Monday, July 20, 2009
Consecration of Kanni Vinayagar Temple was performed on the 27th, 28th and 29th June 2009. the architects of the celebrations were Shri N R Mahadevan, son of Shri Natesa Iyer and Shri V Sankaran, grandson of Sangu Iyer - both stationed in Mulund, Mumbai. The event was unique with the participation of all communities in the village. Veda Parayanam, Yaga salai pooja and other rituals reverberated the rural atmosphere. Some of the scenes photographed them are found here.
Sunday, December 28, 2008
Temple renovations
Thanks to the voluntary services of some interested families, Kumbhabishekam was performed at Moondru Yugam Konda Amman Temple recently. Following this a grand Pooja was also conducted at Sudalaimadan Peedam. Now in the offing is a proposal to perform the Kumbhabishegam of Kanni Vinayagar Temple shortly. The temple has been renovated at the cost of Rs. 2 lakhs contributed by V Sankaran and N R Mahadeven who have settled in Mumbai.They also intend organising daily poojas at the temple. Anyone wishing to have special poojas on specific dates may send their enquiries to this blogger.
லேட்டஸ்ட் news
Jayaraman Vice President NWS visited Naranammalpuram recently, while on a pilgrimage. He held discussions with a number of villagers and elucidated their views. He made a presentation with executive committee which met 28th December 2008. His deduction was
1 The villagers were apathetic towards any society.
2. They were averse to subscribing for a common cause
3 They were only keen to continue their conventional life and did not appreciate anything modern and progressive. Nevertheless he wows to promote our ideas during his successive visits
1 The villagers were apathetic towards any society.
2. They were averse to subscribing for a common cause
3 They were only keen to continue their conventional life and did not appreciate anything modern and progressive. Nevertheless he wows to promote our ideas during his successive visits
Lakshmi aged about 80 passed away in September 2008. She was the daughter of Ramasubba Vadhyar, a respected priest of Naranammalpuram. A helpless widow, she lived under the care of her brother Narayanan (aka Bhushanam).
As a young lass, she was dynamic cultural entity in the village. She always exhibited a zeal for activity 24/7. She participated in the day to day chores of every house in the agraharam. I remember her particularly for her musical talent . Good at organising group activity she promoted kummi, kolattam and various cultural programmes involving every other girl of her age.
After 60 years I recall the following songs.
Adhimoolamae nee kuzhandhai nee vada
Balakrishnandi avan neela varnandi
Numberless were the songs she elaborated upon with her imagination and rendition.
It is regrettable that Bhushanam also died in the last week of November.
As a young lass, she was dynamic cultural entity in the village. She always exhibited a zeal for activity 24/7. She participated in the day to day chores of every house in the agraharam. I remember her particularly for her musical talent . Good at organising group activity she promoted kummi, kolattam and various cultural programmes involving every other girl of her age.
After 60 years I recall the following songs.
Adhimoolamae nee kuzhandhai nee vada
Balakrishnandi avan neela varnandi
Numberless were the songs she elaborated upon with her imagination and rendition.
It is regrettable that Bhushanam also died in the last week of November.
Friday, September 26, 2008
ART & CULTURE
Scholars familiar with N Ramasamy’s Biography of Appayya Dikshithar would have known about his grand nephew Neelakanda Dikshithar who settled in Palamadai, 3 kms from east of N.puram. One of his disciples Swami Dikshithar lived in N.Puram around 1620 AD. He was the author of Karthikeya Vijaya.
A descendant of Neelakanta Dikshithar who lived in N.Puram was Veeraraghava Kavi (7th generation). He was the author of Dikshitendra Vamsavali in Sanskrit. Achar Makindra was the brother of Appayya Dikshithar. This book was later published in 1923 by Shri P P Subramania Sastri, Superintendent of Oriental Schools, Madras.
Pudumai Pithan, the stormy petrel of the Tamil short story, has mentioned AruganKulam (aka N.Puram) in his short story ‘Pudhiya Koondu” in 1940.
Writing under the penname of Meenakshi Krishna, this blogger has written three short stories in Kalki (1960 – 71) with Aravangulam as base. It is understood that D S Varadhan son of Desikacharaiar, who retired from Press Information written a number of short stories in English and Tamil in late 30’s and early 40’s.
Mrs.Saradha Srinivasan wife of N S Srinivasan has written a novel “janani: in Tamil based on N.Puram. She is a free lance journalist who lived in Mumbai for a number of years. She lives in Bangalore now with her son.
Indu Balachandran is a niece of N L Krishnan Retd Chairman of Bharath Electronics Ltd, Bangalore. She writes regularly in “The Hindu” magazine, mostly on her experiences while traveling abroad. Occasionally she writes humorous pieces as well.
It is not uncommon for rural folks to be well-versed in Puranas folklore. This blogger can list out a few of them:
(i) Malayandi Konar an agriculturist used to recite Viveka Chintamani in the 40’s with appropriate explanations. His other favourites were “Periya Ezuthu Vikramadhithyan” and Nalla Thangal Charithram. Though narrated in folk lingo they were meaningful and absorbing.
(ii) M Shanmugam, later President, Taluk Congress Committee, was an exponent of Kunangudi Masthan’s songs.
(iii) Maa Subbiah Chettiar was well versed in mythological poetry and used to read Chitraputhra story on the day of Nainar Nombu every year.
(iv) Poogesa Varadhan (alias Boothathan was equally used in folk songs
The Agraharam had its own crop of music makers. Ms.Gomathi Ammal, Daughter of V Sundararama Aiyer dedicated herself to teaching carnatic music and veena till the late 1950s. N S Gomathi and N S Visalakshi were two of her disciples. The latter known as Vijaya conducts Bajans and leads her troupe all over south.
