Saturday, April 19, 2025

SOMETHING IMPERATIVE, YET ELUSIVE

 

SOMETHING IMPERATIVE, YET ELUSIVE

Driven by the familiarity of usage of words and the rules of grammar governing such application of language tools, we get caught between conflicts of language culture [tradition] as obtaining in our own languages, and unlike what ‘English’ prescribes. 

Seldom learners are taught the mechanics of grammar in these languages. Instead, day-to-day usages are thrust down the throat of kids, who are as yet not capable of conversation even in their mother tongue. Such is the haste in ‘imparting English’ to young learners, with  utter disregard to certain biological need like ‘brain development for receptivity’.

 Age optimum for brain development [90%] is said to be 5; we push kids into schooling around 3 years of age though gloriously paraphrased as “play school’ or pre-KG and so on. [let us keep in mind –the age parameter implies well-nourished child].

 To be successful in later life, it is Important to sustain physical/ mental health and possess cognitive skills and language skills. In plain terms, adequate strength or brain power generally peaks around 18 years of age. That being so, the process of ‘skill acquisition’ is a long drawn phase of equipping the mind on right lines.  

‘Mechanics’ refers to all the technical rules that relate to GRAMMAR and SYNTAX. These include the aspects –Word order, punctuation, Spelling, use of Capital at right places So, teaching English is a well-laid-out game of rigid grammar prescriptions.     

Times were when Alphabets were brought to the learner in the V Standard or beyond. It was a well-meant strategy, allowing the young mind to acquire a good basic familiarity in the local language or vernacular [irrespective of the child’s mother tongue]. Using the right foundation in the vernacular it was much simpler to impart language skills relevant for any other language Indian or European. 

If in doubt, please ascertain from senior citizens [aged 70 or more] as to their training in English [if from early child hood or from the then ‘high school’ phase.]  It is startling to realize that from VI standard   to XI a ward learnt English for 6 academic years. The then grounding in rules of Grammar, vocabulary and usage [gathered in a mere six year training] has been of a quality enough to stand competition by competence. 

The present day exercise of learning the language for 15 long years [culminating at a stage equivalent to Intermediate [pre-degree in the education ladder] has not rendered the level of confidence logically due at the end of schooling. Why?

 All elements intricate and intimate to promote skills of using the language have been given a “silent go-by“ in the garb of modernized approach. Approach is said to be modern but the outcome looks far from convincing. In the process a neo-breed of men and women infirm in conceptual thoroughness essential for teaching the language  play it safe by not venturing into rigid domains of grammar and prescriptions pertaining to   specific situations.

There is a seeming familiarity to languages until an intense questioning is resorted to for fixing the functional profile of individuals.  Without according the right priority to  essential fundamentals  for any knowledge, any claim of skill acquisition is a hollow myth.

Prof. K. Raman

Friday, April 18, 2025

LOW COST ENTERTAINMENT – A South Indian experience

 LOW COST ENTERTAINMENT – A South Indian experience

Right now we are through a phase of recalling our past experience, when we were school boys. The then times were marked by austere life; austerity being imposed by economic restraints irrespective of where one lived – city or town or village. Yet, none ever felt any sense of deprivation; rather all were contended with what they had. Till about the time that one completed schooling, all boys used to wear shorts or Dhothi, rarely pants. The so-called pants of those days were somewhat shrunken and wrinkled all over, as the fabric was cotton.

Synthetic fabric appeared late in the horizon around 1965 or so. Also, dress was stitched to measurement by tailors in any town. Liberal length of fabric was used for stitching pants or shirt. Yes, the dress  were ‘larger than life’ if I may use that euphemism to suggest a loose-fitting apparel unlike the later day skin-tight measurements requiring all available man power around to retrieve the person out of his pants.

The critical point for us to recognize is, despite economic limitations, larger dimension dress was feasible as cloth prices were well within the reach of an average wage-earner. Besides, the dress, the school books and the like were faithfully handed down to younger members in the family [inheritance]. None felt anything odd. I perceive your agony as to what the writer attempts saying under ‘low cost entertainment’? I am making out a case for our grasp to recall as to how constrained were the days even for optimal life-styles. Weeklies and periodicals were exchanged between neighbours and relatives so as to ‘distribute’ even the modest expenditure among beneficiaries. With all that, ‘visual’ entertainment was the most longed for at least once- a month.

