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As workations, homestays gain popularity, Karnataka tourism hopes for revival

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Tourism
Tourism stakeholders in Kodagu, Chikmagalur, Mysore and Hassan districts are reporting rooms fully booked over weekends.
A young woman sitting on a balcony sipping a cup of tea with a laptop open in front of her. Representative image for a workation.
Pic courtesy: Porcupine Castle, Kodagu
While the travel industry in most states in India is battling the adverse impact of the coronavirus outbreak and the resultant lockdown, stakeholders in the tourism sector in Karnataka are attempting a comeback with the removal of intra-state and inter-state travel restrictions from early September in line with the Unlock 4 guidelines of the Government of India. After the state government relaxed the COVID-19 induced restrictions, the Karnataka Tourism Forum (KTF) earlier this month spearheaded a bikers’ rally to revive tourism in the state in collaboration with the Indian Motorcycle Riders Group. This innovative venture rekindled the spirit of travel and created awareness that it was safe to travel in the state. “The symbolic ride was planned to publicise the fact that Karnataka is safe to travel as long as the new norms of physical distancing and self-safety are followed. We at KTF are hopeful that the rally will lay the foundation for a new beginning and encourage more people to come out and support the travel fraternity,” said M Ravi, Vice President, KTF. Feeling claustrophobic cooped up in their homes and fatigued after the stifling lockdown, people were yearning for a change of place and a break from the monotony of their homes. Realising that it is not going to be business as usual for the tourism sector, stakeholders felt the need to tap into the robust domestic market to essay a recovery. Tour operators, resort and homestay owners are curating innovative tourism concepts and packages to promote domestic travel and retain high-spending customers. Tourism stakeholders in the districts of Kodagu, Chikmagalur, Mysore and Hassan are in a jubilant mood with rooms fully booked over weekends. One leading resort in Kodagu is chock-a-block with bookings till November end. These hotels capitalised on the idea that travelling to drive-able distances within the state is safe. With adequate safety parameters and physical distancing, such local travel can be a boost for those on both the demand and supply side. Workations To lure the tourists back, homestays and resorts have come up with the innovative idea of ‘workation’ where tourists can stay and work from the resort or homestay. Under this option, good internet connectivity, rooms, office furniture and food service are provided. All these are incorporated into affordable packages ranging from three days to one or two weeks. This concept has elicited good response from techies in Bengaluru who liked the idea of working surrounded by greenery and nature, undisturbed in complete privacy. The most sought-after workation destinations are in Kodagu and Chikmagalur. Workation | Pic credit: Porcupine Castle, Kodagu The concept of workation initiated by Porcupine Castle, a hilltop resort in Kodagu, post lockdown relaxations and permission to open resorts and hotels in June, has been a big hit. “We procured a dozen dongles and installed broadband cables to welcome the wi-fi tribe. We offered a good package with wi-fi connection and other facilities, wherein the guest can work and relax with family in a relaxing ambience. Our excellent wi-fi was our trump card and received overwhelming response. Guests are also offered nominal prices if staying for over 10 days,” explained Anila V Paul, Director of the resort. The resort had an inspector from the public health centre to train their staff while the district office monitors the tourists and their documents. The resort’s naturalist has been trained to double up as a COVID inspector. Also read: Jaipur, Goa, Kochi to become top vacation destinations: OYO report The Serai in Chikmagalur has hosted software professionals from Bengaluru and Mangalore. “We also have ‘Back to School’ packages whereby students can avail online classes from the property. We targeted people who haven’t travelled for 5 months and gave them an opportunity to step out from the confines of their homes,” said Anand Menon, Senior General Manager, The Serai. Homestays According to Revathy Iyer, owner of Silver Brook Estate, a boutique homestay in Kodagu, “People prefer homestays as we have fewer guests. Owners staying in the homestay is an assurance for the guests that they are in a safe environment. Moreover, we’re able to provide home-cooked food and the comfort of personal touch to our customers. Safety has always been our priority. With less guests, it’s easy to implement safety norms like physical distancing and sanitisation.” Trekking in Kodagu | Photo credit: Susheela Nair “We avoid online booking as it’s difficult to check the credentials of the guests. We prefer direct booking or rely on known travel agents like Arjun Tours. We even have an MNC employee staying with us for the past three months, working from here. Instead of WFH, they are working from a different location. As vacations are unfeasible right now, we recommend everyone take a workation,” Revathy added. But on the contrary, the footfall in other regions of Karnataka, except Hampi, has not been very encouraging. The state’s stunning 320-km long coastline is home to India’s best beach and temple country, palm-fringed beaches, lush green fields, forests and rivers with the distant roar of the Arabian Sea for company. “But adequate awareness and promotion is woefully lacking. Gokarna is what Goa was in the 1950s to 1970s with only a handful of good resorts,” lamented Rachael Ravi, Managing Director, Red Earth Resort, Gokarna. Blessed with a pristine and unexploited coastline, Karnataka has the opportunity to become part of a larger beach tourism landscape along with Goa and Kerala, which have some of the country’s popular beaches and backwaters. Experts feel that unlike Goa’s crowded and commercialised stretches, Karnataka can create a classy coastal destination focused on ethnic culture, serenity, exclusivity and adventure. While a series of projects have reached the blueprint stage, only a few have reached the sands. In promising news for the state’s tourism sector, Karnataka unveiled a new tourism policy aiming to create 10 lakh jobs and attract Rs 5,000 crore investments in the sector by 2025. The policy was launched by Chief Minister BS Yediyurappa and Tourism Minister CT Ravi on World Tourism Day on Sunday. Susheela Nair is an independent food, travel and lifestyle writer, and photographer based in Bangalore. She has contributed content, articles and images on food, travel, lifestyle, photography, environment and ecotourism to several reputed national publications. Her writings constitute a wide spectrum, including guide books, brochures and coffee table books.

Adichanallur: A brief history on one of the oldest archaeological sites in India

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Archaeology
What makes the archaeological site intriguing, why did it not receive the attention that Keezhadi does today, and what is being done there at present?
Adichanallur burials and pot shards stylised image
Before Keezhadi, the archaeological site in Sivaganga district, came into the national spotlight, there was Adichanallur. Excavations from this site date back to 1876 when German explorer Dr F Jagor unearthed surprising finds, taking them back to a museum in Berlin, never to be returned to Tamil Nadu. Another excavation was carried out a few decades later by Alexander Rea, a British explorer who was the then Superintendent of the Archaeological Survey of India (ASI). He made significant discoveries at the site and the finds, considered to be an impressive catalogue of Iron Age artefacts from south India, are now displayed at Chennai’s Egmore Museum. Then, for almost a century, the site gathered more dust, holding its aeons worth of secrets intact. In 2004, ASI under the Indian government went back to the site once again, this time bringing out 169 clay burial urns with skeletons from the excavation site spread across 114 acres. The team, headed by Dr T Sathyamurthy, made several significant findings, the reports of which were published only recently, more than 15 years later. In April 2019, carbon dating results revealed that the relics from Adichanallur date between 905 BCE and 696 BCE, not just older than Keezhadi but one of the most ancient site in Tamil Nadu. And this is just one among the many fascinating discoveries that we know of Adichanallur. TNM looks at what makes the archaeological site intriguing, why did it not receive the attention that Keezhadi does today, and what is being done there at present? The early excavations and findings Adichanallur is located on the lower valley of the Tamirabarani river in Srivaikuntam taluk in present-day Thoothukudi district in southern Tamil Nadu. Korkai, the ancient seaport mentioned in Sangam literature, is about 25 km from Adichanallur. Korkai is well inland today, with the sea receding several kilometers.  In his book Catalogue of Prehistoric Antiquities from Adichanallur and Perumbair, published in 1915, Alexander Rea writes of his first visit to the site at the turn of the century, between 1899 and 1900. Beginning 1899 until 1904, Rea would go on to conduct annual excavations at the site. But before Rea could get there, it was Dr Jagor who brought Adichanallur to light, way back in 1876. Several baked earthenware utensils, a considerable number of iron weapons and implements, great quantities of bones and skulls, and rice husks were some of the finds from Jagor’s excavations. These were first taken to the Museum fur Volkerkunde (Ethnological Museum of Berlin) and much later, in 1963, were moved to the Museum of Asian Art in Berlin. Between 1899 and 1904, Rea unearthed several artefacts – while burials urns and skeletal remains form a major part of the findings, the iron and bronze objects held more interest for their craftsmanship. The golden diadems, iron weapons, agricultural articles and bronze artefacts were among the rest of the findings. Speaking to TNM, Dr Sathyamurthy says after Alexander Rea’s excavation in 1904, such objects have not been found. “What he reported as findings – the vessels, golden diadems, weapons, etc – those were not discovered in later excavations. We found only burial urns and skeletal remains. Cultural remains were not found after 1904,” he says. Dr Sathyamurthy continues, “In fact, some archaeologists say some of the materials may not have been found in Adichanallur at all. The problem was Rea excavated many sites.” However, the archaeologist says that Rea’s findings were taken to be authentic, with several reports subsequently being written based on them. Who lived in Adichanallur? Dr Sathyamurthy says that the skeletal remains found at Adichanallur are of mixed racial origins, indicating that foreigners may have travelled to the ancient seaport of Korkai, which is located not too far from the burial site of Adichanallur. He explains, “Dr Raghavan from Australia studied the skeletal remains and shared his reports with me. The thing is, people think that the skeletons belong to a single ethnic group, who were thought to be the original Dravidians. But that is not what we found.” “Different types of ethnic groups lived there. It may have been a cosmopolitan city like Chennai. Korkai is not far away and Adichanallur can be reached via the Tamirabarani river. It could have been a big settlement,” he says. Dr Pathmanathan Raghavan, a forensic anthropologist and a scientist of Jaffna-Tamil origin who was formerly with the Australian Research Council, offered to voluntarily study the skeletons unearthed at Adichanallur during the 2004 excavations. He then submitted three reports – one a skeletal biological album, the second on geology and anatomy, and the third on the pathological aspects. Dr Raghavan’s reports come with significant discoveries but to understand how this perception came to be, we’ll have to go back to the start of the 20th century, to French neuroscientist Louis Lapicque’s brief stint at Adichanallur during the winter of 1903. In his book The physical anthropology of the megalith-builders of South India and Sri Lanka, American Professor Kenneth AR Kennedy, an internationally known figure in the paleo-anthropology and prehistory of South Asia, covers several anthropological studies and their conclusions made up to the late 1960s. burial urn from 2020 excavations potsherd with motifs showing woman, a stalk of paddy, a crane, a deer, a crocodile (2004 excavation) Kennedy writes briefly about Jagor’s findings at Adichanallur and says, “These were the first human remains from this prehistoric period in India to be brought to Europe for study, but their anatomical analysis was not undertaken until 1966.” He notes that Lapicque had found evidence to support the thesis of two other French anthropologists – Jean Louis Armand de Quatrefages de Breau and ETJ Hamy – that an African racial element was discernible in “certain contemporary Indian populations”. Lapicque picked up a skull, that of a middle-aged adult female, from Adichanallur, studied its facial features and settled for the theory that proto-Dravidians shared African origins. Then in 1930, Solly Zuckerman, a British zoologist, analysed two specific Adichanallur skulls from Rea’s excavations and made another significant analysis. He described one to be “clearly and unmistakably Proto-Australian” and the second Mediterranean. He found the second to have close resemblance to the Old Woman of Grimaldi (skeletons found in Italy) that supported the “Out of Europe” theory, which suggests that humankind originated in Europe. But Zuckerman also wrote that the presence of two racially different skulls did not mean they belonged to different tribes. “It is obvious that their completely different forms imply the presence of two racial stocks. This does not, however, necessarily mean that the two individuals to whom these skulls belonged were members of different tribes; there has been so much racial mixture in the Deccan that collections of skulls from almost any tribe will exhibit marked variation in cranial form,” he observed. Kennedy writes of Zuckerman’s findings: “Today it is difficult to appreciate the profound importance accorded to this study of two skulls, a report which shaped opinion for many years concerning the physical anthropology of megalithic man not only at Aditanallur (Adichanallur) but also for the entire subcontinent.” Several early 20th century anthropologists believed aboriginal inhabitants of Australia had a deep connection with the Dravidians who were essentially from Africa and eventually migrated out of the subcontinent. Then in 1963 came a report by two Indian scientists – Chatterjee and Gupta – who concluded that the skeletal remains at Adichanallur were not from a homogenous race at all. They said that a mix of Australoid and Mediterranean races led to the formation of Dravidian speakers. “Skulls show resemblance with Veddid or Australoid and Mediterranean types in many characters. […] The Aditanallur series, therefore, is not a homogeneous one, rather a medley of characters of two physical types. From a broad perspective, it would be better to assign those to a race having Veddid-Australoid and Mediterranean strains, which also contribute towards the formation of the Dravidian speakers,” they wrote in their report. About 40 years later, Dr Raghavan refers to his reports made on Dr Sathyamurthy’s findings and asserts, “Most skeletal analysis from Adichanallur yielded non-Indian results. They were Negroid (African), Australoid, Caucasoid (European and Mediterranean) and more importantly East and South-East Asian origins (Mongoloid).” According to his study, the racial representations constituted - 14% Negroids, 5% Australoids, 30% Mongoloids, 35% Caucasoid, 8% ethnic Dravidian and the remaining of mixed trait population.  He refers to his third volume and says, “Not all skeletons were healthy. 40% had pathological disorders, nutritional maybe, infectious and hereditary diseases. In fact, there was a deep pit on the supra  eye orbit ridge in one of the craniums that was thought to be a third eye but I verified it to be a puff tumour on the frontal sinuses. It is caused by a bacteria Streptococcus species that usually attacks sailors, deep-sea divers…” photo courtesy Dr Raghavan (2004 excavations) He concludes that the silk and spice trade routes brought many foreigners to Adichanallur, who may have eventually been buried there. He also notes that most of the remains were of late adults, over 50 years of age, (32%) and senile, over 60 years of age, (40%). "There were very little new borns and children that indicates that they may have lived prosperous lives," he adds. The delayed reports and the long-promised museum Significantly, in his 1914 report, Alexander Rea notes that quarrying was rampant in the area, posing a threat to the relics, even during the early 20th century, “Orders were given by Government to leave the site undisturbed, but these appear to have been unattended to, for quarrying has been going on continuously ever since, with the result that vast quantities of these interesting relics must have been destroyed,” he writes. Over a century later, little has changed. In February this year, ASI admitted that an earthmover had accidentally destroyed several artefacts in a 75-metre stretch of the excavation site. While skeletal analysis was done almost 15 years later, Dr Sathyamurthy’s reports too were only recently submitted. “There were some problems around the time I retired in 2005. I was not given the opportunity to write it then, when I had asked two years’ time to submit them. The government said that they had promised the Parliament that the pending reports prior to 2003 would be published immediately and so mine was put on the back burner,” he shares. Roofing tiles from 2020 excavations Neither have Dr Raghavan’s reports seen the day of light, forcing him to abandon a fourth volume, much to his disappointment. Leaving aside Jagor’s hauls to Berlin, that are presently neither displayed nor analysed, very little scientific research has been done on the skeletal remains. Dr Raghavan points out, “While skeletal analysis is as good as DNA analysis, it is right to say that carrying out ancient DNA analysis on tropical deposits at this point will be extremely difficult because once you bring samples up, they get contaminated when exposed to environment. Burials under glacial conditions are more preferred for such studies.” Dr Sathyamurthy highlights the need for an on-site museum at Adichanallur saying, “If the site is not there and only materials are there, interest may wane. We need a structure to keep up interest. An on-site museum is therefore important for sites like Adichanallur. Arikamedu in Puducherry is a good example.” While a museum-cum-information centre built in Adichanallur around 2013 lies in a derelict state, the Tamil Nadu government announced that work has begun at the site to establish an on-site museum. However, experts point out that the museum should be state-of-the-art. “A proper scientific museum should come up at Adichanallur, which should have a skeletal biological section, a cultural section and a technological section,” Dr Raghavan adds. On why many other archaeological sites have not received the attention that Keezhadi has, Dr Sathyamurthy says, “What they found in Keezhadi was discovered in many other sites in Tamil Nadu but not much publicity was given. There’s Poompuhar, Kaveripoompattinam... In fact, one of the latest sites as far as archaeology is concerned is Kodumanal (Coimbatore region). There they found the complete transition status of the people from pre-historic to early-historic period. That is an important site and at the time publicity was not given.” “In fact, the most impressive findings we got was in Arikamedu in Veerampattinam near Pondicherry in 1945. We found a bigger structure but that was not taken into cognisance. Now the political will is there to find something for culture and so we’re doing it,” Dr Sathyamurthy says. But even close to 1590 years later, we’ve merely scratched the surface, Dr Raghavan feel. “According to Dr Sathyamurthy only four to five percent of the archaeological site has been excavated. In my opinion, the analysis done on fully preserved skeletons is not going to give the full picture on the community structure. Unless until 60% of the area is excavated it is difficult to conclude the racial analysis. A full-fledge excavation at Adichanallur, the coastal area and even some parts of the sea bed needs to be done,” Dr Raghavan concludes.

