Students with the medals at the valediction of the ‘Jamfest 2013’ in Tiruchi on Monday./ Photo: A. Muralitharan / The Hindu
Joyous students brought the house down with their enthusiastic cheering and applause during the valediction of Jamfest’13, the annual inter-school talent competition organized at St. James Matriculation Higher Secondary School in the city on Monday.
Members of the school alumni association, were co-ordinating the event.
The two-day event included competitions on drawing, painting, oration, poetry, creative writing, quiz, stage play, dance, singing and other co-curricular activities. The annual event aims to nurture the extra-curricular skills of students. Different schools in the city participated in the event and prizes were awarded in junior and senior categories.
J. Mohaned Aslan of SBIOA school was crowned Mr. Jamfest, while S. Afreen Akhthar of St.James Matriculation school was Ms. Jamfest. The overall trophy for first prize was awarded to students of St. James Matriculation School due to their outstanding performance in all the events. The second overall prize was given to Alpha Matriculation School.
J. Veerapandian, president, Tiruchi Advocates Bar Council said “The best days of a person’s life are definitely the school days, and told students to reach great heights by studying with dedication.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Tiruchirapalli / by Staff Reporter / Tiruchi – November 12th, 2013
A 16-member team from Singapore is in the city to participate in a two-week programme to hone their Tamil teaching skills. Apart from attending several sessions in the American College here, 14 high school teachers and two officials will visit seven educational institutions to learn about Tamil teaching methods and also share teaching methods in their country.
“English, Chinese, Malay and Tamil are official languages of Singapore. Our government promotes learning of mother tongue as it ensures that students are aware of their culture and tradition. Equal opportunities are given to all languages in the country,” said N Subramaniam, chief instructor of Tamil teachers under the Singapore education ministry. He was addressing the inaugural session of the event on Monday.
The objective of our visit is to brush up grammar and literature of Tamil. We will be imparting what we learn here to fellow teachers once we are back in Singapore, Subramaniam said.V Iraianbu, commissioner in the economics and statistics department of Tamil Nadu government, pointed out that mother tongue comes from heart, while languages that we learn are used at the mind level. Iraianbu apprised the visiting delegation about the importance of Tamil.
“It is important to learn the nuances of Tamil which has a rich literary history and culture. Ancient Tamil literature reflects society’s affinity to nature as early Tamils lived in harmony with nature,” he noted, while advising the Singaporean teachers to read more of Tamil literature as proficiency comes with practice. Tamil teachers from Singapore will visit Lakshmi School, Veerapanchan; OCPM Girls HSS, Capron Hall School, Madura College HSS; and TVS Lakshmi school in the city. The delegation will also visit St Peter’s School in Kodaikanal. Thiagarajar School of Preceptors, a BEd college in Madurai, is also on their itinerary.
Interacting with media persons at the sidelines of the meeting, Subramaniam said they will concentrate on learning as well as co-teaching in the schools so that they learn the teaching methods of Tamil. “It will be mutual where we learn and share our teaching pedagogy with the local teachers here,” he said.
The overseas delegation will focus on contemporary Tamil teaching. “Now, teaching is more student- and technology-oriented. Short films made in Tamil is one such example, he pointed out.
Eminent personalities from the field of Tamil art and literature will take technical sessions for the visiting teachers.
M Davamani Christober, principal of American College, presided over the inaugural session.
source: http://www.articles.timesofindia.indiatimes.com / The Times of India / Home> City> Madurai> Teachers / TNN / November 12th, 2013
Academics often complain that there are hardly any authoritative texts on our native wealth especially with regard to our plant species. In a bid to overcome this limitation a few researchers have jointly come up with a book which documents the flowering plants in the Sholas and grasslands. The book ‘Flowering Plants of Sholas and Grasslands of the Nilgiris’ was released recently by three researchers from the city based Institute of Forest Genetics and Tree Breeding (IFGTB) along with another botany researcher from Kerala.
