Kerala Murals

A kerala mural is a painting mainly seen on the walls, ceiling, of temples and palaces .It shows the events of pre-historic times and many themes from indian mythology. Kerala temples have a long history of fosteting culture... The cultural life of the people was centered around the local temple. People went there to listen to music, see plays, and attain peace sitting under a banyan tree with its leaves rustling in the breeze and murmuring the mantra of shanti.

Medieval artists in different parts of India were engaged in painting and the medium, at that time, was the walls of temples, palaces, and monuments. The subject of the wall painting used to be scenes from epics like the Ramayana and Mahabharata.

In kerala, only a few of the wall painting in temples survive as a reminder of the existence of this exquisite art form. Prominent places were ancient murals exist are the Padsmana swamy Shine in Thiruvananthapuram and the temples of Ettumanoor, Panaynarkavu and Guruvayur. Mural also adorn old palaces such as those at Padmanabhapuram, Krishnapuram and Mattancherry.

Kerala has a distinct temple culture. The rituals inside kerala temples are unique. The architecture and sculptue outside the temples is also distinct. The ceremonies too differ from those of temples in other parts of the country as they are performed with the accompaniment of special percussion instruments like the chenda. The art works in temples like Kathakali and ottamthul have no parallel as they have a truly distinct identity.

Sharp lines from the Skeletal support for the body of kerala murals and this unique features makes it distinguished and rich. Subjects for the murals are varied with gods, goddesses, saints, kings, birds,animals,plants,trees,creepers and flowers all in their natural splendour most commonly seen.

Murals are created on a meticulosuly prepared white surface. The colours are made from natural substances of mineral or vegetable orgin. For example red, brown and yellow pigments are made from soft stone powdered and refined while green colour comes from the leaves of herbs. Blue is derived from the indio plants. Black is made from the carbon deposited while burnin a wick dipped in vegetable oil. Even the brush is handmade from shoots of arrow grass deftly.tied to a bomboo stick In short nothing is brought from shop.

Kerala murals have a long history to their credit. The history dates back to the 16th century as discovered in the Edakkal Caves. Later in the mid seventeenth century, the revival of the Bhakti movement, gave a boost to mural art.

Major Attractions of Kerala Murals

Chitramathil - Longest out door Cement Mural in the world

- An Ambitious Project-

Mural Arts

Longest out door mural in the world, is neglected for many unknown reasons. Chitramathil or the Wall of Cement Murals is on the walls of Sree Sankaracharya University of Sanskrit, Kalady, and a small hamlet in Ernakulam District of Kerala, India and also the birthplace of Jagadguru Adi Sankaracharya. It was a masterpiece creation of artist K.K.Suresh. It is 1200x 5 ft. long, unique compound wall around university campus depicting various themes from Hindu Mythology and Puranas. It received an entry in the Limca Book of Records (ref. Pg.93) for being the longest Mural Wall.

Chitramathil at a glance:

• It received an entry in the Limca Book of Records (ref. Pg.93) for being the longest Mural Wall.
• The Chitramathil is the endeavor of a single artist- K.K.Suresh done by him within 66 days.
• The Objective of Chitramathil is to create an understanding about the rich Indian Culture and Tradition. It is a magnificent example that 'pictures speak better than words'.
• The Wall is divided into 120 units of 10ft. each. Scenes selected from Indian Mythology and Puranas are depicted on the wall- The scenes are from the life history of Adi Sankara (24 units-240 ft.), 108 karnas from Bharatha Munni's Natyasashtra (60 units-600ft.), Scenes from Kalidasas' Sakuntala (5 units-50ft.), Meghasandesha (5 units-50ft.), story of Vyasa (18 units-180 ft.), Ma Nishada (1 unit-10 ft.) etc are depicted on the Wall.
  
  
  
  MAJOR PROJECTS AND OTHER CREATIVE WORKS

CEMENT MURALS:

CHITRAMATHIL [Entry in the Limca Book of Records (ref. Pg.93)]

CHITRAMATHIL [1200x5FT]: The longest cement mural wall in the world is around the campus walls of Sree Sankaracharya university of Sanskrit, Kalady, Kerala [1200 X5 ft] depicts various themes from Indian puranas and Mythology, selected Scenes from life history of Adi Sankara- 108 Karnas from Bhartmuni’s Natyasashtra, Scenes from Kalidas Sakunthalam, Megha Sandesa, where each block tells of hedonistic mysteries, feudal system then exists and temples for a holy power that works with out being interpreted because also interpretation in the flux.

Massive Shivalingam at Kalady on the occasion of 1217th birth anniversary of Jagadguru Adi Sankara.

An 118 ft। high cloth sculpture designed by the artist was constructed at Adi Sankara Janmabhumi Kshetra, Kalady on the occasion of 1217th birth anniversary of Jagadguru Adi Sankara.