Every one of us is a part of heritage: INTACH Hyderabad convenor Anuradha Reddy

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Heritage
In a chat with TNM, Anuradha talks about her association with INTACH, her fluency in 10 languages, why Hyderabad doesn’t have a heritage tag, and more.
Anuradha Reddy posing in a salwar kameez with dupatta and sporting a bindi
Facebook
You name a heritage structure in Hyderabad, she has its history on the tip of her tongue. You go to a heritage event in the city, she is there, actively speaking about the occasion and patiently clarifying doubts. Anuradha Reddy, INTACH (Indian National Trust for Art and Cultural Heritage) convenor for the Hyderabad chapter, has been a history enthusiast since her childhood. For more than five decades, she has been travelling extensively and actively exploring heritage sites within and outside India. TNM caught up with Anuradha even as she is busy amid field work in Hyderabad. Here are some excerpts: How and when did you get fascinated with heritage structures? We all grow up in the midst of heritage, whether it’s built heritage or other forms of cultural heritage like art, music and dance. I grew up with grandmothers from both paternal and maternal sides. Ours was a household that consisted of many residents, and also visitors who brought with them different cultures and stories. We shared the lives of so many people through these experiences. Everyone should be aware that, directly or indirectly, they are also part of heritage. My exposure to travel was also more because of my father, Chilam Sree Ram Bhoopal, who was in the Hyderabad civil service, which became IAS after 1966. My mother, Sneha Latha Bhoopal, had a wide interest in culture, history, photography, badminton, which also exposed me to wide travel within India. This was the base for how my interest in our culture developed. How did your association with INTACH start? In the 1970s and 80s, I began to see the lack of awareness and interest in the protection of our built heritage. I became very concerned and started to look for spaces that were working in heritage protection. In 1984, after INTACH was formed at the India level, Hyderabad was the second chapter to open in the country. I immediately joined, because I found that there were interesting groups that could work together in the protection of our heritage and culture. I’m also the former president of another group called SPEQL (Society for Preservation of Environment and Quality of Life), which works with natural and built heritage and environmental protection. Tell us about INTACH’s Zilla Khazana programme, what does it do? We launched the Zilla Khazana programme to promote participation from local people, especially in colleges and high schools, so that students, teachers, lecturers and common citizens can learn about their surroundings and share. Simultaneously, documentation would also be built up zilla (district) wise. It is the citizens who normally should be the protectors of heritage. What is the concept of shared heritage between neighbouring states? Shared heritage can be between anyone – between states like Andhra and Telangana, where there are Kakatiya influences. It can be between Karnataka and Telangana, because Kakatiya monuments have common features with the Hoysala monuments seen in present day Karnataka. It can be between Delhi and Hyderabad, both in the Mughal period in the later Qutb Shahi period and the other Deccan kingdoms. We also have a shared heritage with the architecture of Iran and other Middle Eastern countries. Further, eastwards we share heritage with Nepal, Bhutan, Japan, China, Vietnam, Cambodia, Thailand, Indonesia, etc., which followed the Hindu architectural styles and culture, for example Angkor Wat in Cambodia and the Champa kingdom of Vietnam. On visits to Japan and China, I saw huge influences of India in their culture and sculpture. When I visited Mexico, I found similarities between the Mayan culture and that of south India. All these need to be explored further. Whenever a heritage structure is demolished, be it Saifabad Palace or Ameen Manzil, what are we losing? It’s the loss of public property, public funds, and public identity. A heritage structure is formed from the history of the public of another period. Heritage structures are examples of technology, craft of the period. In many cases, neither the material nor the skills can be duplicated. You speak 10 languages fluently. How do you perceive the Hindi imposition debate that is in the news now? Born and brought up in Hyderabad state, which is a confluence of many cultures from across India and the world, I believe language also becomes a rich and valuable cultural resource. Back then, Hyderabad state had four official state languages – Telugu, Marathi, Kannada and Urdu with English as the official working language. This came about because Hyderabad consisted of citizens from different regions who spoke these languages. It gave them a sense of identity and belonging. I learnt French also in my childhood. I took up German later on, as I found myself lost in historical places if one doesn’t know the language. To connect with the country’s history, I learnt German in Max Mueller Bhavan (today’s Goethe-Zentrum Hyderabad). Coming to the Hindi part, I’m not looking at it as an imposition, but it’s an advantage. Being in the Deccan, we’re able to understand, contribute and share with other Hindi speaking regions of the country. Every language is an additional asset and a link to an additional culture. What is your comment on the condition of the Osmania General Hospital building? We from the INTACH team inspected the hospital in 2015 and again in 2019. During the recent torrential rains in Hyderabad, there was not a single drop of water inside the heritage building. The structure speaks for itself, it needs our protection. Despite having several heritage structures like the Charminar, Qutb Shahi Tombs, Golconda Fort and many others, Hyderabad does not have the heritage tag. What’s your take on this? There are many aspects to getting a world heritage tag. It involves not only agencies such as the Archaeological Survey of India (ASI) and State archaeology, but it involves a huge commitment from the state government as well. Do you think ASI is playing a good role in preserving our heritage structures? What more should they do? ASI is doing the best it can, given the circumstances, because encroachments have become a huge threat to monuments. The role of the police, local municipalities, panchayats and the revenue department is large because it is they who have to support ASI. ASI’s only role is to raise complaints, everything else lies with the rest of the agencies. The Collector of each district also has an enormous role to play in the protection of heritage sites. How do you think the KCR government is dealing with the conservation of heritage structures? No comment.   Read: An interview with Dr Gummadi Anuradha, Telangana’s first Adivasi law professor Read : Teaching savings, cleanliness, honesty: This Telangana headmaster goes beyond textbooks

YouTube is booming, it's a viable full-time profession: Hyd moto vlogger Sriman Kotaru

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Interview
Sriman has around 320k subscribers on his YouTube channel and his followers eagerly wait for his videos and updates about his travel expeditions and experiences.
Sriman Kotaru, dressed in full biking gear, standing leaning onto his Tiger bike
By arrangement
Hyderabad-based bike enthusiast and YouTuber Sriman Kotaru tried his hand at several jobs before deciding to give moto vlogging a shot. A moto vlog is a type of video log recorded by a person, usually with a camera mounted on the bike or on the helmet while riding a motorcycle. The videos are shot naturally, capturing conversations and giving the viewer the feeling of being a pillion rider while sitting in the comfort of their home. Over the course of four years, Sriman has garnered around 320k subscribers on his YouTube channel, and all his videos are closely followed by his loyal audience.  One of his most watched videos is his trip to Ladakh. He describes packing his luggage, loading it onto the bike, and also gives viewers an idea about the road, the weather, the number of days it would take etc. He then begins his ride and takes you along the long journey, covering more than 2,500 kms, and chatting with the viewers all through. TNM caught up with the popular vlogger for a chat. Excerpts from the interview below: You are today known to the world as Sriman Kotaru, the moto vlogger with thousands of followers and hundreds of videos out there. Tell us about your life before becoming a well-known figure. Before I dove into the world of YouTube, I'd been after money and career for most of my life. I pursued a couple of businesses and jobs, really not knowing where my life was going. I didn't know what I was passionate about and what that one thing was that made my life worth it. Most of the things I did were to merely please the society and never myself. Be a businessman, society respects you. Take up a good job and tell your relatives that you are working at an MNC, you are good. It was always about pleasing someone else.  One day, I was working at a job (a typical startup) with a desktop in front of me and looked outside the window and realised that there's a whole world out there to be explored, there are so many things I could do instead of sitting here and working for someone for a salary that could hardly pay my bills. I was fed up with these businesses and jobs and one day, I decided to take the leap of faith.  I told myself that for the next one year, I will try out something that my heart really desires. I also told myself 'No society. No thinking what mom thinks. What dad thinks. What wife thinks. I'll risk it for a year and see where I stand'. That was it. I left the job and decided to follow my passion. I have loved capturing videos on tape since my childhood. The second thing I have always loved doing is traveling on bikes. I simply combined these two interests and what it resulted in is the Sriman Kotaru that you know today. How difficult is it to decide what content goes up on your channel and what shouldn’t? Is there a criterion based on which you select your content? This was a challenge in the beginning, but now it's become a natural instinct. Whatever I feel is right and connects with the audience, I go ahead and publish it. I try to mix moto vlogs with lifestyle. Basically, I like to share a part of my life, usually the happy part, because that's what the audience usually likes.  No one wants to see you cribbing, down or sad. But unfortunately, like everyone else, I have my low days as well and the challenge is to keep a bright, happy and energetic face despite that. Fortunately, my subscribers are all extremely connected to me and they appreciate most of the content I put up. So yes, it is actually difficult to tell you if there is a certain criterion based on which I select my content. It's usually a gut feeling that I go with. It comes with experience. A question that a lot of people would like to ask is how is it financially to be a vlogger? Is it a viable full-time profession? Many of your videos are monetized, they have ad content, you get sponsors etc., but how long did it take for you to get to where you are today? This is 2020 and times have changed. A hundred years ago, being a blacksmith or a sculptor or something on those lines was considered a full-time, viable profession. Later, doctors and engineers became viable professions. Today, there are multiple professions that one can pursue and make a living out of. It all depends on how much you really want it. Turning anything into a profession is easy if you have the spark and the passion towards it.  YouTube is currently booming and making a living is not a big deal. Yes, it is definitely a viable full-time profession. But always remember, it is a tough and crowded space. If you really have something unique in you and if the audience connects to you, then you are sure to become successful. Not everyone here becomes successful like other professions.  About sponsorships: brands approach you when they feel that you can really influence people. There are channels with a million subscribers but brands often don't approach them. It's not always about views and the subscriber count. Brands look for quality and the power to influence. A channel with 50k subscribers gets a better sponsorship than a channel with 1 million subscribers if the former can help the brand get 40k signups/buys/conversions etc. It took me 2.5 years of hard work to be where I am today. And let me tell you, being a YouTuber isn't as easy as it looks. It's a freaking full-time job. In fact, most times even more than that. You can logout after 10 hours in a full-time job. There's no concept of logging out when you are a YouTuber. It is always work. In the beginning it's all fun, but later you realise you are ending up working all the time. For me, as I love making videos, it doesn't seem like work. For those who are not aware of the bikes you own, tell us about them and also tell us about the ones you plan to have in your garage someday. I first had a Karizma R and after a point, I wanted to upgrade to a bigger bike. I bought a Benelli 600i in 2016 and began doing long rides. But soon I realised that it's not the right bike for long distance rides. It was more of a street bike. I later researched and learnt that there are bikes specifically made for touring and that they can be taken on any kind of road. These are called adventure tourers. I sold the Benelli and got myself a Triumph Tiger. It's a wonderful machine that is super reliable. It has a triple cylinder 800cc engine and does long distances effortlessly. It has ample power and is low on maintenance. Recently, I bought another Triumph classic bike, just for the love of bikes. It's called the Street Twin. It’s a 900cc modern classic bike that's meant for the streets. In the future, I would love to have a good collection of bikes -- right from an adventure to a super sport and everything in between. For now, I'm happy with what I have. We have seen you do a wide range of videos. Is there any role or career you would like to explore beyond YouTube? Like filmmaking? The answer in short is 'No'. The longer answer to this would be, maybe if something really interesting comes up and there is an opportunity, then why not? It’s a small life and there are lots of things to do. I believe in going with the flow and hence I have not planned anything. I am not saying don't have goals. Have goals, and don't forget to pursue your goals even as you continue busily with life. Did the extended lockdown and the travel limitations limit the number of experiences and videos you could put out during the pandemic? Did you feel the need to always have a bank of videos to ensure there is never a dry spell? For a couple of months, yes. It did affect work. But now things are getting back to normal. People and governments have accepted to live with the pandemic and they have eased out the rules. There is still a little fear at the back of the mind about getting infected, but yes, it's definitely better than the initial months. I never felt the need to have a bank of videos or anything like that. When there is no content due to the lockdown, people understand. Still I tried making informative videos that didn't need me to go out and travel and the audience enjoyed that as well and it was well received. Biking must mean you are away from your family for a very long time often. How do you strike a balance? Not really. Usually, on an average, I'm away for 7 days a month. Not necessarily every month. Some trips are 25 days long. Some are only 5 days. Rest of the time I spend at home with family and friends. But yes, when I am away for more than 15 days, I slowly start missing family and just want to come back soon. We have seen you experiment with multiple languages like Telugu, Hindi and English in your videos. Which of these languages helped you garner more followers? I use a mix of all. 80% English, 20% Hindi and Telugu. That's how I generally speak to my friends as well. So, if someone were to meet me outside, a mix of all these three languages is what you would hear me converse in. We have heard you speak about your plans for a world tour on your bike. Is this a long-term plan and have you set a target for yourself to achieve this? A world tour is definitely something I want to do. But, a lot of plans change and it depends on circumstances at that particular moment. For now, I feel like doing it. But it may change later. On a signing off note, what advice would you give young vloggers and bike enthusiasts? Do it only because you love it. Not because others are doing it or because it sounds fancy. When I started on YouTube, it was not even a thing. I had to explain to people what I actually do for a living. Now, people know it's a thing so they understand. Forget all this, if you really feel that's what makes you happy, just do it. This need not be limited only to YouTube but with anything in your life. Do it for your satisfaction and not to please people. 

