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Literature lovers spoilt for choice as Jaipur Literary Festival gets underway

File photo of the stage on the Front Lawns at the Jaipur Literature Festival, 2010.
File photo of the stage on the Front Lawns at the Jaipur Literature Festival, 2010.
File photo of the stage on the Front Lawns at the Jaipur Literature Festival, 2010.
"Let’s not obsess over Salman Rushdie."This appeal by the organizers of the Jaipur Literary Festival to the media aptly reflected the chasm between the event and its projection.
 
Billed as the largest literary festival in Asia-Pacific and the most prestigious celebration of national and international literature to be held in India, the five-day event, now in its fifth year, got underway here today.
 
Organizers Sanjoy Roy, William Dalrymple and Namita Gokhale sought to drive home that 250 authors were converging amid expectation that peoples’ participation – there’s no entry fee – will be impressive. The numbers partaking of the literary fare over five days, some say, could touch 1,00,000. Journalists though could not help speculating about threatened protests by local Muslim organizations in case Rushdie turns up. What to the organizers is a "side story" is the main fare for media.
 
Go past the "Rushdie angle" and glance at the over two feet by one foot sheet of "menu" on offer. You are spoilt for choice in the friendly ambience of a sprawling haveli that has evolved into a hotel called "Diggi Palace". You may dig into a particular theme or just nibble for "gyan" of various hues. 
 
The five day confluence of authors – with five sessions underway at any point of time – offers varied fare. A sampling: examination of "Holy Wars",  a conversation between Pakistani author and political scientist, Ayesha Jalal with author William Dalrymple; "Imagining India", a conversation with Sunil Khilnani, academic and author, book launches and more.  
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The Lit Fest this year also seeks to be a forum for science writing, said Dalrymple, pointing to the participation of Richard Dawkins, author and evolutionary biologist, and Steven Pinker, an experimental psychologist and author.  The list of participants –which includes academics, authors, film personalities and photographers -- is indeed impressive.
 
There’s a dash of spirituality too in a refreshing perspective.  “We are looking at Granth Sahib as a poetic work,” said Gokhale amid approving nods from those familiar with this holy book of the Sikhs.
 
Today's proceedings begin with a 15-minute rendition from the works of Bhakti poets -- Meearabai, Kabir and Dadu, and end with a musical evening with Sufi singers, the Sabri brothers. 
 
There’s a session titled "Reconstructing Rumi" and another titled "Violent Mystics" featuring Carl Ernst, described as a specialist in Islamic Studies and Sufism and others. You have the famous Deepak Chopra listed to speak on "The Return of the Rishi". 
 
Contemporary South Asia – and beyond, including Myanmar – feature prominently, and, with refreshing angles. If lawyer and politician Kapil Sibal is expected to dwell on the“truth” of politics, Ashok Vajpayee, poet-author-retired civil servant is billed to bare the “truth” of the world of poetry.  
 
General V.K.Singh is listed as a key speaker on "Indian Military History: The Missing Links". Fatima Bhutto of the Bhutto family will speak on Pakistan.
 
The concerns sought to be brought on the table include Obama’s America, future of Palestine as also an engagement with voices from Rajasthan in its cultural idiom be they authors, musicians or school going children.
 
“We are organising interactions between visiting authors and increasing number of schools,” said Roy. 
 
The Jaipur Literary Festival, while having made a niche for itself in South Asia and beyond, seems to be striking roots deeper locally as well.
 
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Poetry to prose, Daruwalla proves mastery over short stories

Love across the Salt Desert
Keki N Daruwalla
Keki N Daruwalla

A tongue-tied lawyer joining the freedom movement led by Gandhiji to emerge as a successful politician is one of the stories that may find resonance with the movement led by Anna Hazare against corruption in a short stories collection authored by Keki N Daruwalla.

Daruwalla, one of India's best-known poets, comes across as a gifted practitioner of the short fiction craft with "Love across the Salt Desert".

These are not exactly of recent origin. Of the 20 odd stories written over different periods, five have been from his first collection "Sword and Abyss", eight from "The Minister for Permanent Unrest" and seven from "A House in Ranikhet".

In the story, "When Gandhi came to Gorakhpur" Shadilal, a small-time lawyer, dithers over leaving his profession to join the freedom struggle when the choice is made for him in unforeseen circumstances.

"Love across..." talks about love across the border, about a youth who risks jail by clandestinely crossing the border in the Kuchch region to bring his beloved home to his village in India.

Daruwalla's poetic sensibilities come across in this story. "What would he not do for her, the daughter of the spice seller, she who smelt of cloves and cinnamon, whose laughter had the timbre of ankle-bells, whose eyebrows were like black wisps of the night and whose hair was the night itself," he writes.

Love across the Salt Desert
Love across the Salt Desert

Another story "How the Quit India Movement Came to Alipur" is a humorous account of how the best laid plans could go wrong. All it takes is for a stand-in butler to serve a delegation of political workers dog biscuits by mistake to turn them against British Raj.

"The Case of the Black Ambassador" could be mistaken for a mystery story but is actually about a small-time journalist cooking up sensationalist stories to boost the circulation of his newspaper.

He is arrested for libel and released when the events take place as if by prophesy.

Prophesy is also the theme in "Shaman", a story about the Bhotia tribe in a Himalayan village. Kartikey, from a family of "Shaman" (oracle) leaves the village bordering Tibet in the wake of the Chinese invasion in 1962 foreseeing that the war would forever close the tribe's across the border trade with Tibet. After 12 years, he returns to marry his lover's daughter.

Adultery figures in at least two stories. In "The Day of the Winter Solstice" a village priest is shocked to find his young and pretty wife in mourning at the funeral pyre of a rebel soldier who had forcibly occupied their house during the 1857 uprising.

The other story "Walls" is set in contemporary times with Malti, a bored middle aged housewife, inviting over a younger woman, Chaya, to her house only to finally catch her husband at Chaya's house when ostensibly he was supposed to be at the club.

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The author has managed, with a combination of gentle humour and prolific imagination coupled with subtle twists and turns, to hold the reader's interest.

In the introduction, Daruwala, a former Indian Police Service (IPS) officer, quotes Latin American writer Carlos Fuentes that a novel is like an ocean liner while a short story is a boat.

"I spent a decade over a novel and learnt the hard way what a task it is to write one. Yet I do feel that once in a while boats have as tough a time navigating through shoal and marsh and river as a liner has traversing rough seas," Daruwala writes.

The 230-page paperback, published by Penguin India, is priced at Rs 299.

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UK-based Indian engineer campaigns for tweaking of engineering course

A view of the Bandra-Worli Sea Link, one of the most challenging construction projects implemented in India
The Bandra cable-stay section of the Bandra Worli Sea Link spans 600m in length and towers to a height of 126m (as high as a 43-story building). The cable stay system comprises of 2250km high strength galvanised steel wires which support the cable stay bridge weighing 20,000 tons.
The Bandra cable-stay section of the Bandra Worli Sea Link spans 600m in length and towers to a height of 126m (as high as a 43-story building). The cable stay system comprises of 2250km high strength galvanised steel wires which support the cable stay bridge weighing 20,000 tons.

A United Kingdom-based Indian engineer is campaigning around the world for introduction of a comprehensive project engineering subject in technical institutes to ward off possibilities of disasters due to communication- and knowledge-deficit among engineers working on multi-faceted projects.

The crusader, Subhendu Moulik, currently on a tour of India to push his concept, says a rapport of engineers of various disciplines on the same project, is bound to reduce both the eleventh-hour technical problems as well as long-term glitches.

A thorough and practical knowledge of all disciplines of the project by engineers working there alone could avert global disasters like sudden collapse of well-built bridges, sinking of ships like Titanic, mid-air crashes, burning trains and so on, he said.

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Carrying a laptop loaded with his almost 20-minutes film starting with the historic sinking of the ill-fated Titanic, Moulik is trying to persuade India's lawmakers to introduce this course in technical institutes as part of the engineering curriculum.

According to Moulik, EPC (engineering, procurement and construction) industry expects, in addition to the conventional engineering design studies, students to know multi-disciplinary concepts. They need to have an awareness of cost optimisation, quality engineering, construction, safety and operability engineering.

Bangkok's AIT (Asian Institute of Technology) has agreed that it will consider incorporating a module on project engineering in courses at AIT, especially at the undergraduate level.

Moulik, who has agreed to work with AIT, told UNI that AIT and he would soon jointly work together on developing a one-week course in a step towards introduction of project engineering as a subject there.

The Thailand meeting was held recently with Dr Jonathan Shaw, Director-AIT extension and Dr Dreg Chiu, professor of practice, school of engineering and technology, Moulik said while unfolding his plans to undertake similar meetings with institutes the world over.

The bridge foundation comprises of large dia piles arising from 15m below the sea level.
The bridge foundation comprises of large dia piles arising from 15m below the sea level.

He explains that he had launched the campaign for the full-fledged course after being an eyewitness to a plethora of technical slippages, many times very serious and with potential of taking heavy toll of human lives.

Moulik, a mechanical engineer, says many times, experts in their own streams did not have a coordinated approach with engineers of other disciplines on the same project.

He based his claim on his experience as an engineer during his tenure on various projects, mainly in the oil and gas sector.

Project engineering is a practical engineering programme to be taught after theoretical engineering studies.

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Moulik laments that today, the term project engineer is used in a very wide spectrum manner in the EPC industry. Starting from an assistant to the project manager, engineering manager or construction manager - all these terms are also considered a project engineer. An engineer is designated as the project engineer at any point of time during the project.

According to him, multi-discipline project engineering is a special skill where an engineer has basic knowledge of all disciplines' deliverables.

The proposed full-fledged course, Moulik says, will produce skilled project engineers who understand all discipline deliverables, dependency between disciplines, importance of deliverables, idea of time, quality, cost involved, international project standards besides having the knowledge of basic risk analysis, scheduling construction and commissioning.

He claims that, presently, students come out of university with a very sketchy knowledge of other engineering disciplines - taught in the first year of engineering - which neither add much value to the students' career nor much help to do any work in a real professional life in the multi-discipline world environment.

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Sahib's India comes alive in Pran Nevile's book

Pran Nevile's book 'Sahib's India Vignettes of the Raj' provides a panoramic look at the lives of the British in colonial India. UNI PHOTO
Pran Nevile
Pran Nevile

All those despairing about corruption as exemplified by the various scams being unearthed need not think that it is a recent development as it flourished even as early as the 18th century when the British were trying to gain a foothold in the country.

Author Pran Nevile, in his book, "Sahib's India, Vignettes from the Raj", says a number of early English settlers were "desperate adventurers, bent on amassing fortunes through any means, fair or foul".

So much so that Calcutta was described by none other than Robert Clive, who laid the foundation of the British Empire in India, as "one of the most wicked places in the universe".

Nevile says in the book that after the battle of Plassey, presents worth 1.24 million pounds were distributed to various Englishmen. Clive himself received the equivalent of 234,000 pounds. In 1763, following the defeat of Mir Kasim, the total amount paid to the English "in restitution" amounted to about four million pounds but it was reported that the company received only half a million.

The book takes a close look at the lifestyle of the "Sahibs", the people from various walks of life who came to India lured by tales of fame and fortune. While the early arrivals soon adopted a native lifestyle, much like the Nabobs with their riches and harems, the coming of the "fishing fleets", unmarried women hoping to find a match in India, changed the equations, especially after the 1857 mutiny.

This is by no means a dull and drab recounting of history. At the very outset, the author confesses, "I have no great stories to tell, nor can relate anything which others could not narrate as well. I am only a fact-finding author and can brag of nothing except my good intentions. My object has been to blend light reading for entertainment with historical information."

He seems to have succeeded admirably well. Starting with a chapter on Household Retinue, the virtual army of servants literally waiting upon them hand and foot, right from the time when the Sahib or Mem Sahib woke up till the time they retired for the night. Scores of servants ensured that their masters never had to lift a finger to put on their clothes, much less tie their shoe laces.

This is not a book in which events are arranged in chronologicalorder or covers the entire gamut of British rule. However, the reader is able to meet several interesting personages, many of them women.

