Category Archives: Arts, Culture & Entertainment

Novel on tiger hunting wins Yuva Puraskar award

PROUD MOMENT: Kaanakan is the second novel of Thirumangalam-based Lakshmi Saravana Kumar
PROUD MOMENT: Kaanakan is the second novel of Thirumangalam-based Lakshmi Saravana Kumar

Saravana Kumar’s novel ‘Kaanakan’ deals with Paliar tribes’ struggle against bid to appropriate their land for ganja cultivation.

Tamil writer and filmmaker Lakshmi Saravana Kumar’s novel Kaanakan, which depicts the life of Paliar tribe in the Western Ghats and hunting practices, has won the Sahitya Akademi’s Yuva Puraskar award for 2016.

“It deals with the Paliar tribes’ struggle against ganja plantations and the attempt to appropriate their land for the purpose in the 1980s,” said Mr. Saravana Kumar, who has penned three novels and six short stories and a poetry collection.

An associate of director, Vasanthabalan, Saravana Kumar, who had worked with him Kaaviya Thalaivan and Aravaan, is now working on his own film.

Kaanakan is Thirumangalam-based Saravanakumar’s the second novel. His first novel is Uppu Naaigaland his latest is Neelappadam .

“Kaankan deals with hunting and the ethics of hunting. It starts with hunting of a tiger and ends with tiger hunting men. The richness of a forest is always judged by the presence of tiger. There are some ethics when it comes to hunting. Females are spared by hunters,” said 31-year-old Saravana Kumar.

Tamil writer and publisher Kuzha. Kathiresan has won the Sahitya Akademi’s Bal Sahitya Puraskar for his contribution to children’s literature. Born in Royavaram in Pudukottai district, Mr. Kathiresan was trained in by Azha. Valliappa, a writer known for his contribution to children literature.

Simple lines with good messages are the hallmark of Mr Kathiresan’s works. He is running Inthinai Pathipagam, which published most of the works of T. Janakiraman and other great writers.

“I have written 4,000 poems and some of them were prescribed for schoolchildren in the State and Singapore,” said Mr. Kathiresan.

It deals with Paliar tribes’ struggle against bid to appropriate their land for ganja cultivation

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Chennai / by B. Kolappan / Chennai – June 17th, 2016

Earthen pans that warm hearts in the Gulf

A worker giving final touches to the microwaveable earthern pans in a manufacturing unit in Palayamkottai, Tamil Nadu.— Photo: A. Shaikmohideen
A worker giving final touches to the microwaveable earthern pans in a manufacturing unit in Palayamkottai, Tamil Nadu.— Photo: A. Shaikmohideen

The microwaveable pots, manufactured in T.N., have been popularised by a Dubai chef

The famous earthenware industry of Tamil Nadu’s Tirunelveli district, which is known for its quality pots and pans, has now started manufacturing microwave oven-friendly earthen pans that have won thousands of hearts in the Gulf.

Demand for samples

Five years ago, the executive chef of a star hotel in Dubai contacted S. Murugan of Kurichi in Palayamkottai after trawling through the Internet, and asked him for samples of the eco-friendly pans. Mr. Murugan followed the chef’s specifications and prepared the product that reportedly impressed him. The chef even recommended Mr. Murugan’s product to his other friends in the Gulf.

“We have our clientele in Dubai, Kuwait, Jordan and Qatar. The star hotels of the oil-rich nations use our pans for packing biryani meant for home delivery, instead of packing the mouth-watering dish in plastic or cardboard materials.”

Heat and eat

After stuffing the yummy biriyani in a use-and-throw earthenware pan, it is covered with a roti and kept in a hotbox. The customer, on receiving the delivery, needs to just put the pan in the microwave oven and heat it.

“Since we bake the pans in the kiln up to 950 degree Celsius, the earthenware pan can withstand the oven heat and this process will not affect the quality of biryani in anyway,” says Mr. Murugan.

source: http://www.thehindu.com / The Hindu / Home> National> Tamil Nadu / by P. Sudhakaran / Tirunelveli – June 16th, 2016

Veteran Tamil film director AC Tirulokachandar passes away

Chennai :

Veteran Tamil film director  AC Tiurlokachandar , who had directed over 60 movies including Tamil, Telugu and some Hindi films, passed away here today.

