A Son Confronts his Abandonment

In the play, 'Kunti-Karna', Karna and his mother Kunti have a complicated relationship, just as the warrior has ambivalent feelings for Krishna and Arjuna

By Shevlin Sebastian 

Photo by Mithun Vinod  

Karna approaches the stage from the aisle of the JT Pac hall in Kochi. He is bare-bodied and wears flared trousers. As Karna steps on stage, a haunting Kathakali song is heard on the soundtrack. Soon, he makes movements, resembling Kalaripayattu, the ancient Kerala martial art form. There is an absolute silence for several minutes.

Karna groans, “Mother, aah, aah.” He falls into a tank of water, placed at one side of the stage, to indicate his abandonment as a baby by his mother Kunti.

He keeps dreaming of his mother. “As the darkness sucks me in and I find it difficult to sleep, a woman appears before me again and again,” says Karna. “I beseech her with tears. Mother, remove your veil. Let me see your face.”

And then Kunti appears in front of him standing on a small trolley pushed by a younger version of Karna, her face and body covered by a red shawl. Karna rises, and says, “O mother,” but Kunti keeps pushing him back into the water. This falling down, the splash, and the rising-up makes for a riveting sequence.

“The water, for Karna, is a symbol of being in the womb of his mother,” says Koumarane Valavane, the director of the play 'Kunti Karna'. “The image of water is also in his memory because he had been abandoned on the Ganges river.”

The story, as related in the Mahabharata, goes like this: Through the sun God Surya, Kunti has a child called Karna. In order to preserve her honour, before her marriage to Pandu, she goes to the Ganges river and, with the help of her maid, Dhatri, places her new-born son in a basket and sets him adrift.

In subsequent scenes, Karna carries on crying for his missing mother. Later, he has a confrontation with his half-brother Arjuna, who taunts Karna by saying, “You don't know your father's name. This place is not for you. Out!”

A defiant Karna says, “Arjuna, today for lack of an identity, you have rejected me. But someday, our strengths alone will matter. We will fight and I will kill you.”

It was martial arts that saved Karna from the feeling of being abandoned. “He is deeply involved in it,” says Koumarane. “Otherwise, Karna would have become useless or an alcoholic.”

Meanwhile, Arjuna goes to the Himalayas to get the Pashupatastra weapon from Lord Shiva. While there he has a fight with Lord Shiva, and is defeated. This scene is shown in dramatic style in the play. Arjuna climbs up two long strips of white cloth hanging from rods from the ceiling and does fight sequences by twisting and turning, going up and down, forward and backwards, deftly using his hands and feet, and, finally, when he is defeated, he slides, head first, straight to the floor.

Thereafter, there are dramatic fighting scenes between Arjuna and Karna, with the latter having animated conversations with Krishna and Parasurama and, at the climax, Karna is killed.

It is a gripping play, with intense and tight acting by the performers, all members of the Indianostrum Theatre in Pondicherry. They include Vasant Selvam (Karna), Sravanthi Vakkalanka (Kunti), Parasurama (Kourmarane) and Naveen Kumar J (Krishna), among others.

Unusually, there are long periods of silence, when nothing happens, except for soundless Kalaripayattu movements. This seems to be a risky ploy to use in these impatient times. “I wanted to avoid the noise and talk that is present in every play,” says Koumarane. “Because I believe that silence has more power than words.”

(Sunday Magazine, The New Indian Express, South India and Delhi) 

Blowing up the Indian Prime Minister

Tinu Menachery, who plays a suicide bomber in the film, 'Madras Cafe', talks about her experiences

 

By Shevlin Sebastian

 

On the first day of her shoot in the Hindi film, ‘Madras Café’, in the Vypeen Islands, off Kochi, Tinu Menachery felt scared. She had a touch of hydrophobia. And she had to be on a boat, which was supposed to be coming from Jaffna to the coast of India. When Tinu expressed her apprehension, the assistant director Arjun said, “Don't worry, it will be a long shot so your face will not be seen.”

 

However once the shot was done, the director Shoojit Sircar asked Tinu whether she was afraid of water. Tinu nodded. “Fear was written all over your face,” he said. “Let us do it again.”

 

This time, Tinu thought about pleasant subjects like her college life. As a result, she looked relaxed and natural. “What I really liked about Shoojit Sir was that even though it was a small scene, he was very particular that the right expressions were shown,” says Tinu.

 

The dusky actress – a Malayali who grew up in Mumbai – was playing a suicide bomber of the Liberation of Tamils Front who blows up the Indian Prime Minister in the last scene. As for the type of person the bomber is, Tinu says, “She is introverted and shy, while I am an outgoing and jovial person. So I had to contain all my energy and not be myself, while depending on Shoojit Sir to guide me.”

 

One unusual aspect was that Tinu looked plain and devoid of make-up in the film. “People were shocked to see my face,” says Tinu. “But it was not a hard decision to be unglamorous since I looked upon the role as a great opportunity.”

