Category Archives: Arts, Culture & Entertainment

Ilayaraja dedicates library building in Tiruchuli

Virudhunagar Collector A. Sivagnanam and music composer Ilayaraja at the branch library at Tiruchuli.
Virudhunagar Collector A. Sivagnanam and music composer Ilayaraja at the branch library at Tiruchuli.

Education was important to create a knowledge-based society, says the music maestro

A new branch library building, sponsored by Sri Ramanasramam in Tiruvannamalai, was dedicated at Tiruchuli on Tuesday.

Music maestro Ilayaraja and Collector A. Sivagnanam lit the traditional lamp to mark the inauguration of the building constructed at a cost of ₹41 lakh.

Speaking on the occasion, Mr. Ilayaraja said education was important to create a knowledge-based society. Libraries were the kind of institutions meant for continuous education of the masses, he said, adding children from rural areas should come forward to make the best use of the variety of books available in the library.

They should become top civil servants, scholars and scientists to serve the nation, he said.

District Library Officer S. Jegadeesan said various e-resources links would be made available in the library, established in two floors with computer and internet facilities, for the students to prepare for various courses and competitive examinations.

source: http://www.thehindu.com / The Hindu / Home> News> States> Tamil Nadu / by / Special Correspondent / Aruppukottai – May 02nd, 2017

Avvaiyar Award for Padma Venkataraman

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Chennai :

Chief Minister Edappadi K Palaniswami on Tuesday presented Avvaiyar award for 2017 to Padma Venkataraman, chairperson, Women’s Indian Association (WIA) and daughter of former President R Venkataraman.

The award which has been instituted to encourage women excel in social reforms, women’s development, communal harmony, arts, science, culture, journalism and administration, carries `1 lakh, a gold medal and a citation. She was chosen for the award in appreciation of her services to rehabilitation of the leprosy-affected for over 30 years.

Thanking the Chief Minister, Padma Venkatraman recalled the services of WIA to the leprosy-affected and its work with the State government covering all 10 government-run homes, colonies and the community-based people.

She said the award would strengthen WIA’s resolve to service society further.

She lived for many years in Vienna, Austria, where she was, among other positions she held, a permanent representative of All India Women’s Conference to the UN, member of several non-profit panels accredited to the UN, such as Committee on Narcotics and  Committee on Disabled. She was also vice-president of a non-profit organisation, Committee on Women and president, United Nations Women’s Guild.

source: http://www.newindianexpress.com / The New Indian Express / Home> States> Tamil Nadu / by Express News Service / May 03rd, 2017

Jazz maestro Frank Dubier no more

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He had worked with M.S.V., Ilaiyaraaja

Frank Dubier, the legendary jazz trumpeter, who also mastered the clarinet, flute, violin and saxophone and worked with music directors including Ilayaraja and M.S. Viswanathan as solo trumpet player, died in Bengaluru on Tuesday. He was 87.

Stephen Lazarus, his friend and a gospel trumpeter recollected, “He was always fun to to be with and an extremely talented jazz trumpeter. If my memory is right, we played for Enna di Meenatchi song in the film Ilamai Oonjal Aadukirathu, among many others. He was one of those few jovial and down-to-earth musicians I have known.”

Born in Madras in 1929, Dubier developed love for music as he watched his mother Beatrice play the piano. In an interview to The Hindu in 2002, Dubier said, “As a seven-year-old, I began playing with my three-member family band, with my father on the violin, mother at the piano and me with the trumpet, saxophones and all types of horn.”

Much later, he also told why he took to the trumpet over the other instruments. “It was a choice between the clarinet and the trumpet. I settled for the latter, because clarinet was going out of vogue and was more expensive. I was to play with a trumpet made in Meerut,” he told The Hindu.

Harry MacLure, his nephew and editor of the magazine Anglos in the Wind said, Dubier played during his teens for the Madras Governor’s Band and then at the Navy for four years before beginning to play for M. S. Viswanthan and then Ilayaraja. He had a great respect for Ilayaraja, he said.

“He considered him a genius. When he was playing for Ilayaraja, they had a great association but eventually with time, they lost touch,” Mr. MacLure said.

Dubier is survived by four children.