“We have documented characteristics of 641 plants with their photos. This could be used for reference by foresters, researchers and students,” said N Krishna Kumar, Director IFGTB who led the project. S P Subramani and R Aanandalakshmi 2 other researchers from the institute and P S Udayan, a botany lecturer from Sree Krishna College, Guruvayur, Kerala have contributed to this text. He said that the Shola forest, spread across Nilgiris, Kodaikanal and parts of Kerala, is around 2,000 metres from sea level. Shola forests are unique to the region with soft soil which retains water and a cool climate, housing its own set of plant species. The researchers note that due to climate change and human factors, plants which were not seen here are suddenly thriving in the region while some that are specific to the area are spreading to outside areas.
They went through documents and collections of all plants recorded by various researchers and put them together. The book contains plant features including its characteristics and its various uses. The name of each plant is given in Malayalam, Tamil, Kannada and English. “Even foresters are unable to recognise several plants and those who know them, recognise them only in the native language,” said P S Udayan.
Around 256 species have medicinal uses including modern medicine, Ayurveda , folk, homeopathy , siddha, Tibetan and Unani. The book includes several interesting facts like that of the Rhododendron Arboreum, a red flower which is an ever green shrub seen in many hilly areas. A sub-species of this existed in the Sholas which served as a kind of protection against fires. Once these plants began disappearing from the region, forest fires became more frequent, said Krishna Kumar.
Krishna Kumar, an officer with the Indian Forest Service (IFS) had started collecting data from 1992. He said that the Shola forests are facing problems especially human interventions. However, more research needs to be done before coming into any conclusions.
source: http://www.articles.timesofindia.indiatimes.com / The Times of India / Home> City> Coimbatore> Kerala / TNN / November 11th, 2013
In the din of flamboyant film posters, a flex board installed along the busy Kamarajar Salai in Madurai fails to catch the attention of speeding motorists. But for a few, who stop over to have a glance, the board, brings an instant smile. Written in bold are the words “Hedde Jomai” (idiot son-in-law), the title of a made-in-Madurai Saurashtrian movie.
Far away from the glamour and grandeur of Kollywood – the multi-crore Tamil filmdom – a niche film industry is in its nascent stage at Madurai. Saurashtrians in the temple city who had migrated to Madurai from Gujarat three centuries back have begun making films in their mother tongue to keep their language alive and entertain the 3 lakh strong Saurashtrian people here.
So far, half-a-dozen films – family dramas, comedy, devotional and even a romance flick – have been made on a shoestring budget. The filmmakers point out that Saurashtrian language films are not even made in their native Gujarat. “We want to keep alive our identity. Though our people watch Tamil films, we always have a longing to watch a film in our mother tongue,” says V K Neelarao, director of ‘Hedde Jomai’.
The filmmakers utilise available equipment like cameras and flashguns used by professional videographers. Shooting is widely done in Madurai, while some chose to travel to places like Yercaud for outdoor shootings. The budgets are limited to less than Rs 10 lakh.
“For Hedde Jomai, besides story, screenplay, dialogues and direction, I have also penned the lyrics. The film revolves around women empowerment,” says Neelarao, a former journalist with a vernacular magazine. The film was entirely financed by his businessman son V K N Kasiviswanathan. Reluctant to reveal the budget, Neelarao, however, says that he is not after profits.
S R Ramlal, who has made two films ‘Simmasanam’ and ‘Hamsadhvani’, says that his films are mostly funded by the crowds. “None of our technicians or actors demand payment. In fact, they would also pool in money for the production,” he claims. Most of the crew and artistes are Saurashtrians, but for few exceptions,” Ramlal says. In Hedde Jomai, but for the female lead from Kerala, all are Saurashtrians from Madurai.
The films are exhibited in community halls during the association meetings and family get-togethers for an entry fee. CDs of the films sell like hotcakes in Madurai. The films are also screened in local cable channels.
K B Sivakumar, a cameraman who also dons the hat of an editor says that the content of Saurashtrian films are completely different from mainstream Tamil films. “We are not influenced by Tamil films. There will not be any resemblance,” he says.
