arts Group, that prides itself on being "passionate about engaging, educating and restoring Tamil culture". 

Origins and history

Parai is a traditional art form native to Tamils and an instrument that is considered to be the "mother of all percussion instruments".

The word "Parai" means "to speak" or "to tell" and the message urging justice for Black lives, resonated loudly and clearly at the demonstration through this iconic art form.

The "Parai" is regarded as a symbol of Tamil resilience and is seen commonly within crowds in India and North-East Sri Lanka to send bold messages of perserverance and solidarity. 

Despite being a symbolic Tamil "national" instrument, the Parai has a caste-aligned history. It has been regarded as a low-caste instrument played by lower-caste "Paraiyar" people and  it was not long ago that it had been exclusively played at funeral events and carried the label of "untouchabilty".

While the instrument is still seen as inferior in many areas, there have been groups such as Australia Tamil Arts Group and the Buddhar Kalai Kuzhu (operating in Tamil Nadu), that have been set up with the goal to dismantle these caste restraints and make it open to all eager individuals, slowly allowing the reconstruction of the "Paraiyars" identity to happen.  

Solidarity for the movement

This latest display of solidarity comes as Tamils across the world stand in alliance to the cause of the "Black Lives Matter" movement, police brutality and racism. 

As Balamurugan's drumming drew to a close, protestors stopped and clapped to show their appreciation. 

"We are all brothers and sisters," exclaimed one protestor. 

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Tamil asylum seekers in Australia mark 100 days of continuous protests for permanent visas

Over 200 refugees and supporters marked a significant milestone by marching 10 kilometers from Australian Prime Minister Anthony Albanese’s office to the Immigration Minister’s office this week, commemorating 100 days of continuous protest.

This demonstration, which culminated in a rally and speeches in Punchbowl, highlighted the plight of refugees denied permanent visas for over 12 years. Speakers at the event shed light on the profound impact of the current system, including barriers to higher education, employment, and access to essential services.

The protest has now entered its 100th day, with Tamil asylum seekers and their supporters continuing their relentless demand for permanent protection. For 38 days, they camped outside Australia’s Minister for Home Affairs, Tony Burke’s office in Sydney, calling on the government to end the visa limbo that has left many without basic rights and stability. Tamil asylum seekers have been in Australia for over a decade, living on short-term visas that must be renewed regularly. Without permanent residency, they are excluded from Medicare—Australia’s universal health insurance scheme—and are denied the right to work, study, travel, or access essential services. Many are also required to report to visa offices weekly.

The crisis is compounded by the controversial 'Fast Track' system introduced in 2014 by the Abbott government. According to the Asylum Seeker Resource Centre, this system has resulted in the rejection of around 8,500 asylum seekers' cases. It specifically targets individuals who sought asylum by sea and arrived in Australia between August 13, 2012, and December 31, 2013. Tamil asylum seekers, stuck in visa limbo for years, have launched protests nationwide, with 24-hour encampments in Melbourne, Perth, and Brisbane.

Amaran - Problematic propaganda

amaran

The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

 

 

 

The patriotic military films of Tamil cinema had taken a back seat for a while. The subject matter is now seldom a prominent theme of a film, instead lurking in the shadows peeking through such as via the heroes in the works of Nelson Dilipkumar. The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

The film follows the tale of Major Mukund Varadarajan (Sivakarthikeyan) and his partner Indhu Rebecca Varghese (Sai Pallavi), who meet at college and soon become lovers. Indhu grapples with her lover’s life ambition of becoming a soldier for the Indian army, admiring his courage and more than willing to become his doting wife at home. We then watch as Mukund is stationed in Kashmir and follow along with his various missions in the volatile area. The film’s depiction of the Indian army is one solely made up of heroes rescuing civilians and looking out for the public’s interests. It is not necessary to delve too much into why this is an oversimplified and problematic portrayal.

The central performances by Sivakarthikeyan and Sai Pallavi carry the almost three hour film adequately. Despite moments where Sivakarthikeyan lacks the intensity to land highly emotional scenes, the pair deftly share the screen between them, with Pallavi picking up any slack. Another notable performance comes from Geetha Kailasam, a character actor who has featured in many films recently in the role of ‘the mother.’ ‘Amaran’ gives her another opportunity to showcase her own humorous brand of motherhood.

Technically, the film runs smoothly. The film is decently shot and edited. Other than a few overly melodramatic moments, the screenplay is solid, albeit a little superficial. GV Prakash Kumar continues his trend of matching the quality of the film with the quality of his music. The track ‘Hey Minnale’ is an earworm, but the rest of the score and soundtrack does not shine through.

Overall, ‘Amaran’ is a straightforward piece of propaganda. A shot in ‘Amaran’ depicts a soldier of the Indian army blocking a closing door with his rifle. On the other side of the door is a Kashmiri child. To appease the child, the soldier sneaks a chocolate bar through the gap in the doorway. The reverse of this tactic is what director Rajkumar Periasamy employs to hook his audience in: the sweetness of the Penelope-Odysseus relationship between Mukund and Indhu hides the intrusion of the weapon of jingoist ideology. 

Krishna's rating: 2.5 stars

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Official trailer for film below.

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