Sunday, August 22, 2010
Thursday, April 29, 2010
Undoubtedly, Samikannu Vincent is the founding father of cinema in South India..!!!
By introducing tent cinema, Samikannu Vincent quietly ushered in a revolution.
At the dawn of the 20th century in Tiruchi, a land-locked historic town, a modest and young but ambitious Indian Christian was about to make film history. He was Samikannu Vincent (1883-1942). A draftsman-clerk (salary Rs.25 per mensem) in the South Indian Railway (SIR), he happened to see some silent film shorts screened by an itinerant French film exhibitor named Du Pont. Unused to the local food, water and heat this travelling film exhibitor fell sick and decided to return home. Vincent, who had befriended him, raised the required money with difficulty and bought the Frenchman's projectors, accessories, films and all.
Resigning his dreary desk job, he set up business in 1905 as a film exhibitor and went about screening his stock of shorts. One of the films was ‘Life of Jesus,' which proved to be extremely popular all over South India. Vincent usually screened his films in a tent, which was erected on a stretch of open land close to a town or village. The “tent cinema” concept became very popular.
During 1905 electric carbons were used for motion picture projectors, and during the same year Vincent established his first tent cinema at Madras called Edison's Grand Cinemamegaphone on Esplanade. This was a novelty for the citizens.
The electrically-lit tent and the new equipment attracted large crowds. The shows were a huge success. So he took his tent cinema to Burma, Malaya (now Malaysia and Singapore) and other places where he was met with equal success. Aware of the advantages of having a brick and mortar cinema house, he built one in his hometown, Coimbatore, in 1914 and called it Variety Hall.
This place still exists, though under a different name (‘Delite') and ownership.
Vincent imported films from abroad and also dealt in movie exhibition equipment. Later he turned producer and assisted in directing a few films. He was not very successful in production and so confined himself to exhibiting, distributing films and dealing in movie equipment. Later, when Central Studios was established in Coimbatore in 1937, he joined the board as one of the directors and involved himself in its activities for sometime. Like most pioneers, he is today aforgotten man. Not many remember his contribution to South Indian Cinema outside his native borough.
In 1933, Pioneer Film Company, Calcutta, and Samikannu Vincent co-produced ‘Valli,' the popular mythological tale of Muruga and his romance with a tribal chief's adopted daughter, Valli. Simultaneously another version was made in Bombay. The Calcutta-made film named ‘Valli Thirumanam' had T.P. Rajalakshmi playing the lead and the film was a huge hit. The Bombay-made one did poorly and few remember it today.
After the completion of the film, the prints were taken from the laboratory in Calcutta and were to be dispatched to Madras and other places for its release on January 1, 1933. At that time, it was found that one reel of the negative was missing! As it was impossible to change the release date, the prints were sent to Madras without that reel being printed.
Mega hit
‘Valli Thirumanam' became a mega box office success and the first money spinner of Tamil Cinema. It had three shows, rather unusual for that time and more interestingly, a noon show was also screened at the New Elphinstone cinema on Mount Road.
While the movie was raking in money, the missing negative reel was found in Calcutta. Prints of that reel were hurriedly made and sent to Madras to be added to the prints already in circulation. In a brilliant move, the distributors (Vincent) came out with an innovative poster announcing that the missing reel had been found and that the film would now be screened with the added reel. This created a sensation and practically every moviegoer, who had seen it earlier flocked to the film again.
After the roaring success of ‘Valli Thirumanam,' Samikannu Vincent was eager to produce another movie with the active association of the Pioneer Studios in Calcutta. And they did ‘Harishchandra' (1935). This familiar tale of the truthful king of Ayodhya had been made many times (even a silent one) and in several languages.
The first talking picture version in Tamil of this stirring story was produced in 1932 under the title ‘Sampoorna Harishchandra' in Bombay by Sagar Film Company. One of the early noted filmmakers of Tamil Cinema, Raja Chandrasekhar directed it. Samikannu Vincent's version was produced in Calcutta with famed stage and screen star of the day, V.A. Chellappa, and T. P. Rajalakshmi in the lead roles. It was directed by noted filmmaker Profulla Ghosh, who had made quite a few Tamil films in Calcutta during that period. (It was Vincent who chose ‘Baby' Rukmini to play Lohidasa. Rukmini is none other than the mother of the versatile actor Lakshmi.)
The next film, Samikannu Vincent produced in association with Pioneer Studios was ‘Subhadra Parinayam' (1935) under the banner ‘Variety Hall Talkies.'
Sambur Vadagarai Subbaiah Bhagavathar was the first trained Carnatic musician to enter Tamil Cinema. In 1937, when that historic Central Studios was founded in Coimbatore, Samikannu Vincent joined the company as one of the directors. Besides production, he was interested in theatre management and equipment distribution. He was also involved in charitable work.
Realising the need for a printing press to produce quality handbills and other materials, he promoted the printing press (around 1916) that was located in a house near his theatre. He expanded the activities of the press by installingadditional machinery, types and printing accessories in another building. Called Electric Printing Works, he used the cinema house's electric power plant to run the printing press too and created history of sorts.
By 1919, he established the first power-driven Rice and Flour Mill in the heart of thetown. He managed all this by working as long as nine hours a day, until his sons took over. In 1922, the then Government of Madras gave him permission to supply electric power to the famous Stanes European High School. With the encouragement of Sir C.P. Ramaswamy Aiyer, member of the Governor's Executive Council in charge of the Electricity portfolio, he was given enough support by the government. His application was approved and the licence to set up a power house was granted. The streets of Coimbatore and the residential buildings in the heart of the city had electric lights.
In 1927 when Edison's Theater came up for sale,Vincent bought it. He screened English movies at Variety Hall and Tamil films at Edison's Theater. In 1927, movies began to talk in America with ‘The Jazz Singer.' Sound came to India later. Vincent kept up with the progress, improvement and inventions that took place in the international motion picture industry and ordered for sound projection machines for Variety Hall and Edison's Theater. Coimbatore beat Madras (the then capital of Madras Presidency) by becoming the first city in South India to have a talkie equipment (an achievement).
In 1936, Vincent got a third theatre, Palace, just to screen Hindi movies. By 1939, after Central Studios went full steam into production, Samikannu Vincent retired. Son, Paul Vincent, and others took over the businesses. Smaikannu Vincent passed away in April 1942.
It is regretful that there is no fitting memorial for him in Coimbatore. Undoubtedly, Samikannu Vincent is the founding father of cinema in South India, but film historians and other cultural chroniclers have not given him his due.
Comments to : web.thehindu@thehindu.co.in Copyright © 2009, The Hindu
At the dawn of the 20th century in Tiruchi, a land-locked historic town, a modest and young but ambitious Indian Christian was about to make film history. He was Samikannu Vincent (1883-1942). A draftsman-clerk (salary Rs.25 per mensem) in the South Indian Railway (SIR), he happened to see some silent film shorts screened by an itinerant French film exhibitor named Du Pont. Unused to the local food, water and heat this travelling film exhibitor fell sick and decided to return home. Vincent, who had befriended him, raised the required money with difficulty and bought the Frenchman's projectors, accessories, films and all.
Resigning his dreary desk job, he set up business in 1905 as a film exhibitor and went about screening his stock of shorts. One of the films was ‘Life of Jesus,' which proved to be extremely popular all over South India. Vincent usually screened his films in a tent, which was erected on a stretch of open land close to a town or village. The “tent cinema” concept became very popular.
During 1905 electric carbons were used for motion picture projectors, and during the same year Vincent established his first tent cinema at Madras called Edison's Grand Cinemamegaphone on Esplanade. This was a novelty for the citizens.
The electrically-lit tent and the new equipment attracted large crowds. The shows were a huge success. So he took his tent cinema to Burma, Malaya (now Malaysia and Singapore) and other places where he was met with equal success. Aware of the advantages of having a brick and mortar cinema house, he built one in his hometown, Coimbatore, in 1914 and called it Variety Hall.
This place still exists, though under a different name (‘Delite') and ownership.
Vincent imported films from abroad and also dealt in movie exhibition equipment. Later he turned producer and assisted in directing a few films. He was not very successful in production and so confined himself to exhibiting, distributing films and dealing in movie equipment. Later, when Central Studios was established in Coimbatore in 1937, he joined the board as one of the directors and involved himself in its activities for sometime. Like most pioneers, he is today aforgotten man. Not many remember his contribution to South Indian Cinema outside his native borough.
In 1933, Pioneer Film Company, Calcutta, and Samikannu Vincent co-produced ‘Valli,' the popular mythological tale of Muruga and his romance with a tribal chief's adopted daughter, Valli. Simultaneously another version was made in Bombay. The Calcutta-made film named ‘Valli Thirumanam' had T.P. Rajalakshmi playing the lead and the film was a huge hit. The Bombay-made one did poorly and few remember it today.
After the completion of the film, the prints were taken from the laboratory in Calcutta and were to be dispatched to Madras and other places for its release on January 1, 1933. At that time, it was found that one reel of the negative was missing! As it was impossible to change the release date, the prints were sent to Madras without that reel being printed.
