इंतज़ार है...

चित्र:लता 

अब भी रोज़ सुबह क्षितिज पर वह हाज़री लगाता होगा
कभी सिंदूरी, कभी नारंगी, तो कभी सुनहरा पीला
तुम उसके स्वागत में कभी उछलते होगे, कभी मचलते होगे
तो कभी रूठे हुए बच्चे की तरह गुमसुम रहते होगे
अब भी तुम्हारी लहरें दौड़-दौड़कर किनारे को चूमती होंगी
मटमैली रेत तुम्हारे दूधिया झाग से लगातार सराबोर होती होगी
आसमान में उन्मुक्त पंछी अठखेलियाँ करते, गाते होंगे
नटखट बादल रूप बदल-बदल कर फ़लक पर छाते होंगे


कभी तुम्हारी लहरों पर नौकाओं में मछुआरे हिलोरें लिया करते थे
और तट पर सैर करनेवाले तेज़-तेज़ चला करते थे 
कोई मित्रों के साथ होता, तो कोई बिलकुल अकेला
कोई मुँड़ेर पर सुस्ताता, तो कोई बिना रुके ही चला
कोई अपने कैमरे में तस्वीर क़ैद करता
कभी सामने तुम होते, तो कभी उसकी प्रेमिका
तुमसे उठती ठंडी बयार से तरोताज़ा होकर हम
दिन की शुरुआत किया करते थे एकदम खुश-फ़हम


लेकिन अब तो उसके आने की ख़बर तब होती है
जब खिड़की पर गुनगुनी धूप दस्तक देती है
सूना पड़ा होगा तुम्हारा तट
और सूनी हैं गलियाँ
घर से बाहर निकलने पर
जो लग गई हैं पाबंदियाँ
इंतज़ार है फ़िर से तुम्हें देखने का
और तुम्हारे नित-नए रूप के साथ हर दिन का आग़ाज़ करने का

Second Act With Manisha Koirala!

I was at the Hindu Lit For Life (Hindu LFL) that concluded in Chennai recently. It is a big event and there are parallel sessions running in different spaces at any given time. So it is practically not possible for anybody to attend all sessions. One chooses what one wants and plans accordingly. I had decided on attending quite a few, and a session with Manisha Koirala was one of them. Titled "Second Act", it was to feature her in conversation with Dr. Sheela Nambiar, an obstetrician and gynaecologist by training who also practises Lifestyle Medicine. and is a fitness consultant. 

I remember Manisha as a beautiful and competent actress, having seen her performances in "1942: A Love Story" (1994), "Agni Sakshi" (1996),  Khamoshi: The Musical (1996) and some other films. Reports of her being struck by ovarian cancer emerged some time in 2012-2013. She put up a brave fight and emerged victorious after surgery and treatment in the USA. Her book "Healed: How Cancer Gave Me A New Life", published by Penguin India in 2018 tells the story of her battle with the dreaded disease. She was at the Hindu LFL to talk about this difficult chapter in her life.

She came on the stage dressed in a dark blue and white ensemble-- a mix of blouse/top and salwar/dhoti, her hair pulled back and tied in a severe bun. She smiled a lot and established an instant rapport not only with Dr. Nambiar, but also with the audience. She looked calm and at peace with herself in spite of the ravages of time and cancer on her lovely face.

She talked of her reckless lifestyle when she was at the peak of her career, and the resultant neglect of health. How she went into a denial mode after she learnt of her cancer, thinking all the time that perhaps the doctors had made a mistake, maybe the reports were wrong. Then the painful treatment and its aftermath. How her family, her mother in particular, provided solid support to her during those testing times. How thinking positively helped her overcome her disease. How important it is to be strong and optimistic even while going through unbearable pain. How this phase has taught her to take care of her body, to make the most of what life has to offer, to live.

Dr. Nambiar was understanding and supportive all along, allowing Manisha to be in her comfort zone. Manisha, on the other hand was frank and quite open. She said it was important to keep negativity and resentment at bay, and move on with one's life. She has understood the importance of giving, not just money; but time, love and care to others. She has emerged out of her ordeal as a better person, more compassionate, more loving, more giving. 

