A Lifelong Passion

Frenchwoman Shakuntala fell in love with Bharatanatyam when she was 16. Today, she has performed in USA, Europe, Africa, apart from a recent performance in Kerala

Photos: Shakuntala performing a Bharatanatyam triptych; at the Shiva Mahadeva temple at Vaikom. Photo by Albin Mathew 

By Shevlin Sebastian

As the Vedic hymn breaks out on the loudspeakers at the Kalashakti Mandapam at Vaikom (25 kms from Kochi), Bharatanatyam exponent Shakuntala slowly raises both her arms upwards. Then she moves to one side and places a palm over her face. Shakuntala is wearing a striking silver top over white pjamas. On the right side of the stage, there is a large traditional lamp.

In the second segment, Shakuntala dances to a poem by Sufi poet Rumi and concludes with another poem called 'Living The Promises of the Soul' with music by French mystic philosopher Jean-Claude Genel.

Shakuntala performed this original Bharatnatyam triptych on her first visit to Kerala recently. What was unusual about this performance is that Shakuntala is a Frenchwoman. And she has been performing the Bharatanatyam for three decades now, in the USA, Europe, Africa and India.

Her passion for the Indian dance form happened rather accidentally. One day, in the late 1960s, when she was a teenager, she was walking along the banks of the River Seine in Paris. Suddenly, she decided to enter a bookshop. There, she came across a book called 'A Sacred Dance'. “There were a lot of photographs of Bharatanatyam,” says Shakuntala. “I became fascinated.”

At that time, she was studying ballet at a dance school. But it took her three years to start learning Bharatanatyam under Frenchwoman Malavika. After a four-year stint, she secured a scholarship from the Indian Council for Cultural Relations, as well as the French government and came to Chennai. There, she studied under Kalaimamani V.S Muthuswamy Pillai for many years.

Asked the charms of Bharatanatyam, Shakuntala says, “You can express yourself through movement and stories. There is a lot of scope for creativity. I don't know of a similar dance form which is so expressive. On the other hand, ballet is very formal. There is not much emotion. In Bharatanatyam, one dancer can do all the characters, while in ballet you need several other people.”

Not surprisingly, Shakuntala has dwelt on the feminine force. One of her dances is called Parvati. “It traces the life of the Goddess from childhood till she becomes Kali,” says Shakuntala. “But one of my more popular items is the fight between Shiva and Meenakshi. I performed it more than 150 times worldwide.”

Once, when she performed it in Delhi, at the conclusion, the green room was crowded with people who had come to congratulate her.

Incidentally, Shakuntala has been one of the earliest dancers to use Vachika Abhinaya (using speech during a recital). “I wanted to make Bharatanatyam accessible to foreigners,” she says.

Asked whether there is a difference in audience reaction, across continents Shakuntala says, “There is not much of a change. All human beings are affected by the same emotions.” 

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

Tips From A Superstar

COLUMN: LOCATION DIARY

Actor Joju George talks about his experiences in the films, 'Rajadhi Raja', 'Ramante Eden Thottam' and 'Pullipulikalum Aattinkuttiyum'

Photos: Joju George; the poster of 'Rajadhi Raja' 

By Shevlin Sebastian

On the sets of 'Rajadhi Raja' (2014), at Coimbatore, an assistant director was telling his colleagues that the role of Ayyappan was being played by the wrong person. “Joju George should be removed, and we should get a good actor,” said the assistant director. “This role is as important as the one played by Mammooty.”

Unknown to the assistant director, Joju was standing at one side, just out of sight. When he heard these statements, he felt crushed. Then a fear arose in him on whether he would be removed from the film.

Soon, there was a scene where Joju had to act opposite Mammooty and give a line of dialogue. But no words came out of Joju's mouth. “All I felt was a great tension and nervousness within me,” he says. “A few takes were attempted, but I could not get it right. I saw on the faces of the crew members the acceptance of what the assistant director had said about me.”

Then suddenly, Mammooty walked across, with a smile on his face, and put his arms around Joju's shoulders. “Why is everybody a bit afraid to act in front of me?” he said, in a soothing tone. “Are you afraid?”

