From Thursday, the historic Senate House, the first building of University of Madras, will have a permanent exhibit of photographs that highlight the contributions of the university to education in south India.
At least 320 photographs in A3-size, including 16 folios with inscriptional details of the education system in the past, have been put up in the main hall of the building. Each picture has a story to tell, beginning with a paper folio of inscriptions from ghatikas (seats of higher learning during the Pallava period) and mutts (monasteries ) as educational centres in medieval Tamil Nadu.
The exhibition is also a pictorial recollection of the people and events that contributed to the university, which is one of the oldest in India along with University of Calcutta and University of Bombay.
The photographs have been arranged in 25 sub-divisions. Each division has at least 10 to 15 pictures with detailed captions. “We have exhibited photographs of dignitaries, Indians as well as foreign nationals, who were part of the institution and education in the city as a whole. We have also included the old buildings, particularly schools that were later converted into colleges. Presidency College, Government Arts College and Madura College are the best examples,” says P D Balaji, head of the department of ancient history and archeology, whose team took almost a year to collect the photographs from various sources.
Constructed between 1869 and 1873 by British architect Robert Fellowes Chisholm, the Senate House was where the first meeting of the Madras Legislative Assembly of the then Madras Presidency took place in 1937. With its colourful glass windows, stucco work and frescoes on the ceiling, it is a wonder of the Indo-Saracenic style with Byzantine and European architectural features.
source: http://www.articles.timesofindia.indiatimes.com / The Times of India / Home> City> Chennai> Senate House / by M T Saju / February 23rd, 2012
EIR 21 over the Saidapet railway bridge across the Adyar river on Thursday. (Albin Mathew/EPS)
The 158-year old chugging beauty, EIR 21, was the pride of the Railways ever since it was restored at Perumbur Loco Works and put on tracks in 2010. But, on its 6th dream run, the world’s oldest working steam loco gave passengers and officials tense moments as it came to a halt near Chetpet station, shortly after it was flagged off from Egmore.
Much to the dismay of travellers and officials, the train refused to budge for over half an hour. “There was a leak in a steam pipe joint that brought the train to a stop. Since it is a very old train, such issues are expected,“ said one of the senior staff. The water level in the boiler had reportedly gone down, preventing the production of steam, said a staff of the Perumbur Loco Works.
Finally, much to the relief of Railway officials, the train revived. “Senior officials announced an award of Rs 30,000 for the engineers and technicians who revived the train,” said the staff.
The Railway denied allegations that the train had been pulled by a diesel train after it broke down in Chetpet.“The diesel train is always kept as a stand-by in case of an emergency. But today, the train was revived immediately and the journey continued,” said a Railway spokesperson.
The train, built in 1855, was brought to India from Leeds, UK, where it was built. According to Railway archives, the train was used by the East India Company to transport troops from Howrah to Raniganj to quell the 1857 freedom struggle. After serving for over over 55 years; it was withdrawn from service in 1909. For over a hundred years, it lay at the Jamalpur workshops and Howrah station as an exhibit, where it was exposed to the elements. The damaged and corroded engine reached Perumbur Loco Works, where it was finally restored and put back on tracks.
source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Chennai / by Express News Service – Chennai / August 16th, 2013
What’s common between Robert Fellowes Chisholm and Henry Irwin? Well, these are leading British architects who are majorly responsible for planning out some of the best buildings in the city that have stood the test of time. On Independence Day, we take a look at five such beauties…
(Celebrating Chennai landmarks…)
Presidency College
That it is expedient that a Central Collegiate Institution or University should be established at Madras – this was part of the proposals passed, which later led to the establishment of this college. This landmark building, which houses one of the oldest government arts colleges in the country, was completed in 1870.
Victoria Public Hall
Built to commemorate the golden jubilee of Queen Victoria, it came about as a result of generous contributions of many prominent citizens of the city. The reason? They all wanted a hall to hold public events. Plays by the stalwarts of Tamil theatre, including Pammal Sambanda Mudaliar, have been staged at this prestigious venue that has also witnessed talks by leading national personalities like Swami Vivekananda.
Senate House
Visitors to the University of Madras cannot help but marvel at this piece of art, built during the British colonial period. Robert Chisholm, considered to be the pioneer of the Indo-Saracenic architecture, is said to have been instrumental in designing this opposite the world-famous Marina Beach around 1873.