Why India should promote Organic farming

Why India should promote Organic farming
By K R Sreeni
Only organic methods can help small family farms survive, increase farm productivity, repair decades of environmental damage and knit communities into smaller, more sustainable distribution networks — all leading to improved food security in and around India.

We can notice the after effects of LPG [Liberation, Privatisation and Globalisation] world over and Kerala in particular.

Paddy fields and agriculture sector are slowly vanishing. People who used to cultivate rice are migrating into other fields. The most important challenge in front of the Kerala government is how to sustain fast growing populations and also to break the claim made by agribusiness industry that there is no alternative to using genetically modified crops in agriculture if 'we want to feed the world'.

We have to find a way out to escape from the brink of food disaster. Organic farming is one way to promote either self-sufficiency or food security in states like Kerala.

From last few years what we have seen in Kerala and farming sectors in some other states is the breeding of new crop varieties that could effectively use massive inputs of chemical fertilizers, and the use of toxic pesticides, which poisons the land and water heavily.

We also see the after-affects such as severe environmental consequences, including loss of topsoil, decrease in soil fertility, surface and ground water contamination, and loss of genetic diversity.

Now, the alternative we should look for is organic farming, which spells well for agricultural sector and the farming community. It is holistic production management system which promotes and enhances agro-ecosystem health, including biodiversity, biological cycles, and soil biological activity.

Many studies shown that organic farming methods can produce higher yields than conventional methods. We can see significant difference in soil health indicators such as nitrogen mineralization potential and microbial abundance and diversity, which were higher in the organic farms.

The increased soil health in organic farms also resulted in considerably lower disease incidence.

Organic farming systems always produce high yield crops and increase soil fertility and prevent loss of topsoil to erosion. Animal manure also provides enough nitrogen not only to sustain high crop yields but also to build up the nitrogen storage in the soil. This indirectly promotes farm house and couple livestock production to crop production, thus cycling this valuable byproduct back into the soil and eliminating costly environmental degradation.

The emphasis on small-scale family farms has the potential to revitalize rural areas and their economies. Small farmers, especially in the state like Kerala have integrated farming systems where they plant a variety of crops maximizing the use of their land.

They are also more likely to have livestock on their farm, which provides a variety of animal products to the local economy and manure for improving soil fertility.

Only organic methods can help small family farms survive, increase farm productivity, repair decades of environmental damage and knit communities into smaller, more sustainable distribution networks — all leading to improved food security in and around India.

Mrs. Sunitha Suresh Menon is a Soft Skills trainer

INTERVIEW

Today’s job market is vibrant and training the right persons for the right job is the most difficult task. Mrs. Sunitha Suresh Menon is a Soft Skills trainer who prepares candidates for airlines, BPOs, automobile industries and HR jobs. As all job profiles highly demand public interaction, appearance, dress code and communication skills she starts with their mind and body language, brushing them up with technical details and making them confident before the interview. When she turns back, she is satisfied with her achievements in the last three years. Presently she is a proprietor of Sunsmart-Center for Communication skills, Cochin . Mrs. Sunitha Suresh Menon , Soft Skills Trainer talks to Sreeni K.R about her role, vision and future aspects of soft skills training. Exactly what is soft skills training? Soft skills training is all about making a prospective candidate understand the relevance of good mannerisms and etiquettes so that he/she can adjust and sustain a job or activity in a multicultural background .Soft skills also involve familiarizing the candidate on how to present and perform effectively in his work or in an interview board so that his/her employability quotient gets a finishing touch in this globalised economy. In which areas is the training applicable? Soft skills can be given in any area but it is effective when a candidate joins a work force. It is also very effective during career searching period as well as for job aspirants and to enhance the productivity of employees in an organization. How long have you been working as a trainer? Share your experience? Since 4 years I have been working as a trainer. The influx of new career and global opportunities has opened the doors in all segments of societies. I have worked as an IELTS trainer for paramedics , nurses and also developed interview skills needed for the hospitality industry. You are preparing candidates for Airlines, BPOs, Automobile Industries and HR Jobs. What are the skills required for each job? All the above said sectors are public interactive jobs and require candidates with good communication skills, right attitude as well as aptitude and a lot of emotional intelligence. Today’s job market is totally vibrant. What are the qualities an employer looks for in an employee? Yes it is. It depends on the sectors on which candidate looking for the job. But other than the technical know-how, the employer looks for candidates with good learning instincts, right attitude, good communication and ability to sustain the job. A well groomed personality is a must in any hospitality industry. Define Personality. Does every job require Personality? Since the subject is all about employability it would be fitting to give the definition of personality as the sum total of intelligence quotient and emotional quotient. But immediately all of us have the tendency to correlate to physical appearance as well. This is also very important. Which is more important, personality or knowledge about the job? Both are equally important. If both are correlated well in a person, the chances are better in today’s vibrant job field. How do you improve the personality of people ? In which area do you train them? Generally the communication side is taken care of. I put them through FAQs, audios, visual presentations and psychometric tests because a lot of competition prevails in the industry. All this helps to improve the personality of a person. How do you build the confidence level in your students? Motivating and giving them the right kind of techniques to perform. Who is your source of inspiration? The source of inspiration is my family. And being a family person myself, the need to guide is quite natural. Explain your educational background? I have done my Master’s in Counselling and Guidance.

