Category Archives: Records, All

The world on a string: Violinists Ganesh-Kumaresh duo and Florian Willeitner

November 3, 2019Arts, Culture & Entertainment, Records, All, World Opinionadmin

In a lengthy interaction, the artistes spoke about their style and schooling – that they will look to bridge and unify into something truly harmonious.

German violinist, composer, arranger and Founder of the artistic collective, Pool of Invention, Florian Willeitner was in the city for a very special performance – conceptualised and hosted by the Goethe-Institut along with Rotary Club of Madras East – titled, Classical Strings Violinkonzert, along with the renowned duo of Ganesh and Kumaresh. The medium of exchange was the violin. In a lengthy interaction, the artistes spoke about their style and schooling – that they will look to bridge and unify into something truly harmonious.

Excerpts:

Importantly, how have you been keeping out the sounds of firecrackers?
Ganesh & Kumaresh: Our motherland reflects a life of celebration. We deal with various kinds of sounds at the most critical junctures, so dealing with the sounds of the festival is a joy. We believe in the concept of internal silence while the rest of the world is still alien to that concept. So, the sound of firecrackers is musical to us.

Florian: It is, of course, necessary to rehearse in a space where we can fully concentrate on the music. Also, the Goethe Institut’s hall is a very good room to rehearse. There weren’t any rehearsals taking place on Diwali, so no firecrackers came in our way. Actually, I was practising in my hotel room on these days, and almost died of several heart attacks, as there were detonations all over the place… but luckily, I survived!

All three of you were music scholars at a young age. Give us a sense of how similar, or different, your study routines were?
G&K: The discipline in formative years is of paramount importance for a free-spirited exploration in the romance with musical days. Freedom without discipline is an open recipe for disaster in any walk of life, and it is the same with music as well…

FW: I am grateful for the strictness of Western classical education, as I see it as one of the best ways to actually, really get to know your instrument in every technical aspect. I dislike the absence of creativity in this tradition though, as the main focus is on interpreting written music by composers. Therefore, I have always been looking for creativity through other musical styles and approaches, and I am now fighting very much to bring creativity back to Western classical education.

How difficult or easy has it been, to bring together your styles, and schools of music?
G&K: When two personalities from different cultures meet, there are bound to be differences. Music by default is an indivisible medium – it is the human mind and the society that has divided the sound of music like this and that. So, we found a way in which there’s a musical synergy to what we presented, so the audience got to listen to a very new, dynamic and traditional sound of music!

source: http://www.newindianexpress.com / The New Indian Express / Home> The Sunday Standard / by Jaideep Sen / November 03rd, 2019

The house in a coconut grove

November 1, 2019Amazing Feats, Arts, Culture & Entertainment, Green Initiatives/ Environment, Inspiration/ Positive News and Features, Records, All, World Opinionadmin

True to the idea The house is both sustainable and local

Madurai architects Vignesh Sekar and Shamini Lakshmanan are winning global attention for a climate responsive Chettiar House they built in Thiruppathur near Madurai

One national award, five nominations (including four international) and nine articles in appreciation in journals of repute over the last 10 months have put architects Vignesh Sekar and Shamini Lakshmanan in the spotlight; a feat they never imagined to win at 25.

In fact, both were set to go overseas for higher studies after completing a challenging project in Thiruppathur, 64 kilometres East of Madurai, last November. “The client wanted a house with contemporary aesthetics while combining the cultural essence, traditional architecture and context of his native Chettinad region,” says Vignesh. “We debated and researched a lot, developed a timeline and came up with several innovative low cost ideas. It turned out to be much above everybody’s expectations,” says Shamini.

Until then, they mostly worked on public spaces in Hyderabad, Chennai and Bengaluru. However, their first major project was in Madurai in 2016 when immediately after graduating from Thiagarajar College of Arts, they were commissioned by the Madurai Corporation Commissioner to transform the abandoned Bharathiyar Park.

