Category Archives: Arts,Culture & Entertainment

Bungalows on the beach

Arts,Culture & Entertainment, Historical Links, Pre-Independence, Records, All, Travel

Summer Ville, the western façade facing sea. | Photo Credit: Sharat Sunder Rajeev

In 1927, V Krishnan Thampi, an erudite Sanskrit scholar and writer, made a statement by constructing his house near the beach

The historic fort area of Thiruvananthapuram was initially concentrated around the fort walls that enclosed Sree Padmanabha Swamy temple, the agraharams and the royal abodes within. During the early nineteenth century, the town stretched from the banks of Karamana river to the east, Thiruvallam to the south, Kannammoola towards the north and Shanghumughom in the west. Distribution of settlements strictly followed a sectorial pattern based on caste system.

While families connected to the royal family and the temple resided in the Fort and its immediate precincts, less-privileged communities resided in places away from the religious core.

The coastline was chiefly inhabited by fishermen, whose hamlets were segregated from the Fort area by a vast strip of farmlands and coconut groves and further to the west, by sand dunes. The ancient Devi temple at Shanghumughom and the Arattu ceremony were the major attractions in the otherwise uninhabited Shanghumughom coast.

It was only in the later half of the nineteenth century that some families and persons constructed their houses beyond Eenchakkal, towards Shanghumughom. Easwara Vilasam, a sprawling courtyard house at Vallakadavu, belonged to Punnakkal Easwara Pillai Vicharippukar, a Kathakali maestro and steward to Uthram Tirunal Marthanda Varma. Rohininal Thampuran, a member of Mavelikkara royal house, had constructed Rohini Vilasam, a multi-storied mansion along the Arattu way, west of Eenchakkal.

In 1927, V Krishnan Thampi, an erudite Sanskrit scholar and writer, set up his abode in Shanghumughom, close to the Shanghumughom Devi temple. The house, constructed in the colonial style, has traces of conventional design in the form of a courtyard. According to his biographer, Thampi was advised to settle on the beach by Dr K Raman Thampi. The sea breeze, according to the doctor, could offer relief to Thampi who suffered from arthritis. ‘Beach Bungalow’, the mansion on Shanghumughom beach, soon became a beehive of activities. Kathakali performers, writers, and scholars from across the State visited the house. “The hall was designed with huge louvered doors on east and west elevations, facilitating easy flow of cool sea breeze in the interiors,” says S Radhakrishnan, grandson of Krishnan Thampi. The southern façade of the house has two huge windows with a view of the nearby temple. “Grandfather, when he designed the house, had planned to erect a huge loft on the first floor, facing south. In olden days, one could clearly see the Arattu procession and the breathtaking sunset from the balcony,” recalls Radhakrishnan.

“I cherish my childhood days at Beach Bungalow,” recalls Uma Thampuran, granddaughter of Thampi. “Every morning we would race to the nearby Devi temple before leaving for school,” she adds. Uma also recalls the evening she and her cousins spent by the sea shore. “The sea shore was just an extension of our yard and often we had distinguished visitors like former president VV Giri and his family, who came to enjoy the sea breeze.”

The credit of developing Shanghumughom beach into a sought-after residential zone goes to Krishnan Thampi. N Balakrishnan Nair writes, ‘V. Krishnan Thampi was instrumental in developing Sangumugham into a respectable residential colony. Following Thampi’s footsteps, his friends and other members of the prominent families started to construct houses in the beach area’. Sanguchakram, Summer Ville and Sea Shell were some other houses located near Beach Bungalow. Dr KL Moudgil, a friend of Thampi, also set up his residence in Shanghumughom.

source: http://www.thehindu.com / The Hindu / Home> Society> Hidden Histories – History & Culture / by Sharat Sunder Rajeev / Thiruvananthapuram – April 21st, 2017

Curtain down on ninth edition of ITFoK

Arts,Culture & Entertainment, World Opinion

Cultural carnival People celebrating at the closing ceremony of the International Theatre Festival of Kerala in Thrissur on Tuesday. K.K. Najeeb

As many as 30 plays from 14 countries staged at the nine-day festival

The nine-day International Theatre Festival of Kerala (ITFoK), which witnessed many theatre experiments, formats, and debates, concluded here on Tuesday.

