Chanthakkaree- Exhibiting Exuberance, Enterprise and Entrepreneurial spirit!

When my close friend Aparna Vinod told me- with her signature excitement- about her exhibition 'Chanthakkaree' in Calicut, I wasn't too sure what was on show. But the fact remained that she'd spent months putting together this dream-project of hers; visualising, networking, collaborating, coordinating- and enjoying it all. And our five years of a friendship of its kind, I knew for sure, that if she was into something, it would be nothing short of phenomenal.

This is but a gross understatement.

As I rushed in a good two hours late, I could feel the pulse. The fuschia poster at the entrance of the Chamber of Commerce building was ample proof of Chanthakkaree's unconventional, unabashedly genuine and in-your-face character.

The diva dazzled in a purple saree whose vibrance was no match for her radiant energy. She was poise personified, acknowledging her guests, helping out the media-folks, explaining the nuances of a lesser-known tribal printing art now, issuing orders in staccato Tamil onto her cell-phone the next instant... Undoubtedly, Chanthakkaree was here. For real. For more. 

My gaze rested on the first table laden with clay jewellery of various shapes. Manjusha and Satish bent over their ethereally earthy treasures with almost parental affection and care. The wares were indeed unique in design, shape and texture.Ear-drops, pendants and neck-strings were more likely to have appeared from Eden than from an Accessory store. Each of them spoke of a rare connection with nature and was thus a testimony to the ultimate creation. 

Read more on http://jewelsoutofclay.blogspot.in/

Moving on, one couldn't miss the fiery Radha Gomathi with Sangmitra, her magnificent array of cloth bags. Jholas, vanity bags, mobile pouches and drawstring money-bags spread out like a Chiaroscuro rainbow. Sangmitra is an All- Women collective that specialises in crafting cloth bags from tailoring waste. The whole section had a mystical quality about it; at once deep, introspective, rebellious, impulsive, childish, matter-of-factly and spiritual. I had heard so much about Aparna's Radha-chechi ( who , appearance-wise was TV artiste Sona Nair with Michael Jackson's hairdo and personality-wise was more intriguing than the Mona Lisa) and was prepared for her compelling aura. 

All the same, what struck a chord within me was how, she had a story for each of her creation. She had this uncanny ability to size up a person in nano-seconds and fish out just the right bag for him/her alongwith providing a 2-minute account of the bag's character, maintenance tips and value proposition. Whoever had doubts on the Art of Marketing should take a few leaves out of Radha-chechi's book. Move over, Kotler!

Read about the artist Radha on http://www.thehindu.com/life-and-style/metroplus/article2984928.ece

Listen to Radha narrating the Sangmitra story below:

Having trouble viewing the video here? Try 

http://video.webindia123.com/new/realachievements/sangamithra/index.htm

Chip of the old(?) block, little Aravind was precociousness clad in a Fabindia shirt leapfrogging across the hall, calling out to and befriending every visitor on the premises. it was impossible to miss the adorable brat who seemed to be on s a self- appointed endearment strategy interrupted only by Radha-chechi's call to duty: he was mama's Accountant-boy after all! 



This picture was taken towards closing time. "Here's Scrooge!", commented his mom. What say, Aravindo? 

Appu had been enticing me about a Jute Products stall she'd invited over from Erode. “Jute Bole Kauva Kaatey”, I'd ad-libbed to her a couple of times. However, the stall was a moment of Truth. S.K Karthik, representing Bharathi Jute, an Erode-based NGO, patiently explained each and every item on his table. Folders, mobile pouches, gift-bags and trinkets made of paper bristled on the display table like live forms. There was a unique piece of folder with a banana-fibre front flap. Paper trinkets of various hues and shapes spoke of daring experiments  with design.

Rarely have I beheld such natural charm at such affordable rates. Karthik explained the design approach and the types of motifs used on the jute stationery: Madhubani, Kangra and Gujarati prints. He was also something of a bard, he had this sweet and Satwik air about him, almost going into a kind of trance as he spoke about his products. He was also full of reverence and praise for the concept of Chanthakkaree.