Mega hit
‘Valli Thirumanam' became a mega box office success and the first money spinner of Tamil Cinema. It had three shows, rather unusual for that time and more interestingly, a noon show was also screened at the New Elphinstone cinema on Mount Road.
While the movie was raking in money, the missing negative reel was found in Calcutta. Prints of that reel were hurriedly made and sent to Madras to be added to the prints already in circulation. In a brilliant move, the distributors (Vincent) came out with an innovative poster announcing that the missing reel had been found and that the film would now be screened with the added reel. This created a sensation and practically every moviegoer, who had seen it earlier flocked to the film again.
After the roaring success of ‘Valli Thirumanam,' Samikannu Vincent was eager to produce another movie with the active association of the Pioneer Studios in Calcutta. And they did ‘Harishchandra' (1935). This familiar tale of the truthful king of Ayodhya had been made many times (even a silent one) and in several languages.
The first talking picture version in Tamil of this stirring story was produced in 1932 under the title ‘Sampoorna Harishchandra' in Bombay by Sagar Film Company. One of the early noted filmmakers of Tamil Cinema, Raja Chandrasekhar directed it. Samikannu Vincent's version was produced in Calcutta with famed stage and screen star of the day, V.A. Chellappa, and T. P. Rajalakshmi in the lead roles. It was directed by noted filmmaker Profulla Ghosh, who had made quite a few Tamil films in Calcutta during that period. (It was Vincent who chose ‘Baby' Rukmini to play Lohidasa. Rukmini is none other than the mother of the versatile actor Lakshmi.)
The next film, Samikannu Vincent produced in association with Pioneer Studios was ‘Subhadra Parinayam' (1935) under the banner ‘Variety Hall Talkies.'
Sambur Vadagarai Subbaiah Bhagavathar was the first trained Carnatic musician to enter Tamil Cinema. In 1937, when that historic Central Studios was founded in Coimbatore, Samikannu Vincent joined the company as one of the directors. Besides production, he was interested in theatre management and equipment distribution. He was also involved in charitable work.
Realising the need for a printing press to produce quality handbills and other materials, he promoted the printing press (around 1916) that was located in a house near his theatre. He expanded the activities of the press by installingadditional machinery, types and printing accessories in another building. Called Electric Printing Works, he used the cinema house's electric power plant to run the printing press too and created history of sorts.
By 1919, he established the first power-driven Rice and Flour Mill in the heart of thetown. He managed all this by working as long as nine hours a day, until his sons took over. In 1922, the then Government of Madras gave him permission to supply electric power to the famous Stanes European High School. With the encouragement of Sir C.P. Ramaswamy Aiyer, member of the Governor's Executive Council in charge of the Electricity portfolio, he was given enough support by the government. His application was approved and the licence to set up a power house was granted. The streets of Coimbatore and the residential buildings in the heart of the city had electric lights.
In 1927 when Edison's Theater came up for sale,Vincent bought it. He screened English movies at Variety Hall and Tamil films at Edison's Theater. In 1927, movies began to talk in America with ‘The Jazz Singer.' Sound came to India later. Vincent kept up with the progress, improvement and inventions that took place in the international motion picture industry and ordered for sound projection machines for Variety Hall and Edison's Theater. Coimbatore beat Madras (the then capital of Madras Presidency) by becoming the first city in South India to have a talkie equipment (an achievement).
In 1936, Vincent got a third theatre, Palace, just to screen Hindi movies. By 1939, after Central Studios went full steam into production, Samikannu Vincent retired. Son, Paul Vincent, and others took over the businesses. Smaikannu Vincent passed away in April 1942.
It is regretful that there is no fitting memorial for him in Coimbatore. Undoubtedly, Samikannu Vincent is the founding father of cinema in South India, but film historians and other cultural chroniclers have not given him his due.
Comments to : web.thehindu@thehindu.co.in Copyright © 2009, The Hindu
Friday, February 26, 2010
An unconventional artwork of diaspora heritage, Imag(in)ing ‘Home’ ..!!!
2010/2/27 Bas Baskaran
- Show quoted text -
இளைஞர்களே!
எங்கள் உயர்வு உங்கள் கையில்!
வரும் காலம் வரலாறு படைக்க
விரைந்து செயற்படுவீர்!
உலக அரங்கில் உன்னத நிலைகாண
உறங்காது உழையுங்கள்!
Eezham artist presents heritage as everybody’s property
An unconventional artwork of diaspora heritage, Imag(in)ing ‘Home’ presented by Thamotharampillai Shanaathanan, Lecturer in Art History of the Fine Arts Department of the University of Jaffna, with the participation of Eezham Tamil community in Vancouver, Canada, is now in display in an Art Exhibition of the Museum of Anthropology, University of British Columbia, Canada. What Shanaathanan did last September was asking the members of the diaspora in Vancouver to bring anything that reminds them of the heritage of ‘home.’ 300 objects thus collected, prompting historical as well as structural analysis, were put into plastic bottles and like a collage giving collective meaning they make an innovative display now in the exhibition titled Border Zones: New Art Across Cultures, opened last Saturday.
Visitors to the exhibition in Vancouver
T. Shanaathanan, lecturer in art history, University of Jaffna
Preparation of the display by members of the Tamil diaspora community in Vancouver
A section of the exhibits
Another section of the exhibits
Preparation of the display
Preparation of the display
When colonial Tamil culture first saw a museum established in Chennai, it was known in Tamil language as Cheththa-kaaleaj, college of dead objects, as opposed to Uyirk-kaaleaj, college of life beings, the zoo.
The idea thus imbibed into Tamil mind and still continues is that a museum keeps only obsolete artefacts, rare and precious.
But, Shanaathanan has shown that a museum display is as much connected to memories and inner self of the living, and anything could be an object of heritage provided it is presented in the relevant context of the living.
He has also revolutionised the conventional idea of the Tamil mind that a museum piece of heritage is always of commercial value and is collected or presented only by experts of the trade dealing with bygone times.
In his presentation, heritage objects are liberated from the clutches of the commercial world of antiquarianism and they are properties of everybody. What is a piece of heritage and what is its value have become abstract. The community participation has liberated art and heritage as everybody’s property, providing space for new historical and structural analyses.
Saddened by Colombo’s antiquarian trade of traditional artefacts stolen from Tamil areas by the occupying forces, there are views that the diaspora should organize funds to purchase them. This is waste of money and will only promote further plunder.
As has been demonstrated by Shanaathanan, meaningful study of heritage, its preservation and presentation are far different from patrons of antiquarian trade flaunting wealth in their hobby.
Shanaathanan’s innovative ideas stem from the call of his times.
Forced diaspora, global and mass-scaled, is hitherto unseen phenomenon for Tamils. It was never experienced in the entire realm of the history of Tamil civilization.
The historic task of Tamil artists is not merely presenting the heritage of home of the homeless, but initiating a new heritage of looking at heritage.
Hope the inspiration picks up in the Tamil diaspora for permanent museums of heritage around the world.
Born in Thaavadi, Jaffna 36-year-old Shanaathanan is currently engaged in research for Ph.D at Jawaharlal Nehru University in New Delhi. Six years ago, he organized an art exhibition in Jaffna, bringing together Tamil and Sinhala artists for the first time in 50 years attempting to deal with the trauma of war.
The current art exhibition in Vancouver features the presentations of twelve internationally acclaimed artists from Iran, Canada, Australia, France, Malaysia and Eezham.
Note a Sri Lankan birth-certificate being an object of heritage for the diaspora
Preparation of the display
A son remembers the heritage of his father and through that the 'home'
An iron-handled curved knife called 'Kaampuch-chaththakam' used in peeling palmyrah leaf to make baskets, mats etc.
Barbed-wire is a heritage object reminding 'home'
A Tamil primary school text book, published in Chunnakam, Jaffna, reminds someone of 'home'
- Show quoted text -
இளைஞர்களே!
எங்கள் உயர்வு உங்கள் கையில்!
வரும் காலம் வரலாறு படைக்க
விரைந்து செயற்படுவீர்!
உலக அரங்கில் உன்னத நிலைகாண
உறங்காது உழையுங்கள்!
Eezham artist presents heritage as everybody’s property
An unconventional artwork of diaspora heritage, Imag(in)ing ‘Home’ presented by Thamotharampillai Shanaathanan, Lecturer in Art History of the Fine Arts Department of the University of Jaffna, with the participation of Eezham Tamil community in Vancouver, Canada, is now in display in an Art Exhibition of the Museum of Anthropology, University of British Columbia, Canada. What Shanaathanan did last September was asking the members of the diaspora in Vancouver to bring anything that reminds them of the heritage of ‘home.’ 300 objects thus collected, prompting historical as well as structural analysis, were put into plastic bottles and like a collage giving collective meaning they make an innovative display now in the exhibition titled Border Zones: New Art Across Cultures, opened last Saturday.
Visitors to the exhibition in Vancouver
T. Shanaathanan, lecturer in art history, University of Jaffna
Preparation of the display by members of the Tamil diaspora community in Vancouver
A section of the exhibits
Another section of the exhibits
Preparation of the display
Preparation of the display
When colonial Tamil culture first saw a museum established in Chennai, it was known in Tamil language as Cheththa-kaaleaj, college of dead objects, as opposed to Uyirk-kaaleaj, college of life beings, the zoo.