Theatre companies from 14 counties performed over 30 dramas in the festival. With focus on street performances, the ninth edition of the festival reached across the streets and stadia, captivating the onlookers along with theatre fans. The festival featured artistes from Spain, Germany, Israel, Chile, Georgia, France, Italy, Iran and Serbia alongside some of the finest street artistes from across India.

A Catalan-based theatre company, Kamchatka, conducted a theatre workshop, Migrar, at the festival. Theatre Colloquium and Dramaturgy and writing conclave also provided a different experience.

Organised by the Kerala Sangeetha Nataka Akademi under the aegis of the Department of Culture, ITFoK has grown into a globally recognised festival of contemporary theatre over the period.

Pentesilea by Teatro Dei Venti, Italy, which tells about love and hate, was performed at the Kavalam Arangu on Palace Ground on the concluding day. Sari Rosa, an India-Chile collaborative production, was the other play staged on the day.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Kochi / by Staff Reporter / Thrissur – March 01st, 2017

Kochi’s own Aunt Greet

Amazing Feats, Arts,Culture & Entertainment, Inspiration/ Positive News and Features, Records, All, World Opinion

Kochi :

Dolls, a thousand of them, with curly or straight hair dressed in the national costume of countries including Japan, Norway, Sweden, Africa, America greet visitors when they step into Edith Virginia Greet’s neatly furnished office.

Edith Virginia Greet (file pic)

Her adoration for dolls stemmed from her genuine affection for children, remembers Geetha, her personal caretaker who has been living with Edith for the past 39 years.

“She used to say that the dolls reminded her of the pitter-patter of tiny feet and would make it a point to buy them for the children at the orphanage to play. She loved children, which is why she probably went on to start an orphanage in the following years,” she added. These kids loved her back and kept visiting her right upto the day she breathed her last on Monday.

Little children as young as three months who were abandoned would be brought to Kanaka Mandiram where Edith stayed. When their number increased, she started writing letters, in the dead of the night, to like-minded people living in the West, praying that they adopt these foundlings.

Many of the children were adopted by well-off families abroad. Over the years, she and Thomas Vadakekut along with other 15 members  started the Edith Greet’s Bethel Foundation and was sponsored by Swiss Nationals Laes Walan and Inguar Broden, who had adopted Johanna and David through the Foundation. Bethel Foundation’s orphanage, which has over 1,000 children, still runs efficiently at a village in Plamody.

Geetha, Edith Greet’s personal caretaker, with the dolls bought by Aunt Greet during her expeditions abroad| k sHIJITH

“She got a calling from the God which is why she left her government job in Washington DC after the World War II and arrived in Kerala. She came here with just 12 dollars in her pocket,” Geetha says. Esther, now 63, who was adopted by Edith when she was a baby, remembers how well-fed the staff and children at the orphanage were under Edith Greet’s patronage.

“It was heavenly. Edith aunty always ensured that we received foreign cloths, cod oil, mineral tablets, chocolates and medicines. It was given to us in boxes. We never ever knew what poverty was,” says Esther.

“I can still hear the grinding of peanut. Edith aunty loved making peanut butter which she would go and sell at the Lotus Club. She spent time with the ladies and would come back home for rest. This was another of her hobbies,” Esther said.