Dr. K.G Paulose , first Vice-Chancellor of the Kalamandalam Deemed University of Art and Culture

INTERVIEW

The name of the book is ‘Kodiyattom Theater, earliest Theater’. The book Dr. K.G Paulose The premier academy Kalamandalam was started by Padmabhooshan Vallathol Narayana Menon [ Mahakavi Vallathol] in 1930. He had before him models set by Rabindranath Tagore, the Shantiniketan in 1902 and Kalakshetra by Rukmini Devi Arundale in 1927. It was his dream to transform the institution into a university. The proposal for a university of deemed status was put forward during the tenure of O.N.V. Kurup as chairman of Kalamandalam (1996-2001).After lot of discussion and debate, Kalamandalam has attained the status of Deemed University and Dr. K.G Paulose took charge as the first Vice-Chancellor of the Kalamandalam Deemed University of Art and Culture on June 18, 2007. The main challenges in front of him are how to preserve traditional guru kula sampradaya and old traditional art forms and also how to imbibe the new spirit of modernity. In an interview to Sreeni K.R, Dr. K.G Paulose spoke at length on the problems and prospects of his job. 1. When did you take charge as the Vice-Chancellor of the Kalamandalam Deemed University of Art and Culture? I took charge on June 18, 2007 as the Vice-Chancellor of the Kalamandalam Deemed University of Art and Culture. 2.What are the new challenges in front of you? The main challenges in front of me are how to preserve the traditional guru kula sampradaya and also how to preserve old traditional art forms. At the same time I want to imbibe the new spirit of modernity .This can only be done by introducing modern subjects like aesthetics, comparative studies and classical texts. What we require is a harmonic blood of merits in both the systems. 3.Briefly describe the institution of Kerala Kalamandalam? Kalamandalam was started by Padmabhooshan Vallathol Narayana Menon [ Mahakavi Vallathol] in 1930. He had before him models set by Rabindranath Tagore, the Shantiniketan in 1902 and Kalakshetra by Rukmini Devi Arundale in 1927.By the end of the 19th century; the Indians began to search their identity against their colonial masters. In the late nineteenth century, Malayalee society, the project of social reforming was caught up in the concern to evolve an alternative to the established Jati-based mode of ordering human beings. Kalamandalam thus acts as the part of this nascent movement of Kerala as well as for political unity. Now Kalamandalam offers courses in 40 disciplines of various art forms like Kathakali, Mohiniyattom, Koodiyattom, etc. Instruction is imparted in the Gurukulam in the traditional way. Degree and P.G Courses have been started in Classical art forms. Facilities for research-MPhil and PhD-are also available. Practical classes with training in Kalari along with higher studies and research are now introduced in the new syllabus. 4. Is it possible to blend the guru kula sampradaya followed by Kalamandalam with the new system of university education? Yes it is possible to blend the guru kula sampradaya followed by Kalamandalam with the new system of university education. I will give you a few examples. Training in Kalari for students start early morning by 4.30 A.M and continues for hours. Afternoon time is generally allocated for theory classes. Again evening time is given for practice. In this way both systems go hand in hand. It is the same with every other traditional art form. There is no problem in blending both of them together. 5.Is the UGC becoming a hurdle for performing artists once they want to choose teaching as their career? UGC doesn’t become a hurdle for performing artists. Actually it is a blessing in case of performing artists. Artists get more opportunity to learn and explore themselves. 6. Which traditional course are you planning to introduce in the coming years? P.G Courses in Kathakali, Mohiniyattom and Koodiyattom. Other P.G courses will be announced in the coming months. 7. What changes do you want to bring about in the existing system? More P.G courses need to be started in new disciplines. Apart from that we are planning to introduce new subjects like Cultural Journalism, Mass Communication and Multimedia Studies which will go a long way in popularizing classical art forms. 8. You have worked in various capacities before joining as the registrar of Sree Sankaracharya University of Sanskrit, Kalady? Share your experience? I have worked at various levels. I have worked as principal of Sanskrit College, Tripunithura, Syndicate member of Mahatma Gandhi University and then as Registrar of Sree Sankaracharya University of Sanskrit, Kalady. All these are academic as well as administrative posts. Experiences gained through these posts have enriched me to understand the two different universities whose common aim is to promote all the traditional art forms. I find it as an asset on my part. 9. Which are your major works? · In Malayalam · Koodiyattom Abhinayam Thudarchayum Valarchayum. · Koodiyattom Puthia Mukhom. · In English: · Introduction to Koodiyattom. · Innovation in Ancient Theater. · Bhima in search of celestial flowers. 10. From your personal dairy, you have published the work on the origin and evolution of Sanskrit theatre with particular reference to Koodiyattom? Which is the book? The name of the book is ‘Kodiyattom Theater, earliest Theater’. The book gives in detail the history of Theater beginning from Natyashastra and its various manifestations in regional forms. Koodiyattom is one such form drawn from the national pattern but different in content form. It is an art form autonomous in itself. The book histories the process of evolution of national theater and fixes Koodiyattom in its context. The relevance of Koodiyattom today and its future are discussed in detail. 11. How do you feel as the first Vice-Chancellor of the Kalamandalam Deemed University of Art and Culture? I feel honored that such a great responsibility is entrusted on me as the architect of the new university. At the same time I am aware of the heavy responsibility in front of me. But I am confident that the rich experience gained in administration matters and my close relationship with artists and art forms will help me to fulfill my duties in all capacities and as the first Vice-Chancellor of the Kalamandalam Deemed University of Art and Culture.

