The sorry state of the Tamil eisteddfod movement
I HAVE happy memories of attending the Tamil eisteddfod from a young age. After Bharathanatyam dance class on a Saturday or Satsang on Sunday, I would accompany my parents to different community spaces such as the RB Chetty Hall in Phoenix, Arutpa Kazhagam Hall in Chatsworth, the MTSS Hall in Merebank, and Dravida Society Hall in Clare Estate where the eisteddfod would be held.
An eisteddfod is a competition in poetry, prose, music, drama, dance, and other performing arts and has Welsh origins. It has been a popular event in the Tamil, Hindi, and Telugu communities locally for decades, and apart from engendering a spirit of competition between participating groups, it also serves to promote language and culture.
I recall when the Tamil eisteddfod session would commence at 8am and run until late afternoon and even early evening, such was the interest from hundreds of participants. Audience support was unstinting, with all chairs being occupied all day.
The children’s eisteddfod in various regions would be held on one day, to be followed by the adult eisteddfod the following day, in order to accommodate the many candidates.
I would enjoy partaking as a member of the audience, wide-eyed and with pride, and with hot vades, samoosas and coffee in hand. I relished the showcasing of talent in isai (music), iyal (language)and nadagam (dance/drama).
It was thus with much sadness and disappointment that I returned home from the Durban region adult and children’s eisteddfod last weekend hosted by the KwaZulu-Natal Tamil Vedic Society Provincial Body. Before I relate the reason for my disenchantment, I must place on record my appreciation for the time and effort put in by Kogie Moorthi and her team in arranging the eisteddfod.
However, while the planning was in place, there was a sea of empty chairs with only a sprinkling of people in the audience. The number of adjudicators was greater than the number of participants. I cringed when item after item, the MC announced there was only a single candidate, thus ruling out any expectation of competition. In some items, such as music and dance, there were no participants, causing a lump in my throat.
I recently read that in 2001, the then president of the Gauteng Tamil Federation, Naga Moodley, related that in a provincial eisteddfod, 375 children participated in 40 different categories that covered the full spectrum of the Tamil language, arts and culture.
There has been diminishing participation in the Tamil eisteddfod in the last decade. The ugly spectrum of politics, which has seen some regions boycotting the eisteddfod (Jimmy Parthiben Moodley of Phoenix can speak volumes here); the disappearance of almost all Tamil schools; and a general sense of apathy, especially among parents; have combined to erode interest in the eisteddfod movement.
There are several reasons for the declining interest among youth in cultural events.
With the rise of smartphones, social media, and streaming services, young people spend more time scanning digital content. Platforms like Netflix, YouTube, and TikTok provide instant entertainment that often competes with cultural events.
Some cultural events may seem outdated or irrelevant to modern youth. Reciting the wise words of Avvaiyar, the Tamil poet who is reputed to have lived in the first century BC, or Subramania Bharati, the Tamil writer, poet, and Indian independence activist, do not engage younger audiences at an eisteddfod. The eisteddfod must reflect contemporary issues or trends, such as GBV, global warming, unemployment, and poverty. Young people today might be more interested in international cultures or subcultures that are not represented in Tamil cultural events.
Parents too must pay greater attention to ensuring their children do not lose touch with traditional Indian culture, such as the eisteddfod programme. Retaining culture is vital for maintaining a sense of identity, preserving history, promoting diversity, and fostering social cohesion.
Saranya Devan, a theatre-maker, dance performer, academic and proud Tamilian, holds an MA in Dance from the University of Cape Town and MA in Bharatha Natyam from the University of Madras.