Metro Mart - September 2019

Volume 8 Issue 6 September 2019

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Let's

Celebrate Onam in all itsGrandeur

ONAMof Kerala

The Harvest Festival 2019 | Sept 26, 27 Kochi | Kerala

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UDAY BACKWATER RESORT ALAPPUZHA SERENITY

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Foreword

Dear Readers, The bells of Onam are ringing in the air and the festive season is in full steam.

Metro Mart also joins the Onam festivities by bringing out a special edition which gives a broad sketch as to the origins and story behind Onam, it’s cultural significance and the fascinating variety of events that mark this harvest festival which is the major traditional festival of Malayalees. It is also the official state festival. Malayalees come together in a spirit of togetherness to celebrate Onam in all its gaiety and splendour. It is considered as a cultural festival and celebrated by almost all communities irrespective of religion. Colourful celebrations have now become part and parcel of Onam.

According to legend, Onam is meant to welcome the erstwhile King Mahabali whose reign was considered as the golden era of the state.

The Association of Tourism Trade Organisations, India (ATTOI), in association with Department of Tourism, Government of Kerala will host the International Conference on Tourism Technology (ICTT) in Kochi from September 26. The event will end on September 27, World Tourism Day. This Onam, I would like to wish you and your family a Happy Onam. May this year bring you joy, peace, and prosperity!

Happy reading

SIJI NAIR

Managing Editor & Director

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Volume 8 - Issue 06 - September 2019

www.metromartdaily.com Read our e-edition: www.issuu.com/metromart Annual Subscription Rs- 500

Publisher

Hari Shanker Managing Editor & Director

Siji Nair

Sijicn@gmail.com Executive Director

Prasad M Executive Editor

N. Vijayagopalan Editor

V. Viswanath Editorial Assistant

Ampili Nair Vice President

Suresh John Projects Head

Raj Nijith Business Development Manager

Ratheesh Kumar Asst Manager - Sales & Marketing

Jayaprakash RP Design

Naveen Manager - Administration

Sabu C.N. Manager - Accounts

Sindhu R. Corporate Office:Metromart Thiruvananthapuram MERA 44, Eanthivila Lane, Murinjapalam, Medical College P.O. Thiruvananthapuram, Kerala 695 011 Tel: 0471 4015593 M: 0091 9995139933 / 9947733339 email: metromart.tvm@gmail.com Pune Office:2nd Floor, ARIANA, Above Unnati, Near New Poona Bakery, Wakad, Pune - 411 057 India Pune | Kolkata | Bangalore | Kochi

Contents Harvest Festival 20 Onam-The of Kerala Champions Boat League

30 Races

Celebrate Onam 36 Let’s in all its Grandeur

42 Czarina’s NRI & Onam Collections feature sarees with a twist

48 An Indian Classical Dance Of Elegance: Mohiniyattam

Published, Edited and Printed by Hari Shanker A.G. and Owned by Haritha Media Pvt Ltd and Printed by him at SB Press Private Limited, Statue, Trivandrum 695 001 and Published from Tharangam, Kodunganoor Post, Trivandrum 695 013 Metro Mart is a monthly journal published from Trivandrum, Views and opinions expressed in the journal are not necessarily those of the Publishers.

Metro Mart reserves the right to use the information published here in any manner whatsoever. While every effort has been made to ensure the accuracy of the information published in this edition, neither the Publisher nor any of its employees accept any responsibilities for any errors or omissions.

All Rights Reserved

RNI No: KERENG/2011/40037

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COVER STORY

Onam-The Harvest Festival of Kerala N.Vijayagopalan

Onam is the official state festival of Kerala with public holidays that generally start four days from Onam Eve (Uthradom). It is celebrated by Malayali population around the world.

K

eralites celebrates many festivals. Among them the one celebrated with utmost festivity is Onam, which is a major traditional festival of the Malayalees in and outside Kerala. It is a harvest festival, observed with numerous festivities.

Onam is a festival rich in culture and heritage. Onam falls in the first Ma-

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layalam calendar month of Chingam, which in Gregorian calendar overlaps with August–September. The festival commemorates the Vamana avatar of Vishnu, the subsequent homecoming of the legendary Emperor Mahabali and mythologies of Hinduism related to Kashyapa and Parashurama.

Onam is the official state festival of

Kerala with public holidays that generally start four days from Onam Eve (Uthradom). It is celebrated by Malayali population around the world.

Though Onam originated as a Hindu festival, it is being considered more as a cultural festival and celebrated by almost all communities irrespective of religion.

Origin of Onam The significance of the Onam festival is in Hindu legends, of which Mahabali legend is the widely accepted one. According to the Hindu mythology, Mahabali was the great great grandson of a Brahmin sage named Kashyapa, the great grandson of demonic dictator Hiranyakashipu, and the grandson of Vishnu devotee Prahlada. This links the festival to the Puranic mythology of Prahlada of Holika fame in Hinduism, who is the son of demon dictator Hiranyakashyap. Prahlada, despite being born to a demonic Asura father who hated Vishnu, rebelled against his father’s persecution of people and worshipped Vishnu. Hiranyakashyap tries to kill his son Prahlada, but is slained

by Vishnu in his Narasimhaavatar, Prahlada is saved.