“He was 85 and he passed away at a hospital here due to age related health issues and he is survived by a son and a daughter,” N Shan, son-in-law of Raj Chandar, son of  Tirlokachandar told .

Remembered for films in which he had directed iconic yesteryear actors like MG Ramachandran and  Sivaji Ganesan , he debuted in Tamil film industry in the 1962 movie “Veera Thirumagan,” a AVM production.

Before that he had worked in film studios and had written numerous short stories in Tamil magazines. Films like Anbey Vaa (1966), (Ramu (1966), Athey Kangal (1967), Naanum Oru Pen (1963), Baratha Vilas (1973), Enga Mama (1970), were among his Tamil hits.

“The last movie that he directed was Sivaji starrer Anbulla Appa (1986),” Shan said.

Totally, he had directed 65 films, most of them in Tamil followed by Telugu and Hindi, he said.

He also directed  Rajinikanth starrer movies, including “Badrakali”.

Meanwhile, a press release from his publicist said he won a host of awards, which include Kalaimamani Award from the  Tamil Nadu  government, and Filmfare Awards . He also headed a State government panel to select best movies, it added.

The cremation would be held here tomorrow, Shan said.

VGN BN JCH

source: http://www.timesofindia.indiatimes.com / The Times of India / News Home> City> Chennai / PTI / June 15th, 2016

Plan to set up a museum in Tirupur

A group of young entrepreneurs and professionals are embarking on a mission to set up a museum here for a holistic depiction of the history and natural treasures of Tirupur, and showcase the image of the region beyond that of a garment export hub.

“We toyed with the idea as no museums are here now to pass on the history to the future generations,” said one of the group members Kathiresh Swaminathan (34), who is a prominent textile entrepreneur and chairman of Young Indians (Tirupur chapter), the youth wing of the Confederation of Indian Industry. The entrepreneurs and the professionals, who are part of the project, were mostly members of Young Indians, and the remaining being different stakeholders involved in development activities.

According to Mr. Kathiresh Swaminathan, the museum is being planned to be set up on around 20,000 sq ft in one of the unused garment factory/godowns available in Tirupur knitwear cluster.

According to the plans, the museum will have paintings and sculptures to give a narrative of the growth story of the city and about the activities in clusters other than the garments like sculpture cluster at Thirumuruganpoondi and steel/copper utensils manufacturing cluster at Anupparpalayam, among others.

Knowing that any narration of Tirupur cannot be completed without the mention of Tirupur Kumaran, who laid down his life fighting British, the museum will portray some rare pictures of him and tell about his role in the freedom struggle.

Similarly, the details about the natural treasures of the district like Kangayam cattle breed, which is facing extinction, and traditions followed in the rural areas, will be on display.

“We want children, many of whom in the present generation did not know much about the history, to visit the museum apart from the tourists as youngsters play a pivotal role in carrying forward any legacy,” said Mr. Kathiresh. The capital expenditure for the project is expected to be met by the contributions from the young members who were part of the project implementation along with the investments from philanthropists and voluntary donors.

source: http://www.thehindu.com / The Hindu / Home> National> Tamil Nadu / R. Vimal Kumar / Tirupur – June 16th, 2016

The songster’s journey to Tiruvaiyaru

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Jagdish Koppa’s book on Bangalore Nagarathnamma is a detailed account of the musician and also the life of devadasis in South India

This is a single question quiz. Name this person from Mysore who was an extraordinary musician, a writer of eminence, an activist, and a philanthropist. No guesses? Another clue. If you are a connoisseur of music, and if you have visited Tiruvaiyaru, you may perhaps know. But if you still have difficulty in answering this question, it is not your fault.

Who determines what is high and what is low in the flow of history? Why do these conscious erasures take place? Gender, caste, class or all of these? If you still haven’t got your answer, then here it is: the exceptional artiste Bangalore Nagarathnamma. She spent her last years in Tiruvaiyaru and donated all her earnings for the maintenance of the dilapidated samadhi of saint Tyagaraja. Yet, her idol in front of the samadhi is locked up and her memory is forced to oblivion. Dr. N. Jagadish Koppa, author of “Gatti Daniya Ditta Kalavide: Bangalore Nagarathnamma” dedicates the first few pages of his well-researched book to the curious obscurity that shrouds Nagarathnamma.