The moment Mammooty spoke Joju relaxed immediately. “I began to feel comfortable,” he says. Then the superstar said, “Just give the dialogue in this way.” And then he enacted it.

When the shoot resumed, Joju acted exactly in the way Mammooty had told him, and the shot was okayed at once. “Mammooty Sir is my idol and this timely help showed the greatness of the man,” says Joju. “He made me feel so confident.”

But in 2016, when, on the sets of 'Fukri', Jayasurya told Joju that he might get an important role in Ranjit Shankar's 'Ramante Eden Thottam', the latter again felt nervous. “I was not sure about whether I would do it well,” says Joju.

One day, Ranjith called and narrated the story. And that was when Joju got an even bigger jolt. “I realized I would be there in nearly every scene,” says Joju, who was slated to play Elvis Chumar, the husband of Anu Sithara. “It was an important character. As Ranjith was talking I wondered how I would be able to do this role. Did I have it in me to give a good performance? And later, I came to know that many people expressed doubts about me. I cannot blame them, because I had not done a major role before this.”

In the end, Joju did so well, that he has received widespread praise, both from critics and the viewing public.

One of the reasons Joju has emerged as a good actor is because he got valuable tips about the craft from noted directors over the years.

In the film, 'Pullipulikalum Aattinkuttiyum' (2013), Joju played one of three brothers of the hero Gopan, essayed by Kunchacko Boban. “All of them were villains,” says Joju. “I approached [the director] Lal Jose and asked whether I could introduce funny mannerisms and an exaggerated way of walking.”

Lal Jose agreed and said, “When you introduce mannerisms, you should maintain continuity and behave the same way in all scenes.” And throughout the shoot, Lal Jose would remind Joju about it because every now and then the actor would forget.

Lal Jose had given this advice very casually, but it was an important lesson for Joju. “Subsequently in the many roles that I played, I always ensured this continuity,” he says. 

(The New Indian Express, Kochi, Kozhikode and Thiruvananthapuram)

Enjoying The Sights

An unexpected setback in their travel plans enabled a group of visually-challenged footballers from Meghalaya to enjoy different aspects of Kochi, following the conclusion of the national championships at Aluva 

Photos: the footballers at Lulu Mall and Cherai Beach

By Shevlin Sebastian

The 16 visually-challenged visitors from Meghalaya stood on the fourth floor of Lulu Mall, Kochi and listened intently to the sound of a roller coaster moving over the tracks. They had a look of fascination on their faces. “For some, this was their first-ever visit to a mall,” says Sunil Mathew, secretary of the Society for Rehabilitation of the Visually Challenged (SRVC). 

However, owing to a paucity of funds, they were unable to buy tickets for the ride. Suddenly, a Good Samaritan intervened. This person, who was standing nearby, saw their look of disappointment and bought tickets for them. 

They are all members of the visually-challenged football teams of Meghalaya, representing the towns of Shillong and Tura. The group had come to take part in the national blind football championships, which took place at Aluva recently. Both teams had lost in the semi-finals: Shillong to SRVC, Kerala, and Tura to the National Institute of the Visually Handicapped, Dehra Dun.

But when they were getting ready to return to Meghalaya, Sunil realised, with a sense of shock, that their wait-listed tickets had not been confirmed. “The next train was five nights away,” says Sunil. “So we decided to keep them occupied. That was why we took them to the mall.” 

For Gabriel Nongrum, the visit to the mall was his first-ever experience. “I liked the facilities,” he says. “And because of the central air-conditioning it was very cool inside. It was nice to ride the escalators. And the people were friendly and kind.” 

On another day, Sunil and MC Roy, Project head, SRVC, took the boys to Cherai Beach. “In Meghalaya, there are no beaches, so they were fascinated,” says Roy. “Many rushed into the water. They were laughing and whooping with joy.” 

Tura team footballer Kling Sangma agreed. “I enjoyed the swift breeze and the roar of the waves,” he says. “It was a sound that I have never heard before.” Interestingly, there were many things about Kochi which the players found different.

