Category Archives: Arts, Culture & Entertainment

A new lease of life for a 200-year-old Indian library

The Madras Literary Society houses more than 55,000 books / PM Naveen
The Madras Literary Society houses more than 55,000 books / PM Naveen

 

The 204-year-old Madras Literary Society in Chennai is getting a new lease of life, thanks to youthful volunteers and a social media campaign. Karthik Subramanian finds out more.

The sight takes your breath away.

As you step in, you encounter bookshelf after bookshelf rising up from the floor to the ceiling. It is as though you have stumbled upon a waterfall of books.

The Madras Literary Society library located in the centre of the south Indian city of Chennai, formerly known as Madras.

It houses more than 55,000 books, including a huge collection of tomes that are between 150 and 300 years old.

From outside, the imposing red brick building, which was constructed in 1905, looks like something out of a British period movie.

The architectural style is typical of the Indo-Saracenic movement, favoured by the architects of British India in the late 19th Century.

A group of youngsters are stepping into help restore the library to its former glory / PM Naveen
A group of youngsters are stepping into help restore the library to its former glory / PM Naveen

Established by the East India Company in 1812 to train its employees in administration, languages, law, religion and “customs of the natives”, the library was initially located inside the Fort St George between 1812 and 1854 and moved to its current location in the year 1905.

One of the oldest books in its collection is Isaac Newton’s Naturalis Principia Mathematica (“The Mathematical Principles of Natural Philosophy”) published in the year 1729.

It also contains memoirs and accounts published by the British officers of the Raj, such as “The History of Buckingham Canal” which was published in 1898.

But some of these are in a dire state and require immediate restoration, a process that costs from 5,000 rupees ($74; £58) to 12,000 rupees. Without adequate funds and staffing, the old books will soon turn to dust.

Many already have.

Without adequate funds, some of the books are turning to dust / PM Naveen
Without adequate funds, some of the books are turning to dust / PM Naveen

But now, a group of young volunteers are stepping in to help.

“The first time I saw the shelves, I just went wow,” Rajith Nair, a 38-year-old entrepreneur and volunteer at the library told the BBC.

“I have seen libraries like this only in the movies and thought they only existed in old libraries and museums of Europe.”

That was in June last year.

Since then, many youngsters have enrolled as members in the library. They are also actively recruiting other young people through projects like open house days, an adopt-a-book campaign and an aggressive social media strategy.

Thirupura Sundari Sevvel, a 26-year-old heritage consultant, is a regular at the open house the library conducts every Saturday. She helps in the conservation of books, and also trains volunteers to catalogue the titles.

She is also responsible for creating and maintaining a Facebook communities page that actively promotes the restoration of the library’s books.

The Madras Literary Society is still a circulating library / PM Naveen
The Madras Literary Society is still a circulating library / PM Naveen

 

One such recently restored book is a collection of cartoon prints by legendary political satirist James Gillray, which were originally published between 1798 and 1810.

They first caught the attention of author KRA Narasiah last year.

“I was writing a series in a newspaper about Buckingham Canal and was at the library doing some research when this book caught my eye,” he says.

“It was a serendipitous find. The comics were a wonderful example of political satire. I knew it was something special and had to be revived.”

The restoration work itself was carried out by P Renganathan, who has been restoring books for more than two decades now. The book of cartoons, he recalls, was in bad shape.

“It was affected by insects, had fungus and several water strains. I had it restored by encapsulating it in specially processed archival grade polyester films.”

A collection of cartoon prints by legendary political satirist James Gillray is one of the restored books / PM Naveen
A collection of cartoon prints by legendary political satirist James Gillray is one of the restored books / PM Naveen

 

Mr Mohanraman, the 73-year-old honorary secretary of the library, says the youth interest has been a huge lease of life to the library, which he believes “is caught between two worlds”.

The library is "caught between two worlds", its secretary says  / PM Naveen
The library is “caught between two worlds”, its secretary says / PM Naveen

 

“The Madras Literary Society was established to encourage scholastic work. This is one of the birthplaces of what we refer to as the Madras School of Orientalism. We want to preserve that aspect,” he explains.