Nagarathnamma is from Karnataka. Born in Nanjanagud to a Devadasi Puttalakshamma, Nagarathnamma was trained in dance and music. During the late 20th century she moved to Madras and through her talent and dedication became a well-known name among connoisseurs. Her grace, etiquette, sharp intellect and strong commitment to the cause of music and women of the Devadasi community, made her a much sought after person in the upper echelons of society. Nagarathnamma has the distinction of being the first woman artiste to have toured 146 towns and cities in South India and created a record with 1235 concerts. Just in Madras alone, Nagarathnamma is supposed to have given 849 concerts. What is even more interesting is the fact that Nagarathnamma earned fame for being the only woman artiste in South India to have paid income tax to the British. She was very close to the top leaders of those times, including C.V. Rajagopalachari. Yet, there is hardly any mention of Nagarathnamma in any books on music, except for passing references. As the author notes, U. Krishna Rao makes a special mention of the “famous dancer Nagarathnamma”. The other references to her are by the Kannada writer D.V. Gundappa and Mysore Vasudevacharya who said “her music has the mellifluousness of a woman and the dignity of a man.” However, V. Sriram’s Devadasi and the Saint, is the only full-fledged work on the adventurous and courageous woman.

Drawing from extensive travel, interviews, various sources and research papers, Dr. Koppa writes a fairly detailed chapter on the Devadasi tradition in south Karnataka. His surmise is that Puttalakshamma may have come from Kolar and her mother tongue was Telugu. Quoting an essay by U. Krishna Rao on dance in the old Mysore kingdom, “most dancers and nattuvanars came from T. Narasipura, Kolar, Mulubagilu, and Chintamani. Over 200 dancers lived in this region and they had scholars who trained them in Sanskrit, theory of performance….” The kings of Mysore, Mummadi Krishnaraj Wadiyar and Chamaraj Wadiyar, offered patronage to these talented women and attached them to various temples across Karnataka. It is said that in a Mulabagilu Temple there were 14 dancers at one point! This flourishing art scene in Karnataka got a blow when Krishnaraja Wadiyar decided to put an end to the devadasi tradition. The anti-nautch movement and anti-dedication movement of 1882 in the North was also the reason for this decision. However, the Mysore kings didn’t abandon the devadasis, they gave them continued patronage, and several of them were inducted into the drama company set up the Kings.

The book traces the life of Bangalore Nagarathnamma in detail, and doesn’t make it an uni-dimensional chronological account. The author, very meticulously, brings alive the social ethos of the times of Puttalakshamma and Nagarathnamma, replete with people and happenings. Puttalakshamma, like several devadasis of her generation, struggles to make her daughter a competent scholar not just of music and dance, but also Sanskrit and Telugu. She takes her to the best of teachers, sells away her gold ornaments, and makes sure that there are no obstacles for Nagarathnamma’s learning. Puttalakshamma moves to Bangalore with her daughter and trains her under the dance teacher Kittanna. She also has special teachers for Telugu, Tamil and English. She learnt music under Bidaram Krishnappa, who taught her Kannada compositions. Nagarathnamma, with her extraordinary talent, earned the goodwill and affection of several masters, including Veene Subbanna.

There are some very interesting aspects in the book. Among them are the vivid description of life in George Town at the turn of the 21st century throbbing with great musicians and equally large-hearted patrons. The most important part of the book is however, Nagarathnamma’s translation of Muddupalani’s Radhika Santhwanam and the furore it created in the literary circles. The earliest reference to Nagarathnamma and Muddupalani are in “Women’s Writing In India”, edited by Susie Tharu and Lalitha. But Dr. Koppa gives a detailed account of the long drawn battle. The other is the major ruckus between the two warring factions at Tiruvaiyaru and how Nagarathnamma had great difficulty in resolving the problem. The narration comes alive when 50 Devadasis arrive in Tiruvaiyaru for a concert at the Tyagaraja samadhi! In both these instances – Radhika Santhwanam and Tiruvaiyyaru — Nagarathnamma’s courage and determination is exemplary. She takes on the male world, and doesn’t let go of justice even in the most difficult times.