 

What made Tinu feel good was when the director praised her. “Shoojit Sir told me that I have expressive eyes and even if I don't say much in a scene, my eyes talk a lot,” she says. “My postures are good. The moment he says, 'Action', I do have visible changes in my body.”

 

Tinu is also having visible changes in her life now. And it all began rather accidentally. A friend suggested that she send her CV for the Glad Rags model competition in 2008 in Mumbai. She did so, and was selected. “And when I walked the ramp I found a happiness that I had never experienced before,” says Tinu.

 

Thanks to her 5’8” height, she got several modelling jobs – Ritu Kumar, Levis, Lee, Amprapali Jewellery, among many others.

 

From there, she gravitated to television where she got a role in a serial on Star Plus. Thereafter, she acted in a Malayalam film, ‘Kaash’. And soon, she heard that there were auditions for ‘Madras Café’. “They were looking for a particular type of person,” says Tinu. “After the screen test, I was selected.”

Not surprisingly, her best moment occurred was when she met the hero, John Abraham on the set. “I looked stupid because I was so much in awe of him,” says Tinu. “He is extremely good-looking and a nice person to talk to. I thought John would have starry airs, but he was humble. One day, John was having a chat with another person and I was sitting right behind them. And I was listening to the conversation and thinking, ‘Oh my God, do they still make these type of guys nowadays?’” 

(The New Indian Express, Kochi and Thiruvananthapuram)

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A Palette of Different Colours

 

COLUMN: Spouse's Turn

Chameli, of Chinese origin, talks about life with the noted artist, A Ramachandran, a Padma Bhushan winner 

Photo by Ravi Choudhary

By Shevlin Sebastian

During the introductory meeting of art students at Shantiniketan, West Bengal, in 1957, two people stood out. One was Chameli Tan Yuan, who was of Chinese origin. The other was the tallest person in the room, the Malayali artist A. Ramachandran, 6’2”, who was dressed in white shirt and trousers. Their eyes met.

“I think he got attracted to me instantly,” says Chameli. “But, later, when I saw his work, I was bowled over. I realised he was a genius.”

Chameli still remembers one particular work that affected her deeply: it was of a mynah in a tempera medium. “It was simple, beautiful, and impressive,” she says.

The couple would meet occasionally. Ramachandran would show Chameli his ongoing compositions. Slowly, they became friends. “We used to go for walks in the evening and talk about art, culture, and Malayalam literature. He used to talk about what a great writer [Vaikom Mohammad] Basheer was.”

Incidentally, Chameli was born in Shantiniketan because her father Tan Yun-Shan, a scholar from Hunan Province in China came to India in 1928 to teach Chinese at Shantiniketan, at the invitation of Nobel Laureate Rabindranath Tagore. Eventually, her father lived in Shantiniketan all his life, and died at the age of 85 in 1983 at Bodh Gaya. As for Chameli, she was born as Tan Yuan, but it was Tagore who gave her the Indian name.

Meanwhile, Ramachandran and Chameli carried on their courtship which lasted for 10 years. “It was not easy for us to marry because we came from such different backgrounds,” she says. “He was also a struggling artist.”

But, eventually, they had a registered marriage on June 2, 1967. And right from the beginning, Ramachandran's mother, Bhargavi Amma, accepted her whole-heartedly. “Amma was an extraordinary woman, and so different from other Malayali women,” says Chameli. “She never treated me badly even though I was not a Nair or Malayali. Instead, Amma gave me so much of love that I can never forget her.”

After 46 years of marriage, Chameli can also never forget Ramachandran. “He is a great artist,” she says. “I am not saying this because he is my husband. Ramachandran is a gifted person and his involvement in art is total.”

She also admires his honesty and straight-forwardness. But there is a drawback to this. “Ramachandran will say whatever he feels straight to your face,” says Chameli. “He is too blunt. Many people have misunderstood him and felt upset and angry. Some have called him rude and arrogant. I used to feel upset about this. Sometimes, I would go into shock. Because we Chinese have been taught to be polite at all times. We follow the Confucius way of thinking.”

But Chameli gradually got used to it. “Ramachandran told me that it is his nature,” she says.

Soon, the couple had two children, Sujatha and Rahul. But life was tough. “In those days, there was no art market,” she says. “For many years, we had a difficult time. The market opened up only recently. But his passion for art never diminished. Ramachandran would teach art at Jamia Islamia Milia during the day and work in the evenings and night on his art.”

Despite the difficulties, there was not much stress between the spouses. “We have always been friends,” says Chameli. “And we are professional artists who worked together writing and illustrating children's books. Because of our love of art, we were able to live harmoniously. It has been a strange, yet beautiful relationship.”