For instance, there is an entire chapter devoted to "Sketches of life" by English women artists, the most famous among them being Fanny Parks, Emily Eden, S C Belnos and Marianne Postans. All of them had, during the early 19th century, travelled around much of the country and painted pictures of scenery, daily life, temples, festivals and the like. The reader is taken on a roller coaster ride through "sex and the sahib", "memsahibs and the Indian marriage bazar" to "Nautch parties", "Imperial pageantry-the Great Delhi Durbars", "Thugs and robbers" to conclude with "Splendid Sahibs", pen portraits of some of the most popular among them.

Nevile had conducted research for the book in several libraries and museums in Europe and the United States of America, most of it in the British Library, London and the US Library of Congress, Washington. The book also has illustrations including 19th century paintings by William Taylor, G F Atkinson, James Mofat and others.

Quite often, new arrivals from England were bewildered by the profusion of servants waiting upon them. Emily Eden, one such visitor, wrote: "An astonishingly agreeable khidmatgar and four others glide behind me whenever I move from one room to another; besides these, there are two bearers with a sedan at the bottom of the stairs, in case I am too idle to walk...There is a sentry at my dress room, who presents arms when I go to fetch my pocket handkerchief or find my keys."

Pran Nevile's book 'Sahib's India Vignettes of the Raj' provides a panoramic look at the lives of the British in colonial India. UNI PHOTO
Pran Nevile's book 'Sahib's India Vignettes of the Raj' provides a panoramic look at the lives of the British in colonial India. UNI PHOTO

Lord Lytton, the Viceroy, had 300 indoor servants, who appeared in magnificent uniforms with glittering buttons and badges "Once there was an embarrassing slip-up when Lord Lytton embraced his head jemadar, resplendent in gold and lace, mistaking him for a visiting raja," Nevile says in the book.

Initially, the Sahibs were happy to have Indian Bibis and live like Nabobs. "However, towards the beginning of the 19th century, British women started arriving in India in increasing numbers. They saw bibis as a threat to their position and succeeded in persuading the men to distance themselves from the native connection. By the middle of the century, liaisons with native women were frowned upon and concubinage was morally outlawed. After the 1857 mutiny, the practice virtually died out."

The arrival of the "fishing fleet" of young women from England looking to get married to rich fellow countrymen also was cause of much mirth. An extract from the "Lays of Ind" by Aliph Cheem goes thus, "I do believe in dress and ease, and fashionable dash, I do believe in bright rupees, and truly worship cash. But I do believe that marrying, an acting man is fudge, and so do not fancy anything below a pucca judge."

The Sahib's initial fascination for the Hookah, the "Nautch girls" are also recorded. Among other interesting chapters are "beating the heat," "encounters with snakes," "Shikar" and pig sticking and thugs and robbers.

In the last chapter, "Splendid Sahibs", Nevile presents people like Job Charnock, the East India Company's agent in Bengal in the 17th century, who founded Calcutta. General Sir David Ochterlony "loony Akhtar", who lived like an Indian prince and "looked upon India with due respect" was popular with Europeans as well as Indians.

Yet another interesting personality was Colonel James Skinner "Sikander Sahib". This celebrated military adventurer founded the famous Skinners Horse Cavalry Regiment.

Published by Penguin Books India, the 241-page paperback edition is priced at Rs 299.

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West is West to release in India in April

West is West, the sequel to the hilarious English film East is East is all set to hit Indian theatres next month after a strong opening at the United Kingdom box office.

West is West had a weekend box office of a little over $ 1.2 million (Rs 5.5 cr) on 184 screens in the UK with a per screen average of over $ 6600.

Worldwide sales agent Icon Film distribution has chosen 52 Weeks Entertainment Inc for the India distribution of the film.

Talking about his role in the film, actor Om Puri said, "While in East is East, the protagonist George was caught between two cultures - Pakistani and British, in West is West, he is caught between two relationships. I really enjoyed playing these emotions."

Leslee Udwin, the producer for West is West (as also East is East) said he was looking forward to the release of the film in India.

On the choice of 52 Weeks Entertainment Inc for the film's India distribution, Udwin said, "There were two territories in which the choice of distributor was of great importance to me - the UK and India/Pakistan; partly because I know the film will perform superbly in the territories if correctly handled, and partly because the team of actors and crew come from those countries and so I felt a big responsibility there."

"I knew instinctively that Suniel Wadhwa was the distributor for this film due to his sensibilities and a clinching moment was when I took him into the cutting room and showed him a few of the work-in-progress scenes of the film to gauge his reaction to them. He laughed heartily at the funny scenes and, yes, he cried in the more serious scene I showed him. It was then that I knew he and the film were a great fit. In the past he has also handled similar crossover films. And I am thrilled to entrust my precious 'baby' to him."

Says Wadha, "West is West is a ground-breaking film which broke cultural barriers around the world. Like its predecessor, the sequel has opened to a phenomenal response in UK this week."

As a strategy, in India the film is set for an April release along with North America and Canada. The producers said the timing of the India release is in keeping with the World Cup and examination time.

"These kinds of films grow with word of mouth for which you would require time. A deferred release helps the movie to ride on the international box office success and reviews," they said.

Written by Ayub Khan (also the writer for East is East), West Is West is based on and inspired by autobiographical events, and produced by the same creative team.

The sequel takes the Khan family on a journey from Salford, England to rural Pakistan. West is West is as much the coming of age story of 13-year-old Sajid as of his father, 60-year-old George ("Ghengis") Khan.

George, in a last attempt to make a good Muslim and a good son of him, decides to pack Sajid off to his first wife and family in Punjab, whom he had abandoned 30 years earlier. In the process the tables are turned on George when he comes face to face with his own transgressions, and realizes that it is he himself who has much to learn.

The film is directed by Andy De Emmony (BAFTA nominated) and produced by Leslee Udwin (BAFTA winner).

Besides Om Puri, the film stars Linda Bassett, Jimi Mistry, Emil Marwa, Ila Arun, Lesley Nicoll, Vijay Raaz and introduces the cocky and lovable Aqib Khan. And once again Om Puri holds ground as the tyrannical patriarch as only he can. The music of the film is by Shankar-Eshaan-Loy and Rob Lane.

The film has been acclaimed and applauded across international festivals last year winning the audience choice award at the London Film festival (October 2010).

The film had its world premiere at a gala screening at the Toronto Film Festival (September 2010), was the opening film at the International Film Festival of India (IFFI) (December 2010) besides being at the gala at the Abu Dhabi Film Festival (October 2010) and the Dublin Film Festival, (February 2011).

The original film East is East won upwards of 36 international awards (including the BAFTA, IFFI, and Special Prize at Cannes where it played to a standing ovation in the official selection of Director’s Fortnight).

Beloved of audiences around the world, this has been a dazzling cross-over British film, which has also become something of a classic, and is even a set book on the curriculum of some European schools.

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Authors, jingles, poetry, songs and dance at JLF

Orhan Pamuk (seated right), in conversation with Chandrahas Choudhary at the Jaipur Literature Festival on January 21, 2011.
A bagpiper ushering in the Jaipur Literature Festival on January 21, 2011.
A bagpiper ushering in the Jaipur Literature Festival on January 21, 2011.

The Jaipur Literature Festival (JLF) kicked off today with Sanjoy Roy, producer of the event, taking the mike on the front lawns to welcome everyone. But before he could go beyond the first word, a jingle played on the video screen.

"We are the blackberry boys" from Vodafone played while everyone including Sanjoy Roy waited for it to finish. This was a first at the festival. A commercial break before a session. Fortunately, it did not repeat through the rest of the sessions.

Welcoming everyone from all the continents of the world, Roy threw open the festival platform for a five day feast of debate and dialogue.

The tall brass lamps were lit by Indian Council for Cultural Relations (ICCR) President Karan Singh and Rajasthan Chief Minister Ashok Gehlot in the presence of the festival founders and directors.

Faith Singh spoke about the traditions and languages of India that are in danger of slowly disappearing, some may say rapidly. At the start of her short address she mentioned that she has lived in Jaipur for several years, is married and living here and for good measure added in Hindi, "meiin is jagah se hoon". So don’t go on about my being a gori. Don’t go on about my colour, she said.

Was this a response to the piece on JLF by Hartosh Singh Bal of Open magazine? It definitely appeared so.

William Dalrymple spoke next saying that the festival has grown considerably over the years. He went over the history of the festival right from its inception till its present day. The number of authors has grown to 222 and this year and the grounds have been further expanded to accommodate more sessions and bigger crowds.

Namita Gokhale said the festival was among other things the creation of a democratic intellectual arena for simultaneous and conflicting worlds to interact . So every year in January the world visits Jaipur and Jaipur visits the world.

Dr Karan Singh spoke next, quoting frequently from the Ram Charitmanas. He said, "India is the only country in the world to have creative literature in 25 languages." He suggested that all the languages should be included in the festival and stressed the importance of translations and poetry in the literary arena.

Sheldon Pollock, the Sanskrit scholar and professor at the University of Columbia started his keynote address by saying, "A poet writes poems but it is the scholar who understands them."

Sheldon Pollock delivering the keynote address at the Jaipur Literature Festival on January 21, 2011.
Sheldon Pollock delivering the keynote address at the Jaipur Literature Festival on January 21, 2011.

Recalling previous keynote speakers of the last two years, Girish Karnad and U R Ananthamurthy, Pollock said that literary festivals were happening in India as early as the end of the 12th century when a multiplicity of literary creative activities took place in Northern Karnataka in the region of Kalyana. There was a need to preserve old classical and all Indian languages including Kannada, Assamese, Gujarathi, Marathi.

When there are problems that need to be tackled seriously, India had managed to tackle them effectively. There was a need for an Indian Institute of Classical Studies to be established on similar lines as the Indian Institutes of Technology (IITs), Indian Institutes of Management ( IIMs) and the Indian Institute of Science (IISc).

The session with Orhan Pamuk in conversation with Chandrahas Choudhary was interesting from the start. He spoke about his earliest ambition to be a painter and then becoming a writer.

He felt the immediate joys of seeing the world through not only words but also colours that were akin to the joys of looking at 16th century Islamic miniature paintings. The past is not only to be preserved in a museum but to be reinvented to help us in understanding our culture. It was important to rewrite the past in such a way that it lives in history and in the imagination of the people.

He read a passage from his book My name is Red which had been kept open and face down on the table. When Chandrahas Choudhary picked up the book to glance through it, Pamuk snatched it back and placed it on the table evoking laughter from the audience. When the session was thrown open to questions, Pamuk requested that questions be short.

One man in the audience asked the author which love was deeper, the spiritual one or the sexual one. Pamuk was quick to reply that the one that penetrated more was the deeper love, adding that he used the word penetration since the question mentioned depth of love!

The session titled Emperor of Maladies was a discussion on the experience of cancer patients, their treatment, and books that deal with cancer. Siddhartha Mukherjee, author, Katherine Russell Rich, a cancer patient and author, and Kavery Nambisan, surgeon and author, participated in this very engaging discussion.

Orhan Pamuk (seated right), in conversation with Chandrahas Choudhary at the Jaipur Literature Festival on January 21, 2011.
Orhan Pamuk (seated right), in conversation with Chandrahas Choudhary at the Jaipur Literature Festival on January 21, 2011.

James Kelman, winner of the Booker prize in 1994 for his novel "How late it was, how late," and a resident of Glasgow, Scotland spoke about the need for writers to write in the language other than the standard English used in most Anglo/ American novels and books. It was important to get the right syntax and punctuation to give the correct rhythm of the spoken language.

One of the evening sessions on Bulle Shah with singing of his poetry by Ali Sethi and Madan Gopal Singh in Punjabi was outstanding.