Dr. Ramachandran is Head of the Imageology Division, Regional Cancer Centre [RCC] ,Thiruvananthapuram.

INTERVIEW

Dr. Ramachandran So much has happened in cancer care over the past 50 years - in diagnostic methods, treatment options, preventive care, early detection and patterns of cancers. From all over the state, cancer patients particularly women come with fear and uncertainty to Regional Cancer Centre [RCC], Thiruvananthapuram. Among them some come for treatment, some come for routine checkups and some others come with symptoms of cancer. Dr. Ramachandran is Head of the Imageology Division, Regional Cancer Centre [RCC] ,Thiruvananthapuram. He is also Additional Director of RCC and President of Indian Medical Association, Thiruvananthapuram Branch. He has done his MBBS at TD Medical College Alappuzha and then MD and DMRD at Thiruvananthapuram Medical College. He then underwent training in clinical application of CT Scan at Kyokko, Japan and Mammotome at National Cancer Institute, Singapore. He also attended the Europian Congress of Radiology in 2003. He has also presented many papers in national and international seminars. He has published many articles related to the subject in different national and international radiology journals. Thousands of patients have got relief after undergoing diagnosis under Dr. Ramachandran and his team at Regional Cancer Centre [RCC], Thiruvananthapuram, Kerala;the place inspires hope of cure. It is one of the finest centers for treatment and research in cancer in India and the world over. In an interview to Sreeni K.R, Dr. Ramachandran gives a glimpse of Mammography and how Mammography helps in early detection of breast cancer. . 1. What exactly is mammography? Mammography is soft tissue radiography of the breast carried out with dedicated X-ray equipment designed to produce low voltage X-ray in the range of 24 to 28 kvp. The anode is molybdenum. Beryllium window, compression device, cone etc are used. A mammography exam, called a mammogram, is used to aid in the diagnosis of breast diseases in women. 2.What is the difference between digital mammography and computer aided detection? Now, like Digital radiography, Full field digital mammography is available in which solid-state detectors that convert x-rays into electrical signals which produce images of the breast that can be seen on a computer screen. Computer aided detection is a screening test applied to either routine mammography film or digital mammogram to ensure a high yield of detection of early breast cancer 3.In Regional Cancer Centre, which type of detection test do you use? We have a Siemens 3000 NOVA mammography unit with facility for steriotactic biopsy as well as a mammotome vacuum assisted breast biopsy unit. 4.How much early can you detect breast cancer in women through the mammography test? Screening, according to American College of Radiology, starts at the age of forty. In women with a strong family history of breast cancer, screening should start ten years before the age at which the first degree relative was diagnosed to have had breast cancer but breast cancer can start at a very young age, like below 20years. Mammography is unlikely to be diagnostic in very young breasts. Ultrasound and guided aspiration techniques are more productive in younger women. 5.What is the cost of a mammography test? Mammography test of both breasts costs Rupees one thousand only. 6.At what age do you recommend the mammography test for an Indian woman? After 30years for suspected cases and after 40years for usual cases, tests are advisable . Below 30years, the referring doctor should use discretion in deciding whether mammography is to be recommended or ultrasound combined with guided procedures would be better 7.How should a patient prepare for mammogram and what precaution should she take? There is no preparation required. Breasts are compressible during the first few days after the menstrual cycle. Hence the first ten days after the first day of the menstrual cycle is ideal. But this is not strictly adhered to. 8. How does a mammography machine work? Mammography is soft tissue radiography of the breast. Low kilovolt age X-rays from a molybdenum target fall on the compressed breast and a latent image is produced in the film kept inside a carbon fibre cassette. The film is coated on one side only. The film is processed to get an image of the breast. Now Full field digital mammography is also available. 9.What will be the experience during and after the examination? For taking mammography, the breast has to be compressed using a compression device. This may cause pain. If the pain is not tolerated by the patient, the technologist can stop the procedure any time. So compression is given till the patient complaints of pain. 10.What are its benefits and how frequently is the test done in India and especially in Kerala? In Kerala mammography is done mainly when the woman presents with complaints like lump in the breast, nipple discharge, pain, nipple retraction, axillary swelling, etc. to diagnose or rule out breast cancer. Screening in asymptomatic women has not been popular due to lack of facilities and also the cost factor. The Kerala Government has not started any screening programmes. The same holds good for the Indian scenario also. 11.Are there any risk factors involved in the test and what are they? Being an X-ray imaging modality, radiation hazards are inherent. This test is to be avoided in pregnant women. Cumulative radiation for screening carries a low risk of inducing breast cancer. Young breasts are more sensitive to radiation 12.What is your advice to those women who have a genetic history of breast cancer? Strictly start the screening test at an earlier age, also clinical examinations and procedures like steriotaxy, guided biopsies, etc, in suspected cases. Problem solving modalities like ultrasound and MRI are also useful in these women. 13.Once breast cancer is detected, what are your treatment options? Surgery, Radiotherapy and Chemotherapy are the treatment options. Now other modalities like hormone therapy, monoclonal antibody treatment etc are available. Conservation of the breast is the rule rather than exception. Early diagnosis offers the best hope of cure in this malignancy. Survival depends on the stage at which the disease is diagnosed. 14.As a radiologist, how long have you been dealing with mammography? As all of you know, Regional Cancer Centre , Thiruvananthapuram is Asias largest Cancer Hospital well equipped with all modern facilities to diagnose and treat cancer. We have the facility for mammography since the early 80s, which was the first in Kerala. For the last 25yrs I am dealing with mammography along with other radiological investigations such as Ultrasound, CT Scan, MRI, conventional X-rays etc. In this context, I place on record my sincere thanks to all staff of our department for their help and cooperation. 15.What are the safety or precautionary measures that you advise to the patients? All women should be aware of breast cancer. They should learn and practice breast self examination, undergo half yearly clinical examination and yearly mammography after 40years. Approach your doctor if you have symptoms like lump, nipple discharge, nipple retraction, skin thickening, swelling in the axilla, etc. 16.How do you look forward to tackling cancer in the years to come? Is it completely curable? If detected early, cancer of most organs is curable. But early detection occurs only in 1/3rd cases. Early detected cases can be controlled with surgery, chemotherapy and radiation. 1/3rd cases can only be palliated with pain relievers and symptomatic treatment. The present situation may exist at least for the next decade.

