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May 31, 2008

A Magazine from Maddakkalapu

by K.S. Sivakumaran

Let's look at the cultural activities of the Eastern Lanka in particular around the country in general through a Thamil literary magazine (the 3rd issue) published in Maddakkalappu(Batticaloa). Its address: 19, Upstairs Road, Maddakkalappu, Sri Lanka.

Name of the magazine is Senkathir and its editor is 'Senkathiroan'

This is a special issue celebrating the International Women's Day. In the editorial there is an opinion expressed:" it is a historical fact that that only after the admixture of the Aryan influence did the Dravidian civilization embraced male dominated ideas and subjugation of women" Another pointer is that the war and tsunami had made a lot of women widows and what is being done to emancipate them is inadequate.

Maala Sabaratnam is focused as the guest of this month and her valuable contributions to the society at large is mentioned briefly. And she in her article says that the envisaged changes should begin with women. How the IWD evolved is explained by U.L.Aliyaar.There is a reproduction of a short story by Chitra Suthaharan originally published in a journal published in France. A poet of whom the rest of the island have not heard before-Thambiluvil Jega (Mrs Jegatheeswari Naathan- is introduced. Suganthi Rajakulendra, a lawyer, points out the disparity between sexes and argues that the female gender itself should fight to get its rightful rights.

There is also a write up on WERC (Women's Education Research Centre) which celebrates its silver jubilee outlining its activities.

Susi writes about Simone de Beauvoir dubbed as the Mother of Feminism.

S. Ethirmaasingham instances the role played by the Maddakkalappu Women Development Front in the area. Vasanthi Thayaparan writes under the title of Women in Offices.

A popular singer from Maddakkalapu, K. Sujeeva is featured next. She is a graduate in Carnatic music and sings in many languages including Sinhala. She is also a Bharatha Natyam dancer. I have heard her and seen her on the TV Musical programmes in Sinhala but I did not know that she is a Thamilian from the east.

There is also another short story based on the importance of women by Yogeswari Kaneshalingam.

Feminist Prof. Chitraleka Maunaguru also hails from Maddakkappu. She is the Head of the Linguistics Department at the eastern Province. She is a literary critic and author and publishers of anthologies of women poets. Her profile is featured in this issue. Her article on her forthcoming book is published in advance and in that she also lists 22 titles of Poetry by Lankan women writers in Thamil.

An article written by Shaamala Stephen is culled out from a book that speak about the position of women in general

The editor reproduces a short epic written by the late poet from the east-Neelavanan with his note.

"Feminist Thoughts in Islam" is the title of an article by Fareeda J. Sharifudeen.

Ilankovan writes about the greatness of women. Gopi has written about something that provokes amusement. The editor's poem published in" Mallikai" on the subject of the future of women is also published.

A writer and critic from Maddakkalappu is Anbuumani. He shows the changing trends in writing in his article.

N. Sridevi talks about questions that could not be answered. Using the dialect of the area there is an interesting monologue written by Mithunan. The magazine includes other brief items.

Senkathir is one of the quality literary magazines in Thamil

sivakumaranks@yahoo.com

May 24, 2008

What is Thamil Isai?

by K.S. Sivakumaran

The Thamil word for Music is "Isai". It is also known as "Sangeetham". Carnatic music is associated with the music of the Dravidians (Thamilians, Telugus, Kannadigas, Malayalees and the others of the southern regions of India).Some researchers say that Carnatic music evolved from Thamil Isai (meaning music of the Thamilians).

To know more about Thami Isai I picked up the special issue (46-47 –March 2008) of the journal Oalai published by the Kolumbu Thamil Sangam. I must congratulate the editorial board consisting of Dr V. Maheswaran, Dr A. Jinnah Sharifudin, K. Raghuparan and Vasanthi Thayaparan who in turn turned to a consultant board of knowledgeable people in the caliber of Prof. Saba Jeyarasa, A. Raghupathy Bala Sridharan, S. Sivaloganathan, K.Shanmugalingam and Pathma Somakanthan. Incidentally the journal's editor is T.Mathusoothanan.

According to the editor the pioneer researcher on Thamil Isai was Pandit Abraham, but he also mentions that Swami Vipulananda was also involved in music research! The editor is gracious enough to add list some of the books in Thamil on Thamil Isai.