“In the buses, there is more standing-room area in Kerala, than in Meghalaya,” says Kling. “There is also a larger space between the seats. Maybe, we have smaller buses in our state.” 

And all of them loved the online cabs facility. “They would always arrive on time when we booked them,” says Meghito, also of Tura. “On the rare occasions when they were late, it was only by two minutes or so. We don’t have this facility in Shillong. Travel is so much more easier for us on these cabs.” 

Not surprisingly, they found the food very different. “In Kerala a lot of oil and masala powder are used for cooking meat and vegetables,” says Gabriel. “In Meghalaya, on the other hand, we use very little oil.” Nevertheless, Gabriel enjoyed having appams and idlis. Then Gabriel smiles and says, “But there was no way we could understand Malayalam. It is spoken very fast. My own language is Khasi.” 

Gabriel has just finished BA in political science from St. Edmund’s College in Shillong. Now he is planning to get a job and carry on playing football. “My dream is to be part of the Indian team which will, one day, beat Brazil, the No 1 team in the world,” says Gabriel, who plays as a forward. 

When asked whether they would like to come to Kochi again, Kling said, “Yes, I will be coming back and joining the Blind Football Academy. Sunil Sir said it will be starting very soon.” 

(The New Indian Express, Kochi and Thiruvananthapuram)

This Is Her Story

Best-selling author Savi Sharma talks about how she made it, even as her second novel, ‘This is not your story’ hits the top of the charts

By Shevlin Sebastian

On the third floor of a mall in Kochi, on a recent evening, author Savi Sharma, dressed in a striped black-and-white top and black slacks, sits in front of a banner announcing her new novel, 'This is not your story'. The audience sitting in front of her consists of a large number of youngsters. Following a short reading from her novel, the floor is open to questions.

A young man, with a backpack placed near his feet, says, “Is it possible to achieve your dreams?”

Savi smiles and says, “I am the best example.”

Yes, indeed, Savi is living her dreams. From her school days she had wanted to be a writer. When she wrote her first novel, 'Everyone has a story', in 2016, she self-published it, as a paperback and stocked it on Amazon. Then she marketed the book through Facebook. Within a month, it sold 5000 copies. Thereafter, it reached No. 1 in the Contemporary Fiction category (Indian writing), and No. 2 in the Romance category of Amazon.

Asked the benefits of self-publishing, the 23-year-old native from Surat says, “You don't have to face rejections, or wait for a long time for traditional publishers to revert back to you,” says Savi. “But it is not an easy task. You have to be a one-man army. I had to learn editing, book design, marketing, and distribution. You need to work around the clock. And that can be tough.”

But relief was at hand. When her book hit the bestseller lists, big publishers got interested. And, eventually, Savi signed a deal with Westland.

'This is Not your story' has also hit the top of the charts. So far, 70,000 copies have been sold. One who is not surprised is Deepthi Talwar, Chief Editor of Westland. “Savi's books are very readable,” she says. “They have a simplicity and characters that you can empathise with. She also addresses issues that many young Indians face these days.”

14-year-old Kochi student Subin Joseph is a fan. “I could connect with the three different characters and the problems that they are facing,” he says. “Savi has a nice writing style. She described a train as a 'metallic caterpillar'.”

'This is not your story' is semi-autobiographical. Like Savi, one of the characters, Shaurya, did not complete his chartered accountancy, because he wanted to be a film maker. The other characters include Anubhav, an aspiring businessman and interior designer Miraya. The book is about thwarted dreams and how to overcome it. Many of Savi's readers are in the same situation. “They tell me, 'Maam, we are doing engineering only, because my parents want us to do it',” she says. “But we want to be an artist or a photographer.”

Savi felt an empathy for them. "There are certain times in life, when we tend to do things which our friends and family want us to do,” she says. “But this is not what our soul wants us to do. In other words, 'This is not your story'. You need to find out what you want to do with your life.” 