Prahlada’s grandson Mahabali came to power by defeating the gods (Devas) and taking over the three worlds. According to Vaishnavism mythology, the defeated Devas approached Vishnu for help in their battle with Mahabali. Vishnu refused to join the gods in violence against Mahabali, because Mahabali was a good ruler and his own devotee. He, instead, decided to test Mahabali’s devotion at an opportune moment.

Mahabali, after his victory over the gods, declared that he will perform Yajna (homa sacrifices) and grant anyone any request during the Yajna.

Vishnu took the avatar of a dwarf boy called Vamana and approached Mahabali. The king offered anything to the boy – gold, cows, elephants, villages, food, whatever he wished.

The boy said that one must not seek more than one needs, and all he needs is the property right over a piece of land that measures “three paces”. Mahabali agreed to this.

The Vamana grew and covered everything Mahabali ruled over in just two paces. For the third pace, Mahabali offered himself, an act which Vishnu accepted as evidence of Mahabali’s devotion. Vishnu granted him a boon, by which Mahabali could visit again, once every year, the lands and people he previously ruled. This revisit marks the festival of Onam, as a reminder of the virtuous rule and his humility in keeping his promise before Vishnu. The last day of Mahabali’s stay is remembered with a nine-course vegetarian Onasadya feast.

Celebrations, rituals and practices Onam falls in the month of Chingam, which is the first month according

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to the Malayalam Calendar. The celebrations mark the Malayalam New Year, are spread over ten days, and conclude with Thiruvonam. The most important day of Onam is Thiru Onam. Rituals pertaining to Onam festival commence ten days before Thiru Onam, on Atham. The actual Onam festival is actually celebrated on four days, on Uthradam (known as First Onam), Thiru Onam, Avittam (known as Third Onam) and Chathayam (known as Fourth Onam).

The Atham day is marked with the start of festivities at VamanamoorthyThrikkakara temple (Kochi). This Vishnu temple is considered as the focal centre of Onam and the abode of Mahabali, with the raising of the festival flag. Parades are held, which are colourful and depict the elements of Kerala culture with floats and tableaux.

Other days have diverse range of celebrations and activities including Vallam Kali (boat race), Pulikali (tiger dance), Pookkalam (flower

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arrangement), Onathappan (worship), Onam Kali, Tug of War, ThumbiThullal (women’s dance), Kummattikali (mask dance), Onathallu (martial arts), Onavillu (music), Kazhchakkula (plantain offerings), Onapottan (costumes), Aththaachamayam (folk songs and dance), and other celebrations like cultural programs, sports competitions, dance events, martial arts, floral designs (pookkalam) shopping, donating time or food for charity to spending time with family over feasts. Men and women wear traditional dress. The Kerala sari or Kasavu sari is particularly wore on this day.

The Onam celebrations across the state, start off with a grand procession at Thrippunithura near Kochi called Atthachamayam, also referred to as Thripunithura Athachamayam.

The parade features elephants marching, drum beats and other music, folk art forms, floats and colorfully dressed people with masks. In Kerala’s history, the Kochi king used

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The Onam celebrations across the state, start off with a grand procession at Thrippunithura near Kochi called Atthachamayam, also referred to as Thripunithura Athachamayam to head a grand military procession in full ceremonial robes from his palace to the Thrikkakara temple, meeting and greeting his people.

In contemporary times, this a state supported event. The parade floats traditionally feature scenes from epics such as the Mahabharata and the Ramayana. Additionally, some floats include themes from the Bible as well as current themes thereby highlighting unity and harmony.

The procession path historically has been from Tripunithura to the Vamanamoorthy Temple in Thrikkakara, Ernakulam district. The temple is dedicated to Vishnu in his Vamana (dwarf) avatar. After arrival at the temple, the marchers offer a prayer.

Floral arrangements during Onam are a very popular tradition. The floral carpet, known as Onapookkalam or just Pookkalam, is made out of 24

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the gathered blossoms with several varieties of flowers of differing tints pinched up into little pieces to design and decorate patterns on floor, particularly at entrances and temple premises like a flower mat. Lamps are arranged in the middle or edges.

It is a work of art, typically the team initiative of girls and women, who accomplish it with a delicate touch and a personal artistic sense of tone and blending. When completed, a miniature pandal (umbrella) hung with little festoons is erected over it.

The pookkalam is similar to Rangoli which is made of powders of various colors and is popular in North India.

The traditional ritual of laying pookkalam (floral carpet) starts on Atham day. The pookkalam on this day is called Athappoo, and it is relatively small in size. The size of the pookkalam grows in size progressively with each day of the Onam festival. Only yellow flowers will be used on Atham with only one circular layer made and the design is kept simple. All over Kerala, Pookkalam competitions are a common sight on Onam day. Statues or figurines of Mahabali and Vamana are also installed at the entrance of each house on this day in some parts of Kerala.

Traditional dance forms including Thiruvathira, Kummattikali, Pulikali, ThumbiThullal, Onam Kali and others are performed during the Onam festival. Thiruvathira kali is a women’s dance performed in a circle around a lamp. Kummattikali is a colourful-mask dance. In Thrissur, festivities includes a procession consisting of caparisoned elephants surrounded

by Kummatikali dancers. The masked

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dancers go from house to house performing the colorful Kummattikali.