While most part of Nagarathnamma’s life was tough and trying, there are some warm moments. Justice Narahari Rao, Nagarathnamma’s patron, was a middle-aged man. He was deeply interested in the arts and had admiration for Nagarathnamma’s talent. After seeking consent from his wife, Narahari Rao, every evening after finishing his work at the High Court, would park his horse carriage in front of Nagarathnamma’s house in the narrow lanes of Nagarathpet in Bangalore, listen to her music and then return home. This became huge news and reached Diwan Seshadri Iyer, who in turn advised him to keep personal matters separate. On his advice, he bought a house for Nagarathnamma in the peaceful Hanumanthnagar and stopped using the official carriage to visit her. He not only admired her music, but encouraged her immensely. She came in contact with writers and big musicians due to Narahari Rao’s high offices. Nagarathnamma toured for concerts regularly. In fact, it was he who advised Nagarathnamma to shift base to Madras, since it was the centre of music. He was a very unusual patron.

The book is a complete account of the life of Nagarathnamma. It also captures the travails, ups and downs of nearly 150 years of the life of devadasis in Karnataka. Their phenomenal love for their art, and their quiet courage to take on the male world is unimaginable. Dr. Jagdish N. Koppa’s book is a value addition to the literary landscape. Its language is simple, its purpose straightforward. He tells the story with empathy and laments the society that we are.

source: http://www.thehindu.com / The Hindu / Home> Features> Friday Review / by Deepa Ganesh / Bengaluru – June 02nd, 2016

Basking in the Afternoon glory

SrutiHariharaCF03jun2016

Acting, directing, championing city events, collecting film memorabilia… National Award winner Sruti Harihara Subramanian speaks to RAVEENA JOSEPH about her myriad interests

Sruti Harihara Subramanian won a National Award a few weeks ago. Her 63-minute documentary, A Far Afternoon — A Painted Saga, which captures the craft of artist Krishen Khanna, was also screened at Cinema Indien, Stockholm, and All Lights India International Film Festival, Kochi. It was nominated for best documentary at the New York Indian Film Festival, and has recently been invited to the Indian Film Festival, Stuttgart. Yet, hardly anyone has heard about it. “People don’t consider you a filmmaker when you do a project like this, because everyone is still glued to the idea of traditional cinema,” says Sruti.

Sruti grew up a fan of Mani Ratnam and A.R. Rahman. She collected clippings of their interviews and saved ticket stubs after shows. Cinema felt like another world, one she never thought she could be part of. “I come from a family of dancers and singers — we thought of these as hobbies, not careers. The arts were just not considered a lucrative career track.”

To leverage her creative streak, however, she pursued Visual Communication at MOP Vaishnav College for Women. A chance stint in modelling and the Miss Chennai 2002 title later, casting calls came her way. After-college activities soon included shooting for K. Balachander’s Sahana and Naga’sChidambara Rahasiyam. After that, “I was receiving offers to play the daughter-in-law when I was still in college. I just couldn’t relate to the characters,” she shrugs.

It was around the same time that she wanted to know what went on behind the camera. So, after college, she assisted actor-director Revathy in a few scripts, director Vishnuvardhan in Panjaa (Telugu) and Vikram Kumar in Yaavarum Nalam. “But, being an assistant director does not pay,” she laughs. To make some extra money, she started to do corporate and ad films. So, when Piramal Art Foundation approached her to make A Far Afternoon in 2014, she took it up like any other commissioned project. “But, making a documentary is very different. I had to unlearn everything about commercial filmmaking and that was a whole new experience. Krishen Khanna has a meditative pace to his work: he thinks about every stroke he makes, chooses colours with care, rethinks his choice, and spends time perfecting it. It was a challenge to translate that pace, keeping in mind audience patience.”

But, does the young filmmaker have an eye for art? “Making the documentary was a personal journey as well, because I learnt a lot about the subject. I’m a connoisseur, but not a collector.”

However, what she does collect is film memorabilia. She has over 25,000 posters, lobby cards, song books, film scripts, movie magazines and photo albums. Why? “Some of these magazines and song books date to the 1930s. As film historians age, these are the only sources to know what happened in that era. They show how people used to live, love, dress and create art.” While Sruti collects some of these from run-down production houses and cinema halls, her main source is the paperwallah. “We say we are a land of culture, and cinema is about a 100 years old. Is this how we preserve it?”

She started The Cinema Resource Centre in 2009, and it provides film researchers a wealth of information from the bygone era. Eventually, she hopes to have a one-stop museum-like space for all things cinema — a well-stocked library, curated shows, special movie screenings, and more. “But, right now, due to a lack of space, we are just archiving everything.”