Her love for children becomes evident by the fact that Edith always ensured that she bathed the children. “She would give us a body message, but never applied coconut oil on our hair. Those senior to us, always said how Edith aunty loved spending time at Baby’s room,” adds Geetha. Greet’s Public School principal Jaya Sabin says she was always a motivation for children. “She had a special way with kids and everybody was so fond of her. She always reminded the children that they could achieve anything in life, if they followed the slogan ‘I can, I will, I did’.

source: http://www.newindianexpress.com / The New IndianExpress / Home> Cities> Kochi / by Princy Alexander / Express News Service / February 27th, 2017

Soaked in musical memories

Arts,Culture & Entertainment

‘Sahana’ is an isle of serenity on a busy road

‘Sahana,’ a gracious house located almost opposite the office of All India Radio, Thiruvananthapuram, is an island of serenity on the busy road that connects Poojapura and Vazhuthecaud. The entrance to the spacious front room is flanked by a gable supported on two graceful pillars. Portraits in oils, Ravi Varma oleographs, old photographs and antique cabinets stacked with books, elegant furniture, and artefacts give it a cozy look.

Indira Ramakrishna Pillai in the living room of Sahana | Photo Credit: Sharat Sunder Rajeev

“I have preserved the house the same way my father had maintained it during his time,” says 88-year-old Indira Ramakrishna Pillai, matriarch of the family and daughter of GP Sekhar BA (1895-1984). Sekhar was the son of journalist, orator, and nationalist barrister G Parameswaran Pillai (1864-1903).

“This house was originally built by R Srinivasan (1887-1975), a renowned mathematics professor at University College. The professor was a friend of Dewan CP Ramaswamy Aiyer and therefore constructed his residence right opposite the Dewan’s official residence,” recalls the octogenarian. Srinivasan’s love for traditional Carnatic music, literature, and arts was known throughout South India.

“During his days, the house resonated with melodious recitals by well-known vocalists such as MS Subbulakshmi, ML Vasanthakumari, Chembai, Ariyakudi, Musiri Subramanya Iyer, and Semmangudi. Srinivasan’s daughter Kamala Krishnamurthy was also a talented singer whose rendering of Vanjeeshamangalam was popular in erstwhile Travancore. MKK Nayar, the disciple of Srinivasan, has recorded that those who visited the Professor’s house “would hear the droning of thamburu and lovely music emanating from there.”

In 1948, after Professor Srinivasan and family left for Madras [Chennai], the house was bought by Justice TK Joseph. It was only in 1957 that Sekhar and his family moved in as the new occupants. “My father’s love for Carnatic music is apparent in the new name he chose for the house.” A patron of music, dance, and arts, Sekhar is still remembered for his contribution towards the academic sphere. Starting his career as a teacher, he later left his job and authored numerous textbooks that became popular in schools in Travancore and Madras. He also wrote guides for students. G.P. Sekhar’s Guide was one of the earliest of its kind in Kerala. Beside his busy schedule, Sekhar donned the role of a much sought after socialite who was instrumental in organising Trivandrum Arts Festival.

“I still recall my father’s association with talented vocalists and dancers. MS Subbulakshmi sang during my wedding celebrations (1951) and maintained a cordial relationship with my father,” Indira recalls.

“This Nataraja idol,” she points to an idol adorning the hall, “was a gift from Guru Gopinath, the well-known dancer.”

The house reminds one of a harmonious marriage between the traditional and colonial architectural styles. Within its colonial demeanour – spacious rooms, high ceiling and large windows and doors – the house seems to have a traditional soul.

A rectangular courtyard and the spacious inner courtyard separate the residential unit from the kitchen; the window shutters are also crafted in wood, devoid of any trace of glass.

