Music composer Tenma's psychedelic Tamil folk musical for Voices from The South will premiere at the Edinburgh Festival Fringe 2023.
The Ostracised Guardian is set to premiere from 10 to 28 August as part of Voices from the South. (Supplied)
“What keeps an artiste going?” you may wonder.
For music composer Tenma, it’s a fusion of elements that fuel his creative drive: new experiences, daring experiments, and a relentless search for expressions beyond the binary.
“I need multiple verticals in my life as an artiste to continue doing this,” he shares. Tenma’s perpetual search led him to his latest opus — The Ostracized Guardian, a psychedelic Tamil folk musical. This marks his entry as an artistic director and composer on the international stage.
The captivating two-minute trailer of the production transports us to the rustic pockets of Tamil Nadu. Here, mystifying imageries of kula deivam (tutelary deity) and kaval deivam (guardian deity) worship come to life.
Each symbol and spectacle woven into these ceremonies carries a deeper story, waiting to be unravelled.
The piercing, yet harmonious sounds of the kombu and ekkalam add an ethereal dimension to the visuals, drawing us further into the esoteric world of these ancient traditions.
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The trailer leaves us craving for more, eager to delve into the rich cultural tapestry it promises to unveil. Fortunately, our wait is not long.
The show will virtually premiere from 10 to 28 August as part of Voices from the South, a new digital showcase at the Edinburgh Festival Fringe 2023.
Amid the anticipation, in a freewheeling chat with South First, Tenma delves into the profound narratives that have been the driving force behind this production.
“When I started getting support from labels to do songs, and later stepped into the film industry, creating music, it didn’t make sense anymore to be labelled as an ‘indie artiste’,” begins Tenma, an indispensable force in the independent music scene of Chennai.
The production will showcase traditional instruments like the pambai. (Supplied)
Driven by this compelling internal struggle and a quest for novel horizons, he found himself dreaming of embarking on international art projects.
“It has taken 16 years to realise this dream,” he shares, a sense of satisfaction washing over him.
However, this gratification isn’t solely derived from the fulfilment of “his” dream. Instead, he finds contentment in the outcome of the musical production.
“I am grateful to Pickle Factory for selecting our project. I am grateful for the fantastic team I have curated, especially Gana Muthu and Guhan Vathiyar, whose contributions have been phenomenal,” he enthuses.
Yet, Gana Muthu is far more than just a collaborator to Tenma. “He is like family,” he says, highlighting their profound connection dating back to the inception of the Casteless Collective, which Tenma co-founded alongside director Pa Ranjith.
“Muthu and everyone in the band had big dreams and didn’t want to be confined. Muthu was always eager to create more. I admire how he enables others even in times of struggle,” he says fondly, about his co-creator.
“This collaboration felt easy. He understands my vision and I trusted him to execute it,” Tenma adds.
It was Gana Muthu’s idea to explore the spiritual side of the Bhakti movement. (Supplied)
It was Muthu’s idea to explore the spiritual side of the Bhakti movement; give musical instruments like the pambai and udukkai, and cultural elements like the kavadi, a space.
Tenma explains that Muthu wanted to infuse elements from his geographic background.
“During the Covid pandemic, while supporting approximately 1,000 artists, I encountered pambai artists who felt unrecognised. All these experiences, combined with my exposure to obscure music albums, influenced the elements in this production when the time came,” he details.
Tenma’s transition from creating a commercially-viable album with Natchathiram Nagargiradhu (2022) to delving into an obscure production, incorporating elements of electronic folk music, and psychedelic details, meant an extended internal odyssey of artistic exploration and growth.
Tenma’s thirst for new adventures inspired the psychedelic elements in the production.
“Psychedelic music is often associated with drugs. However, in today’s world, it extends beyond the facet of rave. We can find this music being played in expos and various other settings. As a music form, it is great and can be tapped into anywhere,” he shares.
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Immersing himself in Tamil Nadu’s kaleidoscopic prism of psychedelic music, he found his way to the Thiruporur Murugan temple.
Here, he experienced the captivating allure of Tamil mysticism and the enchanting rhythms of the pambai in all their splendour.
