<p><em>Sanjana G</em> </p><p>A performance group from Bengaluru is trying to remove the stigma surrounding the parai, an ancient percussion instrument primarily used in Tamil Nadu. Traditionally, the parai was played to gather people for announcements, and during festivals and funeral processions. Over time, it became closely linked with death rituals and Dalit communities who performed with it.</p>.<p>The group is called Adavi Arts Collective. They perform parai attam, a folk art form that involves singing and dancing to the rhythms of the parai. The songs often address grief, social justice, and Dalit heritage.</p>.<p>The group was initiated two years ago by Naren, a folk and percussion artiste with a background in theatre. “Our goal is to ensure that parai artistes receive the same respect as mainstream artistes,” Naren says, adding that parai artistes were once paid with alcohol, not even money, and were treated as untouchables. Naren also wants to restore “the dignity of the art form” by challenging its caste-based associations.</p>.I gave up modelling and became a monk.<p>The group also holds workshops for urban audiences to try the parai, a disc-shaped instrument that is played with two sticks. The group has 25 members from various professions, and one of them, Mark Antony, started out as a workshop participant. “Antony was so moved by the performance that he started crying and joined the group immediately,” recalls Senan Ram, another member.</p>.<p>The group performs three to four times a month in Bengaluru and has started receiving invitations to perform in Chennai and Hyderabad. While all members play the parai, some, like Vani, Arputhan, Ahilan, and Sachin, also sing during the shows.</p>.<p>They sing and dance to Tamil songs such as ‘Pannindu poga matom’ by activist-singer Dalit Subbaiah and ‘Manusangada’ by poet-writer Makkal Pavalar Inkulab. Recently, in Hyderabad, they sang an oppari (funeral song) in memory of late PhD scholar Rohith Vemula who died by suicide because of caste-based hostilities. They have composed one song so far, called ‘Parai adi’.</p>.<p>Their vision is to move the parai from the margins to the mainstream. On their Instagram account, they have posted about their experiments of playing the parai alongside electronic music, beatboxing and the sitar. They also use other drums in their shows. </p>.<p>Sparking political discourse around freedom and equality is another of their aims.</p>.<p>In their productions, they have paid tribute to Dalit artistes who protested against playing the parai in 1980s Tamil Nadu, as it was labelled a menial job. The fight also symbolised the assertion of Dalits in the spheres of education, employment, and politics, Naren says. </p>.<p>The group has also highlighted the issue of honour killings in progressive societies, and caste atrocities such as the 2006 Khairlanji massacre in Maharashtra and the 1968 Kilvenmani massacre in Tamil Nadu.</p>
<p><em>Sanjana G</em> </p><p>A performance group from Bengaluru is trying to remove the stigma surrounding the parai, an ancient percussion instrument primarily used in Tamil Nadu. Traditionally, the parai was played to gather people for announcements, and during festivals and funeral processions. Over time, it became closely linked with death rituals and Dalit communities who performed with it.</p>.<p>The group is called Adavi Arts Collective. They perform parai attam, a folk art form that involves singing and dancing to the rhythms of the parai. The songs often address grief, social justice, and Dalit heritage.</p>.<p>The group was initiated two years ago by Naren, a folk and percussion artiste with a background in theatre. “Our goal is to ensure that parai artistes receive the same respect as mainstream artistes,” Naren says, adding that parai artistes were once paid with alcohol, not even money, and were treated as untouchables. Naren also wants to restore “the dignity of the art form” by challenging its caste-based associations.</p>.I gave up modelling and became a monk.<p>The group also holds workshops for urban audiences to try the parai, a disc-shaped instrument that is played with two sticks. The group has 25 members from various professions, and one of them, Mark Antony, started out as a workshop participant. “Antony was so moved by the performance that he started crying and joined the group immediately,” recalls Senan Ram, another member.</p>.<p>The group performs three to four times a month in Bengaluru and has started receiving invitations to perform in Chennai and Hyderabad. While all members play the parai, some, like Vani, Arputhan, Ahilan, and Sachin, also sing during the shows.</p>.<p>They sing and dance to Tamil songs such as ‘Pannindu poga matom’ by activist-singer Dalit Subbaiah and ‘Manusangada’ by poet-writer Makkal Pavalar Inkulab. Recently, in Hyderabad, they sang an oppari (funeral song) in memory of late PhD scholar Rohith Vemula who died by suicide because of caste-based hostilities. They have composed one song so far, called ‘Parai adi’.</p>.<p>Their vision is to move the parai from the margins to the mainstream. On their Instagram account, they have posted about their experiments of playing the parai alongside electronic music, beatboxing and the sitar. They also use other drums in their shows. </p>.<p>Sparking political discourse around freedom and equality is another of their aims.</p>.<p>In their productions, they have paid tribute to Dalit artistes who protested against playing the parai in 1980s Tamil Nadu, as it was labelled a menial job. The fight also symbolised the assertion of Dalits in the spheres of education, employment, and politics, Naren says. </p>.<p>The group has also highlighted the issue of honour killings in progressive societies, and caste atrocities such as the 2006 Khairlanji massacre in Maharashtra and the 1968 Kilvenmani massacre in Tamil Nadu.</p>