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Saluting the Founder of Dravidian Movement Arignar Anna
N.Nandhivarman, General Secretary Dravida Peravai
(N.Nandhivarman, though is in the field which is the last resort of the scoundrel, in spite of being a politician he continues to write in Tamil and English. His articles started to appear in Tamil from 1962. In English from 1966 he left his imprint .He served as Associate Editor of New Times Observer during 1994-1995.He regularly writes a column in The New Indian Express, Week End pages for the Pondicherry, Cuddalore, Vellore, Chingelpat region. The collection of articles here have appeared in The New Indian Express. His views on Tamil Music, Tamil Culture, Tamil Drama, Tamil Archaeology, Tamil History will become evident is one goes through these articles.)
TAMIL MUSIC THROUGH AGES
“In
Western Music even today Piano holds a key position, they have not abandoned it.
Equal temperamental scale is the basis for western music. It is a digital scale
that enables them to deliver orchestral music. Unlike Tamils who gave up Yazh,
westerners did not desert Piano. This is a lesson for Tamils. Similarly all the
great Musicians like Beethoven, Mozart, Handel, Bach, Wagner and Brahms wrote
hundreds of symphonies, and only in Beethoven’s tenth symphony vocal music
finds place. Since in other symphonies there is no language, every country is
eager to hear the music, language problem does not arise,” says P.T.R.Kamalai
Thiagarajan in his book Isai Thamizhin Unmai Varalaru.
In Pondicherry Kalaimamani Arimalam Padmanaban opines that Tamil Music must spread to other parts of the globe. For this music sans language must be propagated or for Tamil musical notes we must select suitable poems in languages like English, French etc, so that we can spread the message that Tamil music belongs to the common heritage of mankind with greater antiquity than their cultures. Dr. Arimalam Padmanaban says that all western music could be adopted in sankaraparanam, nadabhairavi and keeravani, 3 musical notes of the South Indian Music. The earlier Tamil names of these three notes are Arumpaalai, Padumalaipaalai and Pazham Panjuram (source: Silapathigaram) respectively. He surprises us by saying that at the Olympic closing ceremony old classic music of Chinese was sung which is similar to our mohanam. It was known as Mullai pann in Sangam age and later came to be known as mohanam. Pann in Tamil means raga and scale in English. Silapathigaram, the Tamil epic mentions about 11991 panngal, which is lost in the ravages of time. Scholars like Dr.Arimalam Padmanaban are working hard to redeem the lost musical heritage of Tamils, lost due to invasions and colonial rule.
Arimalam
Padmanabhan who obtained his Doctorate from Pondicherry University is preparing
a Dictionary of Tamil Music Literary Terms and he is also planning to do
research in Sopaana sangeetham, which is famous in Kerala. He had
written about “Therukoothil Isai”
which speaks about the musical content of street theatre and
is included in the Madras University syllabus as a lesson. His treatise
on the Musical contents in Sankaradas swamigal’s Dramas deserves special
mention. Sankaradas swamigal could be termed as Shakespeare of Tamil theatre. It
is he who stands as an outstanding pioneer of Tamil theatre. Sankaradas swamigal
(1867-1922) brought all musical streams into Tamil theatre. For instance a
Christian missionary Edward Paul contacted Sankaradas swamigal and wanted him to
write songs for western devotional songs. Swamigal not only obliged him, but
through that exercise mastered the nuances of Western music and in his dramas he
wrote Tamil songs for western tunes says Arimalam Padmanaban in his research
paper brought out in book form. “ In carnatic music various forms of
Hindustani crept into during the period of Gopalakruishna Bharathy in 19 th
century” says Arimalam Padmanaban, thereby analyzing the influences, its
origins, admixture of musical forms with precision.
Sankaradas swamigal wrote 68
dramas, and if Padmanaban had not laboured hard to trace all this for his
research quest the complete list would not be available to others. Sankaradas
swamigal in his last days spent his life in Pondicherry and breathed his last
here on 13 th November 1922. There is a memorial here in the graveyard at
Karuvadikuppam Pondicherry where Government of Pondicherry every year celebrates
the anniversary of swamigal. Swamigal simplified the classical music and brought
it nearer to the common masses. In the history of Tamil music this marks a
turning point.
Delving deep into the emergence and uniqueness of Swamigal, Arimalam Padmanaban says that “Gopalakrishna Bharathiar wrote Nandan sarithra keerthanaigal, which marked the revival of the Tamil musical tradition. Following his footsteps Mahakavi Subramania Bharathiar used the same musical notes of Gopalakrishna Bharathiar and wrote songs. Ariyakudi Ramanuja Iyengar brought Tirupavai and Tiruvembai into the Tamil musical usage. Bharathidasan in order to spread Tamil music with help of Telugu scholars translated Thiyagarajas keerthanaihal into Tamil. For instance Thigaraja’s sani thodi deve o manasa in arikambothi raga was rendered into Tamil by Bharathidasan as thathi kooti vaaray o maname.” By such narrations Arimalam points out the cultural exchanges that has taken place and the blending of various musical traditions that run like streams of the same river called humanist culture.
courtesy: The New Indian Express - weekend-12.01.2005
UNIVERSAL FESTIVAL OF HARVEST
Tamils are celebrating Pongal.
This
festival of harvest is
universal one practiced by remote tribes on earth and people of various
cultures, which again proves the oneness of humanity.
In the Volga region when the Sun
was moving in the direction of spring, people came together to forecast the
future harvest. The Mari and Chuvashes, tribal groups in Volga region prepared
special food for this festival of harvest. These festivals were connected with
first ploughing and sowing. The festivities took place in the field. A little
bit of food was sacrificed to Mother Earth.
