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August 2012
Volume 2, Issue 33 Sponsored by:
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Melody in Motion: Seetha Doraiswamy, the matriarchal muse Music and Dance Special
Contents August 2012 | Issue No. 33 Editor Dr. Nandini Murali Sub Editor & Journalism Manager Ingelise Jones Journalism Supervisors B. Pooja Archana Sundararajan Ram Kumar
EDITOR’S CORNER
01 Of Birds and Bird Baths COVER STORY INSTITUTIONS
10 A Career in Music FIRST IMPRESSIONS
13 Embracing Difference BOOK REVIEW
14 The Aesthetic and Cultural Legacy of Rukmini Devi ENTERTAINMENT
16 When Performance is a Form of Self Expression! YOUNG ACHIEVER
Designer & Technical Support
18 Strike a Pose
T. Jesuraja Reporters & Photographers Anne Zwahlen Rose Groenink Toru Kumamae Kurt Zimmerman 2
Kourei Yoshibe Jessica Farrell Goulven Gentil Ariane Lecuyer Marie McEvoy
PASSION
21 The Beat of his Own Drum BEHIND THE SCENES
24 Rising Star 26 In the Green Room: The Art of Make-up & Costumes SOUND OF MUSIC
29 Painting the Picture of Sound 32 Spinning Around TRENDS
36 The Magic of Music and Make Believe 38 Dance to the Beat, Move to the Groove REACHING OUT
Agathe Suzanne Hamel Tatsuo Tsukamura
40 The Inimitable Sikkandar Sulthan FOSTERING TALENT
Cover Photograph Ingelise Jones
43 Fun in the Summer Time 46 A Cultural Education CULTURE KITCHEN
48 A Dutch Treat: Poffertjes and Bitterballen Sivakasi Projects Abroad Pvt. Ltd.,
BODY ART
52 Mesmerising Mehndi FILM
Contact: editor@maduraimessenger.org MADURAI MESSENGER
56 On the Cups of Tradition and Modernity 58 Love and Dance Conquer All 60 Awakening the Dancer in All of Us
India Tel. 0452-2370269
I can now identify several avian species that transform my garden into a chorister’s paradise: solitary black drongos, iridescent purple sunbirds, chatty rose-ringed parakeets, golden backed woodpeckers drumming on trees, perky white headed babblers, cheeky mynahs, sassy jungle and house crows, chirpy bulbuls and even the most gorgeous of all birds—the peacock and its less glamorous other sex—the pea hen. There is something very specific in naming a bird. It helps you to feel its very essence. And every bird has something unique about it. My companions are the indispensable Dr Salim Ali (Handbook of Indian Birds), Richard Grimmet (Birds of South India), a Pentax Papilio Binoculars, and a birder friend who’s passionate about birds. The binox enables me to look into their pristine souls. Every time I watch bird, a strange peace and stillness fills my entire being. Often I have my camera and binox near by as I try to freeze a particular moment. Equally often, I forget both of them as I am lost in the moment. Aren’t the best pictures those that are never taken? And the best books those that are never written? Recently, I installed two bird baths in granite and stone in the garden. The first time I filled them with water, I sent a sent message to my birdie friends—“Come and frolic here!” Sure enough, they responded to the invitation even that very day. At any time of the day, but most often in the early mornings or during the scorching mid day heat, my winged friends cluster around the bird baths. Singly or in pairs, they dip in the cool water. Seconds later they re-emerge and shake their wet feathers like the blades of a whirring fan. The birds go through the ritual two or three times, after which they preen each feather with meticulous care. To watch this bird spa is a privilege and joy. And every time my winged friends glide the blue expanse, my spirit too glides with them… together we travel far and free… touching rainbows… kissing clouds… hearing sibilant whispers… embracing eternity.
62 A Sense of Community
Madurai – 625004 Tamil Nadu
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y fascination for birds began when I noticed them sauntering in my garden. A naturalist friend insists that it’s the best way to engage with birding. The first bird that caught my attention was a largish black bird with chestnut coloured wings and ruby-red eyes. I stood transfixed. The bird had character and intense presence. It strutted and hopped about as light as air. Much later I found out that it was the coucal or the crow pheasant. For me it was love at bird sight. The coucal is among my favorite birds and it exudes a magnetic sensuality.
VILLAGE VOICES
No. 17, T.P.K Road Pasumalai
Of Birds & Birdbaths
02 Woman of the Water Waves
Journalism Administrator G. Durgairajan
EDITOR’S CORNER
FIRST IMPRESSIONS
65 66 67 68
Close Encounters of the Indian Kind Overflow of Energy Solidarity and Generosity Chaotic Beauty
Dr. nandini murali Editor
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Madurai Messenger Cover Story August 2012
Woman of the Water Waves Legendary Carnatic musician Seetha Doraiswamy is most famous for playing the jalatharangam, a traditional Indian percussion instrument. Our Sub Editor, Ingelise Jones, spends an afternoon with this remarkable musician and is captivated by a matriarch who radiates love for both music and her family. As every family member’s muse, Ingelise also finds herself inspired by this phenomenal woman By Ingelise Jones Sub Editor & Journalism Manager
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er reputation precedes her. Drop her name to any lover of Carnatic music, and they’ll know precisely whom you are talking about. For the uninitiated, it doesn’t take long to learn about Smt.Seetha Doraiswamy’s extraordinary talent. Not only has she received critical acclaim for playing the jalatharangam, and for her contribution to the entire movement of Carnatic music, she is an inspiring example of how one can achieve greatness and success at any age. In the conservative and traditional Indian culture of the 1960s, Smt.Seetha Doraiswamy defied many societal norms. As a 40 year-old woman, she burst onto the music scene, quickly bewitching audiences and critics with the sonic sound waves of water created by the jalatharangam (which literally translates to ‘waves in water’). What’s even more interesting, is that she doesn’t see these factors as being anything remarkable or out of the ordinary. She’s just doing what she loves and living life to the fullest. In demand for all sorts of occasions and concerts in Tamil Nadu, across the country and overseas, her fame is something of a phenomenon, but as I soon learn, something she shies away from. Smt.Seetha Doraiswamy - The talented musician is still full of energy at the age of 86
Jalatharanga Sri Smt. Seetha Doraiswamy performs with her grandson Abishek Raja (21)
An afternoon with Smt. Seetha We meet at the house of her eldest daughter, Smt.N.Visalakshi who I come to know as Perima. I’ve seen multiple photos of Smt.Seetha Doraiswamy, and I’ve even watched videos of her performances on YouTube. So, when Perima answers the door, I hesitate for a moment, wondering whether this could be her. Logic tells me it’s impossible, but the resemblance between mother and daughter is remarkable. I am shown into a bedroom, where the lady of the hour, or Paatti (Tamil for Grandmother), is waiting for me. Like a little bundle of bright beautiful energy, she sits cross-legged on the wooden floor. My afternoon with Smt. Seetha begins. She may be small in stature, but her presence is anything but. At first, she is quiet, radiating a big smile that feels part wise and all-knowing, and part playful. She fills the room with her sprightly energy. As we begin to speak through our translator, her granddaughter, Archana Sundararajan,
26, I quickly learn that she has much to say. She’s sharp and funny. It certainly doesn’t feel like I’m sitting with an 86 year old. Before my interview, Archana warned me that she is an old hand at interviews with the media. Sure enough, as soon as the interview commences, Paatti sets a cracking pace and proves that she’s astute, with quick answers that skip ahead as if she knows what question is next.
Matriarch of music As I feel the energy and love radiating from this unassuming woman, before we even get to talk about her extraordinary musical talents, I hear about her family. She can tell you about each of them, and their musical and artistic talents. Genetics must surely play an important role in this talented ensemble of a family. Like a beautiful composition, music plays in every generation, flowing through each of her children,
grandchildren and great grandchildren. This matriarch has a large close family. She gave birth to ten children, of which eight are still with us. One passed away at age 13 of a heart condition, and another at age 55 to a heart attack. Outliving a child is difficult for any mother, but just as I can see the sadness in her eyes, I also see the absolute joy she feels towards all of her children. She also has 18 grandchildren and seven great-grandchildren, and is very much the centre of each of their lives. Her eldest daughter, Perima, is in fact just 16 years younger than her, whereas the difference between Perima and the youngest siblings, twin daughters Mala and Kala, is 19 years. Delving into Paatti’s memory of the early years, she doesn’t question how her life has played out. While her reflections are fascinating, she doesn’t see herself as lucky, nor does she see herself as having any extraordinary talent. She’s just Paatti: mother, grandmother and great grandmother.
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Madurai Messenger Cover Story August 2012
“She doesn’t see herself as lucky, nor does she see herself as having any extraordinary talent. She’s just Paatti: mother, grandmother and great grandmother”
Paatti and her eldest daughter Smt.N.Visalakshi, known as Perima. The two share a close bond of love and music
Playful beginnings
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Daughter of Meenakshi Amma and Ganapathi Iyer, she is the second eldest in a family of four sisters and one brother. Her father, Ganapathi, worked in the bore water industry, an occupation that earned him the nickname Pump Ganesha.
Paatti and her granddaughter Archana Sundararajan (26) in a candid moment, clearly fond of each other
Living in Tirunelveli her first exposure to music was when she was eight years old. Her mother invited a music teacher, Seetharama bhagavathar, to their home to teach paatti and her elder sister to sing. Her mother loved to sing and often sang at ceremonies and marriages.
entertained young Seetha’s request to try the instrument by giving her a test. She had to tune the instrument to a particular Raga. She recalls him telling her, “If you pour water, the notes go down. If you take out water, the notes go high.” He named a Raga asking, “See if you can set this raga.” And she just did it… she set it using her musical knowledge and he was utterly impressed. She remembers him tapping her on the shoulder to tell her she was “really good.” Incredibly proud, Prof. Sambamoorthy not only supported her talent, he generously bought her a set of jalatharangam bowls, her very first set. She still has two of the original bowls, a keepsake that is surely a priceless family heirloom in this musical family.
Her family moved to Chennai when she was 11, where her interest in music began to flourish. After a suggestion from a neighbour, she attended a summer school for six weeks. Paatti recalls it being just like school, from 10.00am - 4.00pm. She insists that she loved it there.
Struck by simplicity Not played anywhere else in the world, the jalatharangam is uniquely Indian. A member of the percussion family, this ancient instrument has some similarities to the glockenspiel in sound and method of playing. To unfamiliar eyes, this instrument looks incredibly simple: a set of 25 ceramic bowls of different sizes are arranged on the floor in a semi circle in front of a cross legged musician. Each bowl contains water at varying levels.
It was here where she first encountered the jalatharangam. Inside a hut, a teacher, Ramaniah Chettiar, set up the instrument. None of the children had ever seen it before. In fits of giggles, Paatti tells me that it looked so funny with its cups of water, and she couldn’t believe that you had to hit them! Under the urging of Professor P. Sambamoorthy, Ramaniah Chettiar
The jalatharangam set consists of 25 porcelin bowls filled with varying amounts of water to create sound
Madurai Messenger Sub Editor and Manager Ingelise Jones with Smt. Seetha Doraiswamy and Smt N.Visalakshi. Ingelise found herself wanting to be a part of the family!
Tuning the bowls is done by ear as water levels are adjusted. Herein lies
the art. Paatti uses a pitch pipe or just one bowl which she sets to the Indian classical note of Pa (‘so’ in Western music), and begins to fill all the bowls with water. She pours water in and out of the bowls, taking about one hour to complete the tuning process. The sequence of notes ascends around to the right. Once tuned, the bowls are struck with bamboo sticks. Authentic jalatharangam sets are rare to find, and generally not made anymore. Bowls must therefore be found not in a music shop, but rather any shop selling porcelain, ceramic or china bowls. The bowls need to have the same pitch. To find these bowls you need to strike the bowls to determine whether they are suitable. It seems like a very challenging task. Paatti will always play a bowl before buying it. When I finally see her set, I see that they are a random collection of different looking bowls that share a consistency in sound. Taking care of the instrument is not easy… it is a precious set of bowls, easily breakable and not light to carry! Breaking them is a common occurrence, even during performances. Paatti describes them as being, “like a baby.” Even when she is travelling, they must be in her hand luggage. She will nurse them on her lap and look after them with loving care.
Smt. Seetha Doraiswamy plays the jalatharangam to make ‘waves of water’
A twist of fate As a young girl of just 14, Paatti’s life took a change of direction when she followed her parents wishes and married N. Doraiswamy Iyer, 27. Fortunately, he soon recognised her musical talents and encouraged her to study. Clearly seeing her potential, he enrolled her in the Madras Music Academy (Madras that is now Chennai) in 1942. She studied for her Bachelor of Education for one year and performed exceptionally well. As Perima insists, “Only my father encouraged her. My father put her in Music Academy after marriage… He taught her Sanskrit and Hindi and made her sit exams.” To receive encouragement from a husband was particularly unusual in that era. At that time, it cost Rs.6 per month to study at the Academy. Luckily, she won a scholarship, so it only cost her Rs.3 per month. Her study involved singing, veena, jalatharangam and written theory exams. Part of their learning was to teach children to sing in a model school. In her class, there were 24 talented students, 12 boys and 12 girls. She proudly tells me that she was the best in the class and the youngest girl to win the Gold medal at age 15. In fact, she won two Gold medals for her voice – one for the academic year and
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Madurai Messenger Cover Story August 2012
the first time with her husband and eldest son, D.Ramasubramanian, who accompanied her on mridangam, the second time with her grandson, Abishek Raja (son of Mala Raja), to accompany her on mridangam. She has also played in Muscat four times. With countless performances in India, I ask her about her most memorable. She relays a story of the time she played on a train. It was 1967, and she was on her way to perform in Tiruchendur where she had been invited to play in a concert with a number of musicians. Carrying the bowls in baskets, curious passengers asked her what they were, so she decided to set up and play. Many of her new friends brought her water so that she could fill her bowls. But of course, it wasn’t possible on a moving train, so at every stop, she played to the delight of everyone in the carriage.
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A talented family, L-R: granddaughter Archana Sundararajan, daughter Smt. N.Visalakshi, Smt.Seetha Doraiswamy, daughter Smt. Mala Raja
“She was the first woman to win a gold medal and to this day, remains the youngest woman to win one“ one for a competition that she won for singing Tamil songs. She was the first woman to win a gold medal and to this day, remains the youngest woman to win one. But when I ask her how she felt at the time, she shies away and says that she doesn’t know how to answer those sorts of questions. Then, seconds later she bursts out with flurry of words to tell me that she was awarded the Special TTK Award from the Academy in 2009 for veena, vocal and jalatharangam. She certainly shows a mix of humility and pride. She also insists I mention her guru, Vaaladi Krishna Iyer, who was pivotal in her musical development.
Soon after completing her time at the Academy, her life changed direction. She gave birth to her first child, N.Visalakshi (Perima), in March 1943. For the next 26 years, she would not touch the jalatharangam. Her life became all about her children.
Rebirth of talent It wasn’t until 1968 that she decided to take the instrument out of the cupboard and pick up her sticks once more. Instantly, her love affair with these waves of water was reborn. With her youngest children, twins Mala and Kala, now seven years old, her independent children could take care of themselves and each other. She could once again give her beloved bowls time and attention. With her rediscovered vigour, off she went with her instrument to the government radio station - All India Radio – only to be refused, being told that this instrument was not allowed. A year later, she heard through a friend
that it may be allowed, so she went back to try again and was successful. Paatti has been on the air every year since. All India Radio is a national radio network that supports talented musicians in India and seeks to preserve Indian classical and folk music. Broadcast all over the country, playing for such an audience is a great honour and an opportunity. Musicians must first audition and are then judged by a panel in Delhi, and awarded a grade: Top, A, B-high, or B. Repeat performances are then requested. She holds a grading of B-high. Soon she was performing at weddings, ceremonies and in temples. Performing anywhere between two and eight performances a month, she has lost count how many times she’s performed in her career, but estimates it to be at least 1,000 times.
Making waves Jet setting to Europe and the US, she has also delighted international audiences. Travelling twice to the US,
Her most memorable performance, however, was at the Tirupati temple, where she played three times. Playing here, she says, is very close to her heart
and a place where she feels her most spiritual. The temple is devoted to Vishnu, but this one isn’t her favourite temple. Rather, her favourite temple is the Gandimadi temple in her birth town of Tirunelveli. Her father, Ganapathi Iyer, made a chariot that is featured in the temple, making it a very special visiting destination for his descendants. Success seems to have come naturally to this gifted woman. Among her accolades, she has been awarded the Kalaimamani in 2001 from the Tamil Nadu Government, an annual award given for excellence in music. She was also honoured at the Cleveland Thyagaraja Aradhana in the US, the largest Indian music festival outside of India, in 2009. In the same year, she was recognised by her former place of study, the Madras Music Academy, with the Special TTK Award. A few days after our interview, I attend the Tamil Nadu Brahmin Association’s 29th Annual Function in Chennai to witness yet another honour being bestowed upon her.