Her office, tucked inside Ashvita Bistro, Alwarpet, is stacked with dusty lobby cards that are being digitised for preservation. The rest of the café too, founded by husband Ashvin Rajagopalan in 2002, is coloured by Sruti’s interests.

As she started terrace gardening, home composting and upcycling, the cafe too started holding workshops in ecological living, and retails upcycled products through Goli Soda, a brand she set up in 2013.

Sruti’s interests over the last couple of years have spurred trends that are now popular city events. “This is the city that made me. What we love doing in other cities, we are trying to recreate here, within our cultural comfort,” smiles Sruti.

source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / Raveena Joseph /June 02nd, 2016

13th century pillar may solve mystery of ‘Meepozhi Nadu’

Trichy:

A stone pillar dating to 13th century CE, found near Gandarvakottai in Pudukkottai district, could finally unravel the mystery about the existence of ‘Meepozhi Nadu’ around Pudukkottai, says an archaeology enthusiast.

The 2.5 feet tall rectangular pillar was found while desilting the Periyakulam tank near Pichanathur. This second record, if proved correct, would certainly confirm the existence of Meepozhi Nadu.

“It was the stone inscriptions in Agatisvara temple near Varappur in Pudukkottai district which was the first finding that had the mention of Meepozhi Nadu,” says A Manikandan, a science teacher in a government school.

An archaeology enthusiast, Manikandan was the first who went along with his team to interpret the Tamil script in the pillar.

“The existence of Meepozhi Nadu, with Kovil Nallur as its capital, could be read in the stone inscriptions at the temple but there was hardly any other record until now. The fact that Gandarvakottai is known as Kovilur in the revenue records, there are chances that Kovilur would have been known as Kovil Nallur,” he said.

He further said that there could have been 15-20 villages under the Meepozhi Nadu, which could be the present Gandarvakottai.

“The inscription narrates the story on how an intruder named Sengulatharayan destroyed Kovil Nallur. The villager then approached Kadungolan, a warrior, to face Sengulatharayan,” said Manikandan.

The stone inscription is learned to have been carved in the early 13th century which was part of a temple. Two holes on both side of the pillar show that it was later also used as a sluice gate for the tank which eventually got buried.

There are chances that more such tank could have more inscriptions, further giving information on Meepozhi Nadu, added Manikandan.

source: http://www.timesofindia.indiatimes.com / The Times of India / News Home> City> Trichy / TNN / May 30th, 2016

His ‘children’ are over 150 years old

Antique collector Robert Kennedy with a 1897 model typewriter made in the US  Ashwin Prasath
Antique collector Robert Kennedy with a 1897 model typewriter made in the US  Ashwin Prasath

Chennai  :

When you enter the fourth floor residence of Robert Kennedy at Royal Touch apartment in Kodambakkam, the first thing you’d notice is a vast collection of clocks and time pieces. Besides the clocks, you’ll find several typewriters, coffee grinders, lanterns, weighing machines and so on. Each item is as old as 150-200 years.

Robert, 52, has been collecting these antique pieces from the age of 16. It has been his passion to collect antique items for which he would tour the country. “I don’t buy these pieces from collectors or traders. I always search for scrap shops,” he says. Among the many typewriters he has, he showed us three worn-out machines from the US which date back to 1897.

These typewriters were the first prototype models declared as fully functional and successful. “The brands — Underwood and Woodstock — were two famous models of that time. The features of these typewriters were followed throughout the world till they became obsolete,” he explains. He bought these typewriters in Puducherry.

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Robert then pulled out a briefcase which looked more like a kerosene stove. It was used by the US army in the World War-II and was made in Sweden. When he opened the case, the stove was still inside.

Explaining the reason for its look, he said, “It was made like a briefcase so that the army people would be able to carry it during the war,” he says. “I got it from a scrap shop in Kolkata.”

He also showed a binocular from WW-II vintage. It was used by the US navy and was considered as the most successful optical tool. “It was meant for the US Navy ships and was used in 1943,” he informs us.

Apart from all these archaic devices and artefacts, he has a coffee grinder, a candle stand which is 200 years old, gramophone records, cigarette pipes, a working steam engine, railway kerosene light and so on. Most of these pieces were bought from places like Tiruchy, Madurai, Puducherry and Kolkata.