Museum theatre
If you’re a lover of plays, then chances are that you would have definitely been to this place. The Museum Theatre is a well-known landmark in the city even today for holding plays and performances. It was built in the 19th century in a semi-circular structure for stage, primarily for the British to stage plays for the elite in the city. The theatre is located in the museum campus, where, around 1854, tiger and lion cubs were kept for visitors to see!
Central Station
Built on a combination of Gothic and Romanesque styles, this grand building – which greets everybody who arrives by train to the city – was initially said to be built with four platforms and then redesigned. The station, and the clock tower, are regular features even in Tamil movies, to mark the arrival of someone to Madras.
source: http://www.articles.timesofindia.indiatimes.com / The Times of India / Home> Life & Style> Travel> Presidency College / by Srinivas Ramanujam, TNN / August 15th, 2013
PASSIONATE V.Nagarajan / Photo:S.James / The Hindu
V. Nagarajan upholds the tradition of Tanjore paintings with a creative zeal
Inside V.Nagarajan’s house, you feel gods and goddesses have descended in glittering gold attire. The hall is cramped with a variety of 3D and 2D Tanjore paintings of Buddha, Balaji, sequence of paramapadam, Ramar pattabhisekams, 63-Nayanmars, Tirupati Brahmotsavam and many more. But the one which instantly grabs the eyeball is Lord Krishna, who overshadows the rest.
PASSIONATE V.Nagarajan ./ Photo:S.James / The Hindu
A glance at the work and you know why the artist has been handpicked by the Handicrafts Marketing and Service Extension Centre and Export Promotion Council of India as the craft ambassador of Indian tradition of South India that also made him travel to the United Kingdom last autumn.
PASSIONATE V.Nagarajan / / Photo:S.James / The Hindu
A resident of Karaikudi, the small town fuels his passion. He takes the cue for intricate designs, motifs and hues from the artistically designed bungalows here.
“World’s first language is art,” says Nagarajan, “Man scribbled and exchanged his ideas and thoughts.”
Nagarajan cannot be dismissed off as a Tanjore painting artist. His works are underlined with unconventional visuals but rooted to culture and tradition in theme and context. He breathes paints. He lives with every painting he writes. “Painting is in my blood,” he says, “from my great grand father’s generation.”
His great grandparents were palace painters at the Palace of Vijayanagara Empire. When the empire collapsed, the community of painters migrated down South identifying themselves as Rajus.
Nagarajan, one of the descendants of Rajus, is widely acclaimed as Tanjore painting artist of the last two decades. Though he learnt the art from his father and guru Venkatachalam Raju at the age of 13, Nagarajan went to complete a diploma course in Mechanical engineering. It was later that he decided to follow his heart and family tradition of writing and selling of Tanjore paintings.
“I am the fourth generation member writing Tanjore paintings and earning a living out of it,” he says.
Delving into the past, he says, “When the migrants came down, a few settled at Mysore and developed the Mysore School of Art. Those who settled in the Thanjavur belt during Maharaja Serfoji’s period, evolved the Tanjore paintings.”
In his opinion, Tanjore painting is unique in various aspects. “It has both art and material values. We use pure gold foil and semi-precious stones that embellishes the product.”
Nagarajan’s grey cells are at constant war to breed new ideas and innovations in the age-old art. Though Hindu images dominate the Tanjore paintings, Nagarajan tried his hand at painting Buddha in Tanjore style modelling on a Buddha statue found in Thailand.
“My aim,” he says, “is not to create a painting as a mere decorative wall hanging, it is a piece of art. “The Buddha statue is an exclusive work of art as it comes with an intricately carved and colourfully decorated door that gives us an impression of entering into a temple.
Nagarajan is credited with the design sequence of paramapadam, Ramar Pattabhisekam in 3D format aligning to the tradition of Tanjore painting. With the inclusion of more creative concepts, they have become paintings of high quality. “The market is flooded with Tanjore paintings. I need to stand out,” he asserts.
Winner of the State and the national merit certificate, Nagarajan says that he is not ready to deviate from the tradition of Tanjore paintings. But, he regularly introduces new subjects. He has made Lord Buddha, Jesus Christ and Thirukostiyur temple settings. He is also recording Ramayana concepts, temple structures and Chettinad culture in Tanjore paintings.