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Project highlights

The house was built in the middle of a grove of 200 plus coconut trees. Only three were felled as they were damaged but were used for concrete shuttering.
A lotus pond at the entrance has a crocodile sculpture made with stones collected from the site. Big boulders from the surroundings have been used as steps to climb on to the front verandah. Stones of different shapes and sizes have been moulded into a statue that works as a railing to the steps.
The main door to the house is seamless matching the facade of the wall. It is made with finest form of marble, egg whites and white cement. The interior walls have leaf imprints of the trees in the vicinity
Instead of a big puja room, a smaller one has been built with a big lounge that can accommodate more peopleand one side wall has a vertical garden to purify the air
The terracotta jaalis that dapple the light and thermally insulate have been fool proofed for security. Iron rods have been inserted in each brick and the bricks have been further twisted and shaped for aesthetics
The design of the house is complemented by rustic finishes like the exposed concrete on the ceilings, a combination of wood and Athangudi tiles on the floors

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“Encouraged by the positive feedback we received, we submitted it to the Arch Daily, a social forum and an online magazine from New York,” says Vignesh, “but it was rejected.” But there was an upside to it. Impressed by their design , the owner of a hotel in Thiruppathur approached them to design his dream house over 5,000 sq.ft. inside a coconut grove. “He told us not to mimic the Chettinad architecture but retain the spirit of a Chettiar house, in terms of lay-out and play of natural light and air,” says Shamini

Combining aesthetics with contemporaneity, the architects consciously chose to be sustainable and vernacular. “We started from the scratch in July 2017 and handed over the project in November 2018. After Arch Daily wrote about the house in January this year, the recognition from various associations, platforms.i

So much so that the duo have not only postponed their idea of studying overseas but also opened an office in Madurai two months ago for their company STOMP (Studio for Modernism & Practical Aesthetics).

“Till now, we were mostly travelling and working from home but now international agencies ask for our official address while approaching us for articles and awards,” notes Shamini.The duo has won the Young Designers Award 2019 given by India Architects & Builders (IAB).

So what is special about the building they created? “We incorporated an earthy palette of native materials either sourced from the site or from within 50 kilometres and juxtaposed them with traditional aspects of Chettinad region like its colours, fabric and (Athangudi)tiles. We employed local labour and artisans for every aspect of the work,” notes Vignesh. “We stuck to the client’s brief howsoever difficult it appeared,” adds Shamini.

For instance, the owner chose a large front yard to the typical open courtyard and wanted the three layers of a typical Chettinad house to remain — the public frontage in the front called the thinnai; the semi public area in the centre (like the puja and living room and the dining area) and the private bedrooms at the farthest end. The terracotta facade of the building and the skylights on the first floor ceiling allow natural play of light and ventilation and minimise use of electricity. The house runs on solar power and there are only four fans installed. Customised clay pots in the skylight made from the soil at the site reduce the temperature by five degrees.

“There was a purpose in the enhanced spatial, functional and permeable structure we planned and executed for a lifetime living experience”, says Vignesh, “and we are glad that it is garnering attention,” says Vignesh. “We faced our challenges gracefully and the awards are fuelling our passion now,” adds Shamini.

A WINNING DUO

They are among the top three contenders and the only ones from South India for the FOAID (Festival of Architecture & Interior Designing) -2019, a genex competition for young designers. From 250 submissions, they were among the six shortlisted in the first round. The finalist will be announced on November 29.

Their design was among the 20 selected projects from around the world and only one from India featured in the 45th issue of Australian publication, Habitus Living in September-November 2019. They also made it to the top five in one of the categories that describes the designers as champion paying attention to materiality.

It has been shortlisted for the prestigious Women In Architecture Awards – the only Indian project on the list that includes some of the world’s most important practitioners.

From 500 entries it was one among four Indian teams to have been shortlisted among top 100 for the Merit List 2019 announced by Cycle by Matter.

Out of 550 projects from 54 countries, it has been shortlisted for Continental Architectural Awards 2019 in Spain

source: http://www.thehindu.com / The Hindu / Home> Life & Style / by Soma Basu / November 01st, 2019

Agnihotris across the country gather in Chennai

September 30, 2019Arts, Culture & Entertainment, Historical Links, Pre-Independence, Leaders, Records, Alladmin

The Sammelanam was part of the Chatur Masya Sankalpa activities of Kanchi Kamakoti Pitam

Occupying the top place among the plethora of rituals practised by a grihasta is Agnihotram — worshipping fire through the performance of a yagam. Fire is the source of energy and the fountain head of life. “The Vedas give it a noble place enjoining upon a grihasta to do it daily,” says Balakrishna Rangarajan, who has been coordinating the Agnihotris Sammelanam of Kanchi Kamakoti Pitam for 14 years.

