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The purposeBharata Natyam is an art which consecrates the body (...)the dancer, who dissolves her identity in rhythm and music, makes her body an instrument, at least for the duration of the dance, for the experience and expression of the spirit.The traditional order of Bharata Natyam recital viz. alarippu, jatiswaram, varnam, padams, tillana and the shloka is the correct sequence in the practice of this art, which is an artistic Yoga, for revealing the spiritual through the corporeal.
The padam is an awe-inspiring entity and has to be approached with due respect. The learning and perfecting is a process that can stretch over weeks or months, to get every gamaka, anuswara and breath right. If the musician has to go through such travails, the dancer needs to invest more time to learn and absorb it. Even if artists are prepared to learn and perfect padams, whether they would have the audience is a moot question.
Both varieties, for all purposes, can be taken for secular padams depicting day to day situations and emotions. They are monologues with catchy refrains as their pallavi. In a milieu where artists jostled in the court and vied with one another to catch the attention of a patron, these compositions had an edge over poetry that was recited and sung. The padams could be performed in dance, far more vividly than recitation or music.
To find himself described as the cynosure of the maidens of the land, would flatter the male ego no doubt. It is to be remembered that this was an exclusively male domain and the songs were composed by the males, for the males and of the females. Many of the padams indulge in description of the female anatomy and were perhaps not meant for the general public. The lyrics are conversational, colloquial, ungrammatic and have a liberal sprinkling of words and phrases that are region specific and dialect oriented. The reader is flummoxed by indecipherable words such as pathakku, alavaadi, koetti, idumbu, tholi etc., that may be obsolete or an error of the scribes. It is to be remembered that these songs were passed down through learning by the ear with no published lyrics to follow. It is possible that the singer or the listener or both were not well versed in poetry and merely repeated what they assumed to have heard.
While it is fairly obvious that the padams must have been inspired by day to day occurrences and observations, not much is known about the context in which they were composed. Wherever information is available, it is a piece of jigsaw puzzle of the social life of the times.
On director Velu Prabhakaran, he said, "The same way, everybody thinks Velu Prabhakaran is only capable of making films with adult content (''Matter padam''). No, It is not so. In fact sex is also a part of your life, isn't it? Yes, life inside the bedroom is different from life outside it, but a man needs guts to bring this matter to light and Prabhakaran has done just that. He also deserves recognition for this, but nobody gives it.''
Well it doesn't matter to Amudhan. He rips them all to shreds, using dialogues to create an organic flow of humour, seamlessly moving from one movie to another. Just when you begin guffawing over his dig at Surya's Singam, he has already moved on to Ajith's Vivegam. In a theatre of 200 people, it is likely that every single person is laughing at a different joke at the same time.
Ludhiana, September 1An Assistant Sub-Inspector (ASI), a woman constable and an unidentified woman have been booked for kidnapping a three-year-old girl and wrongly confining a woman and her elder granddaughter at the Railway Protection Force (RPF) office. The child was kidnapped on January 19 this year.The registration of case against ASI Manohar Singh and constable Surjit Kaur has again brought to the fore how kidnappers are thriving at the railway station under the patronage of the police and kidnapping children by posing as child right activists.The FIR, a copy of which is with The Tribune, was registered today after victim Urmila (grandmother) (50), a resident of Ambedkar Colony in Khanna, with the help of social activist Sameer Kumar, brought the matter to the notice of the higher authorities. Urmila is a juggler and performs acts in the moving train to eke out a living. She said that the incident took place on January 19, when she was returning home from Mullapur. Urmila stated to the police that when the train reached Baddowal, a woman grabbed her by the arm. "The woman said that she was a child-right activist and rescued children who were forcefully made to work. I told her that both the girls were my granddaughters and she was not indulging in child labour," stated Urmila in her complaint. She further added that the woman took her to the Railway Protection Force office where ASI Manohar Singh and Constable Surjit Kaur confined her and her elder granddaughter for nearly half-an-hour, while the woman took away her three- year-old granddaughter.She added that after half-an-hour she and her elder granddaughter were released. When she asked the police about the whereabouts of her younger granddaughter, the police officials, including Manohar Singh and Constable Surjit Kaur, told her that the woman had taken her granddaughter to an orphanage. She said that it had been eight month since the incident took place, but there was no clue of her granddaughter. The two police officials were booked under Sections 363 of the IPC for kidnapping and 342 of the IPC for wrongfully confining a person.
The FIR, a copy of which is with The Tribune, was registered on Sunday after victim Urmila (grandmother) (50), a resident of Ambedkar Colony in Khanna, with the help of social activist Sameer Kumar, brought the matter to the notice of the higher authorities. Urmila is a juggler and performs acts in the moving train to eke out a living. She said that the incident took place on January 19, when she was returning home fromMullapur.
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