Highlights of the next four days:

The Eye of Memory Annie Griffiths & Karen Chase in conversation with Alka Pande

Helter Skelter Jim Crace, Introduced by Nilanjana Roy

Aisi Hindi Kaisi Hindi Mrinal Pande, Prasoon Joshi, Ravish Kumar & Sudhish Pachauri in conversation with S.Nirupam

Imaginary Homelands: Junot Diaz, Kamila Shamsie & Manjushree Thapa with Chandrahas Choudhury

The Inheritance of Books: Kiran Desai in conversation with Jai Arjun Singh

Boys will be Boys: Ruskin Bond in conversation with Ravi Singh

AfPak: Ahmed Rashid, Atiq Rahimi, Jayanta Prasad, Jon Lee Anderson & Rory Stewart in conversation with William Dalrymple

Readings from Coetzee: J.M.Coetzee Introduced by Patrick French

Marathi Theatre: Mahesh Elkunchwar & Makrand Sathe in conversation with Vaiju Naravane

Half a Yellow Sun: Chimamanda Adichie, Introduced by Jasbir Jain

A Suitable Book: Vikram Seth in Conversation with Somnath Batabyal

A discernible difference at the festival this year is that it has more sponsorships than ever before. Not only events, but the halls are now prefixed with sponsors' names. So you have The Economist Durbar Hall, Vodafone Front Lawns, Kingfisher Airlines Baithak and Merrill Lynch Mughal Tent.

The evening music events and the bar have been moved to another part of the Diggi Palace grounds separating it from the rest of the venues. This has allowed the organizers to have an additional session at 6 pm while the light and sound checks for the entertainment evenings goes on in parallel at the new Coca Cola sponsored venue.

Every evening, the speakers enjoy the party along with the rest of the audience. On Friday, the evening began with the bagpipers and drums. This was followed by a 16-person orchestra of Been players, drummers and cymbal players. The concluding session of Rajasthani musicians ended like every year in the audience taking to the dance floor and some of them even going onstage to join the folk artistes and dancers. A day spent listening and reading, and an evening of music and dance!

Namita Waikar
Namita Waikar

Namita Waikar is a writer based in Pune. She contributes regularly to the Business Traveler magazine and blogs on raising-the-bar.blogspot.com. In the past, she has worked as a biochemist, an IT professional; now works in the knowledge processing industry in chemistry, life sciences and allied areas. She is also working on her first novel and looking for new ways to get more hours than twenty-four in a day.


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Jaipur Literature Festival beckons book lovers

File photo of the stage on the Front Lawns at the Jaipur Literature Festival, 2010.
File photo of the stage on the Front Lawns at the Jaipur Literature Festival, 2010.
File photo of the stage on the Front Lawns at the Jaipur Literature Festival, 2010.

In January last year, the Delhi fog decided to play festival pooper and kept some authors from reaching Jaipur in time for the annual literary mela there.

What with flight delays and bad roads, those who were to make it for the very first sessions did not reach Jaipur. It took some juggling by the organizers and directors to start the festival on time with careful and swift changes in the programme, noticeable only to diehard festival regulars like yours truly who had studied the schedule, marked it with choices and followed it like a project plan.

A very visible black board (or was it a white one?) kept the attendees abreast of the changes in schedules. Hopefully the fog will behave itself this time.

Now it's that time of the year again, soon I will be packing my bag to go and spend five wonderful days at the Jaipur Literature Festival (JLF), to be held from January 21-25.

The JLF is billed as Asia-Pacific's leading literature event and as a celebration of national and international writers. Activities at the festival include poetry, music and dance, debates, readings, panel discussions and workshops.

Let us see what the organisers have in store for us this time...

The JLF is held across multiple venues at one festival hub - Diggi Palace. At 10 am on the front lawns of the Diggi Palace, the proceedings will kick off with a keynote address by Sheldon Pollock, professor of Sanskrit and Indian Studies at the Columbia University.

Pollock is author of the award-winning "The Language of the Gods in the World of Men: Sanskrit, Culture, and Power in Premodern India" and editor of Literary Cultures in History: Reconstructions from South Asia.

Pollock is general editor of the Murty Classical Library of India, a new dual-language series published by Harvard University Press, and recently received the Padma Shri award from the Government of India.

At the same venue, an hour later, Orhan Pamuk the Turkish author of Istanbul, Snow and other books will be in conversation with Chandrahas Choudhary, the avid book reviewer, essayist of literature of The Middle Stage and author of Arzee the dwarf, his first novel.

Now here’s the tricky part. At the time of listening to this conversation, there are three other sessions that I will be missing. What are those? Mathematics and Football: Alex Bellos at the Darbar Hall; Kuch Shehar, Kuch Ped, Kuch Nazmon Ka Khayal: Gulzar and Pavan Varma in The Mughal Tent; and Fugitive Histories: Geetha Hariharan and Manju Kapur at The Baithak

For every session I attend, there would be at least two or three other sessions going on concurrently in the other halls that I will be missing. Get used to it, I’ve learned to tell myself. That is what life is like isn’t it? You can’t have everything. Not at the same time anyway.

So what do we have lined up this time at Jaipur?

There are over 200 speakers, a majority of them authors. Others in conversations with them are editors, publishers and academics from literary spheres.

Authors to make a debut are Amrita Tripathi and Sangeeta Bahadur. Among the authors who will be there are Ruskin Bond, Patrick French, Orhan Pamuk, Kiran Desai, Martin Amis, Amitava Kumar, Rachel Polonsky, Ali Sethi, Tishani Doshi, Annie Griffiths, Kamila Shamsie, Gurcharan Das, Kavery Nambisan, Chitra Banerjee Divakaruni, Chandra Bhan Prasad, Meena Kandaswamy, Bettany Hughes, Junot Diaz, Basharat Peer, Ahmed Rashid, Chimamanda Ngozi Adichie and many more.

The complete schedule for all the five days is given on the JLF website.

The topics for discussion range from current affairs like Afpak, to the importance of books, to the Crisis of the American fiction.

You can buy as many books as you can pack in your bags from the bookshop or the publishers’ stalls on the Diggi Palace grounds. But attending the sessions is completely free of charge, registration is not compulsory. The kullad-wali chai with a dash of cinnamon or pepper poured out by a turbaned gentleman is also free.

Kullad-wali Chai
Kullad-wali Chai

I will most definitely be there to enjoy it all. And write about it. So are you coming to Jaipur? Yes? Then I’ll see you there. Can’t make it this time, you say? Well, in that case, watch this space for regular updates.

Here are some excerpts from the 5-day schedule for English and Indian languages:

A snapshot of some of the sessions in English:

21 January:

Two Nations, Two Narratives: Muneeza Shamsie in conversation with Urvashi Butalia

The Bankers Who Broke the World: Liaquat Ahamed in conversation with Gurcharan Das

22 January:

Why Books Matter: Javed Akhtar, John Makinson, Patrick French & Sunil Sethi in conversation with Sonia Singh

Strangers in the Mist: P.C.Sharma, Sanjoy Hazarika & Temsula Ao in conversation with Ravi Singh

Reporting the Occupation: David Finkel, Jon Lee Anderson & Rory Stewart, Moderated by Antony Loewenstein

Hall of Shame: Caste & its Exclusions Chandra Bhan Prasad, Meena Kandasamy & Patrick French in conversation with S.Anand

The Inheritance of Books: Kiran Desai in conversation with Jai Arjun Singh

23 January:

Boys will be Boys: Ruskin Bond in conversation with Ravi Singh

Now that I am 50…In Praise of Older Women Bulbul Sharma & Namita Gokhale

AfPAK: Ahmed Rashid, Atiq Rahimi, Jayanta Prasad, Jon Lee Anderson & Rory Stewart in conversation with William Dalrymple

India: A Potrait Patrick French in conversation with Amitava Kumar

The Crisis of the American Fiction Jay McInerney, Junot Diaz & Richard Ford in conversation with Martin Amis

24 January:

Half a Yellow Sun: Chimamanda Adichie Introduced by Jasbir Jain

2×2 Readings by Namita Devidayal Introduced by Amrita Tripathi

The Alchemy of Writing: Truth, Fiction & the Challenge of India, Tarun Tejpal in conversation with Manu Joseph

Narcopolis: C.P.Surendran & Jeet Thayil in conversation with Jai Arjun Singh

25 January:

Stranger than Fiction: Arthur Miller & Eric Haseltine in conversation with Abha Dawesar

China Dialogues: Hong Ying & Isabel Hilton in conversation with Stephen McCarty

Writings the 1980s: Martin Amis & Jay McInerney in conversation with Nilanjana Roy

Live Scores: Manu Joseph & Shehan Karunatilaka in conversation with Somnath Batabyal

Trainspotting: Irvine Welsh Introduced by Jeet Thayil

Notable among the literary sessions in Indian languages are:

21 January:

Urdu Jubaan with Javed Akhtar and Neeta Gupta

Na Tshay Na Aks - Voices from Kashmir with Naseem Shafaie and Neerja Matoo;

Rajasthali with Aidan Singh Bhati, Ambikadutt Chaturvedi & Suman Bissa.

22 January:

Aisi Hindi, Kaisi Hindi with Prasoon Joshi, Mrinal Pande and others;

Gata Rahe Mera Dil/ The songs we loved with Gulzar, Javed Akhtar and Prasoon Joshi.

Katha Samvad (Rajasthani Prose) with Habib Kaifi, Lata Sharma & Shyam Jangid

23 January:

Marathi Theatre with Mahesh Elkunchwar and Makarand Sathe in conversation with Vaiju Naravane.

Nayi Bhasha Naye Teevar - Avinash, Giriraj Kiradoo & Manisha Pandey in conversation with Ravish Kumar

24 January:

Kuye Bawri Talab: Anupam Misra, Rajender Singh & Shubhu Patwa in conversation with Om Thanvi

25 January:

Smaran: Agyeya, Nagarjun, Shamsher Bahadur Singh Avinash, Mangalesh Dabral & Om Thanvi in conversation with S.Nirupam

Namita Waikar
Namita Waikar

Namita Waikar is a writer based in Pune. She contributes regularly to the Business Traveler magazine and blogs on raising-the-bar.blogspot.com. In the past, she has worked as a biochemist, an IT professional; now works in the knowledge processing industry in chemistry, life sciences and allied areas. She is also working on her first novel and looking for new ways to get more hours than twenty-four in a day.

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Banker turns "Prince of Ayodhya" into graphic novel

Ravana appears as epitome of evil in the graphic novel version of Ashok K Banker's
Ashok K Banker
Ashok K Banker

Ravana looms large in young Rama's dreams threatening to destroy Ayodhya, Manthara is exposed as Ravana's agent, the spectre of riots and terror stalk the city -- all these form striking images in author Ashok Kumar Banker's "Prince of Ayodhya", now turned into a graphic novel.

The 93-page work is the first of the graphic novel adaptation of Banker's internationally best-selling Ramayana series. The illustrations are by Enrique Alcatena, a noted graphic artist from Argentina who has worked for major American comic book publishers such as DC and Marvel.

Banker, in the foreword, recounts how, as a 15-year-old, he had set up a comics publishing company. Since he was under-age, the elder sister of his friend was recruited as the "official grown-up face of the company". The company did not last long, but the founder continued to dream well into adulthood.

The net result is the first volume, an abridged version of the original novel. The action starts right from the cover page that portrays muscular Rama and Lakshmana about to shoot off their arrows. The city of Ayodhya rises up in the backdrop.

Curiously, set among the typical temples following "Shikhira" type of architecture stands a domed building and a Qutab Minar like minaret structure.

This could be because Alcatena has never been to India. He has got company in H R F Keating, who had penned detective novels featuring Mumbai police inspector Ganesh Ghote, without ever setting his foot in the metropolis or like Edgar Rice Burroughs, creator of Tarzan of the Apes not having visited Africa.

The novel opens with Rama having a nightmare with a voice calling out to him. On being asked who it was, the reply is "I am the Reaver of your people, Ravisher of your women, Destroyer of your cities, look upon me and tremble."

Ravana appears as epitome of evil in the graphic novel version of Ashok K Banker's
Ravana appears as epitome of evil in the graphic novel version of Ashok K Banker's "Prince of Ayodhya", the first volume of the Ramayana series. UNI PHOTO

It is none other than Ravana, who appears on the next page, wielding swords and maces in his four hands, the ten faces contorted in rage, the half open mouth displaying fangs. In the background cities burn while puny defenders quail before his might.