She has resumed work after recovery. She appeared in "Dear Maya" in 2017, then in a Netflix anthology "Lust Stories", and essayed the role of Nargis in Sanjay Dutt's biopic "Sanju" in 2018. She will continue working, but currently she is training for a trek to the Everest base camp that she plans to undertake with her friends.

The audience cheered her throughout the interaction. Reacting to a question she disclosed that the doctors had still not said that she was completely cured--I have told myself that I am cured now. When somebody asked if she thought of committing suicide at any point of time, she laughed and said, I had cancer already, why would I think of suicide. The 50-minute interaction was full of warmth, honesty and smiles. 

I am happy I sat in, it gave me a chance to see the person behind the larger-than-life image of a film actress. Somebody from the audience summed it up well when he got up and said to Manisha, "We heard all the other talks with our mind, but your talk has touched our hearts ma'am!" 

Face To Face With Kathakali At Kalakshetra!

The beats of the maddalam and the chenda can be heard from a distance. They mean that a Kathakali performance is about to begin. The drummers (not seen in the accompanying picture) are standing in the portico of the beautiful Rukmini Arangam at the Kalakshetra in Chennai. 

Photo by Lata

Now, watching Kathakali is a multi-layered experience. You have to decide whether to be completely taken in by the elaborate make up and colourful costumes of the actors, or to listen to the wonderful verses in Manipravalam (a mix of Malayalam and Sanskrit), or be mesmerised by the energetic accompanying music, or to pay attention to the exquisite hand gestures, or to follow the movement of eyes and facial muscles of the artiste, or to absorb and appreciate the spectacle in its entirety. 

For people used to watching other dance forms, it may take a while to appreciate Kathakali. But once you get past the initial awe, and overcome the unfamiliarity; Kathakali opens up to you and embraces you in its majestic grandeur and subtle nuances. And when you realise how rigorous and demanding the training that the artistes undergo is, you simply bow to them with reverence.

Kathakali (literally meaning story play) is drama, dance, storytelling, folk art, and mime all rolled into one. Ideally the training should start when one is in early teens. There are excellent residential schools in Kerala imparting lessons. In fact the initial training to get one's body adapted to this dance form is very similar to what students of kalaripayattu (traditional martial art from Kerala) go through. The aspirants work hard for years to get complete control over their bodies including eyes and facial muscles. And then they have to learn to be comfortable in the make up, costume and jewellery all of which weighs several kilos if put together.

I watched some videos to get an idea about the process of wearing make up, costumes and jewellery for Kathakali. And the two words that came to my mind on watching those were: patience and surrender. An actor must have these qualities in abundance to be a good practitioner of this art. It takes between three and five hours to get ready, with the actor lying down flat on the floor to get his or her face painted by an expert. There is a prescribed colour code, and colours are used according to the character being played.  All the ingredients are natural and the coloured pastes are prepared freshly before the performance. Then putting the costume and jewellery on oneself is again an arduous task. The striking face paints, the bold headgear, the exaggerated eye make up, the curved extensions stuck from the chin to either side on the jawbones, the shiny discs that hide the ears, the ornaments around the neck and on the arms, the umbrella-shaped skirt held aloft by layers of pleated strips of cloth tied around the waist with a rope, the metallic nail extensions making fingers of the left hand look longer, waist-length hair extensions, the pleated pieces of cloth worn around the neck with their knotted ends dangling in front, and the red eyes make for a larger-than-life image of a character. I found that actors insert a part of a particular flower in their eyes to make them red. The reason? Else the eyes would look pale compared to other bright colours on the face.

Now the artiste is all set and ready for the act. Almost all the Kathakali stories are derived from mythological texts, so the plays are often long and go on for several hours. The stage is mostly bare other than the mandatory kalavilakku (oil lamp) placed in the front. The major characters usually enter the stage from behind a curtain held by two men. They pay their respects to the drums, drummers and singers before starting their performance. And then the story unfolds to the tune of the songs, the clang of the cymbals, the beat of the drums and the precise gestures and movements of the player. The dedication and devotion of all the performers is amazing. The actors bear the weight of their costume and accessories, while the drummers bear the weight of their drums, for hours and in a standing position. They bring alive a delicate romantic scene and a ferocious war scene with equal ease, the drumbeats reaching a deafening level during depictions of combat.