The idea thus imbibed into Tamil mind and still continues is that a museum keeps only obsolete artefacts, rare and precious.
But, Shanaathanan has shown that a museum display is as much connected to memories and inner self of the living, and anything could be an object of heritage provided it is presented in the relevant context of the living.
He has also revolutionised the conventional idea of the Tamil mind that a museum piece of heritage is always of commercial value and is collected or presented only by experts of the trade dealing with bygone times.
In his presentation, heritage objects are liberated from the clutches of the commercial world of antiquarianism and they are properties of everybody. What is a piece of heritage and what is its value have become abstract. The community participation has liberated art and heritage as everybody’s property, providing space for new historical and structural analyses.
Saddened by Colombo’s antiquarian trade of traditional artefacts stolen from Tamil areas by the occupying forces, there are views that the diaspora should organize funds to purchase them. This is waste of money and will only promote further plunder.
As has been demonstrated by Shanaathanan, meaningful study of heritage, its preservation and presentation are far different from patrons of antiquarian trade flaunting wealth in their hobby.
Shanaathanan’s innovative ideas stem from the call of his times.
Forced diaspora, global and mass-scaled, is hitherto unseen phenomenon for Tamils. It was never experienced in the entire realm of the history of Tamil civilization.
The historic task of Tamil artists is not merely presenting the heritage of home of the homeless, but initiating a new heritage of looking at heritage.
Hope the inspiration picks up in the Tamil diaspora for permanent museums of heritage around the world.
Born in Thaavadi, Jaffna 36-year-old Shanaathanan is currently engaged in research for Ph.D at Jawaharlal Nehru University in New Delhi. Six years ago, he organized an art exhibition in Jaffna, bringing together Tamil and Sinhala artists for the first time in 50 years attempting to deal with the trauma of war.
The current art exhibition in Vancouver features the presentations of twelve internationally acclaimed artists from Iran, Canada, Australia, France, Malaysia and Eezham.
Note a Sri Lankan birth-certificate being an object of heritage for the diaspora
Preparation of the display
A son remembers the heritage of his father and through that the 'home'
An iron-handled curved knife called 'Kaampuch-chaththakam' used in peeling palmyrah leaf to make baskets, mats etc.
Barbed-wire is a heritage object reminding 'home'
A Tamil primary school text book, published in Chunnakam, Jaffna, reminds someone of 'home'
Tuesday, February 16, 2010
VK acted in over 300 films & with his winsome smile & compelling good looks was the undisputed romantic hero & heartthrob of the local silver screen.!
Vijaya Kumaratunga’s 22nd death anniversary today:
Vijaya, the romantic icon
Today marks the 22nd Death Anniversary of actor-politician Vijaya Kumaratunga who etched his name in the Sinhala cinema and the hearts of millions of film-goers in the country for ever.
Several programs have been arranged to commemorate the event by the Vijaya Kumaratunga Foundation and his loyal fans throughout the country.
The void left by his demise is still felt in the local cinema which today is bereft of such charm and screen presence.
Vijaya burst into the celluloid world in the ‘mountain moving’ film Hantane Kathawa and took the local cinema by storm.
Since then he acted in over 300 films and with his winsome smile and compelling good looks was the undisputed romantic hero and heartthrob of the local silver screen.
He blew a breath of fresh air into the lacklustre scene and emerged as the knight in shining armour to conquer the local film world.
Born on October 9,1945 in the coastal hamlet of Seeduwa, Vijaya was marked out as a budding artiste even while a student at Benedict’s College, Kotahena where he acted in school plays and was a livewire in the school’s drama society.
Incidentally the College was known to have produced many an artiste and cinematic personalities with names such as Premnath Moraes, Robin Fernando and Ravindra Randeniya standing out. Vijaya was also a member of the College debating team which stood him in good stead in his subsequent foray into the world of politics.
His unchallenged popularity of his era helped him in no small measure to ascend the political stage where he made a big impact with his lyrical oratory and captivating presence.
His first venture into national politics came when he contested the Katana constituency albeit unsuccessfully. Subsequently at the 1982 Presidential election he was the chief lieutenant of SLFP candidate Hector Kobbekaduwa whose campaign he single handedly steered amidst attempts from within to undermine his chances.
He later founded the Sri Lanka Mahajana Party with wife Chandrika which brought under one umbrella all the left and progressive forces. He was gunned down at his Polhengoda home on February 16, 1988 silencing the voice of one of the most phenomenal stars off the local silver screen and political stage.
- Rodney
DAILYNEWS.LK
Sunday, January 3, 2010
Canadian Tamil:SURESH JOACHIM's film on Sri Lanka Tamils enters Guinness Book...!!!
Indian Tamil film on Sri Lanka enters Guinness Book
New Delhi: A two-hour Tamil film made in less than 12 days has entered the Guinness Book of World Records.
The film, Shivappu Mazhai, based on Tamils in Sri Lanka, had over 600 technicians working round the clock to complete the film by June 3, 2009.
Suresh Joachim and Meera Jasmine star in the lead roles of the film.
"Prior to this, a British production company held the record, which was when they shot a film in 13 days in 1990. This took 12 days only. This is a big achievement," said Shivappu Mazhai director V Krishnamoorthy.
The film is due to release on January 14, 2010. However, there has been some problem on receiving the necessary certificates after its completion. (Ibnlive)
DAILYMIRROR.LK
New Delhi: A two-hour Tamil film made in less than 12 days has entered the Guinness Book of World Records.
The film, Shivappu Mazhai, based on Tamils in Sri Lanka, had over 600 technicians working round the clock to complete the film by June 3, 2009.
Suresh Joachim and Meera Jasmine star in the lead roles of the film.
"Prior to this, a British production company held the record, which was when they shot a film in 13 days in 1990. This took 12 days only. This is a big achievement," said Shivappu Mazhai director V Krishnamoorthy.
The film is due to release on January 14, 2010. However, there has been some problem on receiving the necessary certificates after its completion. (Ibnlive)
DAILYMIRROR.LK
Tuesday, December 29, 2009
The audio CD of the movie titled Vinnai Thaandi Varuvaayaa (Will you come across the sky?) was released in London by Oscar winning music composer:ARR
Tamil music launched in UK
By Swaminathan Natarajan
BBC Tamil service
It is the first time a music track of a South Indian movie launched outside India
For the first time in the history of South Indian films, a music launch of a film has taken place outside India.
The audio CD of the movie titled Vinnai Thaandi Varuvaayaa (Will you come across the sky?) was released in London by the Oscar winning music composer A R Rahman.
Over 200 selected guests turned up to watch the event which included a live performance by the singers at the prestigious BAFTA Hall.
The director of the movie, Gautham Menon says this is an effort to take Tamil films to a global audience.
"Overseas markets bring us lots of revenue. We need to understand the market. When it comes to marketing we are at least 10 years behind Hindi cinema. They have moved far ahead and are doing movies aimed at overseas markets. We want to do the same,” says Menon.
US premier
He plans to have a premier for the movie in the US. He says that the movie will be released overseas with English sub-titles for the benefit of international audience.
For decades, Tamil movie makers have gone to different parts of the world to shoot song and dance sequences. But not much effort has been made to engage western audiences.
Overseas markets bring us lots of revenue. We need to understand the market. When it comes to marketing we are at least 10 years behind Hindi cinema
Director Gautham Menon
Tamil-speaking population of Sri Lankan and Indian origin, living in Western Europe, North America, South East Asia and the Middle East constitute the traditional foreign market for the Tamil industry.
The London music launch is billed as an attempt to take this movie beyond this group.
"This is a good beginning because in the West people equate Bollywood (Hindi film industry) with the whole of Indian film industry. We have so many languages. We have well established film industries in Tamil, Telugu, Bengali, Malayalam etc. This type of events will help to establish the identity of Tamil cinema", said A R Rahman.
Over 100 Tamil films are made in the capital of Tamilnadu, Chennai, and every year.
First movie after Oscar
About 40 people who played key roles in the making of this movie, including the lead actors Silambarasan and Trisha were flown from Chennai for the special event.
The movie which is said to have been made with a budget of over four million dollars is considered as a big budget film, in the context of Tamil cinema.
"In the West people equate Bollywood with the whole of Indian film industry"
“I have not seen anything like this in my seven years experience. It is a great honour to walk on red carpet here. We are much exited. It gives us great publicity” says Trisha, who is the heroine of this film.
Vinnai Thaandi Varuvaayaa is scheduled to be released on 12 Feb.
This is A R Rahman's first Tamil movie after he won two Oscar awards earlier this year. Apart from composing music he has also sung a song in this movie.
"I feel at home when doing Tamil movies. Tamil audience are my dearest" He said amidst thundering applause.
Some feared A R Rahman may not accept many projects in India, as his stock in Hollywood is rising.
But, he continues to work with Indian film makers. In 2010 Tamil fans will hear him in at least in 4 big releases including Tamil super star Rajini kanth’s Robot.