 I'm not surprised. 

You can reach Karthik on 098945 10545 or prakrithi_skk@yahoo.com 

Trust, Corporate Social Responsibility and Tata are names that appear in one sentence for most Indians. Throw in two more terms: women and crafts, and you have Okhai. Vivacious printed garments and amazing applique shawls spoke for the lesser-known eponymous Gujarati craft.

The following passage ( http://www.okhai.org/aboutokhai.html ) should do the rest of the talking:

dThe Okhamandal region in Gujarat is a drought prone area. With an average annual rainfall of 8-10 inches, the region is declared a drought zone every third year. With 70% of the village population dependent on agriculture, it becomes imperative that an alternate source of livelihood be promoted to reduce the dependence on agriculture.

Women of Okhamandal are endowed with the talent and traditional skills to make exquisite handicrafts in the typical Okhamandal style.

 The custom of producing traditional handicrafts for ceremonial functions is widely prevalent amongst the tribes like the Ahirs, the Rabari, the Charan, and communities like the Lohana and the Harijan.

Mirror work, patchwork and embroidery are all a vibrant expression of their way of life, their rituals and their legends.

Handicrafts were identified as a promising means of generating livelihood for hundreds of women in the area.

Tata Chemicals Society for Rural Development ( TCSRD)  plays a pioneering role in promoting this art. Self Help Groups (SHGs) have been formed in the villages of Okhamandal and the members of these groups are involved in handicrafts production. At present, 450 rural women are benefiting from this programme. They earn an average monthly income of Rs 500- 2500. The handicrafts are promoted under the brand name ‘Okhai’.

The handicrafts project has made a fundamental difference to the lives of rural women. It not only helps the women become wage earners, but also spreads awareness about the traditional crafts of the region, thus helping us preserve a rich part of our national cultural heritage for generations to come. 

More on http://www.okhai.org/

Mrs. Iyer ( that's one of my names for Appu) re-appeared in a salwar-kurta and her delightful babe Ram. Vinod, Her Tower of Strength joined too. The small wonder took in every detail around him in his saucer-eyes. Seemed to have an interest in morphology as he probed, stroked, nibbled and clawed Appa's ears and nose. He in fact left no bit unexplored, tugging even at a stray nylon wire till it yielded.

You can take Aparna away from Apparels but you can never take the Apparels away from Aparna! Chanthakkaree did live up to its brain-mother's reputation in two stalls which would have been any cloheshorse's plunder. Her dazzling range of hand-picked silks and cool cottons would make any passerby gawk. Even buy. Sample this parrot green saree with a dramatic border.

“We should've invited Shobana to this expo, I'm sure there are many a piece that she'd fancy”, concurred the two of us.

There was also an impressive collection of Gujarati and Hyderabadi dress materials. A few pieces had intricate embroidery in woolen thread. I've always been fascinated by Kutch and Bandhani designs since Hum Dil De Chuke Sanam, and it was a treat for the eyes to see them imposed on well-tailored kurtas and suits. This one was a class apart, what with those dramatic buttons and mirrorwork. I was told that these are Kutch patterns from Gujarat.  This garment reminded me of my pre-adolescent sketches of dress-patterns, many many summers back! 

To cut a long story short, suffice it to say that the stall helped me update my once- impressive knowledge of women's apparel.

While the artist in me had enough to feast my eyes on, there was someone who inspirred the teacher in me. Chembratt Sreedharan Master, with his collection of baskets woven from packing tape, was literally a silent salesman and a hero. After all, he had tamed the hazardous wires and woven them into inexpensive objects of utility and beauty. He also delighted the young ones with his Origami skills, deftly fashioning hand-bags out of newspaper. Sreedharan Master teaches at GMUPS Kondotty and is a n Origami (CCRT) resource-person. Incidentally, is a visitor-turned exhibitor at Chanthakkaree.

Looks like Radha-chechi already has competition?!