Banker does not provide just a retelling of the ancient epic. Both in the novel and its graphic version, he has taken liberties with the text. Queen Kaikeyi's maid, Manthara, is portrayed not only as an agent of Ravana but also as one who murders a Tantrik to foment trouble for Ayodhya as the incident provokes the community members to riot, much like the present day caste and communal disturbances.

Rama is portrayed not only as a brave warrior but also as a sagacious settler of disputes. He fends off an attack by poachers on animals in Ayodhya's forests, warning them never to set foot there again. Entering the city and faced with a mob of tantriks bent upon revenge for the murder, he deftly manages to defuse the crisis, not by resorting to arms but "by appealing to their hearts".

Approaching the mob unarmed, he folds his hands together to recite the national anthem of Ayodhya. The tantriks are then told to "respect the curfew and disperse".

Compared to Amar Chitra Katha's series on the Puranas that stick to the original text and conventional comic book illustrations, graphics in this volume run riot.

The standard panel format is not followed and some pages have just a single illustration with others having a profusion of insets.

All these, however, add to the atmosphere, where danger is lurking in the dark, tentacles of green whirling around portray evil. Ghouls and demons rise up in every other page.

The book should appeal to adolescent and adult alike for putting the epic in a contemporary idiom.

Spirituality has been replaced by highlighting of democratic ideals, like the people of Ayodhya being called to vote on sending Rama and Lakshmana to "Bhayanak Van" to battle Tataka, a she-demon terrorising the ascetic rishis.

Banker uses Sanskrit and at times colloquial Hindustani in the dialogues. Sometimes this would seem a bit strange like Dasaratha's court assembling with a call "Shrimad Maharaj Dasaratha Rajya Sabha mein padhar rahe hain" and "Khamosh Adalat jari hai, the court is in session."

The book, published by Penguin India, is priced at Rs 350.

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I am more confident as an actor: Anushka Sharma

Anushka Sharma

Anushka SharmaAnushka Sharma

She has established a niche for herself in the Mumbai film industry within a short span of three years with her "modern and ambitious small town Indian girl" roles in Rab Ne Bana Di Jodi and Badmaash Company.

After winning accolades for her role in her last outing Badmaash Company, Anushka will again be seen in the role of an ambitious middle class girl in her next film Band Baaja Baarat, which hit the cinema screens on December 10.

In this film, Anushka essays the character of Shruti, a 20-something no-nonsense girl from a middle class Delhi household who is focussed on her ambition of becoming a wedding planner.

‘’Shruti is a very principled and well brought up kid from a loving close family. At the same time, she is a highly ambitious girl who wants to do a lot in life.

"The character of Shruti is very relatable, someone any girl can relate to. Shruti is contemporary and has values and, at the same time, wants to move forward and get it all. She is everything a girl wants to be,’’ Anushka says.

‘’While playing Shruti, who is a wedding planner, I had to understand the way an event manager would function. Management is what I had to inculcate - I just had to know how to pass instructions quickly, the things that had to be taken care off - had to quickly say it like decoration at one time, lighting at one time or a bar that had to serve drinks all at once.

"Also, I had to work on speaking in a way a Delhi girl would talk. I am from Bangalore and I had to learn a certain lingo. I had to cut out the pauses in between words and talk fast but make sure that people understand what you are saying," she said.

The actor said she interacted with her cousins from Delhi to understand how they talked. She also watched some recent films about Delhi and people of Delhi.

Anushka says doing the film had been a memorable experience. "Shruti is a character I have loved playing. I haven’t enjoyed speaking as much in character like how Shruti speaks. I feel very fortunate that at the beginning of my career I was offered such a film. I really want to thank Aditya Chopra. It will always remain one of the most memorable experiences of my life," the actor said.

The film, a story about the journey of wedding planners Shruti and Bittoo who, in course of their partnership, discover love, pairs Anushka opposite newcomer Ranveer Singh who makes his debut with the film.

On the reasons for the brilliant chemistry between her and Ranveer that comes across in the promos, Anushka said, ’’Chemistry comes from characters and from the script and when the script is so well written as this one was.''

On her journey in the industry so far, she says, "I am more confident as an actor, I have more confidence, I have started to understand some technicalities of filmmaking...I am not very confident of my growth as an actor but I am very confident of my growth as a person.’’

Directed by newcomer Maneesh Sharma, who earlier assisted Aditya Chopra in many films, Band Baaja Baarat is the story of Shruti and Bittoo. Focused and determined with pre-planned ambitions, Shruti's goals in life are well laid out by the time she reaches her final year of college.

Bittoo, on the other hand, has no real aim in life. As a final year college student of Delhi University, he whiles away his life having fun with his buddies, barely scraping through his examinations.

A chance and inopportune meeting (or, as you would call it, fate) brings the two of them together on a tumultuous journey where they become partners in their very own, "Wedding planning ka bijness".

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Review: Chaitanya: A blend of positive energy, consciousness

Chaitanya


It was a performance that left many in the audience breathless: it was almost as if the dancers were putting their own body muscles to the ultimate test.


Chaitanya
Chaitanya

Using a combination of sinewy movements and almost athletic skills, the dancers created a synthesis of energy flows and vibrations, which create a dynamism which makes the consciousness (chaitanya) awaken and bring about a transformation. The dancers through their movements created positive vibrations that affected the audience.


In a unique dance presentation, young artistes of Sadhya created a movement-oriented dance which was more like a conversation between consciousness (chaitanya) and energy. They awakened the stillness in consciousness which has no range without energy, and stressed the need for modern man to awaken this.


Conceptualized by Nalini Sharma, "Chaitanya" aimed at defining and discovering all possible flow of energy - individually and collectively; and pushing the boundaries, connecting to the core.


Staged at the Stein Auditorium of the India Habitat Centre in the evening of 30 July, it had soul-stirring music by Upmanyu Bhanot, with imaginative use of lights by Milind Shrivastava, and an imaging experience created by the husband-wife photography team Soumit and Soumita who set the tone even before the performance commenced.


Led by Sadhya’s Creative Director Santosh Nair, who choreographed "Chaitanya", the dancers – Tushar Kalia, Bhavini Misra, Akram Shaik, Kauleshwar Kumar Thakur, Nikhil Lal, Khushboo Gupta, Caroline Prada, Charu Shankar and Nand Kumar – gave a presentation which was a tribute to any soul ready to identify itself with all others, believing in the concept of oneness of this existing creation.


Dance has been a passion with them, even though it may not have always been smooth sailing. They have achieved this under the guidance and training of Santosh Nair.


The new choreographic work managed to blend the different media of photography and music lights etc. to bring across the message of directing energies purposefully for a cause.


Set up in 1998 by dancer-choreographer Santosh Nair. Sadhya is a contemporary arts academy which has taken upon itself the task of being a bridge between tradition and modernity and the philosophy of tradition and innovation. Though it has drawn from Mayurbhanj Chhau which is a martial form of Orissa, Sadhya has evolved a style of its own.


Chaitanya
Chaitanya

Santosh Nair’s journey as a dancer began under the blessings of his father Kalamandalam Padmanabhan in 1986 as a Kathakali dancer. He furthered his training at Kathakali centre under the able guidance of Sadanam Balakrishnan.


The strong urge to explore, feel and create, led him to learn modern dance for the next five years with Narendra Sharma of Bhoomika Creative Dance Centre, performing and choreographing dance pieces in a most innovative and heart touching manner. The desire to incorporate varied movements into his dance style saw him learning the traditional dance of Orissa, Mayurbhanj Chhau, under Guru Janmey Joy Sai Babu.


Apart from holding workshops in India and many countries of the world, Santosh has held dance performances at the national and international level with some of the best known names. He choreographed the French Opera "If I were King", premiered in Delhi this year, "Jagriti…the awakening" for the Sangeet Natak Akademi festival in 2009 in Mumbai; the home production-"We can make the difference" based on global warming; the home production-Nataraj-the Lord of Dance based on Mayurbhanj Chhau and contemporary dance; and A Doll’s House supported by Norwegian Embassy, among other national achievements.


At the international level, he choreographed "Stealth" for Canada Dance Festival in Ottawa; "The Spirit of India"- the contemporary section for the Inauguration of The Year of India in Russia in Bolshoi Theatre, Moscow under the aegis of ICCR; performed The Game of Dice at the National Theatre in Oslo, Norway, and for the International Festival IBSA in Brazil and Port of Spain; and collaborated with Project Motherland with Sampad South Asian Arts, Birmingham, among many other laurels.


B B Nagpal
B B Nagpal

B B Nagpal, a journalist with nearly 40 years of experience, is an eminent film and media critic. He retired in November 2005 from the United News of India (UNI) after 36 years in the organisation, during which he rose to become its Chief of Bureau in Delhi. He has also served as Editor of the Lok Sabha TV Channel and Director (Coordination) of the South Asia Free Media Association (SAFMA). He is now Consulting Editor of indiantelevision.com. Nagpal has been writing extensively on Indian and international cinema since the early 1970s and is an expert on the print and electronic media in India. He has served twice on the Indian Panorma Selection Committee and on the jury of the Doordarshan Awards. He has been a member of the Organising Committee of the International Film Festival of India where he is now a Selection Committee Member, and has been on the organising committee of the annual OSIAN'S-CINEFAN Festival of Asian and Arab Cinema, since its inception in 1999.


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Review: The Playback in Malayalam Cinema

Cover of 'The Playback in Malayalam Cinema'.
Cover of 'The Playback in Malayalam Cinema'.
Cover of 'The Playback in Malayalam Cinema'.

A small tin box full of needles  with the picture of a dog listening to "His Master’s Voice", stacks of gramophone records made of  lac, a group of teenage boys going to meet their English Professor  in his room  full of stacks of  records, records of  Saigal, C H Atma and the like, and the professor, (the late) G Kumara Pillai, telling his students in his nasal tone how he liked the music of the bygone era—these are some of the  visions conjured up by a cursory reading of Kiran Ravindran’s  book The Playback in Malayalam Cinema.

Undoutedly the result of very hard work, the book is a veritable encyclopaedia of Malayalam film music.

Kiran Ravindran traces the origin of  Malayalam film music to the dance dramas of the early decades of the 20th century when actors had to be accomplished singers as well and the stage was the most popular form of entertainment. I have heard old people speak nostalgically about the performance of  Rajamanickam Pillai’s troupe.

While tracing the history of Malayalam film music  the author reveals  such historical insights as to how  the history of  Malayalam films would have been different had Marthanda Varma(1933), the second silent movie in Malayalam, been released.  Right from the first talkie, Balan (1938), down to the latest movie, the book is the most authentic source for movie music buffs.

Kiran Ravindran
Kiran Ravindran

There are extensive chapters on Playback, Lyricists, Music Directors and Singers and the author tops it all with a near exhaustive list of ragas used in different  film songs—a remarkable compilation. It is like rounding off a seven course dinner with the choicest cognacs. If not for anything else, one should read this book for this compilation only for  this shows the author’s grasp over the grammar of film music. Almost all the noteworthy melodies of Malayalam films have been categorized under different ragas and ragamalikas.

Going through this book, one can understand  how the legends evolved from their first film songs to the later dizzying heights. The book is full of little known anecdotes about the legendary singers and hitherto unpublished photographs of the rare camaraderie that existed  among the singers at a time when the competition could not be termed as cut throat.

There is the story of how Yesudas came to sing ‘Alliyambal Kadavil’ which was to be sung  by Udayabhanu. As Udayabhanu was indisposed  he had suggested to  the music director that Yesudas may be called in to sing the song. And it turned out to be one of the best loved songs in Malayalam cinema.

It is interesting to read the author recounting the friendship between different great musicians with an accomplished raconteur’s skill. He has been careful not to omit anyone—be it lyricist, music director or singer, ever connected with Malayalam film music.