A jungle in the heart of Chennai: The story of the city’s latest ‘Miyawaki forest’

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Environment
By the end of 2020, the Greater Chennai Corporation plans on developing 10 such forests in the south Chennai region alone.
Kotturpuram Miyawaki forest before and after
RDC South Chennai Alby John Varghese
Along the banks of the Adyar River, in the heart of Chennai, sways a mini-forest of young trees, shrubs and creepers, 2,020 in number to be precise. From jamun to the mahua to the vaagai and smaller creepers, the ecosystem set up in an area of 23,000 sq ft is the result of a proven method called the ‘Miyawaki Method’. Japanese Botanist Akira Miyawaki conceptualised and developed the Miyawaki Method, a practice of restoring lands with natural forests, brimming with species native to the land. Since the 90s this method has been widely adopted in Japan and eventually travelled to other parts of the world, restoring forest cover in degraded lands, and adding a pop of green amidst the drab of the concrete in cities. The famed Miyawaki forests are present in cities such as Bengaluru, Delhi and Hyderabad and have now reached Chennai. The first such Miyawaki forest to come up in the heart of the city is at Kotturpuram, along the Canal Banks, on a site that was previously looked at as a “garbage vulnerable point.” Speaking to TNM, Alby John Varghese, Greater Chennai Corporation’s (GCC) Regional Deputy Commissioner (South) who spearheaded the project, says that the forest at Kotturpuram is the first of many. By the end of 2020, GCC plans on developing 10 such forests in the south Chennai region. Other such projects are underway in the north and central regions of the city as well. “Around November last year we cleared three to four feet of construction debris from this area in Kotturpuram and prepared the soil with fresh earth from one of our lake restoration projects in the city and compost from our composting yards. We planted sapling on January 25 this year,” Alby shares. The project came to fruition with help from a private start-up called EasyForest. Also read: A startup for mini-forests: 2 TN men are transforming educational and corporate campuses Earlier this week, Alby shared pictures of how the space was transformed. “The space was particularly prone to regular dumping of construction debris. I myself made arrangements to clear it two to three times before coming up with the Miyawaki idea,” he adds. You give a chance and the nature will amaze you. An 8 month old Miyawaki forest in Kotturpuram. #Change pic.twitter.com/DjGTqmienn — Dr Alby John (@albyjohnV) October 2, 2020 GCC has developed Miyawaki forests in two other areas in the city – one in an apartment complex in Valasaravakkam and another in Mugalivakkam. While an NGO called Trees Trust had helped with the second project, NGO Thuvakkam had come on board for the third. “For the first one, it was 80-20% efforts put by the Corporation and the private company. For the second and third, the NGO came forward to take care of plantation and maintenance as well. For future projects there’s more traction with private entities coming on board. We hope that it’ll be entirely done by private organisations from here on,” says Alby. Photographs showing progress in other sites The best thing about Miyawaki forests is that they are self-sustaining ecosystems that are cost and resource intensive only during the first two years. However, as soon as they take off, they turn out to be shelter for birds, insects and small animals, creating a thriving ecosystem of their own. While the Corporation spent about Rs 15 lakh at Kotturpuram, the biggest Miyawaki forest yet is coming up at Puzhudhivakkam in Perungudi, which is being developed in a 10,000 sq ft area. For this project, Bengaluru-based Say Trees has come on board, with an estimated plan of spending about Rs 200 per tree. According to Alby, the benefits of such forests in urban spaces are multi-fold. In addition to being clean and green, they also help increase the city’s lung space. “Apart from providing beautiful vistas, they also help bring down the heat island effect in areas with no green cover. These are incidental advantages,” he points out. In the near future, when the trees grow stronger, the space can also be used by walkers and joggers. But Alby adds a word of caution, “It’s not an alternative to normal plantation. It can only be developed where there are space constraints. Under normal circumstances regular plantations are the best.”

Basheer’s Birikanjo to Anita Nair’s food alphabet: A book about food in literature

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Books
‘Vayikku Ruchiyode’ is written by journalist and writer Sreejith Perunthachan, with each chapter dedicated to a writer and their works on food.
Sreejith in a blue t shirt with one hand raised as he talks, a little bit of grey on his hair
On a day that he read a story on Booker winner Arundhati Roy, Sreejith Perunthachan sat musing about a conversation mentioned in it. Arundhati, the story said, once asked her brother Lalit, who was in the hotel industry, why not start a place that sold food described only in novels. Sreejith thought the idea was fantastic. It brought to his mind the many lines about food in literature that he had read and enjoyed. A journalist and writer in Kerala, Sreejith began a column in a popular Malayalam magazine and described the food that writers he adored wrote about in their fiction. He has now collected it all together in a book called Vayikku Ruchiyode. That can be a pun in Malayalam – 'vayikku' could mean ‘read’ or ‘for the mouth’ and 'ruchiyode' means tastefully, Sreejith says. He is known for choosing curious themes for the books he writes – an earlier one called Peraya Ninneyiha was about stories behind titles of many popular Malayalam movies. “I think the idea about food in literature came to me on reading that interview of Arundhati. Another time I was talking to MT Vasudevan Nair (Jnanpith award winning writer) and he spoke of turning points in many European films and novels having two people sit around their coffee or some sort of food or drink in between them. Now I am not much of a follower of recipe books though they sell a lot. But I do read literature and the parts about food stick to your mind,” Sreejith says. Book cover Basheer’s Birikanjo and VKN’s dosa machine He has written 11 chapters, each dedicated to a writer and their works that describe food. Basheer, one of the most popular writers of Malayalam literature, was known for his ‘Sulaimani’ (black tea) kept in a big flask at the house that he shared with visitors. Food came into his famously-simple literature too. Sreejith chose to write about ‘Birikanjo’, a name one of Basheer’s characters gives to a badly made biriyani which tasted like a mix of kanji and biriyani. “But then they love the taste because they are all hungry and anything would have tasted good,” Sreejith says. Vadakkke Koottala Narayanankutty Nair or VKN, as the famous Malayalam humour writer is known, also features in Sreejith’s book. In one of his popular ‘Payyan’ series,  a character who is fond of dosa wishes that he could have them made in a conveyor belt and watch them roll out like freshly printed newspapers, one after the other. In another VKN story, a character asks another, how is the taste of the banana, and the reply is, ‘oru nana kuravundu’ – meaning the banana plant had not been watered one day. “People can be that sensitive to food!” Sreejith laughs. In his quest to find out the food interests of authors, he spoke to some of them, emailed, and got inputs from researchers. Oil on head like voting ink! An interesting story comes in SK Pottekatt’s Jnanpith award winning book Oru Deshathinte Katha. A village near Mukkam in Kozhikode had the strange custom of putting oil on the heads of people who came to have a ‘sadya’ at functions like weddings. “This was like ink on your finger on voting day. It was to stop some people who have their fill and then secretly come in for a second helping. So the sadya organisers put oil on their heads to identify who’s already had the meals. This comes in Pottekatt’s largely autobiographical novel,” Sreejith says. Alphabet of dishes and a guide to North Indian food Perhaps the most obvious of the food references he has chosen is in Anita Nair’s Alphabet Soup for Lovers. Sreejith writes in his book that once, when Anita could not decide on how to proceed with a story, she went and made jam with lemons she picked up from a tour to Himachal. By the time the jam was ready, her story was too. In the Alphabet Soup, a woman learns the English language by connecting every letter of the alphabet to the name of a dish or a vegetable. Madhavikutty (Kamala Surayya), Punathil Kunjabdulla, Sara Joseph, M Mukundan, Kunjunni Master and KP Ramanunni are the other authors Sreejith has written about. Among these he speaks of M Mukundan’s book Delhi Gadhakal, which is a ‘sure shot guide’ for a middle class person planning to move to New Delhi, on where to buy their food. “There is all about the markets and which days you get what fish and meat. What will you find in a North Indian market, you’d know. After reading it, you can go to Delhi without worrying about your food,” Sreejith says. He can’t end the many ‘food’ tales he heard and read and wrote about. “And Sarah Joseph wrote about a hotel that sold eagle fry!” he says, eager to add more. But then, these fascinating tales can be read in their entirety in Sreejith’s book, which will be published next week by Thrissur Current Books.  Also read: Every one of us is a part of heritage: INTACH Hyderabad convenor Anuradha Reddy

'Spirited Away' fan? This virtual tour inspired by Studio Ghibli films is for you

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Entertainment
The tour covers some of the most iconic films to come out of the popular Japanese production house.
Studio Ghibli film Spirited Away train scene scene
Studio Ghibli
After months of being locked up at home, we recently got the opportunity to travel to Japan. Early Monday morning, we began from Tokyo city and followed the flight of the birds on Kushiro Marsh way up north on Hokkaido Island, and then went flying down south to Yaku Island, to revel in nature’s bounty. For about an hour, we are in a foreign land, a prospect that our present world forbids. We made pit stops at the speed of light which would surely not have been possible without some magic (all right, internet connection if you want to remain unimaginative). For a fleeting few seconds, we almost make a mental itinerary of a travel plan. Sigh! Are you wondering how we did it? An online tour hosted by Fumi, Yu, Tatsuya, Yukiko, Kazu, Mamiko as part of Airbnb Online Experiences lets you sign-up for a one-hour virtual guided-exploration of some of the popular spots that inspired Studio Ghibli (pronounced Ji-bli in Japan and Gi-bli in other parts of the world) films. For the uninitiated, Studio Ghibli is a Japanese animation film studio founded by Hayao Miyazaki, Toshio Suzuki, Isao Takahata and Yasuyoshi Tokuma in 1985. So far, there are 23 Studio Ghibli feature films made, of which 21 are available on Netflix to stream. Studio Ghibli films stand out for their excellent production and heartwarming tales told with endearing characters. Screenshot Google Earth For the virtual tour, three other participants log in from Australia and the United States of America and together with our host Yoshi from Tokyo, Japan, we plunge into an experience that momentarily takes our mind off the pandemic. For a brief while, we feel the anticipation that comes before we are about to experience something new. The excitement that surges in when one is about to indulge in something of personal interest. Before the session begins, Yoshi and this writer briefly bond over their shared love for Studio Ghibli films. We tell her about the city, Chennai, from where we’ve joined, and Yoshi immediately looks excited. She talks about the unfortunate timing of her plans to travel to India in 2020, and then stands up to point to the skirt she’s wearing that day. A self-confessed sewing addict, she says, “I love fabrics and was planning to travel to India this year.” We quickly brush away the blues and gear up for what’s lying in wait as the other participants join in. For many, the introduction to the production house was with the popular Spirited Away, a film that turned heads internationally. Yoshi too has set Yubaba’s (a character from Spirited Away) face in the background that day. Studio Ghibli has recently made artwork from their films available on their website that can be used for such virtual meets. Yubaba from Spirited Away | photo courtesy Studio Ghibli Spirited Away is tucked in last on our virtual tour itinerary but for this piece we’ll begin here first. As Chihiro (Spirited Away’s main character) reluctantly steps across the narrow stream and walks into an abandoned theme park with her parents, there was something about its setting that immediately drew us into the picture. The mysterious looking bathhouse that features prominently in the film was partly inspired by Dogo Onsen, in Shikoku Island that is Japan’s oldest hot spring bath house. It became a National Important Cultural Property in 1994. And then from here, we're also taken to Edo Tokyo Open Air Architectural Museum and then to the bath house located inside the complex which served as another inspiration for the film. Bathhouse from Spirited Away | photo courtesy Studio Ghibli Dogo Onsen in Japan's Ehime prefecture (photograph courtesy: www.dogo.jp) Studio Ghibli films are unique for their hand drawn animations and therefore it leaves an impact on the viewers. These films are unlike regular animated films from the West and their stories too are different. Take My Neighbour Totoro for instance. This is the story of two sisters who move into an old house located close to a forest and stumble across a giant forest spirit - Totoro. Totoro is also Studio Ghibli’s mascot, the giant furry creature you see in their logo. The story of the film is quite simple but Totoro has a cult following with fans thronging to ride the cat bus at the Studio Ghibli museum, and cafes in Japan having Totoro shaped cream puffs. The forest that inspired the film is at Sayama Hills, about 35 kilometres from downtown Tokyo. For any Studio Ghibli fan this is a must-visit spot with scenic hiking trails. We then skip to Satsuki and Mei’s house that comes with an East-West fusion architecture, complete with the peeking vent where Mei first spots the forest spirits. A scene from Ponyo | photo courtesy Studio Ghibli Tomonura port in Hiroshima | Screenshot Google Earth Over the course of our virtual tour we fly and zoom in to 12 different spots spread across Japan. Our guide Yoshi covers Kiki’s Delivery Service, Whisper of the Heart, Princess Mononoke, Ponyo, When Marnie Was There, Spirited Away and My Neighbour Totoro during the tour. We get to know about the oldest soy sauce brewery with its 200-year-old barrels on Shodo Island. This is also where the best udon noodles can be had and the only place in Japan where olives have been successfully grown. “This is also the only place that looks a bit Mediterranean. Kiki’s Delivery Service was actually inspired by Portugal. So on a regular day, you’d find young Japanese girls with the red bow pinned to their hair, queueing up with borrowed broomsticks to pose here for photographs,” Yoshi says while showing a photograph of a group of young women befitting Yoshi’s description, kicking their feet off the ground to imitate flying. From here we kick off to a different location to discuss a different film. There’s plenty more to see and we’ve saved the best ones for you to experience first hand. Those wishing to sign up can do so here. 