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

Cane And Able

Arun Cherian has invented a prosthetic leg using cane. It is low-cost, lighter and flexible

Photos by M. Jithendra 

By Shevlin Sebastian

Vinod Gowda felt tired. The 40-year-old supervisor, in a vineyard in north Bangalore sat down on a chair to rest his feet after walking for three hours. That was because his prosthetic that he used, for his right leg, following an accident, weighed seven kilos. Then one day, at a local hospital, somebody asked him to get in touch with Arun Cherian, the CEO of Rise Legs, a Bangalore-based prosthetic company.

Vinod did and his life changed. Because the prosthetic, manufactured at Rise Legs, is made of cane. “It weighs only 2 ½ kgs,” says Arun. “Now Vinod walks about 13 hours a day without feeling tired.”

Nobody had made a prosthetic using cane before. And Arun stumbled on this idea by sheer accident. In March 2014, he had come down from the USA to provide support for his younger sister's marriage. While at home, at Mavelikkara, the design engineer observed the cane chairs in the living room in a new light.

“I realised that a cane is flexible and can take so much of weight,” he says. “I wondered whether I could make a leg out of it.” So, he went to a nearby cane artisan, Abdul Rahman, who said he would try to make one, under Arun's supervision. “And that how the first prototype was made,” says Arun.

Asked the strengths of cane, Arun says, “It has twice the tensile strength of steel and half the weight. It is damage-tolerant and easy to bend. Even though cane and bamboo look similar they are different. Bamboo is hollow inside.”

But there are 1200 varieties of cane. So, after several investigations, Arun now buys a specific type all the way from north-east India. Asked which one, Arun smiles and says, “That's a trade secret.”

So far, he has fitted only a limited number of people. That's because he is still doing trials at CMC Hospital at Vellore and St. John's Hospital in Bangalore.

“Quality is the No 1 priority for me,” he says. “Until I am able to figure out how to do service at scale, we will be fitting people in a phased manner.”

Incidentally, the prices range from Rs 4000 to Rs 40,000 and above, depending on modifications. Arun has also developed custom-made wheelchairs for basketball and tennis players.

Arun also encourages them to participate in individual sports. Prajwal Basavaraj Rajath, who lost his left leg in a motorcycle accident four years ago, took part in the 5 kms obstacle race as well as the 10 kms race in Bengaluru. He received training from the Invictus Performance Lab.

“Prajwal was provided with the best coaches from the lab,” says Arun. “Many of the differently-able were shocked that they could take part in physical competitions. In fact, one of our clients took part in a triathlon in Switzerland.” Rise Legs also provides opportunities for those who are interested in art and dance programmes.

“To see them blossom is one of the most fulfilling experiences for me,” says Arun.

He is being supported by the International Committee of the Red Cross, Geneva, the Massachusetts Institute of Technology, Boston, where he is a D-Lab Fellow, as well as the Association of People with Disability, Bangalore.

As he goes about his research, he has been receiving queries from countries like Australia, Uganda, West Indies, Mexico, Ecuador, Mexico, Argentina and Canada.

“I am in no hurry,” says Arun, who quit his PhD in mechanical engineering at Purdue University, USA to develop Rise Legs. “I want to make a product that will make a difference in the lives of people.” 

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

Changing With The Times

Barry O’Brien, the President-In-Chief of the All India Anglo-Indian Association talks about the community, while on a recent visit to Kerala

Photos: Barry O'Brien; the members of the D'Cruz family. Adrian (Jackie) D'Cruz is second from left while Barry O'Brien is at the centre

By Shevlin Sebastian

When Barry O'Brien stepped into the house of Adrian (Jackie) D'Cruz at Fort Kochi, he gave himself a stiff task. The President-In-Chief of the All India Anglo-Indian Association decided to guess the age of Jackie’s five sisters in ascending order: Sonya, Donna, Odilia, Grace and Novella.

And, it ended up as a fifty-fifty. He got No five and four right, then put the oldest at No. 3 and vice versa. Naturally, one woman was happy while the other wasn't. But there was laughter all around. They had come from places as diverse as Kuala Lumpur, Melbourne, New Jersey and Mumbai.