Smt. Seetha Doraiswamy being honoured by the Tamil Nadu Brahmin Association in Chennai in June 2012
Sharing happiness She likens her joy for playing to Archana’s love for dancing. Archana is a talented Bharatanatyam dancer and teacher. Paatti knows that people who listen to her will feel happy. Archana says, “She’s asking me what I feel, and I said that I feel calm when I dance and I feel I am closer to spirituality when I dance. She said she feels the same when she plays.” Like grandmother like granddaughter, these two share the desire and passion to make as many people as possible happy with their performances. Paatti assures me that if you can sing, you can play the jalatharangam. It’s apparently also rather mathematical. Over the years, she has taught about ten students outside the family. Sadly, none of them play anymore. She is rightly concerned about the future of the jalatharangam. Apparently, there are no teachers out there either, but she is hopeful that the instrument will live. There is one other male artist, Ganesan of Anayampaatti, who shares the duty of passing this tradition on to younger generations. She hopes that someone in the family will take after her. Her youngest twin daughters, Mala and Kala, can play, as can two of her grandchildren, Karthik Ganesh, a film maker, and Rajagopalan Raman, a Navy pilot. Having taught them all, she hopes these younger generations will help keep the tradition alive.
Inherited talent Every new family member I meet helps build the story of this remarkable woman. With every new encounter, with every new story, I am more enchanted. This whole experience teaches me about the value of family in India, and how powerful love, and in this case, music can be. My translator and good friend, Archana, recalls crying every time she would greet her grandmother. Indeed, there were tears on our arrival for this interview! Archana’s mother, Mala Raja, one half of the youngest twin daughters, is also full of emotion when talking about Paatti.
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Madurai Messenger Cover Story August 2012
“She is a great soul… very magnanimous, very understanding, very humble. With such a knowledge of music – singing, playing, teaching. She’s a very good mother, wife, grandmother, sister, sister in-law,” Mala says before she sobs with an outburst of tears. She composes herself and declares, “Everyone should have such a mother!” Smt. Mala Raja, 51, is a Bharatanatyam dancer and teacher, like her daughter, Archana. Together, they run the Om Prasannalaya Dance and Music Academy in Madurai. Her son, Abishek Raja, 22, is a talented percussionist and budding radio jockey in Madurai. Just like Paatti, Mala is generously supported by her husband, V.S. Sundararajan or Raja as he’s affectionately known.
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Perima, the Godmother of the family, has a beautiful voice and teaches singing in her home. She’s also a talented veena player and composer. As the eldest of ten children, she had a pivotal role in the upbringing of all her younger siblings, much like a second mother. I am fortunate to get the opportunity to hear her sing and meet some of her students. Later, I accompany Archana and her to the Cancer Institute in Chennai, where they sing and dance for the patients. A moving and uplifting experience that I will never forget.
Singing on All India Radio since she was 19, Perima holds a B high grade, the same as her mother. Her radio performances used to be up to four times per year, but now, with more musicians to compete with, it’s usually just once a year. She proudly tells me that her son-in-law, Madhavan Gopalaratham, is an A grade musician. To Perima, Madhavan doesn’t seem like a son-in-law, he is more like a son, and a grandson to Paatti.
A muse As the centre of every family member’s world, Paatti provides inspiration and support in multiple ways. Full of wisdom and advice, she encourages each one of her children, grandchildren and great-grandchildren in their individual pursuits. Archana takes me to visit Perima’s daughter, Jaya Madhavan, her husband, Madhavan Gopalaratham, and their two children, Krsna, 13, and Prasana, 8. All of them musical, of course, Krsna treats me to some ukulele strumming of a song I know well, Hey Soul Sister, by Train. Soon everyone is singing. I can’t help but want to feel a part of this family! Jaya, 39, has a different artistic endeavor - she is a successful writer of fiction for young adults. And for Jaya,
Mother and daughter dancers, Smt. Mala Raja and Archana Sundararajan, run the Om Prasannalaya Dance and Music academy in Madurai
Paatti is her muse. Currently working on her third novel, she has been published in The Hindu and Gokulam, a famous magazine for children. She lovingly explains that her relationship with Paatti is less about music and more about her spirit, which has become a strong and magical influence in her writing. In fact, her first novel, Sita and the Forest Bandits, as well as a collection of short stories, were inspired by her grandmother, bringing to life a young Seetha or Sita. Sita and the Forest Bandits received critical acclaim, winning first prize in the Children Book Trust’s All India Competition for Writers of Children’s Books in 2001 Jaya can also sing and dance. She gives me a copy of a special CD made to commemorate Krsna’s Upanayanam in 2011. Family members collaborated to record songs of different genres. Illustrated with cartoon incarnations of each member of the musical family, it’s a treasured keepsake from my interview, and indeed my whole experience living in India. There are so many stories I cannot share in just one article, as I’m quite sure each member of this family would be worthy of a story all their own. But the one thing that shines through apart from the obvious musical talent, is a love of learning.
An aptitude for learning Paatti’s aptitude for learning is impressive. Perima says, “She loves to learn and has a great inquisitiveness.” She is willing to learn from anyone, even her grandchildren. Paatti’s mind seems to be agile and switched on. For example, for her All India Radio performances, she will plan well in advance and devise a list of songs she thinks will appeal to audiences. She is always studying spiritual books, but according to Perima, she thinks too much. Like all women, she worries about many things from saris to her children and grandchildren. Perima keeps telling her mother, “There is no
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Smt.Seetha Doraiswamy had an incredible aptitude for learning and keeps her mind sharp by reading a book of shlokas. She has done this everyday for the past 40 years
one on earth like you. You have ten children. We should be thankful for their health.” I am then excited to discover the secret to her sharp mind: Every single day for the past 40 years, she has read a book of shlokas. Her husband, Doraiswamy, a Sanskrit scholar, taught her to read Sanskrit and started her on this daily routine. She first saw the book in 1942, when a student of her husband’s brought it to their house. Fascinated by what it was and curious to read it, she borrowed it and copied all 100 slokas by hand, ready to return it to him. But he declined and gave her the book. From then on, she has read the entire book cover to cover
Smt. Seetha Doraiswamy and her wonderfully supportive husband Sri. N. Doraiswamy Iyer
every single day. She will even read it when she flies to destinations around the world. Indeed, on the two days I visit her, I see her clutching the book, engrossed in its contents.
An inspiring spirit Paatti’s down to earth personality makes it impossible to think she is anything other than appreciative and almost unaware of her fame. When I ask her what she thinks of the fame, she answers in English, “It’s God’s will.” Some of the very few English words I receive all interview. With the help of Archana, she continues to say that if she is a pioneer of Carnatic music, it is also God’s will. She feels it is a gift for the hard work she has done.
Meeting this legendary musician was inspiring, not only because of her talent, but more so because I got to see the beautiful mother, grandmother and greatgrandmother that is more loved by her family than words can possibly express. In her 87th year, Smt.Seetha Doraiswamy has much to be happy for. Clearly strong in mind, it’s only fitting that she is equally strong in spirit. Paatti is the musical melody running through a family of artistes, and her spirit will remain strong throughout every generation well into the future. And it is her spirit that lingers in my memory long after our time together, just like a beautiful song that you can’t help but hum for days, or possibly a lifetime.
Madurai Messenger Institutions August 2012
A Career in Music
This college has grown tremendously with current Principal Latha Varma. Never wanting to see the expansion of the college cease, she has plans for a new research centre on campus so that students may use it for thesis papers, studies or whatever else they need.
Jessica Farrell visits the Madurai-based Sathguru Sangeetha Vidyalayam, the only music college in the state, offering undergraduate, post graduate and M Phil programmes in Music. She interacts with the faculty and students, for whom music is a way of life
The school provides students with a supportive learning environment that is full of experiences and opportunities. Each month, there is a special guest musician who comes to the college to give a lecture on their experience and a special concert. It helps to keep students grounded and aids in their development.
By Jessica Farrell
But the Vidyalayam doesn‘t stop there. Students perform in front of an audience as well so they can get experience first hand. “I have been giving concerts for two years now, says D.S. Gokulnath, 20. He loves performing so much and after completing his Master‘s, he wants to share his music with people.
United States
Professor K. Thiagarajan explains how the mridangam is made with specific types of wood and how it produces different sounds before playing the instrument as a demonstration
The Vidyalayam also prides itself on its independence and academic standing. Of the ten staff members, five have obtained their Ph.D. in music from Madurai Kamaraj University and K. Thiagarajan completed his Ph.D. through Tanjore Tamil University in September 2011, under the guidance of Principal Varma.
The strength of the staff comes from an affinity with the college and their dedication to teaching. Six of the professors and Principal Varma are themselves alumni of the Vidyalayam. Principal Varma has a very colourful history with regards to the growth of the college, being the first person to receive a Ph.D. in Music from Madurai Kamaraj University in 1991.
A close knit community Principal Varma has been a guru to many students, guiding them through their education and maintaining an open-door policy, unlike many other colleges. “We are like a family because we are so small,” she says. Whenever a student needs to speak to her, they will not have a difficult time finding her. That‘s one difference between the Vidyalayam and other schools. One of the greatest aspects of this college is the students. Although the school has an amazing standing when it comes to the experience and training given to students, Principal Varma says that the number of people actually continuing in musical education or careers has been decreasing over recent years. “More students will get their Bachelor‘s here, then go to school for something like Engineering or drop out due to personal reasons,” she says.
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“You can learn a lot from teaching and I like imparting knowledge to others”
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is hands spread across the mridangam like lightning, striking the skin with precision. He knows exactly where to hit the drum to produce the perfect mixture of spiritual connection and entertainment. Assistant Professor K Thiagarajan is, however, not the only master of music at Sri Sathguru Sangeetha Vidyalayam, though. All ten staff members have had years of experience in their fields of music and are more than happy to share their knowledge with their students in order to produce musicians who will keep the traditional South Indian music and spirit alive.
Small beginnings The Sri Sathguru Sangeetha Vidyalayam is a government aided college affiliated with the Madurai Kamaraj University. What started as a small institution in 1959, providing vocal and instrumental classes in the evenings, transformed into a college of music, the only one of its kind in Tamil Nadu that offers a Bachelor of Arts, Master of Arts and Master of Philosophy (M.Phil) programmes. Students can also continue their education by studying for their doctorate under the guidance of an approved staff member.
Principal Latha Varma explains how students get accepted to the college by a set of interviews and a demonstration of their talent. “The students don’t need to have a music background but I like to hear their natural talent,” she said
Madurai Messenger Institutions August 2012
Embracing Difference Despite coming to terms with car horns that sound like a lullaby, dirt that stains the skin and irritates her eyes, and the appalling lack of personal space, Jessica Farrell admits that the liveliness of the city weaves its magic on her… slowly but surely By Jessica Farrell United States
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Nine students from different subjects such as violin, mridangam, and vocal take a break from class for an interview
“Unlike any other college in Madurai, the Vidyalayam brings students together to learn traditional music in an encouraging environment“ Student Aspirations But after talking to some students majoring in varied subjects, it is obvious that they have different goals in mind. Every student I spoke to said that they have goals to continue their education in music and also see themselves performing concerts or becoming professors after they complete their Masters. As an example, there are around 30 music schools in Tamil Nadu, and many of Professor K. Thiagarajan‘s former students teach in at least 20 of those schools. There is a particular student, K.V. Bagavathi Priya, 21, who wants to be a radio jockey and a playback singer after completing her graduate studies. “I want to become a radio jockey because I am very quiet and I want to talk to a lot of people.” By attending the college she has grown in selfconfidence. She can tell the difference between what she used to know about music compared to now, as well, and plans on using that knowledge to gain fame by lending her voice to movies. Another student, R. Mirunalini, 20, says that in five years she sees herself being a music teacher. “You can learn a lot from
teaching and I like imparting knowledge to others,” she says. She also finds that coming to the Vidyalayam is peaceful. Learning about music actually relieves her stress. It seems the staff are supportive to all the students. Unlike any other college in Madurai, the Vidyalayam brings students together to learn traditional music in an encouraging environment. Many students have been selected for competitions and won awards such as the Tambura prize from a competition held at Tanjore Tamil University and the Vishnu Ram Methi Silver Veena in Chennai. There are several stories that involve students going on to become successes in music and the staff is also well-known in the music community for their dedication to the performing arts. The Sri Sathguru Sangeetha Vidyalayam‘s excellence in music education is all due to the incredible staff who strive to maintain tradition and musical spirit in today‘s youth. But the students also have a major part to play. It‘s the students who make all the teachers‘ hard work worthwhile when they perform on stage, give their best in class, and dedicate their lives to music.
A peoplepacked city centre in Madurai
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t’s bizarre how one breath can be life changing, how car horns become a lullaby at night, how stray dogs and cows wait on the streets to cross through traffic like people. I could literally smell Madurai in the air when I stepped off the plane: a mixture of people, food, dirt, manure, and chaotic traffic. There is a layer of dirt in the air that stains my skin and stings my eyes every time I walk outside. It’s a reminder that I’m not home and that I need to embrace the changes. The differences between American culture and the way of life in Madurai is a list that could probably go on forever. Cows walking alongside me and music blaring through the neighbourhood, are part of a normal
day. A wedding where the guests are barely paying attention to the ceremony, and instead are socializing with others, isn’t rude at all. Markets crowded with fabrics, jewellery, and people staring or asking for a picture with me, is just common Madurai. The wedding I attended was beautiful and unlike anything I had ever seen. There were so many rituals being performed, incense and powders clouding the air, flower petals showering the couple. I watched in awe as the two families were joined by prayers. I had never been so moved by a wedding ceremony before. Curiosity and a lack of personal space is something I’ve had to get used to. Just yesterday, I was sitting in a bus and
the man next to me grabbed my book off my lap and started looking through it! No matter where I go with other volunteers, there is always someone who wants to know where we are from, what we are doing here, and our names. It’s like we are local celebrities, and something that disrupts the norm. Rickshaw drivers act like they own the road! Well, everyone acts like that here while driving. With no traffic lights, the system used is honking. It starts to sound like a song when riding in the back of a rickshaw after having to barter for ten minutes on the price. Madurai is a city that keeps going and I am happy to witness the liveliness each day, as it gets hotter and crazier than the day before.
Madurai Messenger Book Review August 2012
The Aesthetic and Cultural Legacy of Rukmini Devi Jessica Farrell opens her eyes to the classical dance form of Bharatanatyam by learning about legendary dancer Rukmini Devi through a collection of inspirational essays edited by Dr. Avanthi Meduri. Rukmini Devi Arundale (1904-1986), A Visionary Architect of Indian Culture and the Performing Arts provides not only the story of an extraordinary dancer, but also the multifaceted life of an independent woman determined to bring about change while preserving Indian culture By Jessica Farrell United States
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hen I used to think of dance, my mind immediately went to ballet, one of the most classical dance forms. I would imagine ballerinas gracing the stage and hypnotising me with their perfectly turned out feet and elongated arms. I would imagine an audience tearing up at what the human body is capable of. I would imagine the music taking over my thoughts, the costumes blinding me, the facial expressions pulling me into their moment of pure aesthetic beauty.
Rukmini Devi was known for her attention to every minor detail, including the way she presented herself
Each essay dealt with a specific aspect of Rukmini Devi’s life, from her decision to learn Bharatanatyam and recreate the dance with her own visions of what the dance meant, to her personal choice to be a vegetarian and a member of the Indian Parliament’s Council of State. The book is set up in three parts. Part one serves as an introduction to Rukmini Devi’s life and The Rukmini Devi Travelling Exhibition created by Dr. Avanthi Meduri, editor and contributor to the book, with the help of S. Sathyamoorthy, Shri Nachiappa Swamigal, Dr. Rajaram and many others. Part two delves into the several facets of Rukmini’s life including her controversial marriage to Dr. George Sidney Arundale when she was 16, and her involvement with the Theosophical Society. It also covers how she became the President of the All India Federation of Young Theosophists and of the World Federation of Young Theosophists in 1925, and her visionary building of the Kalakshetra institution of dance and music in Madras (Chennai).
I never imagined that type of perfection coming from any other dance form because I didn’t think it existed. Contemporary, modern, jazz, hip hop... these and many more are styles can, of course, move people. But the perfection that comes from ballet, the dedication it takes to be a serious dancer, and the persistence to practice and never settle for mediocrity, didn’t exist in any other form to my knowledge. That was until I read about Rukmini Devi Arundale and what she stood for as a theosophist, animal rights activist, revivalist, teacher, creator, visionary, and of course, a leading exponent of Bharatanatyam, the oldest classical dance form in India. In a book of essays contributed by many scholars, dancers, and people who personally knew Rukmini Devi titled Rukmini Devi Arundale (1904-1986), A Visionary Architect of Indian Culture and the Performing Arts, I learned so much about this incredible woman who stuck to her beliefs and acted with precision to bring life to Bharatanatyam.
“She brought a Spirituality and oneness to everyone in her life. She created an institution untouched by harmony”
“To be truly Indian is to be truly international, so none of us must forget the best of our civilization and to live it in our daily lives,” Rukmini Devi said when addressing young theosophists. She was a person who remained completely true to her ideals and beliefs throughout her entire life.