'Kumari' Aboobacker, doyen of Islamic keerthanas in Carnatic music passes away

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Obituary
Singer TM Krishna and historian Kombai S Anwar fondly remember the musician.
Singer Kumari Aboobacker performing on stage at Chennai Kalai Theru Vizha
Facebook/Chennai Kalai Theru Vizha
Widely considered to be the last doyen of the Tamil Islamic Keerthanas in Carnatic music tradition, singer ‘Kumari’ Aboobacker, passed away in Chennai on October 7, 2020. He was 83. ‘Kumari’ Aboobacker was famed for performing Carnatic Islamic devotional music, a tradition that he pursued till his last. Historians and musicians say that his loss is irreplaceable, one that leaves behind a huge vacuum. Writer, filmmaker and historian Kombai S Anwar fondly remember the musician. “He belonged to that earlier generation that did not see religion in music. His loss is definitely great. I don’t see even a single person who can continue the tradition,” he says. இஸ்லாமிய இசை மரபின் கிட்டத்தட்ட கடைசி இழையாக இருந்த குமரி அபூ பக்கர் நேற்றிரவு இறந்துவிட்டார். ஆறு வருடங்களுக்கு முன்பு அவரை இந்து தமிழுக்காக பேட்டி எடுத்தேன். அதற்கு முன்பு @CholamandalPann உதவியில் அவர் கச்சேரி ஒன்று கேட்டிருந்தோம். கசிந்துருகும் குரல் https://t.co/rffgStS6s2 — Kavitha Muralidharan (@kavithamurali) October 8, 2020 Senior musician Kumari Aboobacker passed away last night. He was a wonderful singer who sang islamic songs in karnatik ragas. A generous human being. Here he is performing at @cktv13 2020 in Kattukuppam, Ennore, Chennai @kavithamurali @NityJayaraman https://t.co/4x6YKm47h0 — T M Krishna (@tmkrishna) October 8, 2020   இசையருவி குமரி அபூபக்கர் நேற்றிரவு காலமானார். தேங்காய்ப்பட்டணம் அருகில் காஞ்சாம்புரத்தை சார்ந்தவர் தூர்தர்சனில் செய்தி... Posted by Navas Shahul on Wednesday, 7 October 2020  சீறாப்புராணத்தை ஊர் ஊராக கவிஞர் கா மு செரிப் உடன் கதாகாலேட்சபம் மூலம் எடுத்துச் சென்றவர், தமிழிசையில் இஸ்லாமியரின்... Posted by Kombai S Anwar on Wednesday, 7 October 2020 Singer TM Krishna agrees. “He was one of the last who knew such a huge repertoire of music. He was a wonderful musician and wonderful human being. One of the last musicians of the Carnatic Islamic devotional music tradition. It is a huge loss, I don't know if we have anyone like him in this specific genre.” Talking about his first introduction to Aboobacker’s music, Kombai Anwar says, “It happened at a Tamil Islamic Literary Meeting about 10 years back, when I heard him sing the prayer. I was a bit taken aback when I heard Carnatic music at the congregation. I began paying close attention and figured out that the song was from Tamil Islamic Literature. It was Kasim Pulavar’s literature. That’s when I gained more understanding of the tradition." In 2019, Aboobacker was invited to perform at Chennai Kalai Thiru Vizha (formerly Urur Olcott Kuppam Vizha) and the next year, he came back on popular demand. Singer TM Krishna who was part of the organising team of the Vizha says, “He has performed twice at the Vizha, first time at Mylapore. The next year, people began demanding for him to come and that’s when he performed at Kattukuppam in Ennore.” Aboobacker (2019) Aboobacker was born in Kanjampuram village (Kanyakumari district) that borders Kerala and around the time he was born, the region was under the Travancore samasthanam (pre-Independence years). Aboobacker underwent 10 years of training in Carnatic music and Balai Mani Asan (Wappu Kannu) was one of his gurus.  “His gurus were non-Muslims but today Carnatic music has been appropriated and limited to one community. There is also this 100-year-old debate on whether you call it Carnatic music or Tamil Isai. He was the last person standing who exuded that tradition,” Kombai Anwar explains. Long considered to be a conservator of Tamil Islamic music, Aboobacker in 2014 released music CDs of the Carnatic music rendition of Umaru Pulavar’s 17th century Seera Puranam (History of the Prophet), set to ragas such as Revathy, Kaapi and Bageshri. “There’s an interesting story that during the '80s, Aboobacker, along with Ka Mu Sherif, a Congress man turned Tamil nationalist, would travel to places upon request and perform a 10-day kadhakalabishegam on the Seera Puranam. Aboobacker would sing and Sherif would tell the stories. This would be during Miladi Nabi (Prophet’s birthday) and there’s a popular belief that when the 10-day performance concluded, it would rain,” Anwar shares. After Sherif’s demise, Aboobacker continued the tradition on his own. Another crowd favourite is his rendition of Kasim Pulavar's songs on Nabigal Nayagam, written in a style that mirrored Arunagirinathar’s Tirupugazh that was written in praise of Hindu god Murugan. Anwar points out, “He was not part of sabhas and it was just pure love for music and the form that kept him going. I understand that within the Muslim community there was one section that was against the music, but he was someone who really stood up saying music is beyond religion. He has also sung Christian and Hindu devotional songs, based on requests. He never saw the difference.” Aboobacker’s music is one that will continue to echo in the hearts of many. “Luckily we have some of his performances recorded. Makkal TV began broadcasting some of his concerts and he has done All India Radio (AIR) programmes as well,” Anwar says. TM Krishna adds, “The important thing is for us to learn his songs and perform them. We have to pay more attention to that. I have learned a few songs from his recordings but it's a wake-up call to start performing them.” Listen to this moving performance by Aboobacker:

Nani resumes shooting for upcoming Telugu film 'Tuck Jagadish'

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Tollywood
Nani will be seen playing a corporate professional with a violent past in 'Tuck Jagadish'.
Nani resumes shooting for upcoming Telugu film 'Tuck Jagadish'
Actor Nani is the latest actor to join a film set in this pandemic. On Wednesday, he took to Twitter to announce that he’s back on the sets of his upcoming Telugu film Tuck Jagadish. “Jagadish joins. Tuck begins (sic),” Nani tweeted and shared a picture. Being produced by Sahu Garapati and Harish Peddi, the film also stars Aishwarya Rajesh and Ritu Varma as the leading ladies. This will be Shiva Nirvana’s third film. His last outing was Naga Chaitanya and Samantha starrer Majili, which went on to become a blockbuster. The film tracked the journey of a failed cricketer and his life post a nasty breakup. This will be Shiva’s second film with Nani after Ninnu Kori, which was a runaway hit. Last seen playing a serial killer in Amazon Prime’s V, which was directed by Indraganti Mohanakrishna; Nani will be seen playing a corporate professional with a violent past in Tuck Jagadish. The project originally went on the floors earlier this year after being officially launched last December. If everything goes as planned, the makers hope to wrap up the remainder of the project by December and aim for an early 2021 release. The film has music by SS Thaman, who had also worked with Shiva in Ninnu Kori. Meanwhile, Nani will also soon begin work on Telugu film Shyam Singha Roy. To be directed by Taxiwaala fame Rahul Sankrityan, the film will feature three heroines. Sai Pallavi has been confirmed as one of the leading ladies. The makers are yet to finalise the rest of the cast and crew. The film will have music by Anirudh Ravichander. Having previously worked together with Nani in Jersey and Gang Leader, the duo are joining hands for the third time. Not long ago, rumours emerged that A R Rahman will most likely compose music for this project.  Turns out, the makers have gone ahead and finalised Anirudh Ravichander. Shyam Singha Roy, which is gearing up for Christmas release next year, is being bankrolled by Sithara Entertainments. Nani also has a project with director Vivek Athreya in the pipeline. Vivek rose to fame with Telugu films Mental Madhilo and Brochevarevarura. This yet-untitled project is also expected to go on the floors next year. As a producer, Nani has two projects in the offing. He has confirmed he will be bankrolling the sequels to successful Telugu films Awe and HIT. Content provided by Digital Native

Conservationists urge vulture breeding centre at Chikkamannugudde, not Bannerghatta

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Conservation
Vulture conservationists want the breeding centre and release centre to be in close proximity for proper coordination of activities.
A long-billed vulture sitting on a rock
All photos by B Shashikumar
A breeding centre to revive the dwindling Long-billed and White-rumped vulture population was announced by the Karnataka state government in this year’s budget. Unfortunately, this plan not taken shape, owing to the delay in finding an ideal location for the centre. Forest officials reportedly want the centre to be at Bannerghatta Biological Park (BBP) near Bengaluru, while vulture conservationists find Chikkamannugudde, a forest patch near Ramanagara, to be an ideal site. As per plans, BBP will be the site of the breeding centre while Ramadevarabetta Vulture Sanctuary in Ramanagara, the first of its kind in the country, will be the release centre. Long-billed vultures in particular are under threat at the sanctuary, as their numbers have fallen from about 20 in the last decade to just four this season. Vulture conservationists want the breeding centre and release centre to be in close proximity for proper coordination of activities. Panoramic view of Ramadevarabetta Vulture Sanctuary When Kranti Kumar was the Deputy Conservator of Forests, Ramanagara, a few years ago, a plan was drawn to save long-billed and white-rumped vultures in the region. Accordingly, Dr Vibhu Prakash, Deputy Director of the Vulture Breeding Centre and Vulture Safe Zone, Bombay Natural History Society, identified Chikkamannugudde as an ideal location for the breeding centre and Ramadevarabetta as the release centre. B Shashikumar, secretary of the Karnataka Vulture Conservation Trust, questions the rationale of the forest officials in choosing BBP as the location. He explains that the officials must consider Chikkamannugudde, as it is close to Ramadevarabetta Vulture Sanctuary, where there is normal distribution of the species. In addition, Shashikumar fears that setting up a vulture breeding centre at Bannerghatta does not fulfil the pre-requisites of a breeding centre as mentioned in the Central Zoo Authority (CZA) manual. According to the document, any breeding centre should be 5 km away from wild birds or animals kept in captivity, says Shashikumar. He adds that as the birds are to be released into the wild, they must not be exposed to pathogens. It is to be noted that BBP has several birds and animals in captivity. Another factor to prefer Chikkamannugudde, according to vulture conservationists, is that the breeding centre should be a degraded patch of forest land with very few trees in the vicinity. Besides, Chikkamannugudde is only 13 km from Ramadevarabetta Vulture Sanctuary whereas Bannerghatta is 47 km away, making it difficult to properly coordinate conservation and research activities. Another point that Shashikumar had made to the Principal Chief Conservator of Forests (PCCF) was that the location of the breeding centre should have no poultry farms in a radius of 25 km. However, poultry farms thrive around BBP, which poses a risk to vultures. He also points out that the breeding centre should be well connected by rail and road so that specialised veterinary facilities in big cities can be easily accessed. Long-billed vulture To mount pressure on forest officials to set up the breeding centre at Chikkamannugudde, Chris Bowden, International Species Recovery Officer and Save Vulture Programme Manager, made a presentation to senior forest officials in Bengaluru on Wednesday. He explained the various criteria on which location selection should be based, and impressed on them the need to have a breeding centre at Chikkamannugudde, among other steps to recover the vulture population in Karnataka. “A breeding centre close to a release centre will be an advantage. Keeping away from poultry units will eliminate disease risks. A location far from visitor facilities will also be helpful,” he observed. However, Bowden says that forest officials are considering a new location for the breeding centre a little distance from BBP. He says that the new site needs to be evaluated in detail. Additional Principal Chief Conservator of Forests, Wildlife, Subhash Malkhede tells TNM that the location of the vulture breeding centre is yet to be finalised. If any conservationists have an ideal location in mind, they can share it with forest officials, he adds. “We have sought expert opinion and Dr Vibhu Prakash has been invited to locate an ideal site for the breeding centre and also release sites,” he says, adding, “Owing to COVID-19, Vibhu Prakash has not been able to arrive in Bengaluru from Haryana.” The APCCF assured that a suitable location will be identified and proper steps will be initiated to start the breeding centre for vultures. Girisha is a freelancer who writes on wildlife and environmental issues.