Though people have started using golden paper for paintings, Nagarajan continues to use only pure gold foils and semi precious stones for his paintings.
Real 22 carat gold foil is used which remains intact for years and gives a glowing appearance in the dark, he informs. Traditionally, diamonds and rubies were used. They are now replaced with semi-precious stones or glass stones. Similarly, vegetable dyes have been replaced by chemical paints but Nagarajan adheres to the old and original method.
Though art is a form that thrives on human imagination and creativity, Nagarajan closely studies archaeology and history to learn about a particular age and tradition. “This helps me to understand the colour concept of that age. I use the colours accordingly to create an art that is true to the facts and traditions of that period.”
He explains how in Tanjore paintings, the main subject gains prominence. For instance, the sitting Krishna is unassumingly big than the other standing figures. Similarly, size of the baby Krishna is bigger than that of his mother. In Ramar Pattabhishekam, Hanuman and cavalry appear tiny.
Nagarajan mostly sells his paintings to hospitals, jewellery shops, individuals and commercial establishments. His paintings serve a twin purpose. They make good decoration articles and are also a good alternative to idols of worship that warrant high maintenance. He also accepts orders for custom-made paintings.
“Though affordability factor of such paintings rides high, but we should not lose the tradition either,” he says.
“The purpose of art, culture and tradition is to delight people. Anything made with hand is important, beautiful and costly,” he says. According to him, people go for Tanjore paintings despite the cost because after a period of time these add the antique value to them.”
In response to reader’s queries, Dr Nagarajan can be contacted
@ 9443338138
or 36-A, Kothar Street, Kottaiyur, Karaikudi — 630106
source: http://www.thehindu.com / The Hindu / Home> Features> Friday Review> Art / by S. S. Kavitha / Madurai – August 08th, 2013
I. Mayandi Bharathi. / Photo: Soma Basu / The Hindu
On this Independence Day, meet Madurai’s oldest living freedom fighter, I. Mayandi Bharathi, whose spirit remains intact at 97
On August 9 every year, the Gandhi Museum in Madurai holds a function to mark the anniversary of Quit India Movement. In the last five decades, guests and invitees to the function changed. Not I.Mayandi Bharathi.
This year his attendance was doubtful as he was admitted to the hospital for treatment of dysentery. But the 97-year-old was restless and got himself discharged in time for the function.
You cannot miss the fire in his eyes as he presses the flashback button. Listening to him is like going back to the black’n’white era and reliving the historic moments that our generation has only read about in books or seen in films.
Mayandi Bharathi is Madurai’s oldest living freedom fighter who unfailingly attends the City administration’s Independence-Day function every year. There are 150-odd freedom fighters in Madurai district who are seated in a special enclosure and Bharathi’s chair is never vacant.
Though it’s been 66 years, the voice of young revolutionaries, he says, still reverberate in his ears, “Down with British Imperialism…Long Live Revolution…Inquilab Zindabad.” He was part of many such rallies and protests and was jailed over a dozen times. His life changed when he was 14. His classroom window allowed him a peep into the street opposite to where Government Rajaji Hospital stands today. “There were no buildings then, only forests. Hidden inside the shrubs was a toddy shop run by the British,” he recalls.
As part of the Congress-led picketing of shops selling foreign cloth and liquor, the Seval Dal workers were lathi charged during a protest in 1932. Watching the action from his seat, Bharathi grew restless. He excused himself from the class, rid his school bag of the books and notebooks and filled it up with stones and pebbles instead. “I ran to the spot and supplied stones to the unarmed protestors to help them to hit back. I too got beaten up by the police,” he can’t hide his smile.
When he reached home late that evening, he was admonished by his worried parents and asked to keep off such desh-bhakti activities. As he ate that night’s meal with 23 other family members (he was the 11th child for his parents, his mother bore 13 children and his father’s second wife had another five), Bharathi knew that his parents had already lost him to the patriotic fervour.
After that Bharathi became a regular at every rally that popularised swadeshi goods and khadi and boycotted collection of war funds. He went to prison numerous times between 1940 and 1946 and met several leaders of freedom movement including Pasumpon Muthuramalinga Thevar, K.P.Janaki Ammal, N.M.R.Subburaman, Sasivarna Thevar, Sitaramaiah, M.R.Venkatraman and A.Vaidyanatha Iyer who further inspired him.
