DOCSLIB.ORG

Visionary Craft

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Visionary Craft Chennai • CITY EDITION • FEBRUARY 28, 2020 Arts | Dance | Music | Movies www.thehindu.com/FridayReview Theatre | Review | History & Culture | Faith Lakshmi Viswanathan CCCCCCCCCCCCCCC of the soul to the Highest. It needs the sential feature of India’s art is that it is same devotion, the same great flights A leap year child, founded on a spiritual outlook,” she et me begin by paying my of imagination that produces reli­ Rukmini Devi said. She often emphasised that “ homage to the founder of gious feeling. Added to these are the spirituality” was above religion. “In Kalakshetra, Rukmini De­ creative spirit which, blossoming out Arundale was also a India there is no religion apart from vi Arundale. I knew her, of the artist produces great works of non­political activist our daily lives.” interacted with her, and art. Think of some of the great tem­ in my own modest way, ples and the bronze images of South and a woman known Path-breaking experiments Lhelped her with some of her thought­ India. These were not made by so­ for her refined Such clear thinking moulded her ful ventures like the Kalakshetra Jour- phisticated people… they may not vision for dance and thus was born nal. I admired her as a leader of In­ even be able to speak to us about ab­ aesthetic sense the institution Kalakshetra. She was dian culture, a thinker and a creative stract philosophy… nevertheless they the first to understand the value of a artiste. She knew that the arts have to were the people who created master­ school for dance. And she gathered be homogeneously allied to bring out pieces. Such art helped people to ap­ around her not only the expert teach­ the best in human endeavour. To me preciate reality.” ers of dance, but also the great musi­ she exemplified what the Vishnud­ As an active Theosophist, Rukmini cians and scholars of her time who harmottara Purana states — all the Devi had travelled widely. She ab­ could compose the music and select arts are connected, and to be a good sorbed ideas, and was inspired to the lyrics for her path­breaking expe­ artiste you need to have a sound create her own artistic works. In a riment — the adaptation of Valmiki knowledge of all the arts. : telling remark she said: “The people Ramayana for dance dramas. This Rukmini Devi lived her artistic life who are most ignorant of Indian cul­ was her most important contribution holding a candle up to this credo. She ture, I am sorry to say, are Indians. to dance and one which brought had a keen sense of observation and This sounds very strange but it is a about the blossoming of all her crea­ understood the arts of India with fact. Abroad many people study our tive energy. What indeed did this amazing sensitivity. She observed: culture. If we really believe in our cul­ venture showcase? The Ramayana “We do not know how to create con­ ture and its value both in national series composed by her over several sciously the beautiful things we once and individual lives we have to make decades helped her to visualise poe­ created unconsciously. The simple every effort to understand not only try as dance, make it dramatic, me­ potter keeps on making beautiful the exterior form of that culture but lodic and musically vibrant, and vi­ pots. The weaver knows colours and sually appealing. if you ask him to make something Daring to innovate, she took ideas modern he will do something ugly. Rukmini Devi from the old Bhagavatamela dance­ But if you leave him to do his ordin­ dramas, and vested them with her ary way, he will make something ( 29 Feb. 1904-24 Feb.1986) own choreographic ideas. Boldly she beautiful unconsciously.” introduced Kathakali techniques for She felt that we complicate things male characters such as Ravana and and lose simplicity. The creation of Hanuman. Her wide travels to far­ beauty was part of everyday life. And eastern countries inspired her stage the spiritual background which is Visionary craft. Her innate good taste guided simplicity, she felt, had that high as­ her designs in costume and accesso­ piration, a deep love of an ideal, a ries. Till today people flock to see the goal and an unconscious but intelli­ Kalakshetra Ramayana shows as well gent impulse to express it in our eve­ as other dance­dramas enjoying the ryday lives. She believed that the old­world charm, the melodies com­ creation of beauty was as much a posed by the stalwarts, including My­ spiritual expression as worship in a sore Vasudevachar, his grandson Raj­ temple. She believed that the arts aram, Papanasam Sivan and others. help in the development of all as­ For her, purana in her creative pects of life. The presentation of work was a