"This year I got Oscar awards. I performed in White House before the Obamas and now I got nominated for Grammy. In terms of international exposure, you can say this is the best year in my life so far", says A R Rahman in a reflective mood.
bbcsinhala.com
By Swaminathan Natarajan
BBC Tamil service
It is the first time a music track of a South Indian movie launched outside India
For the first time in the history of South Indian films, a music launch of a film has taken place outside India.
The audio CD of the movie titled Vinnai Thaandi Varuvaayaa (Will you come across the sky?) was released in London by the Oscar winning music composer A R Rahman.
Over 200 selected guests turned up to watch the event which included a live performance by the singers at the prestigious BAFTA Hall.
The director of the movie, Gautham Menon says this is an effort to take Tamil films to a global audience.
"Overseas markets bring us lots of revenue. We need to understand the market. When it comes to marketing we are at least 10 years behind Hindi cinema. They have moved far ahead and are doing movies aimed at overseas markets. We want to do the same,” says Menon.
US premier
He plans to have a premier for the movie in the US. He says that the movie will be released overseas with English sub-titles for the benefit of international audience.
For decades, Tamil movie makers have gone to different parts of the world to shoot song and dance sequences. But not much effort has been made to engage western audiences.
Overseas markets bring us lots of revenue. We need to understand the market. When it comes to marketing we are at least 10 years behind Hindi cinema
Director Gautham Menon
Tamil-speaking population of Sri Lankan and Indian origin, living in Western Europe, North America, South East Asia and the Middle East constitute the traditional foreign market for the Tamil industry.
The London music launch is billed as an attempt to take this movie beyond this group.
"This is a good beginning because in the West people equate Bollywood (Hindi film industry) with the whole of Indian film industry. We have so many languages. We have well established film industries in Tamil, Telugu, Bengali, Malayalam etc. This type of events will help to establish the identity of Tamil cinema", said A R Rahman.
Over 100 Tamil films are made in the capital of Tamilnadu, Chennai, and every year.
First movie after Oscar
About 40 people who played key roles in the making of this movie, including the lead actors Silambarasan and Trisha were flown from Chennai for the special event.
The movie which is said to have been made with a budget of over four million dollars is considered as a big budget film, in the context of Tamil cinema.
"In the West people equate Bollywood with the whole of Indian film industry"
“I have not seen anything like this in my seven years experience. It is a great honour to walk on red carpet here. We are much exited. It gives us great publicity” says Trisha, who is the heroine of this film.
Vinnai Thaandi Varuvaayaa is scheduled to be released on 12 Feb.
This is A R Rahman's first Tamil movie after he won two Oscar awards earlier this year. Apart from composing music he has also sung a song in this movie.
"I feel at home when doing Tamil movies. Tamil audience are my dearest" He said amidst thundering applause.
Some feared A R Rahman may not accept many projects in India, as his stock in Hollywood is rising.
But, he continues to work with Indian film makers. In 2010 Tamil fans will hear him in at least in 4 big releases including Tamil super star Rajini kanth’s Robot.
"This year I got Oscar awards. I performed in White House before the Obamas and now I got nominated for Grammy. In terms of international exposure, you can say this is the best year in my life so far", says A R Rahman in a reflective mood.
bbcsinhala.com
Monday, December 28, 2009
Tamils are one among the most ancient civilizations of the world...!!!
From: raja rama
Date: Dec 28, 2009 9:26 PM
Subject: முள்ளிவாய்க்காலில் வைத்து வேலுப்பிள்ளை பிரபாகரன் சிங்களத்திற்கு வைத்த “இறுதியும்” அறுதியுமான “செக்” என்ன?
To: sutha Go
1.முள்ளிவாய்க்காலில் வைத்து வேலுப்பிள்ளை பிரபாகரன் சிங்களத்திற்கு வைத்த “இறுதியும்” அறுதியுமான “செக்” என்ன?
http://www.yarl.com/forum3/index.php?showtopic=67210
2.A scholar quoted that a nation can easily be defeated and captured without weapons, if the language of the nation is destroyed.
Culture
Tamils - A “Literal” identity crisis.
Tamils are one among the most ancient civilizations of the world. In the history of the world, Tamil population are the few among the world communities which named it’s people with title of their own language. For example the names like ‘Tamilarasi’, ‘Tamilselvan’, ‘Tamilmani’, ‘Tamilvendhan’ carries the title of the language. This indicates their immense love towards their language and culture. But this trend is not practiced anymore by the Tamils in India. Sadly, Tamils are gradually and steadily losing their identity. This is very evident if we make a research into the names of the people belonging to Tamil Nadu. Yes, this article is all about today’s trend in the names of the wide Tamil community.
I personally made a venture in interviewing a few Tamils in the urban areas. The results were just shocking when I came to know that out of 20 people I interviewed, none of them were carrying Tamil names. One of the couple I interviewed was from Erode. They recently gave birth to a girl baby and they named the girl as ‘Shamitha’. The first question I asked them was ‘who named the baby?’ Reply was immediate. They said that an astrologer named the baby. Second question I asked was, ‘do you know the meaning of this name and from which language this name was originated?’. The couple admitted that they don’t know the meaning and they are not really bothered to know that.
When I interviewed few more families, more or less I received the same reply. Hardly people realize that they are losing their identity. Names are the real identity of a community. A name can easily tell you from where you are coming. The names give a strong feeling of togetherness and integrity. It is an identity of a civilization, generation and clan. Names are not merely meant for calling. It promotes the essence of meaning which it carries along with. When I was working as a receptionist in a hotel in London, an American businessman saw my name badge which read ‘Raj Palaniswamy’. He immediately recognized that I was a Tamil and spoke to me in Tamil. We all know that ‘Palaniswamy’ is a name kept only by Tamils. If I myself happen to come across the names like ‘Senthil’, ‘Murugan,’ or ‘Sunderapandiyan’, I will certainly speak to them in Tamil without even asking them whether they are Tamil or not. That is to say that the names are the real address or identity for a person. I have never seen a North Indian or a person belonging to any other state other than Tamil Nadu having a Tamil name. But I wonder why Tamils have a fascination to have Hindi or Sanskrit names to their sons and daughters.
Well, this is not the case only in the urban areas. Even in the villages, Tamils are fancied to have non-Tamil names. I was taken aback when I came to know that my distant relatives in a village named their daughter as ‘Monica’. This name was neither a Hindi nor a Sanskrit name. They went a step ahead in having a European name. Another city couple named their daughter as ‘Chaya Sree’. Again this couple blinked when I asked about the meaning for the name. Ironically most of the parents have Tamil names like ‘Arivazhagan, ‘Poongkodi’, Muniappan or ‘Kalaiselvi’. But their sons and daughters have names like ‘Rahul’, ‘Sachin’, ‘Rohit’, ‘Sanjana’, ‘Akshay’, ‘Abishek’ or ‘Diya’ . These parents rarely know the meaning of these names. Even if they knew the meaning, they could rarely speak the language from which these names originated. Chinese and Japanese still they stick on to their indigenous names no matter how much they are exposed to fashion and modernism. Then why Tamils don’t stick on to their names?
If this trend continues, in another 20 years, we cannot find a single Tamil name inside the Tamil families. For name sake, people of Tamil Nadu can claim to be Tamils, but in reality they will be losing their identity in this global village. Late Czech scholar Kamil Zvebil said “There is no doubt that the culture of the Tamils belongs to the great and immortal treasures of the world’s civilisation’ . Further he adds that the Tamils are only surviving classical civilization on earth. But this classical civilization is slowing getting diluted in the waters of Indian Ocean. Yes they are diluted by the adverse effects of North Indians flooding into the state and mingling with the Tamil society. However, the losers are not North Indians as they stick to their names, but Tamils are indeed losing their identity.
Now I am wondering about the cause. What made Tamils to think that their Tamil names are not good enough to suit their kids? One thing I realized that most of them, who have non-Tamil names for their kids, have hardly read Tamil literature or Tamil history. In this post-modern society, Tamils have least time in researching about their own culture and language. This led to the decline of Tamil names inside Tamil Nadu. For example T.Rajendran, a prominent personality of Tamil Nadu named his son as Silambarasan as opposed to actor Vijay who named his son as Sanjay. This was probably because T. Rajendran is a person who has read Tamil literature in-depth and has awareness about the history and culture of Tamils. Obviously actor Vijay would not have gone through Tamil literature or history and the end result was naming his son with a Sanskrit name.
In a contrast, my non –Tamil friend belonging to this generation who is a follower of a Tamil Saint Vallalar, named his boy baby as ‘Thooyavan’ which means ‘Man of Purity’. I asked him why he was not fascinated by Hindi names. He immediately replied that he wanted to his son to have a name with divine meaning and power of pure Tamil language. This was mainly because my friend was well versed in Thirukkural and Thiruvarutpa. To some extent, unlike the Western society, the knowledge of literature and history plays an important role in naming the kids. I feel that Tamils are lacking this knowledge and are not taking enough steps to know about the unique qualities of their own language and culture. This makes them lose pride in having Tamil names. Instead they take pride in having names of foreign origin.