C.G. Narayanan Namboothiri, the Kathakali artist

INTERVIEW

C.G. Narayanan Namboothiri C.G. Narayanan Namboothiri, the Kathakali artist talks to Sreeni K.R about his passion and experience in the field. He is now working in CPCRI, Kasargode and was selected as member of The National Council of Culture, Govt. of Venezuela in September 2005 to participate in the First Worldwide Encounter of Body Arts held at Caracas and again In September 2006, when he was again invited by the Ministry of Culture (IMAGE), Govt. of Venezuela to impart training in Kathkali. 1. When did you start taking Kathakali seriously? When I was a school student first my passion was mono act and then Drama. Slowly I joined to study Kathakali with my friend Pookkanni Krishnan when I was in 8th std. From that moment onwards I took it very seriously. My teacher was my father- Late.Sri.Chandramana(Darpana) Govindan Namboothiri. After that for a few months I had training from Sri.Kalamandalam (Kottayam) Ramakrishnan. 2.Does your education level in MSc and Ph.D. in Applied Botany help you to learn Kathakali? My college education and Ph.D. are entirely different and there was no advantage in the field of Kathakali but I would like to add that the happiness I was getting while performing Kathakali gave me a pleasant mood to study my college lessons well and I scored 3rd rank in MSc.Botany Examination from Kerala University in 1994.Of course the education helped me later when I made my visits to Venezuela. 3.When was your first major performance and which character did you portray? My first performance was near my house and I played the role of Krishnan (Purappadu). 4. What is the origin of Kathakali? The origin of kathakali, story-dance is the dance-drama, which is now culturally known as Kerala’s soul. Kathakali traced its origin to the ritualistic (tantric) period of the Vedic Age and connected its growth from the popular, folk dance dramas. Most of the themes are from Indian Mythology. 5.You have learned Kathakali under Chandramana Govindan Namboothiri and Kalamandalam Ramakrishnan during your college days? What was your experience? . As already told, Govindan Namboothiri is my father. I have studied every thing along with my education. Regarding experiences, with my father, the class was in the early morning hours. But when it was with Ramakrishnan Ashan, usually I practiced in the evening hours without affecting my education. Regarding their capabilities, I am very fortunate to have these gurus. · 6. When you were selected for The National Council of Culture, Govt. of Venezuela in September 2005 to participate in the First Worldwide Encounter of Body Arts held at Caracas and again In September 2006, and also when you were again invited by the Ministry of Culture (IMAGE), Govt. of Venezuela for Kathakali performance, what was your experience? Please explain. That was from a selection by the Venezuela Cultural department. First they gave the opportunity to only 3 persons and we went and took classes on Kathakali with the help of CDs and Power Point presentations. Then they realised the importance of the art form and invited a second time in 2006 and we 8 persons from Kerala (Kalamandalam Ramakrishnan, Pookkanni Krishnan, Kalanilayam Rajeevan, Kalanilayam Babu, Kalabharathy Murali, Kalamandalam Achutha Warrier, Thripunithura Manoj) were the members in the team. We presented many shows at Caracas and nearby towns. The experience was wonderful and we got an opportunity to study body arts, body, language etc. In turn, they were also benefited from kathakali make up and performance and totally both the trips were a great success. 