Aambal Magazine Issue 2 by Aambal Magazine

EDITORIAL õí‚è‹! Ü¡ð£ù Ý‹ð™ õ£êè˜èÀ‚°, MARCH - APRIL 2009 ISSUE 02

ñ£C - ðƒ°Q 2009 ñô˜ - 1 Þî› 02 G˜õ£è ÝCKò˜ CH ÝCKò˜ °¿ îIöóC º¼è¡ ó°ó£x Fhð¡ ýKê¡ Jonathan Lee Derryck õ®õ¬ñŠ¹ Ý‹ð™ è¬ôòè‹ ó£«ü‰Fó¡ Ü¡¹ Þ¬íòˆî÷ àîM Ý‹ð™ è¬ôòè‹ ªî£¬ô«ðC 0845 643 5882

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To protect our environment papers used in this publication are produced by mills that promote sustainably managed forests and utilise Elementary Chlorine Free process to produce fully recyclable material in accordance with an Environmental Management System conforming with BS EN ISO 14001:2004.

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Ý‹ð™ - Þî› 2  ðƒ°Q - CˆF¬ó 2009 11

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à‡¬ñ Þ¼‚Aø¶. Gô¾ ªð¼‹ð£¬øò£è Þ¼Šðî£™ M«ï£ˆ ªê£¡ù¶ «ð£™ Ü¶ ªõOM´‹ ªêš×î£‚ èF˜è¬÷ â‹ è‡è÷£™ ð£˜‚è º®ò£¶. ñ¶ ªê£¡ùF½‹ à‡¬ñ åO‚èFK™ ªè£…ê‹ (º¿õ¶‹ ªîPˆ¶ Gô¬õ Ü¬ì‰¶ åO¼A¡ø¶. ÞŠð® åOM´‹ (Earth Shine) â¡ð£˜èœ.

Þ¼‚A¡ø¶. ÅKò Ü™ô) ÌIJ™ð†´ˆ ÜƒA¼‰¶ âñ‚° ð°F¬ò ¹MåO˜¾

Có£E ªê£¡ù¶ êK«ò. ÅKò åOJ¡ ªð¼‹ð£¡¬ñò£ù (º¿õ¶‹ Ü™ô) åO‚èF¬ó Gô¾ HóFðL‚A¡ø¶. ñ¶ ªê£¡ù¶ «ð£™ Gô¾ æ˜ à¼‡¬ìò£ù ð£ó£ƒè™½. Ýîô£™ Gôõ£™ è‡í£® «ð£™ º¿¬ñò£è åO¬ò HóFðL‚è º®ò£¶. Iè‚Ã®ò èKòGøñ£è Ü‡ìªõO Þ¼Šðî£™ GôM¡ åO âñ‚°Š Hóè£êñ£èˆ ªîKA¡ø¶. ÞŠð ªê£™½ƒè Þ¶ GôM¡ åOò£? ò£˜ ªê£¡ù¶ êK? Íõ¼‹ å¡ø£è„ «ê˜‰¶: ÒÞ¶ GôM¡ åO Þ™¬ô.Õ ï£ƒè Í¡Á «ð˜ ªê£¡ùF½‹ à‡¬ñ Þ¼‚A¡ø¶. Þ¶ ÅKòQ¡ åO«ò. Üî¬ù Gô¾ âñ‚° HóFðL‚A¡ø¶. WWW.AAMBAL.CO.UK

Credit & Copyright: Stefan Seip, www.nasa.gov

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ÞîŸ°œ.............. cœ ê¶óƒèœ àœ÷ù. WWW.AAMBAL.CO.UK

I¡ù…ê™ ºèõK: kidspages@aambal.co.uk

Ý‹ð™ - Þî› 2  ðƒ°Q - CˆF¬ó 2009 13

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Zinnias whined loudly, his nasal voice echoing in the dining room, “Mom! I don’t wanna go to bed… I don’t wanna go!” Zinnias moaned, “Mom! I don’t wanna go to bed because Briar said that a huge m-m-monster lived under my bed!” Mom shot me a dirty look, “Briar, why on earth would you say such a thing to your younger brother? There are no such things as monsters! Briar, apologize to your brother!” I sniggered and mumbled an apology, “Sorry. But he’s a rascal, mom!” Zinnias tried looking as meek and innocent as possible, “Who, me? Why, Mommy dearest, I’m only a ten year old.” Mom groaned in frustration, “Briar, just apologize… Try to be nice, okay?” We nodded solemnly but when Mom turned her back, we stuck our tongues out at each other. Zinnias and I were years apart and we got along as good as oil and water. Before we headed in our separate ways to go to sleep, Zinnias hissed in my ear, “You’re bad Briar!” I rolled my eyes as he continued, “You’re so bad that tomorrow… you’ll get a monster under your bed!” I rolled my eyes again and snorted. Yeah right. ______________________ I closed my eyes and waited for a nice bit of sleep. No dice. Instead, I heard growling noises. They were vicious noises- high-pitched, squeaky sounds of snarls and growls. It sounded like it was coming from under my bed! I was pretty scared until the truth dawned me. I angrily exclaimed, “Zinnias! STOP IT!” I furiously yelled again, “STOP!” There was no answer. Instead, the growling didn’t stop. I screeched, “STOP BUGGING ME!”