Three years back, in an interview to The Hindu, speaking of how jazz has been neglected in the city, on a sad note, he said, “Jazz is dead.”

source: http://www.thehindu.com / The Hindu / Home> News> States> Tamil Nadu / by Staff Reporter / Chennai – April 29th, 2017

Tales from the drummer

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From playing the drums to cymbals and myriad objects, Murali Krishnan has a whole lot to teach his students

“It’s not a box of chips; it’s a shaker that we sometimes play in combination with drums,” six-year-old A Vidyut corrects me, as I quizzically examine what used to be a container full of Pringles before its second life as a musical instrument. He goes back to drumming more complex beats involving the whole drum kit, while I figure out how to simultaneously beat the bass drum with my right foot and the snare drum with the sticks in my hands.

On the neighbouring set, a beginner gingerly hits the drums. “It’s just like how you walk. One, two, one, two, with equal emphasis on both beats,” instructs the teacher, well-known drummer Murali Krishnan, who, luckily, doesn’t bore his students with too much theory in the first class. “When you see a percussion instrument, you just want to tap it, and that’s exactly what I let my students do. I then explain the different parts of a drum — bass drum, snare drum, hi-hat, toms and cymbal.”

Krishnan started his drumming school, Jus Drums, in 2003, and, ever since, has trained hundreds of students in drums and djembe. This is the 15th edition of the school’s annual summer workshop. “I remember when I just started, six-year-old Pranav’s parents brought him here because there was no other school that had drums to suit his height,” says Krishnan. Today, his students comprise pint-sized brats, high school and college-going students, working professionals and even retired employees. And, most of them have great fondness for their affable teacher. One of the walls is covered with sketches and paintings of Krishnan by his students with captions such as ‘Murali sir rocks’ and ‘Thank Yous’.

Krishnan first learnt the mridangam when he was 10 from Vaikkom Devarajan. At 12, he started playing drums under the guidance of Hari Nikesh, and learnt the classical nuances from Umayalpuram K Sivaraman.

Krishnan says that, sometimes, people wonder if learning a musical instrument will be useful later in life. He believes it can come in handy. “One of my students Rithvik Anantharaman, who is now a chef with The Oberoi Gurgaon, was at an interview for his Post Graduate Diploma in Kitchen Management at The Oberoi in Delhi. The interview panel was keen on hearing him play the drums when he told them about his interests. So, he played a few beats using the table and flower vase and he got selected,” says the 39-year-old, adding, “I have taught my students to play just about anything, right from plastic pots and cardboard boxes to construction materials.”

He then hops onto a stool and pulls out a large drum case that’s filled with interesting paraphernalia, with which he creates music and diverse sounds like that of the jungle, waterfall, birds and, what not. There are plastic bottles with pista shells, a buttermilk churner, rattles made from old film rolls, wooden toys, shell curtains, Feng Shui frogs… In fact, every year, one of the segments during his annual show, features music created from junk.

The students who graduate from his workshop take to the stage, showcasing their skills, and, in the final segment, play on a bunch of objects such as asbestos sheets, floppies, cordless phones, gas cylinders and broken car parts.

“Music can be made out of just about anything; what’s important is the passion,” smiles Krishnan.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Chennai / by  Priyadarshini Paitandy / April 25th, 2017

Women’s Indian Association to mark centenary

Delegates of the first all India women's conference in Pune, which the WIA was part of
Delegates of the first all India women’s conference in Pune, which the WIA was part of

Chennai :

It was in the gardens of the Theosophical Society that the idea of the Women’s Indian Association (WIA) came to be in 1917, and so it is only befitting that 100 years later, the association chose the venue to celebrate its centenary.

The 100th year celebrations will be inaugurated by President Pranab Mukerjee on Friday, with Carnatic vocalist Aruna Sairam having been invited to present the invocation song.

Founded on May 7, 1917, by women’s rights activists such as Annie Beasant, Margaret Cousins,  Dr Muthulakshmi Reddy, Sister Subbalaskmi and Sarojini Naidu, who referred to themselves as the “daughters of India”, the mission of the association to empower women hasn’t changed over the years.

“Times though have changed as have the issues that women have to contend with,” says WIA chairperson Padma Venkataraman, daughter of former president R Venkatraman.

In the early 20th century, WIA battled against the social evils – which ranged from a lack of education of girls, child marriage, and the denial of voting rights.

The WIA took an active part in the political movements of the time. In 1917, for instance, when Besant was arrested and interned, branches of the WIA took active part in obtaining her release.

The WIA also published a monthly journal in English named ‘Stri-Dharma’, which was edited by freedom fighter Muthulakshmi Reddy from 1931 to 1940. WIA was the first women’s association in India to present a memorandum to the Round Table Conference on Women’s Franchise and her Constitutional rights as well as the initiator of the first All Asian Women’s Conference.