As for the Delhi-based Ramachandran, all the hard work has paid off. Today, he is a much-respected artist and was conferred with the Padma Bhushan in 2005. And when he goes around, people recognise him.

One day the couple went to see an ophthalmologist. In the waiting room, there was a mother and daughter. “I could hear the daughter say, 'That is Mr Ramachandran and his wife,'” says Chameli. “Then the mother said, 'Shall I ask him for a work?' But the daughter said no.”

Not surprisingly, there are people who come to the studio to see his compositions. “But Ramachandran does not like to entertain too many people as he would like to work,” says Chameli. “He prefers them to go to the gallery.”

On any given day, Ramachandran gets up at 8 a.m. Thereafter, he has a cup of tea and reads newspapers for two hours. After a bath and breakfast, he will go up to the studio on the first floor and start work. He will come down briefly for lunch at 2 p.m. Then he continues to work till 9 p.m. After a bath and dinner, the couple watches TV. “When we were younger, we would go out,” says Chameli who is 73, while her husband is 78. Both the children have flown the nest. While Sujatha lives in Toronto, Rahul is in Alabama, USA.

Asked for tips on a successful marriage, Chameli says, “A harmonious marriage does not happen just like that. Both spouses have to work at it. We were lucky we had similar likes and dislikes. Conflicts happen only because of disharmony. Find the common interests between the two and focus on that.” 

(The New Indian Express, Kochi and Thiruvananthapuram)

The Planet is In Peril

A two-day conference on climate change, at Delhi, conducted by the Centre for Science and Environment, was an eye opener

By Shevlin Sebastian 

“Climate change is for real,” says Sunita Narain, the Director-General of the New Delhi-based Centre for Science and Environment (CSE). “The world needs to cut emissions drastically. South Asia is the most vulnerable. The poorest, who are not responsible for climate change, are the worst affected.”

Sunita was speaking at a two-day South Asia media briefing on climate change at Delhi where nearly 100 journalists, from all states in India, and from the neighbouring countries of Sri Lanka, Bhutan, Bangladesh, Nepal, Pakistan, Maldives and Myanmar took part.

One reason for the worsening weather is that countries all over the world are emitting carbon dioxide and other gases relentlessly. The cumulative carbon dioxide that was emitted from 1890 to 2007 was a mind-boggling 1202 gigatonnes (gt). Out of this, 700gt were by developed countries, with the United States of America contributing 333gt, while the developing countries share was 501gt. In Asia, China had 104gt, while India emitted 31gt.

Here is another set of statistics. In 2005, the carbon dioxide concentration (CO2) was 383 parts per million (ppm). If the emissions continue, by 2050, the emissions will reach 550 ppm. If that happens, the global temperature will increase by 3 to 5 degrees. “This will have catastrophic consequences,” says Sunita. “The target has to be 450 ppm, to keep the temperature rise under 2 degrees. At this moment, we are at 350 ppm. In short, the world has to drastically cut emissions, by 85 per cent, to meet the objective.”

The only way forward is for rich countries to reduce their emissions. “15% of the world population accounts for 45% of CO2 emissions,” says Sunita. In other words, one American emits as much as 107 Bangladeshis or 269 Nepalese.

What is most alarming is that some gases remain in the atmosphere for hundreds of years. For example, a tonne of carbon dioxide emitted in 1850 can remain in the atmosphere till 3050. Other gases like methane can last for 12 years, while haloforms, like HFC 23, can remain for 270 years.

“The best option is to move from fossil to non-fossil energy,” says Sunita.

The good news is that some countries, like Germany, are already doing that. “In 2012, about 23 per cent of electricity in Germany came from renewable sources like wind and solar power,” says Chandra Bhushan, the Deputy Director-General of the CSE. “Interestingly, half the capacity is in the hands of citizens, not big companies. The country has the ambitious aim of getting 80% through renewable energy by 2050. There is a strong likelihood they will achieve their goal.”

Meanwhile, India needs to get its act together. “Nearly two-thirds of the population remains without clean cooking facilities,” says Bhushan. They use wood or dung for cooking. But that has consequences. Says Dr. Kirk R. Smith, Professor of Global Environmental Health at the University of California, Berkeley: “If you cook a meal, using wood, in the kitchen, it has the same impact as a thousand cigarettes burning. If children are in this kitchen it can damage their health.”

Using these wood fuels also heats up the atmosphere. According to a United Nations Environment Programme report, open burning contributes about 24 percent of the black carbon emissions from India.

However, the gratifying aspect is that some organisations are spearheading a change. Prasanta Biswal, the Bihar head of the Solar Electric Light Company India (SELCO) says that they are setting up household-based solar home-lighting systems for people who are below the poverty line. So, SELCO has put up solar lighting in migrant camps, in the houses of the poor, for roadside vendors, in remote areas, where people have no access to electricity, and even for the Siddis, a tribe of African origin, who live in Karnataka.