Slav people had their sun
deities. They were called Svarog, Dazhbog, and Khors.The word god (bag)
is same in all Slavic languages. You can see the resemblance with Iranian baga
and Indian bhagwan with the Slavic bag. These similarities also
remind us that beliefs are universal.
The Zulus of South Africa worshipped the Goddess
Nomkubulwana. They believed that this goddess made land fertile and was the
mythical originator of agriculture. Only women did all farming work among Zulu
tribes and they only performed rites and chanted prayers for a good harvest.
Almost all people of the
Caucasus region worshipped guardians of harvest and other kind of livestock.
Does it make us think about Maattu Pongal, thanksgiving to cattle
prevalent among Tamil people.
Celtic gods were guardians of
fertility and agriculture. River Gods and Spring Gods were existent. Esus was
the god of plant life.
In Mexico the agrarian influence
could be seen in the Uitzilopochtti cult. During the celebrations
held twice a year an enormous dummy of the God was made out of flour dough and
honey. After the religious rites are over the figure was broken into pieces and
eaten by all the participants.
In the Chinese civilization the
cult of Shen-nong i.e Divine Farmer is note worthy. The legendary
Divine Farmer is supposed to have invented agriculture. A special sacrificial
altar was devoted to him in Peking, where the emperor solemnly brought
offerings. In early spring every year an important state ceremony was held to
mark the first ploughing season. The Chinese Emperor accompanied by prominent
dignitaries ploughed a furrow on a sacred plot of the land. The God of the land
was known as She and peasants offered sacrifices to her as part of
spring and autumn rituals.
In the Shintoist religion of Japan the most revered Gods are Amaterasu
i.e Sun Goddess and Inari i.e Rice Man, the guardian of farming
portrayed with two rice stalks and often together with a Fox.
In the ancient Egyptian religion
the God Osiris deserves mention. Every year Egyptians celebrated
the death and resurrection of Osiris. The image of Osiris was made
out of sown wheat on the layer of soil that was sprinkled into a special wooden
frame. These festivities lasted 18 days and involved ritual plouging and sowing.
Osiris is the direct personification of grain.
In Asia Minor the Mother of the
Gods was named Ma, Rhea, and Cybele.
Her husband was a young god of fertility named as Attis. There is
also another myth about the deity of plant life and fertility. God Telepinus
once suddenly disappeared it is stated. Because of his disappearance grass dried
up. Fields failed to yield crops. Cattle stopped multiplying. Woman no longer
bore children. To put an end to this state of affairs the other gods organized a
search for this God. A bee found him and awakened him, so goes the myth.
In Greek religion in the
agricultural cult Demeter, the goddess was offered with bloodless
offerings like fruits, grapes, honey combs and freshly reared sheep wool. These
offerings were placed on an altar and covered with olive oil. Numerous such
stories, myths and beliefs could be found in various civilizations. The Greek
Goddess Hera wife of God Zeus was apparently a cow
goddess. Signs of cow worship were found in excavations. It is heartening to
note that Tamils worshipping cow goddess in Maattu Pongal times is
a practice found in Greek civilization too.
In the Roman religion in the
first month of spring March , festivities were held in honour of Mars.
Faunus was the guardian angel of livestocks and he was the god of
shepherds. At the end of winter on Feb 17 a jolly holiday Lupercalis
was celebrated in her honour. Liber was the god of wine making. Saturnus
the god of sowing. Jupiter the god of grapes.
Romans too worshipped gods as Pax (Peace), Spes (Hope),
and Virtus( valour), Justitia (Justice), Fortuna( Happiness) etc. If we analyze
at the concepts on religion in various cultures we can understand its inherent
meanings. Mankind had been striving to be grateful to Nature and agricultural
festivities like Pongal demonstrate this common urge of human
race, which is one and indivisible. While Tamil people hail Pongalo Pongal
and thank Nature for its kindness, Harvest festivals of
various civilizations reminds us that our festival has universal appeal.
courtesy: The New Indian Express- weekend 22.01.2005
PONDICHERRY STONE INSCRIPTIONS
Monuments, Inscriptions and copper plates speak. They reveal the past. Epigraphists unearth history hidden in these. There are around 535 stone inscriptions found out till date which includes Sanskrit (4), Kannada (2), Latin (1), French (2), Armenian (1) and most of the ones in Tamil. Late Pulavar Kuppusamy and Villianur Venkatesan did the compiling of these epigraphs. Professor Vijayavenugopal Senior Research Fellow of the Epigraphy Section of Ecole Francaise D’ Extreme-Orient of Pondicherry had translated these and a new book is on the anvil.
For more than 1000 years of our history could be traced in these stone inscriptions. The rule of Rastrakooda king Kannaradevan comes to light through 16 inscriptions. Similarly sixteen Chozha Emperors have ruled Pondicherry region, which is recorded in 220 inscriptions. Eight Pandyan kings (18), Two later Pallavas (13), Thirteen Vijayanagara Kings (27) and under Sambuvaraiyer (3) are the break up of the total 535 stone inscriptions found in and around Pondicherry.
Almost all major villages of Pondicherry and Karaikal regions have these inscriptions namely Thirubuvanai (188), Madagadipattu (83), Thirunallaru (51), Villianur (50), Thiruvandarkoil (42), Bahour (45), Pondicherry (30). In Karaikal region at Karaikal (10), Thirumalairayanpattinam (6), Nallambal (7), Mathur (1), Nedungadu (1), Sethur (3), Sorakudi (1), Melponsethi (1) Pandasozhanur (7), Thirukanji (3), Kariamaniccam (2), Keezhkasakudi (2), Melkasakudi (1) and Dharmapuram (1).