Though he abided by Gandhian philosophy and principles, he was much in awe of Netaji Subhash Chandra Bose and was in the welcome committee when Netaji Bose visited Madurai in 1939. The mere recollection of the moment lit up his face. “I shook hands with him and remember he had a big hand. He told us the World War II had given us a golden opportunity to intensify the freedom struggle and win.”
An audacious freedom fighter characterised by altruistic values, Bharathi lives alone in a small cramped room on Kakathoppe Street in the heart of Madurai. At one end of the rectangular room is the kitchen and the other end has an old television perched on a small steel almirah. A charpoy in the centre seats him with support of pillows. His feet are swollen and he finds it difficult to walk without support. Every inch of space in the room, cot and the lone table is filled with papers, newspapers, booklets and books. He lives off the freedom fighters pension given by the Centre and is obviously too proud to admit that he has and continues to live in penury. He jokingly recalls how once his veshti was stolen by another patriot and he was left with only one for several months. “I never regretted the way I chose to live my life. I have no demands,” he says.
Bharathi has authored a dozen books – the first in 1939 and the latest this January – all on various aspects of the freedom struggle. He wrote for and edited the CPI journal Janashakti (1944-63) and the CPI-M’s Tamil daily Theekathir (1964-91). He laments though India attained “swaraj but sukhraj still eludes the people”. The lack of jobs and education, food and shelter, increasing crime and disrespect for women, the deepening caste-based and rich-poor divide – all dishearten him.
Remembered for giving fiery speeches, Bharathi wonders whether the billion-plus countrymen will ever be united to make India a super power and take on the challenges of modern society disabled by corruption and discrimination. Earlier, a leader’s call was enough to rouse the sentiments of the people and fight the British. But today, the so-called leaders ignore the welfare of the people, he rues.
Bharathi loves to narrate stories and meticulously maintains scrap books with photographs of leaders of the freedom movement along side notes scribbled by him. The day I called on him, he was working on his next book on the lives of different leaders. He saves his pension money to publish his books and distributes them among students, friends and laymen.
Driven by the dream of freedom, independence is Bharathi’s way of life.
(Making a difference is a fortnightly column about ordinary people and events that leave an extraordinary impact on us. E-mail soma.basu@thehindu.co.in to tell her about someone you know who is making a difference)
source: http://www.thehindu.com / The Hindu / Home> Features> Friday Review> History & Culture / by Soma Basu / Madurai – August 14th, 2013
Seven hundred and thirty years after he built the 56.5 mile long Kalingarayancanal to connect River Bhavani with River Noyyal, hoping to enhance irrigation facilities in the Erode region, a fitting memorial for the Kongu chieftain Kalingarayan inKalingarayanpalayam, where the irrigation canal originated, is in the pipeline. PWD Minister K V Ramalingam has confirmed that the memorial would come up inside a children’s park where there will be a special column and statue of Kalingarayan.
A memorial for the chieftain has been a long pending demand from the Kongu Vellalar community. Long forgotten by authorities, there is no memorial of Kalingarayan anywhere in Western Tamil Nadu. When the minister visited Kalingarayanpalayam recently, to release water through the canal, the locals urged him to initiate the long pending project.
The canal supports one of the largest ayacuts in the state. It irrigates vast stretches of turmeric, sugarcane and paddy fields. So, its creator must get a fitting tribute,” said Ramalingam. The canal had deteriorated in recent years and a massive renovation is in progress. Efforts to ensure smooth flow of water till the tail end of the canal and prevent the flow of sewage and industrial waste into it are going on. The canal is the worst affected waterway in the district due to indiscriminate dumping of untreated effluents by the textile processing and tannery industries.
Kalingarayan has contributed significantly to the region’s development. Born Lingaya Gounder around 1240, he rose to become Veera Pandian’s (1265-1280) chieftain,” says Periyaswami Prahladan, a farmer on its banks. The PWD is planning to build the memorial at an estimated cost of Rs1crore. In the beginning, the canal irrigated only about 3,500 acres, as historian and traveller Francis Buchanan noted in his diary, later published as ‘A Journey From Madras Through the Countries of Mysore, Canara, and Malabar”.