Catch Sreedharan Master on 9961224598, 0495 2296606

If sustainability, crafts and lifestyles are here, can wellness be far behind? Dr. Anaz, a history professor presented the Mona Vie range of wellness products (http://in.monavie.com/) . Apparently bustling with essential energy and nutrients, these products promise good health, longevity, anti-oxidnants, polyphenols and immunity.

Image Courtesy: in.monavie.com

The Energy Drink!

Dr Anaz (L) with Mr Radhakrishnan ( My 'Dupe') 

Interested? Reach Dr. Anaz on 94955 39708 or caanaz@gmail.com 

I reflected on Chanthakkaree on my homeward train journey. Here was Appu -with sheer grit, passion and her indigenous networking skills- balancing what she loves to do and what she has to do ( family, housekeeping, parenting, boring social commitments...) still coming up with a fresh, classy and somewhat niche effort. I've often wondered where she derives this rare gift of surprising everybody around her with her appetite for adventure. I've known her since her final-year-at- grad- college days, through her MBA sojourn where she started exploring herself; her near-Bohemian exterior ( which made her decision to marry, something of a paradoxical volte face), and her amazing ease as a home-maker and mother. And at a time when we expected her to be nappy-happy, she surprises the world with her Odysseys in search of craft. In her own words, " ...my friends were trying to 'study' MBA, I'm living it! Chanthakkaree taught me what it's like to take risks, how to earn value for money and what customer - not consumer- behaviour is all about ( she has recently worked as a store-salesgirl for a leading Handicrafts emporium out of sheer curiosity for what it feels like). Thanks Appu, for demonstrating what it takes to be a Rebel With a Cause.  

Aparna's absolutely devoted to her fantastic husband Mr Vinod Iyer ( whom I've known and befriended since my Rotary GSE days), who also has a penchant for donning  various hats: Entrepreneur, Motivational Speaker, Professional Trainer, Soccer Player, Compere, loving dad  and much more.  Mohanlal's famous dialogue in Manichithrathazhu should best describe Mr and Mrs. Iyer " ലോകത്തിലെ  ഒരു ഭര്‍ത്താവും ഭാര്യയും  മനസ്സ് കൊണ്ട്  ഇത്ര ആഴത്തില്‍ പരസ്പരം  അറിഞ്ഞു കാണില്ല." ( No other husband and wife in this world would have known each other so well....). Touch Wood. 

The Vinods!

I'd urge every student, teacher and practitioner of Management ( plus Go Green Activists, Event Managers, Entrepreneurs,  Media moghuls, mothers, wives, Gen Y boys and girls .....) to read, understand and assimilate Chanthakkaree as a case of exuberance, energy and enterprise. 

Go Aparna, Go! 

Tailpiece: 

The Deccan Chronicle ( Calicut), 20th Aug '12

Surya 108: The Sun that never Set!

I had the opportunity of watching 'Surya 108', a spectacular Light and Sound Drama presented by the members of the All India Chinmaya Yuva Kendra ( AICHyK) at Palakkad on Saturday, 11^th Aug '12.

The 2 hour production was a multi-sensory treat with a tight script, compelling soundtrack, energetic performers, resplendent costumes and scintillating choreography. The theme of the show was Surya: the belief, the symbolism, the legend, the tradition and the manifestations of the sun. 

 

The show commenced with Surya Namaskaar where the dancers wnet through the 12 yogic poses of the very potent exercise in benediction to the sun. Surya Namaskaar also pays homage to Brahman, and reflects the 24 hour span, the 12 rashis as well as the balance between the mind and the body. Not to mention that the exercise fortifies the limbs and stimulates the spirit, unleashing creative energy in the practitioner. 

Enter the characters: Arun dev ( has a Bachelor's in Dance, a Master's in Mind Management and a Ph.D in Life), the coach and teacher. He is accompanied by his eight students: Gaya ( never stops asking questions), Ushnik ( “ Just call me Nick”, striking, stylish... and doesn't he know it!!) , Brihat ( has the strength to seek the sun), Anup ( Walking Encyclopedia; he has to know everything), Jagati ( Traditional Girl from a super traditional family), Pankti ( talented, creative, but doesn't seem to believe it), Trishtup ( His head weighs more than him) and Chhaya ( Tour Operator between the past, present and future). Incidentally, the names of the characters are the same as those of the seven green horses that steer the Arka charriot of the sun; the seven horses also representing the seven days of the week.

