april-2010 by Projects Abroad

VOLUME 1 ISSUE 5

APRIL 2010

A Changing Art Theatre and Folklore in Tamil Nadu Passionate Artistes Shadow Puppeteer: Lakshman Rao Street Theatre Activist: Palaniapillai Actor-Director Parnab Mukherjee: Hind Swaraj

Madurai Messenger April 2010

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Contents Issue No. 5 April 2010 Editor’s Corner All the World’s a Stage

Editor Nandini Murali

Overview Art in Times of Change Readers Response

4 5

Assisted by Ezhil Elango Media Relations Officer

Featured Karagattam: Romantics’ Balancing Act Oyilattam: Art as Bridge Therukoothu: The People’s Art Poikal Kudhirai, the Stilt Horse Dance

6 8 9 10

Artistes A. Palaniapillai: All for a Cause Lakshman Rao: Lighting the Shadow

11 13

Play Review Voices of Dissent

Academics J. Vasanthan: A Man for All Seasons 17 Face to Face with Dr. Sundar Kali 18 Street Theatre: Instrument of Social Change 19 R. Prabhakar: Cinema has Displaced Theatre 21 Weekend Wander Rameshwaram Ramblings

Culture The Sacred and the Ordinary

People A. Irudayaraj: Voice of the Voiceless Making a Difference The Sky is Not the Limit

Coordinator Joel Powel Abraham Sivakasi Projects Abroad Pvt.Ltd. Reporters Aimee Boos Kate Butler Donna Marks Kerry Kitchin Lucy Merchant Jan Braune Sze Chun (JC) Chan Anders Staal Christophe Lemaire Contact Madurai Messenger No. 7 TPK Road Pasumalai Madurai 625004 Tamil Nadu India Tel. 0452-2370269 editor@timesofmadurai.org

27 Cover Photo Sze Chun Chan (J.C) 29 Cover Design Kate Butler Layout Jan Braune

Madurai Messenger April 2010

Editor´s Corner

All the World’s a Stage All that I desire to point out is the general principle that life imitates art far more than art imitates life Oscar Wilde

When Madurai Messenger (formerly Times of Madurai) decided to devote this issue to a theatre special (to commemorate World Theatre Day on March 27), we had an unexpected opportunity to watch the play Hind Swaraj (based on Mahatma Gandhi’s book of the same name written in 1908) performed by Parnab Mukherjee and Cordis Paldano at the Madurai Messenger office. Hind Swaraj was an unusual play in more ways than one. The audience consisted of a group of 25 people seated in a semi circle. The two lead actors deftly used this intimate inner space as their ‘stage’. As the play unfolded Parnab Mukherjee and Cordis Paldano effortlessly juxtaposed the past and present; the global and the local through a series of never before seen film footage, photographs, monologues, or reactions to a text. They conveyed the sub texts of Gandhi’s Hind Swaraj clearly and provocatively. We were in a state of animated disbelief. The energy was palpable. Individually and collectively we reacted to the text. Many of us felt angry. Others violated. Some ashamed. We experienced intense emotions. The actors stirred still ponds. The cobwebs festooning our vision floated by in wisps and we ‘saw’ and ‘heard’- in ways never before. Barriers dissolved and the performers and the audience were One. When I watched the performance at another setting later in the day the actor (Mukherjee) reinvented his lines in response to local realities. If it was the issue of illegal immigrants in a global context, it was racial and ethnic identity in another- the repertoire was as inexhaustible as the complexities and contradictions of being human in an increasingly inhuman world. This sparked off another theatre-related memory dating back to my childhood. As a ten-year-old I was unaware of the legendary reputation of Geoffrey and Laura Kendall when they performed The Merchant of Venice at the school where I studied in Madras (now Chennai). It did not matter to me that the British couple with their company Shakespearana travelled throughout the country and had staged nearly 1000 productions of Shakespearean plays and other classics. It was only much later that I realised I had had the privilege of watching the Kendalls perform. But what mattered to me was the ability of the actors to connect with the audience. Geoffrey Kendal’s intense stage presence and piercing blue eyes struck an electric chord with us. We related to the play- each of us in our own ten-year-old ways, I suppose. Today despite the intervening decades I still recall his booming voice as he exhorted us to request our parents to take us to Venice and Genoa“two of the most exciting cities on earth.” Today whenever I witness theatre in its varied forms- be it traditional theatre, classical theatre or contemporary theatre- it’s all about connecting with the audience through our shared heritage of stories and experiences. “Your reaction to a text can be a play in itself,” said Parnab Mukherjee later to me. “All conversation is theatre, but with a character it becomes a script.” In that sense, life is art; and art life.

Nandini Murali

Times of Madurai will henceforth appear as Madurai Messenger

Madurai Messenger April 2010

Introduction

Art in Times of Change Kate Butler traces some of the challenges faced by traditional folk theatre forms of Tamil Nadu in a contemporary context. Buffeted by winds of change, the ability to be open to change portends its future. Will this become a museum piece or reinvent itself while being anchored in tradition? The son of shadow puppeteer Lakshman Rao is the heir to a dying art. Or at least that’s what Mr. Prabhakar, Professor of Tamil Language and Literature at American College in Madurai would say. He has watched an increasing number of university students abandon the field of theatre and traditional folk performance for the modern arts of film and television. Rao proudly comes from a long line of puppeteers who have spent their lives travelling and performing in small communities for little pay and often for pots, pans and food. The puppets he owns, made of ornately painted cowhide and sticks, are nearly one hundred years old and have been passed down through generations. His art, along with numerous other folk art forms, are actually flourishing in Tamil Nadu, but mostly remain limited to rural families and communities. Along with puppeteering, there’s the pot dance Karagattam, the twirling dance of Oyilattam, the peacock dance of Mayilattam, and the “false horse” dance of Poikalkudhirai, among many others. Even more fascinating than the dances themselves- and their mysteriously specific names- are the histories behind them. Take Karagattam, a dance in which men balance colourful pots on their heads to attract women. We watched as the dance was performed in, the small but vibrant centre of Ayyur, a small village outside of Madurai, with what seemed like hundreds of villagepeople watching. There’s also the musical Therukoothu, a genre of street theatre traditionally performed in villages during religious festivals during the Tamil months of Panguni and Aadi. Therukoothu performers typically interact with the audience in addition to singing, dancing, and acting. Today Therukoothu, along with many other Tamil folk art forms, is performed on stage- destroying as it seems, that classic connection between the performer and the audience. Folk art is changing, no doubt. In our developing world, as Prof. Prabhakar points out, it is less common for students to take an interest in traditional arts. But though it has moved out of the realm of popular culture, folk theatre continues to thrive in the Hindu tradition of live and colourful performances, especially in Tamil Nadu. In his interview, Dr. Sundar Kali, Professor of Tamil Arts, Gandhigram University in Dindigul elaborated on the remaining vibrance of folk theatre in this lively Indian region. “In places in the West, folk art is preserved behind glass in museums,” he said, “But in Tamil Nadu it is still performed as part of religious ceremonies. It is still very much alive.” And it’s not just in community and religious traditions in which folk theatre lives. Modern Indian media, particularly in the South, is deeply connected to the region’s traditional theatre roots. Indian cinema is tied to traditional folk theatre for its music and dance segments, both within the plotlines or for purely entertainment purposes. The length of the films is likely connected as well- many folk theatre performances can continue for hours, divided by song and dance routines. Beyond the mainstream, the more intimate street and protest genres of theatre are heavily influenced by the connection between the audience and the performers found in folk theatre. They, like folk performers, harness the viewers’ imagination and attention by performing live in more intimate spaces- in the street, in an office, or in a university classroom. We watch as folk elements move to the staged and political theatre scenes and as some aspects, traditionally passed down through generations, begin to fade.

Town citizens help to prepare colorful pots for Karagattam Pot Dance. (Photo by JC Chan)

But though they are different, both contemporary theatre people and traditional performers agree that there are some elements of a live per-

Madurai Messenger April 2010

Introduction formance that cannot be transferred to the screen. There is the intimacy between the performer and audience, the lively atmosphere, and the room for imagination that theatre can leave with its often minimal set. In this issue of Madurai Messenger, a theatre special to commemorate World Theatre Day on March 27, we have profiled the Kolkotta based “neo-folk” director, performer, and social activist Parnab Mukherjee, shadow puppeteer Lakshman Rao, street theatre activist and singer A. Palaniapillai besides several well-known theatre activists from Madurai such as Prof. J. Vasanthan, Dr. Margaret Kalaiselvi, Dr. Sundar Kali, and Prof. Prabhakar. Under our new name, we are pleased to honour the new old- and still very much alive- Tamil folk theatre forms in this issue. Kate Butler North Carolina, USA

A musician demonstrates his prowess at drums in preparation for a festival in Ayyur.

Readers Respond First of all, let me congratulate you and your team and the fantastic work done in Times of Madurai. Every page is so interesting and informative to read. The sincerity with which the team works is reflected well in the magazine. So many varied topics and areas of public interest are well discussed and this makes the readers to expect the arrival of the next issue!! The quality of the magazine has recently been given a good face lift which makes it more endearing to read. I congratulate whole heartedly the team effort for making it a “joyful reading”. And in the recent issue, discussing the contribution of certain personalities of Madurai to society is very well chosen. All of them have opened up their minds and heart to the interviewers and each article is with so much life and information. R.Rajkumari, Executive director, M.S. Chellamuthu Trust I’m a journalist working for the Italian daily newspaper “La Stampa”. During a recent trip to Madurai, last February, I happened to read your magazine in order to better understand some aspects of the political landscape in Tamil Nadu. That material would be very very useful in case I had to write a report about my experience in your Country. Thank you in advance for your kind attention. All the best Ugo Magri, Italy The magazine was good. I liked your editorial. What I found interesting is that you have sketched the women who are traditional yet have had the courage to be different. Dr Lakshmi Family Health and Development Research Service Foundation

Madurai Messenger April 2010

Featured

Karagattam: Romanticsâ&#x20AC;&#x2DC; Balancing Act Sze Chun Chan (JC) traces the origin and contemporary status of Karagattam, a popular Tamil folk dance that acts as social glue binding people together

Fine dining, wine, flowers. Charming, du goddess of fertility, Mariamman. sophisticated gentleman with a woman in high heels. As long as movies and A Balancing Act television have been around, produc- One of the most important folk dancers and writers have spun countless es in Tamil Nadu is Karagattam.It is a tales of romance. These objects have Tamil dance performed either solo or as long been the clichĂŠ classic hallmarks a team with a heavy pot decorated with of dating in the Western world. flowers balanced on their heads. A lifetime of backbreaking dedication is not For a tribe in the mountainous Western just the prerequisite to becoming one Ghats in South India, a statement of ro- of the most skilled Karagattam dancers mance is one of graceful movements, in India, but also in their tradition that a symphony of perfectly coordinated the best dancers are the most worthy steps, a white outfit adorned with a husbands. P. Sekar, 25, shields himrainbow assortment of flowers, and an self away from the midday sun. He is a ironclad neck capable of balancing a handsome man dressed in a crisp, pat10 kg clay pot. For them, the dating terned shirt and khakis. Modest comgame is stealing glances and looking pared to the garish multicolored outfit for that special somebody amongst a of flowers and feathers he adorned in cheering village crowd at the annual yesterdayâ&#x20AC;&#x2122;s Sandana Koodu festival. It Mariamman festival to honour the Hin- is a quiet day for the ninth generation

dancer in a family tradition that stretches back more than 400 years. His family relative and dance team leader, A. Kannan, 36, is a source of inspiration for him because he had wooed his wife by impressing her parents with his dancing skills. P. Sekar too, wishes to woo a bride worthy of a Tamil movie romance.