For the general information of interested readers, here are the resources:

Karnamitha Saagaram ( Pandit Abraham),Yarl Nool (Swami Vipulananda), Silapathikara Isai Nunukka Vilakkam(S. Ramanathan), five volumes of Then Inthiya Isai (Sambamurthy), Thamil Isai Valam , Thamil Isai Iyal, Thamil Isaik Kalanjiyam (V.P.K. Sundaram). One thing more –Photos of Pandit Abraham and Swami Vipulananda adorn the front cover of the magazine which is available from the Kolumbu Thamil Sangam at 7, 57th Lane (Rudra Mawatha), Colombo 06.

The magazine has excellent articles relating to Thamil Isai. Let me translate into English the Thamil titles of the essays: Music-Language-Society: an expression of relationship (Prof. Saba Jeyarasa), Researcher Pandit Abraham (T. Mathusoothanan), Research on Ancient Thamil Isai (Swami Vipulananda), an excerpt of a speech delivered by Swami Vipulanada on the cantos Arangeattu Kaathai, Yaarl Nool - a research encyclopedia of Thamil Music (Dr E. Balasundaram), The Beginning of Thamil Music in the Arena of World Music (Prof.S.K.Sivapalan). The Researcher on Thamil Music V.P.K.Sundaram (Thurai Madan), Movement for Thamil Song (Prof V. Arasu), Was Carnatic Music cribbed from Thamil Isai?( P.Vealsamy), Musicians from Alavai (Alaveddi) (C.Kanthasamy), Melting oneself Singing( Vasanthi Thayaparan), Islamic Bards (S.Sivakumar), Pleasure of Music (M.Dhandapaani Desigar), Lyricists that wrote'Kerthanais' in Thamil (Vasanthi Thayaparan), and The Thing that is Music (S.Subramania Bharathi).

This monograph carrying researched material on Thamil Music by varied hands is really worthwhile publication.

An introduction of personages that received this year's honours for their outstanding contributors to Thamil Studies is by S.Sivasubramaniam. The recipients were E.K. Kanthasamy, S.M.Hanifa and Dr Sangarapillai Nagendtran

It also includes as plus features Quotes on Thamil Isai, Keerthanais and poems.

sivakumaranks@yahoo.com

May 18, 2008

New Cinema from Eastern Europe

by K.S. Sivakumaran

Viewers of International Cinema would know that countries in the Eastern Europe, particularly Poland and Czechoslovakia produced some excellent films during the 1960s and 70s. Directors like Roman Polanski, Andre Wajda (pronounced as Waida) and others come to mind in this connection.

Presently there is a spate of films being produced by the newly evolved states in the Balkan: Serbia, Montenegro, Croatia, Slovenia, Macedonia, Bosnia, Herzegovina, Albania, Hungary and the like. These countries individually and jointly produce films now with sometimes in collaboration with other western countries.

I saw some of the Balkan films screened at the 12th International Film Festival of Kerala last December. What I propose to do this week is to give you some notes and information on these films rather than review them due to exigencies of space. He films are:

Border Post (Rajko Grllc). This film captures human condition in the last stages of the disintegration of the then Yugoslavia in 1987. It is based on a war situation of confrontation between Albania and Yugoslavia.

Days and Hours (Pjer Zallca): This is also a human story of an old couple who lost their son in the war. They are hoping for a return of the old times before the catastrophe.

Das Fraulein (Andrea Staka): This is an interesting film of love-hate relationship between two women of slightly different age groups. A Serbian woman left her former country over 30 years ago and lives in Zurich running a canteen and leading a secluded life and hiding her identity and speaks only German. Another woman from the same country discovers her origin and helps the elder woman to lead a full life.

Dear Enemy (Gjerg Xhuvani): This is also a war film going back to the 1940s. With the surrender of the Italians, the Germans occupy Albania in 1943. The film tries to be comical amidst tense situation. While the Nazi troops are outside the basement of a house of an Albanian trader who trades with the invaders those living in the underground have petty squabbles. These people include a wounded Italian soldier, an Albanian partisan, and a Jewish watchmaker. But the film ends in all denouncing parochialism and accepting they are all human beings.

Kukumi (Isa Qosja): This is also an interesting film of the vagaries of life as experienced by inmates of a house of the mentally disabled soon after the entry of NATO forces in Kosovo. I also liked the splendid cinematography of Menduh Nushi who takes us into the interior of Kosovo with his wide-angle camera.

Mirage (Svetozar Ristovski): This is a story of a teenager coming from a rotten family learning to write poetry and later befriended by a soldier who becomes responsible for a radical change in the boy. The film is both psychological and sociological.