Coming to recent past a monument of a brave soldier reminds us about the year 1778 when Pondicherry was under siege by the British. The brave sons of Pondicherry with only 1000 soldiers defended their soil fiercely against the 24,000 attackers. An isolated commemorative stele of a brave Englishman Captain Aug de Morgan killed by the French artillery on 11 th October 1778 stands on a barren terrain near Jipmer Hospital. This monument reminds us of not only the bravery of Pondicherrians but also their nobility to pay due respects even to the enemy warrior.
Another Tomb of Pauline
de Kerjean nephew of Dupliex, a little girl who served in the Deccan wars
epitomizes brave French womanhood.” The skulls, bats and tibia are symbols
more sinister than comforting flames that represent the eternal soul,” writes
M.Bourdat, Professor of Literature in Lycee Francaise.
The Annual Reports of Indian Epigraphy 1887-1905 is the first of its kind in Indian subcontinent on listing out the various stone inscriptions. J.Burges, the Director General of Archaeological Survey of India and E.Holtzsch, the Epigraphist of the Archaeological Survey of South India are the pioneers who laid down the foundation for epigraphic studies. In French India at the same time French scholars have unearthed many stone inscriptions. Jouveau Dubaille found a stone monument in the garden in front of present day Raj Niwas which speaks about the fortifications on the shore together with“ Port Marine” built by Joseph Françoise Dupliex, the Governor of Pondicherry.
While these speak about recent history stone inscriptions are useful to know how this area was ruled. Though 535 epigraphs speak about various rulers at most of the period Pondicherry was part and parcel of Nadu Nadu, which means middle country. There are historical reasons for this region to be called as Nadu Nadu. The Pallava rule did not extend up to Pennaiyaaru and Chozha rule was up to Vellaru. In between these around 10 small states were there such as Vanagoppadi, Singapuranaadu, Oymanaadu, Vesalipadi nadu etc. These areas ruled by small states were called Nadunadu. The Saivite book of hymns Thevaram calls the pilgrimage centers in this region as Nadu Naattu thirupathigal.
From these inscriptions we understand how the territory was divided into Mandalam, Kottam, Kootram similar to District, Taluk and Panchayat. The subdivisions for purpose of revenue have been divided into 28 valanaadugal. Athiraja valanaadu was named after Rajathirajan I. This comes to public notice while epigraphists found this inscription at Tirunallar which belonged to the regime of Rajendra II.
The newly awaited book by the Ecole Francaise D’Extreme Orient had generated lot of interest among public, as they are hoping that this book will throw more light on how this region was ruled and what were the social customs prevailing during that period etc. For instance in one inscription dating back to 1000 years in Bahur the word untouchable (Theendathagar) is used, wherein the tank desalting work was forbidden to untouchables since that water reaches the deity. That may be the first instance of that word being used, scholars opine.
Anyhow stones reflect the societal practices of those days be it good or bad. A true historical perspective emerges, and Pondicherrians come to understand their region more with scholars throwing more light.
courtesy: The New Indian Express-weekend 16.04.2005
MOTHER TONGUE TAMIL
AS
MEDIUM OF INSTRUCTION:
If anyone says, “I will not speak English” in England he or she won’t, say it in English. They will say “ Me na vyn cows sawsnak”. Who are these people? They were the speakers of Cornish, a language of Cornwall England, which became extinct in 1777. A Primary school in Pondicherry Chief Minister’s constituency “Periyavar Swaminathan Ninaivu Palli” has a motto. Study English but not Study in English. Both these language speakers by such assertions are for one goal. Preserving their native tongues. The first case is for revival of Cornish language, in which they are showing signs of achievement. Second case is an experiment to impart primary education in mother tongue fearing disappearance of Tamil in the thinking process and expressions. United States of America annexed Hawaii in 1898 and banned teaching of Hawaiian in schools. The Anglicization of education led to almost extinction of Hawaiian language. So to revive their mother tongue as medium of instruction Hawaiians created in 1983 “Aha Punana Leo” which means language nest. Aha Punana Leo was created to reintroduce their native language throughout the state including its public schools. Hawaiian language pre schools were opened in 1984 followed by secondary schools. By 1999 the first graduates in Hawaiian language came out of their colleges. This is a success story at the revival of a mother tongue. Linguists all over believe that out of 6120 languages spoken in the world 3400 will disappear by 2100. Many languages had become extinct. Manx, the language of Isles of Man disappeared in 1974 when its last speaker breathed his last. In the Caucasus region the death of a farmer in 1992 resulted in the death of Ubykh language. UNESCO had prepared a Red Book on Endangered Languages and to promote multilingualism had been celebrating International Mother Language Day on Febraury 21st every year from 2000. UNESCO adopted Universal Declaration on Cultural Diversity, which “ encourages international community to take steps to protect intangible heritage, including languages, in the same way natural and cultural treasures of tangible heritage are protected”. This is the way wind is blowing globally.
Every mother tongue
must be preserved seems to be the driving force for intellectual growth of
humanity. In a rare coincidence, in spite of being classical language efforts
are needed to revive the Tamil medium of instruction, for fear of extinction of
Tamil in everyday usage. And the primary school situated in the Chief Minister
N.Rangaswamy’s constituency is a school with a difference. They teach Spoken
English to nourish the proficiency of English language but at the same time want
to stimulate thinking process in Tamil. To commemorate the memory of Late
Swaminathan who was the President of Dravida Kazhagam in Pondicherry state
during seventies, his son S.Nedunchezian had donated land to Senthamizh Trust
for starting this school. N.M.