“It was in 2005 that Sri Jayendra Saraswati told me: ‘We should organise a meeting of all the agnihotris in the country.’ Taken aback, I said that I didn’t know where they all were. ‘I do,’ he responded and gave me a list. The first All India Agnihotris Sammelanam happened that way and we have not looked back,” recalls Balakrishnan.

In a country of 130 crore population, there are only 130 Agnihotris and only 40 of them are Nitya-agnihotris — performing the yagnam on a daily basis. The latter perform the task of keeping the fire alive 24/7. How is that done? “They take care of the fire like they would a baby,” says Balakrishnan.

An Agnihotri has to master the Vedas and engage them through thought, word and deed — recalling the mantras, chanting them and perform the Agnihotram. The Rig, Yajur and Sama Vedas blend to please the devathas — Rig through the visualisation of the mantras, Yajur by giving it a form and Sama through its mesmerisingly musical chanting.

The yaga is not done for the performer’s welfare. That comes last. The Agnihotri prays to the fire to fill the earth with ample water, which in turn will provide grass, which in turn will feed the cows’ whose milk and ghee nourish the world and are essential for the sacred fire. It is ultimately for human welfare, they pray.

The wife is given an exalted position in this ritual. “Without her there is no yagnam,” states Balakrishnan. She has to chant mantras too and the two observe the discipline prescribed. Incidentally, Agnihotris at the Sammelanam this year discussed the subject: ‘What happens when the lady is unable to participate?’ The proceedings take place in Sanskrit.

Ultimate sacrifice

“The fire preserved by the Agnihotri is so sacred that it goes with him in his last journey. Sastras prescribe that the day after his funeral, his bones should be collected, powdered and a yagna done with ghee. He is thus given back to Agni, completely. Can there be a better sacrifice than this,” asks Balakrishnan. “There were 98 Agnihotris when the Sammelanam was started. Now there are 130. But for the perseverance and patience of the successive pontiffs of the Kanchi Math, this would not be possible,” he stresses. “These are giants, but are eager to congregate and share their knowledge under the benign leadership of the Kanchi Sankaracharya,” he adds.

If they are all pundits, where is the need for debate? And it is a Science, where every step has been clearly defined. “True. But there are differences, depending on the region to which they belong, the sect and the rishi parampara,” says Balakrishnan. The core is the same but there will be variations in the execution. The Sammelanam gives them an opportunity to raise doubts and clarifications. Each will adhere to his own tradition but gain knowledge about other systems,” he explains.

Scattered in different parts of the country, the Agnihotris had come for the Sammelanam from Jodhpur, Mumbai, Satara, regions of the Godavari and Krishna, Kerala and Tamil Nadu. “That was how Sri Chandrasekharendra Saraswati Swamigal preferred it to be. He wanted the smoke from the Agnihotri’s havan to purify the air in all parts of the sky,” observes Balakrishnan. The Agnihotris, who participated in the Sammelanam on September 7-9 were honoured by the Sankaracharya with a purse and gifts of gold and silver.

Compiled by Geetha Venkataramanan

source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / by Geetha Venkataraman / September 12th, 2019

How the Tamils celebrated the Mahatma

September 30, 2019Inspiration/ Positive News and Features, Leaders, Records, Alladmin

An endless list of artistes — music, stage and cinema — adored him

It was January 31, 1948. “Mahatma Gandhi Amar Rahe” — the chorus of multitudes was heard all over India. Suddenly there was stillness in the air and pin drop silence. “Hari tum haro jan ki peer…” wafted in the melodious voice of M.S. Subbulakshmi. Millions heard the song with tears in their eyes. Gandhiji wanted this song to be sung by MS for his birthday in 1947 at his prayer meeting. MS was indisposed. Rajaji arranged for a recording and sent it to the Mahatma.

Mahatma Gandhi’s Tamil Nadu connection is well known. The young lady from South Africa, Valliammal, had joined his satyagraha movement and continued to follow him for decades. Gandhiji had leant Tamil and signed in Tamil. It was his visit to Madurai that led to a transformation of his dress code and it was Rajaji, who was the conscience-keeper of Mahatma Gandhi.