Onam Kali is a form of dance where players arrange themselves in circles around a pole or tree or lamp, then dance and sing songs derived from the Ramayana and other epics.

Kathakalidance is also commonly performed during this time, with dancers enacting famous mythological legends. A famous venue for this is at Valluvanad(Northern Kerala) which is associated with the growth of Kathakali, and Cheruthuruthy, where Kerala Kalamandalam is located.

Pulikali, also known as Kaduvakali is a common sight during Onam season. This dance showcases performers painted like tigers in bright yellow, red and black, who dance to the beats of instruments like Chenda and thakil. This folk art is mainly performed in the cultural district of Thrissur and thousands pour into the city to be a part of this art.

Performances of the ritual worship dance Theyyam are given during the Onam season.In this, Mahabali is played by the Onathar. Its variations include characters such as Oneswaran and Onapottan.

At the Thrikkakara temple, every day of the festival showcases one or more of these activities including Kathakali, Thiruvathira, Chakyarkoothu, Ottamthullal, Patakam, Onam songs and percussion instrument shows. The Onasadya here is grand in scale, and 26

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is attended by over ten thousand people from all religions and faiths.

Festivities include Puli Kali (masked leopard dance) and traditional dance forms like Kaikotti Kali which are performed in various functions. The official Government celebrations start on this day with heavy illuminations in Thiruvananthapuram, Kochi and Kozhikode along with fireworks.

Major cities in Kerala, such as the political, commercial and cultural capitals namely Thiruvananthapuram, Kochi and Thrissur respectively, are lit up with lights and fabulous displays of fireworks. Sumptuous Onam Sadya feasts are prepared. In Thrikkakara temple, a mega-feast is conducted which is open to the public and is attended by more than twenty thousand people.

The Vallamkali (the snake boat race) is another event that is synonymous with Onam. Well-known races include the AranmulaUthrattadhi Boat Race and the Nehru Trophy Boat Race. Numerous oarsmen row

huge snake-shaped boats. Men and women come from far and near to watch and cheer the snake boats race through the water. This event is particularly featured on the Pampa River, considered sacred and Kerala equivalent of Ganges River. As a tribute to the traditional snake boat race, a similar snake boat race is also held by the Malayali diaspora in Singapore annually during Onam at the Jurong Lake.

Onam Sadya (Onam Feast) The Onam sadya (feast) is another very indispensable part of Thiruvonam, and almost every Keralite attempts to either make or attend one.

The Onasadya reflects the spirit of the season and is traditionally made with seasonal vegetables. The feast consisting of cooked rice as the main item is served on plantain leaves and comprises of nine courses, but may include over two dozen dishes, including Chips (especially Banana chips), Sharkaraveratti (Fried pieces of banana coated with jaggery),Pappadam, a variety of vegetable dishes, various types of pickles etc.ur, buttermilk, coconut chutney. The feast ends with a series of dessert called Payasam (a sweet dish made of milk, sugar, jaggery and other traditional Indian savories.

for King Mahabali’s return ascension to heavens. The main ritual of the day is to take the Onathappan statue which was placed in the middle of every pookkalam during the past ten days and immerse it in nearby rivers or sea. The pookkalam will be cleaned and removed after this ritual.

Other customs Onapottan in traditional costume is a custom in northern Kerala. Onapottan visits houses and gives blessings.

People buy and wear new clothes for the occasion of Onam, and this tradition is called the Onakkodi.

Post Onam celebrations Normally, the largest chunk of Onam celebrations end by Thiruvonam.

However the two days following Thiruvonam are also celebrated as Third and Fourth Onam. The third Onam, called Avvittom marks the preparations September 2019

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During the Onam, Keralite Hindus install an image of ThrikkakaraAppan or Onatthappan (Vishnu in the form of Vamana) in their home just as Hindus install images or murtis of Lord Ganesha on the Ganesha Chaturthi festival elsewhere.Many lamps are lit in Hindu temples of Kerala during this celebration.

The swing is another integral part of Onam, especially in the rural areas.

Young men and women, decked in their best, sing Onappaattu, or Onam songs, and rock one another on swings slung from high branches.

Onam season is often associated with creativity as weavers and potters go for excess production to cater to increased demands for their products during the season, especially in North Kerala regions of Kannur and Kasargod. Handloom fairs are an integral part of the spirit of Onam festivities these days.

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indulge in various games and dances during and post-Thiruvonam. These are known as Onakkalikal. These include competitions such as Ox races (Maramadimatsaram), Uriyady, food-eating competitions, Pookalam competitions etc.

Onam is the biggest festival of Kerala. But, there is a lot more to Onam than being just a festival.

Onam reflects the faith of the people of Kerala. A belief in their legendary past, and power of worship. It shows the high spirit of the people who go out of the way to celebrate the festival in the prescribed manner and a grand fashion.Onam festival is an integral part of the culture and tradition of Kerala and is considered as the festival of festivals in Kerala with all the hue, pomp and festivities surrounding it. It is sometimes even referred to as a national festival on account of its celebration by the Malayali population spread across all the States of the country.

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TOURISM

Kerala announces schedule for Champions Boat League races Nine teams to vie for titles in three-month-long CBL races

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ith the flood waters receding and skies clearing, Kerala Tourism today announced rescheduled dates for Champions Boat League (CBL), the country’s first-ever boat racing patterned on the IPL format of cricket.