From a single branch that fought to make its voice heard, the WIA today has more than 40 branches and affiliations, 9000 members, and looks after the welfare of more than 5000 women.

At the WIA’s present premises in RA Puram, women learn computer science, nursing, and tailoring, and are provided a hostel “We are no longer an association but a federation,” says M Bargavi Devendra, honorary secretary.

“While our monthly activities and programmes change, our sole aim is to work for the socio-economic benefit of women.

source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Chennai News / TNN / March 03rd, 2017

‘Galapra’ period coin die made by Roman smiths minted in Sangam Era?

The two faces of the Galapra period coin | Express
The two faces of the Galapra period coin | Express

Chennai :

After a gap of several years, a ‘Galapra’ period coin has been discovered and deciphered in Tamil Nadu, thanks to the efforts of R Krishnamurthy, president, South Indian Numismatic Society (SINS).

The coin was collected from the Amaravathi river bed Karur in 1986. The period immediately after Sangam Age in the Tamil Country is called the Kalabhra (also Galapra) Interregnum and  an alien tribe occupied the Tamil Country throwing out the  ancient Chera, Chola and  Pandya kingdoms and ruled for some period for which there is no proper evidence.

“This is an accidental discovery. When I was rearranging my old collection of Pallava Coins six months ago, I saw a coin which has a different texture not at all connected with the Pallava coin. In the coin holder,  I have written in 1986 that the coin was collected from the Amaravathi river bed, Karur,” Krishnamurthy, an expert in deciphering Brahmi scripts, told Express.

He also recalled that in 1986 he had published a square copper coin with  an elephant on the obverse and a legend in Brahmi-script  “I read the legend as ‘GALAPIRA’.   Many scholars did not accept  my reading because of some reasons,” he recalled. Krishnamurthy had presented a paper on his recent discovery at the recent conference of SINS at Hyderabad.

Regarding the date of the coin, Krishnamurthy said, “The coin is die struck and the minting is of high quality. It looks similar to the Roman bronze coin of Third century AD. On going through a Roman Coin  catalogue, I found a coin similar in diameter and weight. The Galapra coin die might have been designed and made by Roman coin die-makers.”

He further said the ‘Galapra’ coin had four symbols on the obverse top right near the border  which are usually seen in Sangam Age Tamil coins.

“So, the coin may have been minted  at the fag end of Sangam  Age,” Krishnamurthy said.

source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Chennai / by Express News Service / March 02nd, 2017

Curries for the corporate soul

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From a high-paying job to a home-made curry business and rearing indigenous cattle at home, G. Rajesh is living his dream

“What’s with you now? Don’t be scared, they won’t hurt you!” G. Rajesh chides his cow Singari. Summer is setting in with a vengeance and the grazing ground in Tambaram where Rajesh is cajoling his cattle to drink water, is blazing hot. Cut to five years ago, and the 34-year-old would’ve been seated in an air-conditioned office discussing mutual funds across the table, with a customer. Some decisions can tilt one’s world on its head and Rajesh’s did just that. A year ago, he decided to give up a high-paying corporate job and live life on his own terms.

The big leap

“I’ve always been angry with consumerism,” says Rajesh. “To have someone dictate terms, telling us what to buy, what to eat, and how to live our lives.” His 12 years of corporate life only furthered his dislike for all things “superficial”. “I was being judged based on the car I drove and the brand of pen I used,” he shakes his head. There was good money, but then Rajesh says that he’s the same person — whether he earned ₹ 8,000 or ₹ 80,000. “The more money I made, the more my needs increased.” He put an end to this constant struggle with his way of thinking and how society functioned, and started his own business.

Headquartered at his Tambaram home, Rajesh’s ‘Thamizhan Home-made Curries’ has five outlets around the area. His small team that consists of S. Madhusudanan (his business partner), M. Govardanan, R. Sridevi, G. Mithra, S. Deepa, T. Jayanthi, and M. Vaidegi, makes various curries that range from sambar and urundai kuzhambu, to prawn and fish curry, at their central kitchen, to be sold in the evenings.

“I’ve always wanted to run a business of my own,” says Rajesh. The idea of selling curries has been with him for a long time. “After an evening of shopping with my family, my father would say ‘let’s buy pakodas and manage dinner at home’. Or mother would say, ‘There’s sambar, let’s have dosas’.” A lot of people prefer a simple home-cooked meal after a workday or a day out, he feels. These are the customers he taps into.