Title:
Rukmini Devi Arundale (1904-1986), A Visionary
Architect of Indian Culture and the Performing Arts
Author:
Dr. Avanthi Meduri (Editor) et al
Publisher:
Motilal Banarsidass Publishers Pty Ltd
Year:
2005
Although she married an Englishman against her family’s wishes, she was an Indian woman to the core and every essay praises her for her never-ending education on the importance of being Indian and upholding traditions. She paid much attention to detail when it came to her clothing and definitely the costumes
Bharatanatyam requires total awareness of the body as Rukmini shows with a classic pose from the dance
used for her famous dance-dramas. Part three explores these dance dramas and her inspirational approach to Bharatanatyam. One essay notes that she hand-picked all fabrics for her costumes and added a weaving department on the campus so everything for performances could be made at Kalakshetra. She wanted the school to grow tremendously and she got the best of the best when it came to dancers and musicians to teach and live at Kalakshetra. Despite its traditional association with the Devadasis as sensual and erotic, she went about reforming the dance form. In the essay “The Birth of Bharatanatyam and The Sanskritized Body” by Uttara Asha Coorlawala, she states, “Rukmini Devi believed that dance could only survive by purging all references to sexuality or even sensuality. Sringara was reinterpreted only as bhakti, or devotion to the Divine form.” In this way, Rukmini was able to purge the negative reflection of the dance and give birth to some of the most beautiful performances in Indian history. “Amma’s [Rukmini] eyes would not escape any mistakes or irrelevant gestures,” V.P. Dhananjayan states in his essay “Remembering Amma: A Beacon Light.” Rukmini Devi became a mother to many and shared her lifestyle openly so that others could live with peace, love, and beauty through the art of expression, which meant that perfection was not
unattainable. She touched many lives on the path to founding Kalakshetra and for supporting the education of dance in a way that was both a revival of Bharatanatyam and a discovery of its potential. She was able to create an aesthetically pleasing yet spiritually moving experience for anyone who watched her work. But she also reached out to the Western world with her dance-dramas and dedication to the performing arts. Not only did she change India by speaking out against animal cruelty and close-mindedness, she also created her own world that many are still marveling over today. The essays in Rukmini Devi Arundale (1904-1986), A Visionary Architect of Indian Culture and the Performing Arts seem to hit every aspect of her life with a personal touch and refreshing honesty. She brought spirituality and oneness to everyone in her life. She created an institution untouched by disharmony; a place of insane beauty where one can truly become a divine dancer just like her. This book entertains and informs people about Rukmini Devi’s legendry persona. It is also an inspirational read about a dedicated, independent woman who gave something to the world that can’t be taken away: dance as a way of life, creativity for the sake of spiritual expression, and beauty in its purest form.
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Madurai Messenger Entertainment August 2012
When Performance is a Form of
Self-Expression!
Whether it is impersonating famous actors or performing song and dance sequences from popular Tamil films, it’s all in a day’s work for the 20-yearold Abhinaya Dance Group in Madurai. In a freewheeling interview with some of the group members, Kurt Zimmermann finds out what has kept this premier dance group in the limelight for more than two decades
Abhinaya members Balaraghavan, Jeffry, Sait, and Suresh posing with Madurai Messenger volunteers Kourei Yoshibe, Toru Kumamae, Anne Zwahlen, Goulven Gentil, Tatsuo Tsukamura, and Kurt Alexander Zimmerman
By Kurt Zimmermann A wall of awards and trophys belonging to Abhinaya
United States
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her own make up. Most members are in university. Dancers rotate shows depending on there schedules. Some members have part time jobs, but for most, Abhinaya is a full time job. In preparation for a show, the group arrives about two hours before they go on stage to set up lighting and sound. Most performances take around three hours. They sing and dance to 30 songs in a show, each of a duration of about five to six minutes. On certain occasions, they also perform a fire dance that lasts closer to 15 minutes. The exact order of the songs, however, isn’t set in stone. It varies depending on where they are performing, their audience, and special requests. Including time to clean up afterwards, it takes around seven hours for any given show.
bhinaya Dance Group is known across South India for their comedic impersonations of famous people as well as spoofs of local music hits. To understand the group better, we interviewed the manager of the group, John Jeffry, and then later two founding members. Despite their success in Tamil Nadu, the group was excited to explain their life style to a group of foreigners. Their manager, John Jeffry, 39, had many interesting facts to tell us about the early years of the group. His office was an impressive collection of trophies and photos of the group. Awards from the Tamil Nadu government, among many other awards, were displayed proudly on the walls. You couldn’t look anywhere in the room without seeing a picture or award.
The size of the audience varies depending on the particular gig the group is doing. Occasions like private weddings are usually small affairs, but Abhinaya has also played for crowds upwards of 100,000 people. These are special events, such as performing at temples on holidays. When the group hosts shows like this, people have been know to travel up to 15 kilometres to see them and queue for several hours. Jeffry causally mentioned that at events such as these, the police warn Abhinaya that they can’t control a crowd of that size.
Impressive track record The group was started in Madurai in 1992 by four school friends who still perform today: M. Balaraghavan, 47, A. M. Sulaiman Sait, 48, B. Jeyakumar, 46, and S. Doraipandian, 41. Jeffry was also a dancer in the group, but after fracturing his ankle, he became the group’s manager. The group’s 20-year track record is impressive. They got their big break performing for an awards show sponsored by Lux, a branded soap company, and the popular Tamil monthly magazine, Kumudam. The group soon became popular and appeared in some big Kollywood films such as Padayappa, Sivakasi, and Thodarum. The group even went to Europe on a performance tour in1996. Since then, Abhinaya has grown to include 65 members in its fold with about 25 at each show. Usually, five women dancers accompany 20 men dancers. Sometimes they will have a larger stage and are asked to perform with many dancers, in which case there is closer to 40 people on stage at one time. The men are given matching costumes, and the women provide their own. Each member of the group does his or
A Perfect Illusion As soon as we arrived, dancer B. Suresh changed into his costume. This gave us a taste of what a real show would be like. He impersonates actor and former chief minister of Tamil Nadu, M.G. Ramachandran. Comparing a picture of MGR and his live impersonator, it was difficult to tell the difference. When Suresh struck famous poses of M.G.R., the illusion was complete. Balaraghavan also impersonates super star Rajinikanth. He is, and is also a traditional dancer.
Suresh posing as former chief minister of Tamil Nadu M.G.R.
Balaraghavan and Sulaiman Sait explained that they always had an interest in dance, even in their college days. In the early days, unsure of how their family would react, they
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claimed that they were attending “special classes” in order to travel and perform. Once they were finished with their studies, they decided to start the dance group with whatever money they had. When not busy with Abhinaya, they relax with their families. They enjoy success and fame now, literally being invited into homes after performances. The best part of the job for them is the reaction of the audience. The applause during and after a show is what makes performing worthwhile. Not surprisingly, one of the challenges they have is to constantly excite the crowd. They also need to keep coming up with new ideas, so as to not be stale. Each show, they believe, should be different. New songs take about three days of practice before they are ready to perform.. Despite their fame and success, the group was extremely friendly and approachable. Abhinaya insisted we take pictures with them; even their own photographer took some pictures. They made a point to shake hands with each member of the journalism team, which was different from the usual Indian farewell. Grins spread across their faces when I said nandri, the Tamil word for goodbye. Their faces creased into wide grins that indicated their pleasure in seeing their culture spread across the globe.
Madurai Messenger Young Achiever August 2012
Strike a Pose Dancer and yoga enthusiast Jessica Farrell strikes a pose with Dharmambigai Vanavil, a talented 15-year-old who has developed her own style of art performance that fuses yoga asanas with dance. Having won multiple national and international awards, it seems nothing is out of her reach for this busy but down to earth teenager By Jessica Farrell United States
Posing with some of her medals and trophies from competitions nation-wide and international, Dharmambigai prepares to show volunteer Jessica Farrell (U.S.) some of her moves
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Dharmambigai relaxes while she slips into an advanced asana that takes a lot of practice and patience
Y
oga is both a spiritual and physical exercise, but in Dharmambigai Vanavil’s case, it is a way to express the connection between dance and asanas while entertaining an audience. She is a 15-year-old student living in Virudhunagar who has been doing yoga since she was five. Now she is an international competitor with the awards to prove it. What started as something to pass the time, turned into an art as Dharmambigai performed throughout India, helping to spread the form of Artistic Yoga throughout the South of India.
When her older sister was in high school in Virudhungar, Dharmambigai would have to wait for her after class. There were many free classes available at a nearby centre so her parents decided to get her started in yoga. At just five years of age, Dharmambigai started on the path to becoming an awardwinning artistic yoga practitioner. Her guru, M.Srinivasan saw great potential in her and began personal sessions with her. He had always been intrigued by artistic yoga, which is a specific type that uses music and dance influences, so he introduced it to Dharmambigai. “I became very interested in the form
because it was such a different way of doing yoga,” she said. Now he comes to her house five days a week for two hour sessions and also helps put together routines. But he is not the only one who has wanted to train Dharmambigai. There have been several renowned practitioners who have volunteered to help her train for competitions due to her reputation as a hard worker and dedicated person to the art of yoga. One of her trainers was the international champion, Radha Krishnan. “I have
improved much from his teachings. Whenever I know he is coming to my area we will exchange videos to see how the other is doing,” she said when speaking about the people who inspire her the most. Her cousin, Keerthana, also inspires her because she is a national yoga champion and engineer. Practicing yoga must be genetic said her mother, Vasugi, 45, jokingly even though she doesn’t personally practice. Vasugi has greatly influenced her daughter’s style despite not having a formal background in yoga. She chooses the music for Dharmambigai’s routines and helps synchronise the asanas to the song. Sometimes she must edit a song in order to make it fit a routine. Together, Dharmambigai and her mother pick songs that an audience will know. “For the public here, you have to use the music that is known. An audience will cheer more if they know the song,” said Vasugi. Popular music includes songs from well-known movies and hit songs played on the radio.
Much work goes into choosing what asanas Dharmambigai does for a routine because she wants to have a unique performance as well as an advanced style. Her mother helps out by attending yoga classes to see new positions and by watching others during competitions for various ideas. When she was 11 years old, Dharmambigai began competing at national and international levels. Her most recent competition was in Uruguay last year at the International Federation of Yoga Sports. There are seven categories in the competition: athletic yoga, artistic yoga (single or pair), yoga dance, yoga asanas, rhythmic yoga, and acro yoga. She participated in six of the seven and placed in five of the categories, including first place in artistic yoga single at the junior level. Prior to the competition, she worked very hard to prepare herself. Before any competition she turns vegetarian for at least one month. She says she can feel
the difference in her flexibility when she eats meat compared to a strict vegetarian diet. She began practicing even more than she normally does and she went to a ten- day training camp. Her dedication paid off. “When they [International Federation of Yoga Sports judges] announced that I had won the gold medal for the competition I was almost in tears. I was so happy,” she said. She also went to Argentina in 2010 where she placed third for Acro Yoga, Artistic Yoga and Rhythmic Yoga. Besides performing at competitions, she performs locally in schools, hospitals, and functions. A normal day in Dharmambigai’s life consists of waking up at 5.30 a.m. to attend the free yoga class provided by the centre, followed by school, after which she practices with her guru for two hours around 7.30 p.m. and then she does her homework before going to bed. She has an extremely busy day for
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Madurai Messenger Young Achiever August 2012
The Beat of his Own Drum Fascinated by the traditional beat of the drum, Kurt Zimmerman meets Madurai-based musician and drum maker J.M.S. Britto. With not much money in the trade and an art form that takes ten years to master, J.M.S. Britto is an example of artisanal passion thriving in a an industrialised and globalised world By Kurt Zimmerman United States
Britto applying the metallic paste to the head of a Mridangam
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Balancing her entire body on her arms, Dharmambigai makes this position look easy when it actually requires complete concentration and strength
Dharmambigai Vanavil (15) warms up to the camera before the interview
a typical teenage girl, yet even with her growing popularity and reputation as an award-winning competitor, she still makes time for simple things. She enjoys going to school and hopes to become an astrologer.
so more children would want to come. As Dharmambigai will be busy with her studies, she will not have time to teach a workshop next year so this was her opportunity to see if teaching was something she would be interested in. She felt more confident after the class and believes that she could teach yoga to anyone.
Since practicing yoga, she has felt a difference in the attention she gives to school, which is just one of the many benefits she has noticed. Her mother said that she can see the difference in Dharmambigai’s face when she begins practicing for a competition. Her appearance becomes brighter and quite different from her sisters. “People say her sisters’ eyes are sleepy but her eyes are shiny because she practices yoga,” her mother said. And although she sees herself studying science, she also wants to teach artistic yoga to others so they can benefit from the form as well. “I will always practice yoga my whole life,” she said. Her first experience teaching was this summer at her house. Her mother helped her put together a yoga and art class for 20 children up to 16 years of age. Dharmambigai and her mother decided to add arts and crafts to the course
Even her friends are interested in learning yoga. She has one friend who comes to learn from her and many of her other friends understand that she is a serious competitor in the yoga world. They like to tease her because they are used to her coming back with medals and trophies. “Because I always win, they [her friends] will ask me to treat them with ice cream or chocolate,” Dharmambigai said.With so much on her plate, Dharmambigai Vanavil is very humble and downto-earth about her popularity and success. Even though she is quite the superstar in her community, being recognised when she goes to restaurants or other public places, she has kept a level head. She also understands the importance of hard work and will continue to train for future competitions. There are many goals in her life, none of which are out of her reach.
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ithout drums, music wouldn’t be what it is. Drums are an important part of music, keeping the beat for other instruments and singers. In Tamil music, there are several kinds of drums used to accomplish this. Going straight to the source, I interviewed J.M.S. Britto, 40, a traditional drum maker, to see what goes into the process of making these percussion instruments. His shop was small but bursting with different tools, leather, and string for making drums. He sat on the floor in one corner of the room, with shelves and tools all
around him, as his various workers watched from outside the shop. Britto employs ten other people, from fellow drum makers to wood polishers to leather curers. The task of making every part of the drum is very time consuming for just one person. Drum making materials covered the shelves and filled buckets. Unfinished and damaged drums were resting in any nook or spare space. Britto not only makes drums, but repairs broken and damaged ones as well. The shop was full of drums in every phase of creation.
Madurai Messenger Passion August 2012
“In his 25 years of drum making, Britto has made around 1000 drums of different sizes. Prizes for drums vary from Rs.5000 to 9000”
are thick and durable. Each drum has about three layers of leather for one face. The layers are often different kinds of leather. A typical drum has one layer of cow, goat, and then cow leather again. This is done so that the drum is strong enough to be played many times without breaking. Well-made drums, like the ones Britto makes can last for decades. Britto gets his leather from a worker he employs, who tans it for him. The animal the leather comes from is of great importance. Checking to make sure the animal was healthy in life, without pox scars and other blemishes ensures quality of the final product. Usually, female animals are preferred for making leather, because their skin is less rigid than their male counterparts. 22
Britto sitting in his packed shop
“No machines are used during the whole process, so his drums are entirely hand made”
A family tradition Originally a mechanic, Britto started making drums 25 years ago. He learned from his father A.John Philips, who in turn, learned from his father, thus perpetuating a family tradition. Britto mentions with pride that he would be never be so successful in this line if it was not for his Guru, Madurai D.Ramasamy Iyengar. In fact, his father was sitting outside the shop when we interviewed Britto, working on the face of a drum. Britto said that he would only teach his sons the family trade if they showed enough interest, because he doesn’t think there is much money to be made. It takes about ten years to master this difficult art. In his 25 years of drum making, Britto has made around 1000 drums of different sizes. Prices for drums vary from Rs. 5000 to 9000.
Given the musical nature of his trade, it isn’t surprising that Britto is a musician himself. He plays the tabla in church, and has been doing so for many years. The tabla is his favorite instrument, as he likes its clean sound. The tabla consists of two drums that are played together, one drum smaller than its partner. He also makes the thavil and the mridangam. The thavil is a wide drum played with the hand on one side and a stick on the other. The mridangam is a long drum, played with both hands hitting either side of the drum. Each drum is custom made to the buyer’s specifications, with some drums being lower in pitch to accompany male voices and some higher in pitch to accompany female voices.
For tablas and mridangams, special care is taken for the center of the drum’s face. On the final drum, there will be a metallic area on the face to produce a different, crisper, tone. The drum maker applies a metallic paste and then polishes it, over and over. He and his workers grind red stones, until a fine black powder of iron is produced. Then he mixes the powder with rice to make a black-looking paste. He is very careful with this part of the process. The paste must be just right, he explains. Too much rice and you can’t apply it to the drum; too much iron, and the sound of the drum will be off. Adding water ensures the consistency of the paste. Britto uses a polishing stone to work the paste into the leather fibres and takes away excess. Almost frantically, he moves the stone back and forth over the drum, turns it a few degrees, polishes more, and then applies more paste. He continues the process for four hours until the metal face is seamlessly a part of the drum. He averages about two instruments in five days.
The making of a drum
Given the specialty of this trade, musicians from all around Madurai seek him out to commission a drum. No machines are used during the whole process, so his drums are entirely hand made.
The drums vary in construction, usually with polished wood used for the body. Britto uses leather from different animals such as goat and cow for the faces of the drums. The leather is stretched over the wood, using string or leather straps to hold it in place. The kind of leather he uses depends on the task needed; some leather is paper-thin, whereas other kinds
Not strictly working during our interview. Britto offered me and two others, coffee as well as the chance to try some of the drum making tasks. The polishing of the metallic drum face was not as easy as it looked. A nadaswaram (traditional flute like instrument) was taken out and played
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Britto working on a mridangam
for us, along with many different drums. The music and coffee were both refreshing after the hustle and bustle of driving through the city to get to the shop. As they played music and I listened, I was taken aback by the beat of tradition. It was a nice reminder that the tradition of Tamil folk music is well and truly alive amidst the obvious technology of today, like cell phones and electricity. J.M.S. Britto’s highly sought after talent for drum making will help keep this tradition beating well into the future.
