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Curtain down on ninth edition of ITFoK
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
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.
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.
“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
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Soaked in musical memories
‘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.
“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
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