“But it is also a circulating library that is still catering to its members. Most of our members are senior citizens, who prefer to read books in the physical form. Our challenge is to find a middle path and achieve both goals.”

The library today has close to 350 members who each pay 850 rupees a year to access the rare books inside. The membership has actually doubled over the last 12 months, Mr Mohanraman says.

He says that the goal is to reach a target of 1,000 members, which will help him realise his dream of restoring it to not just a vibrant lending library, but a thriving cultural centre.

source: http://www.bbc.com / BBC / Home> BBC News> Asia> India / December 10th, 2016

Noted camera expert Julison Vincent passes away

CHENNAI: 30/11/2016: Ace Camera Technician Julison Vincent ( Abudu ).  Photo: HANDOUT_E_MAIL   | Photo Credit: HANDOUT_E_MAIL
CHENNAI: 30/11/2016: Ace Camera Technician Julison Vincent ( Abudu ).
Photo: HANDOUT_E_MAIL | Photo Credit: HANDOUT_E_MAIL

Noted camera expert Julison Vincent passed away here on Monday. He was 50.

Popular among photographers from the media and film industries, Julison, affectionately called Abbudu, was an expert in troubleshooting sophisticated cameras of any brand from any part of the world.

He is survived by wife Jane Julison, son Joshua and daughter Joshna.

Julison was brought to the industry by his father Vincent, who is also a camera technician. Late cinematographer A.Vincent was Julison’s paternal uncle.

“People in the industry consider Abbudu the best camera technician in the country. He would fix within minutes the cameras termed irreparable by the respective manufacturers,” said a photojournalist, who was his regular customer.

A philanthropist, he often declined to take money from poor customers, he recalled.

The last rites were performed at Fathima church in Kodambakkam on Wednesday.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Chennai / by Special Correspondent / December 01st, 2016

Balamuralikrishna, maestro of Carnatic music, passes away

balamuralikrishnacf23nov2016

 

Carnatic vocalist, playback singer and composer Mangalamapalli Balamuralikrishna, who burst into the music world as a child prodigy, died on Tuesday. He was 86 and is survived by his wife, three sons and three daughters.

His music appealed to both the connoisseurs and the laymen alike. In classical music, he was able to give “play acting” to the essence of the lyrics in his song. In the film world,  “Oru Naal Pothuma”, a ragamalika in Thiruvilayadal, “Chinna Kannan Azhaikiran”, a Reetigowla-based song in the film Kavikuil, “Mounathil Vilayadum Manasatichye” from the film Noolveli  and the Abhogi song “Thanga Ratham Vanthathu” from the film Kalai Koil continue to enchant a generation of music lovers.

A native of East Godavari district of the erstwhile Madras Presidency, his father Pattabiramaiah was a musician and his mother Sooryakanthamma was a veena player. He gave his first concert when he was nine and the quality of his music is explained by the fact that All India Radio (AIR), Chennai, included him, a child artist, in the list of A-grade artists.

He was also an accomplished violinist and once accompanied Ariyakudi Ramanuja Iyengar, the pioneer of the modern-day Carnatic concert format.

Balamuralikrishna learnt violin by listening to his father playing the instrument.

“Since my father was against me playing violin, I created my own instrument. Once I summoned courage and played his instrument in his absence. When questioned by my father I admitted and played Bhairavi ata thala varnam.  My father was impressed and allowed me to play the instrument,” he had recalled in his biography Sangita Perunkadal, penned by Ranimynthan.

Violin playing came in handy when his voice underwent changes in his teens and could not sing.

“He had a magic voice. He is to Telugu keerthanas what M.M. Dhandapani Desikar was to Tamil music. Since Telugu was his mother tongue, he knew the meaning of Thiyagaraja’s keerthanas and would not maul them,” said clarinet maestro A.K.C. Natarajan, who also learnt many keerthana’s from him.

balamuralikrishna02cf23nov2016

Actually Balamuralikrishna’s career in film industry began as an actor. He played the role of Narada in the film Bhakta Prahalada on the request of A.V. Meyappa Chettiar. It was a Telugu film and was dubbed in Tamil, Hindi and Kannada and he played the role in other languages also. His first song is also for a Telugu film Sati Savitri.

