Best of Chennai intro vol1

B E S T

O F

CHENNAI V o l u m e 1

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10 Best of Chennai

Page 96 - 109

Chapter 8

Page 88 - 95

Chapter 7

Page 80 - 87

Chapter 6

Page 70 - 79

Chapter 5

Page 62 - 69

Chapter 4

Page 44 - 61

Chapter 3

Page 30 - 43

Chapter 2

Page 12 - 29

Chapter 1

Contents

Best of Chennai Culture

Food & Dining Hotels & Hospitality

Business Spaces & Real Estate Engineering & Shipping

Education & Training Luxury & Lifestyle

Page 140 - 149

Chapter 12

Page 132 - 139

Chapter 11

Page 122 - 131

Chapter 10

Page 110 - 121

Chapter 9

Health & Wellness Media

Premier Clubs & Sports Social Responsibility

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Chapter 1

Introduction

The day starts early in Chennai; the rituals of bathing, worshipping, decorating the entrances with the traditional ‘kolam’ and the first cup of pure filter coffee are completed before the Sun God begins his blistering reign over the city. At sundown, the city begins to cool as an impish sea-breeze wafts in lightly.

Gowri Chandrasekaran is a three-time winner of the annual Mylapore kolam contest which is held on the day of the Pongal festival.

“There is no doubt that the culture of the Tamils belongs to the great and immortal treasures of the world’s civilisation.”

Prof Dr Kamil Vaclav Zvelebil, (1927 - 2009), Czech Indologist and author

Photo: Ramya Reddy

Best of Chennai

Gateway to the South With a population of eight million, this southern metropolis on the Coromandel Coast combines the best of technology and the rich core of Indian tradition. With each succeeding generation, the port city has added more layers to its unique identity, building a promising future from a proud legacy.

The Parthasarathy Temple in Triplicane, built in the 8th century, is one of the 108 holy abodes of Lord Vishnu. It is dedicated to his avatar as Lord Krishna, ‘Parthasarathy’ in Sanskrit means the ‘charioteer of Arjuna’.

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Photo: Ramya Reddy

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n the four centuries of its existence, Chennai has evolved from a colonial port town into one of India’s largest metros. A host of hardware manufacturing and automobile industries have flourished here, and the robust infrastructure has attracted leading IT firms to Chennai’s shores. Chennai is regarded as the cultural capital of the South, and has one of the most active music, theatre and art scenes in India; its film industry is the second largest in India, and its glitz and glamour add a unique aura.

The city’s colonial splendour is preserved in its magnificent public edifices.

Century-old beautiful cathedrals, government offices, railway stations and administrative buildings show the pride that its residents take in its history. Fort St. George, the first British fortress in India, now serves as the administrative headquarters for the legislature of Tamil Nadu, and has the oldest Anglican Church, the tallest flag mast and some of the oldest British tombstones in India.

The North is predominantly an industrial area while Central Chennai is the commercial heart of the city. South and West Chennai have been mainly residential, but are now home to a growing number of technology and financial firms as well as call centres. The city prides itself on its dedicated and talented workforce. Its automotive industry is one of the largest in the country, accounting for 60 percent of the country’s automotive exports.

Some of the big names that have set up shop in and around this city include Hyundai, Ford, BMW, Mitsubishi, Saint-Gobain, TVS, Ashok Leyland, Nissan Renault, TI Cycles, TAFE Tractors, Royal Enfield, Caterpillar, Caparo and MRF. Military vehicles are churned out at the Heavy Vehicles Factory at Avadi. The Integral Coach Factory manufactures railway coaches and other parts for the Indian Railways.

The Sriperumbudur Special Economic Zone (SEZ) is Chennai’s electronics manufacturing hub; almost every global giant has a presence here. The city is also the research and development base of many global telecom and biotech giants, and is the second largest software hub in India, next to Bangalore, contributing over 14 percent of India’s software exports worldwide. Large gleaming software technology parks now loom majestically over the cityscape, contrasting with Chennai’s older gracious colonial style buildings.

Leading international banks and financial institutions have large operations in Chennai, and several have their zonal headquarters here. Known for its good quality hospitals and healthcare institutions such as Apollo Hospitals, the largest private healthcare provider in Asia, Sankara Nethralaya, Sri Ramachandra Medical Centre and MIOT Hospital, Chennai is fast becoming one of the preferred destinations for medical tourism across the globe.

Stretching along 60 km of coastline, Chennai’s beaches are among the longest in the country. The city’s tourism industry is growing fast, with new spas, restaurants and resorts popping up along the East Coast Road (ECR). The ECR is a state-of-theart highway that cruises along to the old town of Mahabalipuram and to Chennai’s favourite neighbour, Puducherry.

Two more highways, the Old Mahabalipuram Road (OMR) and the Grand Southern Trunk Road (GST) have been developed along the lines of the ECR. The two recent jewels in Chennai’s crown are the exchange flyovers at Kathipara and Padi, making the City’s arterial and feeder roads among the most free-flowing and least congested in the country.

benchmarked educational standards much before many major universities even came into existence in India. The city is home to a large student population, with a large number of colleges dotting the city offering technical, arts and literature courses that are among the best in the country.

The famed Indian Institute of Technology, situated in a sprawling verdant campus in Guindy, produces some of the best brains in the country. The Connemara Public Library, built in 1890 is one of the four national depositor centres in India for all published material, and has been declared a UNESCO information centre.

Kodambakkam, in the heart of Chennai is the home of the stars. Kollywood the legendary movie industry has woven itself inextricably into the culture of the city. Tamil films, which along with Hindi films constitute India’s widest overseas film distribution, has seen the emergence of global personalities like Oscar-winning composer AR Rahman.

The city has an impressive record in several sports, although cricket is the most popular. It plays host to the ATP tennis event, the Chennai Open. It has a rich legacy in chess and has produced many well-known chess players, the most notable of them being Vishwanathan Anand, the current World Chess Champion. Motor racing is another long standing sport, producing outstanding racers like Narain Karthikeyan.

Chennai is known for its elegant silk saris of gorgeous hues and its cool cottons.

The eponymous Madras cotton, usually favoured in checked designs, is also known as Madras Check. This light, cool fabric, is ideal for the hot summers.

Chennai sources silks of vibrant hues from Kancheepuram, about 70 km from the capital. This temple town is the ‘silk city’ where over 5000 families weave silk saris, and some of them can trace back their roots to over 400 years. The saris are inlaid with timeless ethnic motifs of swans, peacocks and mangoes. The creation of a classic Kancheepuram sari can take as long as six months; two weavers work simultaneously - one works on the body, and the other creates the borders.

There are a few pockets in the city such as the narrow bustling alleyways of Mylapore and Triplicane that seem caught in a time warp of their own, with the quality and pace of life remaining unchanged for over a century. It is here that the conventional South Indian images of jasmine garlands, idlis, filter-coffee and temple gopurams live, prosper and abound.