7. Tell us about your family and your present projects at hand? My wife is Seema (studied Carnatic music), son Krishnandas (started kathakali lessons under kalamandalam Krishnaprasad) and daughter Krishnapriya. I am working in the government sector and I am not getting enough time for Kathakali .So presently I have not undertaken any new project. 8. Where do you place Kathakali in the modern days? Are you satisfied with the level of audience and critics? According to me, now the condition of kathakali actors is far better than in the olden days. My father had to face a lot of difficulties in his times. Now days, lot of changes are happening in Kathakali style and performance, but even though it is negatively affecting the quality of the art form, it is however needed for its survival. NAVARASANGAL SHRINGARAM VEERAM KARUNAM ALBHUTHAM HASYAM BHAYANAKAM BEEBHALSAM ROUDRAM SHANTHAM

Dr. Radhika is well known as the Ambassador of Mohiniyattom

INTERVIEW

Dr

Dr. Radhika is well known as the Ambassador of Mohiniyattom who has the capability to perform in different languages keeping in mind the taste and knowledge of the audience. Born and brought up in Bangalore , Dr. Radhika is well known for her efforts to popularise Mohiniyattom all over the world. She is the first non-resident Keralite who has won the prestigious award for Mohiniyattom instituted by Kerala Sangeetha Nataka Akademi. Regular practice and years of hard work in research bagged her a doctorate from Trinity College , London . She still continues her research. She has come out with new findings which reflect in her innovations called Kerala thalams and Angika Abhinayam presented according to Balaramabharatham. She is also an author of a Book on `Mohiniyattom, ‘The Lyrical Dance of Kerala. She has also formed an Nrithya Dhara charity trust to help old and needy artists.

Dr. Radhika talks to Sreeni K.R about her vision and plans of Mohiniattam.

· Briefly Explain Mohiniattam.
· Mohiniattam is the only dance form in south which has been performed right from its inception by females. It has nothing to do with the devadasi system as it originated in the Malabar area where you will find mostly Devi worship and it was mainly performed by the Nair women in courts, Manas and illams.

If I can describe Bharatanatyam as angles and triangles, Mohiniattam is only spirals and curves. The lyrical beauty of Kerala flora and fauna is visible in the chuvadus of Mohiniattam.

· When did you seriously start learning Mohiniattam?
· I learnt Mohiniattam when I was a student at Kalamandalam but I seriously took to Mohiniattam only in the 90s after my fathers’ death. I stopped even seeing other forms of classical dance as I did not want to mix styles.

· Who were your Gurus then?

· My gurus were Chinammu Amma and Kalamandalam Sathyabhama.

· Does training in Kathakali help you in your field?
·I am able to give lecture demonstrations to a world wide audience and show them the difference between Mohiniattam and Kathakali.

· Did your parents help and support you when you chose Mohiniattam as your career?
·Except for my dad all my relatives were against me being a dancer as I come from a very traditional family.(I do not know whether they approve or not even now-but it does not matter).

· Are you a good orator? Can you explain about your oratory skills?
·I am able to come down to the audience level and I do not feed them things which they do not understand.

· You have given lectures and demonstrations in Mohiniattam at the national and international level? What was your experience?
· It is always an interesting experience and I do get feedbacks.