Apart from Kochi and Vypeen, Barry had been to Thiruvananthapuram and Tangaserri, Kollam. Ever since he became President in December, 2016, he wanted to get to know the members in different parts of India. There are five branches of the 140-year-old association in Kerala.

And the visit has been a learning experience for Barry. He was amazed to see that all Anglo-Indians knew how to speak Malayalam. “That is a big strength of the community in Kerala,” he says. “I don't think too many Anglo-Indians in Bangalore speak Kannada. But I believe it is imperative that if you are living in India, you should speak the local language.”

The other plus, he noticed, was that many Anglo-Indians stay in their own houses. “Again, this is not so common in other parts of India,” says Barry. “Most live as tenants.”

Barry met Derrick Fernandes, the president of the Vypeen branch of the association. Derrick's father bought a plot of land near the 'Our Lady Of Hope' church. “There were 12 children and the land was divided into 12 plots,” says Barry. “So it is a 12 family colony.”

Barry was also happy to note that many had become entrepreneurs. They run small or medium-sized hotels or homestays and own shops. “Earlier, the Anglo-Indians were content to do service jobs,” he says.

In fact, in the early years after Independence, most of the Anglo-Indians held government jobs: in the post and telegraph, customs, railways, and the police. Thereafter, there was a steady migration abroad, from the 1950s to the 1980s.

The situation changed when the Indian economy opened up in the 1990s. There were many jobs available in India and the quality of life had improved. “So the Anglo-Indian stayed back,” says Barry. “Today, many work in the travel and hospitality industry, as well as teachers, engineers, doctors and media professionals.”

In Kerala, Barry observed, the younger Anglo-Indians, like most youngsters everywhere, want to leave and explore new pastures in Bangalore, Chennai, Delhi and Mumbai. “There is a feeling that Kochi is a good place to retire,” says Barry. “Who knows, they may be right. But personally I think Kochi, as well as Kerala suits us Anglo-Indians very well.”

Meanwhile, when asked about the number of the Anglo-Indians in India, Barry says, “There is no clarity.”

Up to the 1951 Census, there was a question on the form: are you Anglo-Indian? In later Census forms, this question was removed. “This is a sad development because if you have reserved seats in the legislature for the community, you should know the number you are representing,” says Barry, who was a nominated MLA in the Bengal Assembly from 2006-11.

Asked about the definition of the Anglo-Indian, Barry says, “If your father, grandfather or great-grandfather is of European descent, and you are domiciled in India, then you are an Anglo-Indian.”

However, like the Parsi community, because of dwindling numbers, the Anglo-Indians are marrying outside. “There are not enough boys to marry girls and vice versa,” says Barry. “Owing to the definition, as soon as the girl marries out, the children are no longer considered as Anglo-Indians. As a result, the community is shrinking. But the bottom-line is that we are proud to be Indian by nationality and Anglo-Indian by culture and community. Long live our tribe!” 

(The New Indian Express, Kochi, Kozhikode and Thiruvananthapuram)

Galloping Horses And Elephants

COLUMN: LOCATION DIARY

Actor Jaya Prada talks about her experiences in the Kannada film, 'Krantiveera Sangolli Rayanna' and the Telugu film, ‘Adavi Ramudu’

Photos: Jaya Pradha; as Kittur Chennamma in 'Krantiveera Sangolli Rayanna' 

 

By Shevlin Sebastian

 

When actor Jaya Prada saw the gleaming white stallion Kaajal, her eyes widened in appreciation. “It was a beautiful horse,” she says, while on a recent visit to Kerala, where she is acting in the Mollywood film, 'Kinnar'.

 

This was during the shoot of the Kannada film, 'Krantiveera Sangolli Rayanna' (2012), a megahit. Jaya Prada plays Kittur Chennamma (1778–1829), the Queen of Kittur, a princely state in Karnataka. Her army chief, Sangolli Rayanna, was played by actor Darshan Thoogudeep. According to historical accounts, Kittur Chennamma led a rebellion against the British East India company because they did not accept her chosen successor.

 

The shoot was being held in Dausa (55 kms from Jaipur). The scene was of Jaya Prada leading the charge against the British, accompanied by 300 warriors on horses.