Traditional music, dance and art forms are very popular. The months of December and January showcase music and art festivals that draw hundreds of performers and admirers (called rasikas), from across India to participate. It is of course best known for Bharatanatayam, a classical dance that originated in Tamil Nadu. The home of countless scientists, litterateurs, musicians and scholars, every lane in these two temple districts has a story to tell.

The hallmark of a successful city is its ability to preserve the old while constantly adapting itself to the new. Chennai’s success in commerce has allowed it to afford its citizens all the modern conveniences of a world class city. The modern glistening city is filled with malls, resorts, highways and high-tech offices that co-exist peacefully with the deep rooted cultural values of its people.

With its two equally alive and vibrant facets of tradition and modernity, Chennai reigns as the Queen of the Coromandel.

Chennai’s premier educational institutions are matchless. Madras University

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Fast facts Chennai is a city that has struck the ideal work-life balance. The thriving economy exudes a palpable buzz as its business barons and industrialists forge ahead, building steadily on Tamil Nadu’s growth rate of 12.1 percent. Equally visible is the mantle of heritage that cloaks this city where culture and customs are the leitmotif of the community.

Chennai’s markets bustle with activity.

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Photo: Yuvraj Vivek

Location The capital city of Tamil Nadu in South India, Chennai lies on the Coromandel Coast of the Bay of Bengal.

Geographic coordinates 13.09° N 80.27° E Population Eight million Linguistic groups Tamilians constitute a majority of Chennai’s population, while Telugu and Malayali communities are sizeable. The city’s steady development has drawn people from across the country, making the population quite cosmopolitan.

Religions Hinduism is practiced by 80 percent of Chennaiites, 8 percent of the population is Muslim, Christians comprise another 8 percent, and Jains, Parsis and Buddhists constitute the remaining 4 percent.

Languages Tamil is preferred, though English is widely known. Hindi, Kannada, Telugu, Malayalam and Urdu are also spoken.

Governing body The democratically elected Corporation of Chennai governs the city’s 155 wards; the government comprises a legislature (Legislative Council and Legislative Assembly), the executive and judiciary headed by the Madras High Court, whose jurisdiction extends across Tamil Nadu and Puducherry.

Political parties and leaders M Karunanidhi heads Dravida Munnetra Kazhagam (DMK), while J Jayalalithaa heads All India Anna Dravida Munnetra Kazhagam (AIADMK). Marumalarchi DMK, Dravida Kazhagam (DK), Tamil Manila Congress (TMC) and Rajiv Tamil Nadu Congress are the other parties.

Pioneering industrialists Dewan Bahadur AM Murugappa Chettiar of the Murugappa Group, Raghunandan Saran of the erstwhile Ashok Motors and K M Mammen Mappillai of MRF. Environmental issues Pollution and ground water depletion Natural hazards The tsunami in December 2004 altered Chennai’s coastline. The city is also prone to cyclones in the monsoon season.

Climate Chennai enjoys a tropical climate; monsoons extend from June to September, winters are from November to February and summer occurs between March and June, when temperatures can soar between 38°C (100.4°F) and 45°C (113°F).

Business days Mondays to Saturdays Country dialing code +91 44 Internet Code .in Currency Indian Rupees Exchange Rates Rs 51.6 for US $1 (as on March 10, 2009) Electricity 9000 MW in Tamil Nadu Major Annual Events January Arudra Darisanam Pongal February India International Leather Fair at the Chennai Trade Centre April Tamil New Year celebrations

The traditional folk dance Therukoothu is performed during Pongal Photo: S Badri Narayanan

December Chennai Open at SDAT Tennis Stadium The Chennai Dance and Music Festival Medical facilities Chennai has been pegged as an important centre for medical tourism. It has a strong medical infrastructure with 34 general hospitals and several specialty hospitals.

Banks Over 60 national and international banks have a presence in Chennai. Working hours are usually between 9.30 am and 3.30 pm on weekdays and 9.30 am to 12.30 pm on Saturdays.

Media Chennai’s print media comprises eight major newspapers in English and Tamil and over 30 magazines. Television is dominated by privately owned regional channels, of which Sun Network commands the second-highest viewership share in the country.

Local time IST. Chennai is five and a half hours ahead of GMT.

Clothing Light cottons and linen are recommended for the hot and humid climate.

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Genesis Ancient Chennai lay in the province of Thondaimandalam, which stretched between Nellore and Cuddalore, with its capital at Kancheepuram. The region contained the ancient villages of Thiruvallikeni (Triplicane), Thirumayilai (Mylapore), Thiruvanmiyur and Thiruvotriyur, all integral parts of modern day Chennai. St.Thomas, the apostle, is said to have preached here atop a hillock, now called St.Thomas Mount, between the years 52 and 70 CE. The relics of the Saint, interred in the San Thome church near Mylapore, are believed to possess miraculous healing powers.

Built in 1504, the Santhome Church rests on the tomb of the Apostle St. Thomas

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Photos: Ramya Reddy

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egend has it that Ilam Tiriyan, a representative of the Cholas at Kancheepuram, seized Thondaimandalam in the 2nd century AD from the Kurumbas who originally inhabited it. Power over the region changed hands several times in the centuries to follow. The Pallavas ruled the region from the 3rd to 9th century AD, followed by the Cholas until the 13th century. The Pandyas ruled again briefly for about half a century, soon to be vanquished by the Bahmani Kingdom under the Delhi Sultanate. In 1361, Thondaimandalam was annexed to the Vijayanagar Empire by Kumara Kampana II, son of the Vijayanagar emperor Bukka I. The earliest European settlers in the region were the Portuguese, who built a port and named it São Tomé (modern day Santhome) after St. Thomas. The port subsequently passed into the hands of the Dutch, who established themselves at Pulicat, north of the city, in 1612. The British East India Company arrived soon after and established a Calico Cloth factory in Armagon, a village 35 miles north of Pulicat, in 1626.

It was around this time that Francis Day, an agent-in-charge of the East India Company’s Calico Cloth shop in Armagon, set off on an exploratory mission down the coastline in search of a region that produced better cloth for trade. In 1637, he selected a three-mile sandy strip of land south of Armagon, to start his new factory.

The area contained the fishing village of Madraspatnam, and in the words of Day, produced “excellent long Cloath and better cheape by 20 percent than anywhere else”. Local gossip at the time however, seemed to suggest that Day’s selection of Madraspatnam was influenced by the location of his mistress in the Portuguese settlement of São Tomé nearby, in order that “their interviews might be the more frequent and uninterrupted”!

Irrespective of Day’s actual reasons, his decision was supported by Andrew Cogan, his superior officer and chief of the factory at Masulipatnam. And so, on August 22, 1639, Day secured the lease of the three mile strip of Madraspatnam from Darmarla Venkatadri Nayakudu, the local governor of the Vijayanagar Empire. On April 23, 1640, with the assistance of his interpreter (dubash) Beri Thimmappa Chetti, Day began the construction of Fort St. George, the first British fortress in India, and the nucleus around which modern day Chennai grew. The Fort still stands today, and houses the Legislative Assembly of the state of Tamil Nadu.