 

“S. Varalakshmi was the heroine of the film and she learnt music from Balamuralikrishna. She requested him to render at least one sloka in the movie. But he ended up singing all the songs for the hero A. Nageswara Rao,” recalled Ranimynthan, the biographer of Balamuralikrishna.

When K. Balachander directed Apoorva Ragangal, he told M.S. Viswanthan to compose a song in a rare raga to justify the title of the film. It was Balmuralikrishna who helped him compose the song Athisaya Ragam in raga Mahathi. His other creations are raga Sarvashri, Lavangi, and Sumukham.

He also scored music for the first Sanskrit film Adi Sankarar . He won the national award for best playback singer, music director and classical singer. He was awarded the Sangita Kalanidhi award of the Music Academy. He is also a recipient of France’s Chevalier of the Ordre des Arts et des Lettres.

source: http://www.thehindu.com / The Hindu / Home> News> National / by B. Kolappan / November 23rd, 2016

Madras’ milieu beheld from the eyes of a dewan

 Although not a diarist in the strict sense, Nemali Pattabhirama Rao , the dewan of erstwhile Cochin State, did maintain a personal diary. It was a small notebook bound with red hard cover with a lock (having an ornamental key) on it — an indication that it was purely personal. But, having seen the value of the contents, Rao’s family decided to make it public in the form of a book. Titled ‘A Dewan’s Diary’ the book edited by Rao’s granddaughter Malathi Mohan was recently released in a function.

Handwritten in neat cursive script, the content is autobiographical. Born in Siddavattam of Cuddappah district, Rao, a graduate from Presidency College (1882) of Madras, after an eventful career in the revenue department, was appointed as the dewan of Cochin State from September 6, 1902. The book reproduces a letter sent to Rao by the Raja of Cochin Sri Rama Verma when the former offered to resign from the post due to bad health. The letter speaks volumes about Rao’s integrity of character.

The Golkonda vyapari community from which Rao hails is a sub sect of Telugu brahmins. While the Telugu brahmins adhered to strict Vedic practices, a group fell out as a secular sect and took up administration, trade and similar works. They were called aaruvela niyogis and a part of them called themselves Golkonda vyaparis — vyapari meaning trader. While the niyogis stuck to Shaivite principles, the vyparis took to Vaishnavism. This religious difference was the only factor that hindered marriage alliances between the two communities. The book says that Rao’s family was one of the rare ones to break the caste-based bias. His niece Rukmini, a freedom fighter married Lakshmipathy, a medical practitioner from Niyogi community of Achanta family.

A major part of the book deals with the acute financial difficulties Rao faced during his tenure as the dewan. During this time Rao had employed Namberumal Chetty — known for building landmark buildings in Chennai — for the construction of a house on Edward Elliots Road (Radhakrishnan Salai; the site now houses AVM Rajeswari Kalyana Mandapam). The house was named Kanaka Bhavan, but unfortunately its construction caused great financial difficulty to Rao. His wife had invested money in Arbuthnot & Co Bank and it was lost when the bank collapsed in 1906. Rao had to complete the house by taking loans from friends and acquaintances. But, after his retirement, repaying the loans became difficult for him. It was during this time that his friend Namberumal Chetty offered him the job of supervisor for a construction. As luck would have it, Chetty and Rao were offered a contract to supply bricks for the construction of Ripon Building by the consultant architect of the then government G T Harris. To be close to the site, Rao shifted to Choolaimedu area and built a house. However his financial difficulties continued and as ill luck would have it he lost his wife in 1909.

It was then that he decided to shift to Madanapalle, where he had a bungalow. Rao records in the diary that in 1918 he sold his house at Edwards Elliots Road to the zamindar of Devakota. He also gives the full particulars of his assets and liabilities and how they should be divided after his death. He continues further till February 1932 and ends the narration as on June 29, 1935.

Apart from familiarizing the reader with the Nemali family and the joys and harrowing times they have undergone, the book has a fine compilation of family pictures that make the text relatable.