tool to express inner self. beauty through dance, music, paint­ artiste “We cannot dance the dance of ing, sculpture, etc., which are chan­ Krishna unless we believe in Sri nels of that beauty, and channels of the spirit that gave birth to that Krishna, unless at least for the time spiritual thought stimulate the minds form.” Various facets Of the iconic being, we become one with Krishna. and emotions of people. She wrote: She believed that discernment and dancer-choreographer-guru If we do not believe in Him what is “Right emotion is the essence of evo­ discrimination in matters of beauty Rukmini Devi and Koothambalam the use of dressing up and dancing. lution. It is a very dangerous thing to should be welcomed. Democracy auditorium in Kalakshetra * PHOTOS: The outward form should be a visible THE HINDU ARCHIVES be brilliant or clever without know­ says anybody can be an artiste. But sign of the inward grace.” ing how to use imagination without democracy does not insist that every­ Rukmini Devi was the first Chair­ knowing how to control emotion, for body should be perceived as a good propriated the dance from the hered­ person (1962) of The Animal Welfare no matter how clever a man is, he artiste. Rukmini Devi observed in a itary dance community. She voiced Board of India. When asked how she still remains primarily a creature of lecture that twenty people voting de­ her observations clearly: “The art ve­ became an activist, she said, “I was emotion. Therefore it is necessary mocratically about the quality of a ry nearly died as it had become a standing one day on a railway plat­ that the emotions become stimulated work of art is not the right way. “We means for remembering the body form, waiting for my train when I felt in the right way. There needs to be a should know how many among the rather than of forgetting it. Yet those my sari being tugged by someone. I fine tuning to see and hear the great twenty are sensitive and knowledgea­ whom the world denounced as hav­ turned around and it was no ‘some­ and the true. This can be done only ble about good art.” ing become corrupt gave themselves one’ but a monkey, a caged monkey, through one channel — by attuning She proved time and again that her modern world, but in order to give where teachers and the taught lived up with devotion and sincerity to the pulling at my sari to ask me to help it ourselves to beauty, to greatness.” roots were firmly planted in India, great gifts we must have a true ideal together in harmony. She eventually art they loved. The art was their very get out of that trap... I felt that the and in fact she never veered away of great refinement, a refinement of built a Kerala style theatre for perfor­ life and they worked and sacrificed monkey had given me a task, a Art as life from a lifestyle which was typically the mind, of the soul…” mances, giving credence to the aes­ their bodies for perfecting the art.” mission.” It is not surprising that Rukmini Devi South Indian, which included a strict To quote her again: We should thetics of traditional theatre. In­ The fact remains that a deep love Rukmini Devi declined the posi­ pioneered the Renaissance of Art in vegetarian diet, a passion for Carnat­ never say that a thing is not modern. house artistes and craftsmen gave for dance inspired her to go to its tion of being the President of India, modern India. To make her ideal ic music (a trained singer herself), a The very word MODERN is not In­ the finishing touches to not only the roots and study it with diligence with when it was offered by Prime Minis­ work, she started an institution of taste for authentic handwoven Kan­ dian. It is an English word, express­ décor and ambience of the whole gurus at a time when crucial changes ter Morarji Desai. She was nominated learning where art dominated the chipuram silk saris, which became ing an un­Indian spirit. Our word is campus but also executed, under her were taking place in our society with for two terms to the Rajya Sabha, core of education. She said : “We may her fashion statement, and hand­ ETERNITY not modernism. watchful eye, costumes and accesso­ regard to temple dancers. where she mustered support for one say Art does not matter, it is religion, crafted temple jewellery. It is not sur­ Conceiving her design for living ries which brought out a visual treat. “Whenever there is a decay in ci­ of her causes — the Animal Welfare it is spirituality that matters. Any bo­ prising that for decades she was an with the arts, Rukmini Devi had a Stage craft in her hands became an vilisation we also see a degradation of Board.
Load more

Recommended publications
  • How Modern India Reinvented Classical Dance
    ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD.