· You have done research in Mohiniyattom for many long years. What new things did you find during the research?
· I am still discovering new things. Recently in Cochin I presented an item on Kerala Thalams and also an item on the Angika Abhinayam according to Balaramabharatham.

· You are known as the ambassador of Mohiniyattom and also perform in almost all languages.How do you prepare yourself for performing in other states?
· Language is a means of communication. It is difficult even for Keralites to understand all the mudras so, when I perform in other states, since my motto is to propagate and promote Mohiniattam, I use the language which the people can comprehend.

· You have performed for dignitaries like the SAARC delegates, WHO delegates, Soviet Representatives, Diplomats and others? What was your experience then?
· My performance is always well received.

· Were you delighted when you were selected for the Kerala Sangeeta Nataka Akademi Award for Mohiniyattom? Share your feeling?
·I was abroad when the award was announced. I was grateful that my work was recognised.

· You came out with a book, on `Mohiniyattom, The Lyrical Dance of Kerala? What is it all about?
It is about Mohiniattam-its history and it is based on Balaramabharatham.

· You have formed a Nrithya Dhara charity trust? What was its aim?
· Helping old and needy artists with a monthly honorium of Rs.500 till they are no more.



· Are there any takers for Mohiniyattom abroad? How do you support them?
· My students have started classes abroad . I visit them every year or they come to me.

· Do you think the GuruKula system still exists in its original form? What’s the major difference you find between disciples of the GuruKula and modern day performers?
I don’t think Gurukulam exists any more. People have become commercial. Sharing and caring is no more. It has affected every field. I think the hard work in the Gurukula sytem stands in stead when it comes to performance.

Raghunaath K.Rajan, one of the few practitioners of ‘Pyra Vaastu’ in Kerala

INTERVIEW

Raghunaath K.Rajan, one of the few practitioners of ‘Pyra Vaastu’ in Kerala is also a lawyer who practicing in the High Court. Pyra Vaastu is based on the principles of subtle anatomy and the laws of the universe. Pyra Vaastu is complementary to Vaastu and Feng Shui and can be used for both interiors and exteriors. According to him pyramids are planted on the plot to remove the negative energy because the pyramid shape itself attracts geological- biological- cosmic energy –particles from around the environment.

Advocate Raghunaath K.Rajan talks to Sreeni K.R about the need and benefit of ‘Pyra Vaastu’ a latest fad among Architectural Science after Feng Shui and Vastu.

What exactly is Pyra Vaastu?
Before answering what exactly is Pyra Vaastu let me tell what exactly Vaastu is. Vaastu sastra literally means ‘The Science of Building’. Vaastu is nothing but the science of balancing the five elements- earth, water , fire, air and space in proportion to keep the residents of the building in perfect harmony for right decisions, peace and happiness.

Vaastu Vidya is one of our ancient Indian architectural services. It is basically designed to guide construction of houses, workplaces, temples and other buildings. Vaastu Vidya gives us the knowledge of devising better living and working conditions, which are in harmony with the laws of nature. A house designed according to Vaastu should be one, which not only protects us from extreme weather conditions, but also provides a sense of well being and comfort.

Vaastu deals with all aspects of construction like selection of land, building materials, technology used, placement of rooms, doors or windows, and many others. It is the knowledge of everything used in the process of construction and its surroundings. This Indian science is one step ahead of today’s architectural science. It deals not only with the construction and the interaction of physical properties but also with its subtle energy and radiations. It is the knowledge of interaction of a living being at all levels of existence. It teaches us the inner and outer functions of man and material. So Vaastu is the only subject which directly deals with environmental harmony.

Vaastu is a complete and holistic science. For applying it, we need to understand the materials as well as the subtle and spiritual laws around us. We should have a multi-dimensional approach in order to obtain optimum results. We should learn to communicate with materials or objects apparently appearing to be non-living. For this communication, we must understand the divine proportions and secret formulas of harmony, music, aesthetics, interior designing, symmetry and the mystic geometry of all things in existence.

Pyra Vaastu is a practical art to harmonize mind, body and spirit with the environment. Pyra Vaastu is a powerful science of creating balance and harmony by core level conversions with the help of a pre-programmed pyramid yanthra. It is based on the principles of subtle anatomy and the laws of the universe. Pyra Vaastu is ideal for correcting Vaastu defects without physical alterations like shifting, breaking house, shop or factory.

Pyra Vaastu is complementary to Vaastu and Feng Shui but its dynamic action starts exactly at the opposite end. It is just like using medicine and meditation for achieving health.

What is the major difference between Feng Shui and Pyra Vaastu?
Vaastu and Feng Shui are like offering solutions for the outer visible end like thousands of branches and leaves. Pyra Vaastu deals with the roots or vital force, behind all action within it. It is a totally innovative concept of subtle level correction with pyramid yanthras based on the principle of mind over matter. It deals with our inbuilt power and ability of mind-body emotion. This powerful intention at the core level induces energy within us. Thus, subtle energy level correction is more powerful than that done by material or physical means.