“In a place like Bihar, huge numbers of people still use kerosene,” says Prasanta. “The population pollutes because it does not have a choice. So, we are offering the cheap solution of solar energy.”

One group, which has benefited, substantially, are rose pickers in a village near Bangalore. In the pre-dawn, they would hold a lamp in one hand and pluck roses with the other. But SELCO provided solar powered headlamps and now with their hands free, their productivity has gone up considerably, as well as their income.

So far, SELCO has installed solar systems in 1.25 lakh houses. And their work has gained international recognition. In 2005 and 2007, they were awarded the Ashden Awards (which is regarded as the Green Oscars).

Moving on to another vital area, for India, Aditi Mukherji, the Theme Leader, Water and Air, of the Kathmandu-based International Centre for Integrated Mountain Development confirmed that, because of global warming, the Himalayas are prone to disasters. “On an average, there are 78 disaster events every year,” she says. “Around 36,000 people are killed and 178 million people are affected.” About one-third of these events are floods and it affects all the countries in the region: Afghanistan, Bangladesh, Bhutan, China, India, Myanmar, Nepal, and Pakistan.

“All of us should worry about what is happening in the Hindukush Himalayan (HHK) region,” says Aditi. “It is the source of ten major river basins. While 210 million people live in the HKH area, there are 1.3 billion people downstream who are dependent on the rivers.

Unfortunately, the snow cover of the Himalayas, as well as the glaciers, has been decreasing. When glaciers retreat, they leave behind glacial lakes. Later, this could lead to devastating floods because of Glacial Lake Outburst Floods.

And so it went. Other speakers spoke about extreme weather patterns, dealing with challenges of climate change, apart from suggestions for timely solutions. All in all, the conference was an eye-opener to the dangers faced by the planet, thanks to relentless global warming. The future looks decidedly dangerous, unless prompt action is taken by all the countries, in a spirit of co-operation. “If we don’t do that, we will force upon future generations an atmosphere that will take centuries to repair,” says, M.R. Ramesh Kumar, Chief Scientist of the National Institute of Oceanography, Goa. 

(The New Indian Express, Kochi)   

Scaling The Heights of Love

Megha Pillai talks about life with the World Dwarf sports champion Joby Mathew

Photo by Mithun Vinod 

By Shevlin Sebastian

In June, 2006, Megha Pillai went to take part in a seminar on social work at Kochi. When she was about to sign the attendance register, she saw that somebody had already signed in her column. “When I enquired from the organisers, they said that it resembled the signature of a person called Joby Mathew,” says Megha. Sometime later, Megha saw Joby and was surprised to note that he was only 3' 5” inch tall. They got talking and he said that he had been in a hurry, and that was how the mistake happened.

Thereafter, they went their separate ways. Then in October, when Megha was doing some shopping near Bank Junction in Aluva, (she lived in the town of Chengamanad, 10 kms away), she saw Joby on his three-wheeler scooter. Megha hailed him and said, “Are you not Joby Mathew?”

They conversed a bit. Megha told him she was a dancer. Joby then gave her his visiting card. “He told me that if there are any dance programmes, he should be informed,” she says.

Six months went past. Then, in March, 2007, at Kalady University, where Megha was doing her M. Phil on comparative literature, she was selected to do a Mohinyettam dance for the participants of a national seminar. So she invited Joby. And he came. After the show, Joby complimented her on her performance. Again, they went their separate ways.

Then in June, Joby was involved in an accident when a jeep hit his scooter. Joby’s arm was injured and he was hospitalised. “A friend called and told me that Joby was in a hospital in Aluva,” says Megha. “She had seen a report in the newspaper.”  

So Megha went and met him. In August, Megha got caught up in campus violence. Somebody poked a branch of a tree in her face. “I got injured below the left eye,” she says. She was taken to the Little Flower Hospital in Angamaly, where 12 stitches were put. “People thought that I would lose my eye,” she says. “But, by the grace of God, it became alright.”

Joby read the news item and went and saw her in the hospital. By this time, he had begun to develop feelings for Megha.  

On September 10, Joby called Megha up and said he liked her. “I want to marry you,” he said. Megha was agreeable. When asked whether, at 5' 5”, she had a hesitation of marrying somebody so short, Megha says, with a smile, “I had no problems that he is physically challenged. I liked him as a person and wanted to marry him. To me, Joby has always been 6' tall.”

Since it was an inter-caste love, her father, who owns a clothes shop at Chengamanad, said no. But everything changed when Joby met the family. The winner of five gold medals at the recent World Dwarf Games impressed with his confidence and positive nature. He also insisted that there was no need for Megha to convert to Christianity. 

“From the beginning, I received a lot of support from my mother,” says Megha. “She accepted Joby at once.” And later, Megha's father also agreed to the marriage.