(The author is a conservation architect and history buff)

source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture> Hidden Histories / by Sharad Sunder Rajeev / Thiruvananthapuram – February 24th, 2017

Fleeting canvas of vibrant artistry

Arts,Culture & Entertainment, Historical Links, Pre-Independence, Travel

The finished Kalam of Bhadrakali | Photo Credit: Aswin V N

Kalamezhuthu Pattu artist Manikandan Kallat talks about the art form that is unique to Kerala

Squatting on the floor, Manikandan Kallat draws the outline of the image of goddess Bhadrakali using finely-ground rice flour. He takes a handful of flour and using his thumb and index finger creates fine, curved white lines with ease. This is a routine for the veteran Kalamezhuthu artist who single-handedly finished a 1,800 sq.ft kalam of Bhadrakali with 64 hands in 14-and-a-half hours in May 2016, at the Kerala Sangeetha Nataka Akademi in Thrissur, in a bid to set a Guinness record for the biggest powder drawing by a single person.

Kalamezhuthu is for Kalamezhuthu Pattu, a ritualistic art form. The present one is at a family temple in Thrissur district. The art form is believed to have its roots in ancient tribal and Dravidian traditions. Kalamezhuthu, which involves drawing elaborate figures of Bhadrakali, Vettakorumakan, Ayyappa, Gandharvas and Serpent gods, is native to the state.

Manikandan, one of the top Kalamezhuthu artists in Kerala, is a Kallat Kurup, one of the communities traditionally practising Kalamezhuthu Pattu. “Communities such as Mannaan, Malayan , Theeyadi Nambiar, Theyampadi Nambiar and Theeyattunni also practise this art form. But there are only a few people who are into this full time today,” he says.

On the day of the ritual, the drawing of the Kalam begins after an initial round of puja and pattu (songs) – narrating the tales of gods or goddesses being drawn in the Kalam. Manikandan finishes the outline (Kalam Kurikkal) in less than an hour. Then his team joins in with colours.

“The five colours, denoting the Pancha Bhoothas, are made of natural ingredients. White powder is rice flour, black is ground charcoal, green is powdered Manchadi or Vaka leaves, yellow is turmeric powder and red is turmeric-quick lime mixture,” explains Manikandan.

To teach and popularise the art form, Manikandan opened a Kalamezhuthu Pattu school at his house at Kattakampal, near Kunnamkulam, three years ago.“As of now, I only take in students from the Kallat Kurup community. But I do give talks and demonstrations for art researchers and tourists who often visit our place. School and colleges invite me once in a while to give a demo to the students,” he says.

Manikandan and five artists work on the Kalam for three more hours. By 5 p.m. the Kalam is almost ready. The furious, red-eyed Bhadrakali holds a blood-stained sword in one of her hands, the head of demon Dharika in the other and things like the Trishool, a serpent and a shield in her other six hands. The flowing attire, jewels and crown showcase intricate designs. “Although the basic figure of the image and weapons are done in the traditional manner, the artist can innovate with the design of the dress, jewels, crown and the Prabhamandalam (elaborate frame of the Kalam),” says Manikandan.

Later in the evening, rituals resume. The event concludes late at night with Manikandan arriving as the oracle (Velichapaadu), performing a ritualistic dance as the Bhadrakali and finally erasing the Kalam. Although a part of the ritual, it is hard to watch hours of painstaking artistry turned into dust. Talking about it after the performance, Manikandan says, “I don’t think about it when I am performing. But it is sad, especially in the case of big Kalams that takes a long time to complete like the 64-hand Bhadrakali that I did at the Sangeetha Nataka Academy.” Often for special shows, like the one he helped create for an expo of contemporary arts in France in 2000, the Kalam was preserved for some time so that people could see and photograph it.

Although Kalamezhuthu season is for six months, he gets to do more than 100 Kalams in a season. “This used to be restricted to temples, palaces and wealthy households. Now we do it in small households and as a performing art. It is recognised as an art form and we are considered as artists,” he adds.

Manikandan and his group have also performed outside Kerala as well – courtesy of Malayali associations, small temples and other communities in cities like Bangalore and Mumbai.