Buchanan visited the entire region as per the orders of then British Governor General Marquis Wellesley to check the state of agriculture from April 23, 1800 to January 15, 1801. In his book he writes that Kalingarayan’s family never seemed to have received any reward in the form of land on account of the grand canal that he built.
source: http://www.articles.timesofindia.indiatimes.com / The Times of India / Home> City> Coimbatore> Industrial Waste / by K A Shaji, TNN / August 14th, 2013
The 80-yearold structure is in such bad shape that it is at risk of collapsing. The Corporation is now building a fence around it to prevent visitors from getting too close — Photo: M. Karunakaran / The Hindu
The KAJ Schmidt Memorial on Elliot’s Beach is now in such bad shape that visitors are being protected from it.
The Chennai Corporation has begun constructing a fence around the memorial, to prevent beach-goers from getting close to it.
“The structure is in bad shape. There is a huge risk of its collapsing completely. So we don’t want any visitors getting too close to it. The safety of beach-goers is our priority,” said a Corporation official.
An estimated 20,000 visitors flock to Elliot’s Beach in Besant Nagar every day.
Work on the fencing started this week and will be completed next week, the official said. The project will cost approximately Rs. 4 lakh.
The civic body has also floated bids for restoration of the structure at a cost of Rs. 20 lakh. The restoration will only be carried out by sculptors experienced in lime mortar construction. The sculptors are expected to be from areas in the delta region. This work too, is expected to start shortly.
“The memorial is an important structure on the beach. I have seen it ever since I was a child. It is in terrible shape now. The government’s efforts to restore it will bring back several memories that many in the city cherish. But they should not tamper with the original structure,” said Srinivasan, a 70-year-old resident of Besant Nagar.
Saravanan, another resident of the area said the lack of adequate toilets in Besant Nagar was one reason many people used the area near the memorial for defecation at dawn.
The KAJ Schmidt Memorial bears a plaque that dates it to December 30, 1930. It was built to commemorate the gallantry of Schmidt, a European sailor, who drowned near the spot trying to save others from drowning.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Chennai / by Staff Reporter / Chennai – August 04th, 2013
Cycling Yogis have been active on their heritage cycling tours for almost two years now and on Sunday, about 30 of them teamed up with the Madras Week Celebrations to ride through various historical and heritage sites of the Tamil capital.
“This is the second consecutive year that we are on this heritage ride as part of the Madras Week celebrations of this 374th birthday of our great city. It was a ride into history”, said Moulana Ramanujar of Cycling Yogis.
Starting shortly after five in the morning, the helmeted cyclists of different generations rode from the Madras university’s institute of distance education to the high court plaque at the site where the shell from the German cruiser ‘Emden’ took away a part of the wall on the night of September 22 1914, and from there on through quite a few heritage soaked places before ending the adrenalin trip at the Parsi Anjuman in Royapuram that houses a 100-year-old building near which stands the Parsi Fire Temple called Dar-e-Mehar, built 1910.
Close to the Emden spot is the Obelisk adjoining the Dare House (Parry’s Corner) that mentions the ‘Boundary of Esplanade’ as on January 1, 1773.
“I felt a lump in my throat looking at that board and knowing that was the border dividing the then Madras into two parts, the northern one for the whites and the south for the locals. I was transported to that era, even felt the choking pain of not being able to enter a part of my own country because I am not white”, said Sunderarajan, recalling the dawn of time moments.
He said the visit to the cupola of Lord Cornwallis in front of the collector’s office—his statue had been removed to the museum as they said he was a harsh ruler—showed how dirtily we preserved our historical sites.
“In most other parts of the world, history is preserved so well; not here”. And the halt at the Royapuram rail station—the oldest in India that became functional in June 1856 as gateway to the city and hit its pinnacle when Prince of Wales Edward VII visited it on December 17, 1875—showed just the other side of Englishman who had kept the natives off his north Madras.
“The rail station showed that there was some white man even at that time who took the initiative to create a transport system that grew into the most significant public facility”, said Sunderarajan.
“I felt good seeing the oldest rail station”, gushed Hussain Surti, 12, who had gone on his bicycle, with mom Zainab on her cycle. “It was great knowing that my city has so many historic places”, said the grade seven student of Hari Shree Vidyalaya, RA Puram.
source: http://www.deccanchronicle.com / Deccan Chronicle / Home> News> Current Affairs / Tuesday – August 19th, 2013
Armenian Church / by Special Arrangement / The Hindu
In the 360th year of Armenian presence in the city Anusha Parthasarathy visits monuments and streets associated with this trading community
If you walk along Armenian Street today, it is vastly different from the time when the merchantmen of Madras occupied it. Street stalls are buzzing with business, bikes are parked right along the road and where they are not, cars squeeze in. A sea of people trundle down the narrow road, and yet no one turns to even take a look at an old arched entranceway, sharing its wall with a crowded fast-food joint. The Armenians, who established a thriving settlement in Madras in the 1600s, will celebrate the 360th year of their presence in the city in September this year.