Most towns and their periphery were served by one or two thatched houses of over 1800-2000 square feet to serve as ‘cinema hall’. They were named ‘Touring talkies’. A touring theatre cannot be pitched in the same place for long. It ought to move away to a new locale -justifying the status of ‘touring’. Such places enjoyed local patronage from men, women and children for ‘low cost entertainment’. Through the day the theatre servants distribute pamphlets informing the people of the on-going movie; such pamphlets used to dramatize the movie saying ‘hair-raising fight’, ‘mesmerizing songs’ and ‘enticing dances’ etc.  On and off the publicity banner would issue a DYNAMIC WARNING’ that this movie’s screening ends today, by a patented phrase “INDRE IPPADAM KADAISI” , meaning that , if not today,   your opportunity of life for seeing the movie would be lost .

It is a very good bait to draw crowds to the venue. They also have some practices of drawing the attention of prospective movie viewers. By dusk, they start playing cine-songs through their public address system; songs come in a fixed order and the playing of some songs would mean – all set for screening of the movie. Women till then lethargic , quickly dragging the kids , run to the theatre , procure a ticket for a low cost below Re 1/- ,2/-or so and move to the women enclave  , segregated from that for men by a 3 1/2 ft mud wall marking territorial limits.

Viewers sitting in the forefront are in heavenly posture lying on the sand by their backs and only raising the head to view the movie. Some roll up a towel or two to provide a ‘below neck’ cushioning to stay more relaxed. At the third higher level or so, people occupy chairs with a back rest and sagging in that chair stretch the legs far out and stay reclined for seeing the movie. Several cultural patterns in sitting are common in those cinema houses. The place has ‘noise’ from all around; if nothing, children would cry and demand going back home; irritated mothers liberally thrash them in the dark and subdue them. Lying on the mother’s lap they sleep through the best part of the movie; but abruptly get up and ask for eatables. Some elder ones demand the un-labelled drink rightly named kalar [color- as the lone identifiable feature –Red/ orange/ pink / rose and what not-- rich in ‘gas’ [aerated]. The consumed drink delivers a sudden hit to the back of your head, leaving you perplexed for a while before you gather your senses and wit. Obviously, the ‘hit’ is enjoyable in that it works on the head’s internal corridor, leaving a sense of gentle nudge within.

Minutes before the official intermission, the sellers of ‘kalar’ move into the viewers’ arena and draw attention by dragging the metallic opener over the surface of  glass bottles and produce a typical sound ‘trring’ which wakes up the children . Also, in the dark, some men climb over the mud wall and enter the women enclave looking for wife or some other relative; but it causes quite a flutter and women raise an alarm which readily triggers group clash among men exchanging blows rather indiscriminately bringing the show to a tentative halt. Such cinema houses do not wait for police to arrive; they press into service their own musclemen who handle the clashing men effortlessly and bundle them out to restore the show. Side shows of the kind described above are common and people make no fuss of it.

With all the items like some munch or ‘kalar’ + the ticket cost [even if of the highest class] one can complete the entertainment under Rs 5  - 10/- per head. All said and done, seeing a movie in a crowded cinema hall is an entertainment by itself ; should some scenes be dragging, a high pitch voice calls out “Paruththippaal” – a typical expression of disgruntlement among Madurai cine goers. That people are happy over incomplete facilities in such cinema theatres is justified by low cost fee levied for movie viewing. How tolerant and forgiving are our people even on the face of adversity is both noteworthy and praiseworthy.

Prof. K. Raman

Thursday, April 17, 2025

A M RAJAH

 A M RAJAH   

எம் ராஜா

Chittor , AP  01-07-1929  - 08-04-1989 at Valliyoor Nellai  Dt].