The Fort, together with the houses built for British officers constituted ‘White Town’, while labourers, dyers and weavers settled into ‘Black Town’ nearby. By 1750, the neighbouring villages of Narimendu, Triplicane, Kottivakkam, Nungambakkam, Egmore, Mylapore and several others were annexed by Francis Day’s successors through grants approved by the Nayaks of Chandragiri.

The origin of the name of the little fishing village of Madraspatnam remains a mystery to this day. Though the name sounds alien to the Indian ear, it was not coined by the British. Legend has it that the village was named after Madarasan, the chieftain of the village, whose banana grove was chosen as the location of the fort. Many historians however attribute the name of the village to the church of Madre de Deus, located in the Portuguese settlement of San Thomé, nearby. Another theory is that the village was named after a Muslim madrasa or religious school that was said to have existed in the region.

While the original tract of land allocated to Francis Day did contain the village of Madraspatnam, another village called Chennapatnam lay to the south of it, named after Damarla Chennappa Nayakudu, the father of Damarla Venkatadri Nayakudu.

Based on land records of the time, it is probable that Fort St. George was built in

The Chennai Government Museum in Egmore, established in 1851, has sections devoted to art, archeology, anthropology, numismatics, botany, zoology and geology.

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Madras University, whose domes are seen on the right, is the mother of all southern universities.

Chennapatnam, though the two villages rapidly merged together soon after. The English continued to call the united villages Madraspatnam, while the locals chose to call them Chennapatnam.

In 1746, Fort St. George and Madras were captured by the French under General La Bourdonnais, but was returned to British power three years later, through the treaty of Aix-la-Chapelle. Now in full control of the city of Chennapatnam, as it was known by the locals then, the British established a naval base and built a harbour. With Madras as their administrative centre, they fought several wars, notably with the French at Wandiwash, with the Danes at Tranquebar and with the Kingdom of Mysore, led by Hyder Ali and his son Tipu. By 1780, the British had gained dominance over vast portions of Southern India and established the Madras Presidency with its capital at Madras.

The city became a major centre for trade between India and Europe by the end of the 18th century. Elihu Yale, after whom Yale University is named, was the British Governor of Madras for five years and established Yale University using the fortunes that he amassed while in colonial government service here. Thomas Parry set up one

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of the country’s oldest and most respected mercantile companies here in 1788. John Binny established the famous textile house Binny & Co in 1814. Spencer and Co, Asia’s largest departmental store at the time, was established in 1864. Several other notable British companies joined suit, leading to the formation of the Madras Chamber of Commerce, the Madras Trade Association and finally, the Madras Stock Exchange in 1920.

Madras remained the administrative centre of the Madras Presidency even after independence. State reorganisation followed, and it continued as the capital of Tamil Nadu. Attracted by its booming commerce, many trading communities migrated to the city from all over the country. Artisans, musicians, dancers and craftsmen from the corners of India flocked here as well in the early part of the 20th century, and the city is now regarded as a major centre for the arts in the South. Madras was renamed Chennai in August 1996, after the village of Chennapatnam, in deference to local sentiment.

Named after the Governor General of India, Lord Rippon, the Rippon building was built in 1913. It houses the offices of the Chennai Corporation.

The Madras High Court was one of the three High Courts in India established by Queen Victoria in 1862, and is the highest judicial body in Tamil Nadu.

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Best of Chennai

Soul city As planes swoop down over Chennai’s Guindy district in their final manoeuvre towards the airport, passengers catch a glimpse of St. Thomas Mount, the hillock on which the Apostle resided after he touched Indian shores in 58 AD. It draws lakhs of pilgrims each year.

Tourists unfailingly climb the 135 steps to its top, to see the historical city’s rhythms play out before them. The city has plenty of interesting sights for the curious traveller.

The gopuram of the over 300-year-old Kapaleswara temple is a landmark in Mylapore.

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ne of Chennai’s most popular sights is the unusual snake park, beside the Guindy National Park. It houses snakes, lizards, crocodiles and turtles in wellmaintained, generous enclosures, and is an important centre for the captive breeding of endangered pythons in the country.Set in sylvan grounds on the banks of the Adyar river, the Theosophical Society’s international headquarters is an oasis of tranquillity and intellectual quest. The grounds are known for one of the largest banyan trees in the world - the Adyar aalamaram with a span of 40000 sq ft. Embodying the philosophy of unity and equality, the grounds have Hindu and Buddhist temples and a church; rare books and manuscripts are treasured at the old library, and it is a centre for discourses and comparative study of religions and philosophies.

In the thickly populated Brahmin stronghold of Mylapore, the heart of traditional Chennai, is the iconic Kapaleswara Temple, an emblem of Dravidian temple architecture. The 8th century Pallava temple is the oldest and one of the most sacred Hindu shrines, and is dedicated to an incarnation of Lord Shiva, Kapaleswara.

With its distinctive 37 metre tall gopuram, the temple also has several smaller shrines. The serene atmosphere of the temple gains vibrancy during the annual 10-day celebrations with colourful kolams and music, which draws both the devout and tourists in equal numbers.

Not far away, is the Parthasarathy temple. Built in 700 AD, it celebrates Lord Krishna as Parthasarathy, the ‘charioteer of Arjuna’. This temple in Triplicane is a legacy of the Pallava dynasty, though it has been renovated by other dynasties. The sakkara pongal (sweet rice) is a favourite prasadam at this Vaishnavaite temple with its vast tank and elaborate temple spire.

Further ahead is Fort St. George, which is the seat of power in the State today, housing the Legislative Assembly of Tamil Nadu. The first British fort in India, Fort St. George was built in 1653 by the British East India Company, and fuelled urban growth by acting as a trading centre.

The imposing High Court was built in 1892 near Parry’s Corner. Off the bustling NSC Bose Road, and near the High Court, on Armenian Street, solid large wooden doors lead into the only Armenian Church in India. Called the Armenian Church of Virgin Mary, it is one of the oldest churches in South India. Its long winding stairs take you to a view of the six bells; the largest and heaviest in Chennai. Part of the open area is paved with old Armenian gravestones.

The bells of the Armenian Church have announced the start of prayers every day since 1772.

Photos: Ramya Reddy

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Flourishing under the branches of the 450 year old banyan tree, one of the oldest in India, the Theosophical Society expounds the unity of mankind and a common search for truth.

Established in 1851, The Chennai Museum is considered one of the country’s best. This landmark in the Egmore area of the City has several prized possessions including relics from the second century Buddhist sites at Amravathi, and a fine collection of ancient bronzes.

The National Art Gallery at Egmore was built in 1906. The building itself is a work of art and a storehouse of India’s legacy - 10th and 13th century bronzes, 16th and 18th century Rajasthani and Mughal paintings, 17th century Deccani paintings and 11th and 12th century Indian handicrafts.

