Madras culture in Guyana

The Tamilians from South India, who had sailed from the port of Madras for the then British Guiana as indentured labourers, were termed “Madrasis”. Of the 239,000 Indian immigrants to British Guiana, less than five percent made up the Madrasis population.

For the British planters, they were the least desirable immigrants of all. They were stereotyped as lazy, aggressive and rebellious. The alleged penchant for heavy drinking, loud drumming and especially their love and devotion for their kulla (god) Devi Mariamman, whose worship involved animal sacrifice, evoked that dislike. They were certainly the least keen of all the immigrants on the estates. They preferred to make their living away from the estate by doing rice farming and fishing.

The Madrasis were easily identified as East Indians of dark complexion with curly or kinky hair. They brought with them a diverse and complex culture. Madrasis mostly settled in the Berbice area.

They are four well-known aspects of the Madrasis culture practiced in Guyana and more so, in British Guiana. Firstly, they wept at the birth of a child. This was due to the uncertainty of the child’s future. In spite of this belief, they did not hesitate to procreate. Secondly, they rejoiced at the death of a love one.

This was evident in the funeral procession characterised by playing of drums such as the tappu and singing of bhakti esaiyil/kirtanam (devotional songs). The deceased was housed in an arthi on the way to the saidukadu (burial ground/crematorium). These were done to aid the atman’s (soul) peaceful journey in the afterlife.

The Madrasis funeral procession is quite an experience. Thirdly, the older women wear the Madrasi kerchief, which is colourful and depicts the mayil (peacock), which is displayed at the centre of the forehead. Finally, they introduced to us the spicy, yet palatable milligu tani/mulga tani (pepper water), which is prepared with lentil, meat, preferably goat head, and tamarind juice.

Goddess Mariamman

The Madrasis’ spiritual belief lies in Goddess Mariamman. Her worship is an essential feature of their culture.

The goddess is very popular in Tamil Nadu. She is believed to be the consort of Lord Shiva who arose to kill the asuras.

‘Mari’ means rain. They pray to Mariamman for rain and avoidance of epidemics. The marulali (devotee) interprets her will, which is then translated by the pandaram (priest) who does not belong to the Brahmin community.

The concept of mother worship has existed since time immemorial. Shakti, as divine mother, is portrayed as Para Shakti/cosmic energy in its dynamic form. Being ullagattil tayaa – the mother of the universe – she is ever ready to heed the call of her devotees. As such this force manifests as Muthu Mari Amman – Muthu (pearl), Mari (rain), Amman (mother) – the mother of rain, that which is more precious than pearls.

The mother is manifested in a form of a woman garbed in yellow and carrying a pot of fermented meal and some neem leaves. She fed her devotees with kanji (porridge) and nursed them with neem leaves and turmeric paste. Her scripture is the Mariamman Thalatu and her worship is done in the month of Aadi (July-August).

She is venerated as the protector and curer of all miseries. The kargum , symbolising her blessing, is carried honouring her as ullagattil tayaa.

Nadagam or Madras dance was once the hallmark of the Madrasis culture. During the 19th century, the Madras dance was dominant until the first decade of the 21st century. The popular Nadagams were the Ramayanam Nadagam (scenes depicting the life of Lord Shri Ramachandra) and the Madurai Veeran Nadagam featuring the Madrasis most beloved kaval deivom/guardian gods.

The Veer Kumaran Nadagam or stories of Lord Kartike and the Desangurajan Nadagam, a story depicting the life of and friendship between Desangu, a Hindu king and his friend Malkan, a Muslim king, were some of the other stories.

Before the Nadagam was performed, the Amman pusay/worship to the goddess was done backstage by the performers.

Irrespective of which Nadagam was being showcased, the Vinayagar (Lord Ganesh) Nadagam was the first to be performed as he is Nyanamudhalvanay (the one that receives the first honour).

Although the madras dance is dormant, it still remains in the memory of those who have had the opportunity of witnessing it.

Whenever you choose to have sada roti for breakfast or dinner or you choose to simply enjoy some mulga tani, remember the Madrasis and their contribution to the social, cultural and economic development of our nation. (Text by Deodatt Tillack. First published in Horizons Magazine 2014)