Thamizhmani who runs the Trust ran from pillar to post at every step to cross
hurdles and raised the finances to build this school. With the approval of the
Government of Pondicherry this school is conducting classes in PRE-KG, LKG, UKG
and from 1 st to 4 th standard.
A tiny baby Ashwini walks out of a class, we ask her “ In which class you are studying? She replies I am doing “Arumbu” which means pre-kinder garden. Lower Kinder garden (LKG) class is named as Mottu, UKG is known as Malar. The children call the Head Mistress as Amma, teachers as Akka and Annan. The star performer of the school Nilavarasi who studied from pre kg here and now in IV th standard states that “Our teachers never used cane, never threatened us, we are brought up with love and care”. Nilavarasi now is the star dancer of the school that teaches Music, Dance, Painting and Computers too. She and all the children are proud of their school. It is surprising that amidst craze for English education in the mushrooming private primary schools, parents are willing to send their children to a Tamil medium primary school. If the history of education in Pondicherry is written from the days of French many institutions have come up and grown with the help of philanthropists. This Tamil Primary School is another example of the public contribution in education. It is surprising to find these children doing well in spoken English classes, and justifying their motto “Study English but not Study in English”. They are proficient in both languages. A pre-kg student is able to recite 30” Thirukural “stanzas with ease.
Looking to America, the speakers of 540 Native American languages admit that language is essential for perseverance of a culture of the past generations and that culture in turn is important to the future of native peoples. Many cultures and languages are racing with times to preserve their languages. Washington Post publishes a story ( 31.3.2003) about Northwest Tribe Struggles to Revive Its Language. Indian Country Today report ( 23.10.2002) speaks about a Meeting to preserve the Lakota language. Squeamish Nation puts together CD-ROM to teach its language. Native Language Institute works to stave off decline of traditional tongues. Linguist begins effort to preserve native Alaskan language. Christian Science Monitor story (11.6.2002) speaks about Tribal immersion schools rescuing language and culture. Research is on the Effects of Including Native Language and Culture in the Schools. You will be surprised at the attempts made at preserving the 540 native languages in America where we all think English is the undisputed monarch. Like preservation of flora and fauna, preservation of all languages is the goal of human race now. None wants uniformity but crave for unity amidst diversity. If we clone all human race as one alike, then the world will become the asylum of the mad. The Periyavar Swaminathan Memorial School is a living testimony for such struggle to preserve the native tongue and Senthamizh Trust led by N.M.Thamizh Mani shows the aspirations of miniscule sections of society who are torchbearers of the Gandhian concept to impart education in one’s mother tongue.
courtesy : The New
Indian Express-weekend-
Happy New Year2005 has begun with tears in every eye. Greetings were not exchanged by the grief stricken Asians. Prayers and mourning marked the mute celebrations. But if Chithirai 1st day comes in middle of April, Tamils will again celebrate Tamil New Year’s Day. Among the Tamils there are scholars who prefer January 15 th as beginning of Thiruvalluvar Aaandu 2036.. Telugus celebrate Ugadhi, their New Year. So it becomes evident that various calendars and New Years exist for various cultures.
There were two Mayan Calendars. One had 260 days and was a sacred calendar used for worship. The other one consisted of 365 days and was a seasonal calendar used for farming and normal daily life. The year was made up of 18 months of 20 days each with five additional days to bring the total to 365. This calendar defines a year of 18 months, each of 20 days, and five extra days, 365 days in total. These extra days were considered unlucky and so very little was done on them. Each year had a name and number combination as did the days in the The Tzolkin ( Mayan sacred calendar) but this time there were only 52 such combinations before repeating. This series was known as a 'bundle' or a 'Calendar Round'.
The two calendars of 260 days and 365 days run simultaneously and after a period of 52 years they will once more start on the same day. This is one of many cycles, which the Mayans kept track of. They were great astronomers and recorded the sunspot cycle and various planetary cycles. The longest cycle they discovered was the orbit of our solar system around Pleiades, a cycle of 26,000 years.
Most
of the recorded dates, which have been found, begin with ‘9’, which means
between (9 x 144000) days and (10 x 144000) days since the start of the long
count, which would equate to 436 AD to 829 AD. It is thought that when the long
count reaches 13.0.0.0.0 it is reset to 0.0.0.0.0 thus giving a period of
5125.37 years. This brings us to 22 Dec 2012 AD when either time ends or we
start a new Maya Era. By combining the long count and the Tzolkiun and Haab
dates it is possible to quote a date, which will be unique for a period of
374,152 years, or 73 Maya Eras. So perhaps we will be safe after 2012 AD after
all.
An information leaflet from the Royal Greenwich Observatory details the history of the calendar as a method for keeping track of the passage of time. L. E. Doggett speaks about the history of various calendars, including the Gregorian, Julian, Hebrew, Islamic, Indian, Chinese and explains the astronomical bases of calendars, calendar reform movements, and historical eras and chronologies. Chinese calendar states 1996 as the Year of the Rat and 1997as the Year of the Ox. Christian calendars calculate when Easter and its attendant Christian holidays (Ash Wednesday, Good Friday, and others) will fall in a particular year and also when other feast days in the Roman Catholic tradition will occur. Various algorithms used to calculate Easter's date, discusses when certain cultures adopted the Western method for determining the Easter date, and even posits that current formulas for determining the Easter date might not be valid in the far future.
