Kooththu in the world of globalisation

By: Editorial
Northeastern Herald

The recently concluded Eela Kooththu Festival held in Jaffna is an eye-opener. It demonstrates to what uses Tamils are putting the ceasefire, despite the much-touted peace dividend eluding them during the 18 months since the Memorandum of Understanding was signed.

An article in this issue of the Northeastern Herald highlights the discussion on forming a Tamil national theatre that took place during the festival. They centred on two intertwined subjects: one, the future of kooththu and second, the formation of a national theatre using kooththu as its core.It is indeed laudable that the Tamils have begun to shed their self-image as a beleaguered minority and begun to think of themselves as a nation sharing physical space on Sri Lankan soil with other nations. Further, it is also noteworthy that they are willing to assert multiple identities and see themselves as a Tamil nation within Sri Lanka.

The Tamils are a people who have lived under the heel of internal colonialism of for over 50 years � ever since the departure of the British. Like all numerically smaller national groups, the Tamils were destined to witness the cultural practices of the Sinhala people masquerading as national culture. Whether it was about the national flag, the national anthem, or what was depicted as �2500 years of civilisation,� the Tamils were either treated with scorn or completely ignored.

We have view the attempt to elevate any one school of kooththu as the national theatre of the Tamils, from the experience of having Sinhala hegemony shoving Sinhala culture down Tamil throats as national culture. Either the essence of kooththu has to be distilled through consensus among the exponents of the various schools of that art form, so that what emerges is a worthy compromise, or, Tamil national theatre should not be a single monolith, but a multiplicity of schools and genres that coexist without one dominating the other. But even as the Tamils asserting themselves as a nation within the confines of Sri Lanka against Sinhala hegemony becomes important, forthcoming battles on a wider arena appear more frightening.

Globalisation has seen the slow but sure westernisation, in particular Americanisation, of global culture. And in a world where culture is commodified, not only has the great western avalanche swept less-rooted cultures before its onslaught, but it has also led to the drain of wealth from poor third world countries to west. From Hollywood to Harry Potter, money pays for the consumption of these cultural commodities.

Even the Indian film industry � Bollywood and the Tamil film world of Chennai � display in their products the relentless battle they wage against western domination. It shows a retreat that is painful to watch but appears almost inevitable.

It is in this context that we have to view kooththu or whatever other art form that is born or at least evolved in northeastern Sri Lanka. If it is to reflect the experiences, beliefs, joys and sorrows of a people, keeping kooththu in the village, while western art forms from the literary to the plastic and performing arts frolic in the cities and towns, will be a pity.

This is not to say for a moment that art should steadfastly remain pure and incorrupt by external and alien influences. That is impractical and indeed stunting. But in a world where aesthetic traditions have to compete with the west for financial backing and popular support, folk art, regional cultures etc. fight a losing battle against the forces of globalisation.

It will be prudent indeed if the Tamils look upon themselves as a community that has to preserve what are unique to it against the giant forces with which it is grappling in an unequal battle. It would indeed be good to keep this in mind when addressing cultural issues in the future and against a struggle that is taking on new dimensions all the time.