AAMBAL - ISSUE 2  MARCH - APRIL 2009

I heard a faint voice call over from Zinnias’s room, “Briar? Why are you yelling?” I ran to his room. There lay Zinnias in his bed. He confusedly asked, “What’s going on?” Zinnias must have stuck a tape recorder under my bed! I yelled, “Stop annoying

By K.Abi (12 years) me with those growling noises! It isn’t funny and I want it to stop!” I crossed my arms furiously. He looked genuinely confused when he asked, doing a double take, “What are you talking about?” I angrily left. ______________________ The next night, I was prepared to bust Zinnias for his prank. When the growling noises came, I screamed, “Ah-HAH!” I zoomed back to Zinnias’s room and Zinnias was in his bed once more, snoring. I frowned. I hadn’t caught him… yet. I decided to take my revenge by raiding his “goody jar” and leaving crumbs all over his bed. That would show him. I sleepily walked back to my room.

Thankfully, the growling noises had ceased. But, where was my homework? My chemistry homework usually stayed on my desk. I had put it there after dinner, as it was due the next day. IT WAS GONE! How weird. I could have sworn I had put it there. Uh oh… Bits and pieces of my toxic waste samples were everywhere; all over the floor… someone had eaten it! It couldn’t have been Zinnias. He was sleeping and besides, those toxic waste samples were lethal to everyone! Who could it have been? ______________________ The next night, safe in my bed, I heard more munching sounds and growls coming from under the bed. I whimpered, scared. Was there really a monster under my bed? I screamed as I heard a huge loud snarl. Zinnias came rushing in, “Why are you yelling?” I moaned, “There’s a monster under my bed… I’m scared.” Zinnias was ready to laugh, but then he caught a glimpse of my frightened face. He believed me. He gasped, “Let me see!” Before I could stop him, he overturned my bed, revealing a DISGUSTING monster under it! Zinnias

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I felt like screaming my eight heads off. I raised a slimy tentacle to my mouth, “Gosh, it’s so ugly!” The monster protested in a squeaky voice, “Who are you calling ugly?” I gasped, “You speak English?” The monster laughed, “Duh! English was invented on my planet after all!” Zinnias sceptically asked, “On Earth? Really? You’re from Earth? But that planet was destroyed over a thousand years ago from crashing into Mars!” The monster answered, “Yeah… but my family managed to get off the planet, onto Xeon Five.” I asked, “Don’t you run on nuclear power like us? How could you have eaten that nasty toxic waste?” The monster retorted, “No one from Earth is nuclear powered. And that toxic waste is a delicacy on my planet. We call it pizza.” Zinnias and I shuddered. The thought of eating toxic waste was scary to us. Then, Zinnias asked, “How can you see with two eyes? Doesn’t it affect your vision? Why don’t you have antennas?” Without waiting for an answer, Zinnias asked, “Can’t we keep him, please? As a pet?” He pleaded, “Please! I’ll feed him and walk him and clean his cage…” The monster began to protest, “No way!” I shook my head, “No way! A monster like him…he belongs in a zoo!”

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The monster’s skin was pale, a peach colour, almost white. It seemed an almost tanned colour. It wasn’t blue or even purple, can you believe that? He had only five fingers, each coming out from his hand! And his dark brown eyes scared me. He had more than just the regular one eye; he had TWO! And from the top of his head, sprouts of strange, black substance grew. It looked fuzzy and came to the tops of his ears… and the ears weren’t pointy or scaly! But the scariest thing was that he was soft on the outside, and hard on the inside… he was inside out!

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covered his eyes, “It’s so hideous!” I agreed with him.

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"No Drugs for Me" Some great activities for kids!!!

Entries open to all children aged 7 - 13 years old. Competition encourages Drugs awareness through the art, with the aim of educating children and their families to know why drugs are not a good choice in life.

Creating an artwork that explores the idea of young people for a Drugs Free life. "No Drugs for Me". The participating children must belong to either of the age group 7- 10 and 11 – 13 years. Size A4 either in portrait or landscape. Recommended materials are acrylic paint, charcoal, dry or greasy pastels, watercolour or collage on canvas or thick art paper.