Another
13-month calendar propositions are 13 months of four weeks and 28 days. In this
way, January 1 falls on the same weekday, year after year, unlike the current
calendar, in which January 1 falls on a different day from one year to the next.
In “The Triple Triumph of
the Moon,” Isaac Asimov’s second triumph spoke about how Neolithic man might
have come up with calendars and how this necessitated the gradual increase in
mathematical and intellectual ability. Having grasped the concept of the lunar
month, it is easy to see that twelve months roughly correspond to one cycle of
seasonal changes. This is a lot easier than counting 365 days. Such knowledge is
important in calculating the time one has till winter or a dry/rainy season.
Such knowledge is essential to the development of agriculture.
Realizing that this system of time keeping becomes less accurate over
time, more complicated methods are developed e.g. leap-months. A connection
between the study of such celestial patterns and the fortunes of mankind is
established. Hence, the rise of New Moon and Harvest Moon religious festivals
followed in time by the flowering of astronomy and astrology.
Courstesy: The New Indian Express-weekend-8.01.2005
INVENTOR OF NEW MUSICAL INSTRUMENT
Music through ages has seen many ups and downs. Many instruments faded away and new ones invented. " During the Sangam age and in 3 rd century A.D the lifetime of Karaikal Ammaiyar we learn through her poems that there existed 21 musical instruments in Tamil Nadu. "Yazh" the prime musical instrument was prominent till 7 th century A.D while Veena slowly captured its prime place. The Veena first found its mention in the Mootha Thirupathigam of Karaikal Ammaiyar and Thirugnanasambandar’s Thevaram. "Yazh " type of musical instruments still exists having emanated during the time of old Greek, Egyptian and Sumerian civilizations. Whereas in Tamil Nadu Yazh disappeared. Vipulananda Adigal who wrote Yazh Nool and Abraham Pandithar who wrote Karunamirtha Sagaram much before him have written how Yazh vanished from circulation but they have not stated why it disappeared and have not cited reasons." Laments Professor A.S.Gnanasambandan, a great Tamil researcher. But P.T.R.Kamala Thigarajan in his book Isai thamizhin Unmai Varalaru had explained valid reasons.
" The biography of Thirugnanasambandar marks an important stage in the development of the concept of gamaka and incidentally of the fretted veena. The strings of the yazh were tuned to the shruthi of the notes of suddha scales. Since it was plain instrument there were no provision to manipulate the grace and quarter tones figuring in megharaga kurinchi" explains Dr.Premalatha in her Doctoral thesis Music through Ages. These observations of researchers in music give us a clear picture with valid reasons for the disappearance of Yazh as prime instrument in Tamil musical world.
On how Veena developed and gained prominence, Dr.V.Premalatha says " From the description it is evident that Veena that was common during the time of King Harsha was an instrument with open strings like the bow-shaped harp. Therefore in the technique of Veena playing in the early stage the plectral technique was developed. This plectral technique by fingers of one or two hands continued till the time of Sarangadeva of 13 th century. It was only after Ramamatya of 16 th century constructed the modern Veena that Veena playing involved both plectral technique as well as manipulation of the strings by the fingers of the left hand". So researchers have explanations on how certain instruments disappear and how new instruments make its appearance and undergo changes during passage of times.
In our time we have an innovator in Pondicherry S.Gopakumar who had invented a percussion instrument and named it as Arumughanam. Arumughanam is more or less an Mrudangam but of six individual pieces, assembled together in half circled frame. It is easy to fix or unfix these heads. Out of these six faces one serves as Toppi. In the ancient Tamil musical treatise Koothanool the great scholar of those ages have mentioned about 9 faced Muzhavu. From one to nine faces they had musical instruments, but all lost in ravages of time. And our Gopakumar, on whom the Government of Pondicherry had conferred the prestigious Kalaimamani award for 2003-2004, had invented Arumughanam earning the praise of scholars.
Padma Vibushan Dr.M.Balamuralikrishna in his tribute to the innovator says as follows tracing his ancestry to achievements." It is well known to all musicians of South India that Mullamoodu Bhagavatas were musicians, hereditarily attached to the Royal court of Maharaja Swathi Thiunaal of Travancore, a king among composers. Members of this Mullamoodu family like Thiru Manikutti Bhagavata and Thiru Pichandi Bhagavata continued music as their career, both performing and teaching, they being vocalists, violinists or mrudangists. The latter’s grandson Thiru. S.Gopakumar working as Mrudangam Lecturer in Bharathiar Palkalaikoodam Pondicherry is a good mrudangam player and teacher but also an innovator. I witnessed his recent innovation, a new percussive instrument named as Arumughanam and appreciate his skills, noteworthy," says Dr.Balamurali Krishna.
" This is a percussive instrument with six faces placed on a seat of semi circle resembling the rising sun wit its rays surging upward. On the players left side is the first face, which will be in low pitch. It is being called dommugham because it produces rhythmic syllable "dom". The second face, which produces the syllable "tha", is called thamugham, which raises a high pitch. The musical note madhyama sounded in third face and it is called madhyamam. Fourth face is Tara shadjam, which is known as Dheemmugham because the rhythmic syllable "dheem" is produced. The musical note panchama, the perfect fifth is produced in pamugham, which is the fifth face known as panchamam. Madya sthayi shadja comes out of 6 th face called as samugham. This percussion instrument can be used for solo or can be played with thalavathiyam, classical music and folk music. For both classical and folk dance this can be played with western instruments" says Kalaimamani Gopakumar. Innovations are welcome at all times and innovators need recognition in their lifetime. Thiru. Gopakumar is lucky with Government of Pondicherry Arts and Culture Department Director Miss N.Sumathy encouraging his performances through various programmes in and around Pondicherry while Kalaimamani title conferred recently proves his achievement.