Kathakali was an all-male domain until some time ago. Female characters were also enacted by men. Now with women entering the world of Kathakali, the scene is slowly changing. 

Photo by Lata

It is always a pleasure to watch a Kathakali performance at Kalakshetra. Kathakali is traditionally performed in the open air, so the open and informal theatre suits it completely. The totally natural ambience, the lovely students in traditional sarees and veshtis, the fragrance of sambrani, the kolams, the floral decorations, the oil lamps, the picture of Rukmini Devi Arundale standing gracefully,  and the image of Nataraja all add up to make the experience magical and memorable. The five-day Kathakali festival which concluded last week was a perfect way to inaugurate the recently renovated performance space--Rukmini Arangam. Thank you Kalakshetra and Guru Sadanam Balakrishnan for putting together this fabulous treat!

Read my previous post on Kathakali here.

It Is Margazhi, Chennai Is Singing And Dancing!

The music season is on in Chennai. Corresponding with the Tamil month of Margazhi, this is the time of the year when the city celebrates its love for music and dance with hundreds of recitals in dozens of sabhas in the months of December-January. The weather in " hot-hotter-hottest" Chennai is at its best. Flocks of NRIs return home for a tryst with Carnatic music and Bharatanatyam, for a taste of mouthwatering goodies in the sabha canteens, and for a reunion with family and friends.

When it comes to Carnatic music and Bharatanatyam, I am a novice. So don't expect technical inputs on these classical art forms from me! However, I do enjoy going to concerts and soaking in the lovely atmosphere there. It is as if the whole city is enjoying a festival. Maamis in their best silk sarees -- diamonds sparkling in their nose and ears--, NRIs showing their city and its culture to their foreign-born kids, visitors and tourists from other parts of India as well as other countries, connoisseurs from the city who are adept at the art of sabha-hopping honed from years of experience; and students, practitioners and teachers of music and dance are all there relishing this annual extravaganza.

I caught up a bit with the cultural scene during last few days. Chennai as a city rises early. The concerts start from as early as eight in the morning. Usually the morning and afternoon sessions are free for all, while the late afternoon and evening slots require a ticket. I chose a post-lunch Nadaswaram recital by Kollangode R. Subramani and Parali E. Gowtham at the well-known Narada Gana Sabha. The Nadaswaram and Thavil combo presented a high-energy, high decibel performance. I wonder why the musicians were not acknowledging each other through gestures, words of appreciation or smiles. These would have added a lot to their performance.

I tried buying a ticket to the violin recital by Akkarai sisters at the same venue later in the day, but alas, it was sold out. I quickly glanced through my copy of the newspaper to explore other possibilities in the neighbourhood. Decided to try a vocal recital by N. R. Prashanth. It was conveniently scheduled in the auditorium of PS School on RK Mutt Road in Mylapore. The Kapaleeswarar Temple almost next door was going to be my next stop later in the evening so the location suited me fine. I enjoyed the concert a lot. The rapport between the singer, the violinist and the mridangam player was great and that made the recital delightful.The thin attendance in the auditorium was a bit of a dampener for me, but gladly not for the artists.

Later at the temple, it was a vocal recital by an all-women ensemble. Led by the graceful Saashwathi Prabhu, the women sang several devotional compositions. The imposing gopuram of the ancient temple provided a fitting backdrop to the proceedings. It was nice to see Aswini Srinivasan on the mridangam. She handled the instrument with poise and aplomb, earning a place for herself in the male-dominated bastion of the drum.

Another day, another performance. It is Bharatanatyam by Medha Hari. Her slender frame occupied the stage with amazing energy and grace. Considering that it was an early afternoon session, the auditorium was reasonably full with rasikas (connoisseurs) appreciating her nimble steps and movements. After this very enjoyable recital I stepped into another concert that was already in progress in another hall at the same venue. A vocal recital by Archana and Aarathi. It is common for sisters or brothers to perform as a team. I liked what I heard, but not what I saw.The lighting on the stage was so insufficient that the musicians looked dull. On the other hand, the whole auditorium was lit very brightly. It seems it is normal for the lights to be on in the auditorium during a Carnatic music concert. Later, when I saw the sisters at the canteen in natural light, they looked bright and lovely.