What you can win! The winner of each category will Receive £100.00 cash prize. The ﬁrst and second runner up will receive Educational books worth upto £50.00. "No Drugs for Me" æMòŠ«ð£†®õò¶ŠHKM¡ Ü®Šð¬ìJ«ô«ò Þ¼ HK¾è÷£è ðKYL‚èŠð´‹. HK¾1 7-10, HK¾2 11-13. ÞŠ«ð£†®J¡ «ï£‚è‹ Þ÷…ê‰îFJù˜°‹, ªðŸ«ø£¼‚°‹ «ð£¬îŠ ªð£¼œ åNŠ¹, Üî¡ b¬ñ ðŸPò MNŠ¹í˜„C¬ò «î£ŸÁM‚°‹ ºèñ£è¾‹ Þ÷‹ ê‰FJù˜èœ êºî£ò‚ èôŠð£™ õNîõP„ªê™ô£¶ îñ¶ âF˜è£ôˆ¬î ï™õN‚° Þ†´„ªê™½‹ ºèñ£è¾‹ Ü¬ñ‰¶œ÷¶.

õò¶Š HKM¡ Ü®Šð¬ìJ Ü®Šð¬ìJ™ ºîô£õîè£è ªõŸPf†´‹ åšªõ£¼õ¼‚°‹ £100 ðíŠðK²‹, Þó‡ì£‹, Í¡ø£‹ ðK¬êªõ™«õ£¼‚° îô£ £50 ªðÁñF»œ÷ ð£ìŠ¹ˆîƒèÀ‹ ðKêO‚èŠð´‹. Ýè«õ «ð£†®J™ ðƒ°ðŸÁ«õ£˜ "No Drugs for Me". â¡ø î¬ôŠHŸ°Š ªð£¼ˆîñ£ù îñ¶ è¼ˆ«î£Mòƒè¬÷ à¼õ£‚A âñ‚° ÜÂŠH¬õ»ƒèœ. «ð£†® MFº¬øèÀ‚° (Terms & Conditions) à†ðì åMòƒè«÷ âñ¶ ðKYô¬ù‚° â´ˆ¶‚ªè£œ÷Šð´‹. «ð£†®J™ ªõŸPf†´ªõ£Kù¶ åMòƒèœ “Ý‹ðL™” Hó²K‚èŠð´‹. «ð£†® º®¾ˆ FèF «ñ 31 Terms & Conditions Individuals may enter independently. Each entry must be the child's own work. Only one entry is accepted per child. Only children between the speciﬁed ages may apply: 7 – 10 and 11 – 13 years. Each entry must be representative of the theme "No Drugs for Me". Each entry must be accompanied by the following details. Artist’s Name, Age, home and school address. Each entry on card or paper must not be bigger than A4 size (297mm x 210mm). You may use one of the following materials: acrylic paint, charcoal, dry or greasy pastels, watercolour or collage. All entries must be received in the IKF, P.O.Box 369, Sutton, Surrey SM1 9GG by 31st May 2009. First, second and third prizes will be awarded for each age group. The decision of the judging panel will be ﬁnal. Entries will only be returned at the end of the competition if a stamped addressed envelope is provided. The artworks of the all winners and runner ups will be published in "Ambal Magazine". Web: www.aambal.co.uk/nodrugsforme

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AAMBAL - ISSUE 2  MARCH - APRIL 2009

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International Ferro Metals Ltd GÁõùˆF¡ ðƒA¡ M¬ô 2008 «ñ ñ£î‹ £1.60 Ýè Þ¼‰¶ H¡ù˜ ®ê‹ð˜ ñ£î‹ 2008‹ Ý‡´ 14p Ýè Üî£õ¶ 90iîˆFŸ°‹ ÜFèñ£è M¬ô °¬øõ¬ì‰F¼‰î¶. Þ‰î Ý‹ð™ ê…C¬è Ü„²‚°‹ «ð£°‹ «õ¬÷J™ 28p Ýè Þ¼‚A¡ø¶. ðƒ°„ ê‰¬îJ™ ðƒ°„ ê‰¬îJ™ ðƒ°èO¡ M¬ôJ¡ ãŸøˆ î£œ¾è¬÷ «ñ«ô àœ÷ õ¬óðìˆ¬î Üõî£QŠðî¡ Íô‹ æó÷¾ êKò£è G˜íJ‚ º®»‹. âù«õ Ü´ˆî Cô õ£óƒèO™ Þ‰îŠ ðƒA¡ M¬ô 30p‚°‹ «ñô£è ÜFèK‚°‹ «ïóˆF™ Üî¡ M¬ô Þ¡Â‹ «ñ™ «ï£‚A ÜFèK‚è õ£Œ¹‚èœ àœ÷ù. Brixton PLC Pence 1 day candles