Overcoming stigma: How human trafficking survivors are socially marginalised

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Human trafficking
BandhanMukti, a collective, was formed by survivors to fight human trafficking on the belief that it’s necessary to battle stigma surrounding the women who are merely the victims of an organised crime.
A woman wearing a red kurta walking, back to the camera
A statistic from 2018 states that 7% of the total number of cases involving human trafficking across India take place in West Bengal alone. During the COVID-19 pandemic-induced lockdown, these incidents have increased manifold. With the help of authorities and organisations, some of them are rescued from these traffickers. However, their fight does not end there. Unfortunately, the survivors of human trafficking are still perceived negatively in our society, and face great stigma and humiliation.  To define stigma, let’s borrow the words of Erving Goffman, an eminent sociologist of the twentieth century. According to him, stigma is ‘the process by which the reaction of others spoils normal identity.’ Simply put, it is basically the devaluation of the self by the other, for his or her attributes, through negative behavior. A person can face stigma on the basis of caste, class, background, physical ability and other factors.  Since sex work is considered derogatory because of the patriarchal construct of our society, all those involved in the work, regardless of their circumstances, are labelled as ‘anti-social elements.’ However, these women are mostly victims of trafficking. Society, unfortunately, fails to see that.  After returning home, a survivor of human trafficking often faces humiliation both in the public and the private space. In the private space, the stigmatiser is family members. In public spaces, stigma primarily comes from the community and the institutions. As the act of prostitution violates the socially legitimised institution of marriage, the victims of trafficking are labelled ‘home wreckers' by married men and women in the community. The police and other government Institutions like the panchayat enjoy certain powers over the victims. They pay no attention to the survivor's plight because their prejudiced stigmatised outlook blinds them. The stigmatiser often blames the survivor's family for being ‘too greedy,’ the girl being too ‘spoilt' and for bringing ‘disrepute’ to the community. Sometimes stigma is used as a weapon to settle past scores and exercise their position over the helpless. In a recent study amongst the victims of human-trafficking in North and South 24 Parganas conducted by Goranbose Gram Bikash Kendra (GGBK) – an anti trafficking organisation in West Bengal, it’s found that most of them after returning from trafficking areas initially struggled to continue education. The traffickers, as we know, target girls of younger age, mostly school girls. After their eventual rescue, these girls face stigma while going to school again. People brand them as ‘fallen girls’ who are not eligible for reintegration in mainstream society. This hugely impacts mental health status and the wellbeing of survivors of sexual violence and human trafficking.  To fight against human trafficking and all related evils such as stigma, GGBK has mentored and nurtured BandhanMukti, a collective of survivors of human trafficking, on a common belief that it’s necessary to battle stigma surrounding the women who are merely the victims of an organised crime. Thus BandhanMukti is committed to bring change in the patriarchal narratives that are commonly associated with human trafficking. Rahima, survivor leader of BandhanMukti and Indian Leadership Forum Against Trafficking (ILFAT) says, “After I came back from the dangerous experience of torture and what not in the brothel, I found it was not the same me and my village because attitude and behaviors changed. My family was supportive but my parents were also stigmatized along with me. As a result of the exploitation and beating, I was traumatised and required medication, but I did not receive that in any of the shelter homes. After I came back, my community-based rehabilitation started with GGBK and today I am alive because I received mental health intervention. Due to stigma and ostracisation from the community, I felt my mental health becoming worse and I did not want to stay alive.    “Stigma triggers different emotional reactions in the survivors like loneliness, depression, helplessness, hopelessness, broken self confidence and suicidal thoughts, attempts. From our experience of working with survivors of human trafficking, we know that the best way to deal with stigma is through peer support and resilience building. As we know, only a survivor can truly empathize with other survivors. Thus, we try to support them with  psycho-socio legal intervention as per our abilities. Under an access to justice programme called Tafteesh, we also provide legal support to survivors who need that the most,” says Nihar Ranjan Raptan who heads GGBK. “However, the entire attention of society is usually focused upon the victim while the perpetrators can get away unnoticed. We envision that one day, society will shift its stigmatizing gaze thrust upon the survivor to those people who are actually responsible for their plight,” he adds. Awareness about human trafficking in the community and in various other sectors is one of the key components in the fight against the social menace. It requires targeted campaigns such as street plays, street corners and interactive sessions with others. Sometimes, survivors play the central role and often have the chance to look their stigmatiser directly in the eye without any fear or hesitation. It’s been observed that through the course of continued interaction, the society has accepted the survivors. The patriarchal gaze is gradually shifting, and hopefully the collective rage of the people will be unleashed against the heinous crime of human trafficking. Many survivors, in their battle for justice, are also seen to be standing unflinchingly against humiliation and harassment. They have borne the brunt of social stigma and eventually overcome it through relentless struggle. Some of these women are the frontline warriors of BandhanMukti, keeping their war against human trafficking and other social evils alive. There are many utterly harrowing but inspiring narratives of women who have faced social stigma and eventually overcome it. “Upon returning home, after being rescued, I discovered that the world around me had changed. My grandparents who raised me after my parents’ death even refused to accept me as their own. They hurled curse words at me, often labelling me a ‘slut’. My protests were frequently met with physical abuse,” narrates Puja (name changed), who was trafficked when she was 16 years old. “Whenever I went outside, people from my village would jeer at me. One day, a woman from my neighborhood even accused me of having an illicit affair with her husband. Her accusation was followed by a beating and public humiliation. Luckily, several local villagers rescued me. However, most of them still believe that I am a ‘fallen woman’, and that I have brought shame upon the community. The traffickers responsible for my plight have now been put on trial. The criminal case against them is still ongoing. During the hearings of my case, I have faced harassment and physical abuse from the family of the accused multiple times. They even came to my house and threatened me to withdraw the case. They shamed me in every manner possible. “The humiliation felt like an immovable rock weighing down on my chest. I felt helpless and suffocated every day. The thought of suicide often crossed my mind. However, I knew I could not let my abusers win. The other peers from BandhanMukti Survivors’ Collective stood by me and provided me with mental strength and support to continue my fight. Since I am being resolute and resilient in the face of adversity, the opinion of the people around me is also beginning to change,” she added. The mission to uproot the social stigma surrounding these women is not an easy task. During our quest, we have encountered failures and setbacks along with success. We believe that one day the chains of social stigma will wither away. However, until the patriarchy in the society ceases to exist, the stigma surrounding survivors of human-trafficking will keep on lingering. Thus, in order to change society, we should all learn to ask ourselves a solitary but imperative question, ‘Why cannot we, above all else, learn to treat a person as a human being?’ Subhasree Raptan is an activist at GGBK and member of Tafteesh, who has been working with survivors of human trafficking and exploitation in their journey for access to justice, rights, entitlement, participation and empowerment.   Rahima Mondal is a survivor leader of the BandhanMukti and member of Indian Leadership Forum Against Trafficking (ILFAT). BandhanMukti is a collective of more than 450 survivors of human trafficking and gender based violence in West Bengal. Rahima is one of the fighters in the frontline and involved in grassroot level intervention and policy advocacy with the vision of making a systemic change which will be accountable to the survivors for justice and human rights so that they can lead life with respect and dignity.

Displaced by boundaries, united by culture: Meet the Malayalis of Mahe and Kanyakumari

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Language and Culture
Being Malayalis, who are geographically located ‘outside’ of Kerala, has caused some amount of identity crisis, they say.
People stand in the dark in a park facing the river
Mahe river in the evening
If I told you, I am a Malayali but I am not from Kerala, wouldn't you wonder how on earth that is possible? — Karishma VP’s post on a Facebook group was intriguing. She wrote forgotten facts about the Indian freedom fight. While the rest of India became free in 1947, it took seven more years for Mahe. And when the French finally left, Mahe was still not going to be a part of Kerala even though it is wedged between Kozhikode and Kannur, two integral districts in the north of the state. Mahe, packed with Malayalis, happens to be part of the Union Territory of Puducherry, lying far away, near southeastern Tamil Nadu. And there, torn between Tamil Nadu and Kerala is another town called Kanyakumari, where people cite stories of confused Malayali identities, like those in Mahe. This is a story of those people, left neither here nor there, in Kanyakumari and Mahe. “It was probably in primary school that I learnt about the different states and how we were part of Tamil Nadu, etc. and (got) the feeling that we were part of something we were not actually part of. A sense of separateness and belonging at the same time,” says Remitha Satheesh, who grew up in Kanyakumari in a family that retained its ‘Malayali identity’. Remitha Satheesh in Kanyakumari When the State Reorganisation Act, 1956 was implemented and Kanyakumari got merged with Tamil Nadu, there were people there who spoke two languages, a mix of two cultures. Remitha remembers that even then, her family was particular about their ‘Malayaliness’, especially when several others they knew gave up such identities and blended with the Tamil culture. Remitha’s family continued celebrating Onam, subscribed to Mathrubhumi newspaper (but also Dinamalar) and played Malayalam songs more than Tamil at home. It is from reading film names on the Mathrubhumi newspaper that Remitha learnt to read and write Malayalam. At school, it was Tamil. But she has no regrets. “It is a lifelong love affair with a beautiful classical language. So I was able to learn more about its culture, literature etc, which, in a way, is my heritage too,” she says. ‘Outsiders in our home’  But it really makes her angry when people ask how they can speak Malayalam so well. “We want to scream at them, because it is our mother tongue; because we belong to this place and always have. We are not marunadan (non-resident) Malayalis. We were not uprooted and planted here. Our roots are here and very deep. Because people reorganised states and said we belonged to one state while we culturally belonged to another. Because one state gave us away. And that can lead to a sense of being outsiders in our own home,” she says agitatedly. And when she calms down, Remitha adds, “You can always redraw geographical and political boundaries, but not cultural boundaries. We were always Malayalis, but we were never part of Kerala. The day Kerala took birth was the day we were carved out as a district from the erstwhile Travancore Kingdom and handed over to Tamil Nadu. It always rankles that we were given away and there is a deep sense of neither here nor there. Tamils refuse to accept us and Malayalis never acknowledge us as Malayalis.” A view of the sea from Kanyakumari A lot of what Kanyakumari district is today, is because of Travancore kings, Remitha says – infrastructure, education and so on. “A deliberate attempt is being made to forget/erase history; so many neglected heritage buildings that were part of Travancore. That hurts! Kerala also sometimes forgets the role Kanyakumari played or contributed to her arts and culture — JC Daniel, Sathyan, Thikkurissi, Amsi Narayana Pillai, Madhavan Nair (ISRO) etc. “We are like this forgotten piece of land whose people are trying to write a new history. And for those of us with connections to the old, it hurts.” Remitha has now accepted both and forged a new identity that is a blend of both cultures, ‘the best of both worlds’, as she says. ‘We are Malayalis, yet not from Kerala’ Karishma, in her post, mentions similar feelings. “We 'Mayazhikkaar' speak Malayalam, cook and eat Kerala food, celebrate Kerala festivals, marry Keralites, live right inside Kerala, we are all Malayalees, and yet we are not from Kerala!” she writes. St Theresa's shrine in Mahe / Credit - Karishma VP In another post, she writes about the famous shrine of the Saint Theresa of Avila in Mahe that people of all religions flock to, especially on the feast day of October 14. There is a legend that a ship from Spain had suddenly stopped on reaching Mahe and would not move no matter what the crew did. That's when the captain of the ship heard a voice say "I want to be in Mahe" and there happened to be a statue of St Theresa inside. The ship crew handed over the statue to the people of Mahe and only then did it start again and they sailed away. Mahe’s political events in literary work The story of the St Theresa statue also appears in the book, Mayyazhipuzhayude Theerangalil (On the banks of the Mayyazhi) by M Mukundan, whom Karishma calls the most famous Mahi native. His book is a work of fiction but derived largely from the incidents in Mahe that led to its freedom in 1954. The book talks about significant incidents that shaped Mahe's political history such as the first revolution and the freedom fight that led to its independence in 1954, and the return of the French.  Mayyazhipuzhayude Theerangalil “It is all based on real-life happenings but with the changes needed for fiction. There really was a man like the character Kanarettan, who is leading the freedom struggle, but Dasan is pure fiction,” Mukundan says. Dasan is the central character of the novel, which begins before his birth, from the time his grandmother, Kurambi, was a young woman. Kurambi is in a way the best chronicler of those years, having witnessed the times when French men and women roamed the Mahe town in all their glory, to the day they left on their famous ships and never came back. People like Kurambi who adored the French had been many – they didn’t want the white people to go. Without writing it in so many words, Mukundan weaves a beautiful story of a relationship between Kurambi and Leslie ‘Saive’ – the French man who rode his horse cart and came by Kurambi’s house to ask for a ‘sniff’ of her ‘powder’. They spoke about the people they knew and had a laugh together every day. It’s never written that Kurambi loved Leslie but before she slept every night, she heard the hoofs of his horse pass by, long after he died. Mahe river  “There were so many people like Kurambi in Mahe – fascinated by the French, who didn’t want them to leave. They didn’t understand the concept of freedom that the younger lot fought for,” Mukundan says. Damu, the father of the novel’s protagonist Dasan, once asks Kunjanandan Master, a schoolteacher, “What is this swathanthryam, master?” or What is freedom? That was the time, as said in the novel, the walls of Mahe saw writings of freedom. Communism had risen. A schoolteacher with a grave illness, sowed the seeds of it, hanging photos of Marx and Lenin at his house, talking of a free Mahe with his young students like Dasan. ‘We were born French citizens in India’ Through all of that historical fiction, Mahe stood apart from the rest of India, which fought the British. “Unlike others, we were born in India as French citizens. I was a French citizen when I was born, though, in British India, it was still Indians who lived under British rule. Our identity confusions go that far back,” Mukundan says. It was only after the French left that the people of Mahe became Indians. Karishma calls it a bitter-sweet moment for all. Unlike the British, the relations between the French and the people of Mahe were always cordial. Karishma's grandparents were frequent guests at the French administrator's home even as her granddad, Dr V Narayanan, was involved in the freedom fight — reminding you of Leslie and Kurambi’s friendship. Karishma's son and late father on the Mahe walkway Like the incidents in his novel, some of the characters too are inspired by real life people who lived long lives in Mahe. In the novel is the unforgettable character of Gustav, a sad man who locked himself up on top of a big house, and made music late in the night that made Mahe’s makkal (the children of Mahe) weep. “There really was a man like that in Mahe, whom I used to see when I walked as a child to my school. He would always be up in his room in a big house, never coming out. I still don’t know why he did that,” says Mukundan. And like in his book, the people of Mayyazhi (Malayalam for Mahe) and the French used to exchange sweets in real life. In the novel, Missy, Leslie’s wife and Kurambi’s friend, used to make sweet cakes that ‘Mahiyude makkal’ – the children of Mahe – loved.  The only memory of the white man now left behind is the last of the ‘sangavargakar’ (the Indo French) in Mahe — an old woman who sells flowers to devotees coming to the church. “The others had all left the soil, without any clue of what to do with their lives when the French left.”

Glasses for Allu Arjun and hats for Vijay Deverakonda: Stylist on their preferences

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Entertainment
The stylist of the two actors, Harmann Kaur, said that Allu Arjun prefers a 'classy' style while Vijay Deverakonda would opt for “bold" choices.
Harmann Kaur, the stylist for Tollywood’s top stars like Allu Arjun and Vijay Deverakonda, revealed the preferences and choices of both actors when it comes to styling. Both the actors are known for their style statements in the Telugu film industry. In an exclusive interview to media outlet Pinkvilla.com, Harmann Kaur said that Allu Arjun prefers a 'classy' style while Vijay Deverakonda would opt for “bold, experimental, fashion-forward choices.” The stylist also revealed that Allu Arjun does not prefer shirts with a single pocket and Vijay Deverakonda dislikes pants with side belts on them. On the accessories these stars prefer, the stylist revealed that it is always the "gentle monster glasses" for Allu Arjun and different types of hats and beanies for Vijay Deverakonda. In the interview, Harmann also said that there used to be creative differences with Allu Arjun in the past but it is lesser now. On the work front, Allu Arjun currently has Pushpa in the making. Directed by Sukumar, the film will have Allu Arjun and Rashmika Mandanna playing the lead pair. This action thriller also has Prakash Raj and Jagapathi Babu in pivotal roles. Harish Uthaman, Vennela Kishore and Anish Kuruvilla form the supporting cast. There are reports that the filmmakers are in talks with Bollywood actor Suniel Shetty to play an important role as well. The technical crew of Pushpa includes Devi Sri Prasad for music with Miroslaw Kuba Brozek handling the cinematography and Karthika Srinivas in charge of the editing. The film is bankrolled by Y Naveen and Y Ravi Shankar under their banner Mythri Movie Makers. Reports had earlier suggested that this Sukumar directorial is touted to be a village drama based on red sand smuggling and that it will have the actor in a rugged avatar. Pushpa will be released in Telugu with the makers mulling a simultaneous release in Tamil, Malayalam, Kannada and Hindi. Vijay Deverakonda is currently busy playing the lead role in the Puri Jagannath directorial Fighter. Bollywood actor Ananya Pandey has been roped in to play the female lead in this film which will also have Ramya Krishnan playing Vijay Devarakonda’s mother in it. Fighter will be made in Telugu and Hindi with ace director and producer Karan Johar producing the Hindi version while Puri Jagannnath will be producing the Telugu version. The shooting of this sports drama commenced earlier this year but came to a grinding halt due to the lockdown imposed by the government following a spurt in COVID-19 cases across the country. According to the storyline, the lead star idolises a boxing legend following which it was decided to bring a Taiwanese boxer onboard to play the role and will start shooting portions involving him and Vijay Deverakonda in a foreign location where COVID 19 cases are under control. Content provided by Digital Native.