Madurai Messenger Behind The Scenes August 2012
Rising Star On a recent trip to Chennai, our Sub Editor, Ingelise Jones, got the chance to meet choreographer Johnny Master. This former assistant of Prabhu Deva, is fast becoming one of the most sought after choreographers in Kollywood
Sub Editor & Journalism Manager
I
f music is the heartbeat of Kollywood films, then dancing is the breath that brings them to life. Captivating sequences of eye-catching moves inject the story with exuberant energy. Responsible for this on-screen magic, are the talented choreographers behind the scenes. Meet Johnny Master, 40, a Kollywood dancer and choreographer with true star quality. Formerly an assistant to legendary choreographer, Prabhu Deva, he is fast becoming one to watch in India’s film industry. He’s also a dedicated teacher with his own dance school, Dance World. With one branch in Chennai, and two in Madurai, children can learn all styles of dance from Johnny and his team. As I imagine, Johnny’s schedule is hectic. He invites us to Jaya Television studios in Chennai on a Saturday where he is filming for the Little Masters reality dance show. As the headline judge, he delivers encouraging remarks to a stream of young contestants too cute for words with dance moves that blow us away.
Johnny master is fast becoming one of Kollywood’s star choreographers
Excerpts from the Interview When did you start dancing? I started dancing about 20 years ago. When I was very young, I watched the movies and started dancing on my own. I was very interested in any kind of dance. Whenever there was a school programme that included dancing, I took part. My interest grew from there.
Were your parents and family supportive of dancing as a career? No, actually, my family didn’t want me to be a dancer. When I was small, we didn’t have much media, not like nowadays. You see how the young people here are
What are you working on right now? I’m working on two films. One is Pazhaya Vannarepettai in which I’m acting and choreographing. I also have another film that is due to start soon.
By Ingelise Jones
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“I want to get a good national level award for my choreography. I want to achieve this very soon. Whatever happens after that is in God’s hands”
Thondrinal, which was being filmed in Goa. For this song, I was dancing in the group. I wasn’t assisting. That song brought me so close to the audience. People recognised me in that song. After that, I started picking up jobs little by little. Now, wherever I go, people notice me.
Johnny finds time for us in his lunch break. Huddled in the green room with his entourage, he oozes cool and seems adored by everyone. His friendly persona is as warm and engaging as his dance steps. It’s hard not to predict that his star is rising just as quickly and as rhythmically as his dance moves!
dancing? You see all these parents here for the Little Masters competition? They support their kids and buy them costumes, wait for them… whatever they need. They give them everything. I didn’t have that. My parents said that I should study first and then get a good job. They asked me why I wanted to be a dancer and didn’t understand what I could become. I only finished my Class 2 because my mind was fully on dancing. I couldn’t do any more than that. Now, my parents are very happy that I’ve come to this level!
When did you become a choreographer? I have been choreographing for about three years now. Before that, I worked
as an assistant for Prabhu Deva, the Indian ‘Michael Jackson.’
What is it like to work with legendary choreographer Prabhu Deva? It’s awesome. It’s like you are working with Michael Jackson.
When and how did you get your first break? My lucky break was about eight or nine years ago when I was working with Prabhu Deva. In India, they like what we call Gaana songs that catch on with the audience. I asked if I could dance on a particular song, but he said no. Instead, he suggested I dance for another song, Salomiya, for the film Kannethirey
Your own career seems to be rapidly progressing. What do you hope to achieve in your career? I want to get a good national level award for my choreography. I want to achieve this very soon. Whatever happens after that is in God’s hands.
What’s your favourite project to date? I did a rap song in the film Mathiya Chennai, where I dance like American rappers. I like that song very much.
What is the creative process for you when choreographing? How do you come up with a dance steps? Some directors say the song should be appropriate to the story. Whatever the song, we have to make a story. But most of the time, we listen to the song, then create the dance at home in a hall and rehearse it with the boys. Then, when we go to the shooting location and we usually change it. We might see things on set that we can use. For example, if we see some cute things or a vase, we think about what we can do with it to bring it into the song. You get a lot of ideas when you go outside.
How long does it take to choreograph a song? We spend about four to five days choreographing each song. We start in the morning at 9.00am and work until 6.00pm if it’s outdoors. But if we work indoors, we can work as late as 9.00pm or sometimes as late as 11.00pm
Where do you find your inspiration and who is your muse? Here we have an actor called Kamal Haasan. I am impressed when I watch him dance. I love him. He has a very good style, so I put him in my mind. I also danced and trained very well with my masters, Prabhu Deva and his brother Raju Sundaram, so I should thank them as well.
Who is your idol? Who do you look up to? I like the actress Simran very much. But I also like my master Prabhu Deva. I would like to be the king like him, but I want my own style. I want my students to want to be like me.
If you could have the opportunity to dance with any dancer in history, dead or alive, who would it be and why? Michael Jackson. I actually got the opportunity to dance with him. I never thought I would have that in my life. We did a dance with him for a charity show in Germany about three years ago. I was with Prabhu Devu, Raju Sundarum and a group of dancers. When we were dancing the Indian style dance, Michael Jackson came on stage and sung a few lines of Heal the World. We even travelled with his dancers in a van from the event to the hotel. This was a very good experience for us.
What do you love most about dancing? I feel very proud when the directors and producers say to others, “See Johnny Master is dancing very well. Try to dance his style.”
What styles of dance are your favourite? In India, you can dance everything. I do all styles - Western, Hip Hop and Indian folk dancing. I do a lot of Salsa too.
What are your hopes and dreams for the future? My sister and mother have already settled in Australia. I want to have a school there one day, but nothing has happened yet.
What does it take to be a great dancer? What traits do you need? First, I think to become a great dancer your mind needs to be clear, so that whatever you think, you can create. If you have a lot of tension, whatever you want to do will not come. Your mind will be somewhere else. If you come to dance, it should only be about dancing and music, nothing else.
What advice would you give aspiring young dancers and choreographers? Whatever you practice, whatever you are taught, don’t only come and do that. Whatever your teacher taught you, you need to get more involved. Change your body language, smile, and then dance.
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Madurai Messenger Behind The Scenes August 2012
In the Green Room: The Art of Make-up and Costumes A dance performance would not be complete without precise make-up and stunning costumes. These essential elements help tell a story, enhance characters and support the art and beauty of expression. In India, each traditional dance has specific costumes and make-up. Anne Zwahlen looks behind the scenes at these artistic trades that spring to life in the green room By Anne Zwahlen Switzerland
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ndia is a land of plurality. With 22 languages, hundreds of dialects, more than 10,000 gods and 28 different states, the country’s cultural richness is indisputable. Dance, especially South Indian dance, is also a strong and sacred element of Indian tradition. For thousands of years, classical dance forms of Bharatanatyam, Kathakali, Mohiniattam and Kuchipudi, have been performed. In addition to these traditional dances, there are others, including semi-classical and folk forms. All of these dances not only express feelings, they tell a story and move the audience. Traditional South Indian dances try to depict the sacred and the highest expression of inner magnificence. With such a variety of unique dances comes the need for a myriad of costumes and make-up, elements which help elevate the beauty and spirituality for each style and for every individual dancer.
Spiritual elevation A thick line of kohl around the eye or a mask of make-up, help bring to life a character. From the green and imposing faces of Kathakali to the feminine and pretty female figures of Bharatanatyam and Kuchipudi, the function of make-up can vary, depending on the dance and of what must be expressed and told. Make-up artist D. Kannan, 39, does make-up in 12 different states in North and South India for a range of clients. He grew up in the world of theatre with a father who acted in plays. He explains that each dance or occasion has its own characteristics and therefore its own make-up requirements. For example, bridal make-up will be different from a makeup for a film. Dance make-up depends on the genre, story and character.
Make-up artist D. Kannan surrounded by colorful costumes
For some dances, such as Bharatanatyam, Kuchipudi and Mohiniyattam, the make up can help strengthen the facial expressions. For example dark kohl enhances the eyes, and red shiny lipstick enhances the lips, while eyebrows are coloured to appear longer and darker. These tricks intensity and exaggerate the movement of the eyes, an important element in most of Indian dances In Kerala’s traditional dance, Kathakali, make-up helps depict characters. Shapes and colours vary depending on whether the figure is a virtuous prince or a demon. Make-up can also symbolise a social position, just as a simple similarity can link characters and help audiences to identify different relationships. For example, green makeup is used for the noble male figures, while the demons will be made up A store room full of costumes! D. Kannan and his associates with red. Gods, in particular, can be represented only with one type of make up. “You must use the green colour Stitching costumes seems to be a familial passion. Fulfilling if you want to depict goddess Meenakshi, otherwise it’s not goddess Meenakshi. And People will know that it’s Meenakshi his childhood ambition to be a tailor, he followed in his father, a tailor who used to stitch dresses for Karagattam. His on stage,” explains Kannan. father as well as Gandhi Pillai, who used to be the tailor of the Meenakshi temple, are his role models and taught him One thing is for certain, make-up will never be neglected. On everything he knows. Today, P. Gurumurthy concentrates his the contrary, it must be carefully and sometimes painstakingly work on Bharatanatyam, Kuchipudi and Mohiniyattam. applied, often taking several hours to complete. Just like the dances, its preparation is also rich in tradition. Kathakali Just as with make-up, costumes can also vary. For the make-up, for example, must be prepared with a rice-based Kuchipudi costume, pants are made with the fabric in the paste. In Bharatanatyam, dancers who have dark skin usually front crossed over. For Mohiniyattam, the costume includes try to lighten it with powder. Make-up will not be only a skirt. The Bharatanayam costume features both pants and a limited to the face, but will adorn other parts of the body: skirt, with pleats in the front that are called “fan pleats”. the dancer’s fingers and feet are also emphasised by the application of a red liquid called alta or mardani. D. Kannan The difficulty of the workmanship usually depends of these uses only natural products. pleats, which can be relatively easy to carry out when they are Even though make-up varies from dance to dance, two things only located in the front, like in the Bharatanatyam costumes, are common to all. As D. Kannan affirms, make-up is essential but become more difficult when also required on the pants. For P. Gurumurthy, who stitches all the clothes alone, a to complete a dance, because a dancer wearing only a dress without make-up isn’t attractive. Make-up must also be costume can take between one and a half days to four days, bright and exaggerated, in contrast to make-up for movies, depending on the costume details. The price also depends of for example, which must be discreet and natural. Make-up the latter. therefore supports a story, helping to bring characters alive. He then explains to us that the dresses he stitches for dance don’t have a particular meaning. People are generally A bright heritage “In a show, 50 percent depends on the dancer and 50 percent looking for aesthetics and will mostly ask for colours such as brown, red and yellow in order to create a costume that will depends on the dress,” affirms P. Gurumurthy, 46, a tailor for look bright on stage. A lot of jewellery will also be worn to the past 30 years. We meet him in his shop in the organised chaos of the tailors’ market at Pudumandapam in Madurai, to enrich the costume. Customers will usually provide the basic materials themselves to be sure that the result will match learn more about costumes for dance.
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Madurai Messenger Behind The Scenes August 2012
their tastes. However when P. Gurumurthy is working on a costume, he will only think about the beauty of the dress, not about the person. It is the costume’s beauty that has the most importance.
Painting The Picture of Sound
Not just aesthetics Besides aesthetics, the costumes can also be designed to make the character more imposing and to accentuate the feeling of power that the actors must convey. For example, dresses can be enriched by long, thick scarves, opulent and heavy ornaments and extremely long hair for particular characters. In Kathakali, these elements accentuate the ‘divine’ and create an impressive effect. In terms of beauty and meaning, Indian dance costumes have a strong traditional inheritance, which we can also find in the fabrics used for the costumes. Aparna silk is the traditional fabric used for most of the dance costumes.
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With their bright colours, precious fabrics and a lot of jewellery, the costumes are definitely here to embellish the dancer. These costumes are rich in tradition, just like the dances. They help the dancer to transform physically and mentally, to be one with the character. Indeed, from a super human to a delicate priestess, the costume can entirely change the dancer. Moreover, just like the make-up, the costumes are a way for the audience to immediately recognize the characters and, therefore, to follow the story. P. Gurumurthy, the tailor who has customers even from overseas
“Just like the make-up, the costumes are a way for the audience to immediately recognize the characters and, therefore, to follow the story”
As beauty is an important part of the art of dancing, we ask D. Kannan and P. Gurumurthy, how they define beauty. Both say that their jobs are beautiful, and P. Gurumurthy added that art is beauty. Their passion for their work can be truly felt as they perpetuate tradition and help make dance more beautiful. There is no doubt that costumes and make-up enrich the art of dancing, helping to tell a story to the audience and supporting the dancer in their portrayal of a character.
The harmony of voices in a choir is uplifting for an audience and its singers. Rose Groenink meets the lively ‘Mr. Music of Madurai’ Christopher Sherwood, to understand the many components that make a good choir. This former Director of the American College Choir, now leads the Madurai Choirists, an exciting new group who seek not only to uplift and entertain, but to share values about life By Rose Groenink The Netherlands
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good choir blends different voices together in beautiful harmony. For ‘Mr. Music of Madurai’ Christopher Sherwood, good music isn’t just about the voices; sometimes you need to adjust the bigger picture. “Singing together and producing a good tone is very important to really let the audience feel it,” Sherwood says. As Choir Director of the Madurai Choirists and former Choir Director of the American College Choir, he should know. According to Sherwood, it is not so much about the words but rather the tone. For that reason, the perfect choir should be able to evoke a feeling in the audience to match what the choir is trying to portray. The audience needs to be touched and moved because of the way the choir sings. This can be achieved through sound, tempo and the rhythm of the song.
The ever-vibrant tailors’ market
Christopher Sherwood, the Mr. Music of Madurai
Sherwood explains the way he teaches using the songs Happy Birthday and Silent Night, an up tempo song and a slow song, to illustrate the differences in breathing. It is very difficult to produce the right tone. That’s why ‘Mr. Music’ keeps telling the choir to develop vocally. Breathing is the basis of every song. So besides singing, he teaches the members about the voice mechanism as
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Madurai Messenger Sound Of Music August 2012
well. “You have to open your mouth to produce a good tone,” says Sherwood in an overly articulate way. Your posture is also important. It accompanies your body while you are singing. Sherwood has an interesting way of remembering your posture: “Don’t sit like a soldier and don’t sit like an old woman, but sit in between those two.”
More than just music Another important part of transmitting a mood to the audience is interpretation. The meaning behind what you are singing is important to ask yourself before performing. According to Sherwood, “If you are not able to produce feeling, then you are a failure.” Because the songs are about Christ, Sherwood finds it important to not only teach them to sing, but also help and support the members to be good people. Not only do they sing, they also talk about values and different kinds of norms. 30
He teaches, preaches and tells the members about the world to make them multi-intelligent. Students shouldn’t just be good in mathematics; they also should be knowledgeable in different kinds of art. Former singer of the American College Choir, Dr. Christianna Singh started to sing in the American College choir in 1986. Her voice was exactly what they needed because she was able to sing the second voice. Naturally she is a soprano, but because she was able to read the music she became an alto. She says that the Christian music really inspires her. But she also loves other kinds of music except hard rock and heavy metal. Music plays an important role in the lives of all the people connected to different choirs. As she says, “It just gives me more.” Music is able to give her the “pep” she needs to carry on with her activities. It takes the stress out of her body.
The rhythm train People once said that the heartbeat of India throbs with the rhythm of the steel wheels of the more than 60,000
Dr. Christianna Singh, the talented singer and member of the American College Choir
“Indeed, more than a credible story, the Indian audience is looking for amusement and an exaggeration of the make believe“
kilometre railway that is spread across India like a silver rattlesnake. Because of the constant rhythm of the train, Sherwood feels the music all through India. Music is everywhere. While telling us about his love for trains, he proudly shows a picture on his mobile phone, which was taken a week ago. The picture shows him in front of a gigantic train. Music clearly plays a big role in Sherwood’s life. but his first aim is to be a good person. And he hopes that in the future, people will come back to him and thank him for everything that he has taught them. His main goal is to teach members the values of life through music. In 1981, when he started as a Choir Director at the American College Choir, he had only been in the choir for one year. At the
time, he was a professor of ethical studies at the American College in Madurai and later, of religion and philosophy as that department was started in 1985.
Sounds in Madurai After 17 years of developing and conducting performances, the American College Choir disbanded and Sherwood quit. Three years later, in 2011, he started his own choir. “Why? Because I have all the knowledge and had no other choir to work with.” Called the Madurai Choristers, they meet twice a week. The members mainly live in the south of Tamil Nadu because the practices are sometimes until late in the night. Especially around Christmas times, it is very busy. They perform mostly at church, for weddings and choral services.
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The Choir at the Lady Doak College
They only perform English Western Christian songs. The American College Choir also performed other songs. One time because ‘Mr. Music’ loves jazz, they performed a jazz song. That was a great success. “Yes I really liked being a part of the American College Choir because it was known to be the best choir in Madurai,” says Christianne Singh. It is because of Sherwood, that they were able to sing and pronounce the English songs properly. “We have, as Indian people, a British accent.” Before singing, Sherwood makes the choir read the words. “But first of all,” he says, “I should be able to pronounce the words properly because I teach by example.” He strives to be a good leader like Gandhi, and leads by example. “You should practice what you teach.”
“A very good choir should be able to sing very, very softly,” whispers Sherwood, “and very, very loudly.” It is all about controlling the music and the words so they can really feel them. Any member of a choir should be able to handle all of these things. “They should really be able to paint the picture in sound,” he explains. The role of the Choir Director is to shape the sound that the choir produces. And that is what he has always tried to achieve with his choirs, both in the American College Choir and in the Madurai Choristers.
Spirit of cooperation
In the end, it is all about being a good person, producing good music and having fun. As the members of the Lady Doak Choir said, they are always excited about a new song or when they hear music on the radio. They automatically become enthusiastic.