I decided to follow the pattern of the previous day and went to the PS School in Mylapore for a vocal recital by Snigdha Venkataramani. It turned out to be a well-attended concert, and very nice too.  What I liked about the recitals was that almost all of them began on time and ended at their stipulated time. There were no felicitations, introductions or speeches. Just artists directly face to face with the discerning audiences!

Photos by Lata

I ended the day with a Kathak presentation by dancer couple Hari and Chethana with their group in the Kapaleeswarar Temple. It was full of rhythm, colour and awesome footwork by the dancers. The flowing costumes of the performers looked magical during the numerous swirls. They even managed a change of costumes between performances making their act a visual delight. Their performance was enhanced by the ambience of the temple, so suited to the dance form. Sitting in the audience and watching them dance, I couldn't help thinking how appropriate the flowing garments are for the whirls in Kathak, while the tight costumes with a pleated fan in the lower garment that opens out beautifully when dancers strike the half-sitting (arai mandi) or full-sitting (muzhu mandi) pose are just right for Bharatanatyam.

Happy with my outings, when I looked up the performers later, I was even more impressed to learn that many of them have parallel careers in diverse fields. N R Prashanth is an engineering graduate in Instrumentation Technology from Mysore University. Medha Hari is a Chartered Accountant. Snigdha Venkataramani is not only a Carnatic vocalist, but also a Bharatanatyam dancer. In addition to this she has majored in Zoology and completed her Masters in Anthropology from Delhi University.

All this is very inspiring indeed!

A Snapshot From Chennai!

It is a hot summer morning. In Chennai, that doesn't deter people from stepping out. They are busy shopping, running errands, commuting to work, or hawking their wares. Some are walking with umbrellas and caps to keep the sun away.

This is a bustling neighbourhood, the skyline dominated by the ornate gopuram of the ancient Marundeeswarar Temple. A heavily fenced temple tank, and stalls selling flowers, fruits and puja items complete the picture.

Interspersed with the temple scenario are all kinds of shops, restaurants, small businesses, residential buildings, and offices. I am on my way to the bank when I spot a huge orange-coloured figure in the courtyard of the temple. Increased activity and decorations around the area tell me that the temple is hosting some festival. I make a note to come and take a look after I am done at the bank. I have other errands lined up for the morning so it will have to be a brief stop, but I want to do it.

A little while later, I am at the imposing gate of the temple. The large image is set in the entrance corridor. It stands on a platform that in turn is resting on two long horizontal poles. People will lift the poles on their shoulders and take the idol in a procession around the temple. But clearly it is not yet time. The palanquin bearers are waiting on the side, perched on one of the long poles.

Somebody is distributing prasad--that looks like pongal to me--amongst the visitors. Many people are lounging under the brightly painted designs on the ceiling of the corridor. Women in colourful sarees, with fragrant strings of flowers in their hair are buzzing about, gazing in wonder at the pot-bellied idol, collecting the prasad on a leaf plate,or just squatting on the floor soaking in the atmosphere. The men are either in casual wear or veshtis. Two more large idols--one of them is the Nandi Bull--are set on a side. Perhaps they have had their turn of going around on the palanquin, or they will go later.

The whole scene is far removed from the world outside, where it is a normal day and people are at work. This is a tranquil oasis with old-world, unhurried charm. This is quintessentially Chennai, allowing both worlds to co-exist naturally and happily in its bosom.

Resisting my urge to linger for a little longer, I make my way out, but not before taking a picture of the resplendent God.

Revisiting The Kalakshetra Saree

"Art is life. It is character. People think of art as if it were something far away from themselves. You may think of me as a dancer, an artist, but are you not going to be artist also? Have you not some art in you? My idea is that everyone is an artist, for everyone responds to beauty."

Rukmini Devi Arundale

Rukmini Devi is survived by Kalakshetra,  the magnificent academy she founded in 1936 for the preservation of traditional values in Indian arts and crafts, especially in the field of Bharatanatyam. It is a premier institute today, imparting training in classical dance and music to scores of students who go on to become dedicated teachers, researchers and performers of their art, taking it with them all over the world. Spread over a serene campus in Chennai, the institute reflects its founder's views on art and beauty in everything it does. The performance spaces, the classrooms, the lovely kolams, the colourful practice attire of the students, and the overall ambience oozes tradition and beauty.

