Six Tamil artistes in Australia paid homage to their roots by performing ancient Tamil folk arts, folk instruments and Bharatanatyam to a global diaspora.
With an enthusiastic global audience of over 37,000 in attendance, On 21 and 22 October, the six performing artistes delivered a series of eight live shows. (Supplied)
Australia’s Sydney Opera House recently played host to the captivating rhythms of ancient Tamil folk instruments including parai, konnakol, and morsing. This culturally significant event, which also featured an enthralling blend of silambattam and Bharatanatyam, marked a milestone moment of pride for Tamil culture.
With an enthusiastic global audience of over 37,000 in attendance, the performance was made possible through a dynamic collaboration between Shyamla E and Shankari J of BINDI BOSSES, and four Tamil performing artistes — Chidambaram R Suresh, Shobana Suresh, Oviya, and Senthuuran Thevarajah, all from Australia.
The occasion for this spectacle was the 50th anniversary of the Sydney Opera House. On 21 and 22 October, the performing artistes delivered a series of eight live shows, each lasting 25 minutes.
Six Tamil performing artistes paid homage to their roots by performing Tamil folk arts to a global diaspora.(Supplied)
“We barely had a moment to catch our breath between performances. The relentless energy of our ancient instruments kept us fully charged. Witnessing the global audience dance rhythmically to the beats of our 3,000-year-old instruments and the art form was an unforgettable experience. It was a moment of immense pride,” enthuses Shyamla, the founder and artistic director of BINDI BOSSES, a South Asian fusion arts company.
When the chance to grace the steps of one of Australia’s most iconic performing arts facilities presented itself, the performing artistes recognised it as the perfect stage to unveil the depth of their cultural heritage.
“Shankari is a Malaysian Tamil, Senthuuran identifies as Eelam Tamil, Suresh is from Chidambaram, and Shobana and Oviya are Ilankai Tamil heritage. We all have migrated to Australia but Tamil binds us,” shares the queer artiste, who considers themselves gender fluid.
The performing artistes invested three months in rigorous training of the traditional folk art forms, though the individual performing artistes had been honing their craft for many years. Their training in silambam and parai was guided by Suresh’s brother in Chidambaram.
During this preparation, a profound sense of connection to their roots and the healing power of that connection became evident. “Though we may reside far from our native land, our lineage remains an indelible part of our identity,” adds Shyamla.
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The performance brought together the performing artistes spanning three generations. Eleven-year-old Oviya is the youngest among them. Shyamla owes much of this milestone performance to Suresh. He holds the distinction of being the first Tamil performing artiste in Australia to blend Bharatanatyam with silambam and showcase it on the grand stage of the Opera House.
“Suresh is also an accomplished percussionist. The highlight of the show was the chemistry and energy between Senthuuran and him when they performed konnakol and parai aatam. He’s been a wonderful mentor and source of inspiration,” they beam.
For Shyamla, this performance stands as a “heartfelt homage” to the legacy of Tamil traditional folk art forms and generations of folk artistes that preceded them.
They reflect, “As performing artistes, we consider ourselves privileged to have received this opportunity. The resounding beats of the parai drum echoed across a kilometre, a testament to the profound power these instruments possess. There couldn’t have been a better platform to popularise them among a global audience.”
The performing artistes delivered a series of eight live shows, each lasting 25 minutes. (Supplied)
Their performance not only entertained but also educated and enriched the global diaspora, making them a part of the living tapestry of Tamil heritage. It ensured that these traditions continue to thrive and resonate across borders and generations. Besides, it earned the performing artistes praise and admiration from the Indian and global diaspora on social media.
Another noteworthy detail that caught the eyes of the audience was the custom-designed attire by Shyamla’s friend, Poornima Sharma, the creative mind behind @meerabypoornimasharma.
The performing artistes sported a coordinated look, donning white organic cotton dhotis paired with bespoke yellow-dyed silk kurtas, accented by the maroon waist and headbands.
“Suresh and I shared our ideas and references with Poornima, and the outcome was impressively swift. The dhoti fabric was sourced from Chennai. Yellow and maroon reflect the colour of our roots, adding a touch of nativity,” says Shyamla.
For aspiring performing artistes, Shyamla suggests engaging in the company of artistes who have lived experiences. “Take the time to reside in the homeland of the art form. Engage with the practising community and delve into the art’s historical and political context,” they say. As they reiterate, there are no shortcuts to mastering the art, but only dedicated practice.
In November, Shyamla is planning to travel to India to spend a couple of months across Kerala, Chidambaram, and Chennai.
The performance brought together performing artistes spanning three generations. (Supplied)
“I’m eager to immerse myself in the world of kaikuthu sandai, the traditional martial art. I want to refine my skills in parai and silambam while in Chidambaram. I’m looking forward to devoting substantial time to training. If circumstances allow, becoming part of the group that annually performs during Pongal at the Natarajar temple. It’s a truly unique and exhilarating experience,” they share, hoping to collaborate with Tamil folk artistes in future.
Shyamla’s father grew up in a time when the White Australia Policy was in practice. It was commonly believed that speaking in English was essential to assimilate into the culture. “I cannot speak Tamil so I’m going to try and learn the language as well,” they add.
Parallelly, BINDI BOSSES, led by Shyamla, is actively pursuing meaningful collaborations. The first of these endeavours for November is Transcendance. It is a 40-minute production that assembles a team of 12 multi-talented local artistes They bring to life a fusion of live drumming, dance, and visual elements. The second is the Rising Heat Climate Change project, conducted in collaboration with Sweltering Cities, an NGO in Australia.
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As a self-funded matriarchal company established in 2019, Shyamla is acutely aware of the origins of its funding. A few years back, they withdrew from the Sydney Festival since it had accepted funding from the Israeli embassy.
“Being migrants on unceded First Nations land in Australia, we stand with the traditional owners of the unceded lands on which we practice and perform,” they assert.
Over time, BINDI BOSSES has emerged as a platform for artistes from diverse cultural and linguistic backgrounds.
“We firmly believe that the arts can amplify the voices of indigenous and marginalised communities,” Shyamla encapsulates.
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These performing artistes serves as a reminder that through the mediums of art we possess the ability to confront the world’s myriad challenges while preserving the inherent grace of our culture.
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