Passing a Legacy

Together, the two dancers live and breathe dance and hope to pass on a Tamil tradition that dates back three thousand years. In ancient times, Karagattam (pot dance) began as a means to relax from hunting and gathering. It was also meant as an honour to the gods, specifically as an act preparing to cleanse and cool the Hindu goddess Amman so that her entrance will im-

A. Kannan (l) and P. Sekar (r) are ninth generation performers of Karagattam, a pot dance honouring the Hindu goddess Mariamman. (Photo by JC Chan)

Madurai Messenger April 2010

Featured prove fertility across the land. The dance involves balancing an intricately detailed pot filled with sand and water as the dancers perform a synchronised movement of turns and acrobatics. Drums prelude the cleansing, a cacophony of noise to get the attention of the gods. When the ritual was first formed, it was just first the drums but no dancing was involved. Eventually, the ritual evolved as people started to feel and move to the rhythm. The dance became an art form that today defines the two dancer’s tradition and makes up their livelihood. To them as artistes, dance is ultimately a human art form that anybody can enjoy.

but for some people that don’t, they would have to change their mindsets. “We are artistes at heart,” said A. Kannan. “And an artiste’s purpose is to perform and entertain people, regardless of who they are or where they’re from.” The Mariamman festival is in April. P. Sekar smiles and vouches to practice hard. Perhaps he may find that special someone this time around. Sze Chun Chan (JC) New York City, US

I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being. Oscar Wilde All the best performers bring to their role something more, something different than what the author put on paper. That‘s what makes theatre live. That‘s why it persists. Stephen Sondheim

Bridging Barriers

“Our main purpose is to entertain,” A. Kannan said. “We perform for anybody regardless of caste or religion, so we have no problem performing for Muslims.” P. Sekar and A. Kannan like to see people of all castes gather during festival time and they are sad to still see India plagued by the caste system. The caste system in India is a bigger social barrier than religion. It is not as visible as friction between different religions like the Muslim-Hindu riots that simmered in India ever since it’s independence. Many parts of rural India are still plagued by the belief that Indians are born into a caste forever and should accept his or her place in life. For the young P. Sekar, dance and art transcend any petty conflict that people have over religion or caste. They perform to unite people, even if only for the little time they get together to watch their performance.

Art for Art’s Sake

“At the festival, all will be celebrating, eating, and enjoying together,” P. Sekar said. Regarding the status of the caste system in India, A. Kannan brought up Darwin’s evolutionary theory and asks, “The caste system is human made and it is not a good thing. What about the caste system before people were here?” When asked about the friction between Pakistan and India, the two dancers point to the fact that the two communities are living together peacefully here,

A nimble Karagattam dancer performs a balancing act during the Muslim Sandana Koodu festival in Madurai. (Photo by JC Chan) Madurai Messenger April 2010

Featured

Oyilattam: Art as Bridge At a performance of Oyilattam, the popular folk dance of Tamil Nadu, Lucy Merchant marvels at the ability of art to transcend barriers of religion and caste and seamlessly unite people. for the goddess Amman. The dance is introduced with song, and the singing continues to accompany the dancers throughout the performance, and is later joined by cymbals, bass drums and wind instruments as well. When the dance began, everyone stopped what they were doing and gathered around together to watch, the children lining the edges of the circle at inA crew of oyilattam dancers. (Photo by JC Chan) tervals having to be shooed Oyilattam is a colourful Tamil folk away for edging dangerously close the dance that is performed at festivals and dancers’ feet. celebrations. It is an ancient tradition that has been passed down through Vehicle of Everyday Concerns generations. Folklore artistes A. Kan- Folk artistes across Tamil Nadu have nan, 36, P. Sekar, 25, and S. Balaji, 23, tribal origins– previous generations are the ninth generation of their family lived in the mountains and came down to pursue this art form. The family has to the villages to earn money, their been dancing for the last four hundred traditional occupation being hunting. and fifty years. And, having been ac- Dance, at this time, was used as an complished enough to start performing escape, a way of relaxing at the end at the age of 13, the level of skill is out- of a hard day’s work. It makes sense, standing, and captivating to watch. therefore, that Oyilattam is in fact a dance about agriculture– the moves All Set for the Show represent different stages of farming, I went to the Muslim festival of San- the first being the act of throwing the dana Koodu, (an annual festival in seeds and planting, another of harmosques) in the village of Ayyur, in vesting and of tying the harvest. The Alanganallur, where the performance songs that accompany the dance narwas taking place with little idea of what rate these actions, explaining them as to expect. ‘Oyilattam,’ in Tamil means the dance goes along. Traditionally, all ‘dance of beauty or grace.’ The dancers have been able to perform Oyilattam, had sparkling make-up on their faces, men and women, and this is still true and colourful, decorated clothes, with today; when appropriate, the women bells tied around the ankles, and a red will also take part. Nowadays, the sash around their waists. dance is often adapted as a means of telling a tale, usually the ancient Tamil A Kinetic Dance epics Ramayana and Mahabharata, The dance is performed on the floor, both ancient stories central to Tamil with the audience forming a circle. The and Hindu culture. dancers stand in two rows, and begin dancing in rhythmic steps. As the Unity through Art drum beats faster, the dancers speed Although Oyilattam is a Hindu dance, up, twirling cloths in their hands. These the folklore artistes will perform for all cloths are specific to Oyilattam, and people, regardless of their religion or they are in honour of two Hindu gods their caste. It is purely entertainment – on the left, the green cloth is for Vish- and there is no barrier to any audinu; and on the right, the red cloth is ence; the appeal of folklore acts has

Madurai Messenger April 2010

a wide reach. As these artistes see it, festivals are a symbol of unity and of bringing people together, something they seemed to succeed in, watching the whole village of Ayyur join together in enjoyment at their festival.

Folk Dance in a Contemporary Context

Folk dance is also increasingly being used to create new employment opportunities. The Indian government and various NGOs are now actively supporting traditional folk arts, for example, the Tamil Maiyam and the Tamil Nadu Tourism Department. University courses in traditional arts and folklore are springing up, bringing awareness of this aspect of Tamil culture to young generations. Hence folklore artistes are confident their traditions are not dying out. Instead, they are increasing in popularity and gaining in status, viewed now on an equal level with classic dances such as Bharatha Natyam. Tamil folklore dance seems alive and well, and as I experienced, widely enjoyed by all levels of society and all ages. People are very in touch with their history and their ancient culture here, that it seems there is hope this will be maintained for years to come. Traditional arts are still very much enjoyed by both the artistes and the audiences; they are not something from past times performed for nostalgia, but still current, and now with governmental support hopefully Oyilattam will be being performed for years to come, as this sort of entertainment has an authenticity and immediacy that is not present in newer forms of entertainment, such as modern cinema. There is certainly still a place and demand for traditional folklore arts here in Madurai, at least, and the atmosphere and excitement that we experienced at the festival in Ayyur will surely not be replaced. Lucy Merchant Dorset, UK

Featured

Therukoothu: The People’s Art Anders Staal speaks to Dr I. Muthiah, Professor and Head, Department of Folk Arts, Madurai Kamaraj University, and traces the history of Therukoothu, a traditional art form in Tamil Nadu. Although an ancient art form, Theru- counterparts in Southern India– Yakkoothu is responsive to social changes shagana in Karnataka, Veethinataka in and thereby ensures that it will live on Andhra Pradesh and Kathakali in Kerand not be relegated to the status of a ala. They all have similar performance dying or forgotten art. texts, themes, costumes, team members, and round performance spaces, Therukoothu is more than a traditional or kalari. art form- it is a tradition of great social and religious importance relevant Social and Religious Impotance to agriculture and village life. Theru- Therukoothu is generally part of a rekoothu, meaning street theatre, has ligious ritual in villages during the reits roots in isai (music) and natyam ligious festivals in the Tamil months of (drama), and combines these elements Panguni, (March-April) and Aadi (Julyto become a vibrant combination of August), when there is not much agrimusic and dance theatre called koothu. cultural work. Therukoothu has differTherukoothu is primarily performed in ent purposes, so the koothu is adapted the northern and central districts of to beliefs with regard to certain things. Tamil Nadu, where every district and For example, after harvest Theruarea has its own characteristics in koothu is performed, and by worshipterms of how they adapt the play to the ping the god through the koothu, the local traditions. Therukoothu has its god will reward the village with copious rain so the next harvest will be good.

very important function as there are no boundaries between the performers and the audience. This means it is a performance for and by the people. Before the play begins, the performers go around the crowd and introduce the different characters. Sometimes there will be a ‘clown sequence’, where a ‘clown’ mingles with the audience. This creates a light hearted atmosphere. People can go into the kalari and give the performers money or make loud ovations if they are satisfied with the play.

Therukoothu is generally based on stories from the great epics of Mahabharata and Ramayana. Because of the length of the play people will sleep and eat during the performances. They, however, wake each other up when funny or important sequences occur. This is an integral part of attending Therukoothu, and it is not problemTherukoothu also serves atic because all people know the stoother functions. People ries very well, as the same stories are gather around the kolari, performed year after year. This sense where they talk, eat and of the expected and its democratic sleep, as the play typi- appeal is one of Therukoothu’s great cally from around 9 pm strengths- it is for everyone and no deuntil sunrise. People can mands are placed on the audience. forget their problems for a night and concentrate on Therukoothu is performed by six or the play and the celebra- seven male performers. This entails tion. Sometimes mar- storytelling, dialogue, dance and singriage arrangements are ing, so the men have to be skilled in also done. In this way the all aspects. They also enact the women people are united, con- characters in the play. It is a belief that nections established, and women “pollute’’ the religious ritual if the individuals meet their they are one of the performers. The psychological and social performers’ appearance is very stylised. needs. The event there- They wear high head dresses, sparkling fore benefits the village shoulder plates and wide colourful biologically and socially skirts. The put on spectacular make as grain production and up, which symbolises the power of the successful child births characters. The orchestra consists of a increase during these mukhaveena (string instrument) and a months. mridangam (drum).