Tourism Minister Shri Kadakampally Surendran said that the CBL would start on August 31 alongside the illustrious Nehru Trophy Boat Race and would end on November 23 on the sidelines of the President’s Trophy at Kollam.

Originally slated to begin on

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August 10, the championship will retain its essential features, as nine teams are to vie for top honours and prize monies totalling Rs 5.9 crore. Chief Minister Shri Pinarayi Vijayan will flag off the event at the sprawling Punnamada Lake in Alappuzha city in the presence of cricket legend Sachin Tendulkar.

The league will have 12 races in the following weekends. The participating teams remain the same: Tropical Titans (traditionally, Pallathuruthi Boat Club), Backwater Knights (Village Boat Club), Backwater Ninja (Brothers Boat

Club), Backwater Warriors (Town Boat Club), Coast Dominators (United Boat Club), Mighty Oars (NCDC), Pride Chasers (Vembanad Boat Club), Raging Rowers (Police Boat Club) and Thunder Oars (KBC/ SFBC).

The new schedule of the ticketed CBL’s snake-boat races goes thus: September 7 (Thazhathangadi, Kottayam), September 14 (Karuvatta, Alappuzha), September 28 (Piravam, Ernakulam district), October 5 (Marine Drive, Kochi), October 12 (Kottappuram, Thrissur district), October 19 (Ponnani, Malappuram), October 26 (Kainakari, Alappuzha), November 2 (Pulinkunnu, Alappuzha district), November 9 (Kayamkulam, Alappuzha), November 16 (Kallada,

Kadakampally Surendran Minister for Co-operation, Tourism and Devaswoms, Government of Kerala

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Touted as a gamechanging initiative, the CBL (www. championsboatleague. in) is meant to professionalise Kerala’s largely scattered snake-boat races.

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Kollam district), and November 23 (President’s Trophy Boat Race, Kollam).

“The new rollout of the CBL show how much resilient we in Kerala are as a people,” said Tourism Minister Shri Kadakampally Surendran. “True, we are all aggrieved, given the magnitude of the monsoon tragedy.

But then such events effectively hasten our return to normalcy and help the state’s economy give a boost, which is the need of the hour.”

a positive way. For, the conventional spirit is kept intact,” he said.

The CBL, whose Rs 5.9-crore prize money makes it the fourth highest in all sports in India, will mark a paradigm shift in the state’s age-old culture of boat races, the Minister said.

In this context, the Minister noted that Tourism sector contributes around 12% to the Gross Domestic Product (GDP) of the state.

“It is not just about the prizes or the cash. Our streamlining the regional boat races by making them part of a series that attracts worldwide attention will enrich the traditional event in tune with the times. It is anyway meant to benefit local communities, given its focus on social aspects,” Shri Surendran added.

Touted as a game-changing initiative, the CBL (www. championsboatleague.in) is meant to professionalise Kerala’s largely scattered snake-boat races. “The boat league commercialises them in

While the first three winners of each CBL match will get Rs 5 lakh, Rs 3 lakh and Rs 1 lakh respectively, all participants are entitled to a bonus prize of Rs 4 lakh for each match.

Finance Minister Dr Thomas Isaac,

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who was also present, said the CBL will give an impetus to backwater tourism and the change it brings about will be felt in three years.

The CBL is being conceived as an annual global spectacle, given its potential as a unique tourism product, said State Tourism Director Mr P Bala Kiran.

“The swiftness with which we announced the fresh schedule shows how much we value CBL and the potential we see in it as an event that can bring more people worldwide to Kerala,” he said. The government has formed a company, CBL Limited, for the conduct.

Tickets for the boat races can be booked online through ‘Book my Show’ platform. Around 20 counters are being set up in all the venues for spot purchase of tickets, priced between Rs 100 and Rs 3,000.

The races, being held from 2 pm

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to 5 pm, will be broadcast live. Star Sports 2, Star Sports 2 HD, Star Sports 1 Tamil, Asianet Worldwide, Asianet Plus, Hotstar, ETV Andhra Pradesh and ETV Telangana will beam the event for an hour from 4 pm.

Shri Surendran said the Onam celebrations organised by the Tourism Department will be held as scheduled.

A conclave of Tourism Ministers of all states will be held at Kovalam on September 16 in the presence of Union Tourism Minister Shri Prahlad Singh Patel and Chief Minister Shri Pinarayi Vijayan, he said.

Tourism Minister also launched the website of The Kollam District Tourism Promotion Council, online booking facility and campaign video of ‘Enjoy Onam feast, get Onam gifts, ’a project worked out by the State Responsible Tourism (RT) Mission.

FESTIVAL

Let's Celebrate Onam in all itsGrandeur V. Viswanath

Onam is celebrated across the world by the Malayali community. Two things that Keralites all over the world can and do to celebrate Onam are – wearing traditional clothes like Mundu and Neryathu and feasting with OnaSadya.

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A

traditional, agricultural festival of yesteryears – Onam – has now acquired a grand scale incorporating all sections of society. The harvest festival brings joy and enthusiasm to Keralites. According to legends, Onam is meant to welcome the erstwhile King Mahabali whose reign was considered as the Golden era.