Meet Elsa Maria, Malayali artist in Australia whose mandala art ignites conversations

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Art
Elsa Maria, based in Australia, uses mandala art to find peace as well as address issues.
Elsa Maria stands with her hair left lose on one side and behind her is the blue ocean and a light blue sky above it
There are two figures on that page, separated by white space. Both are identical figures, flower shaped, but the one on top is bound by a circle and the bottom one is inside a comma. It is a semi colon, perhaps the most beautiful semicolon one could imagine. That's because the flowers are drawn using mandala art, identified as a tool for meditation. The artist Elsa Maria is a Malayali, living in Australia, who found a lot of peace for herself from the screaming television and the gloom of the pandemic after stumbling upon this art form. “Simply put, this art form is filling out a circular outline symmetrically with many different simple, repetitive, geometrical patterns. It is a very calming exercise because you draw the patterns over and over again, very slowly. I have found that it keeps my breath slow and steady and it is almost equivalent to meditation. The practice of drawing mandalas has scientifically proven to reduce stress and anxiety in PTSD (Post Traumatic Stress Disorder) patients. It’s a very spiritual, ancient art form that is still practiced by Tibetan monks,” explains Elsa Maria, who flew from Thrissur to Sydney one-and-a-half years ago, with her family of three.        View this post on Instagram            A post shared by Elsa Maria | Mandalas | (@elsasmandalas) on Sep 13, 2020 at 4:56am PDT   She has put out her mandala works on Instagram and instantly gained hundreds of followers. Elsa hadn’t known mandala art until six months ago. She was not even one who drew or doodled as a child. She was that student who got her friends to draw diagrams in her school records. When she had to draw something, she drew like children do, a house and a tree and the sun circled by two birds. “And clouds,” she stresses, “definitely clouds.” So it was a surprise for everyone who knew her when she began sketching mandalas almost obsessively. It began, like many things, with the outbreak of the COVID-19 pandemic and the news that her husband played 24X7 and the ‘too many’ questions her child had to ask. “The news channels continuously delivered distressing news along with ominous, tense, anxiety-inducing music in the background. I wish news channels would be more sensitive and considerate of their stressed audience and tone down their suspenseful music to NOT sensory overload them, especially when we have disasters at hand like we do now,” she says. Read: How the coverage of Sushant Singh’s death was a disservice to mental health reportage Calming effect of mandalas Elsa realised she had to do something to keep herself calm. She had heard about the healing and calming effects of mandalas and how they are used in art therapy, and  she began searching for YouTube tutorials about them. The effect was immediate. “I could zone out and shift my concentration from the disturbing news, triggering music and I could answer almost twice as many questions!” Elsa says. The Instagram page soon followed and she duly got tips from fellow artists of the mandala community on the papers, pens, pencils and erasers to use. She took an online course and studied the basics. Now mandala has become something she does nearly every day.      View this post on Instagram            A post shared by Elsa Maria | Mandalas | (@elsasmandalas) on Sep 16, 2020 at 4:27am PDT  “Something that I started to keep myself from getting anxious has now become an integral part of my life. It became even more fulfilling for me when I found out that I could use this ancient art form to not only practise mindfulness but also to retell the most amazing stories from the books/movies I enjoyed or to spread awareness about some important topics. Now, I use my social media platform and mandalas to draw and write about the things that should be discussed more but aren't.” That’s how the semicolon work came out. Project Semicolon Introducing the Project Semicolon that the late Amy Bleul had started to help those struggling with mental illness, Elsa writes on her Instagram, "But why a semicolon? Because a semicolon is used when an author could've chosen to end their sentence, but chose not to. It represented hope."       View this post on Instagram            A post shared by Elsa Maria | Mandalas | (@elsasmandalas) on Jun 16, 2020 at 7:58pm PDT   The project asked people to draw semicolons on their wrists if they felt suicidal or have anxiety issues and so on. Tens of thousands tattooed semicolons on their wrists either because they have mental health issues or else to show that they stand in solidarity with those who do. The project, Elsa writes, started conversations and brought awareness and a sense of community. "So when you see someone with a semicolon tattoo on their wrist, be a lot more kinder than you have to :)," she writes. Elsa says in the interview, “I drew semicolon mandala after hearing about actor Sushant Singh's untimely death, to spread awareness about ‘Project Semicolon’, an organisation that deals with anxiety, depression and suicide prevention. I also wanted to point to the direction of lists of therapists and mental health practitioners in Kerala and in India, if anyone needed them for themselves or for their loved ones. Many people opened up about their struggles with mental health over DMs (Direct Messages) and comments after I drew that.” Art addressing issues Recently, she drew a burning mandala after the alleged rape and murder of a Dalit woman in Uttar Pradesh’s Hathras. The drawing was a channel for expressing her emotions. “It let me vent, mourn and express my anger, frustration and distress. And in doing so, other women responded too – we had many, many conversations ranging from sex education to casteism to moral policing to rape culture,” Elsa says.       View this post on Instagram            A post shared by Elsa Maria | Mandalas | (@elsasmandalas) on Oct 1, 2020 at 10:43am PDT  Her art addressed more topics that affected her – sometimes the memory of something toxic that someone once said to her or to another person, other times current social and mental issues. “Some topics that I’ve touched are suicide awareness, differences between sex and gender, imposter syndrome, colourism, toxic positivity and our unhealthy relationship with the English language. The best thing about drawing and writing about these issues is to observe how well people connect. People relate it to their own experiences and respond, and there are almost always healthy discussions in the comment section,” Elsa says. Some people DM her when they do not wish to comment about their experience in public. “I know that change doesn’t need to start from a big place, it could even start from something as simple as a calming, geometric mandala and a discussion around it. I hope that these artworks and corresponding online discussions slowly seep into our dinner table conversations and at some point, change the way we perceive things,” she says. Also read: Displaced by boundaries, united by culture: Meet the Malayalis of Mahe and Kanyakumari

NHRC recognises sex workers as informal workers: What advisory means on ground

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Sex Work
The NHRC’s advisory opens doors for advocacy against systemic marginalisation of sex workers.
Sex workers at a protest
Image for representation only
Sex workers have been recognised for the first time as informal workers in The National Human Rights Commission (NHRC) advisory on the rights of women in the context of COVID-19. The advisory was issued by a panel to discuss the impact of COVID-19 on the human rights of women, and sex workers have been included under the section ‘Women at Work.’  Sex workers are among the hardest hit populations by the COVID-19 pandemic. With social distancing norms still in place, they continue to suffer destitution. Unlike other poor populations, many sex workers do not have basic identity documents and are left out of government schemes. This is owing to a lack of permanent address as sex workers are indiscriminately evicted from rented homes.  Usha* from Theni was evicted from her house during the lockdown. “I did not have money to pay rent. The house owner forced me to vacate and humiliated me in front of my neighbours for doing sex work. I was on the streets with my children, and did not even get the advance back.” The COVID-19 relief package announced by the government did not include sex workers. Sex worker collectives such as Vadamalar Federation of Sex Workers in Tamil Nadu along with the National Network of Sex Workers and SIAAP distributed dry ration kits to the most desperate sex workers. However, temporary relief is insufficient to rebuild livelihood and address other issues such as inability to pay rent, violence, and poor mental health. Taking cognisance of appeals from sex worker collectives and allied organisations, the NHRC has advised the government to provide relief to sex workers through the Public Distribution System and Jan Dhan using temporary identity documents.  The NHRC’s advisory opens doors for advocacy against systemic marginalisation of sex workers. Prior to this, sex workers have been perceived as either victims of trafficking or promiscuous women.  “Earlier guidelines by The National Commission for Women in 1996 and a Supreme Court expert panel in 2016, recommended that sex work should be decriminalised and that sex workers should have equal access to all entitlements,” says Shyamala Nataraj, Executive Director of SIAAP. “The NHRC advisory comes at the heels of the Bombay High Court ruling, that women have the right to do sex work as a livelihood option, strengthening collectives and activists in their endeavour to stop police violence against sex workers, and create safe working conditions.” The Immoral Traffic Prevention Act 1956 equates “prostitution” and exploitation, criminalising voluntary sex workers through the raid, rescue and rehabilitation model. For decades, collectives have sought amendment to remove voluntary sex work from the purview of trafficking and exploitation. The NHRC’s recognition of sex work as informal work is a political victory, especially as a legal document challenging the ITPA’s conflation of all sex work with exploitation. It encourages legal as well as moral assertion of the labour of women in sex work, and a possible reframing of schemes such as Ujjawala that accords compulsory rehabilitation of sex workers. “Every evidence based analysis of sex work by statutory bodies and court judgments shows that there is something clearly wrong with how the ITPA is framed and being practised, and needs to be addressed immediately,” adds Shyamala. In addition, the advisory allows sex workers to formally register so that they can get worker benefits. Currently sex workers are registered as women’s collectives under the Societies Registration Act, 1860. It is, however, unclear whether this change means that they can register under the Trade Unions Act 1926.  Usha celebrates the recognition of sex work as informal work. “I no longer have to tolerate any discrimination. I will be able to say with confidence, that I offer my services for money and that I am recognised by the government as a worker.” The advisory acknowledges high levels of violence against sex workers and the need for action to support victims. A 2019 study conducted among 1000 female sex workers by the Sarvojana coalition of sex worker organisations showed that over 50% of sex workers faced violence, especially from family and intimate partners. Only 2% of those who experienced violence reported it legally, due to fear of being arrested for doing sex work. Priya* from Theni was beaten up every day by her alcoholic partner. As she mostly stayed at home during the lockdown, her partner used every opportunity to thrash her with whatever he could get his hands on. “No part of my body is without bruises,” she says. Knowing that she is a sex worker, he lives off her earnings, but brutalises her for having multiple sexual partners. Priya sought help through the police helpline, but they refused to register her complaint claiming that these issues are “normal” during these times. The NHRC mandates a task force against violence to provide legal, medical and psychosocial support to victims of violence. The 2013 Criminal (Amendment) Law and the Verma Committee extended its provisions on sexual assault and violence against women to sex workers. However, the criminalisation of sex work itself impedes their access to the criminal justice system. The NHRC advisory has deemed support to victims of violence as “essential services”, and directed Protection Officers to act on violence reported by sex workers, addressing the issue of underreporting.  Stigma, discrimination and violence have direct implications on the health of sex workers, including severe mental health issues and poor sexual and reproductive health and rights.  *Radha, an HIV positive sex worker from Thiruvannamalai, shares, “I did not have money to buy sanitary napkins during the lockdown, and used cloth during my periods. As I washed the used cloth in the bathing area, my neighbour threw abuses at me, saying that my contaminated blood would flow towards her house.” Though Targeted Intervention programmes have established strong linkages between sex workers and the healthcare system, comprehensive care for issues related to safe abortion and antenatal care continue to be a challenge. The NHRC has advised continuous access of SRH services to all women, specifically STIs and HIV services for sex workers. This however, continues to narrow down healthcare for sex workers within STIs and HIV, while international organisations such as the World Health Organisation prescribes all-inclusive sexual and reproductive health for sex workers.  “I have been experiencing severe abdominal pain and irritation in my genitals the past two months,” says Mary, a sex worker in Theni. “After consultation in the government hospital, and disclosure of my sexual history, I was prescribed ulcer medicines. I went back after two weeks with no improvement, but the doctor refused to do any further examination. I was asked to just continue the ulcer medication. I am worried that I might have an infection in my uterus. My menstrual cycle has been delayed for months now.” The NHRC advisory is a milestone in the sex worker rights movement, to reintegrate sex workers into mainstream society as women workers.  Shyamala points out, “The NHRC advisory along with Bombay HC judgment calls to question the Anti-Trafficking Bill 2018, awaiting passage in the Rajya Sabha, which conflates all sex work with trafficking, refusing to acknowledge consent in sex work.” However, recommendations by statutory bodies are often preceded by the law. Despite the 1996 NCW guidelines and the 2016 SC panel recommendations, sex workers continue to be harassed by law enforcement under the guise of anti-trafficking. The NHRC advisory certainly becomes an important tool for advocacy to decriminalise sex work and create safe working conditions for sex workers. But, the onus of leveraging it for policy change should also be taken up by states and inter-ministries to effectuate it in the grassroots.  Kokila, President of the Vadamalar Federation, says, “This recognition as workers is a victory in our fight. But, I sincerely hope that from now we are treated as equals in society and receive benefits that all women in the country are receiving.” *Names changed Janani Venkatesh works for South India AIDS Action Programme (SIAAP), advocating for decriminalisation of sex work and sex workers.