The freedom movement caught the attention of the Tamil theatre and music world. One of the early pioneers of the Tamil stage, Viswanatha Dass, had met Mahatma Gandhi in 1911 and got converted to Gandhian values, which he wove into his stage plays. The famous song, ‘Khadhar kodi kappal thondruthe…’ reverberated all over Tamil Nadu. He took to khadi and Lord Muruga was dressed in khadi on the stage. Police were ready to arrest him. He was arrested 29 times and bailed out by VOC and Muthuramalinga Thevar.

Gandhiji was in Coimbatore. The Madurai Devi Bala Vinoda Sangeetha Sabha of Nawab Rajamanickam was staging ‘Nandanar’. Gandhiji was invited for the show. He watched the entire show and complimented the Nawab for the bold social theme. He lauded the role of each member of the troupe. A charkha was presented to them. The Nawab considered it a blessing.

S.G. Kittappa and K.B. Sundarambal were big crowd pullers. S.Satyamurthy was instrumental in introducing the couple to the freedom movement. It was at Gandhiji’s persuasion that KBS chose to come back to the stage after the demise of Kittappa. She was always dressed in white khadi. She had recorded songs on Motilal Nehru, Kasturba, Bhagat Singh and Gandhi’s visit to the Round Table Conference. ‘Engal Gandhi London sendrar, aazhntha yochanaigal seithaar’ was a famous song.

When Gandhi was travelling from Karur to Erode, the car broke down at Kodumudi. Sathyamurthy took the Mahatma to Sundarambal’s house. Her joy knew no bounds. She arranged a feast and served the Mahatma on a golden plate. Gandhiji took the plate as a donation to the freedom movement and auctioned the same.

Semmangudi joined the freedom fighters in the salt march to Vedaranyam singing Bharati’s fiery poem, ‘Endru thaniyum intha sudhanthira dhaagam…’ Ariyakudi rendered ‘Raattiname Gandhi kai banam…’ embellishing each phrase with swara swirls in hurricane speed.

D.K.Pattammal was an ardent Gandhian. Her ‘Shanthi nilava vendum…’ carried the message of peace and brotherhood.

An Avatar

Gandhiji’s assassination shook the Tamil art and music world. Madurai Mani Iyer, the khadi-clad super star, took the help of Chitti Sundar Rajan to sing an elegy depicting Gandhiji as an avatar of Krishna, who had come down to destroy evil and resurrect dharma. The Pallavi with elaborate swara prasthara was set to Shanmukhapriya ragam and the various ideals were integrated in the charanam. M.K. Thyagaraja Bhagavathar sang ‘Gandhiyai pol oru santha swaroopanai kanbadhum elidhama…’ in his golden voice. MKT compared Gandhiji to the Buddha and Jesus.

The most soulful music of the era came from Kalki and M.S.Subbulakshmi. ‘Maanilathai vaazhavaikka vantha Mahatma’ was movingly rendered by M.S.

‘Manithar kulam uyindhidavae vantha Mahatma,

Deenargalin thanthaiyana Gandhi Mahatma,

Theeyavarkkum nanmai ennum deiva Mahatma…’

The song goes on to question whether the Devas and the Devis received the Mahatma with flowers as he ascended Heaven. Was he welcomed by Prahlada with tears shed on the Mahatma’s feet?

Did Gnanamuni Dadhichi bless the Mahatma? Was there a smile on the face of the Buddha as Gandhiji entered Heaven? Did Kasturba receive him with folded hands?

The next song of Kalki was even more poignant:

‘Ithanai naal aana pinnum ezhai nenjae yen thuyaram? Ethanai naal azhuthalum, Uthamar than varuvaaro?’ Will all your grieving bring back the Mahatma? You can find him in true love and grace, in the sorrows of the afflicted, in the innocent smiles of the children, in the chantings of the pious, in the bunch of flowers, in the hearts of those who give comfort to the down trodden and the slogging of the workers and peasants.

Kavimani Desika Vinayakam Pillai, Namakkal Kavignar and Suddhananda Bharathi added spark to the freedom movement with their electrifying poems — ‘Kathi indri, Ratham indri varugudhu por.’