Learning the art form

The art form itself is time consuming, to learn as well as to practise. It takes years for a student to master the powder drawing and colouring techniques employed in the Kalamezhuthu. Manikandan himself took more than three years to learn the different facets of the art. “I was trained at Guruvayur Kshetra Kalanilayam, a performing art school run by Dewaswom Board. They offered a Kalamezhuthu course from 1986 onwards. But they had to stop it in 1992 as there weren’t enough students,” recalls Manikandan. The studies usually start with Kalam Kurrikal. It gives the student a general idea about the proportion of the Kalam. Only after mastering it are the students taught to colour or prepare the face of the image of the god and goddesses, which is the most difficult part of the art apart from the outline.

source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / by Aswin V N / Thiruvananthapuram – February 23rd, 2017

Tracking the roots of a legacy in art

Arts,Culture & Entertainment, Historical Links, Pre-Independence, Records, All

Going back in timeConservation architect and history buff Sharat Sunder Rajeev is the author of The King’s Craftsmen , which follows the footsteps of his ancestors / Special arrangement

Conservation architect Sharat Sunder Rajeev pieces together the history of his ancestors, legendary ivory carvers of Thiruvananthapuram, in his book The King’s Craftsmen

“ They came to the city in a large boat that halts at Vallakadavu. From Vallakadavu, they got into bullock carts to make the rest of the journey to my home…. Just behind the cart occupied by the patriarch was the cart that carried the wooden cradle made for the newborn Prince of Travancore…” narrated Sharada Ammal, then in her nineties, as a group of little children listened in wide-eyed wonder.

Grandmas have always told stories to children, tales that snuggled inside their imagination and nestled there for years together. That was how women kept alive oral history, especially about those that did not belong to upper echelons of society and so did not have the luxury of having their stories written by scholars and historians.

So it was with young Sharat Sunder Rajeev when he heard his grandaunts Sharada Ammal and Kamalam narrate stories about princes and princesses who came all the way from a place up on the Malabar coast and fabulous craftsmen who accompanied them to build palaces and temples for the royal family.

Little did Rajeev realise that the tales his grandaunts told the children were about their ancestors. By the time Rajeev became a teenager, the stories awoke in him an abiding curiosity to know more about his legendary ancestors; ingenious craftsmen who built many of the fabled temples in erstwhile Travancore and later became world famous as ivory carvers of Travancore.

“ Right from my school days, I began interacting with elders in my family to learn about the great craftsmen who had done our families proud with their breathtaking craftsmanship,” says Rajeev, a conservation architect and author of a book on ivory craftsmen of Thiruvananthapuram, The King’s Craftsmen .

The book tracks the footprints of his ancestors who came down from places around Kannur with two princesses who were adopted into the royal family of Travacore and settled in Attingal.

“Most of the earlier period had to be oral history as there is little written evidence. But their work has been mentioned in documents and temple records. So my book is a combination of oral history that has been passed down in our family and early records of some of the incidents that were written down by one of two of my ancestors. For instance, it has been documented that one of my ancestors Thottathil Moothu Asari was associated with the construction of the eastern gopurams of Padmanabhaswamy temple built around the 16th century,” says Rajeev.

Gathering stories

He has been working on the book for more than 10 years and travelled extensively to meet people and collect tales and material evidence of the craftsmen, who initially settled in Attingal, Kadakavoor and Navaikulam.

“Once the capital city began to grow under the monarchy of Marthanda Varma, these guilds began settling in Palkulangara, Pettah and Manacaud. I began the book when I was a student of the College of Engineering, Trivandrum and so there were limitations on how much time I could spend on the book. But I followed all the clues I got and met many of the descendants of the artisans who had once worked closely with the ruling families in Travancore and as Durbar artists,” says Sharat.

Completed five years ago, the book was published recently by the Kerala Council of Historical Research. Sharat’s book is at once a portrait of his illustrious ancestors and a thumbnail sketch of Kerala’s society in different periods of time. It is a piece of untold history that is told from the view of craftsmen and their legacy and how their body of work was shaped by influential princes.