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Brixton PLC GÁõùˆF¡ ðƒA¡ M¬ô ñ£˜„ ñ£î‹ 2008‹ Ý‡´ £3.20 Ýè Þ¼‰î¶. H¡ù˜ ñ£˜„ ñ£î‹ 2009Ý‹ Ý‡´ Üî£õ¶ 12 ñ£îƒèO™ 95iîñ£è i›„Cò¬ì‰¶ 14p Ýè Þ¼‚A¡ø¶. Þ‰îŠ ðƒA¡ M¬ô»‹ «ñ™ «ï£‚A ÜFèK‚è Ã®ò õ£Œ¹‚èœ Þ¼‚A¡ø¶. â„êK‚¬è: ðƒ°„ ê‰¬îJ™ ðƒ°èO¡ M¬ôèœ ÜFèK‚è¾‹ Ü«î «ïó‹ °¬øõ¬ìò¾‹ ê£ˆFòƒèœ Þ¼Šðî£™ ºîh†ì£÷˜èœ ðƒ°è¬÷ ºîh´ ªêŒò º¡ù˜ î‹Iì‹ «êIŠð£è Þ¼‚°‹ ðíˆ¬î ÜF™ ºîh´ ªêŒò «õ‡´‹. Üˆ¶ì¡ º¡Ã†®«ò î°‰î Ü÷¾ Ý«ô£ê¬ù¬ò»‹ ªðŸÁ‚ªè£œ÷ «õ‡´‹.

Ý‹ð™ - Þî› 2  ðƒ°Q - CˆF¬ó 2009 47

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Þó‡ì£õ¶ Iè º‚Aòñ£è è¼ˆF™ ªè£œ÷ «õ‡®ò Mìò‹ àƒèœ i†´ õ£ì¬è õ¼ñ£ùˆFŸ° âFó£è i†´‚ èì¡ õ†®¬ò (Interest) ñ†´‹ î£¡ êñŠð´ˆî º®»‹. º¿ Mortgage Payment ä»‹ êñŠð´ˆî º®ò£¶. ¹Fî£è «õ¬ô Ýó‹Hˆî™ Starting a New Job

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"Þó‚èºœ÷ Þîò‹, «õ¬ô ªêŒò‚ Ã®ò ¬èèœ, C‰î¬ù ÝŸø™ ð¬ìˆî Í¬÷ Þ¬õ«ò ïñ‚°ˆ «î¬õ. Þô†Cò‹ àœ÷õ¡ ÝJó‹ îõÁèœ ªêŒî£™ Þô†Cò‹ Þ™ô£îõ¡ ä‹ðFù£Jó‹ îõÁèœ ªêŒõ£¡" â¡Á àÁFðì‚ ÃÁA¡ø£˜ ²õ£I M«õè£ù‰î˜. ÞŠ«ð£¶ âñ‚°ˆ ªîOõ£A¡ø¶.. HøŠ¹‹ ÞøŠ¹‹ âñ‚°

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Getting the most from your time online

he Internet is an essential part of daily life across the world. Connecting an enormous network of users across continents, across oceans and even locally, it is a resource of unprecedented importance. The Internet gives you access to entire libraries of information and is an invaluable tool for education, supporting schoolwork and even finding a job. However, as with all megaliths, it has its weak spots. There is a great deal of rubbish on the Internet mixed in with all the good stuff. Hunting through site after site for a piece of information can be tedious and very boring unless you are a ‘Google Expert’. There is also a concern amongst those who perhaps don’t use the Internet as frequently as their children that spending long periods ‘surfing the web’ equates to a massive waste of time. Time that could be spent in ways that are more productive or with the family. The Internet is here to stay. In the last 20 years the explosion of home computer ownership, faster broadband connections and the falling price of computer hardware has meant that there

IT. The online learning applications also mean that if you’re looking for a change of career (in IT for example) there are plenty of opportunities to explore from the comfort of your own home that will give you the knowledge you need to start a new job or even improve your skills in your current position. The growth of forums has meant that students can also share information and exchange ideas in exactly the same way as they do on a face to face basis, but in an international ‘classroom’ that spans the globe. In a period where everyone has to assess their financial future, online courses can present the most cost effective and easy way to retrain for a completely new career. IT is a huge growth industry, as nearly every market now depends on having an online presence. The explosion in popularity of sites such as Ebay has also shifted the way people exchange goods and buy everything from a pair of sunglasses to a new car. Without an online presence, companies cannot do business. It has also resulted in new jobs for previously technology-poor parts of

Getting the most from your time

online are very few homes now that don’t have access to the World Wide Web. Initially started in the late 1960s so that U.S. Department of Defense researchers could share information with one another and with other researchers, it has grown to become the most common way to find information, advertise online and generally connect with as many people as quickly and as easily as possible.

the world. Outsourcing jobs to areas such as the Indian subcontinent and even further afield has meant that the global economy has interconnected in an unprecedented way, boosting economies and creating wealth and economic growth in countries that would have otherwise ‘missed the boat’.