Adjacent to St. George’s Cathedral on Cathedral Road are the gardens of The Horticulture Society. Started in 1835, the gardens extend over an area of 22 acres and are a verdant retreat in a bustling city. Valluvar Kottam, not far from The Horticultural Society honours the acclaimed Tamil Poet, Thiruvalluvar, whose classic work of 1330 kurals (couplets) are about 2000 years old. This 1976 building recreates ancient Tamil architecture with the 1330 verse kurals inscribed on panels. The outer structure in stone is a replica of the temple car of Thiruvarur in southern Tamil Nadu. With its ochre reflection in the adjacent pool, this sight is both majestic and heart-warming.

Kalakshetra, or Temple of Arts, occupies 100 pristine acres in Thiruvanmiyur.

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This premier school for dance, music and fine art established in 1936 by Rukmini Devi Arundale, a member of the Theosophical Society, has produced some of the country’s finest dancers and artistes. Its campus, centred around a banyan tree, resonates with creative energy, as India’s rich artistic heritage is passed and reinterpreted in a contemporary context.

Strains of Carnatic music meld together at the Music Academy on TTK Road.

Established in 1927 to stimulate interest in and encourage Indian music, it holds the highly anticipated Music Festival annually in December, which music lovers refer to the month as Margazhi, or music season.

Amir Mahal is the residence of His Highness Nawab Mohammed Abdul Ali Azim Jah, the eighth Prince of Arcot, scion of a family that traces its lineage from the Second Caliph of Islam, Hazrath Omar Bin-Khattab. Few residents of present day Chennai know that the land for the construction of the Kapaleeswarar temple tank was donated by his ancestors. The Prince is glad to share the less-known fact that, “Every year, on the 10th day of Mohurram, the Hindus allow the Muslims to dip their panjas (the sacred symbol of the hand) in the waters of the tank.”

Located on sprawling grounds of 14 acres, the 70-room Amir Mahal was built in

1789, and is home to 600 people. Wallajah Road, Chennai’s arterial road adjoining the Chepauk Stadium, is named after one of the most liberal and philanthropic rulers of the Arcot family, Muhammad Ali Wallajah, Nawab of the Carnatic.

The tall minarets of Dargah-e-Hazrath Syed Moosa Shah Qadri Baghdadi, popularly known as the Mount Road Dargah are not only beacons for people of all faiths, they are also a reference for the entire landscape of Mount Road and its environs.

Hazrath Syed Moosa Shah Qadri Baghdadi (RA), said to have great healing powers, arrived from Baghdad Shareef in the middle of the 17th century and lived at the site of the Dargah. When he died, he was buried next to his house and here his family raised the Dargah Shareef. The sick from all over the country flock to the Dargah, hoping to be healed. Among famous worshippers are Oscar winning musician AR Rahman and the Prince of Arcot.

Legend has it that when a British engineer ordered the shrine to be demolished for road-widening, blood spurted from the soil at the first attempt at excavation, and his workmen refused to proceed with the work. When the engineer forced them to resume work, he is supposed to have dropped dead the moment trenching began again. The Dargah Shareef, looked after by the descendants of Hazrath Syed Moosa Shah Qadri Baghdadi (RA) from the time his Dargah was raised, is however, only a part of the campus today.

Dominating it in recent times has been one of the largest mosques in South India, with a 100 ft tall minaret. The five-storeyed Makkah Masjid, with its five 5000 sq ft halls that can accommodate 5000 worshippers at a time, is a landmark.

On the way to Mamallapuram, about 35 km south of Chennai on the scenic

St. Mary’s Church houses the earliest register of baptisms, marriages and burials in India.

Spanning 12 km, Marina Beach is India’s longest beach.

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is a haven for artists. Only 18 km from Chennai city centre, and easily accessible from Mamallapuram, the sprawling 10 acres were set up in 1964, in what was then abandoned and sparsely populated land. Cholamandalam is both a permanent gallery and an open-air theatre. One can meander through the constantly changing display of stone sculptures and bronzes, and also buy pieces. Or, watch a dance, music or theatrical performance. About nine km from Chennai, Cholamandalam is named after the regional dynasty of kings, the Cholas, who were patrons of the arts.

Today, there are small cottages which serve as the residences and studios for artists.

Cholamandalam has evolved into a retreat, a community, where artists thrive in a tranquil but invigorating atmosphere.

In the verdant crafts village of Dakshinachitra, the emphatic chime of a dancer’s anklet, or the deep resonance of a conventional drum are echoes of the past that drown out the present. En route to Mamallapuram, 30 km from Chennai, it is located in Chingleput, and was established by art historian Deborah Thiagarajan in 1988, to preserve the artistic legacy of South India.

The heritage centre is a microcosm of the southern states of Tamil Nadu, Kerala, Andhra Pradesh and Karnataka. Cast in the mould of a village, Dakshinachitra’s streets are straight out of the 19th century. It presents tradition as a living, tangible experience; in its carefully restored spaces, cultural heritage has contemporary appeal.

There are many ways to embark on Dakshinachitra’s cultural odyssey. Visitors purchase and participate in traditional crafts, and are treated to performances by folk artistes. Leather puppet shows and glass blowing techniques are frequently exhibited.

Dakshinachitra educates urban and rural children in the arts, and offers an internship diploma in association with the Madras Craft Foundation Institute of Arts Management, to ensure that the wealth of tradition is transferred to the succeeding generations.

Poetry in stone and sand, Mamallapuram, 58 km south of Chennai has always been a favourite haunt for locals and tourists. The silvery beaches with their rock-cut sculptures are often called ‘open air museums’. Meaning ‘brave wrestler’ and named in honour of the King Narasimha Varman I, sailors referred to Mamallapuram as Seven Pagodas. First described by British traveller J Goldingham in 1798, the bas relief and rock-cut temples are exquisite examples of seventh and ninth century Pallava art.

The Pallavas were great patrons of art and poets; artists and craftsmen thrived in their reign. The tsunami of 2004 uncovered several more animal sculptures in this UNESCO world heritage site. Archaeologists and historians guess that the structures could be the remains of an ancient and once-flourishing port city in the area of this 1200-year-old rock-hewn temple.

The Ashtalakshmi temple built in 1976 celebrates the eight manifestations of Goddess Mahalakshmi.

East Coast Highway lies the Crocodile Bank. Run by the legendary herpetologist and conservationist Romulus Whittaker, it houses about 5000 species over 3.2 acres.

The crocodile conservation centre is the largest croc-breeding site in India, and has produced more than 6000 crocodiles.

On Marina Beach, the world’s second largest beach stretch in a city, Chennai pays homage to its WWII heroes with the Victory War Memorial.

Similar in intent to the traditional gurukul, the Cholamandalam Artists Village

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It is, in many ways, a reflection of the city itself. Chennai is where tradition is sustained through modern interpretation. It is one of those cities that one comes to understand and love deeply by uncovering each layer, which often intersect in its people and places. Centuries old and steeped in a passionately preserved culture, it is a city with a deep, often transcendental, soul.