Over the years, the festival has seen a remarkable shift in celebrations.

While the 10-day Pookkalam or flower carpet – with one circle on the first day to all 10 circular rings filled with flowers on the 10th day – was a must for the early Keralite homes, the number of homes having this for all 10 days has reduced rapidly. This could be attributed to the lack of space, unavailability of flowers, time, resource, etc. However, Pookkalam tops on the list for institutions celebrating Onam.

They conduct competitions

for the best Pookkalam and in some organizations they lay the Pookkalam for at least a day. It should be noted that residential associations, clubs, etc. are now playing the role of large families.

They get together, lay the Pookkalam on all days according to the custom, have OnaSadya, make merry and celebrate the festival in a grand manner.

Religious symbols and rituals do not have a place in this festival.

Thus the festival connects people, builds relationships, and promotes harmony.

Onam is celebrated across the world by the Malayali community.

Two things that Keralites all over the world can and do to celebrate Onam are – wearing traditional clothes like Mundu and Neryathu and feasting with OnaSadya. Since Mundu has mostly been replaced with Pants and Trousers owing to convenience, it is only during festivals like this, Mundu makes September 2019

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a comeback. Almost the same is the case with Neryathu Sarees.

OnaSadya on Thiruvonam day is a grand feast served in banana leaves with traditional delicacies typical of Kerala. OnaSadya comprises of a definite number of courses and dishes and a distinct order of serving. The dishes of Kalan and Olan, a variety of Prathamans, etc., make OnaSadya extremely tempting. Of course, urbanization and modernization have led to slight changes in OnaSadya too.

In Kerala, several programs mark the occasion. OnaVillu – a ceremonial bow made out of wood with miniature paintings – is offered at the temple of Sree Padmanabhaswamy in Thiruvananthapuram. In Guruvayur, Kazhchakkula Samarpanam or offering of plantains to the deity is held. Chengalikodan is the chosen banana variant for this function – and because of this, the variant has received a Geographical Indication (GI) registration.

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Athachamayam in Tripunithura on Atham day in the Malayalam month of Chingam marks the beginning of Onam festival.

Various folk art forms, pageantry, etc. are held during the event.

Thousands gather on the banks of river Pamba in Aranmula to watch the Vallam Kali or the Snake boat race.

Onam attractions include dances like Kummatti Kali – a mask dance, Puli Kali – a performance involving artists painted as tigers, and Thumbi Thullal – song and dance by women. Ambeyyal – a game of archery and Kutukutu – similar to Kabaddi are among the traditional Onam games. Talappanthukali – a ball game, Kayyankali and Attakalam – combat games, and Tug of War are outdoor games and testing physical endurance.

Athachamayam in Tripunithura on Atham day in the Malayalam month of Chingam marks the beginning of Onam festival. Various folk art forms, pageantry, etc. are held during the event. Thousands gather on the banks of river Pamba in Aranmula to watch the Vallam Kali or the Snake boat race.

Vanchipattu is sung during the boat race. In Thrikkakara, the ritual of Para Nirakkal – filling fresh paddy in measuring vessel – is held to symbolize fertility and prosperity.

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In Thiruvananthapuram – Kerala’s capital city – a variety of cultural programs and colourful pageantry is conducted by the Tourism department.

Outings, events, exhibitions, fairs, processions, feast, new dresses – et al form part of Onam. Foreign and domestic tourists flock to Kerala to take part in the festivities.

In turn, all this becomes good for businesses too. Business establishments provide discount sales and offer during the Onam season enabling the people to celebrate in a grand manner. Be it shops, restaurants, or other service providers – everyone makes sure they have something special for Onam. Because it is not just business, it is the time to get together and rejoice.

Compositions and dimensions might have been improvised – it still retains the core, i.e. celebrating prosperity and harmony. Let’s celebrate Onam in all its grandeur!

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SHOPPING

Czarina’s

NRI & Onam Collections feature sarees with a twist

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rivandrum’s leading designer boutique has caught the attention of non-resident Malayalees and Onam shoppers with a beautiful array of exquisite designs and weaves. The designer kasavu saree, a symbol of graceful sophistication with its exquisite blend of gold and cream, is the most sought-after item. In a season of bright colours, the beautiful simplicity and the subdued elegance of Czarina’s designer drape will help the wearer stand apart. Block print, embroidery and appliqué work add the modern flourishes that have made Czarina’s Kerala sarees look truly special.

A wide array of other sarees are also on display. Kotas, Chanderis, Maheshwaris, Banarasi Silks, Silk Kota, Kanjeevarams, Tussar Silks, Georgettes, Crepes and Chiffons are available in a range of colours and designs.

A wide array of other sarees are also on display. Kotas, Chanderis, Maheshwaris, Banarasi Silks, Silk Kota, Kanjeevarams, Tussar Silks, Georgettes, Crepes and Chiffons are available in a range of colours and designs. Czarina also has blouse materials and ready-made blouses in various styles. For those who prefer a non-traditional Onam, there is a big range of salwars, kurtis, lehengas and ghagra cholis on display.

The Onam Fest ends on September 10 and the showroom will be open on all Sundays till then. Czarina is located at Catholic Centre on Statue-General Hospital Road.