N R Lakshmi, daughter of Ramasubha Vadhyar, was well versed in songs on Krishna sung on the occasion of kolattam, javantarai. During festivals, she and other womenfolk used to entertain the villagers with their limited repertoire on carnatic music imbibed through oral tradition.
Though not of acclaimable standards, these performances were noteworthy as they emanated from villagers who, in those days had very little education, with no scope to libraries or live concerts.
Harihara Bhagavathar was a roving kalakshebam performer, used to visit N.Puram for after dusk pravachanams making people sit in rapt attention till midnight.
Ganapathi Subramanian (Appu Vadhyar) was the organiser of Venkateswara Bhajan Sabha. Apart from pre dawn bhajans in the month of Margazhi, there were uncha vridhi and Deepa Pradakshinams every now and then. He had an equally versatile contemporary in Lakshminarayana Josier of Pazhaya Gramam. Both of them inspired young men of the day in the devotional music.
Mani Bhagavathar of Thiruvannathapuram (on the southern bank of Tambraparani), opposite of N.Puram was a qualified musician. Because of lack of support for music he was running a ‘coffee club’ in N.Puram. he was also an enthusiastic participant in the cultural events of N.Puram. Falling into bad times and bad company, he hit the battle. On most full moon days he drank heavily sat with his friends on the river sands and sang for long hours. Kittappa’s songs were often repeated by him.
On the spiritual side, Neelakanda Iyer (Kandu Sir) used to read Bhagavatham and Ramayanam in the late afternoons loudly. The devout thronged his Thinnai to listen to his narration in the hope of earning punyam.
A descendant of Neelakanta Dikshithar who lived in N.Puram was Veeraraghava Kavi (7th generation). He was the author of Dikshitendra Vamsavali in Sanskrit. Achar Makindra was the brother of Appayya Dikshithar. This book was later published in 1923 by Shri P P Subramania Sastri, Superintendent of Oriental Schools, Madras.
Pudumai Pithan, the stormy petrel of the Tamil short story, has mentioned AruganKulam (aka N.Puram) in his short story ‘Pudhiya Koondu” in 1940.
Writing under the penname of Meenakshi Krishna, this blogger has written three short stories in Kalki (1960 – 71) with Aravangulam as base. It is understood that D S Varadhan son of Desikacharaiar, who retired from Press Information written a number of short stories in English and Tamil in late 30’s and early 40’s.
Mrs.Saradha Srinivasan wife of N S Srinivasan has written a novel “janani: in Tamil based on N.Puram. She is a free lance journalist who lived in Mumbai for a number of years. She lives in Bangalore now with her son.
Indu Balachandran is a niece of N L Krishnan Retd Chairman of Bharath Electronics Ltd, Bangalore. She writes regularly in “The Hindu” magazine, mostly on her experiences while traveling abroad. Occasionally she writes humorous pieces as well.
It is not uncommon for rural folks to be well-versed in Puranas folklore. This blogger can list out a few of them:
(i) Malayandi Konar an agriculturist used to recite Viveka Chintamani in the 40’s with appropriate explanations. His other favourites were “Periya Ezuthu Vikramadhithyan” and Nalla Thangal Charithram. Though narrated in folk lingo they were meaningful and absorbing.
(ii) M Shanmugam, later President, Taluk Congress Committee, was an exponent of Kunangudi Masthan’s songs.
(iii) Maa Subbiah Chettiar was well versed in mythological poetry and used to read Chitraputhra story on the day of Nainar Nombu every year.
(iv) Poogesa Varadhan (alias Boothathan was equally used in folk songs
The Agraharam had its own crop of music makers. Ms.Gomathi Ammal, Daughter of V Sundararama Aiyer dedicated herself to teaching carnatic music and veena till the late 1950s. N S Gomathi and N S Visalakshi were two of her disciples. The latter known as Vijaya conducts Bajans and leads her troupe all over south.
N R Lakshmi, daughter of Ramasubha Vadhyar, was well versed in songs on Krishna sung on the occasion of kolattam, javantarai. During festivals, she and other womenfolk used to entertain the villagers with their limited repertoire on carnatic music imbibed through oral tradition.
Though not of acclaimable standards, these performances were noteworthy as they emanated from villagers who, in those days had very little education, with no scope to libraries or live concerts.
Harihara Bhagavathar was a roving kalakshebam performer, used to visit N.Puram for after dusk pravachanams making people sit in rapt attention till midnight.
Ganapathi Subramanian (Appu Vadhyar) was the organiser of Venkateswara Bhajan Sabha. Apart from pre dawn bhajans in the month of Margazhi, there were uncha vridhi and Deepa Pradakshinams every now and then. He had an equally versatile contemporary in Lakshminarayana Josier of Pazhaya Gramam. Both of them inspired young men of the day in the devotional music.
Mani Bhagavathar of Thiruvannathapuram (on the southern bank of Tambraparani), opposite of N.Puram was a qualified musician. Because of lack of support for music he was running a ‘coffee club’ in N.Puram. he was also an enthusiastic participant in the cultural events of N.Puram. Falling into bad times and bad company, he hit the battle. On most full moon days he drank heavily sat with his friends on the river sands and sang for long hours. Kittappa’s songs were often repeated by him.
On the spiritual side, Neelakanda Iyer (Kandu Sir) used to read Bhagavatham and Ramayanam in the late afternoons loudly. The devout thronged his Thinnai to listen to his narration in the hope of earning punyam.
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