The breathtaking edifices of Mahabalipuram have braved storms for centuries, welcoming sailors to Indian shores.

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The road ahead Keeping pace with Chennai’s escalating growth curve, the government and educational institutes have scheduled projects that address infrastructural requirements and power the city’s potential to play a leading role in India’s march towards the future.

Infrastructure projects ensure that the city sustains conventional industries and stimulates new growth.

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Chennai International Airport India’s first ISO 9000 certified airport is slated for an upgrade, with the Airports Authority of India (AAI) allotting Rs 2700 crore (US $522 million) towards the expansion of the Chennai airport into the largest in South Asia and the greenest in India. The government has acquired 1070 acres of land in the Manapakkam, Kolapakkam, Kerugambakkam and Tharapakkam in Sriperumbudur taluks; soon to come are a second runway, more taxiways, aprons, new passenger handling buildings, a parking garage with a green roof and rainwater capture systems.

Two gardens spanning an acre each will flank the terminal. The 139931 sq ft Kamaraj Domestic Terminal, which currently handles 4.74 million passengers a year will be revamped with sustainable technologies to host twice as many passengers in a three storey structure spread across 781460 sq ft. The plans will be executed by the winners of the Chennai International Airport Competition, New York-based architects Frederic Schwartz Architects, Hargreaves Associates and Gensler.

Satellite launch Chennai’s Anna University has partnered with the Indian Space Research Institute (ISRO) to launch the Anusat, a micro educational satellite and the first to be built by an Indian educational institution. It was developed over six years by Anna University students and researchers under ISRO’s guidance. It was launched by ISRO’s Polar Satellite Vehicle (PSLV-C12) on April 20, 2009.

The 50 kg Anusat will be in the low earth orbit. The data obtained from the satellite will be used for drought monitoring, wasteland management, urban planning, mineralogical mapping, flood-risk management and management of National Natural Resources Management System (NNRMS).

www.annauniv.edu

www.chennaiairport.com Chennai-Maduravoyal elevated highway In January 2009, the government flagged off the elevated road project from Chennai Port to Maduravoyal on National Highway 4, which at 19 km is the longest elevated corridor project in the country.

It will facilitate swift and continuous dispersal of freight in and out of Chennai Port to other parts of the country via the Golden Quadrilateral corridor, which links Delhi, Mumbai, Kolkata and Chennai through a series of four and six lane express highways spanning 5846 km.

The project is aimed at providing an impetus to the transport sector, encouraging trade and integrating the economy. It is significant because it relates economic growth with local development; 12000 families of the weaker sections in this area will be rehabilitated, and the adjacent river Cooum will be beautified.

This four lane road is being constructed by National Highways Authority of India on a build, operate and transfer (BOT) basis, while the Government of Tamil Nadu and Chennai Port Trust have agreed to share equally the cost of land acquisition, and rehabilitation and resettlement of families from lower socio-economic backgrounds.

www.nhai.org Network of flyovers The upsurge in the IT and ITES sectors, along with Chennai’s role as a gateway to India, has ushered in a population growth resulting in a demand for greater infrastructure. Chennai’s traffic density, will be regulated by a series of flyovers in Perambur, Turn Bulls Road-Cenotaph Road, Rangarajapuram Level Crossing, Kathivakkam Level Crossing, Mint Junction, Vysarpadi-Ganesapuram subway, Villivakkam Level Crossing, and vehicular subways at Maniakara Choultry Street off Old Jail Road and Jones Road Level Crossing in Saidapet. Additionally, the causeway at Saidapet will be replaced by a high level bridge. The flyovers along North Usman Road-Mahalingapuram Road, South Usman Road-Duraisamy Road and G N Chetty Road-Tirumalai Road are already operational, and the government is currently sourcing land for the other projects, which are expected to be inaugurated in 2010.

www.tn.gov.in ISRO’s PSLV-C12 launched the Anusat

Photo courtesy: ISRO

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Chapter 2

Culture

The fount of Carnatic classical music and Bharatanatyam, the most important of the eight classical dance forms of India, Chennai is also a treasure trove for lovers of art and culture.

Renowned Bharatanatyam dancer Chitra Visweswaran with her students at the Chidambaram Academy of Performing Arts

“You must understand the whole of life, not just one little part of it.

That is why you must read, that is why you must look at the skies, that is why you must sing and dance, and write poems and suffer and understand, for all that is life. �

Jiddu Krishnamurti (1895 - 1986), philosopher Photo: Ramya Reddy

Culture

ExpertSpeak

Chitra Visweswaran

Evolving as a part of the ritual of worship, Bharatanatyam, the foremost of the eight Indian Classical dances, has deep roots in the fertile soil of the Cauvery delta. Originating in temples, dance flourished under royal patronage. Showing remarkable adaptability, it thrives as a much appreciated art form in contemporary times.

“C

lassical dance originally formed part of the ritual of worship in the temples of South India. Ancient Puranic texts mention the offering of dance and music along with the chanting of Vedas, offering of flowers and rajopachaara as part of the rituals. This offering was also known as upacharanai. Dance and music of this category was performed by the devadasis or servants of God. The practice of dedicating a daughter to a temple was prevalent in society. Historical documents state that there were as many as 400 temple dancers dedicated to the Brihadishwara (Siva) temple in Thanjavur in the 11th century AD. The magnificent rulers of South India, be it the Pallavas, Cholas or Marathas, were great patrons of art, which thrived under them in myriad manifestations. It was during the Maratha rule that Thanjavur became the cradle of South Indian classical dance and music. The present margam or format of presentation in Bharatanatyam was born in the court of Thanjavur and was formulated by four brothers, popularly known as the Tanjore Quartet. The villages of Vazhuvoor, Pandannallur, Tiruvidaimardur and the town of Thanjavur itself were amongst the main centres that came to be known for great gurus and dancers. The dance emanating from each centre came to be identified with the name of the place and the bani or sub style of Bharatanatyam came to be known by it.

When temples lost their ability to support the arts, dance very naturally followed patronage into courts of royalty. Some of the gurus or teachers of this art form were extremely learned and several of the devadasis were women of great integrity, learning

Dancer

and pride. But, as with everything else, negative elements crept in and the institution of devadasis started being looked down upon. As the power of royal dynasties waned, so too did their patronage. Political and economic power shifted to Chennai and dance also moved out of the Cauvery delta region into the city.

The move to the city also marked a change in the common perception of dancers. Till such time, women from so called ‘good’ families did not dance and were not even allowed to see dance performances. Change gradually set in and it was E Krishna Iyer and Rukmini Devi Arundale who were instrumental in removing the stigma attached to it. The dance style which was earlier called sadir, chinnamelam or daasi aatam was resurrected, infused with new spirit and made acceptable as ‘Bharatanatyam’. It is now a matter of great pride for all families to have at least one dancer within it.