The tour operator takes the team back in time, where they behold the Rajarishi Vishwamitra in engaged in deep meditation. Vishwamitra is the epitome of bravery, intellect and penance. True to his name, he is compassionate and considerate to the whole world ( Vishwa = world; mitra= friend). Through his intense japa, he invokes the potent Gayatri mantra, the dispeller of ignorance and darkness. Composed using the first words of four vedas, the Gayatri mantra invokes the inherent Truth in the seeker. The play blends this knowledge with humour as the audience gets to see impulsive Ushnik following the 5 senses, to be saved in time by Vishwamitra's disciples who administer the Gayatri Mantra to him, thereby restoring him to his friends. In the meantime, they also entrust him with the task of collecting 108 coins, much to his trepidation!

Chaya takes the team to the story of Hanuman- the symbol of dedication, strength and perseverance, . The son of Marut the wind God, Maruti- as Hanuman is also alluded to- was a favourite of the Gods. When Indra struck him down with the thunderbolt as little Hanuman leapt to swallow the Sun- mistaking it for a fruit-, Marut stopped blowing in protest, stalling all life processes in the three worlds. Indra relents at this. Grown-up Hanuman astounds the Sun God yet again when, in his thirst for knowledge requests the Sun God to be his Guru. Since it was not possible for the Sun God to remain stationary and teach Hanuman, the latter moves with Surya in reverse synchronisation, learning the entire lessons with devotion. Through this episode, Hanuman's endurance, perseverance and resourcefulness get revealed.

Sage Agastya's Aditya-hridaya is a chant that strengthens one to face the battle of life intelligently. The power of the Aditya hridaya was brilliantly captured in the legend of Prince Ram who, bewildered at the demoic splendour of his foe Ravana, is advised by sage Agasyta to invoke the Aditya Hridaya to enable him to strike down the demon. The Aditya Hridaya reinforces man's belief in his own abilities and prepares him to face challenges in the battlefield of the world.

Nick gets punished for being late for practice, by impositioning on him the task of writing the Gayathri Mantra ( Likhita Japa) 108 times. Even when his friends offer to help him by sharing his assignment, the teacher apportions 54 times of the work to Nick and the remaining 54 to his friends! The inquisitive Anuop wants to know the science of 108. Chhaya takes the team back in time to sage Yagnavalkya, son of Viswamitra.

Sage Yagnavalkya, the original astrologer, mathematically proves that the circumfereces of a 108 suns would equal the distance from the earth to the sun. It was easy to visualise the distance from earth to sun as a string upon which 108 beads (each representing the sun) was strung. The 'string theory' holds good for the distance between the earth and the moon as well! Also, the diameter of the sun is 108 times that of the earth. 

Cutting back to the present, the coach reminds the team that they need more synchronisation in performance; by pointing out that they are one, not eight ( pun on the word 'not' intended!) . The perils of Global Warming also is brought out when the team travels into the future 2108 when the major cities of the world get submerged. The team is also accosted by a future earthling in UV- protection gear who snatches the bottle of 'fresh H₂O' from Pankti at gunpoint! The virtues of sustainable technology as a guide for human welfare is narrated at this point.

Chhaya points out other cultures where the Sun God is worshipped: as Amaterasu in Japanese Shinto mythology and as 'Ra' in Egyptian legends. 

These episodes were revealed in a very unique choreography of Japanese and Egyptian styles. The Indian example of the Jantar Mantar, the earliest celestial observatory built by king Sawai Jaisingh in 1734 in Jaipur. 