A yarn trader, J P Appan Raj says that he went popular overnight among the Saurashrta community after he played the lead role in a film. “Everyone on the street kept gazing at me,” says Raj, who got inspired by thespian Sivaji Ganesan.
source: http://www.articles.timesofindia.indiatimes.com / The Times of India / Home> City> Madurai / by V. Mayilvaganan, TNN / November 11th, 2013
Vaidyanathan was recipient of many awards including Kalaimamani
S.R.D. Vaidyanathan, a famed exponent of Semponnarkoil school of nagaswaram, died here on Monday. He was 85 and is survived by wife, six daughters and a son.
Vadiyanathan was the grandson of Semponnarkoil Ramasamy Pillai, the first nagaswaram player to cut a disc as early as in the 1920s and the son of Semponnarkoil R. Dakhsinamurthy Pillai, the younger of the Semponnarkoil brothers.
If Semponnarkoil, a small town near Mayiladuthurai and sung by Saivite minstrels, could secure a prominent place in the Carnatic music world, credit should go to the brothers, who excelled in rendering rakthi melam encompassing beautiful and intricate laya.
Vaidyanathan teamed up with his brother S.R.D. Muthukumarasamy and they became the second generation of the Semponnarkoil style. He was trained by Mayavaram Ramaswami Pillai and he learnt vocal music from Thiruvazhundur A.K. Ganesan Pillai, and Madurai Mani Iyer, who was staying in Mayiladuthurai then.
“He helped me shed my inhibition and approach concerts with a free mind. As a nagaswaram player, he performed outdoor and the open space had a tremendous impact on his music. Perhaps, I imbibed the trait from him,” said vocalist Sanjay Subrahmanyan, one of the students of Vaidyanathan.
Mr. Subrahmanyan, whose association with Vaidyanathan began a decade ago, said his teacher was an intelligent musician with a catholic taste. He followed a difficult kala pramanam and excelled in rendering keerthanas and tough pallavis.
“He could play every word of the viribhoni varnam in four different kalams (speed). Flute Mali had rendered it in three different kalams,” said Mr. Sanjay Subrahmanyan and recalled how he was mesmerised by his playing of entukku beddala in sankarabharanam at Tiruvaiyaru Thyagaraja festival.
Thavil player Tanjavur T.R. Govindarajan, who accompanied Vaidyanathan for many years, said only an experienced thavil player could understand his music and manage a concert.
Carnatic tradition
“While his knowledge of layam could be matched only by very few thavil players, his playing of nagaswaram strictly adhered to the Carnatic tradition,” he said.
Musicologist B.M. Sundaram said Vaidyanathan also mastered avadana pallavi: singing a pallavi and keeping at the same time different tala structures.
S.R.G. Rajanna, his cousin and another surviving senior Semponnarkoil brother, said no one could beat Vaidyanathan when it came to playing pallavis.
Music Academy’s TTK award
Vaidyanathan was recipient of many awards, including Tamil Nadu government’s Kalaimamani and the Music Academy’s TTK award.
source: http://www.thehindu.com / The Hindu / Home> News> National> Tamil Nadu / by B. Kolappan / Chennai – November 19th, 2013
Vikku Vinayakram, Vidya Shah and the Manganiyars explored the various angles of bhakti in Nirgun Naad, writes Subha J. Rao
Even today, in the Avudaiyar temple in Pudukottai, the rhythm of the gethu vadhyam, an ancient percussion instrument, cascades over devotees. When N. Rajaraman played the 150-year-old instrument, shaped like a veena, the audience was transported back in time. Images of camphor-scented temples and eager devotees queuing up in front of the garbhagriha came alive.
N. Rajaraman plays Gethu Vadyam at Nirgun Naad / The Hindu
Rajaraman was part of Nirgun Naad, curated by Sufi singer Vidya Shah. The show brought together top performers from different streams of music. There was Vidya and her team, representing Sufi, Chugge Khan Manganiyar and his brother Salim who brought with them rustic ragas and devotion from the desert and, finally, Vikku Vinayakram.