With the end of the British Raj, the artistic base shifted along with political and intellectual power shifts. With fierce nationalism and Indian governance coming in, Indians were striving to find their own identity. In this quest several national academies and institutions, such as, Kalakshetra (in Chennai), Kalamandalam (in Kerala), Shantiniketan (in West Bengal) were set up. In addition, great gurus viz. my own guru Vazhuvoor Ramaiyya Pillai, Thanjavur Kittappa Pillai, Muthiah Pillai, Tiruvidaimarudur Kuppiah Pillai and family, including his disciple TA Rajalakshmi (my first Bharatanatyam guru), Pandanallur Meenakshisundaram Pillai, amongst others, moved out of what is now ‘mofussil’, but what was then the heart of the arts. They contributed to the rediscovery of a sense of Indian-ness, even as they moved the centres of art to metros.

Bharatanatyam remains popular in contemporary times as it is a communicative language that can be used to express any idea, old or new. It has a rich vocabulary and allows for interpretation at several levels. It remains relevant because of the interpretative skills of practitioners who have contributed greatly and continue to do so to keep it alive and interesting. Some of the noteworthy names are Kamala, Vyjayanthimala Bali, Yamini Krishnamurthy, Padma Subrahmanyam, Sudharani Raghupathi, CV Chandrasekhar, the Dhananjayans, Lakshmi Viswanathan, amongst others.

Bharatanatyam today co-exists with contemporary dance which seeks inspiration from many a discipline. Chandralekha and today, Anita Ratnam in Chennai, are noteworthy for their contribution to contemporary dance. In summary, there is an audience for anything that is thoughtfully conceived, aesthetically performed and well-produced.”

The painted feet of the dancer highlights intricate footwork of the Tribhanga.

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Photos: S Badri Narayanan

A leading exponent of Bharatanatyam, Chitra Visweswaran was awarded the Padma Shri by the Government of India in 1992, the Kalaimamani award by the Government of Tamil Nadu in 1982 and the Central Sangeet Natak Akademi award in 1987.

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Culture

ExpertSpeak

PC Ramakrishna

Traditional Tamil theatre has a strong base in rural Tamil Nadu. In urban Chennai, contemporary English theatre is flourishing. Its leading light is The Madras Players that has been serving up theatrical fare in English since the 1950s.

Theatre person

T

he Group performs English and Indian playwrights in equal measure. A newer addition to the theatre scene is Evam, founded in 2003, and nominated as one of the Tata NEN Hottest Startups in 2008. Determined to make theatre a paying proposition, the Group has had 225 shows of 16 plays across the country over the last five years with a turnover of Rs 1.6 crore (US $318000).

“Tamil theatre has its origin in Therukoothu or rural story drama performances. Structurally, stage plays can be dated to the productions of The Madurai Boys Company and to the great Nawab Rajamanikkam, who introduced Spectacle theatre on stage, later emulated by RS Manohar.

Pioneers of the Tamil stage were TKS Brothers, SV Sahasranamam, Poornam Viswanathan, YG Parthasarathy and others.

Therukkoothu performances are still very much in vogue in the rural areas. Urban Tamil theatre has yielded to the lure of TV serials though groups like Koothu-P-Pattarai, led by Na Muthusamy, try to keep Tamil theatre alive.

The Madras Players, with 53 years of continuous existence are the oldest English theatre group in India. Chennai based playwrights like Girish Karnad (now in Bangalore), Tim Murari, Chetan Shah, Shreekumar Varma, Anupama Chandrasekhar, Gowri Ramnarayan, Sabitha Radhakrishna, among others have contributed to the English theatre movement.”

PC Ramakrishna is a doyen of theatre and former President of The Madras Players, the oldest theatre group in India.

PC Ramakrishna in Madras Players and MTC Production’s ‘Mercy’, an English adaptation of a Tamil novel by Sivasankari, directed by Mithran Devanesan.

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Photo courtesy: The Hindu

ExpertSpeak

TN Seshagopalan

The fount of classical Carnatic music, Chennai has a rich tradition of music which is constantly evolving. The city has also nurtured Western classical music, and Tamil film music is an amazing fusion created by talented composers. This refreshingly different strain has found a niche in mainstream Indian cinema which the world has begun to appreciate.

Musician & Composer

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arnatic music is the confluence of many sources, though the ancient sacred texts, the Vedas, are considered to be the origin. Music flourished in the ancient capitals of Vijayanagara and Thanjavur, patronised initially by temples and later on by royal courts.

The genesis of Carnatic music from 2nd to 13th century is traced in Sangita Ratnakara, the authoritative 12th century musical treatise of Sarngadeva (1210-1247). Its 5000 Sanskrit couplets comprehensively cover Swaras, Ragas, Prabandhas (musical form of this period), Tala-vadyas (percussion instruments) and Gamakas (ornamentations). Two other works, Sangeeta Sara, attributed to Vidyaranya (1320-1380) and Swaramela Kalanidhi by Ramamatya are milestones in the development of Carnatic music, for their formal classification of ragas and elucidation of techniques.

After the 12th century, music devolved into Hindustani and Carnatic forms and evolved separately. Carnatic came to represent the South Indian Classical Music. The three great composers of Carnatic music, Syama Sastri, Tyagaraja and Muthuswami Dikshitar were born during the 1700s. Called the Musical Trinity, they set to tune new compositions and evolved many new musical forms such as the Varnam, Kriti, Padam, Javali, Tillana, and Swarajati.

In the early part of the 1800s, Ghanam Krishna Iyer, Vina Kuppayyar, Subbaraya Sastri, Swati Tirunal added to the vast repertoire of Carnatic music, which was further enriched a few years later by Subbaraya Sastri, Gopalakrishna Bharati, Patnam Subramanya Iyer, Mysore Vasudevachar, Koteeswara Iyer and more recently by Muthaiah Bhagavatar and Papanasam Sivan.

The most singular factor in the 19th century was the breakthrough achieved by women artistes. MS Subbulakshmi, with her contemporaries DK Pattamal and ML Vasanthakumari were the trailblazers in breaking the male-stronghold of music; and fondly referred to as the female trinity of Indian music.They sparked the emergence of a host of women musicians who along with their male counterparts like Balamurali Krishnan and S Rajam have been popular performers in the 20th and 21st centuries.

Today Carnatic music thrives on encouragement by organisations and corporate sponsors. In Chennai, music sabhas and theatre companies offer a host of concerts, plays and recitals every evening. Major temples host regular concerts or kacheris, especially during festivals. The cool month of Margazhi (Dec-Jan) is Chennai’s official music season, the joy of connoisseurs. Initiated by the Madras Music Academy in 1927, it features music and dance concerts, lecture-demonstrations and performances by top artistes from around the country.

Photo: Ramya Reddy Grammy winner Vikku Vinayakram, the maestro of ‘ghatam’ (claypot used as a percussion instrument), is one of Chennai’s foremost musicians who straddles the traditional and contemporary music worlds with rare elan.

“All the systems in music have been built on the powerful base of melody and rhythm. Even though the approach, purpose and evolution has been different for each system, the ultimate aim is to feel and make the audience sense divinity through music” - Madurai TN Seshagopalan, Padma Bhushan awardee, plays a variety of instruments including the veena, and the harmonium, and is also a harikatha exponent.