The Tamil film world took to Gandhi with gay abandon. Nam Iruvar showed Kamala dancing to the tune

Mahaan… Gandhi Mahaan…

kai rattaiyae aayutham,

khadar adaiyae sobitham…

Gandhi Mangalam

Subramanya Bharati wrote that visionary stanza in 1920 — ‘Vazhga Nee Emman…’ — rendered with feeling by Madurai Mani Iyer. Ariyakudi Ramanuja Iyengar concluded his concerts with a Mangalam saluting the Father of the Nation:

‘Mohandasanukku Jaya Mangalam

Mahatma Gandhikku Subha Mangalam’

source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture> Gandhi Jayanti / by T.C. A. Ramanujam / September 26th, 2019

These women won the Guinness World Record for the world’s largest display of crocheted Christmas decorations

September 29, 2019Amazing Feats, Arts, Culture & Entertainment, Records, All, World Opinionadmin

Members of Mother India’s Crochet Queens, consisting of over 6000 members in 13 countries discuss their latest Guinness World Record

Colourful snowmen, Santa Claus bobbleheads and shimmering snowflakes, each carefully woven with yarn, were quickly arranged in a row as a group of women waited in anticipation next to their creations. They were among 350 women of Mother India’s Crochet Queens (MICQ) who showcased a whopping 66,158 decorations, in an attempt to set their fourth Guinness World Record for the World’s Largest Display of Crochet Christmas Decorations. Four hours of careful counting later, the new record was set.

Mother India’s Crochet Queens (MICQ) was founded in 2016 by Subashri Natarajan and currently consists of over 6,000 members in 13 countries. Previously setting records for the largest crochet blanket, largest crocheted scarf and largest display of crochet sculptures, the group, which also consists of cancer survivors, stroke patients and physically challenged members, was trying to break the previous record of 4,416 crochet Christmas decorations achieved by British group Women’s Weekly.

Subashri set the ball rolling in February, and coordinated through 28 goodwill ambassadors across nine countries. “We picked 120 designs and sent it to the organisation for approval. Fixing a target of 100 crochet pieces per participant, I initially aimed towards creating 10,000 designs, not anticipating that we would produce six times the number.”

Participants, from the age of six to 89, busied themselves knitting angels and Christmas trees onto sheets of netlon, while exploring colours and patterns. Applique, a two-dimensional needlework technique combined with amigurumi, the Japanese art of crocheting, resulted in funky gingerbread men and tiny reindeer. Pushing the boundaries of crochet, the women also decided to narrate the history of Christianity through 33 different scenes, beginning with angels appearing before the shepherds. A colour scheme was decided and through CAL (Crochet Along), dolls were couriered in and assembled. With 55 participants from Chennai, and designs sourced from cities like Madurai and Coimbatore, Tamil Nadu contributed the maximum number of pieces, with Karnataka coming in second.

When asked what the pieces would be used for, the members spoke about using their skills for charity and social work. Biji Rajan, goodwill ambassador for Tamil Nadu, mentioned, “Having worked with the Tamil Nadu Police Department in the past, the group has distributed scarves to the blind, and toys to Government school students. We knitted cotton and silk caps for cancer patients at St Jude India, Mumbai.” For their Jawan Project, 3,600 crocheted cowls and caps were distributed to the Army in 2018, and they are currently working on 18,000 scarves for soldiers.

So what will the group’s next record attempt be? Subashini said, “We are now working towards converting the Christmas designs into blankets, cushion covers, mobile cases and sling bags. These will be distributed to approved orphanages, churches and NGOs.”

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Art / by Aditi Subramanian / September 26th, 2019

AC Tech to celebrate its platinum jubilee

September 29, 2019Arts, Culture & Entertainment, Education, Records, Alladmin

The college will honour ‘distinguished alumni’ with awards

Alagappa College of Technology (AC Tech), established in 1944, is planning grand celebrations in December to mark its platinum jubilee year.

A Platinum Jubilee Celebrations Committee headed by N. Srinivasan of India Cements, with P.R. Venketrama Raja of Ramco Cements, Srinivasan K. Swamy of R K Swamy BBDO, and Vidya Shankar, president, AC Tech Alumni Association, as members has been constituted.

The highlight of the celebrations will be the honouring of alumni chosen by a jury with the ‘Distinguished Alumni’ awards. The all-alumni jury includes M.S. Ananth, former Director, IIT Madras, MM Murugappan, Murugappa Group, N Sankar, Sanmar Group, Subbarayan Krishnan, retired IAS officer, and S. Meenakshisundaram, Dean, A C Tech.