Setting Ashoka's messages on harmony to music: TM Krishna on 'The Edict Project'

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Music
The first of The Edict Project series was released on October 14, to coincide with the day Babasaheb Ambedkar embraced Buddhism.
TM Krishna singing
“What is harmony?” Over the last few years in India, a faint echo of this question must have been heard within our hearts, at least once. What is harmony indeed? Interestingly, there is an answer to it, written way back during the third century BCE. “Listening to reflections of justice. Listening to another’s reflections on justice. Each listening to that willingly.” These lines are from Mauryan Emperor Ashoka’s edicts, his messages inscribed in Prakrit language on pillars and rock surfaces across 37 locations in his empire that covered Afghanistan, Pakistan, India, Nepal and modern-day Bangladesh, addressed to his people whom he considered to be his own children. While Ashoka’s edicts have been part of history textbooks and of great interest for scholars, these have been brought into focus today by the joint efforts of singer and writer TM Krishna and Ashoka University. This particular collection of four edicts are from different locations. Ashoka’s answer to the question “What is harmony?” moved TM Krishna (TMK) to tears. “Justice is very different from law. Justice is internal consciousness. Do we listen to the marginalised speak about justice? It is an important question,” Krishna begins. “When it says listen to the others speak about justice — who are the others? What are the identities of the others? Who created these identities? These very, very profound ideas Ashoka has etched across his kingdom,” he says and continues, “It generates thinking among us even today. It is not about going back in time. It is about re-discovering and re-understanding the context that we are in today. I had goosebumps and tears with the idea.” The first of The Edict Project was released on October 14, to coincide with the day Babasaheb Ambedkar embraced Buddhism. While TMK admits mulling over the idea in all seriousness about eight months ago, he took it up only around May this year. “I decided to look at them more seriously and find a way to reimagine them in an artistic sense. They are extremely inspiring in the most poetic way. They are essentially messages by the emperor but their construction is quite exquisite. Both the content and the form are beautiful,” says TMK who adds that he has a deep connection with the Buddha. With help from Dr Naresh Keerthi, a Prakrit and Sanskrit scholar, and Shravasti Dhammika, a senior Buddhist monk, TM Krishna has worked on the project since June. Before he explains about the creative process, he clarifies that edicts, contrary to popular perceptions, are over hundred in number, each surface (rock, pillar or cave) having more than one edict. “Dhammika put the four edicts together, all of them on the idea of Dharma, and I began setting them to tune,” he says. He points out, “This is the first time the edicts have come out in the form of music and that was why it was important for me to give it an artistic form. There’s a lot of difference in reading out a word and singing it - when you sing it, the word gets many lives. And that’s when people are most touched.” TMK worked closely with Dr Keerthi on trying to maintain the consistency and the meaning of the edicts and to get the pronunciations right. “Reading is different from singing. Moreover, this is a 2000-year-old language,” he adds. He goes on to explain, “There are specific tools in every art form and when you begin working on it, the framework kicks in. However, here, we were working on two forms that did not connect directly. The edicts are not poetry, but messages. They were not intended for music. Secondly, the language is not something that we are familiar with. It is closer to Sanskrit but one needs to consciously stay away from making it sound like Sanskrit, both semantically and sonically. We are also not used to certain sounds from Prakrit in music.” “Also, there’s melodies of the raga and melody of the language. It took a lot of thought. I initially tuned the first edict in Devagandhari raga and later in Kapi,” he adds. The four edicts are set to different raga-tala combinations such as Kapi-Adi, Shubhapanthuvarali-Chatushra Jampa, Mohanam-Mishra Chapu and Desh-Khanda Chapu. TMK will continue working on more such edicts, setting them to tune along with Ashoka University. “We hope to cover most of them, especially ones that have social and political significance. Ideally, they will be translated into many languages, to be able to take it to the younger generation,” he says. TMK says he's been overwhelmed with people’s responses so far and adds, “The most beautiful thing about art or ideas is when they let you imagine. That is the magic of Ashoka here. It is his message and yet it makes you think and imagine.” Watch TM Krishna performing the first set of the Edicts

In Bengaluru, a mural dedicated to COVID warriors, painted by trans women

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Art
The wall along Swami Vivekananda metro station has been turned into a vibrant mural celebrating frontline workers including pourakarmikas, doctors, police officials, among others.
Wall mural at Swami Vivekananda metro station for frontline workers
If you head to Swami Vivekananda metro station in Bengaluru, you can’t miss a wall painted in a swathe of vibrant colours. Look closer and you’ll find a variety of characters on this mural – nurses, doctors, delivery personnel, police officials, ambulance drivers, pourakarmikas, auto drivers. All of them wear a mask, and all of them are at work – much like the reality of our times. While many of us have the privilege of sitting in the safety of our homes, frontline workers don’t have this option. And this mural, painted by trans women associated with the Aravani Project under an initiative by radio station 95 Mirchi, is a testament to their services. The mural is a tribute and acknowledgement of ‘Lions of COVID’ and was inaugurated on Friday in the presence Bengaluru police commissioner Kamal Pant, Bruhat Bengaluru Mahanagara Palike Commissioner Manjunath Prasad, member of Parliament from BJP PC Mohan, Bengaluru Metro Rail Corporation Limited MD, Ajay Seth, and Sandalwood actor Samyukta Hornad. Conceptualised by the team at 95 Mirchi, ‘Lions of COVID’ is a way of saying thanks to frontline workers, said RJ Jimmy. “LoC stands for Line of Control, and the frontline workers are the line of control between us and the COVID-19 pandemic… hence we turned LoC to stand for Lions of COVID,” he says. The mural was painted by 10 trans women associated with the Aravani Art Project, an art collective of women and trans women which involves the public and wall art to raise awareness and friendship between trans women and public spaces as well as create safe spaces for alternative voices, per its website.   Speaking at the inauguration, the guests of honour thanked the frontline workers for their contribution and for the mural being made acknowledging the same. The artists who painted the mural were also present on the spot, and received appreciation and applause from the attendees for their work. One of the artists, Chandri, recounts that they painted the mural in the last two weeks. “We used to come at 10 am and leave at 3 pm,” she says. The pandemic has been a difficult time for the transgender community, with livelihoods severely impacted and access to medicine and healthcare getting cut off. The help from the government has been inadequate. In such a scenario, Chandri says that they have had some income by making canvas paintings through Aravani on order, and adds that they have started getting projects such as the Lions of COVID mural. Purnima Sukumar, founder of the Aravani Project, says that the 23 trans women associated with the initiative across India have been fortunate in that sense, wherein they have found patrons to buy their art that is put up on Instagram, and have also started getting public art projects. It has been tough, however, to get trans women involved with art. “We have to be persistent, show them that this isn’t a transactional relationship, and that we are there for them even otherwise. We have to build a friendship and gain, and regain their trust,” Purnima says. However, for those who have become involved with Aravani, it has been a good experience. Chandri says that three years ago, she couldn’t even imagine painting. “But Purnima and others in the team told me, just try. And here I am… This is the second project I have worked on here, the first was on Kasturba Road. We’ve also created public art in Delhi, Mumbai, Chennai, I even went to Facebook headquarters to paint there in 2018. If, like in this case, the BBMP and the government give us more opportunity, we will create art in even more spaces.” Meanwhile, speaking about the coronavirus situation in Bengaluru, BBMP Commissioner Manjunath Prasad says that the city has been reporting a high number of cases per day because of a higher number of tests being done. “We may reach three lakh total cases soon in Bengaluru, but that’s also because we are testing more, so that we can isolate and treat those infected sooner. We have done 22 lakh tests till now. The positivity rate in the city is 13% right now, we aim to bring it down to 5%.” “The fight against the pandemic has a long way to go,” says Bengaluru police commissioner Kamal Pant. “I am thankful to 95 Mirchi for recognising our COVID warriors and their contributions in this battle.”

Tulasankramana: How Kodavas of Karnataka celebrate this annual festival

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Festival
This year, Tulasankramana festival in Kodagu is likely to see fewer pilgrims due to the COVID-19 restrictions.
Scores of devotees thronging the tank to catch a glimpse of Theerthoudbhava, the spouting of holy spring in Kodagu.
Susheela Nair
Come October and goddess Cauvery will appear in the form of a sudden upsurge of water in a small tank to give darshan to pilgrims who come to seek her blessings, bathe in her waters, and carry back bottles of holy water from Talacauvery, the source of the river in Kodagu district of Karnataka. Unlike the usual practice, this year, scores of devotees from Kodagu and places adjoining the state will not be able to throng the verdant slopes of Brahmagiri hills to participate in the annual celebrations of Tulasankramana. Due to COVID-19, there will be restricted entry of devotees besides the mandatory masks, physical distancing and COVID-19 test negative certificate. The district administration will have checkpoints 8 kilometres from the venue, where devotees would be screened for temperature and other symptoms.  It is believed that every year, on October 17, the river goddess renews herself with a fresh thirtha, signified by a gurgling sound in the brahmakundike, in the tiny two-and-a half-feet square of an enclosed area in the surrounding pool and then fills up the bigger tank or the pushkarni at the shrine. Known as theerthoudbhava (when water gushes from the spring), this event takes place with clock-like precision at a predetermined time, predicted precisely each year by priests on the basis of planetary configurations and astrological calculations. This year, theerthoudbhava (spouting of the holy spring) is scheduled at 07.03 am on October 17. Kodavas, an ethno-lingual tribe from Kodagu, believe that at that particular moment, all the wells in Coorg come to life. How Tulasankramana is celebrated Tulasankramana festival is celebrated with much festivity and fervour all over Kodagu. A puja is offered to the river goddess at the tank as a prelude to the ushering in of the Cauvery. Coconuts adorned with jewels and flowers and small bowls of kumkum (vermillion) floating down the tank in memory of Cauvery, the presiding deity of the landscape, is an unforgettable sight. Besides this small tank, there is a large tank where the devotees take their holy dip amid the chanting of Sanskrit shlokas eulogising Cauvery. After the puja, they wade in knee-deep water for a grab of the tirtha (sacred water) – in cans and bottles. The initial spurt of water is strong and is said to possess curative powers. It is believed that it bequeaths life to a dying man and helps him attain moksha (emancipation). This sacred water forms part and parcel of every household in Coorg. After the puja, devotees visit the smaller shrines dedicated to Ishwara and Ganapathy, dotting the expanse of the hill above the pool. Kundike, the small tank Devotees thronging the tank Tulasankramana is a time for rejoicing for the Kodavas. Split bamboo is planted in cultivated lands and paddy fields, decorated by a garland of specified forest creeper to signify that they are devotees of Cauvery. Homes are all spruced up and sprinkled with holy water before sunrise, as the goddess is believed to visit every home during this period. Vegetable carvings of goddess Cauvery are decked with flowers and installed in each home for a period of three days. A small lamp is lit by its side and family prays with another offering of rice. A tray containing some rice, betel leaves and nuts is placed near it. The Kodavas venerate and worship river Cauvery and it continues to be a strong religious binding force. The legends behind Tulasankramana A number of legends are woven around the goddess. According to a popular legend, she was the daughter of Brahma, the god of creation, but was brought up by the great saint Kavera. Agasthya, the learned sage, was enamoured by her charm when he came to visit her foster father. He proposed to her and she agreed, on one condition. She pledged that if he were ever unfaithful to her, she would go away, become a river and serve her people. Once he broke the promise and she transformed into a river. Agasthya tried to stall her, grabbed her by the sari, pushing back the pleats in the process. (No wonder the women of Coorg wear the sari with pleats folded at the back!) She rushed away and disappeared underground for a while, surging again as the mighty river, gushing down a rocky mountainside. At this site, a small shrine was built signifying the birth of the river. When the Kodavas, her devotees pleaded with her to remain her protective goddess, she assured them that she would continue to take care of them and would visit her birthplace, Talacauvery and regain her freshness every year during ‘Tulasankramana.’ The Cauvery is a venerable river, considered as one of the seven sacred ones — Sapta Sindhu — by the Hindus. Bhagamandala, the confluence of three rivers From Talacauvery, the river mysteriously disappears for a distance of seven kilometres, to re-emerge at Bhagamandala, a customary stop for all pilgrims proceeding to Talacauvery. To the people of Kodagu, the Talavauvery pilgrimage is not complete without a holy dip at the Triveni Sangama, the confluence where Cauvery meets river Kannike and the legendary underground river Sujyothi. Larger pool at Talacauvery People bathe at this stunning spot and the Kodavas offer pindadana — an offering to ancestors after tonsuring their heads. A short distance away from the confluence is the cluster of three impressive temples, the main temple being that of the Kerala-style Bhagandeswara temple. Located in a central courtyard, the temples flaunt elegant, exquisitely carved pillars and wooden ceilings. There are also sloping red painted roofs supported by gilded snake-heads and a variety of musical instruments strung from the rafters around the courtyard. Kerala style Bhagandeswara temple at Bhagamandala Cauvery: Lifeline for Karnataka, Tamil Nadu It is believed that the munificence of river Cauvery is venerated and revered as a mother, a life-giving force, symbolising the largesse and abundance of woman, of her spirit of grieving and nurturing, of struggle and survival. Right from its place of origin at the magnificent foothills of the Brahmagiri Hills in Kodagu, till it plunges into the Bay of Bengal at Poompuhar in Tamil Nadu, snaking its way for 765 km, it has no parallel. It serves as the lifeline of the states of Tamil Nadu and Karnataka. The Cauvery has remained a strong religious binding force and provides water for drinking, irrigation and hydroelectricity along its course. The presence of the river Cauvery is as endemic to Coorg as is coffee. Without it, life in the region would be difficult if not impossible. Susheela Nair is an independent food, travel and lifestyle writer and a photographer.