Though this situation in Tamil Nadu is disappointing, I was relieved by a good news announced by the TN government. It said that the TN government would give one gold coin free per couple who names their child with a proper Tamil name. At least in the government hospitals, we could expect people to name their progeny in Tamil language for the sake of gold coin. Another achievement can be attributed to the TV channels like Makkal TV which continuously supports the revival of Tamil language. It holds Tamil language competition to give away gold coins if somebody wins. Also it constantly (every day) inform people about new Tamil names with meaning therefore encouraging Tamil people to name their kids in Tamil language. I end up with a small note. A scholar quoted that a nation can easily be defeated and captured without weapons, if the language of the nation is destroyed. Though language destruction is at the rapid pace in Tamil Nadu, but my concern is with names of the Tamils who have already lost their identity as Tamils. This is a wake-up call for all Tamils around the world. If Tamils don’t name their kids in their language, then who else would name their kids in Tamil? This beautiful Tamil language has got immense meaning and glory within itself. Tamils don’t need to borrow a foreign language for naming their kids.
3.'என் தேசத்து மண்ணே!
உனக்கு என் ரத்தத்தை தருவேன்.
இந்தக் கலவலரங்களுக்குப் பின் மிச்சமிருந்தால்...'
அலி சர்தாரியின் கவிதையை ஞாபகப்படுத்தினார் வேலுப்பிள்ளை பிரபாகரன். இறந்தாரா இல்லையானு மர்மம் ஈழத்தமிழர்களைத் தூங்க விடாம பண்ணிட்டிருக்கிற நேரத்தில் பிரபாகரன் எனக்கு எப்படி தொடுவானம் ஆனாருன்னு யோசிச்சேன். நாம தொடணும் நினைக்கிற, ஆனால் தொடமுடியாத வானமா இருக்கு, வேலுப்பிள்ளை பிரபாகரனின் வாழ்க்கை. சரி, தவறு முடிவுகளைத் தாண்டி பிரபாரகனின் வாழ்வுக்கும் அர்த்தம் இருக்கு. மரணத்துக்கும் பெருமை இருக்கு.
கன்னடாதான் எனக்கு தாய்மொழி. இந்தியாதான் என் தாய்நாடு. இலங்கையில் தமிழனா பொறந்திருந்தா, எனக்கும் பிரபாகரன்தான் ஹீரோவாகி இருக்க முடியும். அடக்கு முறை உங்களை எந்தத் திசையில் செலுத்தும்னு யாருக்கும் தெரியாது. எல்லா வசதிகளோடும், வாய்ப்புகளோடும் வாழுற நமக்கு நம்பிக்கையான நாலுபேரை சேர்க்கிறது எவ்ளோ கஷ்டமா இருக்கு. ஆனா, பிரபாகரன் பின்னால் உயிரை துச்சமா மதிக்கும் பெரிய இளைஞர் கூட்டம் சேர்ந்ததுக்கு முக்கியமான காரணம், அவர்கிட்டே இருந்த அர்ப்பணிப்பு உணர்வுதான். ஒரு பேட்டியில் முதன்முதலா நான் அவரை கவனிக்க ஆரம்பிச்சேன்.
''புல்லைக்கூட மிதிக்கக்கூடாது நினைக்கிற அப்பாவுக்கு மகனா பிறந்து நீங்க, வன்முறையைக் கையில் எடுக்கலாமா?''னு கேள்வி கேட்கிறார் நிருபர். 'புல்லும் துன்பப்படக்கூடாது'னு நினைக்கிறவருக்கு ஒரு பையன் எப்படி இருக்கணுமோ அப்படித்தான் நான் இருக்கிறேன்' என்பது பிரபாகரனின் பதில். சக மனிதர்கள் துன்பப்படும்போது அதைப் பொறுத்துக்கொள்ளாத இயல்புதான் அவரின் மாபெரும் கௌரவம். அதை சிந்தனையா மட்டும் வெச்சுக்காம உயிரைப் பணையம் வைத்து மக்களின் துன்பத்தை நீக்க போராடியது அவரின் பெருமிதம்.
குழந்தை இயேசுவை பிரதிபலித்த ஒரு முகம், முப்பது வருஷத்துக்குப் பிறகு, இயேசுவை சிலுவையில் அறைந்தவனின் கொடூர முகத்தை பிரதிபலித்ததுனு ஒரு கதை கேட்டிருக்கோம். துப்பாக்கி தூக்கி ஒரு வாழ்க்கை நடத்தணும்னு பிரபாகரனுக்கோ, ஆயுதம் தூக்கிய புலிகளுக்கோ பிறக்கும்போதே இலட்சியம் இருந்திருக்க முடியாது.
என் அம்மா தீவிரமான கிறிஸ்டியன். இப்பவும் இயேசுவைத் தவிர அவளுக்கு வேற உலகம் தெரியாது. தலைவலி வந்தாலும் இயேசு கிறிஸ்துதான் முதல் டாக்டர். வாரம் தவறாம சர்ச்க்குப் போறதும், நாள் தவறாம பிரார்த்தனைப் பண்றதும் எனக்கு பழக்கமான விஷயம். நியாயமா நானும் தீவிரமான கிறிஸ்டியனா மாறி இப்ப வாரம் தவறாம சர்ச்சுக்கு போகவேண்டியவன். ஆனா, சின்ன வயசுல ஏற்பட்ட அனுபவங்களால், சர்ச் எனக்கு அலர்ஜியாகிடுச்சு. நான் படிச்ச கிறித்துவ பள்ளியில் எனக்கு பாடம் சொல்லிக்கொடுத்த சிஸ்டரை எப்பவும் பெரிய மூங்கில் குச்சியோடுதான் பார்த்திருக்கேன். என்னுடைய சின்ன சின்ன தவறுகளுக்கு அவங்களுடைய முரட்டு அடி, என் பாதங்களில் பட்டி உயிர்ப்போகிற வலி தெறிக்கும். அடிச்சவங்ளே, 'அன்பான இயேசுவும் தூரமாகிட்டார். ஜெபமும் தூரமாகிடுச்சு.
எனக்கு ஏற்பட்ட சின்ன சின்ன கசப்பான அனுபவங்களே என் கடவுள் நம்பிக்கை தீர்மானித்து, இப்ப வரைக்கும் சர்ச் மேல அலர்ஜி இருக்கு.
நல்ல விஷயமோ, கெட்ட விஷயமோ எல்லாத்துக்குமே நாம சின்ன வயசில் கேட்டு வளர்கிற விஷயங்களுக்கு, நம்ம குணத்தைத் தீர்மானிக்கிற சக்தி உண்டு. காந்தி அதற்கு சிறந்த உதாரணம். துப்பாக்கி வெச்சிருந்த வெள்ளைக்காரங்களை காந்தி அகிம்சையால எதிர்க்கலையான்னு நிறையபேர் கேட்கிறாங்க. சின்ன வயசுல அரிச்சந்திரன் கதையைக் கேட்டு, 'உண்மையை மட்டும் பேசுவது' என்று முடிவெடுத்தார் காந்தினு படிக்கிறோம். ஒவ்வொருத்தரோட பால்ய வயதில் எந்த விஷயம் பாதிக்குமோ அதுவாகவே மாறிப்போகிறதுதான் இயற்கை. உலகம் முழுக்க லட்சக்கணக்கான உதாரணம் இருக்கு. மனிதர்களை மாடுமாதிரி வேலிப்போட்டு அடைத்து கதற கதற அடித்து கொன்ற ஜாலியன் வாலாபாக் கொடுமையை நேரடியா பார்த்து வளர்ந்த ஒரு சின்னப் பையன் பகத்சிங்கா மாறத்தான் செய்வான். உலகத்துக்கு அது நியாயமா இல்லையானு விவாதிக்கலாமே தவிர, பகத்சிங் உருவாவதை யாரும் தடுக்க முடியாது.
கேட்டு வளர்ந்த கதையே காந்தியைப் பாதிக்கும்போது, பிரபாகரன் பார்த்து வளர்ந்த துயரம் அவரைப் பாதிக்காதா? கண்ணுக்கு முன்னால ஒரு தவறும் செய்யாத கோயில் குருக்களை உயிரோடு எரித்ததைப் பார்த்த சின்னப் பையன் மனதில் வன்முறை விதைக்கப்படுவதை தடுக்க வேண்டியது யாருடைய பொறுப்பு? சாதாரண ஒரு ஃபுட்பால் மேட்சில் பிரான்ஸ் கால்பந்து வீரர் ஜிடேன், சக விளையாட்டு வீரரை தலையால் வன்மத்தோடு முட்டியதை நிறைய சின்னக் குழந்தைகள் பார்த்திருப்பாங்கன்னு அவங்ககிட்ட மன்னிப்பு கேட்டார். அந்த நிகழ்வால் பிள்ளைகள் மனதில் வன்முறை விதை விழும்னு உலகமே பதறுச்சு. 'அக்கா, அக்கா'னு பேசிக்கிட்டிருந்த ஒருத்தியை சீரழித்து கொலை செய்கிற காட்சியை ஒரு சிறுவன் பார்த்தா என்னா ஆகுமோ, அதுதான் பிரபாகரன். ஒரு பிரபாகரனை ஜெயிக்கிறதுக்காக ஆயிரக்கணக்கான அப்பாவி மக்களை கொன்று குவிச்சிருக்கு இலங்கை அரசு. உலகமே வேடிக்கைப் பார்க்க, விலங்குகளைவிட மோசமாக வேட்டையாடப்பட்டார்கள் ஈழத்தமிழர்கள். அதை பல சின்னக் குழந்தைகள் நேர்ல பார்த்திருக்காங்களே நினைக்கும்போது ஈரக்குலை அதிருது. இன்னும் நூறு பிரபாகரன்கள் உருவாக்கும் முயற்சியில் தொடர்ந்து ஈடுபடுகிற அரசாங்கத்தின் அதிகார அறியாமையை என்ன சொல்றது?
