[in Toronto, Canada - July 11, 2008: Tamil Movie melody Ulavum Thendral katrinile ~ a Tiruchi Loganathan & Jikki song in Tamil movie Mandhirikumari, rendered in Veena by ~ Rajesh Vaidhya]

Kokkadichcholai 166 +

Today's Headlines:
166+Thamilians horribly killed
In Kokkadichcholai

It doesn't stir me.
There'll be no exam
Tomorrow too

I'll study tonight

What horrible things.
Feelings didn't ooze
Hiccuping

Which back door
Would you have thought
About at that time?

If things happen like this
In your house too
If you stand in
Sun or shade
In your heat-wave street?

Dog turd crumbles and
Flows away on rainy days
If things like this happen
In your street
Which back door is open
For You?

Those adult males are
Crying in suffocation
As if they're laughing
They cry with tears
Falling on hairy chests
And on black and white
Moustaches with remnants
Of toddy on them

K.S. Sivakumaran can be reached at: sivakumaranks@yahoo.com

An avid-fan of Kamal Haasan, has found an intriguing connection between the 10 avatars of Lord Narayana and the film Dasavatharam, published in The Chennai Newspaper NewsToday:

[Krishna devotion in Dasavatharam, Evergreen Poet Vaali's song rendered by Sadhana Sargam]

Lord Krishna: Kamal Haasan plays a dark-skinned Vincent Poovaraghavan, a Dalit, who fights for a cause. Lord Krishna is actually a dalit, he is dark-skinned (Shyamalan). He saved Draupadi when she was being insulted by Duryodhana.

Lord Krishna died after an arrow struck his lower leg. Vincent appears when Asin is about to be molested and saves her. Vincent is the Dalit diplomat, fights for land issue and dies when a metal rod strikes his leg.

Lord Balarama: Kamal Haasan essays the role of Lord Balarama Naidu, an official with RAW. As the name suggests and the role personifies, one can easily see the connection.

Lord Mathsya: Rangaraja Nambi is thrown into the sea along with the idol of Lord Narayana.

Lord Varaha: Kamal Haasan plays Krishnaveni Paatti and during the mukunda mukunda song, she depicts Varaha avatar through shadow puppetry.

The frame freezes on it for a second. there is the clue.

Lord Vamana: Kalifulla Khan, the tall Muslim youth, played by Kamal Haasan reminds one of Vamana avatar. Lord Vishnu assumes a giant form in the avatar.

Lord Parasurama: Fletcher reminds one of Lord Parasurama, who goes on a killing spree, and slayed 21 generations of a particular kshatriya vamsa. Fletcher goes around with a gun killing everyone around.

Lord Narasimha: The Japanese martial artist Shingen Narahashi. Doesn’t the name Shingen Narahashi sound similar to Singam Narasimha? The words singam (meaning lion in Tamil) and Narasimha (the avatar being symbolised). Lord Narasimha uses his hands to destroy Hiranyakashipu.

If we look for a connection, even martial arts exponents fight with bare hands.

Lord Rama: Avatar Singh. Lord Rama stands for the one man, one woman maxim, kind of symbolising true love. Here Avatar Singh portrays that spirit by saying that he loves his woman more than anything and wants to live for her.

Lord Kalki: Govindaraj Ramasamy, the main hero of the story which happens in the present Yuga. As everyone knows, the saviour in Kaliyug can be none other than the Kalki avatar.

Lord Koorma: Obviously George Bush. This is the most loose adaptation. But if one looks at the koorma avatar, the Lord is the turtle that helps in stirring the ksheera sagara and bringing out the amruth. This essentially creates war among the devas and asuras.

While Kamal Haasan fans wait for the release of Dasavatharam, billed as his magnum opus, many celebrities from the tinsel world have already had a chance to watch the film. Kollywood’s crème, including superstar Rajinikanth, as well as others, were invited to special screenings here on Tuesday and Wednesday.

