'Unna Nenachen Pattu Padichen...': Tale of a Tamil Nadu male nurse dedicated to tribal music
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A nurse by profession. A music enthusiast by passion. That is 28-year-old Babu Susan who hails from Tiruvannamalai, the spiritual hub of Tamil Nadu.
Reading and learning about folk music from libraries and online resources have drawn him towards tribal music. He owns over 150 instruments, most of them folk instruments, and he boasts of being adept at playing a majority of them that include the magudi or pungi used by snake charmers, morchang, pepa, pinachi, kalimba, caxixi and so on.
Ilaiyaraaja, the first inspiration
It all began in standard VIII. This was when Babu started writing songs and poetry. By the age of 17, his love for music took off with the legendary Ilaiyaraaja's compositions deeply inspiring him.
The songs of the maestro he likes the most include Poove Sempoove from the movie Solla Thudikuthu Manasu, Unna Nenachen Pattu Padichen (Apoorva Sagotharargal) and Thendral Vanthu (Avathaaram). All of them are notable when it comes to the use of folk music.
Later on, he was drawn to tribal music.
"When I read so many books, I realised there were very few mentions of tribal music and that more importance was always given to western instruments," he reflected.
This gap in recognition for India's tribal music ignited his interest in the country's rich folk traditions.
Grouse against film industry
Babu nurtures a grouse against the film industry.
Despite the rich heritage of tribal instruments being woven into some of the most iconic Indian movie soundtracks, the recognition for the communities that crafted them often remains elusive, he points out.
Music directors like D Imman in Rekka (using Pavuni and Chowdki instruments), Justin Prabhakaran in Dear Comrade (with the Ocarina), Santhosh Narayanan in Jigarthanda (Didgeridoo), and AR Rahman in Uyire (Morsing) have brilliantly adapted these instruments to modern cinema.
Even Ilayaraja’s extensive use of tribal sounds, such as the Morsing in the film Mullum Malarum, and Vidyadharan Master's work in Ithinumappuram, highlight how deeply ingrained these influences are in Indian music.
However, Babu points out a glaring issue: "These tribals never got the spotlight they deserved. Instead, money changes hands, and the instruments are attributed to modern innovations, with someone else getting the credit."
He criticises the industry for taking "the easiest way out possible", where the tribal roots are sidelined in favor of polished presentations, leaving the creators unacknowledged. Even celebrated films like Ayyappanum Koshiyum and Bheemla Nayak employed tribal sounds and performers like Nanjiyamma and Darshanam Mogilaiah but failed to fully highlight the cultural origins and the struggles of the communities behind the instruments.
Education and employment
Babu, who pursued his undergraduate degree in pharmacy from 2011 to 2015 at a private college in his native, spent countless hours in libraries, immersing himself in books on music and instruments.
Initially, Babu dreamed of becoming a music composer in the film industry, hoping to infuse his work with these unique tribal sounds. However, he quickly realised that breaking into the cine field was no easy task.
"For anyone to respect you in the music field, I realised I needed to first learn a commonly used instrument," he reflected.
He chose the violin — a notoriously challenging instrument — and dedicated eight years to master it and is currently at grade three of expertise.
During this time, he has also been researching extensively about India's rich tribal and folk music heritage. Online resources have helped him identify various tribes and the unique instruments they use, fostering a deeper understanding of the cultural roots of Indian music.
His exploration also revealed a troubling reality: many tribal groups lack a formalised written language, which often comes in the way of them documenting their contributions to music.
"For example, the Lambadi tribes speak a distinct language with elements of Telugu, Kannada, and Tamil. This uniqueness reflects in their music, but composers often fail to replicate it authentically. Instead, they modernise the tunes, stripping them of their tribal essence and denying them the recognition they deserve," Babu lamented.
This realisation further fueled his mission to preserve and promote the authenticity of tribal music in contemporary spaces.
Quitting his job in the Middle East
In 2016, after completing his undergraduate studies, Babu joined a one-year nursing course in Chennai. After this, his growing passion for music therapy led him to secure a nine-month scholarship program in Saudi Arabia in 2017, where he balanced his studies with his role as a nurse. He worked there for a brief period earning Rs 70,000 per month as a nurse, a substantial income when compared to salaries in India. Yet, Babu felt an emptiness and an urge to return.
"I had this longing to learn more about tribal music and the livelihoods of tribals," he said.
His decision to return to Tamil Nadu in 2018 was met with resistance from his family, who were concerned about their financial stability. With his father unable to work due to health issues and younger siblings depending on him, Babu faced intense pressure.
Determined to follow his dreams, Babu enrolled in a postgraduate program (M. Pharm) at Sri Ramachandra College and Hospital, which he completed in 2019.
These days, he juggles multiple jobs while working as a nurse in Chennai. He works part-time with catering and delivery services to add to this monthly income of Rs 20,000. This is nowhere close to what he earned in Saudi Arabia. But, today he is suffused with the satisfaction that he is pursuing his dreams.
"I want to explore more when it comes to folk music. But I don't have money for that," he said.
'Music is healing' on helping children with ADHD...
Babu's dedication to the transformative power of music is complete. He firmly believes in music's ability to heal and inspire. Conducting free workshops in schools and colleges, Babu introduces students to the richness of tribal music and teaches them how to make instruments themselves.
"Teaching growing kids about tribal and folk music teaches them about indigenous people and how vast the music world is," he noted.
"Music is healing," he said, explaining how a significant aspect of his work focuses on leveraging music therapy to help children with disabilities, particularly those with autism, ADHD, and depression. Babu employs a unique method to engage these children by teaching famous movie songs using simple phonic sounds. He encourages the children to mimic these sounds, nurturing a playful and interactive environment.
"By doing this, children enjoy the therapy sessions and avoid thinking of these as treatments," Babu explained.
Babu proudly shares how this method has positively impacted many children, leading to visible improvements over time. "This method has worked on so many kids, and I get more patients by word of mouth," he added.
His instrument collection
Babu says "the Asalato and Ravanahatha are my favorites".
Asalato, a traditional West African percussion instrument, holds a particularly special place. Also known as Kashaka, this delicate instrument is made of two small hollow gourds connected by a flexible cord. When played, the shells are struck together rhythmically to create captivating beats. Babu acquired this rare instrument through a doctor who visited Africa.
His other favorite is the Ravanahatha, an ancient Rajasthani stringed instrument dating back to around 5000 BCE. Considered a precursor to modern stringed instruments like the violin, its origins are traced to the Hela civilization of Sri Lanka around 2500 BCE. According to mythology, the legendary ruler Ravana played it to please Lord Shiva.
Besides these, Babu cherishes the Morsing, violin, and urumi, each contributing uniquely to his diverse musical repertoire.
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