Arun instructs his students to learn more about the sun in other culltures. ( After 'consulting' the audience, the students one by one realise that the sun is worshipped as Helios by the Greeks, 'Sol' by the Europeans ( Summer 'Sol'istic, you see) 'Inti' by the Incas, 'Mitra' by the Persian Zoroasthrians and 'Huitilopochtli' the War God by the Aztecs. By now the entire team is enlightened by their knowledge of the sun. The coach Arun leaves them, after handing over the reins to his promising student Brihat. 

Brihat takes Ushnik to the epic of Karna, the sun of the Sun God who demonstrates selflessness and bravery by handing over his iconic armour to lord Indra.

The traditional 'Sun festivals' of India: Kite flying in Maharashtra and Gujarat during 'Makar Sankranthi', Lohri in Punjab during Pousha ( maga) month and Pongal in Tamil Nadu. This episode was the grand finale of the show with vibrant performers and foot-tapping music.

In retrospect, 'Surya 108' was indeed illuminating: the insightful concept and innovative portrayal spoke volumes of back-stage planning and execution. The simple yet evocative backdrops, the crystal clear sound-recording and the synchronised lighting were proof of the technical precision of the team. Members of the Chennai ChyK led by Mr Kartheesan sparkled throughout the show with their professional performances. Palakkad ChyK team lived up to their reputation for vibrancy and histrionics onstage and efficient management offstage.

It was delightful catching up with the Chinmaya Young'uns after the show: Veeraj, Sumithra, many of the performers and organisers  from Palakkad, RISHIJI, Sandeep, Sanoop, Vimal, Shrikanth... it was a great homecoming of sorts. The ride with Swami Viviktanandaji was also a soothing one- Swamiji exuded so much of warmth and compassion in every sentence He uttered.

The Jubilant Team

 Truly, the sun never set last evening!

More Photos on https://picasaweb.google.com/110285583212945558519/Surya108?authkey=Gv1sRgCJaf2-qFxIeJTQ

Opera 2012: Kalarpana Comes to Town!

The Land of Looms and Lores awoke on a sleepy, sweltering Sunday to the resonance of bells and the strains of rare ragas on 29^th April '12. Opera 2012, a dance performance organised by Kalakshetra of Chakkarakkal, Kannur featured none less than the stellar Shobana and her students from Kalarpana.

The 2-hour treat was a mixed repertoire of classical and experimental fare. After a sculpturesque invocation to Lord Nataraja by the artiste, a brief 'Chollu' was presented by her students Vidhya and Anuroopita. While the former exuded poise and powerful abhinaya, the lissome Anuroopita mesmerised the audience with her telltale eyes and resilient moves. The composition was based on the mythological sequence where the six-headed Lord Shanmugha narrates the prowess of Lord Shiva to his companion ( Ganesa?).

Shobana returned to the stage to perform an elaborate Varnam in praise of Lord Shiva. The episode was the penance by young Parvati to woo the ash-smeared mendicant- much to the chagrin of her parents. Snakes, tigers, demons are sent to vanquish Shiva by the king of the land; Shiva effortlessly dons the venomous serpent as an ornament, kills the tiger and drapes its skin around him and dances upon the demon in triumph!The varnam also had a sweet detail of Shiva visiting Parvati in disguise. While the piece was a shining example of Shobana's mastery over Abhinaya, the shringara of the scene came across as subtle and earthy at the same time. It was awe-inspiring to watch the artiste's inexhaustible energy throughout the extended piece, interspersed with some high-speed percussion also. However, there were a few seconds where the rhythm of the mridangam went a bit out of sync with the tempo of the dance(r).

                                                                                       Photo Credit: Sri Radhesh P.T

As Shobana took a much-needed break, her students took over the stage as they moved to a track by Mandolin Sreenivas. The experimental choreography reminded me of Padma Subrahmaniam's Gajendra Moksham tuned to Japanese music. The purely instrumental track was refreshingly well-timed after the richly classical varnam; and the dancers' well- synchronised moves enlivened it all the more! The experimental pieces continued; this time the dancers swayed to a Western symphony ( remember, the occassion is International Dance Day!) , an item I've come across earlier, on Shobana's 'Thanima' video CD. This one was more playful, the light-footed moves redolent of classical ballet.