I have had the pleasure of watching several dance dramas originally choreographed by Rukmimi Devi, and later revived by her illustrious students who are renowned dance gurus now. In all of them, not only the dance steps, but other things like the music and the costumes of the dancers are also presented according to her specifications.

The dance dramas are exquisite, but the focus of this post is on costumes and sarees. Rukmini Devi's aesthetic sense is evident in the beautifully colour co-ordinated costumes, with striking contrasts and unusual combinations. They are always very pleasant, and nothing is ever over-the-top.

Rukmini Devi maintained the same sense in her own sarees. She directed weavers to make elegant sarees for herself, and dance attires for her students. Slowly, a Kalakshetra saree came to be known as a precious possession amongst admirers.

Keeping in mind that textiles were an essential part of her dance dramas, Rukmini Devi had set up a weaving centre in a thatched hut in the premises just a year after Kalakshetra came into being. This not only gave means of livelihood to weavers, it also helped to keep the traditional craft alive at a time when markets were flooded with foreign-made clothes. That small hut has grown into a larger production unit called the Craft Education and Research Centre (CERC) over time.

Recently the CERC has revived some of Rukmini Devi's sarees. They are on view at an exhibition at the CERC until March 25. The original sarees are more than 50 years old. They are also part of the exhibition, neatly spread over white sheets on long tables. Also on view are the recreated sarees. There are 15 looms where inspired by the vision of Rukmini Devi, trained weavers are busy creating masterpieces in pure silk . Those who would like to own a piece of this beautiful heritage, can do so by placing an order for any of the sarees at the exhibition.

Photos by Lata

I am at the exhibition on a bright afternoon. The new sarees, neatly clipped to stands, are fluttering gently under the rotating ceiling fans. An artisan is bent over a parrot woven in one of the old sarees. Armed with a magnifying glass, he is busy transferring the pattern on a sheet of graph paper with dots and crosses. A little distance away, a stunning saree in yellow/orange and magenta is proudly displaying the same motif on its pallu. Besides four parrots, the pallu has two rows of shapely deer. The symmetry, proportions and colour scheme all complementing one another to make an outstanding work of art.

The CERC team is putting in a lot of hard work in creating these sarees. Everything from the yarn, to the zari, the motif, and the colour has to be just right. One feels a sense of loss looking at the original sarees, some in reasonable condition, some tattered. But at the same time, the newly woven creations swaying gently alongside reassure you about the preservation and continuation of this legacy.  

Simhanandini: A Feat With One's Feet!

Music and dance go hand in hand with temple rituals in South India. Temples were places where these arts thrived and flourished. Many of these arts have been carried forward by generations of practitioners. With changing times, they have moved from temples to performance spaces. Some of them are very much alive and are a part and parcel of cultural scenario across the country and abroad amongst art lovers. Others lagged behind because of their complexity, not having sufficient exposure and reach, the absence of enough performers or other reasons. But thanks to learners, researchers and performers, many of them are not only being revived but are also being practised and showcased in front of audiences across the world.

I witnessed one such gem recently. Called Simhanandini, it is a ritualistic temple dance belonging to the Kuchipudi style. This ritual calls for the dancer to draw an image of a lion using her feet. This is a part of worshipping the divine Goddess, the majestic lion being her vehicle. In olden times, devotees used to accomplish this feat in front of the temple chariot during Vijayadashami celebrations.

In the version that I saw, the dancer made deft use of her feet to draw the image in a large rectangle that had been filled with rangoli powder. Another way to do this is for the dancer to draw on a canvas after smearing her feet with coloured powder. The canvas can then be mounted on a frame for people to see her work.

The accompanying music for the performance is very special. It is set in six talas or rhythmic cycles, all adding up to the Simhanandana tala of 128 syllables or counts. The high-energy music and dance climax at the pièce de résistance: drawing a lion using the feet. 

What I saw was quite amazing. After what seemed like invoking the Goddess with the powerful music, the dancer entered the rectangle from the top left corner with small, firm steps and used her big toe to form an ear. Then with swift, gentle steps she moved across her "canvas" pressing her feet, at times forcefully, at times lightly; drawing face, body, legs and finally an upturned tale to create the magnificent simha. It did not take her long to create a wonderfully proportionate sketch prompting the audience to break into an admiring applause.