Because the Madurai Choristers have only been practicing for one year, they learn by imitating Sherwood. They learn from each other as well. That is the beautiful thing about singing in a choir: the cooperation between the members helps them to become a better group.
As Confucius once said: “Music produces a kind of pleasure which human nature cannot do without.” It is a pleasure we need, not only to become happy but most of all, to become a better person, and a better human being.
Madurai Messenger Sound Of Music August 2012
Spinning Around A party or nightclub without music is like a restaurant without food. The masterminds behind that music are the DJs. It’s a profession that requires knowledge and skill, as music can influence the mood and movements of patrons and guests. Ingelise Jones chats with Michael Nicolas, a Chennaibased DJ who runs Radioaktiv, a DJ academy and events management business, to find out what DJing is all about By Ingelise Jones Sub Editor & Journalism Manager
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usic is a key element in creating the perfect ambience at a party or in a nightclub. Whether it’s music to make you mingle or trip the light fantastic on the dance floor, a Disc Jockey (DJ) can spin and mix songs for every occasion. DJ Mike aka Michael Nicolas has his finger on the pulse of the DJing scene in Chennai. With 14 years of experience under his belt as a DJ, he owns and manages a DJ academy and events management business, Radioaktiv.
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Tunes for Chennai DJ Mike’s quietly enthusiastic banter seems fitting for a DJ. He’s cool but not egotistical. A DJ is, after all, a facilitator for a good time, not the star of the show. His interest stemmed from a love of music, but as he candidly admits, “I was interested in sound. I tried learning an instrument, but I used to bum classes.” Inspired by some friends who were DJs, he recalls, “I used to stand behind them which got me interested in the profession.” From there it was a slow start filling in for friends who couldn’t work. Earning a mere Rs. 250-300 per night, it was hardly a living, but with each new job, word of mouth spread and he continued to pick up work. His interest must have been strong to lead him to the point where he established Radioaktiv seven years ago. Nowadays, his business has expanded to offer DJs for hire. Surprisingly, DJ Mike doesn’t speak Tamil, only English. Born in Karnataka, he grew up in Chennai but survived speaking only English, or as he says, “A little Tamilish.” Luckily he has DJ Patrick Jones on hand, a Chennai native, who is guaranteed to get any party pumping.
DJ Mike aka Michael Nicolas is the owner and mastermind behind Radioaktiv who specialise in event management and DJing
DJ Mike only has four DJs working for him at the moment. A few years ago, he had 12 DJs and three clubs to take care of. These days, he and his team are the exclusive DJs for Havana,
DJ Vishy wants to bring Techno and house to Chennai
a nightclub in Chennai. Essentially, less people in the team means they are busier and his DJs are happier. Not particularly encouraging are the recent changes to laws in Chennai that require bars to close at 10.30pm, with sound to be switched off at 11.00pm. Occasionally DJ Mike comes to Madurai to work at private parties, but unfortunately, the DJ scene is rather quiet in Madurai. Through his event management service, he offers end-toend solutions for clients, mostly corporates. By ‘end-to-end’ solutions, he means they provide whatever they ask for – everything from music and lights to sugar. They just charge commission. He organises eight to ten events a month for anywhere between 25 and 600 people. With clients like ITC, Sony and Nike in Chennai, he is making ends meet. The other arm to his business is the academy for aspiring young DJs. Starting a school wasn’t actually his idea. A couple of people approached him to suggest he teach others. He insists it’s not a business venture and it certainly doesn’t provide him with much income. He only teaches people who are very interested, and in whom he sees potential. To be a DJ, you don’t need all the equipment. Fortunately, when someone hires a DJ, they usually provide the equipment. But what you do need first and foremost, is a diverse music collection.
DJ Stevie idolises DJ Tiesto and Swedish House Mafia
Keeping in tune A DJ has to keep up to date with the latest music by listening to the radio, television and Internet. They also need to be open to other people’s tastes. According to DJ Mike, a good DJ collection should contain old and new, classic and current tracks. One of the most important skills, apart from having a great collection and being able to mix two tracks, is the ability to read the vibe of a crowd. Satisfying the client or the crowd is, of course, paramount. “It’s very tough to play out of another person’s case. You need to know what’s there, and you need to know where to find it. You need to look at the crowd and know instantly what to put on next,”DJ Mike insists. DJ Mike is a fan of mixing genres of different origins. He loves to play retro tracks alongside latest Kollywood songs and even throws in quirky music that’s multi-lingual. He says staples like Bryan Adams and Evergreen work in most situations particularly if you need to fill an empty dance floor. Retro doesn’t necessarily draw in the crowds as it might on Western dance floors, but it’s certainly not disliked. DJ Mike says it makes people shake rather than dance. “I usually have a tradition that I always start with the older stuff. I think it’s important to satisfy the older people first,” he says.
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Madurai Messenger Sound Of Music August 2012
DJ Stevie aka Stevie Sunny (18) is a budding DJ with a taste for underground Electronic Music
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Of course it differs depending on the type of event. “Corporate events should be more loungy to begin with. You want people to mingle and talk. A DJ shouldn’t be the main event,” DJ Mike explains. “In a private party, your time is very short. You just belt it out and by the time it’s over, you probably haven’t belted it all out. So it’s important to end on a high note.” “In a club it works differently. You never know when the crowd is going to come. It might start at 7.00pm or it might not happen until 9.30pm You’ve got to keep people who are in the club happy, but at the same time, keep music for the crowd that may come later. You’ve got to space it out using different genres and make a call.” For example, DJ Mike says, “Youngsters will come up and ask why we’re playing such old stuff. That’s usually a signal that they are ready to get up and dance… A song that worked yesterday, may not work today. But it’s the same principle that applies everyday.”
The essence of cool Budding DJs firstly need interest. A lot of people get into it for the publicity and the glamour. But DJ Mike says that’s the wrong way to look at it. “It is your love of music. DJs are basically untalented – they don’t know how to play music, or sing. But you know how to mix two songs. It’s an art to mix them,” he enthuses. The most important trait, he says, “Attitude. You need a bit of attitude, but you shouldn’t have too much. Just down to earth, that’s it.” DJ Mike also makes the reality of DJing very clear to his students: There isn’t a lot of money in it in India… yet. He’s had several guys who have
DJ Vishy and DJ Stevie are passionate about the DJ profession
left their jobs to start a new career as a DJ, only to quickly return to their former well-paid jobs. Training at Radioaktiv is usually an intensive month. “If the guy has some rhythm in him… in about ten days he can be ready to perform. The psychology of what to play where and when takes two or three months,” DJ Mike announces. Two of his prodigies who have emerged from the school and now work for him are Stevie Sunny, 18, aka DJ Stevie and Viswesh Radhakrishnan, 20, aka DJ Vishy. Both are ambitious and have a taste for underground Western genres of House, Electronic and Techno. DJ Stevie is an engineering student whose DJ story began three years ago when his mother took him to a private party. Clearly seduced by the trade, he confesses, “I like the basic things of DJing – the cool t-shirts that they wear and the kind of the music that they play.” The room erupts with laughter. We all agree: this profession is most certainly cool. This young DJ is clearly ambitious with an interest in production and the opportunities that overseas DJing could bring. A devotee to underground Electronic music, he is eager to stamp his mark on the music scene in India. “I want to bring something to India. Even in India people should know about Electronic music,” Stevie says excitedly. With idols like internationally renowned DJ Tiesto and the Swedish House Mafia, he’s set his sights high and would one day like to host events that promote overseas artists. When it comes to his playlist, DJ Stevie says, “I play only progressive Techno music, not commercial, because commercial is everywhere. I want to bring underground music to India to show
The DJs at Radioaktiv L-R : DJ Stevie, DJ Vishy, DJ Mike, DJ Jones
what it is. I try to promote the tracks by playing them in between more popular songs.” Just how quickly the crowd catches on in Chennai is another question. DJ Vishy, a final year Arts student, joined Mike about two and half years ago. Growing up in a household where music was constantly enjoyed. He loves what he does and aspires to promote music and make DJing his career. “I’d like to bring the culture of House and Techno into this city. I’ve been to a couple of parties abroad and seen how people enjoy the music. Hopefully someday it will come here. We should keep trying rather than letting it go.” “I try to keep the crowd happy by playing a couple of commercial tracks. Keeping the crowd happy is one part, but enjoying what we play is another part… We also play what we like. The scene is changing, but it’s very slow,” says DJ Vishy.
For love, not money These two up and coming DJs are clearly fond of their guru DJ Mike. “He is very patient and calm. When we try telling him that something isn’t working. He will always support and tell us to keep going. He is like a fatherly figure,” DJ Vishy insists as DJ Stevie nods in agreement. Together these three DJs tell stories of amusing events, like the odd occasion when it’s just been the three of them in a club. Obviously supportive of each other, they agree that without a crowd, a DJ can hardly bring the house down and it makes their job rather unfulfilling. “A private party usually has about 40 or 50 people. A lot can happen if you play the right music. It’s usually entertaining
and you get to play a lot of music,” says DJ Mike. While always entertaining, the crowd is, of course, an unpredictable element to any DJ job. As an example, Mikes says, “If there are too many guys dancing, then the girls won’t come and dance. So you need to change the music to the kind of music the guys wouldn’t want to dance to, and encourage the girls.” Occasionally they may encounter problems on the job. Intoxicated or egotistical guests can be problematic, but mostly it’s a good vibe and a good time. DJ Mike suggests that having the gift of the gab seems to also be a helpful skill for a DJ. “You learn how to talk your way out of situations. You need to as a DJ. It’s just part of the profession. There are good things and bad things, like any profession.” But DJ Mike is also candid about how tough this job can be. It’s still not a living, but it remains a source of enjoyment. “You’re in it because you love the industry. I’m still working on it,” DJ Mike explains. The event management service and hiring out of sound and lighting equipment provides a steady income for DJ Mike, although he says the expensive outlays for the equipment are still being paid off. Despite this, he’s confident he will get there. He aspires for his business to become one of the biggest events and DJ companies in South India. Disappointingly, Havana, the nightclub where DJ Mike and his team play regularly, was closed for renovation at the time of this interview. It’s due to reopen in August 2012. Endorsed by Lonely Planet, we hope this band of merry DJs continue to entertain club patrons, both locals and tourists alike, with their perfect mix of music.
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Madurai Messenger Trends August 2012
The Magic of
Music and Make Believe Anne Zwahlen takes a quick look at two flourishing film industries in India: Bolllywood, which produces the highest number of movies every year and its equally innovative Southern avatar—Kollywood. She also speaks to a cross section of people in Madurai about their favourite Indian films and concludes that everybody loves films because through make believe, they seem to make the reel real! By Anne Zwahlen Switzerland
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hree times bigger than Hollywood and with the highest number of films produced each year, Bollywood is the world‘s largest cinema industry. Growing in importance is Kollywood, India’s second biggest film industry, which produced the first nationally distributed film in India, Chandralekha, in 1948. Blending catchy soundtracks and fanciful stories to produce much loved films, both industries constitute a true phenomenon in the country.
The Indian movie phenomenon The word ‚Bollywood‘ is a contraction of Bombay, now called Mumbai, and Hollywood. The dialogues are mostly in Hindi, sometimes with a few words of English. Kollywood refers to the Tamil movies produced in Chennai, in the locality of Kodambakkam. Kollywood movies must always have a Tamil name. Compared to Hollywood, Bollywood films are relatively far less expensive: the most expensive movie was Devdas (2002), with Aishwarya Rai, which cost about US$10 million. American productions can easily cost more than US$150 million per film. Even if most of Bollywood‘s production success stays national, some of them are also becoming commercially successful overseas and receiving praise at the most prestigious international level. For example, Lagaan (2001) was nominated for the Best Foreign Language Film at the 2001 Academy Awards Devdas (2002) and Rang de Basanti (2006) were nominated for Best Foreign Language Film at the BAFTAs in 2002 and 2006, respectively. The success of Devdas was so huge that it influenced sari fashion and even encouraged weddings!
Traditional inspirations Nowadays, Bollywood and Kollywood movies are increasingly influenced by Western films and TV channels such as MTV,
with scenes filmed in a club, or featuring two characters kissing, for example. However, their influences are originally mostly traditional, taking inspiration from folkloric theatre. Bollywood is inspired by the Parsi theatre, which integrates music and dance with themes of realism, mixed with fantasy and drama. The narrative structure of Bollywood films often contains several stories in parallel, an element similar to the ancient texts of Mahabharata and Ramayana. Traditional heritage is also strong in Kollywood movies. While the dance is inspired by Bharatanatyam and music by ancient India, the story is often influenced by well-known books and the tradition of narrating myths and fairy tales through music and dance.
The world of make believe Though influenced by Western movies, particularly by musicals, there is a striking difference between many American films and Indian films that is interesting to notice. While the main goal of Hollywood movies is realism, the ‘make believe’ element of Indian films is willingly obvious. This may be compared to the ‘New Wave’ movement in the West, with directors such as Jean-Luc Godard, who wanted to make the cinematographic device visible. Indeed, more than a credible story, the Indian audience is looking for amusement and an exaggeration of the make believe. Most of the films are oriented on family and romance themes, appealing to a larger audience, but also, as an escape from their daily reality. With the recurrent themes of love, marriage, family, work and frustration, Kollywood and Bollywood plots can seem simple and sometimes empty. However, they keep inviting us to think, with vitality and humor, about moral values, which are,
Name: G.Suganya Age: 19 Favourite Movie: Oru kal oru kannadi, Moondru (3) and Kal ho na ho. Enjoys them because of the songs and likes all the songs in the movie ‚Moondru‘ (3). Favourite Actor: No one in particular: will like the actors if the movie is good. Otherwise no favorite actor or actress: will like them depending of their acting. Favourite Song: Enjoys all songs.
Name: P. John Barnes Age: 25 Favourite Movie: Amarkalam, Billa, Kadhal Mannan, Mankatha Favourite Actor: Ajith Favourite Actress: Shalini Favourite Song: ‚Saelai kattum pennukku oru‘ from the movie Kodi parakkudhu and ‚Satham illadha thanimai kaettaen‘ from the movie Amarkalam
Name: Keerthana Rebecca. S Age: 19 Favourite Movie: Likes watching comedy films - including Kalakalappu Favourite Actor: Hrithik Roshan (Bollywood actor) Favourite Actress: Genelia D‘ Souza Favourite Song: ‘Dil ki hai Tamanna‘ from the movie Force (Bollywood movie)
Name: G. Dinesh Raj Age: 22 Favourite Movie: Paiyaa, Engeyum eppodhum and Engeyum Kadhal Favourite Actor: Karthi Favourite Actress: Tamanna and Anjali Favourite Song: All songs from the movie Paiyaa
Name: S. Rathi Age: 30 Favourite Movie: Vinnaithandi Varuvaya, Kadhal Desam, Badhri, Favourite Actor: Rajinikanth, Simbhu, Surya, Ajith, Karthik Favourite Actress: Sneha, Amala, Nadhiya, Anushka, Aishwarya Rai Favourite Song: In the movie Badhri, the song ‚Kaadhal solvadhu‘ and the song ‚Pesugiraen‘ from Satham podathey
Name: T. M. Shantha Moorthy Age: 48 Favourite Movie: Sees only Kollywood movies: Aayirathil Oruvan (old Tamil movie acted by M.G.R.) Favourite Actor: Shivaji Ganesan, Surya Favourite Actress: K.R.Vijaya, Shreya
in fact, the basis of our society. In parallel to these industries, is ‘Art house’ cinema which deals with more serious themes, and social and political issues. The well-known Indian director and actor Guru Dutt is one of the most famous representatives of this genre and considered as one of the greatest Indian directors.
A backdrop of sound The soundtrack is of course an extremely important part of Kollywood and Bollywood cinema. It most cases, it will determine the success of a film. It‘s even often recorded before the film to convince people to see the movie. If the actors have to be perfect dancers, the songs are registered in playback, sometimes by very famous singers, and some people go to see the film only to hear the songs. Music composers are also considered demi-gods and the actors considered as
divinities. Songs from popular films will be echoed throughout the state or country. Ask any fan of Bollywood or Kollywood and they will be able to tell you a long list of their favourite cinema songs
The taste of the audience Two weeks ago, I had my first experience of Kollywood cinema with the movie Kalakalappu. I got an idea of what pleases the audience, with their catchy soundtracks and enthusiastic characters. But to completely understand and analyse the extent of the phenomenon, I needed to ask questions to the people who keep Kollywood and Bollywood industries thriving: the audience. To know their tastes, we asked them three simple questions: which Bollywood or Kollywood film they particularly liked, their favourite actor or actress, and their favourite song.
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Madurai Messenger Trends August 2012
Dance to the Beat
Move to the Groove With a band of volunteers and staff in tow, Rose Groenink tries some different dance classes on offer in Madurai. Often challenged by the complexity of the moves, she finds herself exhausted but excited by everything from Bollywood to Hip Hop, and urges you to get your bodies moving and have fun!
Five days a week, twice in the morning and twice in the evening, she teaches dance classes. You can imagine that she is in extremely good shape! And she is only 47 years old and everybody in class struggles to keep up with her. She is fast, flexible and just keeps on going!
By Rose Groenink The Netherlands
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or this special edition of Madurai Messenger we wanted to discover classes for different dance styles all over Madurai. Tourists, Indian and foreign, usually come to visit Madurai to see the temple of Sri Meenakshi Amman. Dancing is hereby often not first to come to mind, which is completely understandable if you consider the heat. But this is a shame, because dancing is in fact deeply immersed in the layers of South Indian culture. Dancing is also an opportunity to meet a lot of different people.