From the Lasya and Tandava of Shakti-Shiva, the artiste took the audience to the rustic exuberance of Krishna's Gokul. 'Vishamakaara Kannan ( Oothukkadu Venkatasubbaier, Aruna Sairam) unveiled the frivolous aspect of the dancer. It was evident that she enjoyed performing the piece as much as the audience who watched her! The very realistic yet evocative expressions: the exasperated Gopis, the harried Yashoda, the precocious and cheeky Krishna... the characters blossomed effortlessly onstage. At a point, Shobana's abhinaya of the butter-craving blue boy was so palpable, one could perceive her face changing contours and assuming a boyish aspect! This version of Vishamakaara Kannan outdid Shobana's earlier interpretations ( Please check the clip below for version 1.0)

The announcement of the  next item sent a shiver of anticipation through me. “A modern interpretation of the Ras Leela, whose choreography retains the stamp of vintage Jayadeva,...”. While I was very familiar with the screen versions of “Geet Govind' choreographed by Shobana earlier, another part of me ardently hoped that this piece would be different. It had been my deep desire to watch the Ras Leela sequence from Krishna Chronicles, and I waited with bated breath for the forthcoming piece. Could it, could it be...? The hiss of the fog machine answered my question. I exulted , “ This is the Ras- the way I loved and wanted it!” The one from Krishna Chronicles against the ethereal A Jasmine in Twilight track from Pandit Jasraj's Raga Symphony. For those eight minutes, I felt the entire auditorium go empty, leaving me in the embrace of the musical Vrindavan. Shobana's entry in her signature Krishna garb made me leap for joy. For a few insane moments, it seemed she was doing the piece for me and me alone, although the gasps from nearby spectators were hard to miss. Despite the constricted stage-space, the dancers whirled and twirled in flourishes, my Krishna painting the scene in vivid splashes of yellow and blue. As the crescendo unravelled into silken silence, each of us were left with a taste of the divine within. I was too benumbed to scream for an encore.

After a brief interval, the show resumed with a solo Dashavataram. Shobana-resplendent in a white and gold costume with mural motifs- was at her histrionic superlative, crisply recounting each of Vishnu's incarnations with eloquent abhinaya. Her portrayal of the divine Boar (Varahavatara), the odious Hiranyakashipu ( Narasimha-avatara), the egoistic Mahabali ( Vamana), the dilemmatic Sita ( rama) debating how not to incur the disduised Ravana's anger without crossing the Lakshmana Rekha and the sagacious Buddha remained in one's memory long after the performance. She was joined by her students in the next piece, a novel Thillana which combined Bharatnatyam and Mohiniattam. Even while the dancers jostled for space on stage, they retained the fluid manoeuvres of the traditional dance-forms. Seamlessly after the thillana, Shobana resumed her solo 'Mahishasuramardhini' by way of a closing theme. The performance took a meditative character with the tone of the piece and the Shanta Bhava of the performance. The performance concluded with the dancer paying obeisance to the audience and accompanists.

Up, close and Personal:

The Bald and the Beautiful!

This, my fifth opportunity to watch Shobana live, is special for two reasons: One, it was on the occassion of International Dance Day; Two the performance was held at my hometown. I was in readiness: a (somehow stiff but detailed) water-colour sketch of the artiste, my mom and close family friends in tow and a steely resolve to converse with Shobana. We had to wait for a while as the strained yet obliging organisers arranged for the much- awaited backstage tryst. Meanwhile, her industrious students deftly rolled up the heavy linoleum sheets that had been pasted to the stage floor. I also caught a glimpse of a large printed suitcase being moved from sidestage. Shobana was resting in the green-room when we, alongwith another 20 or so fans, thronged inside. Incidentally, another gentleman had brought a pencil sketch of Shobana as a gift. All the jostling and 'Excuse me, exxcuse me, excuuuuse me please...” among the crowd finally paid off when Shobana recognised me and gave a muscial 'Hi....!” ( I was not too sure my tonsured head got in the way of easy recognition). So, you belong to this place?Good. After I introduced mom and her liking of Mitr, My Friend, I extended the painting to her with a peevish, “Akka, I'm afraid it's slightly jaded..”, to which she responded,” No, no, let me see..... It's Beauuutiful,” she hummed, and added, “It's in action. Really Beautiful.” And then came the most memorable lines she ever told me , “ You know, we performed the Ras Leela for you!” Was the room spinning? “ I remember you mailing us for it. I had asked Vidya to reply and, yeah, it was for you” (I 'm not sure if those were the last few words, I was too dazed to respond). A breathless “Thank You” was all I could manage. Ah, my Krishna!