    [Show full text]
  • Rukmini Devi Arundale
    Rukmini Devi Arundale January 6, 2021 Rukmini Devi Arundale(1904 – 1986) “I was very intuitive from an early age. I responded to people just as I responded to art – through an inner feeling which is difficult to explain. I just felt some things were right and some were not…” Rukmini Devi was born on 29 February 1904 in Madurai of Tamilnadu. She was the first woman in Indian history to be nominated a member of the Rajya Sabha. Rukmini Devi Arundale was an Indian theosophist, dancer, and choreographer of the Indian classical dance form of Bharatnatyam, and an activist for Animal welfare. The most important revivalist of Bharatanatyam from its original ‘sadhir’ style prevalent amongst the temple dancers, the Devadasis, she also worked for the re- establishment of traditional Indian arts and crafts. She was awarded the Padma Bhushan in 1956 and the Sangeet Natak Akademi Fellowship in 1967. In January 1936, she along with her husband established Kalakshetra, an academy of dance and music, built around the ancient Indian Gurukul system, at Adyar, at Chennai. Today the academy is a deemed university under the Kalakshetra Foundation. She also became very close to Annie Besant and helped her with her work. She went on to become the President of the Theosophical Society after Dr. Besant’s passing and Rukmini Devi herself was an active member of the Theosophical movement. She gave her first performance at the Diamond Jubilee celebrations of the Theosophical Society in 1935. Theosophists hailed her as the World Mother, to her family in Kalakshetra she is Athai (paternal aunt).
    [Show full text]
  • Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
    Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali
    [Show full text]
  • Palghat Mani Iyer.Pdf
    COVER STORY Palghat T.S. Mani Iyer (1912-1981) Sriram.V ometime in the 17th century, a Raja of Palghat is said to have invited many Brahmin families Sbelonging to the Tanjavur region to his principality. They were to inculcate learning and culture in the area. These families settled in 96 villages of Palghat district and greatly enriched the place. Many of their descendants rose to high positions in administration, business and other walks of life. Several shone as musicians. But the man who was to prefix the name of the district to his own name and make it synonymous with percussion was Mani Iyer, the mridanga maestro. Palghat T.S. Mani Iyer was born on 12th June 1912 at Pazhayanur, Tiruvilvamala Taluk, in Palghat District to Sesham Bhagavatar and Anandambal as their second son. The couple had many children of whom some died early with only two sons (Mani Iyer and a younger brother) and two daughters surviving into adulthood. Sesham Bhagavatar was a vocalist in the Harikatha troupe of Mukkai Sivaramakrishna Bhagavatar, a famous exponent of the art form. Mani was christened Ramaswami at birth— after his grandfather who was a school teacher besides being a good singer. Destined as it seemed Mani Iyer was to acquire fame Young Mani in the field of percussion, the forces that control fates could not have selected a better place for his birth. Tiruvilvamala, a village on the southern side of the Born for the Mridanga Bharatapuzha river, was well known for its Panchavadyam performers. ‘Maddalam’ Venkicchan and Konthai were famed practitioners of the percussive arts.
    [Show full text]
  • One 1 Mark Question. One 4 Mark Question. One 6 Mark Question
    10. Rukmini Devi Arundale. One 1 mark question. One 4 mark question. One 6 mark question. Content analysis About Rukmini Devi Arundale. Born on 29‐02‐1904 Father Neelakantha StiSastri Rukmini Devi Arundale Rukmini Devi Liberator of classical dance. India’s cultural queen. Rukmini Devi Fearless crusader for socilial c hange. Champion of vegetarianism. Andhra art of vegetable-dyed Kalmakari Textile crafts like weaving silk an d cotton a la (as prepared in) Kanchipuram Banyan tree at Adyar Rukmini Devi The force that shaped the future of Rukmini Devi Anna Pavlova Anna Pavlova Wraith-like ballerina (Wraith-like =otherworldly) Her meeting with Pavlova. First meeting : In 1924, in London at the Covent Gardens. Her meeting with Pavlova. Second meeting: Time : At the time of annual Theosophical Convention at Banaras. Place : Bombay - India. The warm tribute of Pavlova Rukmini Devi: I wish I could dance like you, but I know I never can. The warm tribute of Pavlova Anna Pavlova:NonoYoumust: No, no. You must never say that. You don’t have to dance, for if you just walk across the stage, it will be enouggph. People will come to watch you do just that. Learning Sadir. She learnt Sadir, the art of Devadasis . Hereditary guru : Meenakshisundaram Pillai. Duration: Two years. First performance At the International Theosophical Conference Under a banyan tree In 1935. reaction Orthodox India was shocked . The first audience adored her revelatory debut. The Bishop of Madras confessed that he felt like he had attended a benediction. Liberating the Classical dance. Changes made to Sadir. Costume and jewellery were of good taste.