To know more about the Onam Collection, visit Czarina’s Facebook page http://www.facebook. com/CzarinaDesignerSarees or call 9387721322.

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METRO EVENT SCAN EVENT

ATTOI to hold International Conference on Tourism Technology (ICTT) in September

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he Association of Tourism Trade Organisations, India (ATTOI), in association with Department of Tourism, Government of Kerala, is all set to host the International Conference on Tourism Technology (ICTT) in Kochi to address the challenges related with technology faced by Indian tourism and hospitality industry. The third edition of ICTT will have a separate session on attracting Chinese tourists to Indian destinations, especially Kerala. Richard Matuzevich from China will speak on the topic ‘How to do social media tourism promotion to get Chinese tourists?

“In recent years, the people of China have begun to travel more and more. In 2017, more than 131 million Chinese tourists travelled across the globe, spending about $115 billion overseas. The percentage of Chinese tourists traveling out of China continues to rise by 17% to 20% each year and is expected to continue to

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increase considerably, according to the China Tourism Academy. It is also estimated that there will be around 200 million Chinese traveling abroad by 2020. Though we have a small number of Chinese tourists visiting our destinations, we have not been able to tap the market. There are big changes in the China travel market, which also means big opportunities for marketers. This years’ ICTT will have a separate session on attracting Chinese tourists to Kerala, which is going to be a very informative session for the tour planners and hospitality/tourism players,” said Anish Kumar P K, Convenor of ICTT 2019 and Past President, ATTOI. The third edition of ICTT aims at helping the players of tourism industry to stay abreast with the latest technology through effective usage of digital and social media platforms.

Around 10 subject experts across the globe will offer their insights on 10 different topics related to online

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promotion of the business.

Sean Patrick Si, Philippines.

The two-day long event will begin on September 26, 2019 and will be concluded on September 27, on the World Tourism Day. Around 500 delegates including tour operators, hoteliers, resort owners, homestays, SEO (search engine optimization) companies, software firms, social media marketing companies and bloggers, are expected to attend the conference at Le Meridian hotel, Kochi.

Registrations are ongoing, with details available on http://www. icttindia.org

The topics include: Impact of influential marketing in tourism by Ellie Shedden, Australia; Artificial intelligence and travel revolution by Losch, Germany; Secrets of search Engine Rankings by David Carollo, Singapore; How to do social media tourism promotion to get Chinese tourists? by Richard Matuzevich, China; Tips to become a good digital photographer? by Shane Dallas, Kenya; How to create a good story about your brand? by Jen Morilla, USA; Emerging platform for Startups in tourism products; How to create an attention grabbing content/blog?

by Heather Heuman, USA; How to use YouTube for destination promotion by Jessica Dante, UK; Program tips for improving E-A-T SEO by

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About ATTOI ATTOI, established in 2003, is a non-government, non-profitable, apolitical organisation, committed to promote tourism in various sectors and also to generate interest for a healthy business relationship and harmony among parties in the trade.

ATTOI, in association with Ministry of AYUSH and Kerala Tourism, has recently conducted Yoga Ambassadors’ Tour (YAT 2018) bringing in 53 yoga delegates from 23 different countries. The first edition of ICTT was held at Kovalam in June 2013 and the second edition was held in June 2017 at Le Meridien, Kochi.

For more details: Sreejitha Co-ordinator- ATTOI 9526439577 Anish Kumar P K Event Convenor 9447051702 Manu P V Secretary 9846700065

KTM GETS MANAGING COMMITTEE FOR 2019-21 BABY MATHEW SOMATHEERAM RE-ELECTED AS PRESIDENT AND JOSE PRADEEP AS HONORARY SECRETARY

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erala Travel Mart (KTM) Society revamped its managing committee for 2019-21, retaining top functionaries including Baby Mathew Somatheeram as the president, Swaminathan S as vice-president and Jose Pradeep as honorary secretary of the organisation that works for the promotion of the state’s tourism with the help of public-private partnership.

Baby Mathew Somatheeram Jose Pradeep KTM President KTM Secretary

The 2000-founded institution, which conducts the biennial KTM that hosts the country’s largest buyerseller meet in the tourism segment, will have Hari Kumar C as the honorary joint secretary and Scaria Jose as the honorary treasurer.

The appointments were made based on an election held at Kochi.

The other members of the 17-strong

committee are Bony Paul, Janeesh J, Jobin Joseph, Jose Mathew, Lalith Viswakumar, Mallika Dinesh Kumar, Muhammed Ansari K A, P M Ross Masood, Rakesh O M, Riyaz U C, Shilendran M, Tejus Jose.

KTM is India’s largest gathering in tourism industry, facilitating meetings involving buyers, sellers, media and government agencies among others.

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ART & CULTURE

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An Indian Classical Dance of Elegance

MOHINIYATTAM

M Beena Vijay

ohiniyattam is an Indian classical dance form that evolved in the state of Kerala, India, and is counted among the two popular dance arts of the state, the other being Kathakali. Although its roots date back to the age-old Sanskrit Hindu text on performing arts called ‘Natya Shastra’, similar to other Indian classical dance forms, Mohiniyattam adheres to the Lasya type that showcases a more graceful, gentle and feminine form of dancing. Mohiniyattam derives its name from the word ‘Mohini’, a female avatar of Lord Vishnu. Conventionally a solo dance performed by female artists, it emotes a play through dancing and singing where the song is customarily in Manipravala which is a mix of Sanskrit and Malayalam language and the recitation may be either performed by the dancer herself or by a vocalist with the music style being Carnatic.