As a blessing, a total stranger ( whom I had found volunteering at the entrance) obliged by clicking a photograph of us- the poor chap had no clue who were my group, but he still managed to capture us in a single frame.

I spent a few seconds chatting with Shobana's students Chithra Nair and Vidhya ( thanks Vidhya for telling me about Raga Symphony!) before joining my folks. Shobana passed by in a rustle of silk and gold and I ran down the stairs with her to point out that my painting was completed on the 18^th of April. “ Yeah, I get what you are driving at”, came the sagely remark.

Reflections:

Well, the euphoria's just about ebbing off. I still can't get over the obsession for listening to 'Jasmine' and can't help staring at the framed photos on the wall. I'm grateful to Mr Sunil, Mr Ranjith and his team at kalakshetra for their fortitude in making 'Opera'12' happen. Their efforts enabled a good number of sincere and serious art-lovers from small-town Kannur to witness a stellar performance. Go, guys, GO! It was a pity about the stage and the crowd management though- Gokulam auditorium is light-years away from JTPAC or the Music Academy but still... It was also commendable that the show commenced on time. That the organisers' commitment paid off was evident in the fact that Shobana chose to perform longer than the promised 100 minutes- the show went on for a full 130 minutes!

Well, all that I can now manage to say is, “ENCORE!”

Special Acknowledgement: Sri Radesh P.T for permitting me to use his photographs of Shobana.

Proud Moment for Mazaala Chai

Dear Reader, I'm thrilled as I write this.

You've been kind enough to support Mazaala Chai, my labour of love. The blog began in July 2010 as a dedication to Multi-faceted artist Shobana Chandrakumar. Now, three posts old, I took up an opportunity to introduce Mazaala Chai to its inspiration.

My post "Maya Ravan: Form Meets Substance" was printed out in an attractive booklet by my good friend Sri Mahesh Maroli ( who, as an artist deserves as much blogspace on MC, soon...) so that I could gift a copy to Shobana.

On 20th Jan 2012, after watching 'Krishna Chronicles' Live for the third time, the backstage of JTPAC Auditorium in Thripunithura presented me the historic occassion of gifting the booklet to Shobana herself. A brief conversation later, the artiste graciously posed with a copy of the booklet and also wrote me a note. Known to be temperamental and quick to take offence, Shobana was least expected to be so warm and accommodating to a novice like me. She appreciated my paintings of her and also spoke a bit on her revisions of Krishna Chronicles.

Those who've been following me on Facebook might have witnessed snapshots of my previous nano-second long meetings with Shobana. This, my fourth encounter, really put me on cloud nine in its enduring honesty, intensity and magic despite the brevity.

The first time I met Shobana, I told her ( quite truthfully) that I'd watched Manichitrathazhu over 200 times ( I'm sure those who know me well enough would testify to the fact); and Shobana herself wrote me a note addressing it " To the Record- setter of Manichithrathazhu....". That was in October 2010, three months after my post on the movie marked the beginning of Mazaala Chai.

Today, three posts, three Live shows and two paintings later, the inspiration gets to touch, feel and read my year-long work on Maya Ravan.
I rest this space, reveling in the memory of that divine meeting.

Thanks again, Maheshettan, for making it possible... By popular demand- and my own gratitude- here's Maheshettan's pic: