The Role of Tamizhisai in Preserving and Promoting Tamil Cultural Heritage in Mauritius

Dr Adi Sankara Peruman OSK, Associate Professor, Head, Centre for Technology Enabled Learning

Mahatma Gandhi Institute, Moka, Republic of Mauritius

Introduction

            Mauritius is an island found in the Indian Ocean around 2,000 kilometers off the southern shore of the African continent.  It is a nation recognized for its diverse multicultural environment where people from various continents have migrated. The island was settled by the Dutch in 1598 and was left abandoned in 1710. The island was a French colony from 1715 to1810. The British took over Mauritius in 1810 until March 12, 1968 when the nation achieved independence. Primarily, many peoples can be traced back to Indian origins. The Tamil community in Mauritius has significantly contributed to the development of the Republic. Furthermore, it has succeeded in keeping the Tamil culture alive by preserving its language and Tamizhisai. Mauritius is famous for being a multicultural destination where several cultures converge. The Tamil community possesses its unique identity, reflected in the Tamil script on the bank notes of Mauritius. In addition to its wide range of food diversity, dress and festivals, Tamizhisai represents another facet of our rich cultural heritage that has been preserved and continues to be promoted. Tamizhisai  has developed in Mauritius, yet the tradition remains vibrant. How was this accomplished? This article will focus on Tamizhisai’s Role of in Preserving and Promoting Tamil Cultural Heritage in Mauritius. What are the elements that have played a role for the Tamil Community to preserve and promote Tamizhisai tradition?  What are the forms and functions of Tamizhisai in Mauritius and; lastly what are the challenges in relation to Tamizhisai ? These are the research questions that will be addressed. Not much research has been conducted on this topic so far. The methodology approach would be mainly descriptive and analytical focusing on the reflection of the evolution in Tamizhisai .

Historical Context

The Tamils arrived in Mauritius during the initial period of French rule in 1721, originating from India, primarily from the Madras Port. They arrived as talented artisans and subsequently as contracted workers. Mauritius has a Tamil community of approximately 115,000, with most migrating from Tamil Nadu since 1727. The majority of the indentured workers were dispatched to labor on sugar cane plantations, where they constructed nearly 125 Tamil temples close to their workplace throughout the island. They resided, labored, and upheld their spiritual traditions, including music such as the Naadagam, many years ago. Currently, there is a kovil linked to almost every sugarcane factory. The people have preserved their music and faith through temple worship ever since. A nation’s music and folklore are ideal for experiencing the vibrant culture of a country. Mauritius is enriched by diverse musical styles, incorporating sounds and rhythms from Western, Eastern, and African cultures that have influenced its history. Additionally, a few have fused to form distinct patterns. For a long time, many diverse individuals have brought along their talents to work, as well as their music, dance, and instruments, since for some, music is an essential part of their lives.

Forms and Functions of Tamizhisai in Mauritius

Tamil celebrations hold great popularity in Mauritius. The primary Tamil celebration observed in Mauritius is Thaipoosam Cavadee during the Thai month. It is a national celebration and recognized as a public holiday. Thiruppugazh hymns are popular in Mauritius and are frequently sung by worshippers. Avinaasi Pattu is also popular and is performed particularly during the Cavadee day procession. Carnatic Music pieces dedicated to Lord Murugan are showcased by specialists in the area. The Arunagirinathar Utsavam is held not only to uphold and encourage Thiruppugazh hymns but also to provide opportunities for artists to showcase their talents. Various groups are encouraged to record devotional songs about Murugan for our National TV, the Mauritius Broadcasting Corporation (MBC). Sittirai Cavadee, Vaighasi Visaagham, Aavani Moolam Aadi Karthigai, and Panguni Uttiram are becoming popular and are celebrated in Mauritius. Tamizhisai are promoted and nurtured during these festivals. Katcheris are organized by various Kovil during the Kandha Shasthi and Karthigai Deepam festivals. Nadeshwaram and Thavil musicians are associated with various kovil-s and are part of the ceremonies. Players from Tamil Nadu also perform at weddings and various events, thereby preserving another type of traditional music in Mauritius.

These mechanisms for Tamizhisai are also applied to other festivals such as Maha Sivaratree, where Thevaram and other Thirumurai hymns are performed, and Govinden Purattasi Thiruvizha, which is growing in popularity each year due to the consistent involvement of the Tamil community. Throughout the entire month of “Purattasi,” prayers are conducted, providing various bhajanam groups the chance to sing devotional songs at various temples across the island. Every temple ensures the installation of a podium, attractive decorations, and a high-quality sound system to accommodate musicians and dancers who come to perform. The majority of Bhajanam Koorthams will feature multiple singers, with one serving as the lead vocalist. They will be joined by the Harmonium, Mridangam, Veenai, Keyboard, and Tabla. Theemidee (fire walking) festival is a well-known event featuring Thappu playing, along with various traditional music and dance performances. Today, the younger generation has transformed Thappu playing by incorporating instruments such as the Pambai and Kai Silambu. During events such as the Tamil New Year, the youth are quite involved and they take it upon themselves to arrange cultural performances and stage presentations featuring Tamil film music and fusion dance. This serves as a significant motivation and essential elements showing that Tamizhisai is thriving in Mauritius

Institutional Support and Promotion

Mauritius is the sole nation on the African continent that provides structured courses in Indian Music and where Tamil Music plays a significant role. This represents the pride of the Tamil community in Mauritius. Different organizations are dedicated to advancing Tamizhisai in Mauritius. Among these, the Mauritius Tamil Cultural Centre Trust (MTCCT) was founded in 2001 and the Mahatma Gandhi Institute (MGI) was founded in 1970. Both are parastatal organizations are under the Ministry of Arts and Culture and the Ministry of Education and Human Resource, respectively. The goal of the MTCCT is to maintain and encourage Tamil cultural values and Tamil music in Mauritius. Courses available include Veena, Mridangam, Vocal Carnatic, Thirumurai, and Bharata Natyam dance, all of which are unstructured and suitable for all age groups. The Tamil Cultural Centre Trust additionally sends its musicians to various organizations to perform during specific festivals. The MGI has positioned itself as a prominent entity with a multifaceted structure that includes secondary education, tertiary education, research and publishing, along with cultural initiatives. Currently, Vocal Carnatic music, encompassing Thirumurai and Thiruppugazh, along with Bharatha Natyam dance, is being taught in secondary schools across both government and private sectors. At the MGI tertiary level, Certificate programs and Foundation courses are established for students pursuing the Diploma, B.A Hons in Vocal Carnatic, Mridangam, and Bharatha Natyam. M.A. program is also available in Bharata Natyam. Both the MTCCT and the MGI provided courses in Vocal Carnatic at their local centres. Numerous Kovil in Mauritius have their respective Bhajanam Koorthams (Singing groups).

Each year, numerous workshops and seminars are conducted at both the MTCCT and the MGI, including workshop focused on Thevaram singing. A recent workshop on Thappu playing sparked interest among young people. The inaugural National competition for Kolattam and Kummi dance, held by the MTCCT in 2024, was a remarkable event that saw the participation of approximately 30 groups. Cultural exchange with South Africa and Reunion Island is being promoted to engage with the Tamil diaspora and thereby enhance Tamil cultural heritage. Artists from India, particularly from Tamil Nadu, are invited to events in Mauritius. In Mauritius, we are fortunate to access Tamil channels such as Vijay TV and Jaya TV on private satellite television. Additionally, the MBC National TV offers Tamil Doordarshan TV around the clock every day. The Tamil League located in the center of the island is an organization that fosters the advancement of Tamizhisai in Mauritius. Its grand hall is put at the disposal of local artists to use for their performances. It is additionally utilized to assist other cultural groups in organizing events that celebrate Tamil culture.

Challenges and Contemporary Issues

Mauritius has experienced a resurgence of various music styles. As a multicultural and multilingual nation, Mauritius has served as a laboratory for decades, creating innovative trends in music that promote interculturality. The culture of Mauritius has developed due to extensive cultural exchange. The biggest cooperative occasion was the fusion music genre named “Unisson” which took place in 2011. It was a cooperative effort between The Mahatma Gandhi Institute and the Conservatoire National de Musique Francois Mitterrand Trust Fund. The fusion of the two distinct music systems of Western and Indian music (Carnatic and Hindustani Music) proved to be a successful endeavor. No collaboration has been started since then. Currently, organizations face financial challenges in maintaining the involvement of artists in performances. Numerous artists spent money to pursue further education at universities and private colleges in Tamil Nadu. They struggle greatly to continue singing, even in temples, without payment. The majority of the temple’s management is not prepared to allocate a distinct budget for artists. This has turned into a rather concerning problem. A majority of the music events occur around the temples’ activities, and due to certain temples experiencing financial difficulties, the younger generation struggles to engage. Because of the high expenses involved in bringing international artists from Tamil Nadu, the associations are managing their Bhajanam Koorthams exclusively. Documentation and an archive for Tamil music and dance are not accessible in Mauritius. The younger generation feels confused when they try to document their experiences related to Tamil music and ancestral culture.

Conclusion

Tamil music in Mauritius has significantly and immensely contributed to the global Tamil diaspora. The Tamil community has effectively preserved its heritage through its Music and Culture. Most temples have their bhajan groups but are unable to afford additional expenses like hiring international artists. Additional cooperation in this regard must be done with kovil associating together. The media and the press have likewise supported the promotion of Tamil music. Articles on Tamil festivals and music are frequently published in local press and by Tamil academic researchers. Artists are being recognized for the National Award for their contributions to Tamil Music in Mauritius. There’s still much work to be done, such as more cultural exchanges within the diaspora, funding for the artists, and supporting other Tamizhisai initiatives. In Mauritius, Tamil culture centered around Tamizhisai has prospered. The tradition has been preserved and transmitted in its original form across generations. The kovil-s have played a significant role in preserving Tamizhisai and in the advancement of Tamil cultural heritage in Mauritius

Reference:

· Mr. T. Ammigan – Tamils in Mauritius, 1989, University of Virginia.

· Premlall Mahadeo – Mauritian cultural heritage, 1995, Gold Hill Publication Ltd.

· Frederic P. Miller, Agnes F. Vandome and, John Mc Brewster – Culture of Mauritius – 2010, VDM Publishing House Ltd.

· Ramoo Sooriamoorthy, Les tamouls à l’Île Maurice, 2013, Editions Le Printemps

· www.murugan.org consulted on 07 June 2025