Legend has it that Jaffna or Yaalpanam (யாழ்ப்பாணம்) earned its name after a blind yaal player was gifted the land by the King who was deeply impressed by his musical abilities. While the city might have been home to musical genius once upon a time, it can no longer make the same claims as the culture of Sri Lankan Tamil music is, at this moment, non-existent.
Although Jaffna was named after the yaal, the instrument underwent no significant changes in Sri Lanka. In fact, while it gave rise to the veena in India, regrettably, it died out in the land after which it was named.
Unfortunately, the same static trend has been mirrored by other instruments that were introduced to the island from India. ‘Divine instruments’ that include the nadaswaram and mezham are staples in auspicious events such as weddings and temple festivals. These were also imported by the Tamils in Sri Lanka from India and have not evolved beyond their original design since their initial introduction to the island.
Till date, no instruments have been recorded as being created by the Tamils on Sri Lankan soil.
This is not to say that Sri Lankan Tamils are not musically inclined or exponents of musical art forms. In fact, many young children are actively encouraged to be involved in “traditional music” such as Carnatic music either through vocal lessons or through learning to play instruments such as the mridangam. This “traditional music” is not the creation of the Tamils in Sri Lanka but yet another adoption from the Indian cultural sphere.
Around the 16th century, Indian Classical music diverged into Hindustani music in the North and Carnatic music in the South. Carnatic music eventually made its way to Sri Lanka and has remained largely untouched with little to no contribution being made to the art form in spite of the fact that it is practiced by thousands of Sri Lankan Tamils, within and outside of Sri Lanka.
Regardless of the fact that we have adopted it as an expression of our identity, it has been and will always remain an Indian music form. This essentially makes us the only people in the world using the cultural output of another country to showcase our own.
The hard and bitter truth is that as a people, we have always chosen to take the easy way out when it comes to the arts. Why try and create something new when someone else has already done it? Why try and change something when its working just fine? After all, that’s how its always been done.
What we need to realize is just because that’s how it is, it isn’t always how it should be.
Creating and appreciating music is one of the most fundamental aspects of the human experience. Music is dynamic and constantly evolving. For centuries, it has been used to tell stories of people; their struggles, their victories, their highs and their lows.
While constantly looking to our Northern neighbours for inspiration, we have severely stunted the growth of our own creative capabilities as well as the development of our culture and identity.
Instead of singing Indian songs and playing Indian instruments when attempting to showcase the Sri Lankan Tamil culture, we must create our own unique music that truly defines who we are as a people. With a young generation that is largely aware of and trained in music theory (both Western and Indian Classical), we should be forging our own identity by creating and innovating new concepts instead of recreating and remixing old ones. The stifling cultural inertia that has been holding us back needs to be vanquished in order to develop the future Ilaiyarajas and A.R. Rahmans of Sri Lanka.
Whilst the task may seem daunting, it is not impossible. The sense of cultural consciousness that will arise as a consequence of the rejuvenation of the arts will truly change the course of our culture.
Cultural Consciousness 