Chennai’s colonial past has left it with a rich legacy of Western classical music and several musicians play rock and jazz-fusion music, exemplified by percussionist Sivamani and bass guitarist Keith Peters. The film industry has produced some of the best film music in India, incorporating symphonic interludes and intricate accompaniments. Ilayaraja, one of the country’s leading composers in the ‘80s and ‘90s, was the first Indian composer to score an entire symphony.

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MS Subbulakshmi, the soul of Carnatic music

Photo courtesy: The Hindu

South India’s wake up call is the suprabatham, the morning hymn of Hindus. It has become almost synonymous with MS Subbulakshmi (1916-2004) whose voice is the embodiment of faith in all its purity. MS was an exceptionally gifted Carnatic vocalist who was equally

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proficient in Hindustani. A versatile singer and actor, she broke into the male-dominated music scene. She was awarded the Bharat Ratna, India’s highest civilian honour.

AR Rahman, arguably India’s favourite composer, has composed music for several Bollywood and Tamil films and won a slew of international awards for the music of Slumdog Millionaire including the Golden Globe, and two Oscars, for Best Original Score and Best Original Song at the 2009 Academy Awards.

Photo courtesy: G Venket Ram

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Culture

ExpertSpeak

Achuthan Kudallur

From the kolams that adorn freshly washed doorways to the spectacular sculptures in the numerous temples, from the vibrant hues of rustic deities to the exquisite motifs woven into splendid saris, art is celebrated every day in Tamil Nadu.

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hennai has produced artists of renown – the late Adimoolam and KCS Panicker, who was a key player in setting up the artists commune at Cholamandalam, PV Janakiraman, RB Bhaskaran, P Gopinath, C Douglas, the late Dhanapan, the late Redappa Naidu, RM Palaniappan, George K, N Ramachandran, P Gopinath, Premlatha Seshadri, Kumaresan, Rajshekhar Nair, Benitha Perciyal, M Siva, the multi-faceted Thota Tharrani and photographers Sharad Haksar, Varun Gupta, G Venket Ram, Monika Ghurade and Bharath Ramamrutham.

“Art in Tamil Nadu has been around almost forever; you only have to look at the sculptures on the gopurams of temples and the ayanars in villages (each village in Tamil Nadu has an ayanar, the diety who safeguards them). One could say that art grew from these early practices.

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Artist

The terracotta figurines of elephants or horses that are placed in front of the ayanars have had a lasting impression on almost all artists of Tamil Nadu. You can spot stylised interpretations in the background of most works of art.”

Born in 1945 in Kerala, National Award winner Kudallur has spent the formative years of his life as an artist in Chennai, which has encouraged several artists from around the country.

An abstract painter, Kudallur is almost entirely self-taught. His brilliant interpretation of colour is “inspired by the power of Van Gogh’s yellow”.

A stone sculpture at Mamallapuram

Photo: Ramya Reddy

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Culture

ExpertSpeak

Sivasankari

The Tamil language has a living history which is nearly 3000 years old and its literature dates back 2000 years. Tamil literature is continually enriched by writers who use diverse literary forms: novels, short stories, novellas, poetry, prose-verse, self-improvement, spiritual and biographies. Chennaiites were among the first to start blogging in the country, and the city is known as India’s Blogging Capital.The reading habit is strongly engrained and as the over 300 small and large publishing houses in Chennai will testify, people like to buy books.

“T

hough it is very difficult to pinpoint the genesis of Tamil literature, we can consider the early Sangam period as its beginning. The literature produced so far can be broadly classified into five eras: Ancient, Bhakti, Classic, Romanticist and Modern. The ancient era includes the three periods – the first, middle and the last Sangam.

Tholkappiyam, the oldest book written in Tamil, is a treatise on grammar. The Sangam poetry has awe-inspiring experimentations. Senthodai or blank verse – a style free from Ethugai and Monai (alliteration) was very popular in the Western countries in the 16th and 17th centuries. The fact that this style of blank verse has been employed well in Sangam period literature is noteworthy.

It is believed that great works like Tirukkural were written during the last Sangam. The Bhakti era started around 3rd century AD. Apart from the Nayanmars (63 Saivaite saints) and Alwars (12 Vaishnavite saints) many others, including Jains, have contributed to Bhakti literature and also in writing five important Tamil classics

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Writer

Photos: S Badri Narayanan

like Silapadikaaram, Manimekalai, Seevaka Sinthamani, Valayapati and Kundalakesi.

This trend continued till the 11th century. Two more great epics – Kamba Ramayanam and Villi Bharatam were written soon after.

Although it is generally believed that the modern writing started around late 19th century, like many other languages in India, some experts very strongly feel that it was the Siddhas who brought into Tamil literature a modern, progressive outlook.

The face of Sangam literature had the elements of ‘subjective’ and ‘objective’, Aham and Puram – and dealt with life in this world. This face changed into worldliness and spirituality, when Alwars and Nayanmars were strong in their principle of not singing in praise of man. When decay crept in after this due to extremist religious men, it was only the Siddhas who started to think, opposing rituals and superstitions. No one has spoken as deeply about spirituality and philosophy as the Siddhas. They had such progressive views. It can be said that the poems of Ramalinga Swamigal may be the continuation of the thoughts of the Siddhas. He was followed by Bharati. The Siddhas were the first to simplify the highly classical Tamil that was in usage until then. Sindhu

not have much knowledge of short stories, Va Ve Su Iyer had to provide explanatory footnotes to his story. This period was followed by an era heralded by the writings of Pudumaipitthan, which were on par with the European short stories. This ‘original short story’ period can be divided into three groups: the style of Mauni, the style of N Pichamurthy and Chidambara Subramanian, and the style of Pudumaipitthan.

The advent of weekly and monthly magazines gave way to the enormous growth of popular writing, since the middle of 20th century. To Kalki goes the credit of creating the magazine reading a habit among the general public, particularly the women who were confined to the kitchen.

Among the writers who contributed to the literary magazine Manikodi – Pudumaipitthan, Mauni, MV Venkatram, T Janakiraman need special mentioning.

Jeeva, Nagarajan, Tho Mu Si Ragunathan, Shanmugasundaram are all well known progressive writers with left leanings. Jayakanthan was a trendsetter in the 60s.

Lakshmi, Rajam Krishnan, Ashokamitran, Na Parthasarathy, Akilan, Sujatha, Sivasankari, Vaasanthi, Balakumaran are some of the important writers who not only made valuable contributions to Tamil modern literature during the second half of the 20th century, but were also extremely popular.