    [Show full text]
  • The Mountain Path Vol. 45 No. 4, Oct 2008
    CONTENTS RAMANA A SHTOTTARAM 2 EDITORIAL Effort and Effortlessness 3 BHAGAVAN’S FORTY TWO V ERSES FROM T HE G ITA Neera Kashyap 9 FREEWILL John Grimes 21 MY CHILDHOOD WITH BHAGAVAN: PART TWO Rajalakshmi 27 ON THE NATURE OF SELF-INFLICTED SUFFERING Mukesh Eswaran 37 KEYWORD Mounam 47 ULLADU NARPADU: VERSE TWENTY S. Ram Mohan 53 THE SIGNIFICANCE OF PRADAKSHINA N.A. Mohan Rao 57 THE N AMES OF SIVA Ramesh Menon 64 IN PRAISE OF THE LAZY ONES David Godman 65 FREUD’S UNCONSCIOUS IN THE LIGHT OF VEDANTA S. Mohan 71 JULIAN OF NORWICH: PART ONE Sister Bridget Mary 77 PRACTICAL INSTRUCTION: PART THREE Swami Sadasivananda 87 EXPERIENCING GOD AS ‘I AM’ Michael James 95 BOOK E XCERPT: A WOMAN’S WORK Mary Ellen Korman 101 SRI ARUNACHALA VENBA Sadhu Om Swami 109 R AMANA KIDS’ CORNER 115 LETTERS TO THE EDITOR 117 BOOK REVIEWS 120 ASHRAM BULLETIN 125 EDITORIAL Ramana Ashtottaram 56. Aae< ivmlay nm> Effort and Om VimalÅya namah. Prostration to the flawless one. Effortlessness The flaws in our human nature, which hide the Self as clouds conceal the Sun, are the dark shadows cast by the ego. Bhagavan, being wholly egoless, shines as pure Awareness free from every flaw. 57. Aae< dI"RdizRne nm> Om D≠rgha dar±ine namah Prostration to the far-sighted one. One of transcendental vision who sees beyond time and space; one mong the exceptional individuals whose stature is recognised not who looks through the phenomenal and sees the Real. Aonly in India but around the world, Mahatma Gandhi stands out in the public eye as the one who shaped modern India and influenced other political activists who sought freedom through peaceful means.