MAYYAZHI: THE FRENCH COLONY
The French wanted a foothold in the Arabian Coast. Pepper and cardamom were their main attractions. In order to be closer to sources of these spices French obtained permission from the Prince of Badagara to set up their establishment in Mahe by a treaty signed on 2 nd April 1721. Mahe is a word derived from “Mayyazhi” a river in which small boats could navigate up to 3 kilometers inland from the estuary. The possession of Mahe does not come easy to the French. The French had to face the fury of the British and hostility of the Iruvalinad Nambiars. Rulers of Badagara drove French out soon after giving it to French. But in December 1721, Marquis of Paradillan recovered Mahe for the French. Again in 1726 another peace treaty was signed between French and Molladin, the ruler of Badagara with 16 articles. In spite of the treaty the Nayar Chiefs especially the ruler of Badagara seems not to have been happy with the French. It reached a culminating point when the ruler of Badagara blockaded Mahe for 18 months. The French fleet under Mahe de Labourdonnais recovered Mahe and a peace treaty of 24 th January 1742 was inked. Earlier on December 1741 a peace treaty was signed with the four Nambiars (Local chiefs) who ruled over the territories on the right of the Mayyazhi River. Kunhi Nayar gave the small territory of Kallayi to the French in the same year. The Nayar of Kurungod became an ally of the French and with his help French were able to defeat all the neighboring Nayar and Nambiar chiefs. British captured Mahe and Pondicherry in 1761. Mahe was razed to ground and when recovered in 1765 French had to rebuild. Hyder Ali visited Mahe in 1766 April and ten years later he gifted villages of Pallur, Pandakkal and Nallathura and adjoining areas. This is how Mayyazhi came under French colonial rule explains J.B.P.More in his recent book on Mahe. And still Mahe fails to regain its old name and remains content with being Mahe, a version corroborating the name of French Chief Mahe de Labourdonnais .
J.B.P.More specializes
on Muslims and Dravidian inter cultural actions. His book “ Muslim
Identity, Print Culture and the Dravidian Factor in Tamil Nadu” focuses on
“Muslim Politics in Tamil Nadu in the context of Colonialism and their
response to modernity in the two decades before India’s freedom. In this book
the author recapitulates some of the themes and information but expands upon
them in the backdrop of print in Tamil Nadu and in relation to Tamil identity
politics as championed by the Dravidian movement under Periyar E.V.Ramasamy and
Anna” opines A.R.Venkatachalapathy in a review of this book in the columns of
The Hindu dated 12 th October 2004. His first book
“Political Evolution of the Muslims of Tamil Nadu and Madras
1930-1947” published by Orient Longman Limited in 1997 won the prestigious
Book Room International Award for the year 1998.
In view of his French nationality and permanent residence at France, though yearly visits to his home next to Raj Niwas in Ponduicherry keeps his contacts with his roots alive, JBP More has the opportunity to frequent the libraries of Paris. In the “Bibliotheque Nationale” of Paris he found a book on Bhagawatha Purana written by Maridas Poulle in 1769. More was astonished to find the first Indologist’s book. Maridas Poulle is the first translator of a Tamil classic into French. Maridas Poulle (1721-1796) is a name unknown till J.B.P More unearthed his manuscripts from the Paris library. It must be noted that J.B.P.More is not a blood relative of Maridas Poulle. More reedited this book in 2004 and published in Pondicherry, which was widely distributed in France. J.B.P.More also proposes to publish further works of Maridas Poulle including his essays on Indian history.
J.B.P.More translated 40 poems of Mahakavi Bharathiar into French and brought out a full-scale book in French “ L’Inde face a’ Bharati, Le Poet Rebelle” This book speaks about Bharathis life, his literary activities with a special emphasize on the French influence in his writings. The writings of Voltaire, Victor Hugo, Proudan, and age of enlightenment had left a deep imprint in the poet’s vision. J.B.P.More traces these influences from Bharathiar’s works. One of the illustrious sons of Pondicherry’s soil had earnt recognition with his books. The book speak will place his name on high pedestal among social scientists and historians of Pondicherry.
courtesy: The New Indian Express-weekend 18.12.2004
A French girl driven by burning desire to gain proficiency in Tamil Dance came all the way from France to the erstwhile French colony of Pondicherry. Her quest did not end in disappointment when she found a choreographer to teach her the nuances of dance with perfection. Pondicherry Tamil Sangam, the cultural hub in the town one evening was stunned to listen a French girl speak in Tamil with her own accent and dance her way to their heart. The girl stood on a pot and performed the “Kuda koothu”, a dance form that is spoken in Tamil epic Silapathigaram. These dance forms were in vogue much before the time of Tamil epic Silapathikaram. The mythology says that a King Vanan, who got infuriated by the love affair between his daughter and the son of Love God Manmathan also known as Kaman, put him in a prison. Perhaps there was no POTA in those days may be POLA (Prevention of Love Act) existed.
To secure the release of Aniruthan, the son of Kaman, Lord Vishnu performed various peculiar dances known as “Vinotha Koothu” to distract the attention of the prison guard. The author of“ Pancha Marabu” Arivanar and Saint Thirumangai Azhvar in Nalayira Thivya Prabantham mention about Kuda koothu. This type of dance is nowadays called Karagattam. The folk dancers also call it Paanai Karagam in Tamil. In Andhra Pradesh this is called as Karagalu and Pooja-kunitha whereas in Karnataka its own version of pot dance is called as Puttakunitha. In Madya Pradesh, Gujarat, Rajasthan, Sikkim they have pot dances with different names in different regions. French girl Benedict Doe stayed in Murugan’s house and learnt this dance in short duration. Murugan also teaches freely at the Tamil Sangam premises to students and had many stage performances to his credit all over India.