Home-style food

Rajesh hopes his takeaway curries give customers the satisfaction of having eaten at home, and at the same time, reduce the time and energy spent in cooking. He says that the curries are made home-style, and that they are free from food colours and taste-enhancers. Rajesh plans to expand his business in the future if things go well. “But to ensure quality, the kitchens should be within a 10-km radius of the outlets,” he says.

Enter Rajesh’s Tambaram home, and you are greeted by an interesting mix of smells — of the curries bubbling on the terrace kitchen, and that of cow dung. For in his backyard, is a cow-shed, where a noisy brood of chickens peck at the bushes by a well. The cows, Thangam, Singari, and Selvi, all from the Kankrej breed, have gone out to graze. “They’ll be back by 3.30 pm,” explains Rajesh.

Cattle love

He takes us to see them at the grazing grounds — with glorious horns and tinkling bells around their necks, the cows are beautiful. “I sell their milk to friends and family,” says Rajesh. The cows take up a lot of his time during the day, and his curry business keeps him occupied in the evenings.

But Rajesh functions at his own pace — he picks up his kids from school, has long conversations with like-minded people who drop in at his home over a delicious meal cooked by his mother…

In short, Rajesh’s day is in his hands and he can choose to do what makes him happy.

“This is why I gave up my job,” he says. “I might not save as much as I would’ve had otherwise,” he says. “But that’s all right. I’m able to practise sustainable living in my own way. I want to show that it is possible to live close to Nature as well as make a viable business out of it to take care of one’s needs.”

Rajesh has no regrets about leaving the corporate way of life. “Earlier, I would keep running; running to catch the train, running to meet my clients, just running through the day,” he says. “Now, I’m able to slow down. I read a lot, I’m able to grow a beard,” he laughs.

Here’s a shortfilm on Rajesh by Big Short Films

source: http://www.thehindu.com / The Hindu / Home> Society / by Akila Kannadasan / February 27th, 2017

Inimitable cornices

Avudaiyar Kovil in Pudukottai holds magnificent sculptures

There is no happiness for him who does not travel, Rohita!… The feet of the wanderer are like the flower, his soul is growing and reaping fruit; and all his sins are destroyed by his fatigues in wandering. Therefore, wander!/The fortune of him who is sitting, sits; it rises when he rises; it sleeps when he sleeps; it moves when he moves. Therefore, wander!’

Indra in Aitareya Brahmana

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About ten years ago, I made a trip to Avudaiyar Kovil, also known as Tirupperunthurai (near Aranthangi in the Pudukottai district of Tamil Nadu), simply because I had booked for the whole family on the only convenient train to Karaikkudi from Chennai, but everyone else dropped out for one reason or other. So I decided to go on my own, a first for a trip that wasn’t related to work. Mainly, I did not want to pass up the chance to see the never-before-or-since stone cornices at the Athmanathaswamy Temple.

I spent most of my day on the road, checking into a modest hotel in Karaikkudi for just long enough to freshen up, bussing my way to the hamlet that takes its name from the temple. Avudaiyar Kovil turned out to be little besides its legendary temple, set in the middle of pretty agrarian vistas, the priests given to calm diffidence.

A chattering guide introduced me to the wonders of the shrine to Siva in which there is no lingam, only the avudaiyar (the base to it), with the deity imagined in the steam that rises from offerings of freshly cooked rice, greens and bitter gourd.

I hung around till well after the mid-day ritual (Uchchi Kaala Seva), the quietude of the temple seeping into me as I walked around undisturbed. The adjacent Tyagaraja and Oonjal mandapams in the third prakaram, to the east, hold the most magnificent sculptural riches. Cavalrymen set off to battle, their horses so life-like that flared nostrils and taut sinews rear to gallop beneath enormous stone chains hanging from the ceiling. The famous cornices, their beams, rods and bolts crafted entirely and unfathomably in stone, are here.

Elsewhere in the temple, the immaculately preserved detail in stone is breathtaking — whether in the musical pillars or the royals and nobility bearing swords, bows and spears, each of them rendered uniquely in their facial features, build and attire, . Motes of dust float surreally in the rays of light that enter the cool darkness from holes in the roof, falling upon a fabulously embellished pillar or the regal figure fronting it. I would reach for my camera but never get a picture that came close to what I was seeing. I have returned to Avudaiyar Kovil twice and its preternatural aesthetic never failed to hold me in thrall.