    [Show full text]
  • FINE ARTS ART and CULTURE ‡ Bhangra (Punjab) - Folk Dance of Harvest Season, Coinciding with the Festival of Baisakhi
    78 FINE ARTS ART AND CULTURE ‡ Bhangra (Punjab) - folk dance of harvest season, coinciding with the festival of Baisakhi. ‡ Lalit Kala Academy was set up in 1954 at New Delhi. ‡ Tamasha (Maharashtra) - Nautanki (U.P.), Garba ‡ Sangeet natak Academy was established in 1953 at (Gujarat), Chhow (Orissa, Bihar). New Delhi. Its function is to conduct survey ‡ There are two forms of music in India - Carnatic and research of different art forms in India. Hindustani. ‡ Sahitya Academy was established in 1954 at New ‡ Sama Veda deals with music. Delhi. Its aim is to encourage production of high ‡ Purandaradas gave shape and form to Carnatic class literature in several languages of India. music. ‡ The National Book Trust of India was set up in ‡ The trinity of Carnatic music is Thyagaraja, Syama 1957. Shastri and Muthuswami Dikshitar. ‡ ASI - Archaeological Survey of India - was established in 1861. Its headquarters is in New Names Associated with Indian Music: Delhi. ‡ Ustad Alla Rakha - A master of the Tabla. ‡ Indian Council for Cultural Relations was established ‡ Bala Murali Krishna - A singer of Carnatic music. in 1950, and it strives to promote and to strengthen cultural relations and mutual understanding between ‡ Bhim Sen Joshi - A Hindustani singer. India and other countries. The Council administers ‡ Pt. Hari Prasad Chaurasya - Flute player. the Jawaharlal Nehru Award for the promotion of ‡ Pt. Jasraj - Famous singer of Hindustani music. peace and international understanding. ‡ Parveen Sulthana - Hindustan style singer. ‡ NSD - National School of Drama - was set up in 1959 in Delhi. ‡ Neralathu Ramapothuval - Sopanam. ‡ Dances : There are two main branches of Indian ‡ M.S.Subha Lakshmi - Carnatic music.
    [Show full text]
  • Chapter 1 Uday Shankar and Locating Modernity
    CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.
    [Show full text]
  • Ramanashram and Ahta Lingam in Girivalam
    Ramanashram and Ahta lingam in Girivalam Ramana Ashram At Ramana Ashram, I was welcomed by the melody of peacocks. I went in and prostrated in front of Sage Ramana's Samadhi. An inexplainable peace surrounded me. There was a hall where he lived with His photographs. I went in and found many foreigners seated so beautifully, either in Padmasana (the lotus pose) or Sukasana with their spine erect, in meditation. I, too, meditated there for a while and came out. I saw people looking skywards, with camera. I then realized that it was the peacock in a tree. But then someone signalled to me 'see here' and I was taken aback with what I saw. A beautiful peacock, spread out its wing and was posing for us. I took photos of both of them. 1 I read on the internet that on the day when Sage Ramana Maharishi left for his heavenly abode, the peacocks kept on lou-louing and stopped abruptly when he left his body. They kept a great silence after that! The darshan of the Arunachala mountain from the Ashram is Eru Pancha Mukha Darshan. It is for all those who have committed sin out of circumstances. It helps them not to get in to the same trap again. The mind will wander when you sit and do japa but if you do pradakshina that mind will remain one-pointed even though the limbs and the body are moving. It is known as sanchara samadhi. The Lingam (also, Linga, Ling, Shiva linga, Shiv ling, Sanskrit िलङ्गं , meaning "mark" or "sign") is a representation of the Hindu deity Shiva used for worship in temples.
    [Show full text]
  • It Will Be My Greatest Happiness to Know That in Its Own Humble Way, Kalakshetra Is Helping to Make More Beautiful, More A
    "It will be my greatest happiness to know that in its own humble way, Kalakshetra is helping to make more beautiful, more artistic, the lives of all - that in the education of the young, creative reverence for that spirit of the beautiful which knows no distinction of race, nation or faith has a pre-eminent place..." Rukmini Devi Arundale INTRODUCTION RUKMINI DEVI COLLEGE OF FINE ARTS BHARTANATYAM REPERTORY CARNATIC MUSIC VISUAL ARTS MAP OF KALAKSHETRA PART TIME COURSES SCHOOLS MUSEUM LIBRARIES, ARCHIVES AND PUBLICATIONS PERFORMANCE SPACES CONTACT DETAILS ABOUT OUR FOUNDER RUKMINI DEVI ARUNDALE 1904 -1986 ukmini Devi was born in the temple town of Madurai in Rthe erstwhile Madras Presidency, now in Tamil Nadu. She spent her early years there along with her eight siblings. Her father Neelakanta Sastry who was very “forward thinking” initiated the family into the philosophy of the Theosophical Society, which freed religion from superstition. She grew up in the environment of the Theosophical Society, influenced and inspired by people like Dr. Annie Besant, Dr. George Sydney Arundale, C. W. Leadbeater and other thinkers and theosophists of the time. In 1920, she married Dr. George Sydney Arundale. Although they faced a great deal of opposition from the conservative society of Madras, they stayed firm in their resolve and worked together in the years that followed. KALAKSHETRA'S ORIGINS n August 1935, Rukmini Devi along with her husband Dr. IGeorge Sydney Arundale and her brother Yagneswaran met with a few friends to discuss a matter of great importance to her – the idea of establishing an arts centre where some of the arts, particularly music and dance, could thrive under careful guidance.