Nominations for the award can be downloaded from actechalumni.org.

The series of activities planned over three days from December 20, 2019 will also include a multi-disciplinary symposia and a ‘Make in India’ exhibition.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Chennai / by Staff Reporter / Chennai – September 28th, 2019

Age is just a number a for these cops-cum-athletes

September 27, 2019Records, All, Sportsadmin

Like the great pugilist, who started counting only when it hurt, these men exemplify…

(From left) Chidambaram, Raja and Chandru | KK Sundar

Madurai :

An African proverb goes like this: “If you want to go fast, go alone. If you want to go far, go together”. Seems like three police-cum-athletes from this district have got hold of the saying pretty well as it earned them a chance to prove their mettle in the 21st Asia Masters Athletics Championships scheduled to begin on December 2.

Meet B Chandru (39) and M Raja (39) and CT Chidambaram (42), the three head constables who have been chosen to participate in the event in Malaysia from December 2 to 7. While Chandru and Raja are from Armed Reserve Police, Chidambaram is attached with Sellur police station. They share a sportsmanship bond that helped them exchange tips and secure medals in several contests. Now they are all ready to fly high beyond borders.

In a conversation with TNIE, Chandru said that the international competition would be a tough one. “So far we have competed with players from different parts of India, whereas the Asia Championships will bring in the best players from across the continent,” he added.

For their love of the profession and sports, the three can be mostly spotted either in police uniform or athletic outfit. Raja and Chandru played together in the district and state-level matches.This had helped them cultivate a friendship that only grew stronger when they ended up in South Zone Sports Team.
Chidambaram was the latest to join the club, but gelled well with us, Chandru recounts.For Chidambaram, it was the exchange of tips between the pack that helped them stay relevant. “During practice, we share tips so that everyone performs well.”

On how they maintain their bodies fit, especially when age is catching up, all Raja had to say was “Never stop practising”.The trio had successfully participated in the 40th National Masters Athletics Championship held at Guntur in Andhra from February 5 to 10. In the national-level sports, Chidambaram bagged three gold medals in 400-metre hurdles run, 110-metre hurdles run and 4*400-metre relay race respectively.

While Chandru bagged a silver medal in 100-metre sprint race, two bronze in 200-metre sprint race and 4*100-metre relay race respectively, Raja achieved a silver in discus throw and bronze in javelin throw.

source: http://www.newindianexpress.com / The New Indian Express / Home> States> Tamil Nadu / by Express News Service / September 27th, 2019

India’s first woman sound engineer, unsung yet

September 19, 2019Amazing Feats, Inspiration/ Positive News and Features, Records, All, Science & Technologiesadmin

Meena learnt every aspect of sound engineering from noted sound engineer Poddar

A madisar (9-yard saree wrapped in a certain manner) clad woman moving in and out of the Island Ground, the venue, and documenting the event, was an unusual sight in the Eucharist Congress held in Chennai in 1937. The lady was Meena Narayanan, India’s first woman sound engineer, who produced a documentary of the Congress, attended by Most Rev Leo Peter Kierkels, the Apostolic Delegate, who had been appointed as special Papal Legate.

“It was unthinkable that at a time when cinema was considered a taboo, she made an entry into the film world and became a successful sound engineer. Both she and her husband Narayanan deserve a separate book,” said film historian S. Theodore Baskaran, who has written about the couple in his book The Message Bearers.

They were from Sivaganga district and Meena’s father Seetha Rama Iyer was the registrar of the Madras High Court. It was Narayanan, who started his career as film distributor, first set up a Sound Studio in Chetpet-Kilapuk area on the Poonamallee High Road in 1934. Sree Srinivasa Cinetone or Sound City was the first talkie recording studio.

“When he commissioned the noted sound engineer Poddar to work for his studio, Narayanan assigned his wife Meena as his assistant. She worked with Poddar for the film Srinivas Kalayanam produced at a cost of ₹60,000. It was released in Crown and Broadway,” said journalist and historian Nivedita Louis.

By the time Poddar quit the studio, Meena, who had just completed high school, had learnt every aspect of sound engineering. Narayanan used her as the sound engineer for the next film Viswamitra.