The Performance The costumes of Therukoothu are bright and expressive. (Photo: Internet)

At Crossroads

The kalari or round per- Today, Therukoothu is mostly performance space has a formed on stage, which means it is los-

Madurai Messenger April 2010

Featured ing some of its purpose as a barrier is now created between performers and audience. However whilst traditional Therukoothu is a dying art, it has been able to adapt naturally into current theatre and cinema. This is positive when one considers that European tradtioanl theatre did not survive the advent of modernity.

Poikal Kudhirai, the Stilt Horse Dance Christophe Lemaire discovered the Poikal Kudhirai as a link between tradition and entertainment. This dance expresses both folk and physical art.

Awareness of Therukoothu is also created through publications and documentaries and youth are still being trained in this art form as it has adapted to modern interests. For instance, new stories and themes have been added to the traditional ones. A further development is that women are now performing, although only when the themes are secular. If the issue or story is religious in nature, it is still only the men who perform. It seems that Therukoothu has grown and developed while retaining its basic form it now appeals to broader audience. It is clear that when art is responsive to changing times this ensures it will live on like Therukoothu.

These wooden legs, which represent the hooves of the horse, sometimes measure more than one metre. The mastery of these artificial legs requires a very long and daily training. To represent themselves as horse riders, the dancers put on the coloured dummy of a body horse on their hips as if they are sitting on them.

Anders Staal Dragoer, Denmark (Photo: Internet)

A Recent Invention I personally would like to bring a tortoise onto the stage, turn it into a racehorse, then into a hat, a song, a dragoon and a fountain of water. One can dare anything in the theatre and it is the place where one dares the least. Eugene Ionesco It is a hopeless endeavour to attract people to a theatre unless they can be first brought to believe that they will never get in. Charles Dickens A theatre, a literature, an artistic expression that does not speak for its own time has no relevance. Dario Fo

In contrast to many traditional dances, Poikal Kudhirai has a recent history. It came into existence in imitation of the behaviour of this animal domesticated and trained by humans since ancient history. This folk art consists of a reproduction of the movements and running of the horse. Due to its recent invention, this dance is not actually a pure form of religious performance but rather a simple entertainment for people. Performed during all kinds of festivals, this art is more recognised as a new business, almost an easy way to earn money. However, make no mistake; this dance is undoubtedly one of the most difficult dances.

An artistic and physical performance

The dance is performed with at least a man and a woman, but is often accompanied by other dancers and musicians. During the show, the most impressive part of the performance is perfect control of the stilts used to walk and dance. Madurai Messenger April 2010

This is authentic entertainment. The costumes add to the sense of danger and this is a reality as the regular leg injuries sustained by the performers demonstrate. Perfroming toi the sound of band music called Naiyandi Melam, the dancers stand and balance on these wooden legs which are hidden by beautiful coloured tissues. At the same time any type of music can be played by the band in accordance with the goal of entertainment.

Two Types of Representations

There are two kinds of representations during the performance of Poikal Kudhirai. In the first one, which is the most common, the male dancer portrays Ayyanar, a Hindu god worshipped as a guardian deity in rural Tamil Nadu. This god protects villages against demons and evil gods, hence the riding of a horse as a real weapon. Furthermore, while performing and also to defend villagers, the dancers can brandish a sword or a whip. These symbols of punishment can also be handled by a king, the second kind of representation in Poikal Kudhirai. Christophe Lemaire Paris, France

Artistes

A.Palaniapillai: All for a Cause Anders Staal meets street theatre activist and singer A. Palaniapillai and is impressed by the artiste’s commitment to social causes For performer and singer A. Palaniapillai, the world’s a stage. His sensitivity for social issues is sufficient raw material for his imagination to transform it into a song or street play. He thus strikes a chord with his audience; most of them from rural communities. His range is diverse: exploitation of tribals, problems of working children, empowerment of women, HIV/AIDS awareness, total sanitation, education for all, blood donation, coping with natural disasters (post tsunami), Bhopal Gas Tragedy, rain water harvesting, restoration of forest wealth- Palaniapillai is clearly a man with a mission.

tion for Workers’ Development, an NGO that worked with tribals and bonded labourers in Coimbatore. Through a Non Formal Education (NFE) programme, Palaniapillai provided education to the tribals in Valparai area. He completed higher secondary and then he started his “education in life”. In other words, Palaniapillai believed it was not necessary to study at a fine arts school to succeed in a fine arts field.

Encouraged by organic scientist K. Nammalwar and Tamil Currently Palaniapillai is Co-coordina- writer, journalist and theatre tor, Resource and Training Centre of person Gnani, PalaniapilCentre for Social Reconstruction (CSR), lai composed his first song a development organisation based in Maatuvandi Otikittu (Driving Nagercoil. Today A. Palaniapillai is syn- the cattle cart) and this was onymous for his extensive contribution published in the newsletter of towards fostering awareness of HIV/ Federation of Action Groups, AIDS. Through the District Level Cul- a collective of NGOs. tural Team Training workshop in Kanyakumari he also organises and per- Although he was performing Palaniapillai at a street theatre workshop in forms cultural shows at the Red Ribbon street plays even then, atKanyakumari in March 2010. Express in Nagercoil where the inter- tending a street theatre work(Photo by Aimee Boos) view was conducted. At 46, Palaniapil- shop conducted by playwright lai knows what he is doing. It certainly and street theatre pioneer, Badal Sircar, problems, and educates and makes has been a long walk across three de- was a turning point. people aware through speeches, mucades for this artiste since he first parsic and theatre. But it is not Palaniapilticipated in a street play in 1983. Having participated in several of Badal lai alone- it is the strength of teamwork Sircar’s Street Theatre Workshops, he and peoples’ willingness which makes Inspired by Life was inspired to develop his own style it possible. Questioned about his inspiration, it was of performing. It was not only acting Palaniapillai is the fifth of six children which appealed to him, he also be- Voice of Society and grew up in Bhoothapandi in Kan- gan writing poems and songs. To date, Linking music and street theatre toyakumari district. His father Arunacha- he has composed and sung over 100 gether is how Palaniapillai reaches lam Pillai was an ex-serviceman who songs in Tamil on HIV/AIDS. He also out to society. He believes that street was part of the British Army during writes songs and performs on diverse theatre brought about an increase in World War II, and his mother, Valliam- social issues. awareness about several issues. It is mal, a home maker. Palaniapillai has alart for the ordinary people. The people ways been fascinated with performing. Recently the Tamil Nadu State Govern- who are in charge, he tells me, notice By the age of 10, he and his friends ment asked Palaniapillai to write the of- important matters concerning them would take empty coconut store boxes ficial song for the State Government’s and ultimately this awareness makes it and execute the movements of Poikal AIDS awareness programme, a request possible for them to access their rights. Kudhirai, the stilt horse dance. he feels honoured to have received. Because street theatre has no stage, Unable to continue studies beyond Palaniapillai’s inspiration for performing there are no boundaries between the Plus 2, Palaniappillai, motivated by his stems through his wish to serve soci- audience and actors. You have direct “desire to serve society,” joined Educa- ety. He follows the changes in society’s contact to the audience, the perforMadurai Messenger April 2010

Artistes mance moves into peoples’ personal sphere, and an emotional impact is created.

Going with the Flow

Palaniapillai’s vibrant personality was evident through his expansive nature and expressive gestures. He demonstrated several techniques of acting. He emoted with his eyes. When he acts with a group they use no makeup and wear ordinary clothe- a stark contrast to the exaggerated appearance of traditional folk theatre. He said it is all about the eyes, body language and voice modulation: Certainly less is more.

his work and what sparks his creativity, his unexpected response startled me. He picked up a leaf and started singing about it. Through his song, he gave life to the leaf, as he gives life to so many other things in form of awareness, hope and joy.

riage. He hopes that sales of his CDs can give the financial support needed. It is not for personal reward, but to provide for his family.

Palaniapillai is a sensitive and caring person. There have been unforgettable moments in his life which mirror this. He can improvise and sing about ev- He mentioned Mother Teresa’s death erything, but there has to be a mes- as a sad occurrence because he consage, which can make an improvement siders her as inspirational. in society. Accordng to him with expereince you break down your person- Another moment was the tsunami on al boundaries and then creativity flows. December 26, 2004, which he deHe also explained that he never feels scribes as a miserable and sad mobad about his work or has any doubts, ment for humanity. He was away from and is backed by a great team who Nagercoil where he lives, when the support one another significantly. tsunami occurred. Palaniapillai rushed Palaniapillai forgets about everything back, and when he saw what had hapwhen he gets into character. As he A Sensitive and Caring Person pened he immediately wrote a song said, ‘’You have to be like that’’. He Centre for Social Reconstruction (CSR) about it. All India Radio broadcast the becomes what he acts. After a perfor- where Palaniapillai is currently em- song the next day and it made it posmance he is still in a state of ecstasy, a ployed, provides him the creative space sible for the public to express their sorpost performance adrenaline high. He to flower as an artiste. He could have row. is reflecting over his work. There is not made loads of money if he had chosen much difference in the acting and pri- the commercial way. Instead he chose Social Concerns vate person of Palaniapillai, performing to serve society. He is a good parent, Palaniapillai’s current work not only and reflecting works as a mechanism. but currently has problems with raising raises awareness on vital social issues When I asked about what he thinks of enough money for his daughter’s mar- but also gives a voice and hope for in-

Anders Staal and Ezhil Elango listen as Palaniapillai discusses his current activist work. (Photo by Aimee Boos)

Madurai Messenger April 2010

Artistes dividuals and groups. This was evident in his contributions to the Red Ribbon Express event in Nagercoil. The Red Ribbon Express message this year was created to inform and promote state council centres for AIDS. Writing songs on socially relevant themes such as HIV/AIDS sounds deceptively simple. For one, it demands a sound grounding in medical and technical details and empathy with several marginalised sections such as female sex workers, transgender, men with sex with men, intravenous drug users, and people living with HIV/AIDS. Palaniapillai also has a rapport with such groups who talk to him without reserve about their core concerns. As coordinator for the Advocacy programme in Thoothukudi and Kanyakumari districts, he is involved in advocacy efforts with police department in trying to de stigmatise the so-called high risk groups and enable law enforcing authorities to treat them with dignity and empathy. A. Palaniapillai is the recipient of the Chudar Mani Award and Best Social Worker Award (2009) for Public Health and HIV by the district administration. His parting message: ‘’All people should take an AIDS test before marriage.’’ Anders Staal Dragoer, Denmark