    [Show full text]
  • St. Joseph's Journal of Humanities and Science ISSN: 2347 - 5331
    K. Karthikeyan / St. Joseph’s Journal of Humanities and Science (Volume 2 Issue 2 August 2015) 33-37 33 St. Joseph’s Journal of Humanities and Science (Volume 2 Issue 2 August 2015) 33-37 St. Joseph's Journal of Humanities and Science ISSN: 2347 - 5331 http://sjctnc.edu.in/6107-2/ RELIGIOUS TOURIST PLACES IN TIRUVANNAMALAI – A STUDY - K. Karthikeyan* ABSTRACT Tiruvannamalai is a town in the state of Tamilnadu, administrated by a special grade municipality that covers an area of 16.33 km2 (6.31 sq.m) and had a population of 144,278 in 2011. It is the administrative headquarters of Tiruvannamalai District. Located on the foothills of Annamalai. Tiruvannamalai has been ruled by the Pallavas, the Cholas, Hoysalas, the Vijayanagar Empire, the Carnetic Kingdom, Tipu sultan, and the British. It served as the capital city of the Hoysalas. The town is built around the Annamalaiyar Temple. INTRODUCTION Tiruvannamalai is an ancient temple town in TamilNadu with a unique historical back ground. The Tiruvannamalai is named after the central deity of the four great Tamil saivaite poets Sambandar, Sundarar, Annamalaiyar Temple. The Karthigai Deepam festival Appar and Manickavasagar have written about the is celebrated during the day of the full moon between history of Tiruvannamalai in their literary work November and December, and a huge beacon is lit Thevaram and Thiruvasagam which stands unparalleled, atop the Annamalai hill. The event is witnessed by Arunagirinathar has also written beautifully about three million pilgrims. On the day preceding each full the Tiruvannamalai and its Lord Arunachalaeswarar moon, pilgrims circumnavigate the temple base and the temple.
    [Show full text]
  • The Music Academy, Madras 115-E, Mowbray’S Road, Madras-14
    DONATED BY. Sat. uQMATI fliitAAIiATHAS, THE JOURNAL OP THE MUSIC' # ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXVII 1966 Parts MV H ji t o tB t si i *nr m^rf^cr foHTfa 11 «* I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but), where my Bhaktas sing, there be I, Narada ! ” EDITED BY V. RAGHAVAN, M .A., p h .d . 19 66 PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD, MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. Post paid, f THE JOURNAL OF THE MUSIC ACADEMY, MADRAS OPINIONS The Indian Express: “The resumption of the Journal is an event of the first The Oriental Literary Digest, Poona magnitude in the musical world.” writes : The Hindu : “ The revival of this “ A journal of all-India character, valuable Journal devoted to the study solely devoted to music, has been a and promotion of Indian Music will be serious and long-standing desideratum. welcomed by all lovers and exponents Though the Sangita, a quarterly pub­ of the art. lished from the Marris College, The Madras M ail: “We are glad to Lucknow, and the Journal of the Music note the revival of the Journal of the Academy, Madras, (JMAM), were start­ Madras Music Academy (a quarterly ed in 1930, both had unfortunately to devoted to the advancement of the be suspended after issuing a few excel­ science and art of music) Fulfilling lent numbers. The re-appearance of the as it does a real need of music lovers, JMAM will therefore be welcomed by we are sure all lovers of art and culture all thoughtful lovers of Indian music will support it.” and culture with no small amount of H.
    [Show full text]