If the DMK government truly cared about the art and culture of the Adi Dravidar/Tribal communities, why should the festival be conducted under the TAHDCO Corporation?
Published Dec 03, 2024 | 4:15 PM ⚊ Updated Dec 03, 2024 | 4:15 PM
Aadhi kalai kol.
Under the Tamil Nadu Adi Dravidar Housing Development Corporation (TAHDCO), a cultural festival named ‘Aadhi kalai kol’ was planned for 1 and 2 December. However, it was conducted only for a single day, 2 December, following the hard questions we raised about the planning.
Subsequently, the event failed to gather sufficient support on 2 December and resulted in failure. Moreover, there was criticism that notable personalities did not participate in the event.
Spending crores of rupees on such an event in the name of protecting the heritage and culture of Adi Dravidars/Tribal communities reflects DMK’s newfound concern, which is questionable and deceitful.
If the DMK government truly cared about the art and culture of the Adi Dravidar/Tribal communities, why should the festival be conducted under the TAHDCO Corporation?
While looking at the historical records regarding the Adi Dravidar/Tribal community’s progress, DMK’s actions have always been negative. A recent example is the inner reservation for the Arunthathiyar community within the Adi Dravidar category, a conspiracy that deprived the majority of Adi Dravidar communities of their job opportunities.
Moreover, the DMK is currently attempting to merge Adi Dravidar/Tribal Welfare Department schools with the School Education Department, which is a direct threat to their existence.
One significant observation is the selective approach of the DMK government. For example, in response to the protests led by Arivuch Samugam — a movement advocating for the welfare of Adi Dravidar/Tribal and Kallar schools — the DMK government issued a statement saying they would not merge Kallar schools but failed to mention anything about Adi Dravidar/Tribal schools, exposing their deceptive policies.
In every plan, the DMK government operates against the interests of the Adi Dravidar/Tribal communities by marginalising them in both governance and development measures. This festival should be seen as part of that pattern.
When ‘Aadhi kalai kol’ is understood as a festival of a linguistic group, why should it be isolated as a celebration of only the Adi Dravidar/Tribal communities?
Historically, Adi Dravidar/Tribal people are referred to as the backbone of Tamil society. In such a case, why wasn’t this festival conducted under the Tamil Development Department, the International Institute of Tamil Studies, the World Tamil Sangam, or Tamil University?
Instead, organising the event through TAHDCO — a corporation mainly known for granting loans — alienates the heritage and culture of the Adi Dravidar/Tribal people from mainstream Tamil heritage. Isolating their traditions, art, and culture in this manner raises critical questions about what constitutes Tamil heritage, art, and culture in general.
Separating traditions, art, and culture into isolated categories such as “Adi Dravidar/Tribal art” perpetuates a form of untouchability. Additionally, it should be noted that personalities from Scheduled Communities invited to this festival are not invited to other state events such as book fairs and district-level literary festivals. Yet, they are exclusively invited here.
The International Institute of Tamil Studies already has a section called the “Ancient Tamil Lifestyle Museum.” Why then should there be separate museums for Adi Dravidar/Tribal communities? Does this mean they are not considered ancient Tamils? The institute displays items in the names of Tholkappiyar, Thiruvalluvar, Kapilar, Avvaiyar, and Ilango Adigal, among others. Are they not part of the Adi Dravidar/Tribal heritage?
If there were genuine concerns, these personalities could have been invited to speak at the Institute. The DMK government also has rental halls under the World Tamil Sangam. Wouldn’t it have been more appropriate to conduct this event there under its auspices?
These are the kinds of questions intellectuals attending the festival should have raised. However, individuals like Imayam, Azhagiya Periyavan, Sukirtharani — who are under DMK influence — and those like Stalin Rajangam and J Balasubramaniam, who thrive by aligning with power, have done otherwise.
It’s noteworthy that Imayam, who does not accept the categorization of Dalit literature, accepts isolating Adi Dravidar/Tribal art and conducting events under TAHDCO.
Does this mean he accepts “Dalit art” as a category? Similarly, Sukirtharani rejected an award linked to the Adani Group, but she participates in a DMK event tied to the same Adani Group. Does she accept Adani now?
Stalin Rajangam, who criticised the Dravidian movements in the past, now gladly participates when invited by the same Dravidian movement in power. This shows that literary politicians are no less compromised than electoral politicians.
When it comes to Tamil art, heritage, and culture, funds should be allocated from the Tamil Development Department’s budget. Adi Dravidar/Tribal Welfare or TAHDCO is not responsible for artistic, literary, or cultural growth. However, TAHDCO funds are being misused here.
TAHDCO has already been criticized for its lack of transparency in expenditures and operations. Funds meant for Scheduled Communities are being misappropriated for various unrelated purposes.
At a time when significant amounts are being returned unspent due to the absence of proper oversight, funds are being wasted in the name of showcasing Adi Dravidar/Tribal art and culture as separate entities.
In conclusion, the purpose of this festival seems twofold: To divert TAHDCO funds and to distract from the anti-reservation sentiments against DMK, especially among the majority of Scheduled Communities who oppose inner reservations favouring Arunthathiyars. This festival is staged to manipulate public perception and neutralise opposition sentiments.
(Views expressed here are personal. Author is Arivuch Samugam leader.)