Applause begets applause in the theatre, as laughter begets laughter and tears beget tears. Clayton Hamilton The drama is not dead but liveth, and contains the germs of better things. William Archer Drama lies in extreme exaggeration of the feelings, an exaggeration that dislocates flat everyday reality. Eugene Ionesco

Lighting the Shadow Sze Chun Chan (JC) meets Lakshman Rao, a fifth generation shadow puppeteer, who shares with him his struggle to keep an ancient art form alive in the modern age. “Hello, brother,” a grizzled man speaks in a deep voice, mimicking the speech of a harlequin figurine in front of his face. “Welcome, welcome!” it nods.

tertainment for the Maharajas of India. One of Lakshman Rao’s favorite plays to perform is Ramayana, a classic Hindu myth about an intense rivalry between Rama and Ravana. When Rama’s brother Lakshman, who shares Heir to a Tradition his name with Rao, was pierced by a It is a scorching day in Tamil Nadu and poison arrow shot by Ravana, the monthe sun bakes earth and leather. The key faced god Hanuman, tore up and leather is not new, but it is meticulously carried an entire mountain with remepainted. Lakshman Rao, a fifth genera- dial herbs just to save him. tion shadow puppeteer, doesn’t take the mythical figures out as often as he Shadow of its Chic Cousins would like. He proudly exhibits his col- Once a theatre form that thrilled and lection of leather hand made puppets. enchanted villages across the states of Some of them are over a hundred Andhra Pradesh, Kerala, Tamil Nadu, years old. His father, grandfather, and and Karnataka, Shadow Puppetry has great grandfathers have painted them since taken a backseat to the glamour all by hand. of modern day film and cinema. Even though it is easy to argue cinema as an Typically, Rao keeps them in a card- evolution of shadow puppetry, the two board box safe from excessive sunlight arts are quite dissimilar. and moisture, but not today. When he’s not struggling to earn food for his “When you see a shadow play at night wife and four boys, he is fighting hard in the dark and there are shadows into keep an ancient form of theatre and volved, it’s very unique,” says Dr. R. his bloodline’s legacy alive. Bhanumathi, Managing Trustee at the Pavai Centre for Puppetry, Chennai. “Shadow puppetry gave birth to cinema “Shadow has its own feelings when coand television.” Rao says, twirling a red lours come out.” kazoo in hand, a simple music instrument used for sound effects. Hard Times One time the entertainment of kings Behind the Scenes and a jewel of antiquated Tamil culture, In Tamil, the art of shadow puppetry is shadow puppetry today is limited to encalled Thol Pavai Koothu, which means tertaining school children and college “Leather Puppet Show” when trans- students in cultural festivals. Rao perlated. It is an ancient form of theatre forms for this crowd and depends on that involves the manipulation of hand it for a living, but he struggles to find puppets behind a translucent screen. the next gig. This is the way that his A scene has the performer mimick- forefathers have lived. They performed ing dialogue as he is moving puppets. for kings and villages and were in turn Meanwhile, other performers will pro- paid in foodstuff. These travelling perduce claps of drums in rhythm, and formers never had much but a cart sound effects from the whizzing of ar- of puppets and rice, but times have rows to the dull clacks of brick shoes changed and it’s even harder to eat. for fight scenes. The audience enjoying the plays today Pavai Koothu originated around 1025 is a trickle as compared to the flood of AD in Southern India as a theatre form entire villages and kingdoms that used to tell Hindu myths. The art peaked to watch their performances. Rao and when it became nightly evening en- his family are currently living in mud Madurai Messenger April 2010

Artistes

Lakshman Rao displays his leather puppets, some of which are hand painted by his grandfather hundreds of years ago. (Photo by JC Chan)

and palm leaf huts on government owned land. He says he gets booted about every ten years from a locale. Meanwhile, the Indian government does give support to these families, but even banks are scared to give them loans fearing they will never repay.

As shadow puppetry is a very localised and rural art, it does not get much of a following in cities, but is limited to sporadic performances in small villages. Worst, the performing families, with about 100 in Andhra Pradesh, and smaller in other states, are now scattered. They each consider themselves “Villages use to believe that shadow to be better performers than the other puppeteers bring prosperity and and live destitute, almost nomadic lives, luck.” Bhanumathi says. “But in mod- traveling by carting their puppets from ern times, those thoughts are slowly village to village, looking for a chance changing.” to perform.

Wandering Artistes

In Kerala, shadow puppetry is being kept alive because it is often used in religious gatherings to tell the stories of the Hindu god, Rama. Because the theatre art serves a purpose as a Hindu storytelling device, the Kerala performers enjoy more stability. Other states of Southern India have its own unique variations of shadow puppetry. The most famous includes life sized five feet mythological puppets from Andhra Pradesh.

are not film spools or light boxes or any sort of electrical gobbledygook, but unadulterated afternoon sun. A teenager readies a hammer and an iron stake and steadily digs a small hole. Another of his sons stretches the cloth screen across an iron frame.

Rao’s wife readies at his side, cymbal s in hand. He takes a breath behind the screen as he gathers his leather actors, actresses, and props. The village children patiently wait. Rao puts on his earthen clapping shoes (when charac“The world is developing, and they have ters fight), a kazoo at side (for flying arto develop their theatre form with it.” rows and various projectiles). Bhanumathi says. “They are not united. He tests the shoes. (They clap.) And have rivalries of who is best. It is And his kazoo. (It sounds like the call also a male dominated art; the women of geese). only play musical instruments. Like all art forms, it may be gone as the world Everything is good to go. Rao is hapmoves beyond it.” py, at least for this day. He has an audience. And he is keeping the art form The Show Must Go On alive, at least for a little while longer. Rao’s children gathered around in a semicircle as his sons set up the stage. He readies a large screen, about Sze Chun Chan (JC) 5 foot wide and 4 foot deep. Behind it New York City, US Madurai Messenger April 2010

Play Review

Voices of Dissent At a theatrical production of Hind Swaraj to coincide with the centenary of the epochal book by Mahatma Gandhi, Kate Butler is struck by the multiple voices of oppression the play unlocks as it questions and challenges the notion of independence and identity in a global context On the floor of the Madurai Messenger office lies a mural of mangled arms painted in red and black. Behind it a projected video shows ethnic minorities from northeast India with oriental features being beaten, kicked, shot, and tortured by law enforcement authorities. Parnab Mukherjee, actor and director, gazes at the screen. “Who, why, when, how,” he asks. “Who, why, when, how…” Mukherjee turns to a plastic bag and empties its contents. Out scatter flesh and blood coloured strips of cloth and the limbs and heads of baby dolls. He is performing in his alternative production of Gandhi’s Hind Swaraj, a play based on Mahatma Gandhi’s seminal book written in 1908 during his voyage from South Africa to India. In this famous collection of essays, Gandhi called Indians to wake up and discover self-rule for themselves as they peacefully sought home rule under the oppressive English occupation. One hundred years after the book’s release, and over sixty years after India gained independence, Mukherjee’s intimate production of Hind Swaraj reminds us how relevant Gandhi’s message of independence is in our modern world.

Unbound by Labels

A leading director in alternative theatre in India, Parnab Mukherjee chose to bring Swaraj to the stage for the centenary of the book’s release. Coming from Kolkatta, Mukherjee has traveled throughout the country with Chennai based actor Cordis Paldano, performing Hind Swaraj at universities and in rural and urban communities. The play isn’t street theatre nor is it a staged performance, but instead Mukherjee utilises the intimate spaces he is given to emphasise the play’s message. “If these computers were not in use,” he tells me after the performance, pointing to a row of desks in the office, “I would put some images on the screens… [In this production] it’s about revealing the invisible signs of violence and oppression.” As he plays the character Mohammad, Mukherjee pulls out a black fez before pressing ‘play’ on a montage of images from the Iraq war. Bob Dylan’s Blowin’ in the Wind is heard as photos of crying women, dead children, bombs, and running soldiers flash by. The video ends and Cordis Paldano, playing a French Muslim named Sayid, steps out and catches the attention of several staff.

An arm in mouth and toy in hand, actor and director Parnab Mukherjee does mocks of human rights abuse. (Photro by JC Chan) Madurai Messenger April 2010

Play Review “I’m French!” he exclaims, looking at the audience around him. “Do you believe me? Raise your hand if you’ve been to Paris.” Several hands go up. “I’m Parisian!” he exclaims, “My father is French and my Mother is from Morocco...but Sayid doesn’t sound quite like those [beautiful] French names…” Sayid continues to speak on the difficulties he faced emigrating to Paris and finding work there as a Muslim immigrant. We see how Sayid’s life is ruled by oppressing elements around him whether they be difficulty finding work, discrimination from officials, or his hesitancy about his own origins. But how relevant could a story about a Muslim Parisian be to Gandhi‘s Hind Swaraj? “To culturally represent a place we cannot use terms like refugee and displaced person- a political refugee without papers who doesn’t speak any language and so on,” said Muherjee in a later interview. “The successive nature of a population has made people open to the oppressive nature of civilization.” In other words, by showing the difficulties of the immigrant, Sayid’s story demonstrates the challenge of true independence.

Pushing the Limits

In Hind Swaraj Mohammad hoots with laughter at the young Sayid’s words before breaking out into a passionate speech. As Mohammad discusses what he believes is the significance of Gandhi‘s Hind Swaraj to himself and to our society, he makes eye contact with audience members and sits down beside us as if he too was one of us, stirred emotionally by Gandhi’s message. “Your reaction to a text can be a play in itself,” said Mukherjee. “All conversation is theatre, but with a character it becomes a script.” Such reactions aren’t the only non-conventional element in Hind Swaraj. To further spark conversations, the props of baby doll body parts, black cloth, and clown noses are used by Mukherjee and Paldano to mock the disregard for human dignity that Gandhi criticises in his essays. Nearly all of the photographs and videos included are graphic in their display of shootings and violence, mangled dead bodies, and bombs, but Muherjee tells me he would never change that to accommodate a sensitive audience. So much is hidden from the public media, he says, and as an artiste he is doing his part to reveal it. Mukherjee is, without doubt, a powerful performer and an effective director. But many would be surprised to discover that Mukherjee actually studied economics in university, rather than theatre. The study of micro-credit and consumption patterns, he tells me, can be particularly tied to protest theatre that focuses on examining societal habits. “To protest is to look at people’s history- history that you and I are familiar with… There is always this conscience ‘ting’ towards a majority point of view, and naturally that point of view must be called into question.”

Actor Cordis Paldano delivers a powerful monologue. (Photo by JC Chan)

Challenging conventional perspectives has been Mukherjee’s focus since he began working in theatre twelve years ago. When he began writing and directing protest theatre in 1997, his productions were viewed as an experimental rather than as an established theatrical form. He seized creative freedom over his productions early on, and no doubt has benefited artistically by working outside a prescribed theatrical genre. His use of various mediums in Hind Swaraj- be it film footage, photographs, monologues, or reactions to a textconveyed the underlying message of Gandhi’s essays clearly and provocatively. Today he considers his productions “Studio Theatre”, named for the way he takes over his given spaces like a performance studio. No longer labeled as a theatre outsider, he considers himself a “fringe in the mainstream”- an artist constantly pushing the limits of society through protest theatre.