(The author is a is a heritage enthusiast and a reviewer of historical books)

Email your feedback to southpole.toi@timesgroup.com

source: http://www.timesofindia.indiatimes.com / The Times of India / News > City News> Chennai News / K R A Narasiah / TNN / November 15th, 2016

A Dutchman’s tale of devadasis, famine

Chennai :

It was while researching the history of the Nataraja temple in Chidambaram that Liesbeth Pankaja Bennink came across  Jacob Haafner, a Dutch accountant who lived and worked in India from 1772 to 1786.

Bennink, a historian and Bharatanatyam dancer, found Haafner’s accounts of his travels in India were translated into many languages. She has now finished his biography in English and is looking for a publisher.

Haafner, reveals Bennink, began on a ship trading around the Bay of Bengal, worked as a clerk for a company in Nagapattinam and became an accountant in Madras. During the 1881 madras famine, he was a British prisoner of war, fled to Ceylon (Sri Lanka), lived in Calcutta, and travelled down the coast to today’s Puducherry. Haafner finally left for Amsterdam after the tragic death of his beloved, the dancer Mamia. “After falling on hard times financially , he started writing about his experiences in India to make a living. His work was translated into many European languages, but only one, about his travels in Ceylon, was ever translated into English. He was a much read author in the 19th century .But he was forgotten later,” says Bennink.

What attracted Bennink to Haafner’s works was his deep respect and love for India and its people. “He is a great storyteller, at the same time sharing all kinds of information about the way people live, their festivals, about nature and agriculture, the landscape,” she said.He spoke fluent Tamil and some Hindi and Urdu. “He had enough knowledge of Sanskrit to translate and recount the Mahabharatha and Ramayana into Dutch.”

Haafner, says Bennink, also wrote a lot about Indian dance and dancers. “He inspired many Romantic artists in Europe. For instance the ballet La Bayadere, choreographed in 1877 by Marius Petipa to the music of Ludwig Minkus, was inspired by Haafner’s writing.”

Haafner’s life was extensively researched by Dutch historian Paul van der Velde who also wrote Haafner’s biography , Wie Onder Palmen Leeft (Those living under palm eft (Those living under palm trees), both in Dutch. “As I feel his work is relevant today I started translating some parts, beginning with his chapter about the Devadasis. In 2015, Velde asked me to translate his biography of Haafner. It was challenging. The difficult part was to translate 18th century Dutch to 21st century English, without losing the intent and emotions of the writer,” says Bennink. ” As a historian his work is invaluable to me. He was a staunch anti-colonialist.It would be great if all his work would become available for English speaking readers. He has so much to tell us about this crucial period of India’s history,” she said.

source: http://www.timesofindia.indiatimes.com / The Times of India / News > City News> Chennai News / M.T. Sajul / TNN / November 11th, 2016

A shrine of his dreams

laxmitemplecf10nov2016

The story behind Lakshmi Varahar temple in Ayilangudi.

Madurai is known for many temples that have a rich past. But the one at Ayilangudi, near Madurai, for Sri Lakshmi Varaha Swami is recent and has an interesting story behind it.

Built by ‘Graphico’ Seshadri, it was a surprise for many known to him to see him undertake the task of constructing a temple.

Though a non-believer, Seshadri, a 78-year-old printer based in Madurai, was inspired by the popularity of the calendar featuring Sri Lakshmi Varahaswami that he had printed. He decided then to build a temple.

Investing his savings and with contributions by friends and devotees, Seshadri began work on the temple in 2007, the consecration of which took place in 2013.

Recalling incidents that prompted him to undertake this task, Seshadrisaid, “I had gone to Ayilangudi to buy land. After the formalities were cleared, a thought flashed across my mind that the land belonged to Sri Lakshmi Varahaswami. I just brushed it aside. But the thought haunted me through the nightand the image of the Lord kept appearing in front of my eyes.

“As if reassuring my thoughts, when I was about to leave for Ayilangudi, a book with a picture of Sri Lakshmi Varahar’s fell from the bookshelf. I was now convinced that the land belonged to the Lord.”

Next, Seshadri went to Mahabalipuram to meet Selvanathan stapathi who offered to make the idol of Sri Lakshmi Varahar for a meagre amount.