Thus if one has to refer to R K Sekhar, A R Rehman’s father, and his contribution  one has only to go through the index. Again if you want to know the hit songs of Usha Khanna in Malayalam,you would find it in the book. Did you know that the legendary Kishore Kumar also had sung a comedy song in Malayalam—he did it in the film Ayodhya. So had Talat Mehmood, Mohammed Rafi, Lata Mangeshkar and Asha Bhosle.  Manna Dey’s Manasa Maine is in its own right one of the greatest film songs in Malayalam.
 
The book dwells on the musical journey of the legends of Malayalam film music in detail giving insights into how they grew into myths of Malayalam  Cinema. Once you go through this  perhaps you can also say that you have known them all.

About Yesudas the author writes that the first Hindi film was Mahasagar.This is a true revelation.I have always thought that Jane Man Jane Man from Choti Si  Bath  by Salil Chaudhury was his first Hindi song—it was a duet with Asha. Like this there are many examples  where one could update one’s knowledge  not only about singers  but about music directors and lyricists as well.

And one wonders as to the travails Kiran Ravindran has undergone to collect these rare photographs. There is one showing Ramu Kariat and Salil Chaudhury watching Vayalar explaining the lyrics to Yesudas. Another one shows Manna Dey recording a song in the presence of P Leela. The book is worth a buy if only for these rare photographs.

I have a feeling that the author has a remarkable collection of  old photographs and some more little known anecdotes about the film folk but probably he has selected  best of both for this volume—some of the facts mentioned like the one about Yesudas being turned down  by the AIR authorities  during audition should  serve as eye openers for the young aspirants to the world of film music.

So is the story of how Raghavan master came to sing Kayalarikathu in Neelakkuyil because producer T K Pareekkutty did not like  the way the chosen singer, Abdul Khader from Kochi, sang it. And we know that the celebrated singer Kozhikode Abdul Khader was known as Leslie Andrews before his conversion to Islam.

If ever you have loved the melody of Malayalam film music, if ever your hearts missed a beat while listening to Manikyaveenayumayi or Nee Madhu Pakroo or Thaliritta Kinakkal Than, if ever you wondered how Salil Chaudhury could imbibe the spirit of Malayalam melody, if ever you sang along with Mehaboob’s Vandi Vandi or with Udayabhanu’s  Manassinakathoru Pennu, then this is the book for you.

G. Krishnan
G. Krishnan

This is the ultimate reference book on Malayalam film music, a book written by a young man who is a lover of music, a love offering of a movie music buff par excellence. This is a book to cherish, a reference guide which is to be kept by your bedside The more you go through it the more delectable it  becomes. A book one should not miss. But it is high time the book is translated into Malayalam also  so that it can get the wider readership it deserves.

The Playback in Malayalam Cinema
Author: Kiran Ravindran
Publisher: Folio Publishers, Thiruvananthapuram
Price: Rs 400

G Krishnan is a retired officer of the Indian Administrative Service (IAS). He is a former Principal Adviser to the Governor of Jharkhand and former Chief Secretary to Jharkhand Government. He lives in Thiruvananthapuram.

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The Ballads of Badrinath

Badrinath Temple
JAI BADRI VISHALJI KI The bright-hued entrance to the Badrinath temple
JAI BADRI VISHALJI KI The bright-hued entrance to the Badrinath temple
A flag fluttering atop Vyasa Guha
A flag fluttering atop Vyasa Guha

An elderly man, adorned in just a shawl and dhoti worn in the north Indian style, was doing the Parikrama, singing praises of the Lord in a soft voice, oblivious of the chilly winds, teeming multitudes, shouting of the modern day dwarapalakas and others at the shrine.

This was indeed Bhakti in its purest form to be found where else but at Badrinath, the abode of Vishnu, high in the Himalayas.

It was mid-September, and we were waiting in the queue to enter the shrine for the evening Sahasranama Arati swaddled with sweaters, jacket and muffler. I wondered about how the old man doing the parikrama with the bare minimum clothing was managing to stave off the cold and who he was. But then, at this Lord’s abode, all such differences about your status in life, region, caste, colour and creed dissolved and all you saw around were Bhaktas.

After some time, the massive gold-plated doors swung open and amid much shouting and confusion, we were allowed inside and directed to be seated on the floor in front of the sanctum sanctorum. One could hardly sit properly with so many people pressing from both sides. In the meantime, a south Indian lady in the front row rather belatedly found out that she was to attend another arati. But by this time, the hall was packed and there was no way for her to move out. May be this was also part of divine plan of the Lord. Anyway, she continued to sit there and participated in the proceedings.

Vyasa Guha A concrete porch has come up at the entrance of the Vyasa Guha, robbing it of much of its charm
Vyasa Guha A concrete porch has come up at the entrance of the Vyasa Guha, robbing it of much of its charm

At Badrinath, each facet of the Puja is explained in Hindi by a kindly looking elderly swami in saffron robes through the microphone. Inside the temple, one feels to be in the presence of an emperor. For one, the "Garbha Griha" (sanctum sanctorum) itself is so huge with several deities lined up along with the main one of Maha Vishnu like Kubera, Narada, Uddhava, Garuda, Nar and Narayana. The decorations in gold and precious stones lent an air of splendour and opulence.

The day began, as usual, early for us. At 6 o’clock, we had started from Pipalkoti, the night halt. Reaching Joshimath, we visited the Narasimha temple. The idol is said to have been installed by Adi Sankaracharya on the request of "Bhakta Prahlada". During the winter months, when the Badrinath shrine remains closed, the puja of Badri Vishal takes place here. In fact, one of the broken idols taken from Tapta Kunda has been installed in this shrine. All pilgrims for Badri Nath have to necessarily visit this shrine to complete the pilgrimage.

The other place of importance at Joshimath is Sankara Peetham where Thotakacharya, one of the main disciples of Adi Sankara, had set up an ashram. It is renowned as a centre for teaching of the Vedas.

The priest at Vyasa Guha
The priest at Vyasa Guha

We reached Badrinath around 11.30 am. After keeping the luggage at the hotel, Acharya Sadan, we went to meet the Rawalji, who turned out to be a bearded young man but with a certain aura. He asked us softly whether we had had Darshan and directed us to do so immediately as the temple would close for ‘bhog’ in a short while. His assistant Narayanji took us to the temple through a colourful gateway that resembles a Buddhist Vihara. We were accorded the privilege of having darshan at close quarters and the attendants pointed out features of each of the deities.

The huge doors clanged shut minutes after we came out. People were already forming queues for ‘bhog’ after paying a token amount of Rs 2 for the paper plate. This is rice mixed with dry fruits and very tasty. We found many of the poor devotees having it in the forecourt of the temple. It would help them stave off hunger pangs for a while.

The Rawalji's Puja room
The Rawalji's Puja room

Once again, we were led to the presence of the Rawalji in his Puja room, who after an exchange of pleasantries, invited us for dinner. The room, with thick carpet over the wooden floor, had a small statue of Adi Sankaracharya and Lord Guruvayoorappan.

After lunch, we went to visit Mana, the last village on the Indian side of the international border with China. It was here, at Vyasa Guha that Veda Vyasa is said to have composed the Mahabharata with none other than Lord Ganesha himself as a scribe. There is a Ganesha cave temple on the hill slope (approach to Mana village entails a walk up a steep pathway of almost 750 metres, no big deal for us, veterans of Kedarnath).

According to legend, Ganesha told Vyasa that he was willing to undertake the task on one condition. The sage should recite the slokas non-stop. If there was an interruption, he would lay down the pen and not proceed any further. Vyasa agreed and the result was a somewhat ‘Duranto’ (the non-stop train service recently introduced by Ms Banerjee) compilation of the holy book. Another interesting point is that Vyasa’s cave and Ganesha temple are located several meters apart and one would need keen ears to catch what the sage was reciting. The fact that Ganesha had elephantine ears would have certainly helped, I think.

At Vyasa Guha, we found a kindly looking Panditji, who made us sit on the carpeted floor and recited to us in Sanskrit and Hindi, the significance of the spot. Then we sought permission from him for a recital of Vishnu Sahasranamam to which he readily agreed. The Panditji and some of the other visitors were moved to tears by the recital. The Panditji then said the spot used to resound to the chanting of Sahasranamam and other Stotras (hymns) for centuries, but nowadays such occasion were rare indeed !

Afterwards, we went to see the river Saraswati emerge from a cave in a roaring torrent. According to legend, the place is significant as Veda Vyasa, after compiling Mahabharata and other 16 Puranas, found that mental peace was eluding him. On the advice of Saint Narada, he mediated at this spot till Goddess Saraswati appeared and blessed him with spiritual knowledge. Thus, he acquired the power to write the "Bhagavatha Purana". This was also the spot where Brahma revealed the "Adhyatma Ramayana" to Veda Vyasa and other Rishis. While he was composing "Bhagavatham", Veda Vyasa requested Sasraswati to calm down so that he could compose in peace. Accordingly, the roar of the river quietens down at this place.

BIRTH OF A RIVER The Saraswati emerging from a dark cave before plunging down a gorge in a torrent of foam
BIRTH OF A RIVER The Saraswati emerging from a dark cave before plunging down a gorge in a torrent of foam

There is a massive stone bridge called "Bhim Pul" across the river. Legend says that when Draupadi found it difficult to cross the river, the mighty Bheema lifted a huge rock and placed it across the gorge. The short cut from Vyasa Guha to this place is indeed dangerous with a U-turn as you come down a steep incline where a slight misstep could send you plunging down into the river as there are no guard railings. We managed to traverse the spot with the help of our stout "Kedarnath" sticks.

The birth of the river is a sight to behold. She foams out of a dark cave, plunges down several few feet framed by massive overhanging rocks in a cloud of spray.

Incidentally, Mana is dotted with several teashops claiming to be the last one in India. One even had multilingual sign boards, even in Malayalam. We had earlier taken a snapshot of one such shop but then decided to do the same with others too.

Then we returned to Badrinath in time for the evening darshan. As we came out of the temple, a message was received from Rawalji’s residence for dinner. It was a simple affair of Chappati and rice with Rasam, potato curry and pickles. Quite tasty after having survived almost a week on a diet of Aalu Paranthas.

Some people perched dangerously on a rock to have a closer look at the cave from where the Saraswati river emerges in a cloud of foam and spray
Some people perched dangerously on a rock to have a closer look at the cave from where the Saraswati river emerges in a cloud of foam and spray

We had taken three tickets each costing Rs 4,500/- (for three persons) for the Maha Abhishekam that starts early in the morning around 5 o’ clock and were told to be at the temple by 4.30 am. Accordingly all of us got up around 2.30 am and were at "Tapta Kund" hot springs on the banks of the chilly Alakananda at 3.00 am. This sulphur springs gives out smoke and heat almost touching boiling point. I adopted a trick used for cold water baths in Delhi winters, applying water all over the body in small doses and then taking the plunge. Traditionally one has to take a dip in the "Tapta kund" before visiting the temple. So far we had been avoiding these hot springs for our own convenience, but here, the Lord willed otherwise.

After the bath, we climbed the steps to the temple. Whom should I find there but the very same gentleman we saw singing the previous evening. He was seated on the doorstep with another person who seemed to be his attendant.

All of us sat down in the partially covered structure around the sanctum sanctorum. I closed my eyes and started reciting ‘Om’. It helped stave off the cold a bit. No wonder, it is actually a Tapobhumi where the Lord himself sits in meditation.

Incidentally, I found that some people were wearing sandals outside the sanctum sanctorum. A saffron clad monk was wearing clogs. Sudheer explained that these were people connected with the temple.

This is the narrow pathway down which we came from Vyasa Guha to see the birth of Saraswati river near Mana village.
This is the narrow pathway down which we came from Vyasa Guha to see the birth of Saraswati river near Mana village.

Around 5 o’ clock, our names were called out and we went inside and were made to sit on the floor. This time the original "Salagrama" could be seen without any adornments. It looked to be incomplete, much like what God is supposed to be "Avyaktham". The Rawalji, adorned in a black robe with a golden sash, tinged with red serving as a belt and wearing a black cap, slowly removed the sandal paste on the idol and then proceeded to wash it (Abhisheka) with copious amounts of water. This was preceded by various other abhishekas, milk, honey, rose water and the like to the accompaniment of recital of the Vedas.