An Answer

At the end of the forty-five minute production of Hind Swaraj, Mukherjee drapes a black cloth over the lens of a projector covering the graphic images of poverty and war. “Who, why, when, how?” he asks again. The answer? From the Mohammad character’s reactions to Gandhi‘s message, to the Sayid character’s exemplary roadblock in realising his inherent liberty, and the provocative images from Northeast India and Iraq, Muherjee prompts his audience to consider how the freedom of citizens have been jeopardised in our increasingly developed world. Mukherjee‘s Hind Swaraj draws no conclusions but presents a broad and inescapably relevant response: a loss of freedom, life, and dignity can happen anywhere. We just can’t block it out of view.

Madurai Messenger April 2010

Kate Butler North Carolina, USA

Academics

J.Vasanthan: A Man for All Seasons Prof. J. Vasanthan, 74, former Professor of English in American College, is also a well known newspaper columnist, theatre director, writer, and cartoonist. Aimee Boos in a chat with Prof. Vasanthan discovers that “age cannot wither him nor custom stale his infinite variety!” The Curtain Club

A few years later, Professor Vasanthan moved from Madras Christian College to the American College in Madurai, as an English lecturer.

A Visual Sensibility

In 1951, 15-year-old J. Vasanthan came to Madurai to join the intermediate course in the American College. It also marked the beginning of his lifelong passion for theatre and films. “With some friends, we used to go to the Regal Talkies, the only movie theatre that showed English movies, from both Hollywood and Britain. I was fascinated by these Western movies,” recalls Vasanthan. He fell in love with films and watching films became a ritual, but with the same excitement every time.

“There, I was expected to take over the Shansi plays of the Oberlin Shansi group,” says Vasanthan, “I did just that for a while.” The Shansi group was primarily composed of talented performers such as Julian Smith, Sarah Lindlholm, and David Gere, the younger brother of Richard Gere. “We decided to start our own club,” recalls Vasanthan.

Challenges of a Theatre Director

It takes between one to two months for J. Vasanthan and his team to stage a play. First, he organises several discussions with the actors about dialogues and staging. Thanks to his skills in cartooning, he is easily able to draw a storyboard, or sketch artistically to help the team plan their production.

The Curtain Club, symbolised by three arches erected on the stage, was born. Actors came to the club from India, England, and America to perform Shakespeare and modern playwrights These drawings, which act as a rough such as Agatha Christie, J. B. Priestley, draft were useful to everyone, whether and Ben Travers. they were actors, tailors, or even the hairdressers! Vasanthan also designed “English plays,” says Vasanthan, “are the costumes and the sets, and if he modern, and really different from each wanted an actor to stand up in a cer“We used to go there around three times other. The Curtain Club staged trag- tain way, he would just draw it and a week. It didn’t matter if the films were edies as well as comedies.” show him! good or not,” says Vasanthan. According to Vasanthan, English plays After every performance, the team Gradually he developed the ability to are simple and pure. “We didn’t need reviewed the performance and excritique films and a cinematic sensibil- to make big things on stage to make plored ways to improve themselves in ity that later extended to theatre. His the play comprehensible. Dialogues the next performance. “You need this keen eye absorbed every detail of film were natural; sets, costumes and relationship between the director and making and acting. He wrote film re- make-up were simple. There was no the actors, so the performance can views and drew cartoons for Filmfare, music. [This simplicity] allowed the au- get better and better,” says Vasanthan. the oldest Indian film magazine. His dience to be more captivated, and to J. Vasanthan faced several problems cartoons also appeared in several other feel the tension.” as a director. “Once, there was this leading publications such woman who was runas Star & Style, Debonair, ning an orphanage,” he Film Mirror, and Sports recalls. “She wanted to week. Later Vasanthan bring the children to one decided to devote a part of our plays. I was okay of his life to directing plays with that but we asked in English. One of the first her to keep them calm plays he staged was Murand quiet. Unfortunately, der in the Cathedral at Mait wasn’t the case; she dras Christian College in didn’t want to cooperate, Chennai where he was a pretending that she was tutor in English. too busy. An American actress who was playing Madurai Messenger April 2010

Academics that day got really angry with them.” J. Vasanthan has had several unforgettable moments too. “I remember when we were doing an 18th century play. Before the play began, actors would sit, discuss and smoke on the stage. Once, one of the actors dropped his Charminar packet of cigarettes on the stage. The 18th century play began with the Charminar packet! It was really funny to see the actor picking the packet discreetly, trying not be noticed by the audience!” The Curtain Club lasted several years and received rave reviews from the press and enjoyed great popularity among the theatre going public. The club closed down when Vasanthan retired in 1994.”

A Requiem for drama?

Face to Face with Dr. Sundar Kali He has a wide range of experience in classical and folk theatre and film. He has studied Tamil culture, performance, and cinema, and did his doctorate work on the traditional folk scene of rural Tamil Nadu. He is Dr. Sundar Kali, Professor of Tamil language and literature at Gandhigramam University and he has a wealth of knowledge about the state of folk arts and modern Indian media today.

What are some indicative attributes of traditional Indian folk theatre? “There are three main things. First of all, the actors in folk plays make very obvious gestures- it’s dramatic acting. In forms such as Kathakali different colors are painted on the actors’ faces to demonstrate mood, in addition to their very bright costumes. Second, the stories of traditional theatre were often legends and myths that had been told through generations. And then Indian folk theatre tends to include a lot of music and dance- there isn’t traditionally a lot of dialogue.”

Even among a large film industry there is still an active theatre scene. Do you think there are ideas that can be better portrayed in theatre than in film? A “When photography emerged they declared the age of painting is gone. Similarly with cinema they said theatre is gone…but that never happened. With the coming of photography, painting started reshaping itself. For instance, there is no need for portrait painting anymore- but painting became modernised and expressionistic. A similar thing happened with theatre. There emerged experimental theatre- often with a very minimalist set; just a chair and other small props, and a black backdrop, and one or two actors addressing the article. The acting was more realistic, and less expressive and colourful like traditional performances.

Vasanthan, however, is nostalgic for “Cinema is technical- there’s cutting and editing, and things are often portrayed times when theatre reigned supreme. much more realistically. It can also be specialised more to suit a specific audience When he was staging plays, there drawn to comedies, or family movies, musicals, or action films.” were people who were genuinely fond of watching plays. “Today there is no How has the role of the audience changed between traditional and drama, only films,” he says. “Drama contemporary theatre? stopped. “Because the productions are so long in folk theatre, the audience has a lot of Even in school teachers don’t open freedom- they choose what to watch and when. Nobody would watch the folk children’s minds to drama,” Vanasthan plays for the entire duration. [In their communities,] they will come and go. They says with a tinge of sadness. know the story- people have heard it for generations- so people will go to sleep during the boring parts. If you were sleeping during a good part someone would A requiem for drama? come wake you up, and sa, “Hey, get up and watch! Aimee Boos Limoges, France (Cartoons by J. Vasanthan)

“In modern theatre, as in movie theatres, the audience pays money and enters a closed auditorium to watch the play on a raised stage. It’s much less intimate. Folk plays were performed on the ground and the audience would surround them. And with less props and more gestures, there is more room for the viewer to imagine things.” Kate Butler North Carolina, USA

Madurai Messenger April 2010

Academics

Street Theatre: Instrument of Social Change In a conversation with Dr Margaret Kalaislevi and her street theatre team at the Tamil Nadu Theological Seminary (TTS), Madurai, Jan Braune explores the inherent potential of street theatre in giving a voice to the voiceless and enabling unheard stories to be heard. Dr. Margaret Kalai Selvi has a Bachelor of Divinity degree and for a while served as a minister in Bengaluru. Soon after, she returned to Madurai to do her Master’s in Theology and Communication. Today, she teaches Communication and Women’s Studies at the TTS in Madurai where she lives with her family.

many social issues, they practise in- ucation he or she wants. The group ternships and programmes using their showed different situations and interknowledge. When they go away after actions between family members with four years [of school] we expect they regard to education. The slice of life will continue to use and practice these depictions consisted of issues such as skills in their churches and areas,” she the unwillingness of family members to says. educate others in the family, children dropping out from school to follow their Street theatre is very flexible. It can be family business, insufficient financial used as a one person show, in smaller support for education, and secondary Action Reflection groups, or in cooperation with other importance of education for women. Dr. Margaret’s main field of interest is organisations. And because street the- Women who are perceived in the tra“action reflection”. For her, it means atre isn’t staged, the performers have ditional role of home maker. Like many theology is not only about reflecting creative freedom to beckon passers-by street theatre productions, this one was or thinking about what happens in the to come see their production. Normally, both moving and thought-provoking. world, but also to ‘do’ things. She wel- before a play begins, the people on the comes the idea of exploring alternative street beat drums, sing songs or per- The solution the play offers is not to cultural forms not only in theory, but form a short magical show or dance to fear confrontation but to fight for your also in practice. get the attention of the people passing. choices in education. The play sugSometimes it is difficult to bring people gests to viewers that they are not alone The students accompanying her today out of their houses, especially in big- in facing such problems but on the are from her street theatre group. They ger cities. They are sitting at home, do- other hand many understand them all are from different regions of India ing nothing or watching TV. But when and will support them in asserting and and bring a lot of different experiences street theatre is taking place even availing their rights. that coalesce into an exciting whole. these people come to watch. According to Dr. Margaret street theRules of Street Theatre atre is building a bridge between soci- The Need for Education Besides education street theatre brings ety and the church, making this field of I watched the students perform a ten attention to other themes such as sostudy fascinating. minute street theatre production about cietal or family problems, environment, the need for education. Not everybody caste system, rights of women and do“We are giving our students training in in India has the chance to get the ed- mestic violence. Even airport extension, globalisation, and the take over of personal land by private companies can be highlighted in street theatre plays. Performers portray significant social issues rather than just utilising famous folklore stories.