'ரொம்ப கொடூரமான சர்வாதிகாரி பிரபாகரன்'னு சொல்றாங்க. இனவெறியில் யூதர்களை கொன்று குவித்த ஹிட்லர் இல்லை அவர். இன மக்கள் துன்பப்படும்போது அவர்களுக்காக கடைசிவரை களத்தில் நிற்க நினைக்கிற போராளி. தாக்குதல் அல்ல பிரபாகரனின் நோக்கம். தற்காப்பு மட்டுமே. பாம்பின் விஷம்கூட தற்காப்புக்கான ஆயுதமா மாறும். விஷம் கொடுமையானது என்பதில் கருத்து வேறுபாடு யாருக்கும் இல்லை. சம உரிமையை இலங்கை தமிழர்களுக்கு உறுதி செய்திருந்தால் எதற்காக இந்த வன்முறை?
தனிப்பட்ட மனிதனின் கோபத்தில் நியாயம் இல்லாமல் இருக்க எல்லா வாய்ப்பும் இருக்கு. ஆனால், ஒரு சமூகத்தின் மொத்த கோபமும் ஒண்ணு சேருதுன்னா, அதில் நூறு சதவீதம் நியாயம் இருந்தே தீரணும். அதை ஆதாரங்கள் தேடி நிரூபிக்க வேண்டிய அவசியம் இல்லை. ஈழத்தமிழர்கள் வெளிநாடுகளில் அடிமட்ட வேலைகள் செய்து சேர்க்கும் காசுல, பெரிய பங்கை தன்னுடைய போராட்டத்துக்கு அனுப்பறாங்கன்னா அதில் எப்படி நியாயம் இல்லாம இருக்கும்?
ஆயுதம் தாங்கிய இயக்கம் எப்படி ராணுவம் மாதிரி எதிர்தாக்குதல் நடத்தலாம்னு கேட்கிறாங்க. அடிக்கிறதுதான் அராஜகம். திரும்பி அடிக்கிறது தற்காப்புதான். உலகம் முழுவதும் தன்னுடைய ராஜாங்கத்தை பரப்பி அதில் மன்னனா முடிசூடணும்னு நினைக்கிற வல்லரசு தோரணை பிரபாகரன்கிட்டயோ, அந்த போராட்டத்திலோ இல்லை. தன்னுடைய வேரை, அடையாளத்தைப் பாதுகாப்பதுதான் முதன்மை நோக்கம். அதில் வெறும் லட்சியவாதியாக மட்டும் இல்லாமல், தேர்ந்த செயல்வீரனாவும் இருந்தார் பிரபாகரன். சொந்த மண்ணில் வேரைக் காக்கும் போராட்டத்தில் இறந்து போறவங்களும் வேராகிடுறாங்க.
கொள்கைக்காக, லட்சியத்துக்காக சாகவும் தயாரா கழுத்தில் எப்பவும் சயனைடு குப்பியோடு இருந்த பிரபாகரன் இப்பவும் எப்பவும் இளைஞர்களுக்கு ரோல்மாடல்தான். என்னுடைய மகன் உயிரோடு இருந்தால், பிரபாகரன் கதை சொல்லி, 'உன்னுடைய ரோல்மாடலா அவ'னு சொல்ற அளவு நேர்மையான வாழ்க்கையை வாழ்ந்திருக்காரு. லட்சியத்துக்காக உயிரைத் துச்சமாக மதித்த சுபாஷ் சந்திரபோஸ், பகத்சிங், சுகதேவ் எல்லாமே நாம கேட்டு வளர்ந்த ஹீரோக்கள், பிரபாகரன் நாம பார்த்து வளர்ந்த ஹீரோ, ஒரு வேளை அவர் இறந்திருந்தால், அவரைபோன்றவர்கள் நம் கண் முன் இறந்துபோக சம்மதிச்சோம் என்பது நம்முடைய அவமானமே தவிர அவருக்கு அது வீர மரணம்தான்.
முப்பது வருஷத்துக்கு மேல் ஒரு இயக்கத்தை, அதுவும் உலகமே தடைவிதித்த ஒரு இயக்கத்தை கட்டிக் காத்ததும், வெற்றி பெற்றதும் சாதாரண காரியம் இல்லை. பிரபாகரனைப் போன்ற அர்ப்பணிப்பு உள்ள தலைவர்கள் பெற்றெடுக்கிற ஈரம், ஈழத்தமிழ் மண்ணுக்கு இருக்கிறதே பெருமையான விஷயம்.
''வன்னியில் நடந்த குண்டுப்வெடிப்பில்
ஐந்துபேர் பலியானார்கள்.
ஐம்பதுபேர் புலியானார்கள்''னு
ஒரு கவிதை படிச்சேன். அதில் இருக்கிற வார்த்தை நயங்களைவிட, கருத்து உண்மைகளுக்கு காந்தம் அதிகம். உண்மை கசப்பா இருந்தாலும் ஒத்துக்கிட்டுதான் ஆகணும். விரும்பி சுமந்த சிலுவை இயேசுநாதரை உருவாக்கலாம். திணிக்கப்பட்ட சிலுவைகள் பிரபாகரன்களைதான் உருவாக்கும். சும்மா, 'உச்' கொட்டிக்கிட்டே இல்லாம
"You can't separate peace from freedom because no one can be at peace unless he has his freedom."
-Malcolm X
A scholar quoted that a nation can easily be defeated and captured without weapons, if the language of the nation is destroyed.
Brothers and Sisters, let's stand up together and reclaim what's ours!!!
"We shall meet again in Tamil Eelam"
Date: Dec 28, 2009 9:26 PM
Subject: முள்ளிவாய்க்காலில் வைத்து வேலுப்பிள்ளை பிரபாகரன் சிங்களத்திற்கு வைத்த “இறுதியும்” அறுதியுமான “செக்” என்ன?
To: sutha Go
1.முள்ளிவாய்க்காலில் வைத்து வேலுப்பிள்ளை பிரபாகரன் சிங்களத்திற்கு வைத்த “இறுதியும்” அறுதியுமான “செக்” என்ன?
http://www.yarl.com/forum3/index.php?showtopic=67210
2.A scholar quoted that a nation can easily be defeated and captured without weapons, if the language of the nation is destroyed.
Culture
Tamils - A “Literal” identity crisis.
Tamils are one among the most ancient civilizations of the world. In the history of the world, Tamil population are the few among the world communities which named it’s people with title of their own language. For example the names like ‘Tamilarasi’, ‘Tamilselvan’, ‘Tamilmani’, ‘Tamilvendhan’ carries the title of the language. This indicates their immense love towards their language and culture. But this trend is not practiced anymore by the Tamils in India. Sadly, Tamils are gradually and steadily losing their identity. This is very evident if we make a research into the names of the people belonging to Tamil Nadu. Yes, this article is all about today’s trend in the names of the wide Tamil community.
I personally made a venture in interviewing a few Tamils in the urban areas. The results were just shocking when I came to know that out of 20 people I interviewed, none of them were carrying Tamil names. One of the couple I interviewed was from Erode. They recently gave birth to a girl baby and they named the girl as ‘Shamitha’. The first question I asked them was ‘who named the baby?’ Reply was immediate. They said that an astrologer named the baby. Second question I asked was, ‘do you know the meaning of this name and from which language this name was originated?’. The couple admitted that they don’t know the meaning and they are not really bothered to know that.
When I interviewed few more families, more or less I received the same reply. Hardly people realize that they are losing their identity. Names are the real identity of a community. A name can easily tell you from where you are coming. The names give a strong feeling of togetherness and integrity. It is an identity of a civilization, generation and clan. Names are not merely meant for calling. It promotes the essence of meaning which it carries along with. When I was working as a receptionist in a hotel in London, an American businessman saw my name badge which read ‘Raj Palaniswamy’. He immediately recognized that I was a Tamil and spoke to me in Tamil. We all know that ‘Palaniswamy’ is a name kept only by Tamils. If I myself happen to come across the names like ‘Senthil’, ‘Murugan,’ or ‘Sunderapandiyan’, I will certainly speak to them in Tamil without even asking them whether they are Tamil or not. That is to say that the names are the real address or identity for a person. I have never seen a North Indian or a person belonging to any other state other than Tamil Nadu having a Tamil name. But I wonder why Tamils have a fascination to have Hindi or Sanskrit names to their sons and daughters.