He talks about how the legendary craftsmen of wood gradually began working in ivory as per the monarch’s orders, most likely during the time of Swathi Thirunal and how, over time, they became the best in the field of ivory carving and became famous as the Travancore school of ivory carving.

“Records show that Swathi was presented with a musical instrument Swarbath that was made in ivory by Kochu Kunju Asari on January 4, 1836. The best known is of course the ivory throne that was made for the Great Exhibition held in London. It won a prestigious prize at the exhibition and established Travancore as a centre of the finest ivory craftsmen,” explains Sharat.

To ensure that their craft was passed on to a new generation, the School of Arts was established around 1860 in Thiruvananthapuram and this eventually became the first fine arts college in Travancore and Kerala. Sharat got lucky as one of his relatives was able to give him a kind of log book that was once used in the college. That gave Sharat details about classes, teachers and students.

Turning artists

“Once ivory carving became illegal in the seventies, many of the craftsmen began to exchange the chisel for the brush and became well-known artists. Many of the early portraits of the royalty and feudal families were painted by them. Some of them went to Madras [Chennai] and got work as artists for posters and backdrops for plays and movies,” he says.

He points out how K. Madhavan, who printed some of the early posters of films in South India, was famous in those days for his posters for Tamil films.

That is not all. As Rajeev points out the book neatly documents the now extinct art of ivory carving with detailed diagrams and technical explanations. “The craft guilds had experts who could come up with exquisite works of art. They made everything from figurines and inlay work to cuff links, combs and bangles. Each had to be worked in a different way and since ivory was very hard, one wrong chip could spoil an expensive piece of ivory. So the carvers were perfectionists and disciplinarians,” he says with a smile.

Rajeev adds that the book also explains the reasons for the current socio-political place of the craftsmen’s descendants.

Even as his book opens a new chapter on the history of Thiruvananthapuram, Rajeev is busy at work on his next one.

The craft guilds had experts who could come up with exquisite works of art

Avid collector

Sharat Sunder Rajeev is a collector of antiques. On February 18, a day after the new redesigned The Hindu reached readers, Rajeev shared an image of The Hindu dated April 1, Friday, 1892 on his Facebook page, along with an explanation of how he had found it

source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / by Saraswathy Nagarajan / February 24th, 2017

The transformation of a historic church

Arts,Culture & Entertainment, Green Initiatives & Environment, Historical Links, Pre-Independence, Records, All, Travel, World Opinion

Window to past The Koonan Kurishu Church that was renovated by avoiding conventional building materials.

Church commemorates the January 1653 vow taken by Malankara Nazranis

The Koonan Kurishu Church (Church of the Leaning Cross) in Mattancherry has undergone a transformation worthy of its remarkable place in history.

The church, built in 1751, commemorates the January 1653 vow taken by the Malankara Nazranis or Christians against Portuguese and Roman Catholic Church attempts to dominate their spiritual and ritual affairs.

The 1751 church underwent major renovation in 1974. Now, it has been renovated by retaining the original structure except in places where it had deteriorated badly. The church has been rebuilt, mostly avoiding conventional materials such as cement and steel, and using compressed, stabilised mud blocks.

The renovated church provides a brief glimpse into the past with its earthy shade, domes, vaults and arches that rise up as symbols of early eastern Christianity. The Marthoma Cross (St. Thomas Cross) crowns it and the altar is blessed by a cross formed by light beams, says NRI businessman and philanthropist John Samuel Kuruvilla who oversaw the renovation works.

He said architect Vinu Daniel designed the structure. The masons were provided training in the use of earth blocks, employing the ancient Nubian technology of arch and vault-building without extensive shuttering, said Mr. Kuruvilla.

The Koonankurisu Church, under the Malankara Indian Orthodox Church, will be reconsecrated on February 24 and 25. A religious amity meet will be organised as part of the reconsecration of the church. The all-religion meet will celebrate its lineage steeped in an era when different communities lived in harmony.