Social Interaction at the Tamil Nadu Theological Seminary. (Photo by Joel Powell) Madurai Messenger April 2010

The intimacy of street theatre lends itself to good feedback from the audience. After watching the play, some members of the audience join the campaign against the problems portrayed in the play. For others, seeing the street production is just a step to thinking about the issue. They bring the discussion into their families and friends and spread it into society. Talking about the problems is the first step of changing society, says Dr. Margaret Kalaiselvi. But there still is a competition between street theatre and other media. In a con-

Academics ly address. Before the students go to a village to perform they must speak to the head of the village and ask for permission. A good additional protection from threats would be to involve some important people of the village where the play is taking place. While this is far from being as simple as it sounds, contacts with local non governmental organisations help most of the time.

temporary context TV and cinema are the primary media while street theatre is an alternative. Or is it the other way around? The students argued about that. The consensus that emerged was that ‘real’ acting is live and ‘real’ people are taking place in street theatre, so this is the original media that touches people in the most effective way! The main difference between using theatre instead of other communication media is that theatre comes to people: be it people on their way to work, or on the street. There is no need of technical equipment, a stage or even money.

in the audience will be hurt by the content of the play. For example, some religious groups could disagree with a play’s message, or politicians shout slogans against the programme, or children are disturbed by the play. But to the students of TTS these are minor problems that they are able to effective-

The aim of street theatre groups like that of Dr. Margaret Kalaiselvi’s is not political propaganda, but the other way around- a good play should confront the political parties and the society with the thoughts of the people from the street, giving them a voice. Jan Braune Magdeburg, Germany

Bonding with the Audience

The audience is directly involved in the play. This means that they remember and recall the contents of the play effortlessly, as one would when watching television. Another argument is that TV or cinema is only one-way communication. The audience can’t answer, ask or disagree directly. In street theatre they are welcome to respond. When that happens members in the audience interrupt the play and ask questions. There is closeness in theatre that cannot be found on screen. In smaller villages street theatre is particularly attractive. Its appeal cuts across age, gender and literacy. Before performing, the actors, (in this case) the students of TTS, research the area where the play is taking place and they try to find out about local issues before choosing a theme to be staged for this audience. Sometimes the theme is a general theme and there is no need to change the content of the play. Other times, the play is intended for a particular audience such as an audience of students, or church-goers. On certain occasions some members

Dr Magaret Kalaislevi reading the Madurai Times at TTS. (Photo by Joel Powell) Madurai Messenger April 2010

Academics

R.Prabhakar: ‘Cinema has displaced theatre’ R. Prabhakar, Assistant Prof. of Tamil Language and Literature at the American College, Madurai, speaks to Jan Braune about the evolution of Indian theatre. With regard to the theatre scene in Madurai Prof. R. Prabhakar said that there is no modern theatre. Rather there are many festivals and some open air street theatre. Tamil Nadu is well known for its traditional music theatre movement. This, however, has been decreasing in modern times. He attributed this to the influence of cinema this has sadly displaced theatre, even among his students. In traditional Tamil theatre there is no need for a stage as street theatre can be performed anywhere. Also in contrast to cinema street theatre is inexpensive. He said it was also interesting that the Western style theatres introduced to Tamil Nadu in the 70s had failed as the audiences did not accept them. In fact that kind of thing has never been popular in India at all. Prof. Prabhakar says, “Indian theatre does not exist!” Explaining this further he said that theatre is a “local tradition” which has manifested as different “theatre colours” within regions and districts from a melting pot of more than 700 languages, the caste system and three to four main religions. What this represents is traditional theatre and it is this that unites the differences between people which emerge from time to time. However he did stress again that the new voice of the people is mass media as it is much easier for them to express problems through this than in theatre. Hence the American College reflects both interests– traditional theatre and new media such as film. Students can use media equipment free of charge as many are more interested in modern arts like music and TV than theatre. Yet every year a group of about 20-30 students take part in the traditional theatre offered by the college. There are also good contacts between the American College and National School of Drama in New Delhi.

According to Prof. Prabhakar the government provides more economic assistance to other media forms and rarely does traditional theatre benefit from this.

What is happening now in traditional Tamil theatre, according to Prof. Prabhakar is that it is becoming a sub culture often developed by intellectuals. Sometimes you will encounter this underground where it takes the form of In fact there are only a few art, the- political critique. atre and music schools in India. He stressed that while theatre is a simple Prof. Prabhakar reminded us that traart it is also a science. ditional theatre provides the audience with a living actor, not a fictional person It benefits young people who have less like in television. While cinema may be time in the modern world to listen to old a much more technical art it can never stories at home. These stories were the provide the audience feedback and incommon origins of theatre. It is sad, he teraction of traditional theatre. This is says, that they now adopt the heroes direct and spontaneous. Further cinand stories from foreign culture via TV ema, while it works, offers a reduced rather than using their own stories for imaginative exploration. artistic purposes. In Prof. Prabhakar’s opinion this marks an important loss Prof. Prabhakar said that while he for Indian culture. could not see any movement or interest in protecting traditional theatre he He stressed that young Indians need believed it is still the most powerful to develop artistically from the roots of medium that should not be forgotten their own culture rather than foreign as it was from theatre itself that cinema modern arts. There is a danger, he said, emerged. that these young artistes will not shine as they might if the art form was more grounded in the traditional psyche and Jan Braune value base of India. Magdeburg, Germany

Mr. Prabhakar in discussion with Jan Braune at the American College, Madurai. (Photo by JC Chan) Madurai Messenger April 2010

Weekend Wander

Rameshwaram Ramblings Kerry Kitchin wanders around Rameshwaram and Danushkodi, soaking in the sights, sounds, and smells of this pastoral coastal island. The “tastiest fish in India,” the acrobatic precision of the tea maker, the states of silence and privacy experienced by fishers, and the camaraderie with the children, are some of the unforgettable moments in this young seeker’s coastal sojourn…

try. Traversing along worn down roads that slice through the baked terracotta earth we enjoyed brief interludes every hour or so at the roadside settlements that feed and in turn are fed by the highway. For the entertainment of the passengers the two televisions on the bus played a relentless gauntlet of In order to seek refuge from the tyran- Tamil movies with the volume way up. nical slave drivers at the Madurai Meesaenger office (!), my Danish colleague Forewarned is Forearmed Anders Staal and I decided to take a Alighting in the town of Rameshwaram short break from Madurai and venture we were accosted by a friendly fleet into the far reaches of Tamil Nadu. Af- of touts, peddlers, hoteliers and begter brief deliberation we decided upon gars. A Western looking man cloaked the destination of Rameshwaram, a in swirls of Hindu garments and aptiny spiritual island just off the south parel, jostled through them. He greeted east shoreline of India. us nonchalantly and heeded us some advice.

A Road Less Travelled

From Maattuthavani station we caught the 5 am bus which would take four hours to arrive at Rameshwaram. The ride for the most part was typical of an excursion in this part of the coun-

“Listen, they don’t get many tourists around here and you guys stand out like a sore thumb. You’re gonna need to get some different clothes if you want to avoid this kind of aggravation. You’re wearing the cliché tourist stuff”- giving a head nod toward Anders’ straw trilby hat. “It’s all in your attitude. Little signs will let them know you’re new here and they’ll take you for a ride. Don’t give them an inch, you understand?” I thanked him and pulled out my Rough Guide to India. “Right then….…”

A Confluence of Tourism and Religion

A tea vendor pours chai. (Photo by JC Chan)

relaxing destination we had in mind. Hoping to seek refuge on a quiet beach and enjoy some local seafood, we consulted a rickshaw driver on what our options here would be. He recommended taking us to the small fishing village of Dhanushkodi twenty kilometers away. We happily obliged.

Bow’s End

Dhanushkodi derives its name from the two Tamil words ‘Dhanush’, meaning bow and ‘Kodi’ meaning end. Hindu mythology has it that Rama marked this spot with the end of his famous bow, thus, Bow’s End. The journey from Rameshwaram to Dhanushkodi took only twenty-five minutes as we were channeled across a thin ribbon of land with ocean to one side and backwaters on the other. The trees arching overhead had unwittingly been pruned by the procession of heavy goods vehicles and busses that had traveled along this strip. This provided a natural tunnel and made our journey that much more dramatic.

Naturally Resilient

It must be noted too that this area of India has experienced its fair share of drama in recent years. Devastated by the Asian Tsunami in 2004 it has only just begun to return to normality. The fragility of the people and their courage despite living in such a climatically volatile area certainly adds to their character and charm, as we would indeed find out when we arrived at the village.

The town of Rameshwaram is certainly an exciting place. As an important Hindu pilgrimage destination it plays host As we approached the shanty procesto scores of religious devotees sion of huts that marked the villages’ who flock here to worship at outskirts, children lined the thin slither the Ramanathaswamy temple of concrete road that lay on the sand and bathe in the town’s small like a slick of oil on the sea. Genial facbeach area. es permeated with the same curiosity that had compelled our rickshaw driver Despite the abundance of to reposition his wing mirrors towards culture and activity, Ramesh- Anders and me in the back, the instant waram was not the placid, we boarded.

Madurai Messenger April 2010

Weekend Wander Picture Perfect

On arrival we paid the driver the Rs. 250 we had agreed on and traipsed down to the shore. From this vantage point we could take in most of the village. Makeshift thatched houses, chai stalls and a church. Dozens of fishing boats littered the shore line, many already anchored after a night out at sea, but some still making their way back now and being dragged up the beach by a bundle of stalwart fishermen lending a hand to a fellow sea farer. Even as those anchored little vessels floated idly they served an aesthetic purpose. Adorned in a plethora of pastoral colours, they cast a definitive picturesque quality upon this humble little hamlet.

Frolicking in the Sun

good chai wallah at work is an encapsulating sight and this particular artisan did not fail to impress. One arm stretched out high above his head, he decanted the tea from dizzying heights into a cup in his other hand and then back again. All of this was done with the same finesse and stature as a ballet virtuoso. Well…..almost.

stared at me with a bewildered look in his face until his friend came to the aid of us both. “He asks, ‘Where is your home country?’”

Bonding with Kids

Fully satisfied with four cups in our bellies we wondered back down to the sea and acquainted ourselves with a dozen A Slice of the Real or so local children. Some of whom “You know”, I said to Anders, as we so- were sporting a curious white emuljourned in the shade of the chai hut, sion in their hair. We spent time play“These fishermen have got the right ing cricket and swimming with the kids idea” who impressed us greatly by producing “What do you mean?” a beautiful array of different sea shells “Well, they’re the only people that on a and ornate conches they had found in daily basis enjoy the two comforts that the sea by diving off the boats tied up are hardest to come by here in India” a few metres out. “And what are those?” Anders asked. “When these men set off for the horizon Into the Sunset in their little wooden boats just before As the sun began to set behind us, the sunset, the luxuries of both silence men of the village took to their vesand privacy await them and are duly sels. One by one they headed out to savoured until the sun rises again and sea. As they cast their nets they could they return home.” only hope for a fruitful catch but at “It’s a hard life though.” least they could guarantee a peaceful “Yes, but its real.” slumber.