ஆந்திர மாநிலம் சித்தூர் பகுதியினர். இளம் வயது முதல் சென்னையில் இருந்தவர். மென்மையான குரலும் வேறு எவர்க்கும் கி ட்டாத குரல் வசீகரம் , பலருக்கும் [சிவாஜி, ஜெமினி, எம் ஜி ஆர் எல்லா நாயகர்களுக்கு பாடி யாவர் , மேலும் நல்ல இசை ஞானம் கொண்டவர் . இயக்குனர் ஸ்ரீதரால் இசை அமைப்பாளராக உயர்ச்சி பெற்றவர்.  பின்னாளில் அவருடனே கருத்து மோதல் கொண்டு , விரைவிலேயே தனது பிடிவாதத்தால் எட்டிய உயரங்களில் இருந்து சரிந்தார். எனினும் அவர் குரலின் வசீகரம் இறைவன் தந்த வரம். அவரின் பாடல்களை காண்போம் 

சிற்பி செதுக்காத [ எதிர் பாராதது -1954] கே பி  காமாட்சி சுந்தரம் , இசை சி என் பாண்டுரங்கன் , குரல் எம் ராஜா

மிகவும் வசீகரப்பாடல் பத்மினியின் நடன அசைவுகளை ரசிக்கும் நாயகன் ஜெமினி கணேசனுக்கு நேர்த்தியாகப்பொருந்திய குரல், என்று கேட்டாலும் நின்று கேட்கச்சொல்லும் குரல் வசீகரம் பாடலை ரசிக்க இணைப்பு இதோ

Sirpi chedhukkaadha –edhir paaraathadhu 1954 KP KAMAKSHI SUNDARAM MUSIC c n p, AMR

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அருகில் வந்தாள்  [களத்தூர்  கண்ணம்மா ] கண்ணதாசன் , இசை ஆர் சுதர்சனம் , எம் ராஜா

மிகவும் உணர்ச்சிக ரமான சொற்களும், அதற்கேற்ற இசையும் இணைந்து வெற்றிகொண்ட பாடல்.நீண்டா நாட்கள் வானொலியில் ஆதிக்கம் செலுத்திய பாடல் . கேட்டு மகிழ இணைப்பு இதோ

Arugil vasndhaal kalathur kannamma  K D  R Sudharsanam –AMR

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கலையே என்  வாழ்க்கையின் [மீண்ட சொர்கம் ] சலபதி ராவ், குரல் எம் ராஜா , சுசீலா

வெகு ரம்யமான பாடல் குரல், சொல் இசை அனைத்திலும் கலையின் கம்பீர நடனம் , ராஜாவின் குரல் மேலும் வளம் சேர்க்க, சுசீலாவின் ஹம்மிங் அழகூட்ட . அந்நாளில் பலரை ஆட்கொண்ட அற்புதம் . பாடல்கள் அனைத்திலும் கமெராவின் பங்களிப்பு சிறப்பாக அமைந்து ஒரு புதிய பரிமாணம் விளைந்தது . பாடலுக்கு இணைப்பு இதோ

KALAIYE EN VAAZHKKAIYIN –MEENDA SORGAM 1960 – AMR PS

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ஆசையினாலே  மனம் [ கல்யாண பரிசு 1959] பட்டுக்கோட்டை , இசை : எம் ராஜா , குரல் எம் ராஜா , சுசீலா

இளம்காதலர் மன ஓட்டம் , ட்டம் , ஆட்டம் , நோட்டம் எல்லாம் பட்டுக்கோட்டை சொல்லில் மிளிர, இசையில்  எம் ராஜா வின் பங்களிப்பு  ஆரம்பம். சீரான நடையில் பாடல் அவ்வப்போது சாரி, ஸீ போன்ற ஒற்றை சொற்கள் பொருத்தமாய் ஒலித்து கிறக்கம் தந்த டூயட் . கேட்டு மகிழ இணைப்பு இதோ

AASAIYINAALE MANAM KLTAANA PARISU 1959 PATTUKKOTTAI, AM RAAJAH, PS

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கொடுத்துப்பார் பார் [விடி வெள்ளி] பட்டுக்கோட்டை, இசை எம் ராஜா ,குரல் எம் ராஜா , பி சுசீலா , திருச்சி லோகநாதன்

பிக் னிக் வகை கும்மாளப்பாடல், வெகு விறுவிறுப்பான பாடல் கம்பீர இசைக்கோர்வைகள், தாளம் கிளாப் என மிரட்டிய பாடல். கேட்க குதூகலம் தரும் வகை ப்பாடல். கண்டு மகிழ இணைப்பு இதோ

KODUTHTHU PAAR PAR [VODIVELLI 1960]  Pattukkottai  amr AMR PS T LOGANATHAN

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தொடரும்

அன்பன் ராமன்

 

 

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