The wealth of online learning resources and courses make it easy for anyone of any age to access up to the minute information about almost any topic you care to mention – from cooking to jobs in

Facebook and MySpace have revolutionized how people interact with each other on the Internet. The popularity of social networking has led to the development of a new style of online

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contact, cumulating with sites such as Twitter where contributors post up to the minute notes on their daily activities and are limited to 140 characters per posting. Even the President of the United States ‘twitters’, allowing anyone to keep up with current events as they happen and even feel as if they are part of the international decision making process. Business has also seen how successful social networking can be and business-orientated networks have sprung up, connecting entrepreneurs across the world. High profile, high achievers can interact with everyone in a

The changing dynamic of social interaction

"As long as you remember that there is life outside Facebook" positive way, giving the general public access to some of the most influential thinkers and motivating others to make changes in their lives that they would have never previously considered. The key to using the Internet successfully is personal responsibility and remembering that it is something that should be fun, not an all-consuming obsession. It’s too easy to get sucked into a site like Facebook or MySpace, become fixated on how many ‘friends’ you have in comparison to other users and generally waste a ridiculous amount of time chatting about the latest TV WWW.AAMBAL.CO.UK

Getting the most from your time online

"Parents who are worried about the access their children have to inappropriate Internet sites do have some control over what their children look at." shows or celebrity. Social networking sites, as these have become known, are a great way to meet people online from all over the world, learn about different cultures and exchange ideas and views. As long as you remember that there is life outside Facebook… Not only are social networks valuable as a means of connecting people, they also have a very high monetary value as well. Fortunes have been made on the Internet – all it takes is a little imagination and an ability to spot a gap in the market. Most Internet millionaires are in their twenties, giving anyone with an idea and the passion to create something new and exciting hope that they too can become an Internet millionaire.

Responsible use Parents who are worried about the access their children have to inappropriate Internet sites do have some control over what their children look at. The simplest way to limit access WWW.AAMBAL.CO.UK

to sites that may have adult content is to choose an Internet Service Provider (ISP) that can offer ‘Parent Control’ protocol settings. This blocks access to sites that may carry adult content, for example. Monitoring the software that children download from the Internet also enables parents to ensure the safety of not only their children, but of their Internet connection as well. A lot of free downloads carry ‘spam’, which can clog up a system. Some also carry computer viruses, so the installation of adequate firewalls and anti-virus software is a must. It’s also a simple matter of laying down some simple ground rules regarding Internet use, such as the amount of time spent on the Internet, which forums or social networking sites are acceptable and so on. You cannot stop children from using the Internet – in fact it is actively encouraged by the education system as an important tool in children’s schooling – but you can encourage your

children to use the Internet responsibly. It’s also a matter of explaining to them the potential dangers of becoming too involved with ‘online friends’. The real problem with social networking is the anominity it gives those whose intentions may be more sinister. The ground rule is never allow your children to agree to ‘meet and greet’ in person. By keeping an electronic barrier between your child and others online, you can ensure that your children stay safe. Used effectively, the Internet can be an enriching experience allowing people all over the world to expand their friendships, regardless of international boarders. It can encourage language growth and development, a spirit of entrepreneurial zeal and a window on a world that was previously inaccessible. With its future assured, the Internet is a positive influence on modern life that will continue to influence how we do business, how we meet people and how we learn for many years to come.

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London's 10 best museums

London’s

10 best museums With such a rich cultural heritage and more history on offer than almost any other city in Europe, London is blessed with a plethora of museums, attractions and historic landmarks that provide hours of cheap and interesting entertainment. The best known museums – The British Museum, The V&A, The Natural History Museum and the Science Museum – are all well covered and perennially popular with visitors and residents alike, but there are plenty of lesser known museums hidden away in the capital. Here we take a quick tour around ten of the best but perhaps less well-known museums in London.

The Imperial War Museum Situated on the south bank at Southwark, The Imperial War Museum is a fascinating insight into the military history of the UK and Commonwealth countries. It was originally set up in 1917 when the government decided that a national collection should be established to collect and display material relating to the First World War. Since then the museum has grown in size and is now of international importance. Entrance is free, although there is a small fee for entry into special exhibitions. The museum not only gives visitors a fascinating glimpse into life in the armed forces, but also looks at how the nation coped during times of conflict.

Ripley’s Believe it or Not!

The Cartoon Museum

Just a short walk from the British Museum, The Cartoon Museum opened in 2006 and has rapidly become a popular attraction. Here the mysteries of the British sense of humour can be seen displayed in all their glory! A wonderful collection of cartoons, caricatures and comic art dating from as early as the 18th century right up to the present day are sure to keep visitors of all ages laughing throughout their visit. Entrance is £4 for adult and children under 18 are admitted free.

Clockmakers’ Museum Founded by the Clockmakers’ Company in 1813 and now housed in the Guildhall Library, The Clockmakers’ Museum houses a fascinating collection of horological curiosities. The collection tells the story of timekeeping in

the context of London’s role as a major clock and watch-making centre from about 1600 right through to the present day. There are displays on John Harrison, who invented the marine timekeeper that could calculate longitude at sea, and clocks belonging to prominent figures such as Isaac Newton. Entrance is free.