History & Evolution The theoretical foundation of this dance form like other major classical dance forms of India has its roots in sage Bharata Muni’s text called ‘Natya Shastra’, a Sanskrit Hindu text that deals with performing arts. The first complete version of ‘Natya Shastra’ is considered by some sources to have been completed between 200 BCE to 200 CE while some others mention the timeframe between 500 BCE and 500 CE. It breaks dance into two specific types, the first one being ‘nritta’ or pure dance that centres around finesse of hand movements and gestures, and the other being ‘nritya’ that features the expressive aspect of dance. ‘Natya

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Shastra’ elucidates several theories of Indian classical dances including on standing postures, basic steps, bhava, rasa, methods of acting and gestures as also two forms of dance – the Tandava dance of Lord Shiva that exhibits more vigour and vitality and the Lasya dance that is more delicate and graceful. The Lasya dance theme and structure is followed in Mohiniyattam.

Mohiniyattam evolved from the state of Kerala which also has an association with the old tradition of Lasya style of dancing. The temple sculptures of the state are the earliest manifestations of Mohiniyattam or other dance

forms similar to it. Mohiniyattam poses are also palpable from the various feminine sculptures that adorn the 11th century Vishnu temple at Trikodithanam, and the Kidangur Subramanya temple. The Lasya theme was incorporated by Malayalam bards and playwrights, a fact evident from the text-based records starting from the 12th century. The 16th century book titled ‘Vyavaharamala’ written by scholar, poet, author and astrologer Mazhamangalam Narayanan Namboodiri is the first known book that mentions the term Mohiniyattam in connection with a payment due to a Mohiniyattam

dancer. While discussing about various performing art forms of Kerala, renowned poet Kunchan Nambiar in his 17th century book ‘Gosha Yatra’ mentioned about Mohiniyattam. By that time this dance form had emerged as one of the classical art forms of the state.

The 18th century Sanskrit treatise ‘Balarama Bharatam’ on natyam written by the king of Travancore Karthika Thirunal Bala Rama Varma (considered to be a significant secondary work on ‘Natya Shastra’) refers about ‘Mohino Natana’ among various other dance styles.

Mohiniyattam developed further as a performing art during the 18th and 19th centuries, thanks to the patronage of several princely states. The initiation and patronage of the Maharaja of the Kingdom of Travancore, Swathi Thirunal Rama Varma, a poet and brilliant music composer himself, in the early 19th century saw development of a joint team of artists of two genres namely Bharatanatyam and Mohiniyattam.

His contributions in the art form saw the eventual development and systematization of present day.

Decline during Colonial Rule As British colonial rule spread in the 19th century, various classical dance forms were subjected to contemptuous fun and discouragement thus witnessing their decline. Eventually social and economic conditions associated with Devadasis of South India and nautch girls of North India added with contempt and despicable attitude from the Christian missionaries and British officials, who held 52

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them as harlots, disgraced such systems. Furthermore, the Christian missionaries launched anti-dance movement in 1892 to stop such practice. The book ‘The Wrongs of Indian Womanhood’ by Marcus B. Fuller published in 1900 caricatured the facial expressions and sensuous gestures emoted during temples dances. Such upheaval stigmatized all Indian classical dance forms including Mohiniyattam that saw its decline in the princely states of Cochin and Travancore.

Dr. Justine Lemos, who did an elaborate research on Mohiniyattam, mentioned that the Maharaja had to ban the dance form under compulsion from the colonial rule and his citizens. However historical evidence does not give indication of any ban on the dance form by enforcement of any law or any public announcement. It also does not indicate that Mohiniyattam dancers were temple harlots or devadasis. Nevertheless Lemos mentions of evidences that point out that scholarship, rewards and payments were made to Mohiniyattam dancers. She also mentions of laws enforced during 1931-38, which although do not mention Mohiniyattam, banned temple dancing, devadasis and all forms of “lewd dance or theatre” as long as the princely states of Kerala were under the rule of the British.

The ban was rescinded partly in 1940 that permitted performance of “voluntary dances in temples”. A new law enforced in the following year made clear that voluntary dances were allowed however

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without any pay. Mohiniyattam artists demanded that they should receive payment from the state or by the viewers, but were not paid by the state.

Revival In the midst of such disturbances some female artists continued to perform this art in Hindu temples without paying heed to the political developments surrounding the art form. With the progress of the Indian freedom movement the early 20th century, efforts among Indians were being made to revive national culture and tradition and rediscover the rich history of India in order to resurrect the very essence of the nation. Many classical art revivalists questioned against such discrimination and came forward

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in reviving the ancient classical dance forms. Among them, Vallathol Narayana Menon, a Malayalam language poet who was counted among the triumvirate poets of modern Malayalam, not only aided in rescinding the ban on temple dancing in Kerala but also revived and reconstructed the dance form.

He established a dance school called ‘Kerala Kalamandalam’ in 1930. The very inception of Kalamandalam helped revive Mohiniyattam, Kudiyattam and Kathakali, the three main performing arts of Kerala. He also inspired many to learn and practice Mohiniyattam.