In the short break after the performance, people rushed to see the drawing from close quarters and take pictures. I managed to take just this one picture. It is not satisfactory, but just enough to get an idea of what all this is about.

There are two more variations of this art form. Called Mayura Kautvam and Mahalakshmi Udbhavam, they involve drawing a peacock and a lotus with one's feet. I am full of appreciation for the people who are working towards preserving these art forms and wish them well in their endeavour.  

I watched this performance at the Kalakshetra in Chennai. The dancer was noted Bharathanatyam and Kuchipudi exponent, Uma Murali.

Celebrating Oneness With Devotional Music

16 July 2016. It is supposed to be an evening of music at the beach. When I reach the venue, I find volunteers of the "Urur Olcott Kuppam Vizha" standing there holding a banner. They are politely directing visitors to a compound across the road saying there has been a change of venue. Sure enough, a colourful announcement has been put up at the gate of the compound. This lovely place is called "Spaces". It offers a platform for experimental work in the performing arts to artists and students.

Inside, it is a sprawling area having an old world charm. There are leafy trees and a good old well adding a nice touch to the ambience. There is a small performance area built in the Kerala style, complete with a stage and parapets along the boundary walls in the audience area for those who do not wish to squat on the floor. Volunteers are busy preparing the area for the evening's performances. The sudden change of venue has meant last minute hectic activity for them. But the saving grace is that the small theatre matches the mood of the event perfectly, informal and open.

Noted Carnatic vocalist T. M. Krishna, who is the main force behind this event echoes the sentiment of the people associated with this movement saying they wished they could have had the performances at the beach as planned. There are some permission issues. But they go ahead enthusiastically anyway. The evening opens with a group song by the children from the nearby fishing village, Urur Olcott Kuppam. They are smart and their presentation is well-prepared.

Now it is the turn of the singers belonging to the Nagore Sufi Trio, Abdul Ghani, Ajah Maideen and Saburmaideen Babha Sabeer. They come from the Nagore Dargah, a sufi shrine in coastal Tamil Nadu. They are dressed in flowing white robes, their green and pink turbans adding colour to their costumes. Their singing is full of devotion, energy and rhythm.

Next, several young men and women belonging to the Choirs of Angels from Loyola College take the stage. Their singing changes from mellow and soulful to rapid and exuberant at times. They manage to present a good sample from their repertoire.

The last performance of the evening is Namasankirtanam by Karthik Gnaneshwar and group. Their abhangas and bhajans are mesmerizing, the repetitive refrain taking the listeners in a trance. Devotion is of course the common theme for the evening, wonderfully highlighting the idea of "Celebrating Oneness" through different styles of music. 

The thought behind this movement is to make music accessible to people and learn from each other. And they do it while Celebrating Oneness, in keeping with their tag line.  I wish it a long life and look forward to being there for the next editions. I had enjoyed the first edition a lot. Here is my post on that.

Flowers From Korea, With Love!

Ggotggozi (or Ggotgozi) may be difficult to pronounce, but what it stands for is sheer beauty. It is the Korean art of flower arrangement!

The gallery at the Inko Centre in Chennai played host to an exhibition of this art from June 18 to 20. Inko Centre is an entity that is established with an aim to promote inter-cultural dialogue between India and Korea. This flower exhibition was one of their various activities.

As I entered the gallery, several cheerful arrangements greeted me with their colours and a faint, sweetish scent.

They stood elegantly in simple vases lined along the white walls. Leaves, twigs and flowers creating open, flowing designs that not only appeal to your senses, but also calm them.

Each arrangement soothes you, trying to hold your attention for just a wee bit more time, the tall twigs in them literally standing out proudly.

Sure, there are bright colours, but they are not overbearing. There is space, and a delicate lightness about the creations on display.

Talented artists representing different flower associations in Korea had put together this show in Chennai.

Flowers were especially flown in from Korea. Barring a couple of arrangements that had some dyed elements, all were natural.

Not much information is available on Ggotggozi. I wish the organizers had provided some, introducing this art to visitors in Chennai.