Selvarani Baskar, the confident smile
Most people join the class because they want to get fit for an important occasion like a marriage. But she prefers people to come to the class more often because then it is possible to really get to know the rhythm and the dance steps. Most older dancers are better and faster than the younger dancers for the simple reason that they come more often. The dance classes are constructed in three levels. First, the class starts off easy and slow, then it speeds up to high tempo music, before ending slowly again, like a pyramid.
In the name of fun “What’s my name? What’s my name? What’s my name? My name is Sheela, Sheela ki Jawani.” Sheela, a catchy Bollywood song has my arms and hips swinging at the same time. This is quite a unique dance that is all about having fun, according to Archana Sundararajan, a dance teacher and performing artiste who wants to be able to practice any kind of dance. She took the style from the dance video of and adjusted it into steps that were easier for us. It was great fun! A trained Bharanatayam dancer, Archana is a teacher at Om Prasannalaya Dance and Music Academy, the school run by her family in Ponmeni, By-Pass Road. Archana also teaches Bollywood and Kollywood to Projects Abroad volunteers on demand. Archana is
aerobics teacher to join her fitness school in Pillaimar Street, Arapalayam. The teachers she found were mostly situated in Chennai and very expensive, so decided to become an aerobics teacher herself. After a training for just five days, she knew the basics, and from there researched the style to continue building her repertoire of steps. Her creativity and motivation keeps her going and every ten days she changes the dance steps to avoid monotony and keep the body working.
passionate about dance and it shows in the way she teaches and the way she dances. Everybody, men and women participated in the dance class with no shyness or boundaries. It was all about having fun. The Sheela song is very “peppy.” It has so much energy. “When you listen to the Sheela song, you really feel like dancing,” says Archana.
in the theatre. But her main goal is working with kids. “All of my life, I have been very, very happy working with kids and really connect with them through dance,” she says. Dancing is so much more than just moving your body. The Sheela song makes you move naturally so the rest is up to you. It is just all about having fun!
A talented artiste, Archana wants to work with other dancers, join a group and travel the world, combining different dance styles and performing
High tempo toning Less fun and more work is aerobic dancing. Twelve years ago, Selvarani Baskar was looking for a suitable
Dance Masters Dhana and Gopi from D’s Charac Dance School in Madurai teach many Western styles of dancing including hip hop, salsa and freestyle
of the school’s founder Dhana P. He can take credit for introducing all the Western style of dances to Madurai. For the first time in South Tamil Nadu he performed a live salsa on stage. And let me tell you, he has some moves!
Hips don’t lie
Each month, there are approximately 40 children and 20 adults learning at the dance school. The main reason for the children coming is to have some fun and also learn how to dance. They learn mostly basic steps and facial expressions. The youngest participant is just three years old and already has good rhythm. There are two levels for children. The first one is just basic steps and stomping on the floor. The second level is more adjusted to the music and to the beat. So at the second level, the children actually learn how to dance. The oldest participant of the dance class is 67, which shows that dancing is for all ages!
Now time for a mix of hip hop and freestyle dancing offered at D’s Charac Dance School in Annanagar. With classes for children and adults, they also teach salsa, jive, tango, jazz and rock & roll. Salsa dancing is very popular apparently, and it is the favourite style
Before every dance, the teacher starts off with some freestyle dancing just to warm up the muscles. As Sharika once sang, “hips don’t lie.” They sure don’t! Compared to the aerobics of the previous class, freestyle is more about
Most people can’t keep up with the fast movements. It is quite a challenge! The rhythm of the Western music is very fast and the movements are exhausting but that is exactly the purpose for coming! And if you keep doing Aerobics you are guaranteed to have a good body! Tired and sweaty but satisfied, I sat in the rickshaw dreaming of lying down in my bed.
the hips and the sensual side of dancing We then did a mixture of Western and hip hop moves which started off very fast and before I knew it we had the first eight seconds of the dance memorised. That was fast! Luckily the next eight seconds were the same so I was able to practice a little more. The level of dance in this class is very high so it was quite challenging not only for the beginners, but also for the experienced dancers. This dance school produces many talented dancers. One dancer even won the competition for best dancer in Tamil Nadu! So if you like to shake it up a little and really want to move your body, not just for health but also for fun, try the classes at the D’s Charac Dance School because there is such a nice atmosphere and you won’t regret it! Madurai certainly has some great dance classes on offer. So, whether you’re a tourist or a local, get your bodies moving and just dance! I feel inspired by what I’ve learnt and ponder what Friedrich Nietzsche once said: “We should consider every day lost on which we have not danced at least once.”
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Madurai Messenger Reaching Out August 2012
The Inimitable
Sikkandhar Sulthan For radio fans in Madurai, Sikkandhar Sulthan needs no introduction. The versatile Radio Jockey who hosts the ever-popular Jigarthanda show on Hello FM! talks to Goulven Gentil about his journey as an RJ and his desire to use his celebrityhood to give back to those who made him what he is today
“For him, being famous is not an achievement unless you give something back to help the people”
By Goulven Gentil France
Sikkandhar, a few seconds before going on air
same period, he also developed a huge interest in music and realised that it was a great way to share with other cultures.
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After completing his Masters in 2004, he chose to focus on modeling. To follow his dream, he left Madurai and tried his luck in Chennai. Alone in this big metropolitan city he was lost and naïve in the beginning. His first steps in Chennai and its modelling world remain painful for him because he felt a little cheated at the time. But he admits that Chennai was, above all, a great way to get good contacts in the entertainment industry. He met DJ Humayun and started being a disc jockey (DJ) for private parties or in clubs. Modelling was still his every day work, but he was DJing on weekends. He then joined Serious Fun Media where he worked as a Green Room Captain, a sort of event manager. But even if his work brought in more money in Chennai, he was really missing his family, so he decided to go back to Madurai after three years. RJ Sikkandhar posing in hello FM’s broadcasting studio
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hen we meet Radio Jockey (RJ) Sikkandhar Sultan in the Hello FM station in Madurai, it is obvious that his profile on the radio website is not mere hype. The 29-year-old is certainly a “good-looking package of talent.” Ironically, he didn’t rely merely on his good looks but developed a lot of competencies in school and kept adding to his repertoire of skills through experience. He combines these skills with intelligence, humour and a continuous desire to bring joy to his listeners. As host of the popular radio show Jigardhanda, he is undoubtedly one of the most popular RJs in Madurai.
A star is born Born and raised in Madurai, Sikkandhar Sultan is the youngest child in family of two sisters and one brother. Blessed with a natural beauty and charm, the young Sikkandhar was interested in modeling, but wanted to academic success first. Being interested in new technologies and programming, he studied computer sciences for three years at college before obtaining his Masters. During college, he also had his first experience hosting television shows. He was a video jockey (VJ) for Vaigai TV, a local television channel in Madurai. In the
successfully, but it wasn’t the same for the second test for which he was not ready. However, because of his previous experience in Chennai, the director thought Sikkandhar could be a good choice and offered him a position at Hello FM.
Connecting with listeners On his first day at work, no one told him what show he was hosting! It was only when he was presented to his colleagues that he found out he had the 4.00pm to 6.00pm show named Jigardhanda. They didn’t give him many details or how-to tips, but rather the creative space to improvise and innovate. He decided to start with 70 or 80 percent humour to make his show lively and to keep listeners hooked. It was a smart strategy that paid rich dividends because today, Sikkandhar enjoys a strong fan base and his show, now in its fifth year, is well implanted in Madurai’s radio landscape.
At the same time in 2007, Hello FM was opening a local station in Madurai and started to recruit radio jockeys (RJs). Due to his experience as a VJ and a DJ, Sikkandhar thought that it would be easy to become a RJ. But he actually found it much more difficult because he couldn’t play with his image; he had to focus on what he was saying and try to make it interesting.
Jigardhanda. For those who don’t know Madurai, this word probably doesn’t mean anything, But for insiders, it is the name of a delicious addictive local drink made with milk, sugar, china grass, nannaari syrup (sarsaparilla syrup), and ice cream. It is generally enjoyed as a refreshment after a hard day’s work. And this is the exact goal of Sikkandhar’s show. To allow people to forget all their troubles and feel good for two hours a day while listening to Jigardhanda!
He had to pass through different tests to become a RJ for Hello FM. The first practical test was about announcing the time and the weather in Madurai, talking about the next upcoming festival, and then interesting information, before finally switching to a song. He passed this first test
The target audience of the 4.00pm to 6.00pm show is essentially young people. The topics addressed by Sikkandhar are movies, movie stars, gossip, current news about technologies (mobile phones, computers, etc.) and lifestyle. It’s all happy information but sometimes Sikkandhar receives
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Madurai Messenger Reaching Out August 2012
Fun in the Summer Time Eager to experience some summer time fun, Marie McEvoy and Ariane Lecuyer join a summer camp for children in the Agrini colony in Madurai. Organised by the Maha Periyava Association, the aim is to engage children in games, music and dance while instilling traditional values. We’re not sure who had more fun, the children or our volunteers! By Ariane Lecuyer, France And Marie McEvoy, England
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43 Sikkandhar explaining the technical aspects of his job to the Madurai Messenger team
alerts about traffic accidents or blood donations and manages to add them to his show, often on the spur of the moment. It is impressive to watch him juggling music, advertisements, sound effects, and talking. It is different to France, for example, whre RJs just talk and the rest is taken care of by a technical team. In order to ensure continuous improvement of his show, Sikkandhar listens to his colleagues’ advice and, of course, pays even more attention to comments from his friends and fans. For him, being famous is not an achievement unless you give something back to help the people. So, when he became aware of the impact and influence he has on his listeners, especially youngsters, he started to talk about more serious situations and issues but always in a humorous and light hearted way, so as not to offend anyone.
“He met DJ Humayun and started being a disc jockey (DJ) for private parties or in clubs”
His wish to help people is not new. As a child, he wanted to become a doctor. Yet another passion for the talented and versatile Sikkandhar Sulthan, is acupuncture. He’s a trained acupuncturist and offers his services free of charge. And to top it all, Sikkandhar loves acting and has even had several movie roles! His main goal, however, is to make a difference and to leave his footprints on the sands of Radio Jockeying.
Sikkandhar Speak His show: Jigardhanda, Monday - Saturday 4.00pm 6.00pm. His advice to those who want to be an RJ: “An RJ is a person who has got the quality of being humorous and spontaneous. He or she should possess good voice modulation and should be able to keep the listener hooked for a long time. They should be creative and well informed on a range of topics, from politics to movies.” His sources of information: Newspapers, websites, social networking sites, and contacts.
Children practise Dharana yoga during the morning session at the summer camp
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s we entered Agrini colony in Madurai, we saw children waving their hands, wiggling their fingers and limbering up for an exciting few hours ahead. Agrini is a Sanskrit word meaning ‘beginning.’ An hour-long ‘kiddie yoga’ session starts off each day at the five-day summer camp, held from April 15-20, 2012. Meena Kumari, 51, a yoga teacher with nearly 25 years of experience, told us that yoga provides, “A shake to the body when
they (the kids) are feeling sluggish in the mornings.” The kids certainly needed the energy for a day ahead of fun and games from 9.30am - 1.00pm. The summer camp was organised by the Maha Periyava Association. Vigneswari, 34, and Kaleswari, 34, started the association two years ago with other socially committed women. They are devotees of the saint, His Holiness Chandrasekarendra Saraswati of the
Kanchi Kamakoti Peetam, near Chennai. Popularly known as the Maha Periyava, he believed and encouraged initiatives that fostered traditional values in children. Initially, the association provided free books, food and footwear to children in villages. This year, however, was they held an inaugural five-day summer camp. Vigneswari and Kaleswari thought that the camp would be a good place to learn morals and principles whilst
Madurai Messenger Fostering Talent August 2012
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A junior version of the epic Ramayana being delivered to an enthusiastic bunch of kids
Latha teaches children shlokas, which are prayers written in Sanskrit, the ancient Indian language
their parents were at work, instead of staying at home and getting under their grandparents’ feet! Most of the children who participated in the camp were aged between 4 and 14, and lived in the colony.
Heritage lessons After the yoga session, children were split into groups to participate in different kinds of activities. We were especially attracted to one group of four girls singing. Latha, a Vedic heritage teacher, was teaching them some shlokas (or verses) from the Veda. The Vedas are the four sacred books of Hinduism, all written in Sanskrit. It’s tradition for Hindus to learn these slokas by heart, to offer homage to Shiva, Vishnu and the Goddesses in Hinduism. Here, Latha explained that they were singing a shloka called Adithya Hridayam, which is about Rama (an avatar of Vishnu). The story says that during his war against Ravana, the king of Sri Lanka, he was so exhausted that he decided to pray to the Sun, Lord Surya, to give him power.
At first, these four girls tried to understand the meaning of the shloka with the help of the teacher. They were all around 10 to 13 years old, so it was not easy for them because they don’t know much Sanskrit yet. As Latha said, it could be difficult but it’s also a good way to learn this ancient language and keep it alive. For the past 13 years, Latha taught Vedic heritage, a subject she is passionate about, in Rajapalayam government school. “I taught them these shlokas and at the same time, I taught them about our country, our religion and our culture,” she said. And they loved it! The small children who are passionate about Puranic lore particularly loved it. Later, we settled down for some storytelling with Archana Sundararajan, 26. She told the children a junior version of an ‘epic’ – Ramayana. It was about Rama, an incarnation of Vishnu, to instill in them values, discipline, and obedience. The younger ones were excitable and tactile, contributing to the story, hugging each other, and touching Archana’s face.
“We think we had just as much fun that week as the children themselves!” The older groups listened more intently, eager to learn, and demonstrate what they already knew.
A burst of creativity The groups rotated, so everyone got a chance to get involved in all activities. We moved on to the craft sessions, where the children were decorating disposable plates with cotton buds, sequins, and glue, with concentration etched onto their faces. Every day, they made something to take home and show their parents – the previous day, it was photo frames made out of recycled paper and card. In the corner, a group seemed particularly interesting: a pair of twins were performing Baratha Natyam, the
traditional dance from Tamil Nadu. They were being taught by Mala Raja, 51, a qualified Bharata Natyam teacher from the famous Kalakshetra School of Arts in Chennai. India has more than 18 different traditional dances still actively practiced, with one unique to each state. Mala started to learn most of them in Chennai when she was a child, and has been performing less and teaching more since she was married. She has been teaching Bharata Natyam for the past 27 years through her own school -Om Prasannalaya Dance and Music Academy in Ponmeni, Madurai. Her twin students are 17 years old, and after a five year break from dancing, they recently decided to start taking classes again. Looking at their elegance and poise, it seemed as though they had never stopped. The boys, not entirely enthralled by the yoga or dancing, were taken outside by Mala Raja’s son, Abishek Raja, 21, for more manly games – by which we
mean leaping over each other, firing sling shots, and getting very dusty and physical. A game of Kabbadi – the state game of Tamil Nadu – intrigued us. The rules were not explained to us, but from what we gathered, it involved tugging and wrestling each other to the ground. Observers gathered at the shady sidelines with us to cheer and tease the players good-naturedly. Everyone was so caught up in the roughhousing that they didn’t even realise it was snack time. A mix of fruit salad and custard was served to keep their energy at a maximum. We were amazed to see them quietly sit by themselves in circle and start talking, without needing any supervision. It was also time off for the adults, who could also enjoy the snack or just keep doing the activity with some children who didn’t want to stop.
Role reversal At this time the children came to talk to us, without any shyness and, most impressively, with great English for their
age. They also wanted to be somebody’s teacher that day, and decided to teach us Tamil. We repeated Tamil words after them with the right pronunciation. But what at first seemed a game for us, soon became a real class where we were taught many useful sentences. We left the camp after a lovely moment of sharing pictures – they gave us frames that they had made, with a photo of them or of their family inside, and promised that if we returned the next day, they would bring their whole family album to show us! We were also invited back to see them perform in a special show on the Thursday night that week. It was a magical compilation of all the skills, words and dances that they had learnt at the camp. We were enthralled by the bewitchingly bright outfits, spellbinding cultural dances, and hauntingly beautiful songs. We think we had just as much fun that week as the children themselves!
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Madurai Messenger Fostering Talent August 2012
A Cultural Education
Priya proudly dancing with her Guru Mala Raja
Keen to see how culture connects with education in India, Kourei Yoshibe meets a hopeful young dance student who recently auditioned for a scholarship from the Centre for Cultural Resources and Training (CCRT), New Delhi. Awarding 500 scholarships every year to talented students across the country aged 10-14 years, the CCRT works to preserve and promote traditional art forms in education By Kourei Yoshibe Japan
Guru Maka Raja posing as the cosmic dancer Lord Nataraja
G.Priyadharshini wants to become a professional Bharathanatyam performer
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47 G. Priyadharshini, the quiet, unassuming yet talented student said that the CCRT interview was a good experience. As the youngest person taking the test, she said, “I was very determined to show my knowledge and skill by way of this exam and wanted to prove myself. I was a little nervous, but, as soon as the music started, I became fully involved in the tune and the dance. I focused on my dance.”
Providing opportunities
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he distance between culture and education can sometimes be great in any country. In India, however, there is one institution that helps young people directly connect culture and education, the Centre for Cultural Resources and Training (CCRT), New Delhi. In their range of initiatives to connect culture in education, they offer 500 scholarships per year to children aged 10-14 years of age in India.