Pratham’s story: This Bengaluru-based non-profit is spreading joy of reading among kids

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Education
TNM spoke to Suzanne Singh of Pratham Books, a not-for-profit children’s book publisher, which recently won a Library of Congress Literacy Award.
Cartoon of a young boy reading a book from Pratham's facebook page
Facebook/Pratham Books
Pratham Books was set up in 2004 by Rohini Nilekani, Ashok Kamath and Rekha Menon with one basic mission – to put a book in every child’s hand. And 16 years since, the not-for-profit publisher has been doing just that and more. From changing the definition of story book with their ground-breaking initiative Story Card, in which stories are told in just four pages, to taking portable wall-mounted libraries across schools in the country, to making stories available for free on their now-extensive online portal StoryWeaver, Pratham has defined and re-defined the boundaries set up in the publishing world. This year, the Bengaluru-based children’s book publisher was awarded a Library of Congress Literacy Award for the second time. They first received the International Prize in 2018 for their digital content platform StoryWeaver, and now the David M Rubenstein Special Response Award, which carries a cash prize of $50,000. Suzanne Singh, Chairperson of Pratham, attributes the award to their initiatives StoryWeaver’s ‘Learn at Home’ and ‘Missed Call Do, Kahaani Suno’ (Give a missed call, listen to a story). “The award recognises our responsiveness to the unique needs faced by children during the current unprecedented times, and our efforts over the past few months to spread the joy of reading to children everywhere during the COVID-19 pandemic,” Suzanne shares. Over the years since Pratham was established, the publishing house has not just made a mark for itself, it has also taken children’s book publishing to a new level in the country. From their very first ‘Story Cards’ initiative, an ingenious way of taking short stories to children in the form of cards (mini storybooks with just about four pages), to their recent ‘Missed Call Do, Kahaani Suno’ programme that lets children listen to stories on the phone, Pratham continues to create a literary revolution for children. They've also forayed into publishing story books not just in regional languages but in tribal languages as well. Additonally, their 'Donate-a-book' campaign aims at building crowdfunded libraries for children in remote parts of the country. This year, even amid the pandemic, Pratham achieved great milestones, a reason why they were awarded the Library of Congress Literacy Award. With schools closed and children stuck at home, it was time to reinvent the classroom learning method. Interestingly, Pratham’s ‘Learn at Home programme’ on StoryWeaver has over 50,000 users. They have also increased engagement with government initiatives across India. For instance, the StoryWeaver Reading Programme has been launched across 65,000 schools via WhatsApp in collaboration with UNICEF and the government of Maharashtra. Pratham has not just increased its digital footprint but also found ways to accommodate the needs of children who may not have access to the internet. Suzanne explains, “There has been a huge increase in the consumption of our digital books on the StoryWeaver platform – we have witnessed a 350% increase in readership just since March this year. Further, the demand for audio-visual books saw a 400% spike. We also witnessed an upward trend in global traffic, particularly from countries impacted early on by the COVID-19 pandemic such as Italy, Spain and France.” Here are some shareable images for our Missed Call Do, Kahaani Suno campaign. We'd love it if you could share the number with kids who don't have access to smartphones or the Internet, and their parents and educators. Programme supported by Cognizant Foundation. pic.twitter.com/XDf2TI0Pyy— Pratham Books (@prathambooks) October 8, 2020 She continues, “However, we’re deeply cognisant of the fact that all children don’t have access to digital technology and cannot participate in online learning. ‘Missed Call Do, Kahaani Suno’ was a campaign that addressed the digital divide. All a child had to do was give a missed call to a number and she would get a call-back and be able to listen to a story in a language of her choice.” About two lakh children across India have called in to listen to 3,50,000 audio stories when the initiative was launched in April 2020. “The campaign even reached remote villages in Chhattisgarh through our nationwide network of on-ground partners. We are currently running the third edition where children across India can listen to delightful stories from Pratham Books for free, in English, Hindi, Marathi and Kannada,” Suzanne adds. The Novel Coronavirus: We can stay safe, a break-neck speed project created in just a fortnight by 13 of India’s most prominent children’s writers and illustrators, is one among the books that is popular among children this year. Other popular books include P.S. What’s up with the climate?, launched in collaboration with WWF India, and Satrangi Ladkiyan and Satrangi Ladke by Kamala Bhasin. Sharing some of the positive feedback Pratham has received this year, like that of a Bengaluru-based teacher who vouches for the books in keeping her students engaged and a mother from the United States who uses StoryWeaver regularly for her home-schooled children, Suzanne adds, “The Community Library Project has created a virtual community library called ‘Duniya Sabki’ on WhatsApp, which features StoryWeaver content. Innovations like this and open access storybooks are helping share the joy of reading in these difficult times.” Suzanne tells TNM that Pravin Chenva from Cosmo Foundation in Karjan, Gujarat wrote to Pratham about how their ‘One Day, One Story’ campaign, an annual storytelling campaign celebrating International Literacy Day, was observed online. This year celebrities such as Saif Ali Khan, Madhuri Dixit, Chitrangada Singh, Tillotama Shome, Janhvi Kapoor, Athiya Shetty and Mithila Palkar came online to read Angry Akku and The Girl Who Could Not Stop Laughing for their ‘One Day, One Story’ campaign. Admitting that the pandemic has changed publishing for children, Suzanne says, “A lot has changed in just six months. The pandemic has proved that the publishing industry needs to think differently to prepare for a post-COVID world. While Pratham Books has embraced technology and open licensing to achieve our mission of ‘a book in every child’s hand’, we do recognise that much more needs to be done.” In parting, she brings up several important questions to be answered in the affirmative in order to continue educating and entertaining children across the globe — “Can state education systems and publishers come together to equip all schools with vibrant print and digital libraries? Can more publishers share and open-license their content? Can all publishing houses, governments and civil society come together to create a national reading campaign to encourage children to read more? Can donors support some of these efforts that will help children become independent readers and learners?”

‘Mayyazhipuzhayude Theerangalil’: M Mukundan’s classic on Mahe brings history alive

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Books
Reading the novel from the point of view of Kurambi gives a sense of the fascination the townsfolk had for the colonising French.
A book cover showing writer M Mukundan's face drawn on a light background
As Kurambi looked at little Dasan resting on her lap, making her repeat the grandma tales she told him, she wondered how long it would last, this love for old stories. For a few moments, you wish it stayed that way like a picture – Kurambi with her little box of snuff, sitting outside the house, exchanging pleasantries with the passing neighbours, Mayyazhi waking up behind her as the night lamps faded. M Mukundan has written this scene for his 1974 classic novel Mayyazhipuzhayude Theerangalil or On the Banks of Rive Mahe, giving glimpses of the childhood of his young protagonist Dasan, who’d grow up in the '40s and fight for the freedom of Mahe. It is, however, really interesting to see it all from the place Kurambi did, a woman who was eternally, silently, sobbingly in love with a Frenchman, and couldn’t imagine her Mayyazhi without the white folks. Mahe, a small town tucked between Kozhikode and Kannur in the north of Kerala, has always been a favourite destination of travellers. Mukundan, a writer from Mahe, records in his book fictionalised accounts of real life incidents that shaped the history of the town. There was a revolution by rebellious young leaders fighting for freedom from the French who occupied the shores of Mahe even after the rest of India gained independence. It took Mahe seven more years to be free, in 1954. And then it became a part of the union territory of Puducherry, not Kerala. Mukundan's Mayyazhi tells you the stories of people who had a love-hate relationship with their colonisers - the old who loved them and the young who hated them. M Mukundan There is a picture of Kurambi’s Frenchman riding a horse cart into the night that she never lets you forget. Leslie Saive (slang for foreign man) left the evening parties of Moopan Saive and dropped by Kurambi’s, calling out her name twice, asking for snuff. She had the same answer every evening – why not Saive. When he kept his hat aside and sniffed the powder, she spoke of her wish that he should buy a car like Moopan Saive. Together, they sniffed the bewitching powder and spoke of everyone they knew – their families, the little children, his wife back home, her dead husband. It was a friendship that didn’t need an explanation. One that thrived years before independence, easily, between man and woman, white and brown, and no one asked any questions. Acceptance of all people, quirks and lives It is the acceptance of these friendships, of people and their unusual livelihoods and quirks, that makes you wonder about the Mahe of early days.  Kurambi’s close friend was Kunjichirutha, her next door neighbour and well-wisher, who worked as a sex worker. Kurambi called her into the house for tea when she walked home after a night at Daveed Saive’s. Chirutha would come in and ask after the family, give a little something to the little boy Dasan who was soon starting school. Kurambi’s grandson Dasan couldn’t wait to go to school watching the neighbour girl go with her sanchi of books. Dasan’s father had not been the same. Damu had the responsibility of looking after a family fall on his young shoulders when the father – whom Kurambi lovingly calls my theeyan (depicting the ‘thiyyar’ caste) – is bitten by a snake and goes to a black magician for cure (which, ahem, doesn’t work). Damu drops out after class 5 and gradually gets the job of a document writer. Mahe river / Courtesy - Karishma VP There is no clear expression of Kurambi’s love for Damu. She is happy when he gets a job, a wife, two children. But you don’t see her musing about him the way she does about Leslie Saive in the long nights she wouldn’t sleep, counting the horse carts that leave Moopan Saive’s night parties. Years after Leslie died, she still heard the hooves of his horse stop before her house, his footsteps climb up, his voice call out her name twice. In this way, Kurambi does not let the reader forget his presence. But she never uses the word love for him. It would have been a redundant word, when every day she sat up sobbing, hearing the dead man night after night. Kurambi loved the French woman he married, too. The beautiful Missy who went out with Leslie to the town and the riverside, who became best friends with her. Kurambi loved everything associated with Leslie. Both his sons, the elder one who left his home young and the younger one with a darker fate. Gustav, who was friends with Damu, becomes disturbed when the parents make marriage plans for him. He marries against his wishes and comes back wife-less after a honeymoon, shuts himself up at the attic and never leaves it for the next four decades. People called him Shundan Saive – impotent foreigner. But Mahe’s unquestioning acceptance of every man and woman, including Shundan Saive, continued through the years, until Dasan grew up and wanted different things. Fascination for the French For Kurambi, all had been going well till then. Damu writer had a loving wife, Kausu. The children were growing up fine – Dasan, doing extremely well at his studies, winning the whole town’s admiration and going to Pondicherry for higher studies. His younger sister Girija is however stopped from going to school once she reaches puberty. That’s the custom, girls don’t go out once they grow up, Kurambi tells her granddaughter, who doesn’t rebel.  Mukundan has left her little explored, what goes on in her mind when she has to stop studies, when she has to be happy staying inside the home, helping out at the kitchen. Dasan’s rebellious mind is also focused on the freedom of Mahe, not the other freedoms defined by customs, such as the education of girls. He had longed to go to school before he knew his alphabet, did he not wonder how his sister felt about it? Old picture of Mukundan with his sister/ Courtesy - Haritham Books Until Dasan finished his studies, they had all put their hope on him. Not just the family but half the town. They gazed at him when he came back home, Moopan Saive sent a man to tell him he could choose between a government job or further studies at France. Kurambi – by then Kurambi Amma as aging women are called – could not contain her joy. He – Dasan – would get to go to France, the dreamland she had built a high place for, in that mind of hers. She had been hoping to see him wear suits like Leslie Saive and come in horse carts for the longest time. At last now, she hoped he would. He promised he would one day. But Kurambi didn’t know the dream of the family would be shattered in a moment. Letting them have their share of joy for one more day, Dasan breaks it to the family next morning. He wouldn’t take the job or go to France. He was going to fight the French and make them leave Mahe. Kurambi could not understand. Damu sat down, broken. Kausu and Girija cried. If it was anyone else, Kurambi would have given them a piece of her mind but this was her own flesh and blood, the boy who grew up hearing the legends of Mahe from her. She had told him about the businessman who kept gifting jewellery for a woman he desired and who took his gifts but never let him into her house. The man died and turned into a snake to finally enter her chamber and sleep with her, killing both of them that night. Kurambi told him about the distant hill on the river where lives had roamed before they got born as people in Mahe. About the goddess who cursed a whole family of men to be born with a limb. So many, many stories. Rise to rebellion And now, he wanted the French to leave this town? Why, she wondered. White people are good people, she told anyone who listened. They should never leave this place, she wished silently. She had personally taken Dasan to Missy’s home when he was going to join school. She had given him her famous cake. They were friends of the family, as far as Kurambi could see. She spoke of them as her own. When Gustav was reluctant to get married, it was Kurambi who said he will come around when Damu, his friend, got married. In later years when Missy became unwell and Gustav remained shut in his attic, it was Kurambi who called out to him to come down the stairs to see his mother. St Theresa's shrine in Mahe / Credit - Karishma VP But the grownup Dasan now wanted all of them off the shores of Mahe. He joined with young friends of his, other rebels  – new Communists and Gandhi followers. They were mentored by Kunjanandan Master, Dasan’s old teacher at school. One day, someone wrote outside the walls of Moopan Saive’s house, asking the French to leave. The revolution rose slowly. The numbers grew. A first revolution took place and the rebels thought they had nearly won, when the ships of the Frenchmen were offloaded and they chased them off Mahe. Everyone had run then, including the townsfolk that loved the French, like Kurambi, the toddy shop owner Unni Nair, and the man who lit the night lamps of Mahe, Kunjakkan. When the French announced that they’d only punish the rebels, the others returned home, slowly, fearfully but steadily. Dasan still had to stay away from Mahe. Kurambi missed him. He had a girlfriend visiting him there, Kunjanandan’s niece, Chandri. Kurambi has by then become an old woman, we’d think older with her contemporaries having died long ago. But she was still healthy, still harbouring thoughts of an old Mahe, of Leslie and of her grandson she yearned to see in a suit. Damu, her son, who was arrested because of Dasan's doings and spent two years in jail, did not want the family to mention him anymore. He shouted the others down. Kausu cried secretly and became bedridden before Kurambi. Girija was going to be married to the local goon Achu who had looked after the family when the first revolution broke out and everyone had to flee. Aftermath Damu agreed for the marriage when Achu found a decent job for himself and left his old rotten ways behind. Girija cried without a break and asked her mother to tell her father to kill her. Only Kurambi seemed happy about the developments. Achu who had first walked into the house as a goon and scared the family with his ways, became her companion in later years. He inhaled snuff with her and they gossiped about the people of Mahe. All Kurambi wanted was a ‘pandal’ for the wedding which for some reason Damu wouldn’t have. She had by then become indifferent to the tears of the women in the house, perhaps having drifted away completely into the world she imagined in the nights. A world only she knew of. She said nothing but whimpered at a corner when Dasan, risking everything, reached home to beg his father to not let that goon marry his dear sister. Damu shoved him outside the house and let the French arrest him, put him behind bars for years. Occasionally shedding tears for him, Kurambi now reveled in some last dreams in life – as climbing a horse cart with Achu and sleeping on a real bed for the first time in her life at Achu’s new home.  The most disappointing part of the novel comes in the way Girija’s character is written after her marriage with Achu. The girl who went crying into his chamber – rather lifted from under a tree she sat crying and forcefully taken to the bed – woke up laughing merrily. His forcefulness on her had won over the girl when nothing else had in the past many days. You wonder what Kurambi did or thought when all of this happened. That’s when you imagine perhaps she is no longer listening to the happenings of this world. Until the second revolution happens, and this time the French do get defeated. It would take seven more years for Mahe’s freedom to come, after the rest of India became independent in 1947. That day in 1954, when toddy shop owner Unni Nair passed her the news, Kurambi Amma could not bear it. She was bedridden by then. Unni Nair, Kunjakkan and others tried to leave in the ships with the French to their land. They didn’t want a Mahe without the white man. Kurambi asked Achu if they could go too. The wizened Achu said, but this is our home. So she waited for the French to come back one day. Perhaps still listening to the hooves of Leslie’s late night jaunts. The story is as much about the fascination for the French, of the many natives who didn’t know the meaning of freedom, as it is about the revolution that shaped Mahe’s history. To the naïve townsfolk, the French had been their friends, unlike the distant British in the rest of India. They had shared goodies and festivities and stories together. Mukundan was not romanticising the colonisation of French through Kurambi. He was merely characterising a generation that once lived in that soil with peculiar dreams. And Kurambi, with all her innocence, holds onto those memories like the tin of snuff tucked into her hands till her last breath faded away. And then it fell to the ground. Also read: Displaced by boundaries, united by culture: Meet the Malayalis of Mahe and Kanyakumari
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