I took the night train back, rather quieter than I was when I had arrived, stilled not so much by lassitude as the wonders of what I had seen and the cordiality of the people I had met.

A montly column on places of religious interest

source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / by Lalitha Sridhar / February 23rd, 2017

Hope’s beads: US designer to empower Chennai women

Laura Eastman Malcolm
Laura Eastman Malcolm

Chennai :

When Laura Eastman Malcolm first saw native Indian-American beadwork, she was fascinated. Today, the self-taught designer who is known for her beadwork, uses her skills to help empower women across the world, be it Afghanistan or India. The New Yorker is now in Chennai to help widows and `women at risk’ learn skills for a livelihood.

“I prefer to work with translucent and faceted beads.They reflect light, and with so much darkness and negativity around, so many people around the world are in need of light,” says Laura, who is now trying to shine a ray of hope into the lives of women who are being supported by Sangita Charitable Trust as part of the White Rainbow Project (WRP), a US-based non-profit organisation launched by Linda Mandrayar in 2010.

On Friday, Laura will talk about her experience of working with women in various countries and also showcase the products made by Chennai women at `One Handed Clap’, an event to be hosted at Maal Gaadi, a store in Besant Nagar.

WRP collects saris donated by women all over India, which are then turned by widows in Vrindavan into scarves, kimonos, and tunic tops, are then sold across the US.

“They also make jewellery out of paper and beads,” says Mandrayar, whose tryst with India began when she married the nephew of late actor Sivaji Ganesan. Mandrayar who along with her husband made the movie `White Rainbow’ on the lives of the women in the holy city, in 2005. “After the movie, people wanted to help, so I thought of starting a centre in Vrindavan,” she says.

Five years ago, WRP partnered with Sangita Charitable Trust, which has a widow outreach programme. “Once a month, they give rice, vitamins and sugar to around 450 women,” Mandrayar says. The NGO also works with young women from neighbouring villages. “They are women `at risk’ of becoming widows as their husbands are alcoholics or drug addicts,” says Mandrayar, who decided to tie-up with Laura. “Our motto is `Helping Women Live Better Lives’,” says Laura. In 2005, she was invited to work with women in Kabul by an NGO but five years later the project was shut down after the Taliban put an end to it. The same thing happened in Mazar-i-Sharif, where she could work with the women for only six months.

‘One Handed Clap’ will be held at Maal Gaadi from 6.30pm on February 24. People are also encouraged to donate saris.

source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Chennai News / by Priya Menon / TNN / February 24th, 2017

Inspection bungalow of British era in disarray

The building is now being used as a telephone exchange. | Photo Credit: M. Sathyamoorthy
The building is now being used as a telephone exchange. | Photo Credit: M. Sathyamoorthy

The inspection bungalow built by the British more than a century ago in Kendala, near Selas, from where engineers oversaw the construction of one of India’s first hydroelectric systems, still stands today. Though the main inspection bungalow is in a dilapidated condition, it continues to function as a telephone exchange, where most visitors fail to appreciate its role in the history of the Nilgiris.

The building still possesses a great amount of charm, with the teak roofs and wooden floors of the building still standing strong. Apart from the main inspection bungalows, the smaller buildings, believed to be staff quarters and also stables for horses still remain, although they have fallen into a state of extreme disrepair.

The building has been functioning as a telephone exchange for the last decade, with a sign at the top of the entrance of the building, stating its year of construction as 1902, being the only reminder of its historical significance. Venugopal Dharmalingam, the honorary director of the Nilgiris Documentation Center, said that the bungalow overlooking the Kattery waterfalls and the hydroelectric system was known popularly as the “Kattery bungalow.”

“When the dam was being built in the early 1900’s, it would have been used by the British to oversee the construction” he said. The entire project was designed to power the cordite factory in Aravankadu.

“Kattery itself was a popular picnicking spot for the British, and there are old pictures attesting to its natural beauty. Now, the landscape itself is under threat due to the construction of too many resorts and private buildings,” said Mr. Venugopal.

Apart from the main inspection bungalow, there are also a couple of other bungalows nearby built around the year 1906. Though these buildings are in a relatively good condition, they too require maintenance. These buildings are being used as quarters for Cordite factory workers.

source: http://www.thehindu.com / The Hindu / News> Cities> Coimbatore / by Rohan Premkumar / Udhagamandalam – February 24th, 2017