Robert who has worked in a computer industry and now dabbles in real estate is afraid that his collections might get sold by the next generation. “I am afraid my next generation would sell and dispose all my collections. So before my time is over, I want to put them in a trust or a museum,” he says. Earlier when he started collecting all these antique pieces, they were not considered valuable and he got them at cheap rates. But now people are aware of their value and hence, he could not afford to buy such ancient items at throw-away prices.

Robert’s neighbours used to wonder how he sleeps at night with all such old collections. “People said the clocks, the weighing machines and the lanterns have all been mute witness to bygone eras. So all these may contain some evil spirits,” he laughs. “All these collections are like my children.”

A Machine That Weighs You in Stone

The most remarkable antique piece of all is the 260-year-old weighing machine. Unlike the modern-day machines, this one had a tall stand which connected the base where people are supposed to stand and a clock like round shape at the top which indicated the reading. “Till this date, it gives correct reading and is in a perfect condition. The company name is Salters Albion from England,” he says. Another weighing machine from Germany was 250-year-old. “During those times, the reading was mentioned in stones,” he said.

Cheap Buy Worth Crores

“My whole investment right from the start has been around Rs 40 lakh. But as per the current antique value at the international markets, I have in possessions materials worth Rs 9 crore. Most of the collections, I bought for Rs 3,000 or at the most Rs 9,000 for each item,” he explains.

source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Chennai / by Ashmita Gupta / May 31st, 2016

Camera-derie with Memory Machines

Arun in his museum. Photo| R SATISH BABU
Arun in his museum. Photo| R SATISH BABU

On the busy East Cost Road in Chennai in Tamil Nadu, most people give a cursory glance to a signboard that says ‘Dr Arun’s Camera Museum’ in the hamlet of Kovalam and make a mental note to check it out later. “I’ve heard so many people say they have passed the museum but never visited it,” laughs Dr A V Arun, a dentist and the founder of India’s first camera museum. He admits that since its launch in January, 40 people walk in each day, but he is sure that footfall will increase with time. “Across India, there are many private camera collectors, but I’m perhaps the first one to open up the collection for public viewing,” says the 46-year-old who displays over 1,500 cameras in the museum and several books on photography dating back to 1930. “I have more at home,” he says.

In 1998, a casual weekend stroll in Moore Market, a popular flea market in the city, ignited Arun’s pursuit to read, learn and collect cameras. “I saw two twin lens cameras in a broken-down condition. I bought them for `100 each and got home to read about them and tried to repair them,” he says. He doesn’t spend big on cameras. Even during work-oriented trips, he visits local flea markets to find rare cameras. “The stories on how I collected all these cameras would provide a more interesting read,” laughs the doctor. “I got them from an auto driver, a homemaker, senior photographers and others. A common sentiment was that they all wanted to pass it down to someone who would value it as much as they did.”

A large format studio camera from the 40s; a process camera from 1895. Photo| R Satish Babu
A large format studio camera from the 40s; a process camera from 1895. Photo| R Satish Babu

At the far end of the museum sits a six feet long large format studio camera, which he found in an attic of a third generation photographer’s home in Mysuru. “This young lad’s father and grandfathers were photographers, and he wanted to sell it to buy a bike,” Arun says with a smile. He believes that the camera would have been used in palaces to take photographs of maharajas. “You can’t move the camera, it’s meant to be in one place,” and he brings to attention that 75 per cent of his collection is in working condition. “The very old cameras, especially from the 30s, cannot be repaired simply because we do not have their parts.”

The oldest one is a 1870 British wooden field camera. Another rare piece is a mahogany camera from 1890. A World War II Air Force in the collection was found by a friend in Thailand. “It was specifically made for the US to take aerial shots,” says Arun.

“The idea of a museum came simply because I was running out of space in my house. Photography enthusiasts would want to visit and discuss, and it was taking up a lot of my family space and time,” explains the collector, who displayed his collection at the World Camera Fair in Chennai in 2012. “I hold workshops and lectures at the museum today. Most of the visual communication students have read about these cameras. Imagine their delight when they see one. It helps them understand the functioning of the equipment better,” says Arun, and adds that his first love will always remain wildlife photography.