“There are a lot of problems when sound recording is done by those who have no idea of the language and trend in music. This can be attributed to the poor quality of Tamil films. Since I wanted to rectify it, I paid attention to sound engineering and gained experience in two years,” Meena had said in an interview to the Tamil magazine Ananada Vikatan in 1936.

“Meena, who trained in music and could sing well, continued to function as sound engineer for the films Krishna Thulabaram, Vikrama Shree Sahasam, Tulsi Brinda, Porveeran Maniavi, Mada Sampirani, Sree Ramanujan and Vipra Narayana. But the death of her husband Narayanan in 1936, turned her life upside down,” said Ms. Louis. She lived in a house near T. Nagar Park after the death of her husband. Her daughter Kalavathi, an oncologist by training returned to India, after spending many years in the UK and the U.S.

“Meena’s son Srinivasan had a passion for rail engines and railway tracks. He created a miniature track and would run trains in houses,” recalled Jayanthi Ramesh, one of the family members of Meena. Her last days were spent in the house of Nobel Laureate C.V. Raman and husband of her aunt Logasundarai. She died of heart attack while on an excursion to Kodaikanal in 1954.

“We are keen to publish a book about her and other family members,” said Ms. Jayanthi Ramesh.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> chennai / by B. Kolappan / Chennai – September 19th, 2019

Checked and found worthy!: The Kandangi sari gets a GI Tag

September 17, 2019Business & Economy, Records, Alladmin

J Hema Jayamurugan, president, Amarar Rajeev Gandhi Weavers Cooperative Production and Sales Society Limited works the loom at the organisation’s office in Karaikudi | Photo Credit: M Moorthy

Kandangi weavers are jubilant as they hope the recent GI Tag to the distinctive cotton sari will bring back its fame

In a rented apartment on Alangudiyar Street in Karaikudi, Sivaganga district, where the Amarar Rajeev Gandhi Handloom Weavers Cooperative Production and Sales Society Limited has its office, the mood is jubilant. Six years after the cooperative applied for a Geographical Indication (GI) tag from the Geographical Indications Registry in Chennai for its distinctive Kandangi cotton sari, the approval has come through. “The phones haven’t stopped ringing,” says J Hema Jayamurugan, president of the society. “After years of being overlooked, suddenly everyone wants to know our story.”

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Tag of Uniqueness

The Kandangi sari was one of three heritage products from Tamil Nadu that were granted the GI tag in late August; Dindigul’s handmade locks and Palani’s Panchamirtham, a sweet prasadam (offering) unique to the Arulmigu Dhandayuthapani Swamy Temple there, were the other two.
The GI tag is granted for a period of 10 years. Renewal will depend on the standards being maintained over the years.

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Weaving was brought to this region in the 17th century, when the present-day districts of Sivaganga, Pudukottai and Ramanathapuram were ruled by the Sethupathy kings. Kandangi (meaning chequered in Tamil) saris were originally woven in silk (pattu Kandangi) but are now made of coarse cotton, and measure between 5.10 to 5.60 metres, with a width of 47-49 inches.

“Around 40-50 years ago, women from well-to-do families of the Nagarathar Chettiar community started asking weavers to recreate their silk sari patterns on cotton because they were easier to wear in the hot weather,” says S Palaniappan, former president of the Karaikudi cooperative, and Hema’s father. “But whether it is silk or cotton, the chief distinguishing mark of a Kandangi sari is its mub-bagham (triple) colour design.”

Kandangi cotton saris woven by the Amarar Rajeev Gandhi Weavers Cooperative Production and Sales Society Limited, in Karaikudi. The Cooperative has been successful in obtaining a Geographical Indication (GI) tag for the Kandangi sari | Photo Credit: M Moorthy

Woven in colours like bottle green, mustard, russet and yellows with broad borders encasing a body embellished with just stripes or checks, the Kandangi sari is a design classic. The ease with which it can be replicated could also explain why powerloom weavers and designers are selling lookalike mixed-fibre products as ‘Chettinad cotton saris’ at considerably higher prices in urban centres. “We came to know about this large-scale plagiarism only after customers started coming to us with complaints of their Kandangi saris shrinking by 2-4 inches after each wash. Since we treat our yarn (purchased in bulk from National Handloom Development Corporation in Coimbatore) rigorously to prevent shrinkage after weaving as per government norms, it became clear that poly-cotton fabric was being passed off as Kandangi to the general public,” says Palaniappan, who also worked on getting the handloom stamp of authenticity in 2016 for the co-operative’s products.