The wedding took place on November 16, 2008 at the chapel of the Rajagiri College of Social Sciences in Kalamassery, where Joby, who has a MA and a law degree, was employed as a public relations manager. Today, he is working in the legal wing of the Bharat Petroleum Corporation Limited.

And, over the years, Megha got a better understanding of Joby's character. “He is a happy person,” says Megha. “Joby is always smiling. He makes his decisions after a lot of thought. If there is a problem, Joby will always say that there is a solution to it. And after thinking carefully, Joby does come up with a good way to solve the issue.”

Joby, who has won 16 international medals, is a former world arm wrestling champion, as well as a gold medallist in events like shot put, javelin, discus, and badminton. When asked about his qualities as an athlete, Megha says, “Joby is focused and disciplined. Once he set a goal, he works hard to achieve it.”

Perhaps his only drawback is that he is a perfectionist. “At home, if a thing is not at a particular place where he has kept it, Joby gets angry,” says Megha.

Interestingly, when the couple steps out in public, even in places like Bangalore, they are immediately recognised. That is because Joby had taken part in Sony TV's Entertainment Ke Liye Kuch Bhi Karega, where the vibrant sportsman did arm wrestling with Bollywood stars Ranbir Kapoor and Priyanka Chopra as well as director Farah Khan.

“When people meet me, they are amazed to know that when Joby asked to marry me I said yes immediately,” says Megha. “Then they will inquire whether I married out of sympathy. But Joby is a person who does not need any sympathy. He is a champion in sports as well as life.” Incidentally, the couple has a four-year old son, Jyothis.

As for tips for a successful marriage, Megha says, “If you marry a person from a different caste or religion, you have to ensure your spouse will accept and support your religious beliefs. And when you have children, he should agree that they will follow both religions. Otherwise, it will lead to a clash. And in case you face any problems, just pray to God. He is the same for everybody.” 

(The New Indian Express, Kochi and Thiruvananthapuram)

It’s Raining Cats and Dogs

Muhammed Anaz is the only cat and dog supplier in Mollywood. He talks about the ways to look after them, as well as their nature

By Shevlin Sebastian

One day, in April, Muhammed Anaz received a call on his mobile. It was from production controller Sidhu Panakkal of the Malayalam film, ‘Ladies and Gentlemen’.

“We need a cat,” said Sidhu.

“How did you get my number?” said Anaz.

“Mohanlal gave it to me,” said Sidhu.

“Which Mohanlal?” said Anaz.

“The superstar,” said Sidhu.

Anaz wanted to burst out laughing, thinking that it was a prank call. Suddenly, the director Siddique came on the line and said, “Anaz, we need a cat.”

So Anaz took a mix of Persian and Siamese cats and went to the location, a bungalow, in Kochi. As soon as he stepped into the courtyard, from a distance, Mohanlal shouted, “I am the one who gave your number to Sidhu.”

Anaz then remembered that once, a couple of years ago, he had been introduced to Mohanlal by a photographer, Jayaprakash Payannur. “Amazingly, Mohanlal had not only remembered me, but also saved my number,” says Anaz, looking amazed. “That’s Mohanlal for you: a simple and humble man.”

Anaz is the only cat and dog supplier to Mollywood (earlier, the animals were got from Chennai). His break came when he was asked to supply a Persian cat for the 2011 film, ‘Teja Bhai and Family’. 

There is a shot when the hero, Prithviraj, who is a don based in Malaysia, enters an office, and to show casualness, he holds a cat on his arm. This is Mittu, a white Persian cat, which belongs to Anaz. The shoot lasted five days. Thereafter, Anaz, who has ambitions to become an actor, received several opportunities where his pets were given roles.

His latest film is 'Pattam Pole', in which Mammooty’s son, Dulquer Salman, plays the hero. “I have provided a miniature pinscher called Jill,” says Anaz. “The heroine (Malavika Mohanan) has a pet dog. Jill will sit on Malavika's lap and is fed ice cream. When the heroine goes on a journey she says goodbye to Jill.”

Anaz said hello to cats and dogs right from his childhood. And it happened because of a tragedy: his father, a doctor, died in a road accident when Anaz was only three-and-a-half years old. Thereafter, the family went to stay with Anaz's grandmother at North Paravaur, 33 kms from Kochi. “My grandmother used to have around 30 cats,” he says. “I developed my love for cats, dogs and hens at that time.”

Not surprisingly, when he grew up, he began to keep cats and dogs, apart from lovebirds, at his own home. These include dogs, like miniature pinschers, toy dogs and Pomeranians, apart from Siamese, Persian, Himalayan, Balinese and the British Short Hair cats. Owing to his close association, he has a good idea of their character.

“A cat cares only for the house and food,” he says. “They don't care for the people. Food and comfort are most important for them. They will not go anywhere, if they are happy.”

On the other hand dogs become emotionally close to the owners.

“Hence, men are happier with dogs rather than cats,” says Anaz. “Those who raise dogs want love in return, while those who raise cats do not expect love. That is why women have cats as pets, because they are used to giving love.”