Well, this is not the case only in the urban areas. Even in the villages, Tamils are fancied to have non-Tamil names. I was taken aback when I came to know that my distant relatives in a village named their daughter as ‘Monica’. This name was neither a Hindi nor a Sanskrit name. They went a step ahead in having a European name. Another city couple named their daughter as ‘Chaya Sree’. Again this couple blinked when I asked about the meaning for the name. Ironically most of the parents have Tamil names like ‘Arivazhagan, ‘Poongkodi’, Muniappan or ‘Kalaiselvi’. But their sons and daughters have names like ‘Rahul’, ‘Sachin’, ‘Rohit’, ‘Sanjana’, ‘Akshay’, ‘Abishek’ or ‘Diya’ . These parents rarely know the meaning of these names. Even if they knew the meaning, they could rarely speak the language from which these names originated. Chinese and Japanese still they stick on to their indigenous names no matter how much they are exposed to fashion and modernism. Then why Tamils don’t stick on to their names?
If this trend continues, in another 20 years, we cannot find a single Tamil name inside the Tamil families. For name sake, people of Tamil Nadu can claim to be Tamils, but in reality they will be losing their identity in this global village. Late Czech scholar Kamil Zvebil said “There is no doubt that the culture of the Tamils belongs to the great and immortal treasures of the world’s civilisation’ . Further he adds that the Tamils are only surviving classical civilization on earth. But this classical civilization is slowing getting diluted in the waters of Indian Ocean. Yes they are diluted by the adverse effects of North Indians flooding into the state and mingling with the Tamil society. However, the losers are not North Indians as they stick to their names, but Tamils are indeed losing their identity.
Now I am wondering about the cause. What made Tamils to think that their Tamil names are not good enough to suit their kids? One thing I realized that most of them, who have non-Tamil names for their kids, have hardly read Tamil literature or Tamil history. In this post-modern society, Tamils have least time in researching about their own culture and language. This led to the decline of Tamil names inside Tamil Nadu. For example T.Rajendran, a prominent personality of Tamil Nadu named his son as Silambarasan as opposed to actor Vijay who named his son as Sanjay. This was probably because T. Rajendran is a person who has read Tamil literature in-depth and has awareness about the history and culture of Tamils. Obviously actor Vijay would not have gone through Tamil literature or history and the end result was naming his son with a Sanskrit name.
In a contrast, my non –Tamil friend belonging to this generation who is a follower of a Tamil Saint Vallalar, named his boy baby as ‘Thooyavan’ which means ‘Man of Purity’. I asked him why he was not fascinated by Hindi names. He immediately replied that he wanted to his son to have a name with divine meaning and power of pure Tamil language. This was mainly because my friend was well versed in Thirukkural and Thiruvarutpa. To some extent, unlike the Western society, the knowledge of literature and history plays an important role in naming the kids. I feel that Tamils are lacking this knowledge and are not taking enough steps to know about the unique qualities of their own language and culture. This makes them lose pride in having Tamil names. Instead they take pride in having names of foreign origin.
Though this situation in Tamil Nadu is disappointing, I was relieved by a good news announced by the TN government. It said that the TN government would give one gold coin free per couple who names their child with a proper Tamil name. At least in the government hospitals, we could expect people to name their progeny in Tamil language for the sake of gold coin. Another achievement can be attributed to the TV channels like Makkal TV which continuously supports the revival of Tamil language. It holds Tamil language competition to give away gold coins if somebody wins. Also it constantly (every day) inform people about new Tamil names with meaning therefore encouraging Tamil people to name their kids in Tamil language. I end up with a small note. A scholar quoted that a nation can easily be defeated and captured without weapons, if the language of the nation is destroyed. Though language destruction is at the rapid pace in Tamil Nadu, but my concern is with names of the Tamils who have already lost their identity as Tamils. This is a wake-up call for all Tamils around the world. If Tamils don’t name their kids in their language, then who else would name their kids in Tamil? This beautiful Tamil language has got immense meaning and glory within itself. Tamils don’t need to borrow a foreign language for naming their kids.
3.'என் தேசத்து மண்ணே!
உனக்கு என் ரத்தத்தை தருவேன்.
இந்தக் கலவலரங்களுக்குப் பின் மிச்சமிருந்தால்...'
அலி சர்தாரியின் கவிதையை ஞாபகப்படுத்தினார் வேலுப்பிள்ளை பிரபாகரன். இறந்தாரா இல்லையானு மர்மம் ஈழத்தமிழர்களைத் தூங்க விடாம பண்ணிட்டிருக்கிற நேரத்தில் பிரபாகரன் எனக்கு எப்படி தொடுவானம் ஆனாருன்னு யோசிச்சேன். நாம தொடணும் நினைக்கிற, ஆனால் தொடமுடியாத வானமா இருக்கு, வேலுப்பிள்ளை பிரபாகரனின் வாழ்க்கை. சரி, தவறு முடிவுகளைத் தாண்டி பிரபாரகனின் வாழ்வுக்கும் அர்த்தம் இருக்கு. மரணத்துக்கும் பெருமை இருக்கு.
கன்னடாதான் எனக்கு தாய்மொழி. இந்தியாதான் என் தாய்நாடு. இலங்கையில் தமிழனா பொறந்திருந்தா, எனக்கும் பிரபாகரன்தான் ஹீரோவாகி இருக்க முடியும். அடக்கு முறை உங்களை எந்தத் திசையில் செலுத்தும்னு யாருக்கும் தெரியாது. எல்லா வசதிகளோடும், வாய்ப்புகளோடும் வாழுற நமக்கு நம்பிக்கையான நாலுபேரை சேர்க்கிறது எவ்ளோ கஷ்டமா இருக்கு. ஆனா, பிரபாகரன் பின்னால் உயிரை துச்சமா மதிக்கும் பெரிய இளைஞர் கூட்டம் சேர்ந்ததுக்கு முக்கியமான காரணம், அவர்கிட்டே இருந்த அர்ப்பணிப்பு உணர்வுதான். ஒரு பேட்டியில் முதன்முதலா நான் அவரை கவனிக்க ஆரம்பிச்சேன்.
''புல்லைக்கூட மிதிக்கக்கூடாது நினைக்கிற அப்பாவுக்கு மகனா பிறந்து நீங்க, வன்முறையைக் கையில் எடுக்கலாமா?''னு கேள்வி கேட்கிறார் நிருபர். 'புல்லும் துன்பப்படக்கூடாது'னு நினைக்கிறவருக்கு ஒரு பையன் எப்படி இருக்கணுமோ அப்படித்தான் நான் இருக்கிறேன்' என்பது பிரபாகரனின் பதில். சக மனிதர்கள் துன்பப்படும்போது அதைப் பொறுத்துக்கொள்ளாத இயல்புதான் அவரின் மாபெரும் கௌரவம். அதை சிந்தனையா மட்டும் வெச்சுக்காம உயிரைப் பணையம் வைத்து மக்களின் துன்பத்தை நீக்க போராடியது அவரின் பெருமிதம்.
குழந்தை இயேசுவை பிரதிபலித்த ஒரு முகம், முப்பது வருஷத்துக்குப் பிறகு, இயேசுவை சிலுவையில் அறைந்தவனின் கொடூர முகத்தை பிரதிபலித்ததுனு ஒரு கதை கேட்டிருக்கோம். துப்பாக்கி தூக்கி ஒரு வாழ்க்கை நடத்தணும்னு பிரபாகரனுக்கோ, ஆயுதம் தூக்கிய புலிகளுக்கோ பிறக்கும்போதே இலட்சியம் இருந்திருக்க முடியாது.
என் அம்மா தீவிரமான கிறிஸ்டியன். இப்பவும் இயேசுவைத் தவிர அவளுக்கு வேற உலகம் தெரியாது. தலைவலி வந்தாலும் இயேசு கிறிஸ்துதான் முதல் டாக்டர். வாரம் தவறாம சர்ச்க்குப் போறதும், நாள் தவறாம பிரார்த்தனைப் பண்றதும் எனக்கு பழக்கமான விஷயம். நியாயமா நானும் தீவிரமான கிறிஸ்டியனா மாறி இப்ப வாரம் தவறாம சர்ச்சுக்கு போகவேண்டியவன். ஆனா, சின்ன வயசுல ஏற்பட்ட அனுபவங்களால், சர்ச் எனக்கு அலர்ஜியாகிடுச்சு. நான் படிச்ச கிறித்துவ பள்ளியில் எனக்கு பாடம் சொல்லிக்கொடுத்த சிஸ்டரை எப்பவும் பெரிய மூங்கில் குச்சியோடுதான் பார்த்திருக்கேன். என்னுடைய சின்ன சின்ன தவறுகளுக்கு அவங்களுடைய முரட்டு அடி, என் பாதங்களில் பட்டி உயிர்ப்போகிற வலி தெறிக்கும். அடிச்சவங்ளே, 'அன்பான இயேசுவும் தூரமாகிட்டார். ஜெபமும் தூரமாகிடுச்சு.
எனக்கு ஏற்பட்ட சின்ன சின்ன கசப்பான அனுபவங்களே என் கடவுள் நம்பிக்கை தீர்மானித்து, இப்ப வரைக்கும் சர்ச் மேல அலர்ஜி இருக்கு.