“With help from the locals we were able to install the 8 ft. high and four-and-a-half ft. broad idol. Many people came for the samprokshanam that took place on January 23, 2013.

“The highlight was that five Garudas hovered over the gopuram while the proceedings were on.”

In April this year, Varahar Jayanthi was conducted with fervour.

source: http://www.thehindu.com / The Hindu / Home> Features> Friday Review / Charukesi / November 10th, 2016

Fighters of Tamil cause honoured in Dindigul

In recognition:Tyagis and leaders being honoured in Dindigul on Tuesday during celebrations to mark the 58th anniversary of Tamil Nadu Formation Day.— PHOTO: G. Karthikeyan
In recognition:Tyagis and leaders being honoured in Dindigul on Tuesday during celebrations to mark the 58th anniversary of Tamil Nadu Formation Day.— PHOTO: G. Karthikeyan

Tyagis and leaders, who had fought for the retention of Tamil-speaking areas in Tamil Nadu at the time of reorganisation of States, were honoured as part of Tamil Nadu Formation Day celebrations here on Tuesday.

Honouring the district-level leaders at a function held here, Tamil Scholars and Tyagis Association State president Ramu. Ramasamy appealed to the State government to increase the pension being disbursed to those who fought for the formation of Tamil Nadu as the existing amount was fixed by the government 10 years back.

They had sent several appeals and requests in this regard, but the government did not consider them, he also said.

Former president of District Congress Minority Wing A. Abdul Jabbar said the government should extend new medical insurance scheme meant for government employees and teachers to tyagis and persons who fought for Tamil-speaking areas at the time of reorganisation of States.

Several fighters for Tamil cause, including Ramu Ramasamy, K.V.A. Rajan, N. Govindarajan and K. Muniappan, were honoured at the function. Several persons, mostly octogenarians who struggled to walk, participated.

source: http://www.thehindu.com / The Hindu / Home> National> Tamil Nadu / Staff Reporter / Dindigul – November 02nd, 2016

Home-grown luxury

This year, Chennai has seen two staunchly-local five-star hotels spring up. ELIZABETH MATHEW meets the men behind the ambitious projects

Feathers

The Radha Hotels group started with a small 27-bedroom hotel in Neyveli, built by S. Radhakrishnan. While most people tend to be nostalgic about firsts, his son has a rather humorous take. “That is where we learned how not to build a hotel,” jokes R. Srinivasan, the man who took his father’s vision and expanded it. From a budget hotel to the three-star Radha Regent, to the recently-opened five-star Feathers, Srinivasan has come a long way.

After opening Radha Regent (Arumbakkam) in 1997, he opened a couple of three and four-star hotels in Bangalore. Their first hotel’s claim to fame is the first pub in Chennai — Geoffrey’s. At a time when Chennai was more Madras, still conservative and completely new to pub culture, it was a trendsetter and still has a faithful following. Then, it was time to raise the bar. “Building a hotel is not for the faint-hearted,” says Srinivasan, “and you can’t do it with a chequebook alone.” He believes he was able to put together Feathers only because of his experience.

The unusual name of the hotel comes from a long search. The fact that the name doesn’t sound particularly local works in its favour, believes Srinivasan “It also conveys a feeling of cosiness, warmth, softness — something luxury-associated,” he opines.

It’s also an effort to make it different from the other hotels in their portfolio. “We didn’t want to go for an international tie-up, since it takes away 12-15 per cent of the revenue,” he says, adding that Chennai attracts more business travellers, who visit frequently for short periods of time and usually opt for a convenient location over a prominent brand name.

While many would consider a hotel this far from the city a difficult sell, Srinivasan can see only positives. “If I had opened this hotel in the city, I would be a very worried man.”

With the manufacturing corridor nearby, Oragadam and Sri City SEZs just 45 km away and two major hospitals in the vicinity, Srinivasan believes the potential is endless.

While most hotel chains across India are primarily other businesses that have diversified, very few are exclusively in the hospitality industry. Radha Hotels is one of them. Srinivasan says, “It is very difficult to be a pure hotelier because the gestation period is very long. It is very capital-intensive, and when you grow, there is the risk of over-investment and debt.” A man who chooses his words as carefully as his investments, he explains how he spent around Rs. 90 lakh per room, when similar luxury hotels spend upwards of Rs 1 to 2 crore. “I wasn’t looking to build the Taj Mahal; that has already been built. I wanted a hotel where the returns are commensurate with the investment.”