The challenges of Radio and TV The situation is identical to what is happening in many other languages. Television or internet has the visual as well as audio attraction combined together and it is understandable that a common man is easily attracted to them. Moreover, the day-to-day tensions and workload have eaten away the time people would normally allot for leisure reading. These aspects have deeply affected the magazines’ outlook on publishing serious literature. While many magazines have opted for publishing mere cinema and political news, it is comforting to know that the ‘book’ purchasing and reading habit is on the increase. The leap in several hundreds in the number of book stalls, and the sale of books running into crores during the annual book fair is a clear proof that Tamils have not lost their interest in good literature. were the musical poems created by the Siddhas. The credit for popularising the form into Kavadichindhu and further simplifying Tamil for the common man goes to Bharati.

The popularity of prose On the genesis and development of prose writing, three writers can be mentioned as the pioneers of contemporary Tamil writing. The first is Vedanayagam Pillai who wrote the first novel Pratapa Mudaliar Charithram. The second is Rajam Iyer, the author of Kamalambal Charithram and the third is A Madhavayya, who wrote Padmavati Charithram. It is an indisputable fact that these three personalities have laid the foundation and contributed to the growth of the Tamil novel. From Kalki to the present day, many have written with a literary flavour in popular journals, which could be easily understood by the common man.

The grand old pioneer of this trend is Vedanayagam Pillai. In the same way Rajam Iyer is the source for writers like Mauni, La Sa Ra, Sundara Ramasamy, Krithika and many more who have created literature dealing mainly with the inner conflicts. Among modern or progressive writers, A Madhavayya laid the foundation for thoughts about human life and its problems.

The writings of Bharati, Va Ve Su Iyer and A Madhavayya can be considered as the early short stories. Bharati also translated Tagore’s short stories. As Tamilians did

Writers are proving to be adaptable to modern trends. In my generation, before the advent of television and internet, it was not possible for all writers to sustain only with the writing income, though a few of us did manage to earn well. But now, with so many serials running in so many channels, I am told that quite a few writers have opted for this profession, looking for greener pastures.”

Popular Tamil writer Sivasankari has achieved a remarkable output in the last four decades: her works include 36 novels, 48 short novels, 150 short stories, 15 travelogues, seven collections of articles, 13 collections of short stories, one talking book, three volumes of literary research, two volumes of anthologies, and two biographies.

Photo courtesy: Kumudam Snegithi

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Culture

ExpertSpeak

Kamal Hassan

From the first silent movie produced in 1916 through the era of talkies in 1931, its emergence as a hub for South Indian films in the 1940s and up to current times, there simply is no business like show business in Tamil Nadu. The local film market accounts for approximately 0.1 percent of the Gross Domestic Product of the state and employs tens of thousands of actors, directors, camera persons, technicians, musicians, dancers and a whole subset of people who derive their livelihood from the industry.

Film actor

“T

amil cinema is verbose and unique as the Tamil language itself has a distinct identity. It has a different core construction, etymology and grammar.

In the early days of cinema, the characters spoke the language of the upper classes - either with the Mudaliar inflection or the Brahmin one. It was considered fashionable to speak in the Brahmin language and even the underdog spoke a language that was very Brahmanical. I guess somewhere audiences felt left out like the Afro Americans did in America. Not quite like that, but in some sense.

There has been an anti casteist movement in Tamil Nadu from the 6th century, started by the Jains even before Periyar (Periyar Erode Venkata Ramasamy, 1879 –1973, who fought against social inequity and formed the Dravidar Kazahagam, the self-respect movement of Dravidians). The shoonyavadis, as they were called, left behind a solid stamp on Tamil culture. It all filtered down to this amalgam at some point that led towards the betterment of man - the potpourri of pre-nationalistic thoughts to the Renaissance to the printing press that created a Periyar. This was bound to reflect on cinema too.

People like Mr Karunanidhi (DMK Leader and Chief Minister) have been steeped in Tamil literature and are at the same time aware of what was happening around the world. Cinema itself was an eye opener for them, which they used to the best effect when it came to propagating their messages and ideologies. I would say they watched the media with eagle eyes and learned about things around the world to the extent that they even incorporated colours of different political countries into the colour of their flags. But then I would like to caution that what we see in films has really nothing to do with the actual history. Cinema is not really the best medium to study history.

Tamil cinema is not very simplistic. It is a highly complex system that reflects a lot about the state and its people. The Brahmin community retreated from this medium thinking it to be very low class. They moved out and went to the Music Academy. They thought that was art and this was not. But now they are also aspiring to be part of this larger medium. And this is the future and this is where roles are being reversed. There was a time when the Make Up Union refused to take a woman. Women could not play any technical part. They could not be assistant directors. A woman was only fit to play some roles.

Kamal Hassan is a leading method actor; he has won both popular and critical acclaim for his range of roles – from playful to action to intense drama. He has been acting since the age of six, writes screenplays and lyrics, sings playback, is a trained classical dancer, director and producer.

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All this is changing. Tamil cinema, which was very inbred, is undergoing several changes. People are looking at the world outside and films from different countries thanks to the video, internet and things like that. It is very acceptable now to be part of it all and that is how it should be. It is a versatile medium and all consuming. And a lot of people do not have a problem with that anymore.

Change will come to Tamil cinema as people become more aware of international cinema. Just as good writing came about when writers like Jayakantan, Sujatha Sundar Raman Swamy and Jayamohan read other literature which spurred them to do great work too, film makers need to be aware of the world.

We survive all kinds of cinema, including the bad ones. It is like the Coovam (a river that passes through Chennai). It is there and it exists. And we exist along with it.”

“The natural oratory skills of the Tamils make dialogues in our cinema unique. Our films have become visually marvellous, technically very good and there is plenty of realism in the stories and characters. Realistic and earthy films are the most popular; as also those with native humour and the aspect of heroism. Tamils are big time lovers of heroism! They are thirsty to discover newer heroes and newer heroism.”

Suhasini Mani Ratnam, is a ‘thinking’ actor, director and producer. Born into a film family, she cut a different swathe through the industry, creating a genre of sensitive, subtle cinema.

She is married to Mani Ratnam, award-winning film director, writer and producer who can be credited with changing the face of both Tamil and Indian films.

Films and politics have very close links in Tamil Nadu; the two powerful political parties the Dravida Munnetra Kazhagam (DMK) and the All India Anna Dravida Munnetra Kazhagam (AIADMK), which end up alternating in power, are both headed by film personalities turned politicians.

The Boss aka Rajinikanth Born Shivaji Rao Gaekwad, Rajinikanth is one of Tamil cinema’s most popular actors. The superstar began life as a bus conductor before getting a break in Tamil films. From playing anti-hero roles, he gradually became the leading man. He has acted in a slew of films including several in other languages.

The late CN Annadurai was the first political leader in the state who harnessed the power of the cinema to reach the masses. His original plays were made into films and went a long way in making the Dravidian movement popular. M Karunanidhi, the head of DMK, is a five time Chief Minister who began his career as a scriptwriter in the Tamil film industry and successfully used the medium to further his political career.

MG Ramachandran or MGR, was a popular Tamil film actor and producer who made the transition to politics and was head of the AIADMK. After his death in 1987, the mantle passed on to his leading lady J Jayalalithaa.

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