The earliest existence of Armenians in India dates back to the late 8th Century. A man called Thomas Cana, arrived along the Malabar Coast in 780 AD. According to Portraits of Hope: Armenians in the Contemporary World by Huberta Von Voss, not much is known about his origin or mission but he was lauded as someone who worked for the rebirth of Christianity. The Armenian presence in Madras however, became rather eminent in the 1660s. Madras: The Land, The People and Their Governanceby S. Muthiah points out that the earliest Armenian tombstone dates back to 1663 and is of Coja David Margar. This was found near Little Mount. Hurberta Von Voss’ book though, also says that the Armenians of Madras were the first to discover the sepulchre of St. Thomas upon the Mount and took the Portuguese there in the 16th Century. In fact, it is popular knowledge that the church atop the Mount served as a lighthouse to guide Portuguese and Armenian ships around that time.
Even if there is no record of when exactly Armenians settled here, it was clear that they monopolised trade between India and West Asia on the one hand and Manila, a Spanish bastion then, on the other (according to S. Muthiah’s Madras: The Land, The People and Their Governance). They traded mainly in silk, spices and gems. In fact, the last Armenian to live here was Michael Stephen, who left the city a few years ago. And now, only a church, a street named after the community and a few lesser-known relics carry their stories.
The most visible Armenian monument in Chennai is the much-written about Armenian church, which was first built in 1712 and later rebuilt after the French siege in 1772. The first church was built of timber in the present High Court area with permission from the East India Company. The Armenians were given 50 pounds to manage the expenses of the church. This encouraged more traders to settle in and around the area. Vestiges of Old Madras by H.D. Love points out that the earliest Armenian church, situated in Old Black Town, as shown in Thomas Pitt’s map, was probably built shortly after the Company entered into a covenant with the Armenian residents in India. The new church, however, was consecrated in Aga Shawmier’s chapel grounds in George Town. The street on which the church is situated continues to be called the Armenian Street, where the settlers once lived.
Perhaps the most famous Armenian in Madras was Coja Petrus Uscan, who is remembered for constructing or donating to the many remaining Armenian relics in the city. S. Muthiah’s book says that he was the heir of a family that had trade relations with the East for generations. But he settled in Madras only in 1723, on his return from Manila. A philanthropist, he contributed to several religious institutions in Madras.
Significant inscription
Santhome High Road isn’t a place where one can wind back time. Cars rush past at breakneck speed and there is no time to stop and stare, even if the object of concern is a three-century-old Armenian inscription that faces the road. Just at the edge of San Thome Matriculation Higher Secondary School is St. Rita’s church (now chapel), towards which Uscan donated liberally. It was built by Armenians and an inscription on its east wall, in Armenian characters, says In Memory of the Armenian Nation, 1729. H.D. Love’s book points out that the event commemorated was the opening of the grave of St. Thomas, which took place in April 1729, to which Uscan was a witness.
St. Rita’s chapel / by Special Arrangement / The Hindu
Another inscription in Portuguese in the same church shows that it was partially rebuilt in 1740. The church, now a part of the school, is not on the mainstream heritage map.
(To be continued…)
source: http://www.thehindu.com / The Hindu / Home> Features>MetroPlus / by Anusha Parthasarthy / Chennai – July 30th, 2013
In connection with the Madras Day celebration, Mylapore Times, a neighbourhood newspaper is organising a Multi-media presentation contest for the city schools on Aug. 20, 2013.
The subject of the contest is The Old Houses of our City.
Students of classes 8 to 12 can participate in teams of three. The teams need to be registered through their schools and each school can send only one team.
The contest requires study of a old / heritage house located in Chennai and present in on PowerPoint and narration by the students on the spot.
The best presentation will take home a rolling trophy for their school and three top presentations will receive trophies and gifts. All the participants will receive certificates.
Registration for the contest is open to 20 schools on first-come-first-served basis.