Meanwhile, Anaz keeps his cats healthy and contended by providing a good diet. He will buy fresh sardines from fishermen off the island of Vypeen, near Kochi. Then Anaz will remove the head and the tail and the kidneys. He will then cook it, along with rice, white onions, and turmeric powder in a pressure cooker.

“It will become like a biryani,” he says. Normally cat owners place the fish inside the rice. But the cat only eats the fish and avoids the rice. This way, the animal will eat the fish and rice. Twice a month, in order for the cat to get iron, Anaz provides the liver of hens.

Amazingly, cats don't like cow's milk. “It harms their health,” says Anaz. “They will have worms.” Instead, to strengthen their bones, he buys artificial milk made by western canine companies. It is similar to milk powder and costs Rs 1000.

At the backyard of his Kochi home, he has cages of cats and dogs. When they see him, the dogs bark loudly. “That is because I am accompanied by a stranger,” he says. “If I shout and say it is okay, they will keep quiet.” Which is exactly what happened.

Anaz smiles happily in the sudden silence. So, it is no surprise when he says, “I loves animals more than people. I get happiness and a sense of peace when I am with them.” 

(Sunday Magazine, The New Indian Express, South India and Delhi)  

A Heart-Warming Sight

India’s blind football team, which had two Malayalis, performed creditably, on their maiden outing, at the five-a-side tournament held in Bangkok recently

Photos: Indian team officials Sunil Mathew (left) and MC Roy; an Indian player in action

By Shevlin Sebastian

It was a tense moment for India during the penalty shootout against Hongkong during the visually challenged five-a-side football tournament held at Bangkok recently. The Malayali, Naufal Thandanaparambil Nazar, was about to take a penalty. However, the Hongkong goalkeeper was not visually challenged. Instead, he could see clearly. So, the odds were high that Naufal would not be able to score. But he did not lose hope.

“Naufal hit the ball so hard, that it ricocheted off the goalkeeper and went into the net,” says Sunil J Mathew, the secretary of the Kochi-based Society for the Rehabilitation of the Visually Challenged (SRVC). Thanks to that shot, India went to the semi-finals, where they lost to ultimate champions, Iran. 

Eventually, India finished fourth, on their maiden outing. The other countries which took part included Thailand, Malaysia, Vietnam and Russia.

This was a B1 tournament. In the B1 category all the players are visually challenged. However, according to five-a-side rules, four players should be B1, while the goalkeeper can be B3, which means he can have partial sight, or be fully sighted. Not surprisingly, all the teams had fully-sighted goalkeepers, except for India. “We wanted to be a sporting team,” says MC Roy, Project Head, SRVC.

The area of play is 40 x 20 metres. There are cushioned boards placed on all sides so that the ball does not go out. It also prevents players from hurting themselves. Before the match, the referee places three layers of bandage on all the players to prevent them from seeing. A game lasts 50 minutes, with a break of 10 minutes. During a match, players can be substituted any number of times.

As for the ball, it is smaller than a football. “It does not bounce as much,” says Sunil. “In fact, it is slightly heavier because there are ball bearings inside it. The sound is audible to the people who are playing.” Before the start, the coaches stand behind the goalpost of the opposing teams and shout instructions to the players as the match progresses.

However, the lack of knowledge about international visually challenged football rules hampered India. “During a game, if a player is approaching the opposing attacker, who is moving with the ball, he has to shout ‘Voie’, so that the player can know who is charging towards him,” says Roy. “That is the only way an attacker can dribble and tackle the other players. And this is the best method to avoid collisions.”

Unfortunately, India received a penalty for making five fouls in succession, because the players would forget to say ‘Voie’. “If the player does not say ‘Voie’, the person who is running with the ball will ram into the defender, and both will get hurt,” says Sunil.

Ranjith Manapparam Sasi from Kerala received an ankle injury during the first match against Hongkong. There was also a collision between the Indian goalkeeper, Vineet Kumar, defender, Gautam Dey, and a Thai attacker with the post. 

“Unfortunately, the posts were not padded,” says Roy. “So they were injured. Gautam suffered a sprain on the arm. He had his hand bandaged, but kept playing till the end. Another player, Muhammad Salim, nearly lost his teeth because of a collision.”

Incidentally, the team consisted of five players from Delhi, three from Bengal, and two from Kerala. The officials included coach David Absalom, with Roy as the ‘blind escort’ and Sunil as the ‘guide’ behind the goal. The SRVC worked in close coordination with the Delhi-based Indian Blind Sports Association.

To develop an understanding between the players, a 10-day camp was held in August in Delhi. “That was the first time the players played against each other,” says Sunil.