All this talk of balance sheets and bank loans aside, the fact remains that Srinivasan wanted Feathers to be a five-star hotel. So, despite the seemingly straightforward decor — neutral beiges, square lines, no bling — there is an element of luxury in the space, whether it’s from the expansive lobbies or the aesthetic carpeting.

Value for money and luxury aren’t words you would usually hear in the same sentence, but Srinivasan suggests that at Feathers, he’s succeeded in blending the two successfully.

Dining options open at the moment at Feathers include Waterside, an all-day dining space with live kitchens and indoor and alfresco options, and Skyloft, a lounge-cum-rooftop restaurant, which Srinivasan hopes will be the city’s next Geoffrey’s. With a newly-acquired liquor licence for domestic spirits, Vapor, their upscale bar, hopes to bring both serious drinkers and DJ enthusiasts together. An Indian restaurant called Umami is also in the works.

Turyaa

Ranjit Pratap’s tryst with building a hotel started in 2011, when, encouraged by a buoyant economy, he started planning to build a four star property with 147 rooms in an atrium style. “Since it was my first hotel, I went for the best,” he says. “Italian marble, platinum LEED certification… When you want to have the best, there’s no end to your desire!”

Towards the end of 2011, as his dream hotel was under construction, another property of his was in a legal tangle with the JV partner. When the case was settled in 2012, Pratap leveraged his position and exercised the option to buy him out. “And the trouble started there,” he recounts. The economy started to drop, new hotels started coming into the city, and they started to develop cold feet as the predicted average room rate fell from Rs 6500 to Rs 4500.

“The hotel project was stuck, because we thought we could build just the shell, do a 100 rooms now and the rest later. But things started cascading, and we decided to disinvest, as it was part of the activity of my group, Rayala. To segregate it and sell it was a problem, and it was also the worst time to sell, in 2014. At that time, fortunately, Aitken Spence came in and offered to buy a major stake of the property. And that was a God-send,” he explains, ending with a sigh of relief.

A 140-year-old company, Aitken Spence has over 24 resorts to its name, and Turyaa in Chennai is the first city hotel in its portfolio. The takeover was amicable, with both Pratap and Aitken Spence seeing eye to eye about the design concept and not needing too many changes. And so Turyaa on Old Mahabalipuram Road was born. “They maintained my vision, and even the cutlery here is what I chose,” adds Pratap.

The hotel was set to open in 2014, but ended up having a soft launch only in November 2015, and had a long wait to get a liquor licence as well. Though it has been up and running,and popular in its immediate vicinity, the hotel is yet to make an impact across the city. “One advantage is that the hotel is at the very beginning of the IT corridor and you don’t need to cross the toll; it is also just four kilometres from Adyar,” says Pratap.

Now, with his office right next door, he often drops in to check on the property out of a godfatherly feeling, and has developed a great rapport with Arun Raj, the present general manager. “Whoever is nurturing it now, the hotel is still my baby, and I have to be the proudest person,” says Pratap.

With about four million sq ft of IT parks around it, software companies provide great business for the hotel, especially for the restaurants. Proximity to business hubs like Siruseri, and close connectivity to the airport are an added bonus. But there are downsides to these as well. “Weekends are generally emptier since this isn’t a leisure property,” says Arun.

Having applied for a five star deluxe rating, the hotel is waiting for the classification, which usually takes six months from getting the bar licence. With everything in place, the rating is expected around December.

After his experience with Turyaa, Pratap has shelved any other plans to do with hospitality, and has decided to leave it to the experts. A collector of classic cars, Pratap’s original dream was a combination of his two loves — a hotel built around a car theme that would let him showcase his car collection as well. While he takes credit for the designing of the hotel, the terrace poolside space and more, he does admit that all credit goes to the management for the smooth running, essential for a good property.