 

After receiving training from stunt master Sudarshan on how to ride Kaajal, Jaya Prada was ready. The early shoots went fine. But one evening, when Jaya Prada was sitting on Kaajal, for some reason, the horse got scared. Suddenly, it set off on a gallop.

 

“I began screaming,” says Jaya Prada. Sudarshan immediately give chase on a desert bike, along with Darshan and a few warriors who were all on horses.

 

As Jaya began to panic, she remembered what Sudarshan had told her earlier. “When you are on a horse and it goes out of control, it is very important to put your arms around the neck,” says Jaya Prada. “I did this and shouted, ‘Please Kaajal, help me, please, don't run’. I was literally crying at that moment.”

 

But the horse did not listen. It continued to gallop away furiously. Jaya Prada hugged it tightly. Kaajal ran on for a few more minutes. “But then, maybe, Kaajal felt bad,” says Jaya Prada. “The horse slowed down and finally came to a stop.” A shaken Jaya Prada stepped down and got onto Darshan's horse and returned to the set.

 

The next day Jaya Prada begged the director Naganna not to put her on Kaajal. “I want to live, not die,” said Jaya Prada. Naganna laughed and reassured the actor that Kaajal was a good horse, “The crew made me comfortable,” says Jaya Prada. “Then they made me sit on the back of the horse. We pampered the horse with sweets and biscuits. And the shoot went on smoothly.”

 

Unfortunately, in the film, ‘Adavi Ramudu’ (1977), the shoot did not move smoothly at all. It was taking place in the Madumalai National Park in Tamil Nadu. Jaya Prada was the wife of a forest officer Ramu played by the late NT Rama Rao, while Jayasudha plays a tribal lady Chilakamma, who loves Ramu as a brother. There is a fight between the villagers and the smugglers of forest produce.

 

For this sequence, Jaya Prada and Jayasudha were sitting atop two elephants. When the shoot began, all the fighters started shouting and running forward holding bamboo sticks. Some petrol bombs were burst; there was smoke all around. “All this frightened the elephants and they began running,” says Jaya Prada. The sudden movement caused both the actors to fall to the ground.

 

“Jaya Sudha fainted immediately,” says Jaya Prada. “I was semi-conscious.  Both of us sustained cuts and bruises on our faces, arms, and legs.” 

 

Jaya Prada lay on the ground with her eyes closed. But when she opened them, she got a shock. “The foot of one of the elephants was just an inch above my face,” she says. “I screamed and fainted.”

  

Thereafter, both were rushed to a nearby hospital. “But thankfully, there were no serious injuries,” she says. In the end, all these troubles were well worth it. ‘Adavi Ramudu’ was a box office hit and ran for over 200 days. 

(The New Indian Express, Kochi, Kozhikode and Thiruvananthapuram)  

Providing A Home Sweet Home

A nun in Kerala has taken upon the task of building houses for the poor. So far, she has made 60 and more are in the pipeline

Photos: Sr. Lizzy Chakkalakal. Photo by Albin Mathew. An inside room

By Shevlin Sebastian

Sr. Lizzy Chakkalakal was standing at a bus stop at Chellanam, Kochi sometime ago. The principal of the higher secondary section of Our Lady's School at Thoppumpady, Kochi, was on her way to visit a student's family. On the opposite side she saw a blue plastic sheet tied to a tree. Underneath it, a family was living there. Curious, she crossed the road and met the woman, Pushpa M.

She had two school-going children. Her husband, an alcoholic and part-time butcher, had committed suicide because of mounting debts. Now Pushpa was struggling to survive. The creditors came at night and asked Pushpa for sexual favours. “But she held on to her integrity,” says Sr. Lizzy. “She always kept a machete under her pillow.”

Sr. Lizzy, who belongs to the Franciscan Missionaries of Mary, a Catholic order, felt compelled to do something. When she heard that Pushpa had a small piece of land, she got the idea – she would build a house. And, through donations from retired and current teachers, students, parents, and affluent businessmen, she built a 500 sq. ft. house.