The Trap (Srdan Golubovic): his is a film about Serbian people after the war. A middle class couple with a 10 year old son lives in Belgrade under trying conditions. The boy needs surgery for a dangerous illness. A man comes forward to meet the expenses of the operation only at the expense of an indecent proposal to sleep with the mother of the boy. I could not wait to see the end as I had to hop into another showing.

Totally Personal (Neddzad Begovic): This is what may be called a docu-feature of the director's memories and reflections on life in Bosnia in the past.

What is Man without a Moustache (Hrvole Hirbar)? We learn that the story of the film is based on a novel by Ante Tomic. This is a funny film of comedy of errors and of love relationships between a widow and a priest.

Whose is This Song? (Adela Peeva). This is also a documentary about the origin of a song. The director believes that the song is Bulgarian, but when she tours the Balkan countries she finds different countries interpret the song differently. Interesting!

When are we going to see international films in Lanka?

Sivakumaranks@yahoo.com

Bhushany Kalyanaraman, Carnatic musician

SINGLE-MINDED devotion to Carnatic music — that sums up Bhushany Kalyanaraman. Hers is an extraordinary tale, spanning oceans. Born and brought up in Colombo, Sri Lanka, it was a typical Tamil household where her father used to ensure that everyone was awake at 5 a.m., reciting the Tiruvempavai. A renowned musician, her father had won the title "Sangita Bhushanam" from Annamalai University. All her sisters too sang well.

[Bhushany Kalyanaraman]

Love of Carnatic music brought Bhushany to Chennai, at 16,to stay and study music at the Government Music College. She went back to Sri Lanka, to teach music at a Jaffna college. The riots in 1982 brought her back to India, drawn by her deep admiration for her subsequent guru and husband, Tanjore S.Kalyanaraman, senior disciple of the legendary G.N.B.

A congenial atmosphere prevailed in her marital home, with a very supportive mother-in-law. "My husband was totally immersed in music much of the time," recalls Bhushany. "He never took any fee from his many students, he was a very stern man, a strict taskmaster, and a perfectionist. His family was quite well to do, which allowed him to concentrate on music. A veritable genius as a vocalist, he even had many senior musicians coming to him for guidance. He has been my only guru, after my father. I'm what I'm today only because of him," says a nostalgic Bhushany. Sadly Kalyanaraman passed away a few years ago, leaving a big void in the music world, and in Bhushany's life.

A senior vocalist today, Bhushany has number of students both here and abroad, and many foreign students of Indian origin, who come to live with and learn from her. Many of her foreign-based students have had their formal arangetrams, proving her success as a teacher.

Today Bhushany is an Indian citizen; so much at home is she in India. "I've been all over the world, except Russia. I like it best here. I stay abroad for two-three months, to teach and perform," says Bushany.

Her ambition is to establish a school for Carnatic music in S. Kalyanaraman's name, both here and abroad. Taped lessons too would bridge the distance, in her absence. Grateful for everything that music has bestowed on her, she also wishes to do something for destitute women and children "to be able to reach out to people who do not have the luxury of music, people weighed down by pressing basic needs, to survive."

A Sri Lankan nation ever appreciative of Tamil culture and Carnatic music has honoured her with "GANA RATNA". Sri Lankan organisations in London have had her sing for fund raisers in 2001 and 2003. Bhushany is a fortunate person — she has the best of both Sri Lanka and India, the best gained by besting life's many odds.

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My favourite raga

“Bhairavi, captures moments in the flux of human experience, denoting majesty (gambhiram), seriousness now and peace and bhakti at another moment. It has the power to offer deliverance from current difficulties and protection against those of the future. In worship and especially in fulfilment of a vow, I intentionally sing this raga summoning forth help from without and within,” says Bhushany Kalyanaraman, who has had her training from stalwarts such as Kulasegaran, her own father and all-time greats such as T.M.Thiagarajan and K.V.Narayanaswami. Bhairavi also brings forth special memories when she sings ‘Bala Gopala,’ Muthuswami Dikshitar’s chowkakala kriti with her illustrious husband Kalyanaraman sometimes at his pitch and sometimes at her own, understanding the nuances of the raga, its strong rishabh and the movement which brings out the whole range and atmosphere that is unique to Bhairavi.

Beautiful swarajati

“The same feeling I experience while rendering Syama Sastri’s beautiful Kamakshi swarajati. Mohanam is yet another raga which brings forth an intuitively comprehensible image of devotion. Singing it from childhood I find my best expression in Manickavachagar’s ‘Thiruvachagam,’” says Bhushany. [courtesy: Hinduonnet.com]