Promising talent Curious to know more about this, I visited the Om Prasannalaya Dance and Music Academy in Madurai to meet a young dancer who recently attended an interview in Chennai for the CCRT scholarship. G. Priyadharshini, 12, has been learning dance at the school since she was seven years old. So far, she has studied Indian folk dance, Manipuri, Kathak and Bharatanatyam. If she is successful,
this scholarship represents a fantastic opportunity that will surely set her on the right path to pursue her dancing dreams.
Set up in May 1979, the CCRT has been managing the scholarshihp programme since 1982. The programme was originally established in 1970 and run by the University of Delhi as the Scheme-Propagation of Culture for college and school students.
Scholarships are awarded in various traditional areas such as music, dance, art, crafts and dramas. Eligible students must be studying in a recognised school or traditional family. Recipients are supported financially until the age of 20 or their first stage at University, whichever comes first.
The connection between education and culture was reinforced under the National Policy of Education (1986), which suggests that a good education together with a sound cultural understanding, helps citizens to have clarity of thought, compassion and concern for humankind.
“I was very determined to show my knowledge and skill by way of this exam and wanted to prove myself. I was a little nervous, but, as soon as the music started, I became fully involved in the tune and the dance. I focused on my dance”
As an autonomous institution under the Ministry of Culture, Government of India. CCRT aims to improve the quality of life of students by training them in a way that supports their intellectual, social, physical and emotional development. They also provide a range of services, training and seminars for teachers.
Pursuing passions G. Priyadharshini’s teachers, mother and daughter team, Mrs. Mala Raja and Archana Sundarararjan, have been extremely supportive. They even accompanied her to Chennai for the audition.
Visibly passionate about dance, I asked G. Privadharshini about her most memorable experience to date. She recalled a performance that she did with physically challenged students. I thought she would say something about her winning a contest or an appreciation from a famous person. Instead, I see that she is humble. For talented young people like G. Priyadharshini, CCRT offers a unique opportunity. When I asked about her dreams for the future, she said, ”I want to become a successful dance teacher one day.” I am impressed by the determination I hear in her voice, and hope her dream comes true.
Madurai Messenger Culture Kitchen August 2012
A Dutch Treat:
Poffertjes and Bitterballen This month’s spotlight is on Dutch cuisine. Rose Groenink, a Dutch national, shares with us two traditional Dutch recipes: Poffertjes, a culinary cousin of the pancake, and Bitterballen, a savoury snack. She is pleasantly surprised to find her Indian friends polishing off the poffertjes in a jiffy because it tastes similar to the Indian kuzhi paniyaram! By Rose Groenink The Netherlands
“During the turning of the poffertjes, the batter rises a little and becomes round in shape, like slightly squashed balls“
Poffertjes are the culinary cousins of pancakes but smaller, sweeter and thicker because they rise a little. In contrast to pancakes, poffertjes are turned before the batter completely cooks. During the turning of the poffertjes, the batter rises a little and becomes round in shape, like slightly squashed balls. This also makes the inside of the poffertje is soft.
from home so that was quite helpful. So, it was with a little Maggi and a little of myself that I turned this dish into a success! As you can see, I gained a little more confidence about the dish!
What does the ‘poffertje’ mean? When Napoleon brought the recipe to The Netherlands, poffertjes were called broedertjes. But in 1815, it became poffertjes because the batter would literally pop out over the copper plate while it was cooking. Nowadays, there is a special pan that helps the poffertjes get their round form.
Before deciding on the menu, I had browsed the Internet to find a tasty and traditional Dutch recipe. Unfortunately, Dutch dishes consist mainly of potatoes, meat and vegetables (the famous ‘PMV’ as the Dutch refer to it). I like these dishes, but they are difficult to replicate here in India. So, it had to be vegetarian, and most importantly, it had to be tasty. In the end, I chose poffertjes and bitterballen. Critics are more likely to describe these as snacks rather than main meals. I, however, usually eat them for dinner. Of course, I should point out that this is not a healthy choice. But as I‘m a student, anything is allowed!
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Dutch meets Indian Luckily, in India, they have a pan quite similar to the real Dutch poffertjes pan but with less holes. It is used to make the sweet kuzhi paniyaram. According to my Indian friends, they tasted quite similar, so that was probably the reason why all of them almost attacked the plate! The bitterbal, on the other hand, was not their favourite. After a small bite of the little brown snack, some could barely keep the food in their mouths and one bitterbal even went over the edge of the
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Rose Groenink cooks poffertjes with assistance from Shankar one of the Projects Abroad chefs
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’ve just finished Culture Kitchen and I have to say that I‘m quite surprised and relieved. It wasn‘t as bad as I thought it would be. Indeed, it was rather good! The Poffertjes (small fluffy pancakes made of yeast and buck wheat flour) tasted a little Indian but that didn‘t matter much. The bitterballen (a vegetarian version of savoury Dutch meat based snack), on the other hand, were actually tasty despite the hard-boiled eggs I had forgotten to add because of the stress! Oops!
The art of compromise An hour before the actual cooking, I was shopping for the ingredients. I was slightly irritated, stressed and felt like a sinking ship. I kept thinking it was just not going to work out. The shop didn‘t have the right items so I needed to be creative with what was available. Spring onions were reluctantly replaced with large brown onions. Grated aged cheese became slices of processed cheese and the Mexican herbs were completely left out! I brought some Maggi herbs
Frying the bitterballen
Madurai Messenger Culture Kitchen August 2012
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A lovely plate of poffertjes covered with butter and sugar
Everybody loved the bitterballen, or almost everybody. Goulven Gentil (France) hesitates before trying this Dutch treat!
“Luckily, in India, they have a pan quite similar to the real Dutch poffertjes pan but with less holes“ roof! My fellow volunteers, however, were very enthusiastic and one said it was the closest thing to “an American snack” he had eaten since he arrived in India! More than a hundred years ago, the first bitterballen were sold in cafes. Bitterballen is a strange name for something that isn‘t bitter. The name, however, sprung from its traditional association with alcohol. The story goes that in those days, people were looking for a little snack to have with
Rose Groenink getting her hands dirty!
their “bittertje,” a gin or wine with herbs in it. The snack was created and called a “bitterbal” after the drink. Back home in The Netherlands, it is a very popular snack in bars and night clubs, although the gin has mainly been replaced by beer. At the Projects Abroad kitchen, however, the beer was unfortunately missing and so was the mustard! The “bitterbal” is complete only with a beer and mustard. But even without them, it is still a good snack. Overall, my cooking demonstration was a great success and I was able to make two of my favorite Dutch dishes in India, dishes I normally buy ready-made! Earlier I had made poffertjes the traditional way, but bitterballen was totally new for me. I held my breath but it turned out well, and I was surprised to realise that you don‘t even need all the ingredients to make it! I urge you to try it and you will hopefully love it!
Bitterballen
Poffertjes
Quantity : 20 balls 3 eggs 2 spring onions 60 grams butter 60 grams flour 100 gram grated old cheese 1 spoon Mexican herbs bread-crumbs oil
Serves: 8 people 100 gram flour A pinch of salt 30 grams sugar 7 grams yeast 2 eggs 11/2 litres milk 3 tablespoons butter icing sugar
Preparation
Preparation
Boil two eggs for about 10 minutes, and chop into small pieces. Boil 3 litres of water and add salt, pepper and herbs to spice things up a little. Chop the spring unions and the cheese into very small pieces. Melt the butter in the pan and stir in the flour. Continue to stir while you add water, eggs, onions and cheese, until the mixture thickens into sauce consistency (best to have it as thick as possible). Put the sauce on a plate and let it cool, then roll into balls. Lightly beat an egg in a bowl, place some flour on a plate, and breadcrumbs on another plate. Dip the balls in the flour, then egg and finally roll in the the breadcrumbs. Make sure the breadcrumbs coat the balls. Heat the oil to around 180 degrees. Fry the balls until they are golden brown. Drain them on tissue paper.
Mix the flour with a pinch of salt, a little sugar and the yeast. Stir in the eggs. While stirring, slowly add the milk and keep stirring until it forms a nice and smooth batter. Then put the covered batter in a warm and draft-free place. Let it rise for one and a half hours. After it has risen, put a small amount of batter in each hole of the pan. After a couple minutes, you will see them rise into little rounded shapes, but flip them before the batter looks solidified. The easiest way to turn the poffertjes is with a spoon. Make sure you watch closely, as they don’t take long to cook. Place on a plate with a large blob of butter and dust with the icing sugar, Enjoy!
Madurai Messenger Body Art August 2012
Mesmerising Mehndi
Bride to be In the south of India most women will have mehndi two or three days before they get married. The design starts at the elbow and goes all the way down to the fingertips. The design symbolises the crown-shaped leaves of the lotus.
Mesmerised by beautiful mehndi, Rose Groenink meets some glowing brides in preparation for their weddings. She hopes to inspire you with her photographs of these stunning designs! By Rose Groenink The Netherlands
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Patience is a virtue For five hours, the women can do nothing but wait until it is dry. To help the mehndi stay on the body for longer, they put lemon and sugar on the almost dry design. The longer it stays on, the darker the color will be. After five hours, the scraping of the mehndi begins. Because of the lemon and the sugar it is kind of sticky and hard to remove. It requires a delicate touch. You don’t want to scrape too hard and possibly destroy the mehndi. But it is worth the wait, because the result is beautiful!
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ehndi is the Indian tradition of drawing temporary art on the body using henna. This ancient tradition is also practiced in Nepal, Pakistan and Bangladesh. It is instantly recognised in the West for its cultural beauty. Today, people mostly decorate themselves for special occasions like marriage or baby showers. Not only is it beautiful, it also reduces body temperature.
Changing colours There are different kinds of mehndi. The black and coloured mehndi is mostly used in Arabic countries. In India, natural mehndi is mainly used which gives an orange-brown color. After boiling the tea leaves, what remains is the natural mehndi. The body temperature provides color to the mehndi. Just after the scraping the color is light-orange, but the next day the color is darker and more intense. The origin of the leaves also contributes to the final colour. The heat of the environment determines the quality of the leaves and therefore, the colour.
Madurai Messenger Body Art August 2012
Natural beauty Nowadays, a lot of mehndi is mixed with chemicals at the expense of the quality of the leaves. On the other hand it will last longer. Most times it will last around seven to ten days. But it depends on where you place of the mehndi on your body, how you treat it and where you live. For example, the water here in Madurai is saltier which makes the mehndi disappear faster. If the mehndi is on a part of the body that is frequently washed, it may not last as long either.
Handy work An eye for design 54
Every city has its own traditional mehndi designs. Only a trained eye can recognise the differences between the designs. Madurai-based beautician Vinita. Jain, 55, has worked with mehndi for 26 years. She is able to recognise different mehndi designs to tell where the people come from. Of course mehndi can also differ due to the taste of the designer and the customer. For this reason, every mehndi is unique.
The application of mehndi requires creativity and a steady hand. After trying to apply it myself, it seems quite difficult because you have to press hard enough to release the mehndi from the tube, and at the same time, control the amount of mehndi coming out, all while drawing a design. I was allowed to unleash my mehndi skills on another volunteer. She asked for a design that is also my name! Being Rose, I couldn’t design anything other than a rose. Though it is rather difficult, I was proud of the result. And happy that is wasn’t my hand. In the Rathi’s Bueaty Parlour owned by V. Athilakshmi, there is a slogan that reads ”No Compromise” – I assume this means that quality is important and I’m told that every employee is able to do mehndi. The mehndi that I get is stunning, and I must admit, it is much better than my effort… but I suppose that was to be expected!
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Madurai Messenger Film August 2012
On the Cusp of
Tradition and Modernity Toru Kumamae reviews the critically acclaimed Dance like a Man (2004). With breathtaking performances by Shobana, Arif Zakaria and Anoushka Shankar, it explores the many conflicts between tradition and modernity, family expectations and love, and sets the screen alight with stunning scenery and emotive dance sequences By Toru Kumamae Tokyo, Japan
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“A woman in a man’s world is progressive; but a man in a woman’s world is pathetic” learning the dance form in just five months!, The film was shot in Bangalore, Karnataka, India. It won National Film Awards for Best Feature Film in English, which is the most coveted film award in India.
Title:
Dance like a Man
Cast:
Shobana, Arif Zakaria, Anoushka Shankar
Director: Pamela Rooks Year:
2004
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ance like a Man is an Indian film about a Bharatanatyam dance couple. Based on a play written by leading Indian playwright Mahesh Datani, and directed by Pamela Rooks, it was released in 2004. Starring Shobana, Arif Zakaria and Anoushka Shankar, every dance sequence is stylized and executed with finesse. It is just amazing that Arif Zakaria, who plays Jairaj, was able to act convincingly as a trained Bharatnatyam dance despite
Jairaj (Arif Zakaria) and Ratna (Shobana) are husband and wife, and share a great enthusiasm for dance. They gave up their dream to be fabulous dancers, however, and sometime later, Jairaj begins to lead a loose life. They have a daughter, Lata (Anoushka Shankar), who is preparing for her Arangetram (stage debut as a dancer). She has a talent for dance and receives considerable acclaim on her splendid debut, but her parents, especially Ratna, have very high expectations of her. Indeed she loves dance, but she hides her real intentions. She has a boyfriend, Vishal (Samir Soni), who is not familiar with Bharatanatyam, and hence she desires to give up dancing and settle down with him. Amritlal Parekh (Mohan Agashe) is Jairaj’s father and the owner of the mansion in which Jairaj, Ratna and Lata live in. Amritlal, who has no understanding of Bharatanatyam dance, says, “A woman in a man’s world is progressive; but a man in a woman’s world is pathetic.” As the story continues, the audience gradually has to confront increasingly serious problems revealed in the marriage of Lata and Vishal. Those
problems include jealousy for Lata’s gift for dance and the secrets in the family. There are several spectacular Bharatanatyam dance scenes in this film. The dancers express emotions beautifully through their eloquent eyes, face and even a finger. The elegant movement of fingers expresses a flying bird, a flower blooming, and a butterfly. When Jairaj and Ratna dance together, they are magnificent. Their performance is overwhelming and keeps us engrossed. In one dance scene, Jairaji stands on one leg and keeps his balance with his eyes closed while Ratna dances around him. In the end, Jairaji opens his eyes and starts to dance with Ratna. It is a suggestive and poetic scene. We can see their feelings for each other, which are full of pleasure, but at the same time, it seems serenely composed. The costumes in the film are gorgeous and add to the story. The colours are vivid and brilliant. Moreover, they are extremely well accessorized. The gold bracelets around the wrist or arm add to the elegance of the movements. The numerous backdrops of stunning Indian countryside give solemnity and calm to many dance scenes. Nature looks charged with vigour, just like the people of India. This story is also quite insightful and raises several pertinent issues in the contemporary Indian context.
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Madurai Messenger Film August 2012
Love and Dance Conquer All Rose Groenink reviews Thilana Mohanambal, a Tamil movie classic about a Bharathanatyam dancer and a Nadaswaram player who find themselves in forbidden love... By Rose Groenink The Netherlands Director A P Nagarajan
Mohanambal tries to prevent him from leaving for Malaysia but instead, pushes him even further away by saying that he is a coward and not secure about his talent. Yet in the end he accepts her challenge and they perform together in the temple. At the temple, there is an annoying man who tries to stop the performance because there is another man who wants to marry Mohanambal.
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After their performance a poisoned knife stabs Sikkal in his arm. This could be the end for a Nadeswaram player like him. Mohanambal is inconsolable and stays at his hospital bed the whole time.
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Title:
Thilana Mohanambal
Cast:
Sivaji Ganesan,
Padmini, Nagesh
Director: A P Nagarajan Year:
1968
ikkal Shanmuga Sundaram is a devoted Nadaswaram player who refuses to play if everyone is not paying attention. A true artiste, he performs not only for the money, but also for respect. According to him, an artiste should not be forced to play. Mohanambal is a talented Bharathanatyam dancer and singer, who falls in love with him. The road to be together, however, is far from easy. Sikkal’s ego is his biggest opponent in the whole movie, not only in music, but also in love. Mohanambal on the other hand, must deal with a strict mother and multiple suitors.
Their love story begins at a show where Mohanambal watches Sikkal perform. Impressed by his artistry, she asks her uncle to convince Sikkal to stay and watch her dance. Her mother is at that time already furious with her, but she challenges Sikkal to play the Thilana while she dances. Despite an altercation, Sikkal still watches Mohanambal dance. She sings about him and shows her love for him. But he doesn’t see her love for him and decides to leave the country with an old friend and fellow dancer Jil Jil Ramamani.
Meanwhile, the plot diverges and intensifies: there was a fight in the temple, a meeting in the train and a landlord that also want to marry Mohanambal. The Maharaja of Madhanpur is also interested in Mohanambal. Vaithy, a crafty man, tricks Mohanambal into performing for the Maharaja of Madhanpur by saying that Sikkal is also performing. She arrives at his house where he forces her to be his mistress. She stands up for herself and refuses him. At that moment, his wife enters the room and also stands up for her. The Maharaja apologises to Mohanambal, and sets her free. As Mohanambal leaves the room, Sikkal arrives and he sees her leaving the Maharaja of Madhanpur. He is mistaken by her presence and assumes that something is wrong. He wrongly assumes that Mohanambal wasn’t
serious about her love for him and gets very upset. He starts screaming that he wishes she was dead, because that would be easier for both of them since she isn’t sincere about her love. Mohanambal runs away in total disbelieve and confusion, just as Maharaja comes out of his house to explain the real situation to Sikkal. Suddenly it hits Sikkal that he was prejudiced and foolish. He runs to Mohanambal’s house where he finds her mother and friends knocking on her door pleading for her not to commit suicide. When she hears Sikkal talking to her, her first reaction is to be angry, but slowly she hesitates and changes her mind. He tells her to stop and promises to love her and never doubt her love ever again. Her mother also promises to allow her to love whoever she wants. Suddenly Sikkal breaks open the door and saves her from hanging herself. The last part is both heartbreaking and beautiful. Misunderstandings and egos threatened to ruin everything, but in the end, love conquers all. Sikkal and Mohanambal get happily married and stay together for the rest of their musical lives. Though this story about a forbidden love is quite predictable, it is still enjoyable. Music and dance make up most of this 2.5 hour-long movie. With convincing performances by Sivaji as Sikkal and Padmini as Mohanambal, the dancing is particularly wonderful to watch.