Pollock’s Toy Museum Started by Marguerite Fawdry in 1956, this delightful collection of toys is housed in a pair of 18th and 19th century houses off Tottenham Court Road in the heart of the West End. Crammed onto three rickety floors are toys of every conceivable description, ranging from an Egyptian mouse with a moving tail and mouth from about 2,000BC to toy weapons of the 1960s. There is a room dedicated to toy theatres and children of all ages will love exploring the labyrinth of rooms, each with a different toy theme. Because of the location, access is difficult for those with disabilities, although the ground floor and shop are easily accessed.

The Museum of London Museum of London is one of the world’s largest urban history museums and has over two million objects in its collection. Covering everything from London’s history, archaeology and contemporary culture, the museum is a fascinating collection of both permanent and temporary exhibitions. The Social and Working History sections give an insight into life in London throughout the ages, including the Earnest King collection of penny toys, exhibits covering all kinds of crafts and industry within the city and even exhibitions looking at the politics of each era. The museum is located in the heart of the City of London and entrance is free.

London's 10 best museums over the world and the latest addition in London has proved to be popular from the day it opened. Its beauty is that it appeals to anyone with a basic sense of curiosity. Admission prices are a little higher than other museums at £19.95 for an adult ticket, but discounted tickets are available via their website.

National Maritime Museum

Ripley’s Believe it or Not! - Tunnal

Kew Bridge Steam Museum A little further out of London, Kew Bridge Steam Museum is well worth a trip to the wilds of Middlesex! Easily accessible by public transport, the museum is a fantastic collection of some of the most important engineering and industrial heritage in the UK. Working steam engines are guaranteed to fascinate the children and there are plenty of knobs and buttons to play with to give them a fully interactive experience. The museum holds regular exhibitions throughout the year and is very educational for young and old inquiring minds alike. A yearly admission ticket is available, allowing the ticket holder to visit as many times as they like for the bargain price of £9.50 for adults. Under 16’s are admitted free but must be accompanied by an adult.

Ripley’s Believe it or Not! Described as an ‘Odditorium’, London’s Ripley’s Believe it or Not! Museum is an entertaining collection on five floors of the oddest and weirdest articles. Situated in the heart of the West End at Piccadilly Circus, the attraction features over 800 authentic, original and unbelievable exhibits, including a four-metre long model of Tower Bridge made out of matchsticks and an upside-down tea party. There’s also the world’s tallest man and a Mini Cooper encrusted with 1,000,000 Swarovski crystals. Ripley's Believe It or Not! is a unique blend of entertainment, education and fun for the entire family unlike any other museum in London. Ripley has Odditoriums all

The National Maritime Museum at Greenwich is spread over three sites: the Maritime Galleries, the Royal Observatory and the Queen's House. Together these make up a single museum that illustrates the importance of the sea, ships, time and the stars and their relationship with people. The Greenwich site is also the location of the Greenwich Time Meridian line, from which all other time zones are calculated. The UK’s strong maritime heritage is a vital component of the country’s history and the museum portrays this importance in a series of fascinating exhibitions. Entrance is free to all three sites.

The Old Operating Theatre The Old Operating Theatre is a glimpse into the beginnings of modern medicine, specifically modern surgical techniques. Situated in the roof space of St Thomas’s Church, the museum is located in Southwark, just south of London Bridge and opposite Guy's Hospital. The operating theatre is an accurate reconstruction of a 19th century surgical operating theatre and shows how surgical practices developed and changed over the years. Although it may sound a little gruesome, it is in fact an important aspect of modern life and one that will fascinate those interested in social history or the history of medicine. Entrance is £5.60 for adults and £3.25 for children under 16.

The Cuming Museum Between 1780 and 1902, several generations of the Cuming family travelled the world and collected over 25,000 artifacts from across the globe. Today the collection that they amassed consists of archaeology, British social history, ethnography, decorative art, geology, textiles, natural history, prints, coins, ceramics, ancient Egyptian and Etruscan objects. The museum, situated in Southwark, displays the exotic and wonderful collection and holds special events focusing on world culture and its relationship with the UK, including myths and folklore as well as more everyday aspects of life. Entrance is free. These are just a few of some of the best museums in London, and with such a wide and varied choice, there’s bound to be something to interest everyone.