Arun is asking people to donate used digital cameras for his community support initiative called Camera For All. “Many groups support the poor and hungry, I’m keen on supporting children who have a passion. Through Camera For All, we will identify children from the Kovalam fishing village who want to give photography a shot. We will give each child a digital camera, train them and help them discover photography. It could be a new lease of life for them,” he says.

Arun explains that “every country has a unique type of camera. There are approximately 1,000 kinds of twin lens cameras in the world. I only have 300 of them”. He will continue his search for rare, almost forgotten camera boxes.

source: http://www.newindianexpress.com / The New Indian Express / Home> Magazine / by Jayanthi Somasundaram / May 21st, 2016

CITY EXPLORER – A trip back in time

The entrace of the International Institute of Tamil Studies, Taramani Photo: Special Arrangement
The entrace of the International Institute of Tamil Studies, Taramani Photo: Special Arrangement

GEETA PADMANABHAN takes a walk through the International Institute of Tamil Studies, Taramani, and returns with stories of valour and artistry

Did you know the ancient Tamils could weave cloth so fine that yards could be packed in a matchbox? That they compared pinpoint surgery to a bird picking fish from deep waters? Painted planets on the ceilings of bedrooms?

These and other facts come alive in a comprehensive display at the International Institute of Tamil Studies, Taramani. One visit there, and you’re sure to feel great pride.

More so, when you realise that they were so perfect, we still follow their designs.

Genesis

The Institute was started in 1970 for Tamil research. Students and academicians stepped in for study and discussion. In 2014, directors Vijayaraghavan and Manavazhagan (present officer-in-charge) submitted a proposal to the Government for a cultural centre, where a permanent exhibition would recreate the 5,000-year-old history of Tamils. The exhibits would retell legends culled from decades of research.

The approval was announced in September 2014. A new building came up, and several teams set to work. They gathered material, shaped models and ordered paintings. In March this year, the centre opened to the public.

The attractions

At the centre, you’ll first be led to a spiffy, modern theatre with excellent acoustics for a treat of short films (eight to nine minutes each) put together with photographs, dramatic recreations, videos, film clippings and pictures of sculptures/murals from temples.

One is on the evolution of Tamils as a settled group, their inventions to make life comfortable, their superior talent in weaving, growing crops and trade, and the formation of family units.

The others are about ancient Tamil medicine, water management, war craft and administration. Clear narration threads the stories seamlessly.

Rich sources

“Sangam literary works spanned 5,000 years. For my doctorate, I researched on the life of Tamils during that period. In many ways, that became the basis for what we have created here,” says Dr. Manavazhagan. The information found in literature has been corroborated for authenticity by archaeological findings, living structures, palm-leaf manuscripts and copper plates that have survived the centuries. If Kallanai teaches us water management, the Tanjore temple is a fine example of architectural ability, and the lighthouse stands for ancient Tamils’ prowess in ocean navigation.

Celebrates literature

“This museum is based entirely on literature,” says Dr. Manavazhagan. The idea was to gather in one place tangible evidence of the achievements of Tamils in various fields.

It would reveal to the world the culture that nurtured ideas, patronised art, war craft and scientific temper, and promoted progressive norms as a way of life.

“We want our youth and foreigners to be introduced to that advanced civilisation,” he says.

What’s on display

The undeniably rich life of the Tamils is narrated through paintings based on Sangam literature, wood and cement reproductions of artefacts found in various parts of the State, photographs of collections in other museums, replicas of weapons and implements, dioramic representations and models of old cities and temples — many of them accompanied by literary evidence.

The galleries

The exhibits have been arranged in five well-lit, well-arranged galleries — Tholkappiar Arangam displays art forms (the door is the highlight); Thiruvalluvar is about metalcraft/agriculture, education, medicine and weapons; Kapilar has a collection of home tools/grinders, exhibits on temples and gods; Avvaiyar Arangam has life-like depictions of famous events in the life of kings; and the Ilango Adigal gallery touches on ship-building and sail-weaving — for which Tamils were well-known. The highlight in this gallery is a beautiful mini lighthouse.

Dioramas tell us how kings stuck to the rules of war, treated subjects with justice, and ensured fair-play and compassion to all creatures. The scale-models of Madurai and Srirangam reveal the meticulous city-planning and extraordinary temple-building artistry.

Call 2254 2992 for a trip back in time.

source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / Geeta Padmanabhan / Chennai – May 31st, 2016