Interestingly, the idea to take part came when Sunil was researching on the Internet and came across an astonishing statistic. “A country like Brazil [population: 198 million] has 660 visually challenged football teams, while India, with a population of 1.2 billion, has never put up five people for a tournament,” he says. “That was the impetus to form a team.”

Now, the SRVC has plans to hold more coaching camps in Kochi, and expand the reach of the game by going to North-East India. “I heard that there are a lot of good players there,” says Sunil. “So we will do a road show and pick up the best talent.” 

(The New Indian Express, Kochi and Thiruvananthapuram)

First-time Hartal in Kadmat Island

By Shevlin Sebastian

Kerala's strike culture is having its impact, 400 kms away, across the seas.

For the first time, in its history, the people on the tiny island of Kadmat, in the Lakshadweep archipelago, are planning a hartal today (September 24). 

Their complaint: for three weeks, fruits, vegetables, wheat, flour, table rice, salt and many other items has not arrived at the island from Kochi. Rahmath Begum, the port assistant at Kadmat, confirmed it. 

Apparently, the hydraulic pump on the crane which is used by the ship – the MV Lakshadweep Sea – belonging to the Lakshadweep Development Corporation Limited (LDCL) is not working.

Vivek Agarwal, the general manager, of the LDCL, said that the pump has been handed over to the Cochin Shipyard for repairs. “But because of the Onam holidays, there has been a delay in repairing it,” he said.

Now the islanders are running out of food. “We are very angry,” said schoolteacher Abdul Gafoor. “We are wholly dependent on Kochi for our food.”

So the traders are planning a hartal tomorrow. P. Haris, the Vice President of the Kadmat Island Merchants' Welfare Association said that they will hold a dharna in front of the additional sub-divisional office as well as the port assistant's office.

KN Kasmikoya, the sub-divisional officer, affirmed that the merchants had complained to him regarding the shortage. “I am working closely with the LDCL to resolve the issue,” he says. “You must understand that all the items are brought by sea. Sometimes, there are problems.”

Meanwhile, the enterprising Haris suggests an immediate solution. “The LDCL has another ship, the MV Arabian Sea, which operates on the Kavaratti route,” he said. “This ship can alternate with the MV Lakshadweep Sea so that we can get all the foodstuffs.”

The island, which consists wholly of members of the scheduled tribes, has a population of 6500. And it is only 10.5 kms long and 600 metres in width. During the tourist season people come from all over the world. “It is one of the most beautiful spots on earth,” says Kasmikoya. But without proper food, it might not be an exciting place for visitors. 

(The New Indian Express, Kerala edition)

CID Johny

 

COLUMN: Spouse's Turn 


Shyni talks about life with the director Johny Antony, whose debut film, ‘CID Moosa’ (2003), has been a perennial favourite among TV viewers

Photo by Mithun Vinod 

By Shevlin Sebastian

Shyni was very excited. The shoot of the Malayalam film, ‘British Market’ by director Nizar was taking place in a house just three doors away from hers at Changanacherry. “There was a scene where the hero [Vijayaraghavan] and heroine [Ranjitha] are talking to each other,” says Shyni. Among the crew members milling about, there was Associate Director Johny Antony, but she did not notice him. But he did.

Sometime later, a broker came to Shyni's father with a proposal from Johny’s family, who lived at Mamood, 10 kms away. “Initially we said no, as my father did not want me to marry somebody from the film industry,” says Shyni. But Johny’s mother called Shyni's mother and persuaded her to agree.

The marriage took place, on April 15, 2002, at the Lourdes Matha church at Mamood. And within a year, Johny made his directorial mark with the blockbuster hit, 'CID Moosa', starring superstar Dileep.

“A lot of people were shocked to know that my husband had directed the film,” says Shyni. “My friends called me up from Dubai and said, ‘Did your husband actually make the film?’ Many of them did not know that I had married a director, because I had gone out of touch.”

‘CID Moosa’ has had an enduring impact. Sometimes, when the children – Luduveena, 10, and Anna, 7 – go to school, their classmates will tell them that the film is being shown on television that evening. “My children will smile and say, ‘See it, this is our father’s film,’” says Shyni. “All the youngsters love Moosa, but I think it appeals to adults also. Our family has seen it so many times on TV that we know the scenes by heart.”  

In the initial years Shyni would never go to the sets. But when the children grew up, they insisted they wanted to see their father. So they went to the set of ‘Masters’ at the Windsor Castle at Kottayam.

It was a scene set in a godown. The actors included Biju Menon and Prithviraj. “The children enjoyed watching the shooting,” says Shyni. “Johny was very different on the set. He looked very tense. But during the break he became relaxed and smiled often.”

For Shyni, there is no doubt that cinema is Johny's passion. “I don't have any problems with that,” she says. “It is our bread and butter. Sometimes, he is away for three months at a stretch and only returns home after the film is released on a Friday. But Johny will call the day before and ask me to pray for its success.”