There is a hall, kitchen and a room which opened towards the street. “This is a space for a shop,” says Sr. Lizzy. Soon, Pushpa began selling tea, coffee and snacks from this room. On the first floor, there are two bedrooms. Gradually, the children gained self-esteem when they started staying in a proper house. “They began doing well in their studies,” says Sr. Lizzy. “And Pushpa's life has changed.”

Sr. Lizzy is changing the lives of many families through her ‘House Challenge’ project. Thus far, with the help of teacher Lilly Paul, she has built 60 houses, while a further ten are in varying stages of construction.

But what is most amazing is the quality of the houses. They are better than most middle-class homes. All the floors are tiled, the walls are painted brightly, the kitchen counter has a granite top, and there is a washbasin in the dining hall, apart from bathrooms, with faucets and cisterns, and wooden doors. Incidentally, each house costs about Rs 10 lakh.

Dr. P.J. Abraham, chairman of Divine Developers, who has built most of the houses, says that he did not want to distinguish between poor and middle-class houses. “We have always used high-quality materials,” he says. “And Sr. Lizzy told us that the poor did not have any money to spare for repairs. So the houses had to be in tip-top condition.”

Not surprisingly, the impact has been stunning for the recipients. New house-owner Mini Benny says, “It sometimes feels like a dream. My children say that they are living in a posh hotel. It is so unbelievable at times.”

Major financial contributor TA Joseph, Managing Director of the Confident Group, a construction firm, says, “Sr. Lizzy is doing a remarkable job.”

Meanwhile, when asked about how she selects the beneficiaries, Sr. Lizzy says, “They are mostly widows, and families who have specially challenged children, because they are the ones who need the most protection,” she says. 

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

A Mentor's Impact

Educationist Molly Cyril talks about her experiences at Stanford University, USA, when her former student, Ashwin Sreenivas, selected her as being his most influential school teacher

Photos: Ashwin Sreenivas and Molly Cyril; Molly with the other participants

By Shevlin Sebastian

One day in March, when Molly Cyril, the Dean and Director of The Charter School, at Kochi, opened her e-mail, she saw an unusual tag line: 'Terman Award 2017-Teacher Notification'.

She felt puzzled, as she clicked on the mail. The accompanying letter from Stanford Engineering College, USA, made things clear. Her former student, Ashwin Sreenivas had been selected as a recipient of the Frederick Emmons Terman Engineering Scholastic Award for distinguished academic performance at the university.

The letter, by Thomas Kenny, Senior Associate Dean for Student Affairs went on to state: 'We asked award recipients to invite their secondary school teacher, who was the most influential in guiding them during the formative years of their academic career. I am delighted that Ashwin has identified you as that person.'

Naturally, Molly was shocked, surprised and thrilled. She knew Ashwin, because he had remained in touch with her long after he had left school. Ashwin was an alumni of Choice School when Molly had been the Principal (2001-13).

Asked why he chose Molly, Ashwin says, “She was always very supportive. Whenever I wanted to take part in competitive exams or represent the school in different competitions, Molly Maam would allow me. Sometimes, she let me skip school, too. My successes were always celebrated by her, while my failures gently brushed aside."

Once, when Ashwin wanted to start a 'Model United Nations' competition, among the schools, Molly's response surprised Ashwin. “I expected a pushback, but Molly Maam immediately said, 'I believe you can do this. Tell me whatever you want and we will make sure it happens'. Thanks to this response, we were able to host the first 'Model-UN' in Kerala schools.”

Ashwin pauses and says, “If she had not been my principal, it would have been been nearly impossible to get to where I am today.”

So, on April 8, Ashwin and Molly walked into the Jen-Hsun Huang Engineering Centre at Stanford. Around 40 teachers, from countries like China, Taiwan, Singapore, Thailand, Germany and Iceland, apart from the USA, had also come. Some were English teachers, while others taught Chemistry, Biology, Computer Science, Maths and even Physical Education. Interestingly, Molly was the only Principal present.

After a welcome speech by Dean Jennifer Widom, the teachers were invited to talk about their former wards. And so the speeches began. As Molly listened intently, she found it an interesting experience. “I was able to see the impact of different kinds of teachers on their wards,” she says.