நல்ல விஷயமோ, கெட்ட விஷயமோ எல்லாத்துக்குமே நாம சின்ன வயசில் கேட்டு வளர்கிற விஷயங்களுக்கு, நம்ம குணத்தைத் தீர்மானிக்கிற சக்தி உண்டு. காந்தி அதற்கு சிறந்த உதாரணம். துப்பாக்கி வெச்சிருந்த வெள்ளைக்காரங்களை காந்தி அகிம்சையால எதிர்க்கலையான்னு நிறையபேர் கேட்கிறாங்க. சின்ன வயசுல அரிச்சந்திரன் கதையைக் கேட்டு, 'உண்மையை மட்டும் பேசுவது' என்று முடிவெடுத்தார் காந்தினு படிக்கிறோம். ஒவ்வொருத்தரோட பால்ய வயதில் எந்த விஷயம் பாதிக்குமோ அதுவாகவே மாறிப்போகிறதுதான் இயற்கை. உலகம் முழுக்க லட்சக்கணக்கான உதாரணம் இருக்கு. மனிதர்களை மாடுமாதிரி வேலிப்போட்டு அடைத்து கதற கதற அடித்து கொன்ற ஜாலியன் வாலாபாக் கொடுமையை நேரடியா பார்த்து வளர்ந்த ஒரு சின்னப் பையன் பகத்சிங்கா மாறத்தான் செய்வான். உலகத்துக்கு அது நியாயமா இல்லையானு விவாதிக்கலாமே தவிர, பகத்சிங் உருவாவதை யாரும் தடுக்க முடியாது.
கேட்டு வளர்ந்த கதையே காந்தியைப் பாதிக்கும்போது, பிரபாகரன் பார்த்து வளர்ந்த துயரம் அவரைப் பாதிக்காதா? கண்ணுக்கு முன்னால ஒரு தவறும் செய்யாத கோயில் குருக்களை உயிரோடு எரித்ததைப் பார்த்த சின்னப் பையன் மனதில் வன்முறை விதைக்கப்படுவதை தடுக்க வேண்டியது யாருடைய பொறுப்பு? சாதாரண ஒரு ஃபுட்பால் மேட்சில் பிரான்ஸ் கால்பந்து வீரர் ஜிடேன், சக விளையாட்டு வீரரை தலையால் வன்மத்தோடு முட்டியதை நிறைய சின்னக் குழந்தைகள் பார்த்திருப்பாங்கன்னு அவங்ககிட்ட மன்னிப்பு கேட்டார். அந்த நிகழ்வால் பிள்ளைகள் மனதில் வன்முறை விதை விழும்னு உலகமே பதறுச்சு. 'அக்கா, அக்கா'னு பேசிக்கிட்டிருந்த ஒருத்தியை சீரழித்து கொலை செய்கிற காட்சியை ஒரு சிறுவன் பார்த்தா என்னா ஆகுமோ, அதுதான் பிரபாகரன். ஒரு பிரபாகரனை ஜெயிக்கிறதுக்காக ஆயிரக்கணக்கான அப்பாவி மக்களை கொன்று குவிச்சிருக்கு இலங்கை அரசு. உலகமே வேடிக்கைப் பார்க்க, விலங்குகளைவிட மோசமாக வேட்டையாடப்பட்டார்கள் ஈழத்தமிழர்கள். அதை பல சின்னக் குழந்தைகள் நேர்ல பார்த்திருக்காங்களே நினைக்கும்போது ஈரக்குலை அதிருது. இன்னும் நூறு பிரபாகரன்கள் உருவாக்கும் முயற்சியில் தொடர்ந்து ஈடுபடுகிற அரசாங்கத்தின் அதிகார அறியாமையை என்ன சொல்றது?
'ரொம்ப கொடூரமான சர்வாதிகாரி பிரபாகரன்'னு சொல்றாங்க. இனவெறியில் யூதர்களை கொன்று குவித்த ஹிட்லர் இல்லை அவர். இன மக்கள் துன்பப்படும்போது அவர்களுக்காக கடைசிவரை களத்தில் நிற்க நினைக்கிற போராளி. தாக்குதல் அல்ல பிரபாகரனின் நோக்கம். தற்காப்பு மட்டுமே. பாம்பின் விஷம்கூட தற்காப்புக்கான ஆயுதமா மாறும். விஷம் கொடுமையானது என்பதில் கருத்து வேறுபாடு யாருக்கும் இல்லை. சம உரிமையை இலங்கை தமிழர்களுக்கு உறுதி செய்திருந்தால் எதற்காக இந்த வன்முறை?
தனிப்பட்ட மனிதனின் கோபத்தில் நியாயம் இல்லாமல் இருக்க எல்லா வாய்ப்பும் இருக்கு. ஆனால், ஒரு சமூகத்தின் மொத்த கோபமும் ஒண்ணு சேருதுன்னா, அதில் நூறு சதவீதம் நியாயம் இருந்தே தீரணும். அதை ஆதாரங்கள் தேடி நிரூபிக்க வேண்டிய அவசியம் இல்லை. ஈழத்தமிழர்கள் வெளிநாடுகளில் அடிமட்ட வேலைகள் செய்து சேர்க்கும் காசுல, பெரிய பங்கை தன்னுடைய போராட்டத்துக்கு அனுப்பறாங்கன்னா அதில் எப்படி நியாயம் இல்லாம இருக்கும்?
ஆயுதம் தாங்கிய இயக்கம் எப்படி ராணுவம் மாதிரி எதிர்தாக்குதல் நடத்தலாம்னு கேட்கிறாங்க. அடிக்கிறதுதான் அராஜகம். திரும்பி அடிக்கிறது தற்காப்புதான். உலகம் முழுவதும் தன்னுடைய ராஜாங்கத்தை பரப்பி அதில் மன்னனா முடிசூடணும்னு நினைக்கிற வல்லரசு தோரணை பிரபாகரன்கிட்டயோ, அந்த போராட்டத்திலோ இல்லை. தன்னுடைய வேரை, அடையாளத்தைப் பாதுகாப்பதுதான் முதன்மை நோக்கம். அதில் வெறும் லட்சியவாதியாக மட்டும் இல்லாமல், தேர்ந்த செயல்வீரனாவும் இருந்தார் பிரபாகரன். சொந்த மண்ணில் வேரைக் காக்கும் போராட்டத்தில் இறந்து போறவங்களும் வேராகிடுறாங்க.
கொள்கைக்காக, லட்சியத்துக்காக சாகவும் தயாரா கழுத்தில் எப்பவும் சயனைடு குப்பியோடு இருந்த பிரபாகரன் இப்பவும் எப்பவும் இளைஞர்களுக்கு ரோல்மாடல்தான். என்னுடைய மகன் உயிரோடு இருந்தால், பிரபாகரன் கதை சொல்லி, 'உன்னுடைய ரோல்மாடலா அவ'னு சொல்ற அளவு நேர்மையான வாழ்க்கையை வாழ்ந்திருக்காரு. லட்சியத்துக்காக உயிரைத் துச்சமாக மதித்த சுபாஷ் சந்திரபோஸ், பகத்சிங், சுகதேவ் எல்லாமே நாம கேட்டு வளர்ந்த ஹீரோக்கள், பிரபாகரன் நாம பார்த்து வளர்ந்த ஹீரோ, ஒரு வேளை அவர் இறந்திருந்தால், அவரைபோன்றவர்கள் நம் கண் முன் இறந்துபோக சம்மதிச்சோம் என்பது நம்முடைய அவமானமே தவிர அவருக்கு அது வீர மரணம்தான்.
முப்பது வருஷத்துக்கு மேல் ஒரு இயக்கத்தை, அதுவும் உலகமே தடைவிதித்த ஒரு இயக்கத்தை கட்டிக் காத்ததும், வெற்றி பெற்றதும் சாதாரண காரியம் இல்லை. பிரபாகரனைப் போன்ற அர்ப்பணிப்பு உள்ள தலைவர்கள் பெற்றெடுக்கிற ஈரம், ஈழத்தமிழ் மண்ணுக்கு இருக்கிறதே பெருமையான விஷயம்.
''வன்னியில் நடந்த குண்டுப்வெடிப்பில்
ஐந்துபேர் பலியானார்கள்.
ஐம்பதுபேர் புலியானார்கள்''னு
ஒரு கவிதை படிச்சேன். அதில் இருக்கிற வார்த்தை நயங்களைவிட, கருத்து உண்மைகளுக்கு காந்தம் அதிகம். உண்மை கசப்பா இருந்தாலும் ஒத்துக்கிட்டுதான் ஆகணும். விரும்பி சுமந்த சிலுவை இயேசுநாதரை உருவாக்கலாம். திணிக்கப்பட்ட சிலுவைகள் பிரபாகரன்களைதான் உருவாக்கும். சும்மா, 'உச்' கொட்டிக்கிட்டே இல்லாம
"You can't separate peace from freedom because no one can be at peace unless he has his freedom."
-Malcolm X
A scholar quoted that a nation can easily be defeated and captured without weapons, if the language of the nation is destroyed.
Brothers and Sisters, let's stand up together and reclaim what's ours!!!
"We shall meet again in Tamil Eelam"
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