We spent most of the early part of the day bathing in the Bay of Bengal and enjoying the attention we were receiving from the local children. The mysterious foreigner role is never a dull one. These happy little smiling faces were intrigued with the sun cream we were applying, so we distributed some of it among them which they mischievously rubbed into their hair. All parties A local man who had been watching involved enjoyed this immensely; right and listening intently to our conversaup until the bottle ran out. Now there tion asked where I was coming from. are two reasons to pack sun cream for Delighted that one of the village resithe beach! dents had taken interest in our discussion and decided to join in, I elaboratA Foodie’s Delight ed on my argument, displaying a real At around mid-afternoon a surfeit of romanticism for why I admired these fragrant sunshine mingled with the fishermen so much. The local man just smell of freshly cooked fish, heralding a long due lunch break. As far as we were aware there seemed to be only one restaurant in this little village to choose from. I’m of the opinion that too much choice is never a good thing and on this particular occasion less certainly meant more. A thatched hut, three or four gas burners, a rustic arrangement of tables and a very capable chef produced a fish thali that was nothing short of delightful! The fish, fresh as a sweet Sunday morning, was perhaps the tastiest I’ve eaten so far during my stay here in India; and that’s a bold statement!

Our day here had come to an end and as we left for Rameswaram to catch the bus back to Madurai. The night sky was splattered with stars, and on the horizon the lanterns of the little wooden fishing boats were lost amongst them. Kerry Kitchin Newcastle, UK

A Fine Balance

My Danish friend and I sang “Chai chai chai, coffee coffee” as we dawdled along to the chai stall. For those that are yet to witness it, the spectacle of a

Tourists and locals wade in the Rameshwaram waters. (Photo by JC Chan) Madurai Messenger April 2010

Culture

The Sacred and the Ordinary Donna Marks meets Sivakasi based astrologer Ganapathy Swamigal and discovers that there are many facets to this astrologer with a gift of prophecy than just the myth associated with him about making predictions under the influence of alcohol! In 1938, journalist Paul Brunton travelled to India in search of a spiritual master. What he discovered there changed his life forever and was recorded in what would eventually become the highly successful book, A Search in Secret India. Just before I was about to leave my Irish home to travel to India I was given this spiritual classic. Interestingly enough it focussed on where I was going to,- southern India. And even better, it turned out that my destination, Madurai, was of a great significance to Brunton. Why? Because it was just outside Madurai, a “place of the sweet nectar”, that the man Brunton came to find. Ramana Maharishi, his spiritual master, was born. Brunton searched all of India to find the Maharishi. He hungered for spiritual insight, he hungered for truth. Most of all he hungered for what all of us in the secret places of our hearts yearn for– a clear and concrete connection to God.

An Auspicious Omen

When I met Ganapathy Swamigal (GS), an astrologer living in Sivakasi, I wondered what Brunton would have made of this man. Described to me as the “drunken astrologer” who nevertheless made uncannily correct predictions, I did not know what to expect when our car pulled up at his temple. We had driven for two hours and it was a pleasure to find myself in the heart of Tamil Nadu’s countryside surrounded by green fields filled to the brim with glorious golden sunflowers. I hoped this was an auspicious sign. As time went on though I realised that a sunflower may simply be just a sunflower after all…

First Impressions

Ganapathy Swamigal has a beautifully kind face. His eyes twinkle with the lustre of a thousand shades of amber and burnt sienna. I was fascinated by those eyes. What secrets do they hold? I asked myself. Is this man with the so kind a face really able to know the past,

predict the future and heal the sick? I wondered if is this all a delusion or even worse, a con. And is it true that Ganapathy Swamigal uses alcohol as part of his work?

Sifting the Wheat from Chaff

Missing the Mark

Readings were then given to four of my colleagues. Unfortunately for them, GS got as much information wrong as he got right. However what I did notice was that when he was accurate the information was quite specific. For example he was able to locate a “secret” that one had kept deep in his heart for a very long time and tell another that his big passion in life was directing films. At the same time the astrologer made serious errors telling a colleague he had five siblings when in fact he had only one! He was also totally wrong in all of the information he gave to another colleague.

I knew that Brunton would not have been impressed. He had little time for many of the fakirs and siddhas he met in India. He would have had no time at all for one who allegedly used alcohol in his work. Further whilst not deriding the very obvious powers some of the men he met possessed, Brunton had a sharp eye and a quick intuitive way of nosing out those who were downright dishonest or who had the “gift” but had not moved beyond these occult pow- Forewarned is Forearmed ers. His mission was to find a man who Just prior to giving his interview Ganaphad passed through this stage of spiri- athy Swamigal warned me that I was tual attainment and reached through to not to ask him “silly” questions or he the other side– to the place where bliss would become “angry”. Not liking this sits hand in hand with the divine. at all I decided I would not be shirking from any of the areas I wanted to Past Perfect explore with him. I was a little nervous However I am not Brunton and I was though as we had been shown a film of determined to keep an open mind. Ga- GS bending steel plates into all kinds napathy Swamigal did his reading for of contortions when the god sudalai me using a brass plate filled with the Madasamys possesses him at the half dried dung of sacred cows. He sim- moon festival! I secretly called on the ply wrote my name in this using what spirit of my old friend Brunton to help looked like the point of a pair of scis- me refrain from total cowardice. sors. To my surprise he said immedi- In my mind Brunton said, “Go with the ately that I have three siblings and had easy questions first.” Good advice, I moved house five times. Both of these thought. Thanks, Paul. were correct. He then said that one of my relatives had committed suicide or Early Promise been involved in a fatal accident and So, how did Ganapathy Swamigal beanother had gone blind. This too was come an astrologer? true. He told me I had a bright future Ganapathy’s beautiful eyes lit up and but gave no specifics whatsoever. While danced as he remembered how his this was good to hear I was obviously father, also an astrologer, had discovdisappointed as any well meaning “do ered that he too had the gift of “seeing”. gooder” could tell me that. I was all the This, he said, was manifested on his more disappointed when I realised that chest as one side had white hair and my reading was over as abruptly as it the other brown. This meant Shiva and had begun. Parvati had gifted him with their divine powers. He was nineteen when his faHow did I know? ther had noticed his calling. Prior to A certain “that’s all you’re getting “look this, he had no interest in astrology, but in those commanding eyes. was just a young man with interests like Madurai Messenger April 2010

Culture any one else. However, after his father sensed his gift “everything changed”. He began to learn about the planets, their positions and their impact upon people. There was an obvious pride that GS had pleased his father. His eyes seemed to shine with some other emotion too- what was it? I couldn’t tell. I made a mental note though to track those eyes. I would watch him as he spoke and later moved around the temple, green fields and sunflowers. Perhaps, I wondered, some helpful nature spirit would help me to do my own “divining” as this mysterious man’s words parted company with his lips.

Again a gracious golden smile folds itself across Gs’s face and reaches up into his eyes. They are truly amazing I think. It’s almost as if some special light resides there, a warm glow with origins in a place that only he, and perhaps his father, know of. Ganapathy tells me that he has not yet found who he will train as the next family astrologer. However his grandson seems promising as “all he wants to do is pray at the temple and offer poojas,” GS beams with pride.

Of Planets and Humans

What is the significance of the planets in our lives, I ask, and where does that information come from? The Person behind the Astrologer GS tells me that the planets are of funAre you married, I asked? (Another damental importance to us all. “They easy question). control our lives, we are composed of Yes, Ganapathy informed me. He their energies and it is because of this is married and has two sons and a that our good and bad deeds can be daughter. One son works as a pilot in stored as our karma when we incarthe Indian Air Force and the other has nate on earth”. He also says, “All of us a good job, and his daughter is mar- suffer for the past sins of our ancesried. And, I asked him, does he intend tors”. When GS speaks on this matter to pass his gifts onto one of his children an authoritative air enters his voice. He so that astrology is carried in his fami- begins to sound like the great teachlies’ lineage? ers who stay in the minds of their pu-

pils long past childhood. He had an air about him that seemed to say– I know, it’s clear to me; I will teach you, come close and learn. Sitting at the feet of this astrologer I wondered what Brunton would have said to me as I began to fall under his spell. “Steady up girl, come on now– keep focussed– and isn’t it about time you got down to the nitty gritty”.

The Big Question

Okay– the big question. The small matter of alcohol. This really couldn’t be avoided as there was a nearly empty bottle of booze just outside the temple door, the astrologer’s attendant seemed slightly the worse for wear and we were told we didn’t need to bring alcohol as an offering as there were ten bottles already there! Also the temple manager expressed concern that this would be a focus of the interview– thus of course drawing big gloopy dollops of attention to it! It is a fact that many great South American Shamans, those great seers and medicine people, openly say they use alcohol and hallucinogenic drugs to as-

Astrologer Ganapathy Swamigal poses alongside Hindu idols. (Photo by JC Chan) Madurai Messenger April 2010

Culture sist their communication with the gods. This is said with a definitive air and a It is one of my greatest interests and I gracious smile. Wow, I think, to have have read about such people for years. such faith, such conviction. Is it true, I asked the astrologer, that he also uses alcohol in a similar fashion, The Gift of Healing and that somehow it opens up some Does the astrologer consider himself portal enabling him to see into other to have healing powers too? “Yes,” he dimensions? says. The answer comes back swift as if carried on the back of a very fast Alcohol for Pain Relief and not horse. I marvel again at the faith I see for Prophecy in front of me. There is no doubt that There is a slight but noticeable prickle Ganapathy is convinced that he has in the air. I sense GS is displeased with been blessed with a gift from God. the question and I immediately ask the He tells me next that he has healed a translator if the astrologer deems this woman who could not talk. She had one of the “silly” questions that anger become mute after an accident but afhim so? I have a disconcerting image ter he blessed her with the white mark of bent steel plates flying through the she began to speak again. Another air aimed possibly at my head. “No,” woman who could not walk was also I am told, “it is not true”. GS tells me healed. He says this simply, matter of that he has never used alcohol for this fact even. I just stare. purpose. As Brunton did so many years before He says he does not like the compari- me I tell GS that people in the Western son.” I already have the gift so I do not world generally do not believe in astrolneed to do this.” Rather he says alco- ogy or psychic gifts from the heavens. hol is necessary for him once a year They tend to have a rationalist mind set, at the half moon festival when the god science has become the materialist’s Madasamy enters him causing him “God” and I am interested in what he pain and distress. He tells me that after might say to them to convince them of the festival when the God has left his his gift. body, he is often still in so much pain that he cries. This God has caused him GS smiles again. He looks to the side, to dance for hours and given him such bends his head slightly and I assume strength that he is able to express the I will receive a marvellous answer full God’s anger by the bending of steel of insight and wisdom. However to my plates. amusement the astrologer tells me “I really don’t care. If someone comes A Trouble shooter from the West I will predict for him. If What kinds of people come to him for not I wont.” It seems this is a man who help? A tells me that they usually have is not out to impress anyone. Secretly I “problems, the most common being like him all the more. lost items which they want found or mental health issues.” He advises that For the Good of All a judge who lives in the United King- What are the best and worst parts of dom came to him not so long ago as his job? I ask him. “I like to do good he wanted help for his son who had a things for others. I am happy when I mental illness. He told the judge his cure someone from disease. I hate it son would be cured in two and a half when I see bad things in the world.” months. “And sure enough, he was”. Finally I ask GS what message would

he like to give people about spirituality and himself as an astrologer? He replies simply, “I never press people to come here,- that would be ego. But I would say to all that if you want to come here for a prediction please do and I will welcome you.” So, there you have it. The so called “alcohol” astrologer. Perhaps it is an unfair description, or perhaps it is not. If GS does use alcohol in his work on a regular basis he certainly wasn’t letting me know. Further he was definitely not drunk when I met him. And what did I make of him? The truth is that I couldn’t really tell. It was uncanny how accurate he was about some of the details of my life. Equally it was confusing that he was so off the mark with some of my colleagues. Perhaps some people are harder to read than others? Perhaps he was just lucky with me although how did he get just so lucky? There again when he got so much wrong with my colleagues was he tired or distracted? Those dazzling sunflowers were blazing in through the open door, after all. Who can really tell the way of such things? What I did know for sure was that whilst I was not bowled over by the demonstration of GS’s powers he did seem to be a good and well intentioned man. I suspected he was also a very intelligent and complex individual. My lasting impression though will always be those amber eyes. Just what secrets were they holding? What was the nature of that light? Brunton would have remarked upon them too– I know. Donna Marks Belfast, Ireland