Soon, she noticed a common thread. “Many spoke about the humility in the students and their willingness to help others,” says Molly. “It does seem that, to be successful, you need to be humble. In the sense that this particular quality helps you go along a long way, apart from the need for hard work, perseverance, discipline and focus.”

Interestingly, Ashwin is the only Indian from India. There are two other American-Indians. The future looks bright for Ashwin. “He is one of the best students in my course,” says Advisor Gerald Cain, of the Computer Science Department. “I was most impressed with the open source work that Ashwin did. I greatly appreciate the opportunity to teach him and for the work he did, and I wish him all the best.”

Adds Molly: “I never for a moment doubted that Ashwin will do well. He is a brilliant boy.” 

(The New Indian Express, Kochi and Thiruvananthapuram)

Cold And Hot

COLUMN: LOCATION DIARY

 

Actor Anu Sithara talks about her experiences in the film, 'Ramante Eden Thottam'

 

By Shevlin Sebastian

 

Mollywood actor Anu Sithara got up one morning at Vagamon and looked out of the window. A fierce wind was blowing and the cold was unbearable. She shivered a bit. Soon, she stepped out and the production controller led her to the top of a hill. This was for a shoot for Ranjit Shankar's 'Ramante Eden Thottam' (2017). Ranjith looked at Anu and said, “We are going to do a sequence for the song, 'Akale Oru Kaadinte' [sung by Shreya Ghoshal].” Anu replied, “Yes Sir.”

 

Then Anu looked around to wish good morning to her co-star Kunchacko Boban (Chackochen). But he was nowhere to be found. Till she looked skywards. And there was Chackochen standing at the top of a tall tree, which had bare branches. Anu was mystified, till Ranjith said, “The shoot will take place at that height.” That was when Anu started having heart palpitations. “I have climbed trees during my childhood at Kalpetta, but not such tall trees,” she says.

 

Anyway, with the help of a ladder, and crew members, Anu was able to reach where Chackochen was standing. “When I looked down, I really felt scared,” she says.

 

Chackochen immediately said, “Anu, there is nothing to worry. Just be normal. Have courage.” So thanks to Chackochen's constant encouragement, Anu was able to shoot the sequence without any problems. “Chackochen is a relaxed person,” says Anu. “And he was always comfortable in the chilly weather.”

 

And he showed it many times. During the night shoot of the song, 'Maavilakudil', it was extremely cold. “So, whenever the shot was over, we – Muthumani, the two children who acted in the movie and myself – would rush into a room nearby and huddle under the blankets,” says Anu. “But whenever we looked through the window, we would see Chackochen walking around, wearing only a shirt. The cold never affected him.”

 

But Anu did feel affected as she shot the other sequences. For the song, 'Akale', Anu had to drive a jeep down a road, with Kunchacko by her side. There was a steep gorge on one side, stones on the road and mud on the other side. “I felt a great tension within me,” she says. “I just knew enough driving to get a license, and nothing more.”

 

Again, Chackochen came to the rescue. Keeping his hand away from the camera view, he held the steering wheel steadily, so that Anu could drive straight, and without a problem. “Thankfully, the shoot went through smoothly,” says Anu.

 

Thereafter, it was time for Anu to perspire. Because, this time, the shoot was being held at Panampilly Nagar, Kochi. The summer heat was pressing down on her. This time, she had to drive one side of a car up a wooden plank placed at an incline, and come to a stop at a precise point. “If I went past, the car would topple over,” says Anu. This time, Chackochen was not around, as it was a solo shot.

 

After reaching the incline, Anu had to fall out, and say a dialogue. What added to the tension were the numerous bystanders who were standing on the road and watching the shoot. However, inside the car sat cinematographer Madhu Neelakandan who kept saying, “You are driving perfectly. Keep going.”

 

All this helped because the shoot was concluded without any mishap. “Many people think shooting is an easy thing to do, but, sometimes, it can be tough mentally as well as physically,” says Anu. 

(Published in The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)