Those who had seen
the late matinee idol M.G.Ramachandran and Padmini’s dance sequence in film
“Mannathimannan” will remember how difficult it is to draw some painting by
calculated and measured footwork while performing dancing. Painting in Tamil is
known as Chithiram and hence this dance form is known as Chithira natyam. The 16
th century book written by Gangai Muthu Nattuvanar called Natanathi Vathiya
Ranjanam narrates how this dance form emanated. At Thiruvalangadu a dance
competition between Lord Shiva and Goddess Kaali took place and in that
competition Lord Shiva performed Chithira Natyam. Lord Shiva had created 108
thandavas, i.e. dance variations to suit each and every occasion and in that 12
forms are unique. One of them is called “Uruthuba Thandava.” and that
thandava is Chithira Natyam.
In Epic Silapathigaram’s chapter Arangetru Kaathai this dance is mentioned as Chithira Karnam. Panchamarabu speaks about Vinotha Koothu and one of its types is Chithira Natyam. Chithira Natyam has many varieties named after the pictures drawn by footwork. In Radhabandam a dancer draws Temple Car, an Elephant in Gajabandham, a snake in Nagabandam, Eagle in Garuda Bandam, Elephant in Karikolam, Peacock in Mayurabandam, Lion in Simmabandam etc and these dances derived their names by the pictures drawn by the footwork of the danseuse. During 17 th century the Tanjore King Sagasi Maharaj in collaboration with a Poet Bharatha Kasinathan created a number of varieties of dances under the common title Vichithira Natiyam, that is peculiar dances. Thiagaraja Vinodha Chithra Prabandam and Sabdam Ennum Thala Sorkattu published by Thanjai Saraswathi Mahal speak about this dance under title Vichithtra Natya Marabu.
These dances were performed in court of the Emperor’s of Chola dynasty . They spread a Rathina Kambalam, floor mattress of silk and put soft and wet sand over it. While the dancers dance their foot impression will create the picture they want to present to our eyes. Murugan’s students nowadays spread a sponge pad of 10 x 15 feet and pour ink over it. Then they cover it with a white cloth. While dance is performed the impression emerges. His disciple and impressive dancer Miss. L.R.Krishnamithra is also teaching dances freely at Tamil Sangam Pondicherry. She performs with ease these Chithira Natyam and dances on the top of a clay pot, on the top of a 2 glass tumblers etc, winning numerable fans.
Through dance Murugan spreads his message of National integration and resolve against terrorism. The songs composed for the dances choreographed by him, and translated into English and Hindi are woven together in one dance titled National Procession to Abolish Terrorism and it is perfomed in 3 languages at the same time in succession. “We have forgotten our mother of United India after independence; in this occasion we have to gather to pray to Her to drive terrorism” so ends his appeal. But this traditional dance forms are adapted to inculcate apt messages of our times which is a laudable exercise. Reviving dances spoken in our epics and blending of dancing and painting in unique fashion highlights the greatness of the Tamil’s past which is relived in present by numerous young dancers getting trained continuously as a stream by the Tamil Sangam under Murugan’s and Krishnamithra’s guidance.
Courtesy: The New Indian Express-weekend 21.08.2004
Thiruvalluvar’s Thirukural is Tamils pride and everybody’s guide in life. Secularism, essence of our constitutional principles springs from each and every couplet of this great treatise of wisdom written 2000 years ago. And Sir C.P.Ramasamy Iyer places a befitting tribute to its grandeur on record. In his preface to the French Translation of Thirukural Sir C.P.Ramasamy Iyer says “ It has been rightly remarked that the Kural addresses itself to all classes and communities, and indeed to the whole human race and charges itself with the promulgation of virtue and of right conduct in the guise of familiar and friendly advice. In a series of pithy maxims, it lays down rules of universal acceptability dealing with most of our domestic and social problems and situations. In the well known words of the philosopher, Spinoza, it is written sub specie eternitate though characterized by tenderness and comprehensive human sympathy, human life and love in all their forms as well as the regular of existence in the social and economic fields are alike dealt with on the basis of practical spirituality”.
Thirukural, the secular
book on morals had been translated in many languages and is next to that of
Bible in the number of such translations. The French version of Thirukural
rendered by a great littérateur Mr.Gnanou Diagou had fascinated many scholars.
It is a matter of pride to all Pondicherrians that Mr.Gnanou Diagou is one of
the illustrious sons of this soil having earnt a name and fame in the 19th
century.Thirukural had been translated into the following languages. 1)
Burmese Mr. Myo Thant, Thirukkural 2) Chinese Mr.Chi Eng Hsi,
Thirukkural (1967) 3). Czech Mr. Kamil V Zvelebil, Thirukural (1952-1954 4)
Dutch Mr. D.Kat, Thirukural (Netherlands, 1964) 5) Fiji, Mr.S.L
Berwick, Na. Thirukkurala, 1964) 6) Finnish Mr. Aalto, Pentit, Kural -
The Ancient Tamil Classic (1972) 7) German Albrecht, Fenz and K.