The spot where the church is located is where thousands of the Nazranis, restive over the Portuguese efforts to dominate, gathered to pledge their allegiance to their long-standing traditions. But the gathering was so large that hundreds were unable to touch the cross directly. They drew a rope from the cross, and touching it, publicly denounced the Portuguese. The story is that the cross bent under pressure and hence the name ‘Koonan Kurisu’. The event is described as ‘Koonan Kurishu Sathyam’ or the oath before the bent cross.

source:  http://www.thehindu.com / The Hindu / Home> News> Cities> Kochi / by Special Correspondent / Kochi – February 22nd, 2017

Protecting their hallowed ground

Arts,Culture & Entertainment, Historical Links, Pre-Independence, Records, All, Travel, World Opinion

The renovated Jewish cemetery  K Shijith

Kochi :

On November 23, 2016, Josephai Abraham (Sam) stood inside the 1.5 acre Jewish cemetery on the Kathrakadavu-Pullepady road, Kochi. It was the burial of his mother-in-law Miriam Joshua, aged 89. “When I looked around, I suddenly realised that the cemetery was in bad shape,” he says. Many tombs could not be seen because of the high grass.

There were more problems. “At one corner, neighbours had thrown their garbage, in plastic packets,” says Sam, the president of the Association of Kerala Jews. “Some inhabitants had pushed their water pipes under the wall, so that all the waste water would flow into the property.”

The shield of david and the menorah on the
compound wall. (Above)
An earlier picture of the cemetery

So Sam decided to do something, with the backing of six families of the association. Workers were hired, grass and weeds were chopped off, and, at one side, where there was a marshy pond, several layers of building waste was put in, to smoothen the surface. “Thereafter, interlocking tiles had been put,” says Sam.

“At least now, we can park our cars inside. Otherwise, we had to do so on the narrow road and it created problems for the other motorists.” The walls have been painted white and many tombs, which were broken, have been repaired and repainted.

And, on the wall, at the opposite end to the entrance, a Shield of David have been etched, along with the seven candles of the Menorah.

The Menorah has been a symbol of Judaism, from ancient times, and is now part of the emblem of the state of Israel.
However, it has not been smooth sailing. One neighbour approached Sam and told him he could not do any renovation, as all construction has been frozen. On being asked how, the neighbour said there are expansion plans for the road and the cemetery will be taken over. “I said no such decision has been taken,” says Sam.

Then, in mid-January, Gracy Joseph, Chairperson, Standing Committee for Development of the Cochin Corporation, came to inquire. “I had received complaints from the local residents that some construction was going on,” she says. “But the members of the Jewish community told me that they were only renovating the place.”
Clearly, the cemetery is under threat. “The Cochin Corporation has plans to broaden the road,” says Association secretary Dr Susy Elias.

But Soumini Jain, the Mayor of the Corporation says that the stretch in front of the cemetery has been handed over to the Public Works Department of the State government. “It is they who will do the road expansion works,” she says.

“There are suggestions of building an overbridge in front of the cemetery. But whether the government has the funds for that, I am not sure.”
Meanwhile, according to Jewish religious law, once a person is buried, the grave cannot be disturbed. It can only be removed if a relative gives permission. But the local Jews have no idea where they are, since many have emigrated to Israel. So, the Jews are anxious about whether the authorities will insist that they will have to give up a part of their cemetery. “Many tombs will be disturbed,” says Sam.
Sometime ago, the association got in touch with Israeli ambassador Daniel Carmon. Thereafter, last month, the Bangalore-based Israeli Counsel General Yael Hashavit met Chief Minister Pinarayi Vijayan and appraised him of the situation. “The CM said that he was aware of it,” says Mordokkayi Shafeer, the treasurer of the association.
Meanwhile, despite these tensions, the Jews come once a month to light candles and to pray at the graves. “We also come on death anniversaries and during the Yom Kippur (Day of Atonement) festival,” says Shafeer. “Life has to go on.”

source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Kochi / by Shevlin Sebastian / Express News Service / February 20th, 2017

Award for writer Kiliroor Radhakrishnan

Arts,Culture & Entertainment, Records, All

Writer Kiliroor Radhakrishnan.