Kamal Hassan greets Rajnikanth as he arrives for a special screening of "Dasavatharam" in Chennai on Tuesday. Kamal Hassan's magnus opus is releasing worldwide on Friday. Photo: By Special Arrangement

And when the film concluded, they were effusive in their praise of Kamal, and director K.S. Ravikumar.

“Extraordinary,” Rajinikanth is reported to have exclaimed on Tuesday. The superstar was apparently overwhelmed by the film and Kamal’s performance. Scenes built around the tsunami particularly came in for praise. Impressed by Kamal’s different avatars, Rajinikanth discussed the details with him during the intermission.

Yesteryear comedienne Manorama, who was moved to tears watching the film, called Kamal the “real ulaga nayagan [universal hero].” Stars Satyaraj, Sarath Kumar, Radhika, Suriya, Prabhu, ‘Jayam’ Ravi and Bharat, and directors Dharani and Vishnuvardhan, were at the screenings.

K. Balachander, who introduced Kamal to the film world, was reported to have been astonished by Dasavatharam. The veteran director, who spent a sleepless night on Tuesday after watching the film, visited Ravikumar and Kamal at their homes on Wednesday and presented them shawls.

Veteran actor Nagesh, who was at a preview, lauded Kamal for his performance.

Dasavatharam, set to be released on Friday, features Kamal Haasan in 10 roles. The film is a mix of action, humour and romance, and has some impressive special effects by Hollywood-fame Brian Jennings.

Dasavatharam - Special Screening in Chennai [courtesy: The Hindu]

To ensure that no more legal hurdles hit his Rs 60 crore Dasavatharam, which releases on June 13, Producer Ravichandran has filed a caveat before the Supreme Court. By filing the caveat, the producer has ensured that the International Sri Vaishnava Dharma Samrakshana Society and Kalyana Suba Society, whose PILs were rejected last week by the Madras High Court, don't approach the Apex Court in appeal. The Vaishnav Society had opposed the release of the film on the ground that it portrayed saint Ramanujam in poor light and that it incorrectly detailed violent clashes between Saivites and Vaishnavites. The Kalyana Society wanted the censor certificate revoked saying the title Dasavatharam -- which refers to the ten incarnations of Lord Vishnu -- would hurt religious sentiments. Producer Ravichandran had told the court that the film had no scene of clashes between the two groups. On the use of the title, the judges said, "Nobody can have any objection for the use of the title as there is no intellectual property or copyright over the title."

Jackie Chan came for the audio release and it looks like even US President George Bush will get to see the film. As Ravichandran of Aascar (he had to change it from Oscar) says, "As Kamal Hassan plays the role of George Bush, we thought it would be appropriate to show him the movie." They've approached Lousiana governor Bobby Jindal to do the needful. A Tamil film in the White House? Kamal Hassan sure goes places. [from OutlookIndia]

It's all about Bharatanatyam, Bharatiar and bonding.

In December 2002, Natyarangam, the talent promotional wing of the Narada Gana Sabha set about its annual routine of selecting a few artistes to choreograph some of Subramania Bharati's compositions to perform at Bharati Illam in Triplicane. That year it chose Roja Kannan, Priya Murle, Srikanth and Lavanya Ananth. Unlike artistes selected earlier for the purpose, these four Bharatanatyam dancers besides going to town (and abroad too) with their "Bharata Samudayam Vaazhgave" have sustained their artistic and personal bonding that has helped them set a record of sorts — staging more than 25 shows of "Bharata Samudayam Vaazhgave".

[Priya Murle and Lavanya Ananth, performing "Manathil Uruthi Vendum"]

"We never expected to come this far. But right from the day we got together on this project, we knew it was a coming together of like-minded people with a passion for the art form and an enthusiasm to do something creatively satisfying," says Roja Kannan, senior most in the group, even as others nod their head in agreement. "From the first show to the twenty-fifth, it's been complete fun and a great learning experience. We have helped each other grow as better artistes," adds the articulate Priya.