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Madurai Messenger Film August 2012
Awakening the Dancer in
All of Us
Dirty Dancing is a romantic coming of age film adored by fans all over the world for its heart warming story and captivating dancing. Anne Zwahlen explains why this cult classic is a gentle reminder of how beautiful mutual help can be, and encourages the audience to be more open-minded By Anne Zwahlen Switzerland
Title: Dirty Dancing Cast: Patrick Swayze, Jennifer Grey, Jerry Orback, Kelly
Bishop, Jane Bruker, Jack Weston, Cynthia Rhodes
Director: Emile Ardolino Year: 60
1987
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nspired by her own life, American screen writer Eleanor Bergstein, wrote Dirty Dancing in 1987. Between passion, love and dance, this American romance film directed by Emile Ardolino has won the hearts of fans all over the globe. Initially a low-budget film, it has grossed over US$200 million since its original release. Its popularity has continued to grow over the years with the release of VHS and DVD as well as a stage musical. Not to mention the success of its soundtrack, that has sold over 42 million albums and won several awards for the timeless classic (I’ve Had) The Time of My Life. Set in 1960s America, the movie narrates how Frances Houseman (Jennifer Grey) nicknamed “Baby” by all her relatives, discovers the art of “dirty dancing” and falls in love with her dance teacher Johnny Castle (Patrick Swayze). However, her journey of self-discovery is in contrast to a conservative society who are unable to see beyond their prejudices.
“In Dirty Dancing, the soundtrack not only creates an atmosphere, the lyrics of the songs also describe and amplify the characters’ feelings perfectly”
After a controversial, energetic and sensual Black and White dance montage, the film opens with an atmosphere of naiveté with Baby in a car accompanied by her sister Lisa (Jane Brucker), who seems to be her perfect opposite, her mother, Marjorie Houseman (Kelly Bishop) and her father, Dr. Jake Houseman (Jerry Orbach). The family is on their way to Kellerman’s, a luxury resort in the Catskills Mountains owned by Max Kellerman (Jack Weston), Jake’s patient and friend.
Kellerman’s resort appears to be an impressively dull place, full of elderly people. Indeed, Baby’s holiday begins with her participating in a magic trick where she is cut in half by the magician. Soon after, the simpleton owner’s son, Neil Kellerman (Lony Price) dances with her, he takes her for a walk where she meets some “Dance people,” as Neil calls them. The contrast between Neil’s incomprehension of their lifestyle and Baby’s amazement shows for the first time how she is different from the society in which she is born.
Baby herself describes this atmosphere which seems to announce the upcoming changes: “That was the summer 1963, when everybody called me ‘Baby’…That was before President Kennedy was shot, before the Beatles came. When I couldn’t wait to join the Peace Corps and I thought I’d never find a guy as great as my dad.” Her thoughts are accompanied by the song Big Girls Don’t Cry. Indeed, in Dirty Dancing, the soundtrack not only creates an atmosphere, the lyrics of the songs also describe and amplify the characters’ feelings perfectly.
Later, while walking alone in the dark, Baby, intrigued by noise in the employees’ house, discovers a party and meets Johnny Castle (Patrick Swayze), one of the two dancers she saw earlier. When Baby learns that the waiter Robbie Gould (Max Cantor) got Johnny’s dance partner, Penny Johnson (Cynthia Rhodes) pregnant, she decides to help the dancers to finance her abortion.
Shocked by Robbie’s indifference, “Some people count, some people don’t” as he explains to her, Baby now comes face to face with the reality of life. She then asks her father for money without telling him how she’s planning to spend it. Penny finally accepts the money, but the appointment clashes with an important performance. Baby decides to take her place for an important performance with Johnny. She must now learn how to dance. More than just dancing, Baby learns how to feel the music and listen to the rhythm of her heart. Dancing pushes them closer and closer together. Unfortunately, things quickly get worse: Penny’s abortion was horrific. When Baby finds out, she gets her father, a doctor, to take care of her. Her father, however, assumes that Johnny is responsible of the young woman’s situation, and forbids Baby from seeing him again.
Johnny and Baby have to hide their relationship. Johnny doesn’t dare share his vision of dance, considered as immoral, while Baby tries to meet her family’s expectations. When their affair is discovered, Johnny is fired. Surprising everyone, he comes back for the final show, leads Baby on stage with the unforgettable line, “Nobody puts Baby in the corner,” and invites her to dance on (I’ve Had) The Time of My Life where they execute a perfect lift. At the end, everybody, old and young starts to dance, showing a possibility of the older generation accepting change gracefully. As the story progresses, Baby grows from a teenager into an adult, but her values stay the same. When she arrived at Kellerman’s resort, she wanted to change the world by entering the Peace Corp. At the end of the summer, this dream is still alive, although she understands that dancing could be another way to create a revolution. In the end, more than offering amazing dance performances, Dirty Dancing shows, with humour and vitality, how beautiful mutual help can be and encourages the audience to be more open-minded.
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Madurai Messenger Village Voices August 2012
A Sense of Community Kurt Zimmermann enjoys a jaunt to the village of Nilaiyur, 17 kilometres outside of Madurai, where he sees wild monkeys for the first time and is amazed by the Thiruparankundram temple. As he befriends many locals, he learns about hand looming and the local dance group Star Kavinaya. He discovers a strong sense of community and finds the open space and slower pace of village life strikingly different from Madurai By Kurt Zimmermann United States
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Queit and removed, Murugan temple is an escape from city noises
whole experience was exciting. Our group was laughing as we snapped many photos. From the dirt road, we climbed stone steps up to a cave carved into the rock. The Murugan temple is the eastern most of three temples located at Thiruparankundram. It was carved out of a rock around 800 BCE with intricate sculptures of Shiva and Tamil inscriptions. The temple isn’t just a hangout for monkeys, many locals and people from Madurai come to enjoy the quiet and peaceful atmosphere at the temple.
People Kurt Alexander Zimmerman, Toru Kumamae, Goulven Gentil, Agathe Hamel, and Archana of the journalism team pose with Samyrao and local children
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ith great dreams filled with curiosity, we started our journey towards Nilaiyur, about 17 kilometers outside of Madurai. Five journalism volunteers and
I piled into a rickshaw to get there. It rattled along as we bumped and bounced for 15 minutes before reaching our first stop.
Place Nilaiyur seems a quaint part of India. Our rickshaw took us down a long dirt pathway to what appeared to be a park. Wild monkeys and locals were everywhere and the large Thiruparankundram temple stood impressively in the background. I’ve never seen wild monkeys before, so the
While we were at the temple, we met locals P.S. Virachamy, Ilango Moorthy, and Senthil Kumar. Virachamy, 43, comes to the Murugan temple whenever he needs a break from the hustle and bustle of life. A father and ice cream vendor, you can bet he needs some quiet time every now and then. Ilango, 37, and Senthil, 28, come to the temple to study for their exams. The temple is far from the constant noise of Madurai traffic, which is perfect for these two to think and study. With a population of almost 12,500 people, we were keen to meet more locals in this Panchayat town. So, we left the
“The Murugan temple is the eastern most of three temples located at Thiruparankundram. It was carved out of a rock around 800 BCE with intricate sculptures of Shiva and Tamil inscriptions” temple in our packed rickshaw and ventured to a Sourashtra suburb in Madurai called Kaithari nagar. (In Tamil, ‘kaithari’ means handloom.)
Production and Labour Local resident, Jawaha Lalm, welcomed us into his home. Inside, we learnt about the art of weaving saris. Many houses in Nilaiyur have hand looms, making it one of the main sources of income for families here, alongside agriculture in surrounding farms. Lal, 51, said he has been weaving saris all his life, and moved here 25 years ago. Lal, together with his wife, son, and daughter, demonstrated the intricate process of creating this beautiful piece of clothing. Operating the loom requires
Madurai Messenger Village Voices August 2012
Close Encounters of the Indian Kind Braving the curiosity of strangers to know her name, and overwhelmed by the sensory assault of a new country, Rose Groenink plunges head first into the Indian experience By Rose Groenink The Netherlands
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65 Sarees being spun at a house in Kaithari nagar
the whole family, which is why it is considered to be a family business. Later, we met R.V. Ramkumar, choreographer and manager for Star Kavinaya dance group. He is also an acting member of the union for dance groups, which is fighting to lessen the current restrictions on dance performances in Madurai. Apparently, some dance groups have been too provocative in the way they portray women, which has caused the government to restrict dance performances. Ramkumar explained that this has contributed to a dry spell for dance groups. He set up his dance group in Nilaiyur, coincidentally, because of what he described as, “a more encouraging environment.” Star Kavinaya performs many shows near Madurai, between February and July. During the other half of the year, Ramkumar works on new choreography for the group so that
“When we went outside to take pictures, the kids gleefully jumped around with us, eager to have their pictures taken too” The street in which Rose Groenink stayed during my stay in Madurai
they continue to adapt and change each year. His group contains about 25 members, with a consistent set number of boys but varying number of girls. The number of girls depends on the type of dance the group is performing, which varies from folk and classic Tamil to pop and more modern forms of dance.
Prospects and promise The village has a primary and middle school, employing about 12 teachers. For high school and university, students must commute to Madurai every day. But Nilaiyur is growing, as we found out from local wise man and Panchayat committee Chairman K.R. Samy Rao. He is very committed to the children of the village and their education. Besides
trying to get plans for a high school passed, he has already managed to pass a plan to increase the number of teachers in the middle school from eight to ten. While we were sitting in his home, we could hear local children playing outside. When we went outside to take pictures, the kids gleefully jumped around with us, eager to have their pictures taken too. Despite how close Nilaiyur is to Madurai, it is strikingly different. There is open ground to be seen everywhere and people don’t seem to be in a hurry. It was more rural than the city, but still had a strong sense of community. This sense of community is what made it truly feel as though it must be a great place to live.
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hat’s your name? “What’s your name?” “What’s your name?” A lot of tiny little children are pulling my hand and touching my arm asking for my name. “Rose! My name is Rose!” And yours?” They smile, scream and laugh, but keep asking for my name! I love it! This is how I imagined India to be! But that was not how it started. After a flight of 30 hours I arrived exhausted, nauseous and tired. I was so overwhelmed by all the colours, the smells, the people walking down the street, the cars, the motorcycles… by everything! And the one thing I remember so well, during my tiredness
and sickness, was the taxi driver. He maneuvered the car through walking people, motorcycles, cows and other cars. Every time I thought we would hit something, he honked. There was a lot of honking in that short trip which made it very memorable! My host family was so nice when they met me. They were waiting for me with their arms wide open, so I felt very welcome. After some introductions, I went straight to my new bed. I was happy with my new room and also very happy to be able to sleep! Even in my new room, I was still getting to know India a little better. I heard children, chickens and music, but also several explosions and very loud
noises. I asked my host mother what it was and she told me that someone had passed away. It is a tradition in certain Hindu communities to celebrate death with a funeral procession that involves fire crackers. Prior to my journey to India, I was determined to be open minded to every experience that India would offer me. Yet I must admit that even if you are open-minded, it is still overwhelming and totally different from The Netherlands, my home country. Of all the countries I’ve travelled to, Cambodia is the most similar to India. I want to get to know India and be swallowed by it! India, Rose. Rose, India. “Well, India, it is very nice to finally meet you.”
Madurai Messenger First Impressions August 2012
Overflow of Energy
Solidarity and Generosity
Toru Kumamae likens the characteristics of India to that of an overcrowded bus - chaotic but energetic. As he embraces the city and its people, he finds himself surprised and delighted. Madurai is more fabulous than he expected!
Goulven Gentil is pleased to learn that the cliché about warm welcomes and generous hospitality in India is true. Fascinated by everything from road anarchy to the concoction of smells, he is quite sure he will have a good time!
By Toru Kumamae
By Goulven Gentil
Tokyo, Japan
Britanny, France
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The Pasumalai area in Madurai
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s far as I know, India is among the most remarkable developing countries in the world, known for its technology and education. I travelled in the northern part of India two years ago. Even though I stayed only for a month, it was a hard experience. Each day, I found myself exhausted from many shocking occurrences. There are so many differences between India and Japan: infrastructure, climate, food and so on. At that time, I never thought I would visit India again. However, much to my surprise, several months after that trip, I realised that I was in fact fascinated by this country. That fascination brought me back. My first impression on arriving in Madurai is that this city is quiet, peaceful and energetic. On my first day in Madurai, I went to a lake. That was a serene and peaceful place. Some people were swimming and others were taking a nap by the lake in the harsh sunshine. Nothing but laughter of children echoed through that place. They waved their hands at me and I answered them over and over. They said to me with warm
smiles, “Welcome to Madurai!!” I was surprised to be greeted by those children. It was an unforgettable experience. The pleasure given by these children was beyond description. I could feel the energy of this city easily. Even on my short walk home each day, many people talk to me. I can see people chatting, laughing and playing everywhere, and a flood of the horn sounds frightens me. This city is filled with many colourful buildings and signboards. Compared to my country, people are so friendly and the atmosphere is so lively. As I see it, the characteristics of this country are reflected in an overcrowded bus, filled with too many passengers. While it seems chaotic, it certainly strikes me as energetic. Although it will be hard to get accustomed to the humidity, culture and food, I will surely enjoy myself. It is because a number of people in Madurai are kind and open. Generally, people are likely to feel awkward in foreign countries. However, thanks to the warm welcome of the people, I feel at ease in this city. Madurai is more fabulous than I expected it to be.
A colourful street in Madurai lined with shops
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hen I arrived in Chennai, the air in the plane was so fresh due to the air conditioning that the contrast with the excessive heat outside was even greater. (The wind is a real benediction here!). Smells in the air were also totally different compared to France. A wide variety of spices, pollution and disinfectants were stimulating my sense of smell. I am now used to it, but when I pass in front of a shop or a restaurant, I still feel a little bit dizzy by the powerful smell of spices. From the Madurai Airport, I took a taxi to reach the town. So, even if it was not very dense, I could admire the extraordinary tidy mess of the traffic. I think it is one of the most striking things for foreigners when they arrive in India. To see all these bikes, motorcycles, cars, rickshaws, buses and trucks overtaking each other without following elementary safety rules. However, this road anarchy seems to work perfectly! (I have only seen two accidents so far!)
When I arrived in Madurai, I also noticed that there is a lot of construction underway. It proved to me that India is developing very fast. But now, after two weeks here, I can see that some of these constructions seem unfinished, as if builders were in too much of a hurry to complete it. I wonder whether they have more important projects. If so, it wouldn’t be different from the reputation of Western builders. Besides these material aspects, I could also see that the cliché about the Indian warm welcome and generous hospitality was actually quite true. You are really received like a god in people’s houses. But in the street, people don’t pay much attention to you and I rather prefer this than being stared at like an animal in a zoo. However, if you are lost, you can ask anybody to help you find your way and you will be kindly helped. Such signs of solidarity and generosity are very important to me and will help me have a good time in India.
Madurai Messenger First Impressions August 2012
Chaotic Beauty Struck by the juxtaposition of stark contrasts, Kurt Alexander Zimmerman admits that India has to be experienced to be understood. And amongst the chaos, he discovers much beauty By Kurt Alexander Zimmerman United States
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hen I first got to India, I noticed that it’s a land of contrasts. I was amazed at the extreme differences squashed, sometimes literally, right next to each other. Driving from the airport, we sped past shack-like houses and cattle. Next to these shacks and cattle, were nice looking walled houses. Next to these were shops, or more shacks, or more nice houses. The signs were in either English or Tamil, advertising familiar and unfamiliar things. Being painfully American, the two languages seemed so radically different. I was amazed how many people here understand both. I wondered what I had gotten myself into, when the cultural shock hit me full force. I’d been to Europe, but this was more like a different world than a different country. My nose would catch the breeze, which was sometimes pleasant and sometimes not. Everywhere I looked on that car ride, I saw different colours lining the buildings—bright blues, reds, greens and other colours everywhere. The people on the streets complemented this, some wearing these colours, others in bright whites that seemed more white because of how dark there skin was. The driving itself was a thing of chaotic beauty, drivers honking and swerving constantly as they kept moving forward. The next day I would go out to dinner with some of my new roommates. Six of us crammed into a single rickshaw, which was more fun than frightening. Night time in Madurai did nothing to
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A very busy street in Madurai buzzing with activity
lessen the numbers of people out. It seemed to me that while it was darker, I had seen the exact same scene earlier that day, the only difference being the light. Dinner was delicious and cheap compared to Colorado. Sleeping was very different because the heat is constant. Two fans were all that cooled me as I lay on top of the bed sheets. It’s a weird feeling to go to bed sweating and wake up sweating.
The first day is the hardest. And then gradually the shock wears off. As time goes by, India seems more like an exciting dream, than a shocking reality. I don’t think I ever could have imagined what India would be like. Religion is so engrained in everyday life, I stopped noticing the Hindu idols everywhere. Truly, it is a place you have to experience to understand.
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