Repertoire Traditionally the repertoire of Mohiniyattam follows two performance categories namely,

‘Nritta’ and ‘Nritya’ mentioned in ‘Natya Shastra’. It follows the Lasya type of dance that showcases a more graceful, gentle and feminine form of dancing and displays excellence in ‘Ekaharya Abhinaya’ form in other words a solo and expressive dance art complimented with music and songs. ‘Nritta’ is a technical performance where the dancer presents pure dance movements giving stress on speed, form, pattern, range and rhythmic aspects without any form of enactment or interpretive aspects. In ‘Nritya’ the dancer-actor communicates a story, spiritual themes through expressive gestures and slower body movements harmonised with musical notes thus engrossing the audience with the emotions and themes of the act. ‘Natyam’ is usually performed by a group communicating a play through dance-acting.

Mohiniyattam’s repertoire sequence includes an invocation or Cholkettu, Jatisvaram, Varnam, Padam, Tillana, Shlokam and Saptam.

Costumes The dancer wears a white or off-white plain sari embellished with bright golden or gold laced coloured brocade embroidered in its borders complimented with a matching choli or blouse. A pleated cloth having concentric golden or saffron coloured bands adorns the front part of the sari from the waist.

This embellishment not only lets the artist perform her spectacular footwork flexibly but also highlights it, allowing the audience to watch it from a distance. She also wears a golden belt around her waist.

Jewellery adorns her head, hair,

ears, neck, wrists and fingers. Musical anklets called ghunghru made of leather straps with small metallic bells attached to it are wrapped in her ankles. These produce rhythmic sound while she showcases excellent footwork. Her feet and fingers are brightened with red coloured natural dyes so as to highlight gestures of her hands. Face make-up of the dancer is usually light with a Hindu tikka on her forehead while her lips are vividly coloured red and her eyes are lined prominently so as to make her eye movements more visible. Her hair tied typically on left side of her head is in tight round chignon hairstyle and beautified with flowers, usually jasmine, ringed around the bun.

Instruments & Music Vocal music of this performance art incorporates different rhythms and lyrics of many of the compositions performed in this dance form are in Manipravala that is a mix of Sanskrit and Malayalam language while the music style is Carnatic. Instruments played during a Mohiniyattam performances usually comprise of Kuzhitalam or cymbals; Veena; Idakka, an hourglass-shaped drum; Mridangam, a barrel-shaped drum with two heads; and flute.

Famous Exponents Imminent 20th century exponents of Mohiniyattam apart from Vallathol Narayana Menon were Kalamandalam Kalyanikutty Amma, Thankamony, Krishna Panicker and Mukundraja. Present day exponents include Sunanda Nair; Smitha Rajan, granddaughter of Kalyanikutty Amma; Radha Dutta; Vijayalakshmi; Gopika Varma and Jayaprabha Menon among others.

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SHOPPING

RAMACHANDRAN Riding on the wave of Customer Satisfaction

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amachandran is a renowned brand in Kerala with a distinct position among the textile showrooms in the State. Ramachandran has three retail showrooms in Thiruvananthapuram, at Pazhavangadi, Attakkulangara, Enchakkal and Ulloor. Apart from textiles, the showrooms also have separate outlets for footwear, shoes, bags, home appliances, electronics, food court etc. with separate sections for gents, ladies and kids.

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Owing to the success of the enterprise, the very street that their shops occupy, which was previously known as Pazhavangadi Street, has come to be known as Ramachandran Lane. Their showroom at Attakulangara spans an extensive space, spreading into six sprawling floors.

According to Sathguna R Chandran, Chief Operating Officer, “over the decades, Ramachandran has been setting a tradition of delivering quality

The venture Ramachandran was started back in 1980 as a small retail shop by Jeyachandran, who hails from one of the southern districts of Tamil Nadu apparels and earning the trust of Thiruvananthapuram. The main factors which contributed to our reputation are the quality, variety and excellence in the design of dress materials sold by us, which are matched by personalised customer service and a rational pricing policy. Customers who shop with Ramachandran develop a bond with them which keeps them attached to this brand. This is the simple secret behind the brand power of Ramachandran.”

The venture Ramachandran was started back in 1980 as a small retail shop by Jeyachandran, who hails from one of the southern districts of Tamil Nadu, named after his deceased elder brother. His constant endeavors have made it possible to expand the establishment beyond boundaries. Ramachandran has earned a name as a shopping centre for customers of all segments.

Their mobile app ‘Ramachandran’ facilitates online Super market shopping. They have a sister concern in Chennai by name Jeyachandran, which is in the retail business of textiles, gold, home appliances, electronics, wooden appliances and have a convention centre.

On Ramachandran’s business model, the COO said : “We are streamlining costs and delivering finest products at a better value than any other modern retail stores. We are very particular to make sure that any customer who steps into any of our stores cherishes an unforgettable and unique shopping experience. Our committed workforce is paying their special attention to this aspect. It is our belief that more than the business model, the key driver of the growth of an organisation is its culture, which involves maintaining customer relationships, understanding of the market and proactive rather than reactive steps. What upholds our brand is mainly our business ethics revolving around these beliefs.”

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