Some light moments were provided by couple of Tamilians sitting by my side. An elderly man was getting quite upset about a young woman sitting in the front row blocking his view. "Why do they allow such tall people sit in front?" he was heard to say. I immediately lowered my own head. Who knows, I may be blocking somebody’s view. Meanwhile, a young man sitting in front of me was periodically nodding off and laying his head on the shoulder of a woman sitting in front of him. At one point, a gentleman from Andhra, on my left side, scratched me on the cheek while trying to get a better view. He was apologetic and I forgave him. I think he was the same balladeer. Look how our paths cross!

Every kind of smell gets accentuated in the pure mountain air. Thus, the Tulsi we were given for Archana smelt absolutely divine and so did the "Kalabham" (sandal paste) we got as part of prasadam. On the downside, whenever a vehicle passes you, you get bathed in fumes from the half-burnt fuel (due to lack of oxygen in the air).

A view of the Himalayas at Badrinath.
A view of the Himalayas at Badrinath.

The Abhishekam ceremony proceeded at its serene pace. Every part of the ceremony is explained in great detail, including the history of the shrine, starting with "Alakananda Theere...." (On the banks of river Alakananda…). Then we were asked to do "Sankalpa" puja to our "Ishtadevata" (personal deity). Soon the Rawalji proceeded to carefully wipe the deity dry. Then each of the adornments, jewel encrusted crowns and faceplates, the Sudarshana Chakra, as also the diamond-encrusted Paduka presented by Lord Krishna to his ardent devotee Uddhava, were held up and the Swamiji at the microphone explained the significance of each item. After adornment of the Lord and other deities different Aratis like Sona (gold) and Chandi (silver) were held when the devotees participated in singing of "Om Jai Jagadeesha Hare". At significant points during the ceremony, the thunderous roll of Nagara drums were heard. The entire ceremony lasted one and half hours.

SARASWATI IN A HURRY The river Saraswati roaring down a gorge after emerging from a cave at Mana (photo by Krishnakumar)
SARASWATI IN A HURRY The river Saraswati roaring down a gorge after emerging from a cave at Mana (photo by Krishnakumar)

Later, Rawalji, at another audience at his residence explained that the Lord is present in Badrinath during Brahma Muhurtham, for the Abhisheka. Afterwards, he proceeds to Manikarna in Varanasi for the Usha Puja (morning puja), then to Puri for the noon Puja and to Dwaraka for Shayana Arati (quite a cross country race). This underlines the importance of having Lord’s Darshan at Badrinath during Maha Abhishekam.

He also said that the ghee used in the shrine was personally made by the Queen of Tehri. The dates for opening of the temple after winter is also decided by the King.

Here, since it is a Tapobhumi for the Lord, Goddess Maha Lakshmi is considered to be hovering like a shadow over the Lord to cool his body that gets heated up due to the strict penance.

According to legend, Adi Sankara had reinstalled the idol thrown into the "Tapta Kunda" by Buddhists at one time. The Saint had defeated the Buddhists monks in a peaceful manner through "Tharka" (arguments). He then took a dip in the "Tapta Kunda" to retrieve the idol. The first time he emerged with one that had its right hand broken. He took another dip and still emerged with a similarly deformed idol. For a third time, on getting a broken idol, he felt it was the wish of the Lord and installed it at the shrine. It is believed that people having Darshan of the idol will attain "Moksha" (salvation).

Some members of the group then proceeded for "Pinda Tarpan" on the banks of the Alakananda. The general belief in North India is that after completion of Pinda Tarpan in Kashi, people come here in Badrinath to ensure that their forefathers attain "Vishnu Pada" (salvation at the feet of Lord Maha Vishnu).

Multilingual sign board proclaiming the last tea shop in India
Multilingual sign board proclaiming the last tea shop in India

We finally bid farewell to Sri Badri Vishalji to catch the 11 o’ clock gate. Near Joshimath, it was time for another miracle. We were made to stop on the roadside as tarring of the road was being done a little ahead on a slope. Suddenly, we heard a commotion and saw a tar-laden cart rolling towards our vehicle at a considerable speed. Fortunately, it brushed against a bus just ahead and stopped. Otherwise, it could have hit us head-on and the impact would have made the van roll over the edge of the cliff. The minimum damage would have been a busted radiator.

It was time for the journey back. During this past week, we did not have access to newspapers, television or even mobile phones. Interestingly, we found large crowds in Kedar Nath watching intently the India-Sri Lanka cricket match.

We reached Rudra Prayag late in the evening to stay there for the night. After a good night’s sleep, we started off at six in the morning. We had a brief halt in the afternoon at Haridwar for a holy dip on the occasion of Amavasya and reached Delhi at 9.00 p.m. to conclude the trip.

A view of The Badrinath Temple.
A view of The Badrinath Temple.

Now it is time for me to sign off with "Sri Kedarnathji ki Jai" and "Jai Badri Vishal".

Photos by Krishnakumar and Surendranath.

NNN

Click here to read the first part of this series - Kedarnath Chronicles.




Kedarnath Chronicles: Pathway to Heaven

PATHWAY TO HEAVEN The pathway snaking up the mountainside seen in early morning light.
MAJESTIC HIMALAYAS

MAJESTIC HIMALAYAS. Photo: Krishnakumar.

We were in a different world for seven days in mid-September, having embarked on a pilgrimage to the Himalayan mountain shrines of Sri Kedarnath and Sri Badrinath.

The trip nearly did not happen, as it was raining heavily in Delhi and all over north India almost non-stop for three days. On the eve of our departure, a friend rang up and said he had heard on radio that the "Char Dham" (Kedar-Badri-Gangotri-Yamunotri) were closed because landslides had blocked the route.

A quick Google search revealed, of course, that the news was at least a day old. To be on the safe side, enquiries were made with the tour operator, a Tamilian called Rajan (Kala Rajan Tours), who conducts regular trips to these places and travels with the larger groups in buses. He assured us that the routes were clear and as far as rain was concerned, it was part of the deal. It rains frequently, mostly in the afternoons, in the Himalayas and there are frequent landslides. Huge rocks and rubble block the roads but the Border Roads Organisation usually manages to clear it within a few hours. So we decided to stick to the programme with a prayer on our lips.

A view of the Ashram at Vasishta Guha.
A view of the Ashram at Vasishta Guha.

DAY ONE:

Initially, it was suggested that we, a group of ten, start off at 5 o’ clock in the morning. The target was "Vasishta Guha", 22 km from Rishikesh where we expected to arrive by lunchtime. However the group members decided to start only after participating in the "Nirmalya Darshanam" at the "Uttara Guruvayoorappan" temple in Mayur Vihar, Delhi.

Accordingly, our vehicle, a Force Traveller (we found it to be extremely comfortable) picked up all of us from our residences and we were at the temple before it opened.

To ensure an auspicious journey, coconuts were broken at Ganapathi’s nada and we also gave money for "Ganapathi Homam" for the entire 7-day duration of the trip.

Two senior citizens in our group followed us in a Toyota Terago (at first sight could be mistaken for an Innova, but drinks petrol. This led to certain interesting situations when a couple of Scorpios lined up behind her at a petrol pump at Joshimath that incidentally had only a single pump, supplying petrol) at the regulation one car length throughout the trip which they did thanks to the skill of driver Thapa.

Our driver Dharmendra had a lot of fun throughout the trip, making fun of poor Munian, who served as ADC to one of our senior members. Quite unused to mountains, this man from Erode served as a speed regulator whenever the needle went past 25 km. Finally Dharmendra told him to keep quiet (almost like Adi Shankara advocating Advaita), as such advice would put the driver in two minds and lead to a mishap.

The rain had let off a bit when we started at around 6 o’ clock. After about an hour’s running we stopped at a wayside motel for breakfast. Most of us had the first taste of what was to be our staple diet for the next six days—the Aloo Parantha served with "Dahi" (curds). Soon we were at Muzaffarnagar, when it started raining. A traffic jam in this town delayed us considerably and we managed to reach our destination for the day only by 3 o’ clock.

On the way, we experienced our first miracle and a taste of things to come. This was when turning a corner the vehicle was brought to a halt by huge rocks and rubble blocking the way. By this time, we were already on the ghat section high above the swift-flowing Ganga.

Anyway, back to the road block where, like Bhima finding an old monkey blocking his way while searching for "Kalyana Saugandhikam", we were getting a trifle impatient. Help came in the form of a bulldozer that sent the rocks plunging down in no time. We were impressed by the speed and precision with which the machine was made to twist and turn to clear the road without itself joining the plunging rocks. Sometimes, all it takes is a slight miscalculation and some soft earth for such an eventuality.

Bull dozer clearing rubble from a rockslide on </p>
<p>Rishikesh-Kedarnath-­Badrinath road. A slight miscalculation could send it crashing down into the gorge. Reminds me </p>
<p>of Mohammad Ali, the boxer, the way it danced around the narrow<br />
road.

Bull dozer clearing rubble from a rockslide on Rishikesh-Kedarnath-­ Badrinath road. A slight miscalculation could send it crashing down into the gorge. Reminds me of Mohammad Ali, the boxer, the way it danced around the narrow road.

The rubble was cleared and we proceeded to "Vasishta Guha". It is a cave where the great sage Vasishta is supposed to have sat in meditation. In the late 19th century, Sri Purushothamananda Ji, disciple of Brahmanada Saraswati – direct disciple of Sri Ramakrishna Paramahansa, set up an ashram there being managed by his handpicked successor Sri Chaitanyaji now. Sri Purushothamananda ji was a contemporary of Sivananda and Tapovan ji.

Soon, we stopped on the roadside beside a gateway that proclaimed to be built during the centenary of the ashram. Vehicles cannot be taken inside as only a cemented pathway leads down to the Ashram located along the banks of the Ganga. Here we got our first lesson, that is, nothing except "dhabas" (small restaurants like the "Thattu Kada" in Kerala) are at ground level in the entire state of Uttarakhand. For every "Prayag", confluence of two rivers where you go down the steps or pathways, there are shrines on hilltops.

As we approached the ashram, a strong smell of cow dung greeted us. We passed some buildings serving as cow sheds. We were led to the room of Sri Chaitanyaji. He is a lean and bearded man and looks to be in his 50s rather than his actual age of 85. He had come to the Ashram at the age of 19 and after serving for some time, decided to become a Sanyasi. However, Sri Purushottamanandaji asked him to seek permission from his mother first before taking up the vows. The Guruji also accompanied him all the way to Kerala. The mother readily agreed but the son, fearful of creating a scene, made himself scarce at that time but was brought back.

Thus started his apprenticeship and with the passing away of the Guru in the year 1961, February 13 (Maha Shivaratri day), he became the Ashram head. The Swamiji asked whether we had lunch and then directed us to the dining hall. All of us sat on the floor and soon fresh and hot chappatis, dal, rice and curds were placed before us. The smell of food attracted a lot of stray dogs. The Himalayan dogs look fearsome with their thick coat of hair that extends all the way to their curly tails but are docile, by and large. One of them actually tried to enter but was driven away. After lunch, we were shown our rooms, located just a few yards away from the Ganga, roaring past like an express train on her way to the plains.

ROCK FALL The path gets tough and you have to pick your way carefully through fallen rocks. Most of the railings have been destroyed by rocks hurtling down.
ROCK FALL The path gets tough and you have to pick your way carefully through fallen rocks. Most of the railings have been destroyed by rocks hurtling down.

In the evening, we walked down to the river, picking our way carefully through huge rocks lying haphazardly on the riverbed, a testimony to the power of the river that might have brought them down when in spate. All of us washed our hands and feet in the chilly waters and watched the sun set behind the mountains and vapours rising from the river. A member of the group showed us Arundhati Guha, where the wife of Vasishta had stayed.