The hotel is named after a Sanskrit word for musical note, as well as the third stage of enlightenment that cannot be seen or tasted but only experienced. All the restaurants have Sanskrit names as well — Svar, Samasa and Mista — except for the Chinese restaurant, Dao. They also have an iPad-themed bar named Twist and a poolside rooftop restaurant, with cleverly placed hedges that obscure the traffic-laden roads, and focus on the expanse of blue sky.

source: http://www.thehindu.com / The Hindu / Home> Features> Metroplus / by Elizabeth Mather / Chennai – November 01st, 2016

A one-man show to revive the dying Kurumba art

Udhagamandalam  :

Kurumba art is dying a slow death. There are no takers for this traditional art form which was once passed from generation to generation among the tribals of  Nilgiris. Lack of interest and awareness among the Kurumba youth has diminished its recognition as an art form.

However, a few people are desperately trying to preserve this tradition. R Krishnan, 41, a Kurumba tribal, who learned the art from his grandfather, has been trying to keep interest in Kurumba art alive. “I learnt the art from my grandfather and am interested in pursuing it,” says Krishnan.

His grandfather, the late Mathan, used to paint on the walls of the tribal temples located across the district. The graceful and simple rectangular art, taking the shapes of humans, animals and plants form the distinguished genre of the art, used to adorn the walls of Kurumba homes during the festive season. Today, Krishnan has switched over to canvas as the base instead of the traditional rock surface. Still the traditional art is full of life, representing the visual contest of the times.

The main themes of these paintings include death rites, worship, nature, honey gathering, wildlife and forests. These artists use only natural colour procured from leaves and tree resins mixed with mud of different varieties. “The natural colour we produce from the leaves and tree resins are fast colours. But we are limited to traditional yellow, brown and black, besides dark and light green,” Krishnan said.

“Over the past two decades, no one in our community showed much interest in learning the art. People are interested in generating sufficient income for their livelihood. Hence, the art took a back seat,” he said.

In a bid to revive the art, Krishnan has been trying to persuades children of his village, Vellerikomabi near Kotagiri, to learn the art. He holds classes for schoolchildren in his home. “I am confident that a few of these children will pursue the art,” he says. Krishnan also attends exhibitions and other events to sell his paintings.

The Tribal Cooperative Marketing Development Federation of India (TRIFED), which has taken efforts to develop and improve the livelihood of tribals, conducts workshops for Kurumba tribals so that they could learn their traditional art. A few months ago, TRIFED conducted a three-month workshop on the art, in which 20 people participated. To encourage youth to take up the art, TRIFED also offered them a stipend on a daily basis.
“As of now, we are focussing on enhancing the standard of livelihood of the tribes in the Nilgiris by providing them with training programmes on various skills,” said S Udhayakumar, senior official, Tribal Research Centre in Ooty.

source: http://www.timesofindia.indiatimes.com / The Times of India / News Home> City> Coimbatore / Shantha Thiagarajan / TNN / October 24th, 2016

Non-stop magic takes CRPF personnel to Guinness Book

Madurai :

A Central Reserve Police Force (CRPF) personnel from Kanyakumari  district has entered the Guinness Book of World Records  along with a group of other Indian magicians for continuous performance of magic tricks by a group.

The Indian Brotherhood of Magicians (IBM) broke the record set by 130 magicians in Italy, by peforming magic continuously for six hours in New Delhi on April 24 this year. The group performed various tricks, including the ribbon trick, rope trick, dove and rabbit vanishing tricks among others, to enter the book of records. The group of 162 magicians broke the record by performing the same task. They received their Guinness certification, recently.

B Ajithkumar, 41, of Arumananai Vilavankode, in Kanyakumari district said that he had always been interested in magic and pursued his passion even after he joined the CRPF at the of 22. He learned tricks from great magicians in Thiruvananthapuram and also Wilson Sambakulam in New Delhi, whom he considers his master.

Ajithkumar who is now serving in Assam, came down to his home town recently and showed the certificate to the Kanyakumari district collector, Sajjansingh R Chavan, who lauded him for his efforts. Ajithkumar’s daughter Sangeetha is also learning some tricks from her father.

source: http://www.timesofindia.indiatimes.com / The Times of India / News Home> City> Madurai / TNN / October 15th, 2016