Vidya Shah at Nirgun Naad / The Hindu
The ghatam vidwan is steeped in classicism yet happily embraces fusion. At 69, he continues to be a rockstar on stage, playing simultaneously on four ghatams, throwing one up in the air for some lovely music, pounding on it one minute and gently patting it the next…all without losing a beat. Accompanying him was his grandson S. Swaminathan, who played the kanjira and also performed solkattu with shlokams in praise of Mahaperiyavaa (Chandrashekarendra Saraswati).
Vikku Vinayakram and S. Swaminathan at Nirgun Naad./ Photos: K. Ananthan / TheHindu
Vidya began the concert with Amir Khusro’s ‘Mohe Apne Hi Rang Me’ followed by Meera Bai’s ‘Ritu Aayi’, an effervescent song celebrating the rain. The songs chosen for the evening celebrated various aspects of bhakti. Among them was ‘Bas Tu Hi’, by woman Sufi saint Rabia Al Basri from Iraq. The song had an addictive rhythm. Adding to the magic was Vikku mama, who made a grand entrance on stage during this number. Pandit Kumar Gandharva’s ‘Guruji Main Toh Ek Niranjan’ was up next. After Vidya sang, Swaminathan performed a solkattu. The thani avarthanam of sorts featuring all the percussionists — Swaminathan, Rajaraman and Shanti Bhushan Jha — was a treat to the ears; Ghulam Ali on the saarangi and Amar Sangam on acoustic guitar created lingering music.
The Manganiyars, who had come all the way from Jaisalmer, stepped in for some vocal and percussion flourishes, their infectious enthusiasm rubbing off on the audience.
Chugge Khan Manganiyar and Salim Khan Manganiyar at Nirgun Naad / The Hindu
Vidya next rendered Naseer Akbarabadi’s ‘Tanha Na Use Apne’ and concluded with the rocking ‘Mast Kalandar’, leaving the audience asking for more of her rich voice that effortlessly caressed the peaks. We were also left wishing that the Manganiyars had sung more of their brand of soul-stirring music.
Nirgun Naad means music that celebrates a formless divine. In a sense, the concert did just that, leaving us with lovely snatches of devotion — for Nature, for the almighty. An evening that prompted you to seek that kernel of devotion within, to surrender.
PERFORMERS
Vikku Vinayakaram: Ghatam
Vidya Shah: Lead vocals
Chugge Khan Manganiyar: Vocals and Morchhang
Salim Khan Manganiyar: Back-up vocals and Khadtaal
S. Swaminathan: Kanjira
N. Rajaraman: Gethu Vadhyam
Shanti Bhushan Jha: Tabla
Ghulam Ali: Saarangi
Amar Sangam: Acoustic Guitar & Mandolin
source: http://www.thehindu.com / The Hindu / Home> Friday Review> Music / by Subha J Rao / Coimbatore – November 11th, 2013
Tamil Nadu Chief Minister J Jayalalithaa on Tuesday inaugurated a memorial for Colonel John Pennycuick, the British engineer who built the century-old Mullaperiyar Dam to solve the drought situation in the Vaigai delta region in the 19th century.
The memorial has a bronze statue of Pennycuick, and has been constructed amid the scenic Western Ghats at Lower Camp here at a cost of Rs 1.25 crore. The dam is said to have been completed in 1895.
Tamil Nadu and Kerala are locked in a bitter row over the 118-year-old dam, with the latter wanting to replace it with a new one citing safety reasons while Tamil Nadu has held that the dam is strong. A case is on before Supreme Court.
During the simmering row with Kerala over the safety of the dam last year, Jayalalithaa had announced constructing the memorial for the Britisher over 2500 sq.ft.
She had then said people had placed a demand for constructing a memorial for Pennycuick to show their gratitude since the dam had been functioning well.
