Exclusivity, stratification, and segregation have been a practice in Indian society for a long time. Such practices can be found in the places of worship, localities, skills, crafts, and so on. Music, which is often called borderless and uniting has a hierarchy within it. The near bottom of the hierarchy is occupied by the percussion instruments, of which there are several segregations. Of the several percussion instruments found in Tamil culture Parai, Thavil, and Mridangam are widely played. These instruments also represent a caste hierarchy, and only people from a designated caste play these instruments. Parai in Tamil means ‘to speak’ or ‘to tell’. It was an instrument which was used to announce messages to the people in villages sent by the kings. A Sangam age Tamil poem found in Kurunthogai reads Parai along with conch were auspicious instruments played at weddings.

Today, Parai is played mostly during the funeral march hence it is at the bottom, the Tavil during the marriage so it takes a

middle ground and Mridangam as stage performance and has the highest respect of the three. Also, Parai is called a folk instrument and other two are named as classical instruments. All these instruments are made from goat skin or buffalo/ cow skin. Parai drum itself is considered inauspicious. There is a disrespect for the players of Parai and the instrument itself.

Parai players are trying to break this hierarchy by refusing to play in funerals, forming groups, playing in auspicious functions, and as stage performances. Their activism is through educating others how to play Parai. The resistance to accepting the playing of the instrument as an honourable profession makes the performers to become activists. Parai on its own has become a voice and symbol of activism. Whenever a protest happens Parai has place in it. I am trying to explore the differences present in this niche ground of a culture which boasts of universality.