Though each is a well-known artiste in his/her own right, hailing from different schools (Roja is the disciple of Adyar K. Lakshman, Priya has trained under Sudharani Raghupathy, Srikanth is the sishya of Padma Subramaniam and Lavanya is the disciple of guru Rajaratnam Pillai and K.J.Sarasa) and with their perception of the art, they found a common meeting ground — Bharatiar's poetry.

"His powerful verses make you rethink about life, work, the happenings around and the people," smiles the tall and slim Lavanya. For Priya, the project brought her close to Tamil language and literature.

Bharatiar's work is not new to Bharatanatyam, but the creative foursome has done some imaginative choreography and has attempted to relate the writings to contemporary situation. "For instance, Priya in her piece on fire and water beautifully related it to tsunami and Rita (when they performed in the U.S.) calamities. These efforts have generated positive and encouraging response from the audience," says Roja.

Besides individual pieces, the team also performs to a medley of poems in the second half. "The second part of our programme showcases the navarasas, as we have tried to include different emotions. This surely is the highlight of all our shows," points out Srikanth.

The dancers wholeheartedly acknowledge Natyarangam for helping them know each other and senior artistes such a Sudharani Raghupathy for their able guidance. " We invariably do the last rehearsal before every show at Sudha akka's dance school for sentimental reasons. It has always proved lucky for us," says Roja.

What the four dancers find challenging is giving a unique expression to their imagination without stepping out of the idiom. [courtesy: The Hindu]

A beautiful and an exhaustive study on Sigiriya –Kassapa’s Homage to Beauty is the latest addition to the corpus of related material. The author is Siri Gunasinghe. The large sized book of 116 pages with colour photographs is a collector’s item. I like art and paintings having been a student of the arts and literature. But I am not willing to review the book for lack of knowledge on the subject. Instead, I will give information regarding the book so that based on such information, uninitiated readers will be persuaded to possess this historically relevant book.

First about the author: Emeritus Professor Siri Gunasinghe is a Lanka born Canadian academic. A linguist (Sinhala, French and English), he is a leading figure in the field of performing arts and literature, and a pioneer in modern poetry in Sinhala with his Nissanda Kavi. After having taught in the University of Victoria in Canada, he is now back in his homeland. His film Sath Samudra was one of the outstanding Sinhala films some decades ago. He has authored many books particularly on the history of Buddhist Art of Sri Lanka. His novel Havenella is translated into Thamil as well. He has many more achievements to his credit.

This illustrated book has been published by the reputed Vijitha Yapa Publications. The photographs in the book were taken by Vijitha and Lalana Yapa. Vijitha Yapa, as students of journalism would know, held Chief Editor post in three Lankan English newspapers before becoming a publisher. His articles and photographs have appeared in prestigious foreign journals like the Far Eastern Economic Review, International Herald Tribune, Financial Times UK, Gulf News Dubai, Asian Wall Street Journal, The Times London and Readers Digest. Vijitha Yapa has authored four books.

[Sigiriya Frescos ~ Pic: By Dushiyanthini Kanagasabapathipillai]

Apart from the elucidative descriptions and analysis of the author, the book also contains a valuable bibliography and a useful index.

The scholar’s thesis is presented under the following heads: Towards Sigiriya, Building Sigiriya – For what Purpose, Paintings: The Enigma of the Beauties.
Including the front cover, the back cover and the inside flap, there are about 45 photographs and a few drawings.
We must know what the writer is trying to say in the book. On page 10 he says that:

“It is perhaps time to demythologise Kassapa and his creation. My attempt here is to take a fresh look at the known historical and archaeological material on the one hand and, on the other, to search for historically valid information where nothing has been stated directly in the chronicle or in the epigraphic records. Reading between the lines in the Mahavamsa, I find that it is necessary and also possible, to revise our thinking about Kassapa and Sigiriya… I have advanced some thoughts that differ from the generally held views about Kassapa and Sigiriya.”
Read this book. It is a fascinating book in understanding oriental aesthetics.

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

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

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]

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]