Jayalalithaa expressed confidence of a favourable verdict from the apex court in the wake of its appointed empowered committee vouching for the safety of the dam.
“In its report (the committee) has clearly said that the dam is safe and the storage level could be increased to 142 ft (from 136 ft) and then on upto 152 ft after taking up necessary works. I believe Supreme Court will rule in favour of Tamil Nadu based on this report,” she said in her address.
The Chief Minister noted that Pennycuick had sold his property back in England for completion of the project amid lot of difficulties including stoppage of funds from then British administration and natural calamities.
She also announced naming the upcoming Bus Stand at Theni after the British colonel.
Jayalalithaa refuted DMK chief M Karunanidhi’s charge that her government had not taken up maintenance of the 133 ft tall Thirvuvalluvar statue at Kanyakumari, saying chemical coating was given in 2004 and 2008.
The foundation stone for the statue of the Tamil saint-poet was laid by former Prime Minister Morarji Desai in the presence of then chief minister M G Ramachandran in 1979 and even during her rule in 1991-96 Rs 1.28 crore were released for various works connected with it. Karunanidhi cannot claim
entire credit for erecting the statue, Jayalalithaa said.
She also announced constructing a memorial for legendary Tamil king Karikal Chola for building the 2000 year-old ‘Kallanai’ (dam) over Kollidam river,which is still strong. She described the dam as an “engineering marvel.”
source: http://www.deccanchronicle.com / Deccan Chronicle / Home> News> Politics / DC / January 15th, 2013
An eight-foot-high bronze statue of Karikala Cholan, seated on an elephant, which was made at a studio here, is all set to be installed in Thanjavur district.
Following chief minister J. Jayalalithaa’s announcement, the government took up the task of making the statue to perpetuate the memory of the king who built the Kallanai dam for irrigation in the Cauvery delta region.
Jayalalithaa had announced the statue for the king while inaugurating in January this year the memorial of John Pennycuick who built the Mullaiperiyar dam.
“The 2,000-year old Kallanai dam which stands stronger than many other dams in the state was built by the Tamil king, and hence, his statue is being readied to stand majestically at his memorial near the dam,” said Kishore. J. Nagappa, who sculpted the statue.
“It took us around three months to finish the statue,” Nagappa said.
“The statue has been so designed that it can stand the test of time and remain a subject to be talked about. Hence, it is meticulously done,” he added.
The memorial will be constructed at a cost of Rs 2.10 crore along the banks of the Cauvery on an area of 4,090 sq ft.
source: http://www.deccanchronicle.com / Deccan Chronicle / Home> News> Current Affairs / DC / November 10th, 2013
Two higher secondary students from the city have been selected to attend a South-East Asia competition to be held from this Monday in Bangalore. The duo was selected after several rounds and would be pitted against students from neighbouring countries.
Suchitrha Sudeshkumar, a class 11 student from Vidhya Niketan Matriculation Higher School, Vilankurichi and Aakash Dabral from Kendriya Vidyalaya, Sowripalayam are among the ten students from India to take part in the competition held by Horlicks Wizkids in Bangalore. Out of the 10, 5 will be selected for an educational trip to Germany with a cash award of Rs 1 lakh each.
Suchitra, who writes poetry, had cleared the initial rounds and was asked to do some voluntary activity. She approached orphanages and managed to get sponsors to instal roofs for the orphanage. “I went to an orphanage at Thondamouthur. I came to know that they lacked roofs and mattresses. With the help of some firms, I managed to raise around Rs 45,000 for the purpose,” she said.
Aakash Dabral, a class 12th student said that he took soft skill sessions for students of government schools and other institutions. “I took sessions in 5 schools. Many of them lack English skills. I want to do more such training programmes,” he said.
source: http://www.articles.timesofindia.indiatimes.com / The Times of India / Home> City> Coimbatore> Orphanage / TNN / November 10th, 2013
Carola Grey travelled the world and found true love in Indian music. The result is Meeting of the Continents, Indian jazz fusion, performed with her band Noisy Mama, writes Pankaja Srinivasan
Date: November 10
Venue: PSG College of Arts and Science
Time: 7.30 p.m.