At dusk, we were taken to Vasishta Guha. You have to stoop at some places and suddenly it opens up into a semi circular room with a Shivalinga placed on a raised platform. Another platform to the side was where Guruji sat in meditation. No one is allowed to sit there. The cave that stretched quite a way inside the mountain was walled off at this point by Purushottamandaji. Apparently, some Rishis in the higher reaches of the Himalayas use that part of the cave for meditation in their astral bodies (the physical bodies will be in another location).

We were told that quite a lot of foreigners come for meditation and spend hours inside. On the way, we had seen quite a lot of them, staying either in the various ashrams or their modern version of resorts. We also sat there for a few minutes in the dark cave with the only available light coming from a small lamp placed in front of the deity.

Then we went outside where a Swamiji had started evening prayers reciting "Shiva Mahimna Stotra". After a while, the Head Swamiji came and went inside the Guha and performed Puja. He came out and performed Arati before a picture of his Guru placed on a raised platform.

Next, we were taken upstairs to a small shrine of Shri Purushothamananada Ji where he performed Arati. By this time, it was past 8 o’ clock and time for dinner that turned out to be simple fare of Chappati and Dal. Then it was time for an audience with the Swamiji. In his room, seated on a chair, he recounted the days he had spent in the ashram. "I have been here for the past 50 years," he said. Except for visiting shrines, he had never been to the south. In the old days, the ashram had only tents and wild animals like jackals and more dangerous ones like leopards and pythons roamed the area during the night. Several of the dogs were killed by leopards.

"Once, I was sleeping outside and felt suffocated. On opening my eyes, I found that a python had wrapped itself around my blanket. Somehow, my attendants managed to drive it away," the Swamiji said. These days, when roads are being widened by breaking the mountainside, a new danger has emerged, that of rockslides. The workers come and advise the ashram inmates to stay inside during the blasting but there is no guarantee of safety as the rocks can land anywhere.

DAY TWO

Deva Prayag, the confluence of the Alaknanda and Bhagirathi to form the Ganga. This place is significant as the spot where Lord Ram performed Tharpana for his father Dasaratha during the Vanvas.
Deva Prayag, the confluence of the Alaknanda and Bhagirathi to form the Ganga. This place is significant as the spot where Lord Ram performed Tharpana for his father Dasaratha during the Vanvas.

We started off at 5 0’ clock after a bath and hot tea. The ashram provided hot water for bath. As the van started moving, we also began our daily morning ritual of reciting Vishnu Sahasranamam and Lalitha Sahasranamam. The van was all this while climbing up and down various mountainsides. At sunrise, fog enveloped the road but Dharmendra pressed on. This stocky, moustachioed man proved to have steady hands to negotiate the perils of the mountain roads.

At this time we experienced a second miracle. A second rockslide had taken place at the very same place where we were held up the previous day when the bulldozer was clearing the rubble. This was of a more massive nature and no vehicle was able to pass through since morning. According to the plan drawn up by the tour operator, we were to have spent the night at Rishikesh in which case we would have been stuck there.

The next stop was at Deva Prayag where the Bhagirathi joins Alaknanda to form the Ganga. It was here that Lord Sreerama had performed "Pithrutharpana" for Dasharatha during Vanavas. Jagatguru Adi Shankara had visited this place and meditated for a few hours. As mentioned earlier, this entailed a walk down to the confluence after which we climbed several steps to visit a temple dedicated to Lord Rama.

RAMA, RAMA, HOW MANY STEPS MORE The pilgrim contemplates the number of steps to the Rama temple at Devprayag only having reached half way. Two of the members of our group decided against the climb and are seen standing at ground level.
RAMA, RAMA, HOW MANY STEPS MORE The pilgrim contemplates the number of steps to the Rama temple at Devprayag only having reached half way. Two of the members of our group decided against the climb and are seen standing at ground level.

After breakfast at a dhaba, we continued our journey to reach Gupta Kashi at lunchtime. The Pandavas had sat here on penance after the Mahabharata war praying to Lord Shiva to absolve them of all their sins. The Lord appeared in due course but finding that they had committed grave sins of killing their Guru Dronacharya, brethren Duryodhana and other Kauravas and even the Pitamaha Bhishmacharya, found the amount of sin to be too much, disappeared in the form of a bull. There is a Shiva temple on top of the hill, which we visited. Here the pujas are performed in a secret manner with the offerings put inside a shelled coconut (copra) through a hole on the top. We had lunch at a dhaba, the usual aalu parantha and curds, very tasty and filling.

By evening, we reached our night halt at Sonprayag (elev. 1829), confluence of the Soneganga and Mandakini. The hill shrine of Triyogi Narayan is about half an hour's drive away. When we reached there, it started pouring. The Panditji took us to the place where the divine marriage of Goddess Parvati and Lord Shiva had taken place. Rolling thunder and lighting created an atmosphere of some divine plan unfolding as he was explaining details of the wedding. Then we were taken to the main shrine where we placed firewood on the Homa Kund where Shiva and Parvati had taken the "seven pheras". The place has the added significance of having had the presence of all the 33 crore devas for witnessing the divine marriage. It is considered auspicious for married people to have darshan there.

The driver had told us to return as fast as possible as darkness was descending and the mountain road was treacherous. So, regretfully not much time could be spent there.

DAY THREE

QUITE A DISTANCE Whichever way you look at it, it is quite a distance both ways. Gaurikund may be deceptively nearer, but the trek remained painful due to shoes pinching sore spots.
QUITE A DISTANCE Whichever way you look at it, it is quite a distance both ways. Gaurikund may be deceptively nearer, but the trek remained painful due to shoes pinching sore spots.

We were ready for the Kedarnath trek at 5 o’clock in the morning. One of the members of our group, a veteran of three trips, gave us the option of taking hot water bath in the room itself or at the hot springs at Gauri Kund (elev 1981 mt). We opted for the former to save time. As soon as the gate for Gauri Kund opened, we were on our way.

Gauri Kund is significant as this was the place where Lord Ganesha got his "elephant head". According to the story, Parvati had gone for a bath instructing Ganesha not to let anyone in. When Lord Shiva came and was barred by Ganesha, he grew angry and lopped off Ganesh’s head. Parvati, finding that her son was dead, grew sorrowful. Shiva instructed Vira Bhadra to bring the head of the first seen person on the north side. Vira Bhadra found an elephant and cut its head off and brought it. Shiva affixed it on Ganesha’s torso and thus, he became the elephant-headed God.

Here again, the road snaked through mountainsides and after about half hour journey, we were at Gauri Kund, crowded with horses (actually mules) with their handlers seeking custom. Since the seven of us had opted to trek, except the seniors, we decided to press on. It involved a climb through narrow lanes of a market during which we bought stout bamboo sticks for Rs 10 each.

The first part of the trek up to Rambhada, a distance of 7 km was thoroughly enjoyable. A black hairy dog suddenly appeared from nowhere and started following us like the dog that followed Yudhishtira right upto heaven. The sun was not yet up, the Mandakini welcomed us gurgling alongside. Then we had the divine sight of the Himalayan peaks gilded in gold by the rising sun’s rays.

NOT AN ARMCHAIR TRAVELLER A pilgrim being carried </p />
<p>on the

NOT AN ARMCHAIR TRAVELLER A pilgrim being carried on the "Doli". The four youths carrying the chair march in step to reduce the jerking somewhat.

All this while, helicopters carrying pilgrims were making frequent sorties between Phata and Kedarnath. The cost of a return journey is around Rs 7600. This clatter of the ‘copters was the only ‘modern’ sound that we heard as there was no signal for mobile phones, no one had radios or ipods, thank God. It was quite fascinating to hear the tinkling of the bells on the mules and their clomping. At places, one has to swing the stick to prevent them from brushing against you.

Reaching Rambhada, we rested for some time in a dhaba and had breakfast. I had an aalu parantha and tea while some others opted for Pav Bhaji. Both were served dripping with butter. Then the trekking was resumed. However, the first hundred yards on the steep incline, crowded with horses and slippery with their dung, proved that this part of the trek was altogether in a different league.

GET WET SOON...One of the waterfalls that sends water streaming across the pathway. Our shoes and socks were throughly wet by the time we managed to cross this spot.
GET WET SOON...One of the waterfalls that sends water streaming across the pathway. Our shoes and socks were throughly wet by the time we managed to cross this spot.

We started feeling the lack of oxygen at high altitude. I could feel my heart beat and quickening of breathing. This entailed stopping every hundred yards or so and waiting till breathing returned to normal. The path continued snaking its way upwards. All this while, the snow-clad mountains were drawing near. We crossed numerous springs, running across the path, wetting our shoes and socks. We had made it to Rambhada in reasonably good time, in about two hours but now our speed was reduced barely to a crawl. People returning from Kedar advised us to take it easy and proceed slowly.

While resting at one of the teashops (they allow people to rest there, no need to buy tea at every stop) we had a brief chat with a five-member group from Nepal. All of them were elderly but full of good spirits. They said walking was the right way to conduct a pilgrimage, howsoever arduous or slow it may be. We were much reassured by their kind words.

All this while, a saffron-coloured building was seen high up on the mountain side. I thought that from there, it would be plains. However, on reaching there, found that the road was still going up. As we went up, the trees disappeared, to be replaced by grassy meadows on the mountain slopes.

GATHERING STORM Rain clouds gathering over the peaks. In a short while, it started raining, accompanied by chilly winds. From now on, all such storms will be measured against this one, such was the (freezing) sensation !!
GATHERING STORM Rain clouds gathering over the peaks. In a short while, it started raining, accompanied by chilly winds. From now on, all such storms will be measured against this one, such was the (freezing) sensation !!

By this time, it was afternoon and time for showers. Soon the peaks were shrouded by thick rain clouds and it started raining. We had considered ourselves to be well equipped to meet this eventuality, having bought raincoats for Rs 10 each. However, chilly winds accompanying the rain, threw back the hoods time and again and made us clutch on to the suits with one hand. Hands and fingers were soon numb, feeling like being put in the freezer.

By this time, we had reached the last 1.5 km in the plains. Kedarnath town (elev. 3581 m) could be seen in the distance but the driving rain made us seek refuge in a shelter. All this time, we were worried about the three elders who had opted for doli rides as they were not to be seen. At this particular point, we re-established contact with them.

MANDAKINI ON THE ROCKS This is the Mandakini keeping us company on the final leg of the journey. Note the steepness of the path. Did we climb all this way ?!!
MANDAKINI ON THE ROCKS This is the Mandakini keeping us company on the final leg of the journey. Note the steepness of the path. Did we climb all this way ?!!

At around 4 0’ clock, we were at the bridge, the entry point to the town, set at a higher elevation. My heart sank when I saw that we had to climb yet higher. Our constant companion, the Mandakini was gushing forth past the railings on the pathway. The more energetic ones in our group had already gone ahead and booked us into the first hotel, The Maharashtra Sadan. We had a lunch of paranthas and then got under the razai (quilt) for some rest.

Then, at 6 0’ clock, we proceeded to the temple, just about five minutes walk. One good thing, I found about Kedarnath, was that it had absolutely no vehicular traffic. Ponies are also not allowed beyond the bridge. The owner of the guest house, himself a pandit, accompanied us to the temple. The streets are swept clean frequently by sweepers who, of course, demand money from pilgrims. I found it wiser to leave my soggy shoes and socks in the room and walk barefoot to the shrine.

ABOVE THE TREE LINE As we neared our destination, trees gave way to rolling meadows
ABOVE THE TREE LINE As we neared our destination, trees gave way to rolling meadows

The temple itself is a modest structure of grey stone with minimum carvings. Inside, we were told that we could have Arati Darshan. We were made to sit in front of the deity adorned in golakas of gold. A finely carved hooded serpent stood over the Jyotirlinga, covered in tiger skin. The ceremonial umbrella "Venkottakuda" was in silver. In the meanwhile, priests started chanting Shiva Mahimna stotra. This particular hymn was composed by a Gandharva Pushpadanta, who unknowingly had stepped on the Nirmalyam of Lord Shiva, to absolve himself of the sin.

Sitting there with folded hands, I felt very emotional and tears started coursing down my cheeks. Maybe it was the thought of having been privileged enough to undertake such a trip for the entire family, through punya acquired through the devotion of generations ahead of me.