Shyni is also aware that as a creative person, Johny has an unusual nature. “My husband is different from most people,” says Shyni. “But I don’t think much about it. He looks after us well and I am happy about that. I am not very involved with the creative side, but I like all his films.” These include Kochi Rajavu, Thuruppu Gulan, Inspector Garud, Cycle, Ee Pattanathil Bhootham and Thappana.

And she has been able to see the impact of Johny's success first-hand. “Youngsters keep coming to the house asking for roles or to talk about the scripts they have written,” says Shyni. “My husband listens to them patiently, because Johny has never forgotten his own struggle of many years to establish himself in the industry.”  

Meanwhile, during their decade-long marriage, Shyni has noticed a facet that not many people know of. Johny helps people who are in financial trouble, especially his friends. “If he does not have any money, Johny will take a loan,” says Shyni. “He has a knack for friendship and likes to mingle with everybody. It does not matter whether the person is young or old.”

But for Shyni what she likes the most about Johny is the freedom he has given her. “Johny never interferes with me,” she says. “If I want to go shopping, I can. If I want to go out, he will never say no. Sadly, my friends do not have the same freedom. Most of the time, they have to get permission, or their husbands will insist on accompanying them.”

Johny’s only drawback is that he can lose his temper quickly. “He can get irritated over the smallest of matters,” says Shyni. “It is unpredictable. I don’t react when he gets angry. All I do is to leave the room. Then he cools down quickly.”

As for tips on marriage, Shyni says, “Whatever problems you face, you have to be patient and tolerant. You must give the necessary space to your husband. If he has a passion you should support that whole-heartedly. That will make him happy.” 

(The New Indian Express, Kochi and Thiruvananthapuram)

The Grand, as well as the Preppy

TV personality Poornima Indrajith launches her new fashion lounge, Pranaah, with a show at Kochi

Photo: Poornima Indrajith (second from left) with her daughters, show-stopper, Amala Paul, and other models

By Shevlin Sebastian

“Pranaah is my third baby,” says actor, TV personality and now fashion designer, Poornima Indrajith, while on stage at a five-star hotel at Kochi, just before the launch of her fashion lounge logo. Standing next to Poornima are her two daughters, Praarthana, 9, and Nakshatra, 4. “It has been a dream come true,” she says. “I have invited my family and close friends to witness this exciting moment.”

The close friends, sitting on one side of the ramp, are a constellation of stars. They include actor Kunjan, along with his wife, Shobha, Meghana Raj, Bhavana, Shwetha Menon, Geetu Mohandas, Ananya, Ranjini Haridas, Lena, and – gasp! – Manju Warrier. Of course, Manju, who looks pretty and slim, is gradually working her way back into the limelight, after a 14-year hiatus.

Meanwhile, Poornima’s husband, the unassuming star, Indrajith, dressed in a black waistcoat, shirt and trousers, and see-through sunglasses, steps on stage, and says, “I wish Poornima all the best. I am sure she will be successful.” Then he launches into the Mohammed Rafi song, ‘Teri aankhon ke siwa/duniya mein rakha kya hai’. He sings it well enough to receive a heartfelt applause from the audience, especially his mother, Mallika Sukumaran.

In the ensuing fashion show, there are ethnic Indian bridal and semi-bridal clothes, a mix of digital prints along with brocade. There are zip sarees and sarees with belts. Other clothes include skirt-saris, and full sleeved blouses, with bright colours, like gold, black, white, fuchsia and neon. There are short skirts and trousers, salwar kameezes, and chiffon sarees, with fine embroidery work.  

During a break, the singer Sam Shiva, dressed in a leather coat, black jeans and boots, sings the Lionel Richie classic, ‘Hello, is it me you are looking for?’ Most of the stars, especially Ranjini, Swetha and Lena, are mouthing the lyrics.

Overall, the audience is impressed with the designs on show. “Poornima has a signature style,” says Lena. “It is a mix of the grand as well as the preppy. Many youngsters will like it.” 

As for Shwetha, she feels that there is a lot of the designer in her designs. “Poornima, you are going to do my next event,” she says. 

And Kunjan says, wittily, “We can’t live without Pranaah.” As for Manju, she says, “I am proud of Poornima. We wish her all the best.” Mother-in-law 
Mallika gives the final vote of confidence: “Poornima is hard-working and has a passion for fashion. I am sure people will like her designs.” Indeed, the object of all this praise, Poornima does have a talent to design clothes.    

The show-stopper is Amala Paul, who is wearing a floor-length gold dress, with lace fabric and stone embellishments. But there are two other show stoppers too: Praarthana and Nakshatra who walk in the swaying style of models at the conclusion with Amala and makes the audience smile. And so, it is a successful launch for the lively, intense and friendly Poornima. Her clothes are available at Pranaah, 4^th Cross Road, Panampilly Nagar, Kochi. 

(The New Indian Express, Kochi and Thiruvananthapuram)