Lalithambal: Thirukural von Thiruvalluvar aus dem Tamil, Madurai (1977), Mr.A.F
Cammera, Thirukural Leipzig (1803) Mr Karl. Graul, Der Kural des Thiruvalluvar,
(London 1854), Mr. Karl Graul, Der Tamu lische gnomes dichtar Thiruvalluvar,
(Leipzig, 1865) Mr.Frederick Rickert Thirukural, selections, (Berlin, 1847) Mr.
William and Norgate, Der Kural des Thiruvalluvar, (2nd ed, London, 1866) 8)
French Ariel, M, Kural de Thiruvalluvar (traduits du tamoul), Paris, 1848,
Barrigue de, Fontaineu, G, Le livre de l'amour de Thiruvalluva, Paris, 1889,
Danielou, Alain, Thiruvallouvar Kural, Pondicherry, 1942, Jacolliot, Louis,
Kural de Thiruvalluvar, (selections) Paris, 1767 Lamairesse, M, thirukural in
French, Pondicherry, 1867) 9) Latin Graul, Charles, Kural of
Thiruvalluvar, Tranquebar, 1866 Veeramamunivar, Thirukural (Books I and II),
London, 1930 10) Malay Ismail, Hussein: Thirukural sastera kalasik Tamil
yang, Kuala Lumpur, 1967,Ramily Bin Thakir Thirukural (in verses), Kuala Lumpur,
1964 11) Polish Umadevi,
Wandy Dynowskiev, Thiruvalluvar Kural, Madras, 1958 12) Russian
J.J Glazov and Krishnamurthi, A, Thirukural, a book on virtue, politics
and love, Moscow, 1963 Glazov, Thirukural
in couplets with illustrations, Moscow, 1974 13)Swedish Frykholm Ingya,
Thirukural, Uddavalla, 1971. The list is incomplete. The complete list of
languages in which Thirukural got translated is yet to be compiled. The irony is
we live in an age of information technology where at our fingertips we should
keep these facts. Many authors will boast that next to Bible the only other book
that was translated in many languages is Thirukural. Yet none bothers to compile
the data of all such translations undertaken and books published in various
languages. Let scholars and institutions start compiling such lists, uploading
in the Net to enable all Tamil lovers easy access. Particularly Pondicherry with
all its connections with France and with prestigious institutes like French
Institute functioning here it will be appropriate that better coordination
exists between Pondicherry University, Pondicherry Institute of Linguistics and
Culture which hopes to become a deemed University soon and other Tamil scholars
well versed in both the languages. A great bilingual scholar Desigam Pillai in
his book Tamizhagamum Frenchukararum dutifully records the services of
scholars who promoted cultural exchanges with zeal. The Jesuits priests who came
here to propagate their religion learnt Tamil and for the purpose of their
kinsmen to understand the nuances of Tamil they wrote many books in French. The
services of Mr.Boucher (1655-1732), Mr.De la Lane (1669-1746), Mr.Bouze
(1673-1735), Mr.Gargam (1690-1742), Mr.Calmette (1693-1740), Mr.Coeurdoux
(1699-1774) in writing books to help French acquire proficiency in Tamil, is
thus listed by Desigam Pillai. Mr.Desigam Pillai, a lawyer and Tamil scholar
also mentions the names of those who learnt Tamil. Mr.Perrin (1754-1820),
Mr.Maguy (1758-1822), Mr.Dubois (1770-1848), Mr.Dupuis (1806-1874), Mr.Mousset
(1808-1888), Mr.Legouste (1880-1863), Mr.Lap (1834-1893). These lists may be
tiring to normal readers. But it is a list to be remembered to understand the
cultural fraternity that developed between the French and Tamil-speaking
peoples.
Many scholars who collected the Tamil
manuscripts and palm leaf texts during their stay in Pondicherry had given them
to the Bibliotheque Nationale de Paris. Even now in many homes including this
writer there remains palm leaf texts ravaged by time. It is high time that
academic institutions in the soil of Pondicherry and the Governments here that
speak of heritage engage in a quest to collect all such texts, digitalize them
and microfilm such rare collections hidden in Museums of both countries and
private homes. Messrs.Mousset and Dupuis wrote the Dictionnaire Français
Tamoul (French Tamil Dictionary) running into 1270 pages and a Dictionnaire
Tamoul Français-2 Vols. (Tamil French Dictionary) running into 1660 pages.
Mr.Jules Gordin who came from France to contest an election here for the house
of elders and who became a French Senator took steps to start Tamil section in
the Paris University. The dream came true in 1879. From 1890 in the Ecole des
Langues Orientales Tamil classes became a reality. Mr. Vinson Julien wrote a
grammar called Manuel De La Language Tamoule Grammaire, Texts, Vocabulaire ,and
Mr.P.Lap, A Brege De La Grammaire Française Tomoule.Mr.M.J.Baulez wrote
on colloquial Tamil Méthode De Tamoul Vulgaire
These are the pioneers and many authors who
succeeded them had laid down firmly the path of inter cultural exchange and
language fraternity. To a layman it appears that in the post independence era,
these exchanges have mellowed down, and an impetus is needed to reactivate the
vigour with which Tamil was welcomed with open arms by French. The entire French
literature must be translated into Tamil and vice versa. The unfinished agenda
must be undertaken with renewed interest. Before the old generation that had
mastery over both languages bids adieu to earthly existence, these unfinished
tasks must be taken up with urgency, while for younger generations the need to
nourish this cultural legacy left between the most lovable languages on earth,
becomes a quest with thirst for knowledge.
| N.Nandhivarman General Secretary DRAVIDA PERAVAI |
| 39 Montorsier Street Pondicherry 605001. India Tel:91-413-2221025 |
| email: annaist@sify.com |
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