It would have been wonderful to meet the artists in person and get to know more about their art directly from them. But that was not possible.

However, their names are Lee Jong Im, Chairman, Im Flower Association--Jang Eun Ki, Chairman, Chang Hyun Flower Association--Kim Jung, Chairman, Ye In Flower Association--Kim Young Ae, Chairman, Bloomy Flower Association--Choi Myung Sook, Chairman, Korea Ggotggozi Association--Choi Jin Ok, Assistant Chairman, Korea Flower Arrangement Association and Chairman Ka Hyang Flower Association--Kivak Eun Joo, Chairman, in Chennai, India Git Bi Flower Association--Kim Joong Ae, Chairman, Git Bi Flower Association and Kina Eun Hee, Chairman, Eun Hyang Flower Association.

Photos by Lata

It was lovely seeing their charming creations! Hoping to see more of their art in times to come!!

At The Regional Rail Museum In Chennai!

I discovered a nice little place in Chennai that many parents might like to take their children to. Why only children, it might be of interest to adults too; especially those who are train enthusiasts. It is the Regional Rail Museum. I did not know of its existence until a few days ago. Situated in the premises of the Integrated Coach Factory, it has exhibits that are both indoor and outdoor, technical and heritage. The ticket office is in an out-of-use train coach. Along with tickets, one can get miniature models of coaches and cards as souvenirs here. There is a small food court outside, actually it is more of a food stall.

I spent some time at the museum recently. It was hot, but the trees and other plants made walking in the outdoor exhibit area bearable. The indoor exhibits are full of information in the form of posters, pictures and models. But the outdoor is more appealing to the eye. The magnificent engines and coaches standing in the lawns are a photographer's delight. And there is a toy train too. Here are some of my pictures, taken both indoor and outdoor.

This beauty is one of the outdoor exhibits.

What is a rail museum without a toy train?

A tiny train, a small platform!

 This lovely fountain close to the toy train station is refreshing on a hot summer day.

 Where there is a train, there is a tunnel too!

 One of the paintings on the outer wall of the tunnel.

The indoor exhibits have several "to scale" models of old and new coaches. This is a model of a III class wooden coach.

 A double decker coach.

 An LHB air-conditioned chair car.

A large area in the hall is occupied by a running scale model in three different levels representing the Metro train, the suburban train and the MRTS. A view of Indira Nagar station.

And a running model train.

This gleaming Fowler Plough Engine (1895) stands elegantly just outside the main building housing the indoor exhibits.

Almost all the outdoor exhibits are equipped with ladders which help one to climb up to the cabins to see the interior. This ladder is attached to a steam engine. In another area, there is a gigantic crane too.

Members of Chennai Weekend Artists, a group of amateur artists have adorned some walls at the museum with their colourful and bright art. A pretty sample!

I am told that the paints are supplied by the museum, while the artists give their precious time and talent. The result is beautiful!

A little hut storing some maintenance or gardening tools has this impressive engine roaring out of its walls!

Playing With Clay!

Kalakshetra Foundation is hosting Earth Matters II, a month-long Indo-Korean Ceramic Residency in its sprawling campus in Thiruvanmiyur, Chennai from 19 January to 23 February 2015. It is being organized by the InKo Centre in association with the Arts Council Korea (ARKO), Lalit Kala Akademi and the Kalakshetra Foundation. This project is the second in the series in India. The first edition took place in January 2012.

The residency has brought together 12 ceramic artists--six each from India and Korea. They are Kim Seungtaek, Kim Jaegyu, Jung Hyesook, Kim Younghyun, Yoo Euijeong, Son Jinhee, Zaida Jacob, Phalguni Samanta, Srinia Chowdhury, Nidhi Chopra, Ashish Chowdhury and S Potrarasan. The residency will be followed by an Indo-Korean Ceramic Exhibition at Lalit Kala Akademi in Chennai from 25 February to 5 March 2015.

I was happy to be able to spend some time and see the artists at work at the studio in Kalakshetra. They looked happy to be working there too. There was friendly banter, laughter and sincere work, all happening at the same time in the serene locale on a bright January afternoon. Here's wishing all the artists a great time at the residency!

Since their work holds a visual appeal, I decided not to write about it in words, and let some more pictures from the studio speak instead. Take a look!