Gallery at Cartoon Museum WWW.AAMBAL.CO.UK

Simple guide to

Karnatic music

- Amritha

Like the colourful history which elucidates India, music also has its own share as colourful as its history, which devours right into the very insights into some of its varied traditions and grammatical structure. Indian Classical music, as an entity, has evolved greatly over the years – and is still evolving, changing itself to meet the satisfaction of modern times embracing every possible opportunity and adapting itself to popular sentiment and political climate. Now let us tread through a passage of time encompassing the majestic history of Indian music.

ncient India in contrary to modern times, music played a significantly vital role in people’s lives. Our ancestors basked in the shades of music entirely in a Victorian way, unlike fresh techno gadgets such as the iPods which lingers music to the ears just by a touch which puts us on a whole new level. Greater percentage of the population (compared to these days) composed music, perfomed it and even did research upon it. People entirely dedicated themselves to music. Kings and queens patronized music and had adorned their court room with accomplished musicians.

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As Dr. Baghyalakshmi puts it, “The Kings went to sleep and woke up to music”. There were music competitions held every once in a while, which pitted one learned musician against another, the scale of complicated notes was so intense and of higher grade which modern day upcoming musicians wouldn’t dare qualify to enter. History is jam packed with a cocktail of legends and astonishing individual accomplishments. In this everlasting battle for pure, quality music typically very high standards were established. It took a musician several dedicated decades of meticulously studentship (typically in a

Gurukulam) before he or she could become an exuberant concert performer. In recent trends, all it takes is one summer and kids are out there performing music on stage. Early part of this century, witnessed people devoid of modern day ‘stress’ and ‘life on wheels’ style of living. Earlier concerts lasted all night and audience sat down bewitched to listen to the same raga being performed over six long hours without any whine. These days condensed pop versions of most alapana are available on CDs and tapes. However, the reason for this is because of the birth of the LP lead to shortage of time for the artists to record such alapana.

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Simple guide to Karnatic music

Throughout history, famous texts on music were more or less considered the 'Bibles' and the rules and formulations they spelt out were strictly adhered to and taught to students. One can always find the tiniest lead to Indian music in any Indian literature. Even in the Vedic times, elements of music were recognized and came under scrutiny. Mantras were chanted using selected notes. Initially only a few notes were used, but eventually to relieve the monotony, more notes were added. Sama Veda the most musical of the Vedas is almost ‘sung out’ even today. For most parts, the lower octave (mandra stayi) was employed. Music was considered divine and was kept in the selected social circles for most parts. The earliest ragam is speculated to be 'Shri Ragam', which is said to be the modern day Kharaharapriya. Theories and treatises began to be written - about how the primitive sound 'om' gave rise to the notes etc. At the birth of the Epic era, the ancients were entrenched in the seven notes used in Indian music as building blocks, namely Shadjam (Sa), Rishabam (Ri), Gandharam (Ga), Madyamam (Ma), Panchamam (Pa), Dhaivatam (Dha) and Nishadam (Ni). They are considered the 'sapta svarams' and explanations were abounding regarding their depth of meaning. The only factor which was subjected to change was the exact 'frequency' or pitch (in the octave) which was used to produce each of these notes. The relationship between sruti (frequency) and svarams (notes) has been the focus of several theoretical works on music through the ages written by Bharata. This is a WWW.AAMBAL.CO.UK

monumental reference for the Bharata Natya and other dance forms, but contains several chapters on music as well especially chapter 28. The date of this work is pegged somewhere between the second century BC to the second century AD. This is probably the first work which clearly elaborated the octave and divided it into 22 keys. Bharata based his idea embarked on a stunning scientific experiment he performed using his musical instrument (made of strings) which 'proved' that there could be only 22 basic frequencies that could be generated in an octave. He even located them in his octave and thus tuned his string instruments to these very rhythms. Not only did Bharata 'invent' the keys in an octave, he also gave some basic rules to scale building. He defined three major scales with the following shifts to choose seven keys out of 22: Scale 1: 4/3/2/4/4/3/2 (This is called Shadja Grama)

body could make. (This view was expressed again by another musicologist of the thirteenth century of name Saranga Deva in his famous work Sangeeta Ratnakara – in fact, Sarang Deva was an expert in ayurveda as well and goes on to give an ayurvedic basis for the 22 sruti octave) There were other seminal works such as Brahhaddesi (ninth century AD) written by Matanga. He probably takes the credit for the emergence of the term ragam, although the term had been used by authors before him. Matanga was the one who explained it and helped 'define' it.

”

It should be borne in mind that the ancient texts on music (and traditional karnatic music in general) are way, which is more complex and arduous than what I have elaborated. It is almost evident that there is very little that anyone can do than to contribute to Indian music theory. There’s a mind-boggling collection of historical written works contributed to music that exists in India – right from Vedic times till today. A great deal of it is extremely sophisticated and seminal that still racks through the brain pondering upon the every level of analysis. It is just mesmerizing just to read the first few lines and get lost in the word-maze of ‘Lakshana’, ‘Beda’, ‘Grama’ and so forth. These texts on music are as tenacious as texts on Indian philosophy and the degree of trance that is employed upon is found to be scary. Having in mind we have got our own share of mathematicaians and theoretical people in India the degree of innovativeness and inventory lies in the very blood which gave the worl d the concept of zero to many fascinating mathematical foundations for music. Although Sanskrit is the illegitimate basis of music (or music for that matter) can only hamper the paths our understanding of these marvelous texts. Suffice it to say there is an extensive elaborative framework on which the musical system is based.