 

Thiruvananthapuram :

Writer Kiliroor Radhakrishnan has bagged the Pala K M Mathew Children’s Literature Award instituted by the Kerala State Institute of Children’s Literature.

His work ‘Kadhakaliloode Ayyankaali’ was selected for the award that carries a purse of Rs 60,001, a citation and plaque. Culture minister A K Balan will give away the award at VJT Hall on March 5.

Adinad Gopi’s poem ‘Thirinju Nokki Nadakkuka’, Thekkinkadu Joseph’s novel ‘Super Boy Ramuvum Cloning Manushyarum’, S Shanthi’s work on science ‘Sahajeevanam Jeevante Oruma’, Sanil P Thomas’s work on academics ‘Ningalkkumaakam Sports Thaaram’, P K Gopi’s autobiography ‘Olachoottinte Velicham’, John Samuel’s work ‘Vishwothara Nadodi Kadhakal’ for translation, K V Ganesh’s play ‘Manthrika Kannadi’, Gopidas’s illustration ‘Maanippullundaaya Kadha’, K P Muraleedharan’s comic ‘Appuvinte Khadikaaram’ have also been selected for awards under various categories.

source: http://www.timeofindia.indiatimes.com / The Times of India / News> City News> Thiruvananthapuram News / TNN / February 19th, 2017

122nd Maramon Convention honours Mar Chrysostum

Arts,Culture & Entertainment, Historical Links, Pre-Independence, Leaders, Records, All, World Opinion

The 122nd Maramon Convention has honoured the Metropolitan Emeritus of the Malankara Mar Thoma Syrian Church, Philipose Mar Chrysostum, who will be celebrating his 100th birth anniversary on April 27, at a function held at the traditional convention venue on the sand bed of the river at Maramon near Kozhencherry on Saturday.

The supreme head of the Mar Thoma Church, Joseph Mar Thoma, felicitated Mar Chrysostum on behalf of the Church as well as the Maramon Convention which is billed as Asia’s largest week-long annual congregation on the occasion.

The Metropolitan further announced that the new mission project  undertaken by the Mar Thoma Evangelistic Association in Andhra Pradesh would be named after the Metropolitan Emeritus as `Mar Chrysostum Birth Centenary Mission Project’.

Yuyakim Mar Coorilos Episcopa presided the meeting. Bishop Mar Aprem of the Chaldian Church, Cyril Mar Baselius of the Thozhiyur Syrian Christian Church, the Rajya Sabha Deputy Speaker P.J.Kurien, and Mathew T.Thomas, Water Resources Minister, were among those who attended the meeting, besides all bishops of the Mar Thoma Church.

Addressing the congregation, Mar Chrysostum said he firmly believed it as a great privilage and God’s blessings to be a part of the Mar Thoma Church at different stages. “It was nothing but sheer Blessings of the Lord Almighty that has made me what Iam,’’ he said.

Mar Chrysostum invited two children who were sitting in the front row to cut the birthday cake. The Metropolitan Emeritus and the Mar Thoma Metropolitan also shared sweets each other on the occasion.

The renowned evangelist, Lord Griffiths from United Kingdom, delivered the religious discourse on the occasion.

Yuyakim Mar Coorilos Episcopa del  addressed the afternoon session of the Maramon Convention.

The century-old annual Christian retreat will come to a close on Sunday afternoon. The Mar Thoma Metropolitan will deliver the valedictory message.

EOM.

source: http://www.thehindu.com / The Hindu / Home> News> States> Kerala / by Special Correspondent / Pathanamthitta – February 18th, 2017