SRI KEDARNATHESWAR KI JAI! We are finally at the abode of the Lord at Kedar Nath. The snow clad Himalayan peaks are seen in the background.

SRI KEDARNATHESWAR KI JAI! We are finally at the abode of the Lord at Kedar Nath. The snow clad Himalayan peaks are seen in the background.

Outside the temple, there were sanyasis in saffron robes and one or two decked up as Shiva himself. One of them refused point blank to let his picture be taken while another one obliged.

The next day, we had hot water bath in the hotel and were at the temple by six. This was for the abhishekam for which special tickets costing Rs. 3500 (for five persons) had to be taken. This time, the jyotirlingam, shaped roughly like the hump of a bull, was without adornments and we joined the devotees seated around it. According to legend, Bhima had found Shiva in the shape of a bull here, the same bull that had disappeared from Gupt Kashi. Bhima chased it but managed only to catch the hump before it once again disappeared. The face reappeared at Pashupati Nath in Kathmandu, Nepal while the other body parts can be seen in different shrines in the region.

HIMALAYAN SPLENDOR The Himalayas seen right behind Kedarnath temple.
HIMALAYAN SPLENDOR The Himalayas seen right behind Kedarnath temple.

The devotees were anointing the jyotirlinga with ghee (the last product of milk, symbolising prana), sindoor and water. These rites are to be performed by the husband and wife together. The puja concludes with smearing the lingam with ghee and sindoor with both hands and touching it with the forehead. This act symboIises transferring our sins to the Lord. I felt myself sliding down and with some difficulty managed to get up. Now I understand the expression of washing with tears, because these are the sort of emotions unleashed during such pujas where you can actually touch the deity. An experience that made me forget the chill in the air and disturbed sleep of the previous night and all other discomforts.

Kedar is also significant as it was here that Adi Sankara had eventually vanished from the earth. A "Dand" in marble marks this spot behind the temple.

For a brief while, we were able to talk to the hotel staff about life in Kedarnath. They were all praise for the mobile phone, introduced about five years ago. Otherwise, it involved a trek all the way from their villages near Gupt Kashi for conveying any news about their families left behind there.

Asked why no motorised transport was available, they said the pony-doli operators were resisting any such change. Also there is an imminent danger of pollution. So let the sylvan surroundings remain like that for some time more.

HORSEMEN Pilgrims riding horses on the path. Melodious tinkling of bells on the horses kept us company through the trek while some deft swinging of our walking sticks kept them from coming too close for comfort.
HORSEMEN Pilgrims riding horses on the path. Melodious tinkling of bells on the horses kept us company through the trek while some deft swinging of our walking sticks kept them from coming too close for comfort.

After an early breakfast of Uppuma for a change, we started the return trek. The initial few kilometres were quite pleasant with the sun yet to rise and the pathway clear of the horses. Soon the sun came out and one by one, we divested ourselves of the muffler and jacket. The trusty bamboo sticks proved invaluable during this part of the journey, preventing us from slipping on the inclines. This time, we stopped at Rambhada only for cool drinks and managed to reach Gauri kund by 1235 hrs. By this time, we had realised that light food is most appropriate during trekking.

Then we had a quick lunch at Sonprayag and in a deviation from the original programme of staying there for the night, decided to press on towards Badrinath. We managed to reach Pipalkoti by 8 o’ clock in the night, thanks to the superb driving skills of Dharmendra. The lodging was at Indira, attached to hotel Indralok where we had dinner and retired for the night.

Thus ended the first part of the trip.

On the expense front, we spent Rs 32,750 for the van. The hotel rent worked out to be around Rs 150-200. The main expenses were for morning abhishekam at Kedarnath of Rs 4,300 (works out to be Rs 430 when divided among ten members), again for abhishekam at Badrinath for Rs 13500 (1,350 per person).

Shivaya Namah

Photos: Surendranathan

Click here to read the second part of the series - The Ballads of Badrinath.

NNN

LIGHT AND SHADE An interesting study of light and shade on the trek to Kedarnath.
LIGHT AND SHADE An interesting study of light and shade on the trek to Kedarnath.
KALIDASA'S IMMORTAL LINES A signboard on the way has the first two lines from 'Kumara Sambhavam' by Kalidasa.
KALIDASA'S IMMORTAL LINES A signboard on the way has the first two lines from 'Kumara Sambhavam' by Kalidasa.

Special Olympics' Shriver leaves a flourishing legacy

Eunice Kennedy Shriver opens the first Special Olympics Games in Chicago in 1968 / Image: Special Olympics
Eunice Kennedy Shriver opens the first Special Olympics Games in Chicago in 1968 / Image: Special Olympics
Eunice Kennedy Shriver opens the first Special Olympics Games in Chicago in 1968 / Image: Special Olympics
More than 100 people attended a touching private service this morning for Eunice Kennedy Shriver, the founder and heroine for Special Olympics. Shriver’s legacy with her work and support for Special Olympics touched the lives of millions.

The solemn service was held at Saint Francis Xavier Roman Catholic Church in Hyannis, Massachusetts.

Special Olympics was born literally in Shriver’s own backyard in 1962 when a desperate mother sought her help for a summer camp for her own child with mental retardation. She took up the challenge herself and set up a summer camp free of charge at Timberlawn, the family estate in Maryland, where she even personally carried out swimming lessons.

In July 1968, she opened the first edition of Special Olympics at Soldier Field in Chicago and launched a movement that would give the intellectually disabled an athletic competition that would grow like wildfire.

Last year on the 40th anniversary of this first event, Sports Illustrated honoured her with the Sportsmen of the Year Legacy Award. The movement had exploded from a few hundred athletes then to nearly 3.1 million athletes worldwide participating in 228 programmes in 170 nations on all continents.

Shriver is also the only woman to ever have her portrait appear during her lifetime on a US coin, the commemorative 1995 Special Olympics silver dollar.

Not only did she understand with compassion the needs of the intellectually disabled, but she also found a perfect way through sport to give them a vehicle for hope and enhance their lives and this has resonated through their families, friends and fans.

Shriver leaves a flourishing legacy that will enrich the lives of many for generations to come. She is survived by Sargent Shriver Jr, who managed President Lyndon Johnson’s War On Poverty in the 1960s, her daughter Maria Shriver who is California’s first lady, and sons Robert Sargent Shriver III, Timothy Perry Shriver, Mark Kennedy Shriver, and Anthony Paul Kennedy Shriver. Maria’s husband and the Governor of California, Arnold Schwarzenegger, himself is a strong advocate of Special Olympics.

Since her passing, according to latest information released by Special Olympics, media response has also been overwhelming:
Eunice Kennedy Shriver and her brother President John F. Kennedy at the bill signing / Image: Special Olympics
Eunice Kennedy Shriver and her brother President John F. Kennedy at the bill signing / Image: Special Olympics

Web:

- Over 103,500 people have visited www.eunicekennedyshriver.org and have viewed 827,000 pages. Over 2,800 people have posted personal tributes posted to the website.

Social Media:

- "RIP Eunice Kennedy was a top 5 Trending Topic on Twitter for approximately 9 hours on Tuesday.

- "RIP Eunice Kennedy was the number 2 topic, with Special Olympics as the number 3 topic for approximately 90 minutes.

- Numerous Tweets and re-Tweets of personal messages from celebrities and luminaries were received, including Lance Armstrong, Sarah Brown (wife of British Prime Minister Gordon Brown), Chris Cuomo, Paula Abdul, Marlee Matlin, Steve Case (Chairman and CEO, Revolution, Co-Founder, America Online, and Chairman, The Case Foundation).

- The Special Olympics Facebook page gained 1,300 fans in only one day.

Media:

- 7,132 television stories have been broadcast.

- The number of local, national and international print media and radio stories is too large too count this time.

Tributes:

Personal letters of condolences and tributes have come in from celebrities and world leaders, including statements from US President Barack Obama, former First Lady Nancy Reagan, Oprah Winfrey, and leaders from around the globe.

Sports Features Communications®

Desmond Tutu: Where, how and why sport makes a difference

Archbishop Desmond Tutu
Archbishop Desmond Tutu
Archbishop Desmond Tutu
The greatest star to touch British sport with his insight, perception, understanding and human wisdom this past week was not a player or a direction or a manager or an agent. It was Desmond Tutu.

The Nobel Peace Prize-winner may have retired formally and now be the Archbishop Emeritus of Cape Town but he has not retired from a role as a pastor to the worldwide community. That factor was electrifyingly obvious during the half hour he spent in conversation with Michael Parkinson at the Beyond Sport conference in London.

The constructive value of such gatherings of the "suits" of politics, sport and business may be open to question; but if those who heard Tutu took away only his inspiration then they will remain the richer for it.

Parkinson, interviewer emeritus in his own right as well as president of the UK Sports Journalists Association, had no difficulty providing prompts on issues ranging from the relationship between politics and religion, the anti-apartheid movement, the healing of damaged nations and the 2010 World Cup and its wider value.

Continental message


Tutu said: "What was significant was was not only that we won the bid but that we won the bid to become the first African country to host the World Cup.

"So, most important, we are not saying this is a South African hosting but this is for the entire continent. What that does for the morale and self-esteem of people is difficult to compute but it’s the same as when you consider Nelson Mandela and see how the world looks up to him, by proxy you grow two inches.

"Then there are the economic benefits which will accrue as a result. We saw a little of this with all the people who came to accompany the British Lions rugby team [in South Africa] last month. There must have been 50,000 who were going around with them; multiply that several times over for the people who will follow their national soccer teams next year and that will really do something.

"Also, to qualify to be hosts we had to commit ourselves to the building of new stadiums and the infrastucture – the positive effects [of creating this] will be felt for many a long year after that."

Tutu hailed the mark of 7.5 out of 10 offered by FIFA president Sepp Blatter for preparations after the recent Confederations Cup rehearsal as "close to a distinction."

Crowd favourite

He also drew a positive message from the manner of home fans’ support for the national side Bafana Bafana.

Using the example of defender Mark Booth, he said: "The Boys have this one player who is white, Booth, and each time he touches the ball people who don’t know think the fans are booing him because they don’t understand what the 'Boooo' is all about.

"In fact, it means he’s one of the crowd’s favourites and that huge crowd is largely black - which means these people are trying to give the world the impression that whites are not so bad - they love him, he’s a fantastic player.

"Also, it’s got significance. It’s helping us to gel."

Tutu acknowledged the manner in which the worldwide anti-apartheid movement had used sport as a weapon to help bring down the white supremacist system; also how Nelson Mandela had then used the 1995 Rugby World Cup as a means to bring all South Africans together behind a symbol of newly-reborn statehood.

He said: "We owe a lot to the international community because the anti-apartheid movement grabbed the imagination of the entire world.

"We were prayed for in many, many places and thank you that you did and were part of the anti-apartheid movement. After all, you gave the world the gift of Nelson Mandela; if apartheid had won you would never have known that you can have such magnanimity, such nobility of spirit, as his."

Sports Features Communications®

Learning to use sports as a vehicle of conflict resolution

A camp organised by Generations for Peace at Abu Dhabi.

As people around the world reacted in horror to the dramatic television images of the terrorist attack on the Sri Lankan cricket team in Lahore earlier this week, youth leaders from ten countries were learning techniques on using sports for conflict resolutions.

Pay your insurance premium at Post Offices

The Department of Posts has signed an agreement with private life insurer ICICI Prudential for collection of insurance premium through Post Offices, an official statement said today.

The service is now available at more than 200 Post offices in Gujarat, Punjab, Andhra Pradesh, Kerala and Maharashtra Postal Circles.

The will be no additional cost involved for the customer and the premium amount realised will be sent to ICICI Prudential through the ePayment system of India Post.

The tie-up is another step in the efforts to make the Post Offices a one-stop shop for the community. Already, post offices in several states are selling gold coins and UPSC and university application forms. They sell Darjeeling Tea in West Bengal and aloe vera products in Gujarat, while in Kerala and Andhra Pradesh they take orders for distribution of "prasadams" of various temples.

INT

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