There’s a mind-boggling collection of historical written works contributed to music that exists in India – right from Vedic times till today.

”

Scale 2: 4/3/2/4/3/4/2 (Called Madhyama Grama) Scale 3: 3/2/4/3/3/4/3 (Called Gandhara Grama) Here the word 'Grama' is simply a synonym for a scale. This kind of algorithm is subjected to similarity to the Western Major/Minor algorithms. In addition to these principal algorithms, the derivative progeny were the seven secondary 'scales' per algorithm - each of these derived scales was called a 'murchana' (literally meaning 'fainting'). From these murchanas, using some other rules, he derived even more scales which could have less than seven notes (called 'tanas') which eventually led to what could be called ragams. It isn't clear whether Bharata used the term 'ragam' in the sense it is used these days. The interesting point here is that, Bharata's theory has been pretty much the guiding principle for subsequent musicologists throughout history. Various theories were framed to understand the divine and religious nature of the seven notes. There were theories to assign each note to a body part which produce sounds, like nose, throat, stomach, head etc. Yet another intriguing theory suggested that the sounds of each note matched those of common animals like Sa for peacock, Ri for ox, Ga for Goat, Ma for crane, Pa for Cuckoo, Dha for horse and Ni for elephant. All this might sound very primitive but these theories quickly go into extremely complicated mathematical formulations. Some people have even suggested formulas to generate thousands of ragams. The next major work to hit the scene after Bharata's work was Dathilam. The exact period of this work is not firmly established. Here too, the author sticks to the 22 sruti per octave formalism and even goes to suggest these 22 srutis are the only ones a human

Interestingly, around the same time, the native South Indian music also dealt with terms like 'Pann', which can be construed as the South Indian equivalents of 'ragam'. Tevaram and Silappadhikaram describe several such 'ragams' and in fact, we have already seen that Ilango Adigal, the author of Silappadikaram has described the prevailing Tamil algorithms to build scales (called Ilikkiramam). It is quite possible that Ilango Adigal and the composers of Tevaram and South Indians in general were aware of the all pervasive work of Bharata's 'Natya Sastra' (Quite a lot of cultural exchanges took place between the South and the North, contrary to what we would like to believe now). However, these Tamil classics are major works in their own right and it is a pity that not too much of this is discussed in the context of history of Indian music, especially due to the large volume of musical literature in sanskrit. Sangeeta Makaranda, a book presumed to be written in the eleventh century by a person called Narada, enumerates 93 ragams and classifies them into masculine and feminine species. The next major work on music was Sangeeta Ratnakara written by Saranga Deva during the thirteenth century. Saranga Deva was a Kashmiri, but wrote his work while in South India. It was approximately around this time in history that the South Indian (Karnatic) music and North Indian (Hindustani) music bifurcated themselves and began to evolve in two different directions. (Dr. Rangaramanuja Iyengar, suggests the twelfth century as the cut off point, in an operational sense). Even now, the Dhrupad music practiced in the North India is somewhat similar in style to the South Indian Karnatic music. For example, in Dhrupad, they use a percussion instrument called Pakhwaj, (instead of Tabla) which is similar to the South Indian Mridangam. to be continued...

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à¼õ£‚A»œ÷ù. àî£óíñ£è ».âv.H H«÷ò˜èœ ñŸÁ‹ Ü¬ùõ¼‹ ÜP‰î ÜŠHœ èEQ GÁõùˆF¡ ÜŠHœ ä «ð£†, ä«ð£† ï«ù£ ñŸÁ‹ ä«ð£¡ à†ðì Þ‰î èü†èO¡ õK¬ê¬ò Ü´‚A‚ªè£‡«ì «ð£èô£‹. Þ‰î Þî› èEQ »èˆF™ cƒèœ âšõ£Á àƒèÀ‚° «î¬õò£ù ð£ì™è¬÷ Y®JL¼‰¶ (CD to MP3 Format) â‹.d ˆPò£è à¼õ£‚°õ¶ ðŸP ð®º¬ø M÷‚èñ£è W«ö î‰¶œ«÷£‹. Þ‰îŠ ðJŸC¬ò„ ªêŒõîŸ° àƒèÀ‚°

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http://www.apple.com/itunes

äKÎ¡v ä Ýó‹Hˆî¶‹. Üî¡ «ñ™ ð°FJ™ ñÂ‚èœ è£íŠð´‹. cƒèœ â®Ÿ¬ø (Edit) AO‚ ªêŒò¾‹.

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