The first principle in Pyra Vaastu is that of mind over matter. Mind is more powerful than the body. In the same way,energy is more powerful than matter. Yanthra is more powerful than construction and center is more powerful than Yanthra. Pyra Vaastu revolution is a new dynamic and result-oriented system designed by Prof. Dr. Jiten Bhatt and is not just the usage of Pyramids in Vaastu. This is a totally new concept created for the first time in the world. It is a precise interactive permutation and combination of the most vital of the vital force within and around us. Another important factor in pyra Vaastu is accurate space for the specific purpose. When matter dominates over spirit, it gives rise to the five elements. The five –foldness of material nature provides the basis of our existence.

The five elements –Earth, Water, Fire, Wind and Ether or Space govern us. Harmony between these elements in our body as well as in our surrounding environment brings about peace and balance within us.To brings about changes in these physical Tattvas, we have to use the five elementary theories. The modern scientific theory says that whatever is happening around us is based on the fundamental factor of TIME and SPACE. Each change and action in the universe is due to the mass and movement of subatomic particles. The space plays a vital role in this process as without space nothing grows or expands. Hence space becomes an important element which is more potent than other elements when it comes to bringing about changes. Space is omnipresent and also a common link of resonating communication in the universe. Knowledge of this space network is a prime factor in Pyra Vaastu.

When we make boundaries by any means –say physical ie; by walls and roof ,then that space is a bounded space. This bounded space works in two ways-one independently and the other in harmony with our outer space. Its own working depends on the geometry of the boundary. Now if we know the property of the bounded space and a technique of using that space, then we can take advantage of the same. The power of Pyramid Yanthra is based on the permutation ,combination and interaction of such known multiple spaces. So multiple space is one of the most important factors in this technique of Pyra Vaastu.

Feng Shui is the Chinese wisdom to understand universal energy and its effects. Its use enriches us physically, emotionally and spiritually. Pyra vaastu is complementary to Feng-shui and vaastu but its dynamic action starts exactly at the opposite end. It is just like using medicine and meditation for achieving health. Vaastu and Feng-Shui are more like offering solutions for the outer visible end, like thousands of branches and leaves.

What are the principles Pyra Vaastu based on?
Pyra Vaastu deals with the vital force behind all actions within it. It is a totally innovative concept of subtle level correction with pyramid yanthras based on mind over matter. Thus subtle energy level correction is more powerful than done by material or physical means. The first principle in Pyra Vaastu is that of mind over matter.

As a lawyer how did you get attracted towards Pyra Vaastu?
I am Reiki master and a healer since 1999. Reiki being energy healing attracts everything which is related with energy and thereby interest in this subject developed in me. For the last 8 years, I dowse with Rods and find out the energy prevailing in a place or object.

Who is the founder of Pyra Vaastu?
Prof. Jiten Bhatt, from Baroda is the founder of the Pyra Vaastu and pyramid Yanthra. He is an ancient healing art consultant, health awareness promoter, bio-energy scientist.

When is the appropriate time to conduct Pyra Vaastu? Can we do it in between construction or after construction?
The appropriate time is to do it before construction. Even after the construction we can do it and the result will be same. If it is before construction we can fix the pyramid Yanthra under the ground. If it is after the construction we have to fix the pyramid Yanthra on the ceiling or wall.

On what areas can we implement Pyra Vaastu?
We can implement Pyra Vaastu on buildings, main door, compound gate, kitchen, protection from evil energies, bedroom, balcony, basement, toilet, irregular shaped plots, retail shops, offices, farm and irrigation, etc.

What methods do you use to find negative energy level?
I use dowsing rods to find out the energy level of the place. Dowsing rods are used to detect the energy prevailing in the place. A large extent of health &other problems are directly related to the negative energy prevailing in the house. We can call it Vaastu Dosha. It can be eliminated to a large extent by checking and finding the energy axis in houses by the help of dowsing rods. The negative energy can be balanced with positive energy by the help of pyramids which will act as energy tools to enhance the positive energy and balance the negative energy prevailing in the house or plot. One can see that wherever there is negative energy, the rods come closer and wherever there is positive energy, the rods move apart. When there is a stagnation of the energy the rods will become stand still. Moreover, positive energy helps to build various virtues like Love, understanding, respect and removes jealousy, hatred and enmity. Positive energy helps in eliminating various diseases. It even makes our mind peaceful and eliminates bad thoughts. On the other hand negative energy increases the chances of various physical ailments.

What is the future of Pyra Vaastu in Kerala?
The future of Pyra Vaastu is very bright in Kerala and it has just started. The scope is good especially in cities where the place we reside is very small.