“Before the Geographical Indications of Goods (Registration and Protection) Act of 1999, no traditional product in India was protected legally with regard to its location or uniqueness,” says P Sanjai Gandhi, the Chennai-based IP lawyer who filed the application on behalf of the Karaikudi weavers’ group, under the aegis of the Department of Handloom and Textiles, Government of Tamil Nadu .“The GI tag is a like a comprehensive protection for the whole art — method of production, producers and product. A tag will definitely stop the theft of IP rights.”

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Chettinad Checklist

Today, many of the once desolate stately homes in Chettinad have been revived as heritage hotels. Package tours often include a day trip to Athangudi, known for its handmade tiles; to Kanadukathan, for its weaving; and Karaikudi, famous for its antique stores. Other well-known products from this area include the ‘kottan’ or palm frond baskets and fried snacks made by Chettiars.

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Amarar Rajeev Gandhi Handloom Weavers Cooperative has 176 members who collectively use around 35 looms in Karaikudi. Around 90-100 Kandangi saris (currently priced at ₹868) are produced per month by mostly women weavers, as the men have drifted away to more lucrative jobs in other sectors. A majority of the stock is marketed through The Tamil Nadu Handloom Weavers’ Cooperative Society (Co-optex). “In the olden days, a weaver would be able to earn only ₹320 to weave four saris. Our members are given ₹360 per sari, which is why many of those who had left the profession are now coming back,” says Hema.

Demonstrating how the padauk wood looms operate, Hema says that most of the pre-weaving work, such as dyeing and starching the threads and transferring them to the spindles and rollers, is still manual. “We are looking to establish weaving sheds where members can use the looms as per their requirements, because the tiled floors in modern homes don’t allow us to lower the loom below the ground, and we don’t have the space for more than one or two in a standard room,” she points out.

In the nearby village of Kanadukathan, S Krishnaveni is closing a sale for 30 cotton saris at her Sri Mahalakshmi Handloom Weaving Centre. “These are Kandangi colours, but the cotton is different,” she clarifies, as she folds and stacks up the saris.

A common destination for tourists visiting Chettinad, the centre maintains separate looms for Kandangi cotton saris. “Our Kandangi cottons are sold to boutiques in cities like Chennai, Bengaluru and Hyderabad. Local customers prefer saris that look grand but don’t cost much. They feel the Kandangi cotton is a bit too plain,” says Krishnaveni.

She feels the GI tag will help to reduce the online sale of Kandangi lookalikes. “But more than the customer, standardisation will help weavers to value the beauty of their craft and product,” says Krishnaveni.

source: http://www.thehindu.com / The Hindu / Home> Life & Style> Fashion / by Nahla Nainar / September 16th, 2019

This Tamil Nadu village gets its first bus service after 73 years of Independence

September 4, 2019Business & Economy, Records, Alladmin

It was nothing short of a festival for the people as they garlanded the bus and celebrated bursting crackers and distributing sweets.

Just a week ago, Tamil Nadu CM launched Chennai’s first ‘luxurious’ air-conditioned, electric buses. While it sure is a remarkable feat, a village in Tamil Nadu is celebrating a bus service being commissioned in their village – first time after independence.

73 years after Independence, this is the first ‘freedom ride’ for people of Meenakshipuram village near Virudhunagar district’s Thiruchuli town. After repeated requests and protests, the villagers’ wish for a bus service has finally come true.

With no means to travel, the villagers were forced to walk 4 km every time to nearby M Reddyapatti village to get a bus, according to a report in Vikatan . They were even denied of transportation for so long that people including school students, faced a lot of difficulties. Even the relatives of the people were reluctant to visit them because of the lack of connectivity.

It was nothing short of a festival for the people as they garlanded the bus and celebrated bursting crackers and distributing sweets. Even the driver and conductor of the bus was honoured, the report said.

Now, M Meenakshipuram will get a bus in the morning and evening to help school and college students to travel.

In a time where we celebrate phenomenal rocket launches, the sky was the only limit for these villagers on getting their first ticket to ‘freedom to travel.’ It was indeed their first freedom ride since independence.

source: http://www.newindianexpress.com / The New Indian Express / Home> States> Tamil Nadu / by Online Desk / September 02nd, 2019

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