Genre: Indian Jazz Fusion
She is regarded as one of Germany’s most famous modern drummers. In 2010 she became the only woman to be part of German Drum Heroes, the 25 best German drummers selected by the magazine Drum Heads. She has collaborated with musicians such as Mike Stern, Ravi Coltrane, Rocco Prestia, Larry Coryell, Jeff Berlin and Stu Hamm. She is also a composer, arranger and a singer. Carola Grey’s CDs have made it to the top 10 of the US Gavin Jazz Charts and have won many awards. She has travelled the world and in India she has been studying South Indian music under the tutelage of Padma Bhushan T.V. Gopalakrishnan. Carola Grey performs with her band Noisy Mama at The Hindu Friday Review November Fest. The concert is supported by Goethe Zentrum.
My first encounter with Indian music was in 1996 when the great T.V. Gopalkrishnan invited me to (then) Madras to perform with his ‘Carnatic Jazz Project’. He had heard my first CD, a modern Jazz one, that I recorded in New York City in the early 90s, and he spontaneously invited me to India and that was it! Working with him and hearing great Indian music started as a passion; now it is an important part of my life.
What attracted you to Indian music?
If I have to analyse it, I would say: ‘The combination of intellectual challenge and the transportation of emotions at the same time.’ More simply, it hit me when I first heard it. I felt the same way when I first heard Miles Davis. Like a little kid at Christmas — somewhere between laughter and tears and excitement. Then again, at a Yesudas concert. I have to fall in love first, and more the attraction, the more I learn.
What made you take up the drums?
I actually started to play classical piano at the age of four and was very serious about it, practising many hours a day. When I came into my rebellious teens, I wanted to stop. But my mother made a deal with me: I could take up another instrument if I continued with the piano. Of course, I picked the loudest, most annoying instrument I could find just to mess with her… I never expected to fall in love with it, but it happened. I started to play in various bands, and after high school I went to study Jazz drums and then moved to New York to work as a Jazz drummer.
Tell us about your Konnakol experience…
I remember my first rehearsal with T.V.G. I came in, expecting to work on the instruments. But everybody just sat on the floor and did the konnakol (vocal percussion) together. It blew my mind and I was in shock trying to figure out what do with the drum kit and all those syllables.
Nowadays, everything I do, no matter what style, I transfer it to Konnakol in my head. That has totally changed and improved my way of thinking about rhythms. It was quite a challenge to perform it or develop any kind of speed as I come from Bavaria where the dialect is very lazy. We are famous for not opening our mouth unless it is absolutely necessary and we avoid wasting energy by talking fast and just leave out half of the consonants. Not very Konnakol friendly!
What can the audience expect from your music?
An official response would be ‘a blend of solid Jazz rock and funk grooves, combined with the sophisticated intricacies of Indian rhythms. My music uses Indian ragas as well as Western harmonics and melodics’. But, in simpler words, I want my music to be an experience for body and mind. It should be accessible, groovy and fun and with something deeper. Both, modern Jazz and Indian classical music are very deep and intellectually developed art forms and that is why I find them fascinating. So, I am trying not to lose that, and am combining the two worlds with as much knowledge and respect as possible.
Do share some anecdotes about your work with Indian musicians. You have worked with classical musicians as well as a Bollywood music director…
My first tour in 1996 with T.V.G. is engraved in my memory. T.V.G. Sir is someone who likes to keep you on your toes. Just when you think you know something well, he changes everything, preferably on stage!
Working in the studio with modern movie producers is very similar to the work at home. The procedure, working with backing tracks and clicks is the same. But working with old school music directors, who often composed music on the spot in the studio and kept throwing stuff at you that you had to play perfectly on the spot, was an experience. I have to admit, that in combination with complex Indian structures, it had me in quite a sweat!