The color, the grace and levitation, the structural pattern in motion, the quick interplay of live beings, suspended like fitful lightning in a cloud, these things are the play, not words on paper, nor thoughts and ideas of an author, those shabby things snatched off basement counters at Gimbel‘s. Tennessee Williams

Madurai Messenger April 2010

People

A. Irudayaraj: Voice of the Voiceless Louise Soubrier meets A. Irudayaraj and is touched by the former teacher’s vision to better the lives of prisoners, through his initiative ABODE that he established in 1991. Despite innumerable initial hurdles and challenges, Irudayaraj is clearly a man with a mission.

In the late 1980s, A. Irudayaraj taught in a school next to the Madurai jail. Upset by the aggressive and harsh behaviour of policemen towards prisoners, he then decided to start a rehabilitation programme for the prisoners and their families in which they would be treated as human beings with dignity and respect.

Swimming against the Tide

As a first step, he highlighted the problems he had noticed in the prison to the government. But popular perceptions of prisoners as burdens to society made it impossible for him to get financial support for his cause. Neither were people willing to even be receptive to such a novel idea. Despite the lack of support, however, Irudayaraj did not give up. “Money and service do not go together in this country,” he says sadly.

Driven by a Cause

They disliked his association with people branded as “criminals.” Yet he followed his heart and was not affected by the family pressure and unsupportive attitude. A determined Irudayaraj then explained to his family that he was not supporting corruption and crime but instead was only looking for alternatives to make life more meaningful for people like prisoners who are shun by society. All that has since changed and today, touched by his compassion In 1991 Irudayaraj established an ini- and dedication, his family is supportive tiative called ABODE (Akhil Bharat of his dream. Organisation for Developmental Education). According to Irudayaraj, in the Pointing the Way initial years, prison authorities were not Led by his heart, Irudayaraj is doing sympathetic to his concerns. What was everything possible to provide employworse, even the prisoners were suspi- ment opportunities to the prisoners. cious of his intention and doubted his He also interfaces with the families on intentions to better their lives. behalf of the prisoners and arranges for periodic family meetings. In order When Irudayaraj began to work with to prepare them to integrate to sociprisoners, his family was unhappy. ety after their sentence he organises

Therefore he quit his job at the school to dedicate his life to the cause of creating a better life for people in prisons. Irudayaraj does not consider prisoners as marginalised people in the periphery of life but instead believes that they must be treated like people with the same hopes, desires and aspirations like any other people. In fact to Irudayaraj, they are like his brothers.

Madurai Messenger April 2010

People skill trainings in art, craft, and com- ers’ children or “precious children” as back home during holidays to visit her puter and even provides a certificate he describes them. But his large and mother living alone. to those who complete the training in open heart pushed him to also welthree months. come children from victimised families. Karthik, a ten year old ambitious little boy wants to become a scientist. He A Bridge between Families A like minded friend donated the house was brought here by his aunt after he Irudayaraj is the kind of person who in which the centre functions. The re- lost both parents and considers this is can naturally feel another’s pain and sources for running the centre come home. sorrow. During his numerous interac- from local communities and the centre tions with prisoners, he realised that is staffed by volunteers. Irudayaraj’s commitment for these chilthey did not have any contact with their dren is inspiring and touching. Indeed, families and that this made them feel A Second Father they have now a new family, they go lonely and isolated. Another distressing To the children in the home, Irudayaraj to school and all express ambitious factor was that even families of prison- is a second father. dreams concerning their future. ers were hostile to them. For example, even if the wife of a prisoner wished to The 60 children living in this house Since Irudayaraj began his work, see him, the family would not permit are between 5 15 years, and include doesn’t have enough time for himself, her because the prisoner was a source both boys and girls. There is a lot of but as he says “it doesn’t matter as of shame to them. fun, laughter and fellowship among the long as he can make people around children. Although they are permitted him happy.” Indeed his extended famTherefore in order to address such to go home during annual and summer ily now consists of 60 people! And this deeply held attitudes in society, Iru- holidays some of them prefer to stay in champion of social causes feels there dayaraj initiate family meetings. Often this peaceful and comfortable place. are several more people who need his he personally visited the families and They do their homework, have dinner, help! helped them to realise that even though play, and sing together. the family member was in prison, he or Louise Soubrier she was still a part of their lives. I was amazed and touched to see Paris, France them all sing and dance Reaching out to Children together. Samaya Purathal Encouraged by the success of ABODE, a lovely 11 year old girl in 1998 Irudayaraj established the who has been there for six Abode Children’s House. At first this years said that she felt at house was meant to welcome prison- home. Yet, she likes to go

A. Irudaraj speaks about his rehabilitation programm. (Photo by Aimee Boos)

Madurai Messenger April 2010

Making a difference

The Sky is not the Limit Ranjith Kumar, athlete and coach, who incidentally is disabled, has redefined how the world looks at people with disabilities, says Aimee Boos A Star is Born

Ranjith Kumar contracted polio nine months after his birth. It was only when he was eight years old, however, that he managed to accept his condition and the fact that he would not be able to use his legs anymore. Unfortunately, his father died when he was just 15 years old. This tragedy plunged

his family into poverty and Ranjith had to take care of them. In order to earn money to support them, he undertook seasonal work. Due to all these new responsibilities, Ranjith became more mature, and began to relish challenges and achievements. Thus, he started training in sports. In 1998, when he was 24, Ranjith met the coach Para-

suram, who thought he was talented and took him under his wing. “When I started the training with Parasuram, I was like a baby, but I made progress, and than, I was able to participate in some championships.” Thus Ranjith began his unbelievable collection of medals. In 2002, he participated in the Asian Games, in Busan, Korea. He won a silver medal in discus throw. The same year, Ranjith hoisted the Indian flag at the International Paralympics in Germany, where he won a gold medal. His winning streak included two silver medals at the British Athletic Open Championship in 2003, a gold medal at the Belgium Open Championship in 2004; silver medal in discus throw and bronze in javelin at the British Open Championship for disabled persons in 2005; bronze in discus throw in the 2006 Commonwealth Games…

Family Life

In 1998, when he was 24, Ranjith met his wife who is a non disabled person. “I was interviewed for a radio station, and people could call to ask asking me questions. She was a regular caller, so she called to talk to me, and we spent a long time speaking together. We exchanged our numbers, and finally met. It’s she who proposed to me! Now, I am a fulfilled husband and father,” says a delighted Ranjith.

Laurels all the Way

Forty years ago, disabled people were considered objects of pity or were shunned, Ranjith’s achievement, however, challenges such popular and widespread notions. In October 2007, the State Government appointed Ranjith as coach for the disabled in Race Course Stadium, Madurai and also presented him a cheque for Rs.10 lakh. Thanks to this unexpected money, Ranjith was able to get some sports equipment for training. Madurai Messenger April 2010

Making a difference from my chair, which wasn’t adapted to my specific requirements,” says Ranjith. While several of Ranjith’s students have been selected for nationals or international competitions, they have been unable to participate because of lack of money. Ranjith is not just a simple sports coach. He knows by his own experience that his students also need psychological support. Ranjith listens, encourages and counsels them individually. Also the supportive community of disabled persons is an incentive for newcomers to participate wholeheartedly in sports.

As Ranjith’s students are all physically challenged, their main barrier is the non availability of equipment tailored to their specific handicaps. For instance, Ranjith says that in the early years, discus throwers often had to use a stone or a regular chair. Often, there was only one chair available.

Multiple Everyday Challenges

“We need economic support. All of my students are from poor families, and they already make sacrifices to come to the stadium every day. People need to know that ideally, each player needs his own adapted chair. This is not the case now, because it is too expensive. Once, I lost a competition because I fell

follow Ranjith’s lessons. “Ranjith is like my idol. He knows how to motivate people. The first time I came to the stadium, seeing all these disabled persons made me ambitious. Now, I would like to become a coach as well, to take care of disabled persons.”

Before he met Ranjith, Syed wasn’t able to accept his condition. He would not socialize because people stared at him. But as he grew up, he overcame such challenges. At the age of 20, he had already won many national medals. A recent accident, in which he sustained a broken arm, prevented him from participating in an international Sometimes parents don’t want to inte- athletic competition. grate their child in the team, or to let him or her participate in some events. “Don’t worry about discouragement; a Then, Ranjith takes on the counselor disabled person can do anything like role. He usually gives his own story as everyone else,” Syed often tells other an achievement example to convince disabled people. them. During his leisure time, Ranjith isn’t idle at all. For instance, he goes to Gururar, 25, works as a computer schools, and speaks about his life story teacher. “Everyday, I feel happy to see to children. people like me. Ranjith is like a guide “I want them to realise how lucky they for me, I would like to become like him”. are to be non disabled. But above all, Well, with 45 medals since 2004 to his to realise that disabled people are able credit, Gururaj is on the right track.“If to achieve their aims, maybe more than you have confidence, and a goal, you non disabled persons.” can make gold from stone. Our main goal today is participating in the ParaInspired by Ranjith lympic Games in 2012. My team and I In all, Ranjith coaches 60 disabled will come back as winners,” says Ranpersons in the stadium. Among them jith. is Syed Abuthahir, a talented student. Since he was 15 years, he goes every Aimee Boos day to the stadium on wheel chair, to Limoges, France

Madurai Messenger April 2010

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