“To truly go global, you need to understand where you come from culturally. In the temple, artists played the pambai for seven hours straight. I wanted to absorb the vibe of the place and the people, and understand the essence without judgments,” he reminisces.
The production delves into the absorbing history of the village deities in Tamil Nadu. (Supplied)
However, deep within the story of its inception and the mesmerising musical elements, a subliminal narrative awaits — the untold journey of the ostracised guardians themselves.
“In the production, we discuss Siru Deivangal or Kaval Deivangal like Madurai Veeran and Angala Amma, who are akin to Murugan or Vinayaga,” he shares.
Tenma delves into the absorbing history of the village deities in Southern India, celebrated and worshipped within the framework of the Dravidian folk tradition.
Often, people deify individuals who suffered injustices, appeasing their spirits to ensure they don’t bring harm to the village.
He shares an example of a deified hero, Madurai Veeran, who was killed as he was presumed to be of a lower caste.
“The concept of these deities dates back to ancient civilisations. Over time, society has ostracised them, along with those who worship them too,” he says.
Tenma roots his approach in a Periarist ideology, embracing iconoclasm to dismantle barriers. He humanises these stories, which the mainstream has ostracised for not conforming, through the essence of his ideology and narrative.
“These guardians possess the unique ability to bring people together across various caste and community locations,” he says.
“Serving as a bridge between nature and humanity, they foster strong communities,” he elaborates.
Notably, in his previous commercial endeavours like Iruchi in Irandam Ulagaporin Kadaisi Gundu (2019) and En Janame in Natchathiram Nagargiradhu (2022), he delves into the concept of Sirudeivam Vazhipadu, shedding light on issues like honour killings and societal divisions.
He shares, “By highlighting the non-binary and gender-fluid nature of these ancient gods, I want the narrative to bring them into a fresh perspective.”
In the realm of Tamil music, the powerful influence of percussive elements like thavil and parai has been undeniable.
“In this showcase, I took an innovative approach, incorporating instruments like the thavala sangu and yanai sangu, along with several other rarely used instruments,” he says.
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The entire composition revolves around these percussive elements and unique instruments.
“Credit is due to Guhan Vathiyar, one of the bests in the Tamil folk landscape, whose invaluable guidance played a crucial role in deepening my understanding of this musical form,” he shares.
While there are hereditary artists like Guhan, who carry on these traditions, giving opportunities to others, there are also those who exploit the art form for personal gain, which presents a challenging situation, notes Tenma.
In the realm of Tamil music, the powerful influence of percussive elements like thavil and parai has been undeniable. (Supplied)
“Many folk musicians continue to face significant struggles and experience marginalisation. In tragic cases, some have even encountered custodial deaths, rarely discussed. What gives me peace is the ability to make a difference by facilitating and exposing these musical forms to a wider audience,” he shares.
To add further dismay, the art sector in Chennai too faces significant division, he laments.
Equity and representation still require significant attention and progress, it seems.
“People operate within their caste ecosystems rather than fostering a unified art ecosystem. It often resorts to oppression and tokenism. There’s a lack of genuine effort to uplift marginalised artists, and this is deeply disheartening to witness,” he adds.
Moreover, in his new journey, he has received offers to turn the concept of ostracised guardians into a documentary.
“We are exploring the possibility of materialising this idea. The unwavering support from Pickle Factory in making this production a reality has been invaluable,” he says.
Our hearts fill with anticipation as Tenma sets out to capture the forgotten tales of these guardians.
“I am committed to ensuring my actions contribute positively to the artists who work with me,” he signs off.
As the curtains are set to rise, the audience will undoubtedly be moved by the raw emotions, haunting melodies, and powerful narratives that unfold on the digital stage.
And perhaps, in the afterglow of this musical journey, a lingering question will remain – what untold stories lie within our own cultures and communities, waiting for an artistic voice to give them life?
To uncover more musical stories, visit Instagram @tenmamakesmusic @ganamuthumedia.
Twitter tenmamakesmusic.
For tickets, visit tickets.edfringe.com/whats-on/ostracised-guardian
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