karna's wife ponnuruvi

8/8/2019 Karna's Wife Ponnuruvi

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R e v i e w s

KARN A'S D EATH(A Play by Pukalentippulavar)

Translated by Hanne M. de Bruin.Pondicherry: Institut francais dePondicherry, 1998, Price not mentioned,

pp. 296

K. Srilat a is working as Programm eOfficer, NFSC

Han ne M. de Bruin'st r a n s c r i p t i o n a n dt r a n s l a t i o n o f t h etwelfth century playKarna M oksam o rK a r n a ' s D e a t hp e r f o r m e d i n t h eKattaikkuttu theatre

tradition is at once sensitive ands c h o l a r l y. I t r e f l e c t s h e r d e e pinvolvement not merely with theKattaikkuttu theatre tradition butalso with oral traditions and thec o m p l e x i t i e s o f p e r f o r m a n c e .The book is the result of painstakinga n d m e t i c u l o u s f i e l d w o r k a n dresearch. Thou gh Karna Moksam isu s u a l l y a t t r i b u t e d t o t h e p o e t

Pukalenti, de Bruin p oints out in herextremely informa tive introdu ctiont h a t t h e n a m e P u k a l e n t i a n dP u k a l e n t i p p u l a v a r h a s b e e nattached to man y epic plays and folk ballads w hich h ave most p robablybeen written by different authors.The identity of the author of theparticular play is therefore unclearb u t s e v e r a l co n t r i b u t i o n s f r o mearlier generations of Kattaikkuttua c t o r s , s a y s d e B r u i n , w e r edou btless used in the performanceshe has transcribed and tr anslated.

The version of the play presentedhere belongs to the performancetradition of the Perunkattur Ponnucami

Nataka Manram , a Ka t t a ikku t tucompany based in the village of Pe runka t tu r nea r Kanch ipuram.Typ ically, the p lay Karna Moksam isperformed on two occasions - du ringthe karumantaram ceremony (thef u n e r a r y r i t e o b s e r v e d b ynon-Brahmin communities on thesixteenth d ay after a person's deathmark ing the end o f the funera l

obsequies) and during the paratamfestival cycle of plays. Kattaikkut tuis a form t hat is staged all night, hasan elaborate cast and a vast repertoireof stories. The play itself revolvesa r o u n d t h e t h e m e s o f f a m i l i a lrelationships and death--of Karna'stroubled relationship with his wifePonnuruvi who he had kidnappedand mar ried--Karna's flawed lineage,h i s i l l e g i t i m a t e b i r t h w h i c hsometimes makes him an object of c o n t e m p t , h i s l e g e n d a r y h i slegendary generosity even in deathand the manner in w hich an ultimateact of generosity on his p art w ins him

moksam or liberation from the end lesscycle of birth and death .

H a n n e d e B r u i n h a s h e l p f u l l yp r o v i d e d u s w i t h t h e o r i g i n a lp e r f o r m a n c e t e x t i n Ta m i l(culled from her tapes) alongsideh e r t r a n s l a t e d v e r s i o n . W h e r ef a i t h f u l n e s s t o t h e o r i g i n a l i sconcerned she has, I think, donea comm end able job. Her tran slationdoes not lost out on the flavour andthe oral rhythms of the or iginal

performan ce text even as it remainse x t r e m e l y r e a d a b l e i n E n g l i s h .Let us, for instance, consider thispassage from the entrance song of Kattiyakkaran (the Herald, King'sguardian and clown):

Like a tripping goat catchinga glimpse of a bear' s fu r,The court jester comes to the court .

Like a goat - t o the court (chorus) Like a goat - t o the court (chorus)Takita takita takitatamTakita takita takitatamTakitatam takitataiTakitatam takitataiTataiya tom tarikita

The passage conveys a clear sense of the performance context and flowswith the same ease that one wouldimagine the original would duringthe perform ance. Other p assages arealmost lyrical like the on e containingPonnuruvi's narration of her dream:

W hat dream did I have, O friends?W hat shall I say to you?Placed I wasUpon a palanquin of last honour,

Beautified and decked with flowers

While the p lay itself serves as a r ichanthropological document of localfolk customs and t radi t ions , the

t r a n s l a t i o n t h e r e f o r e b e i n g o f immense use to scholars of folklorea n d a n t h r o p o l o g y, d e B r u i n ' sin t roduc t ion p rov ides the r igh tcontext and framew ork within wh ichto read, visualise and un derstand th eplay. N ot only does she give usvaluable information on the socialand historical background of theKat ta ikkut tu t radi t ion, she a lsodiscusses the context in which theplay is performed , elements such asmusic, stock narrative elements orbuilding blocks , the cast, costum es andmake-up and the d ifficulties involvednot on ly in translatin g from Tam il toE n g l i s h b u t a l s o i n p r e s e n t i n ga performance as a written text fora largely western au dience unfamiliarwith local knowledge systems andf r a m e w o r k s . T h e b o o k m a k e sinteres t ing reading for a l l thoseinterested in exploring oral traditions,folklore, theatre and performancetraditions.

KARNAS DEATHA PLAYBY PUKALENTIPPULAVAR

TULIKA -A CULTURAL PUBLISH ING HO USE FOR CHILDREN

Anuradha Shyam is Programme Assistant, N FSC

There was a t ime when i t was the grandmother who told the tale ora time even before when evenings wou ld see an enthralled au dience watchingand listening to the shadow p lays of imagination und er the spreading roots of the Banyan Tree.To most children (ru ral or urb an), these symbols them selveswould be part of a fantastic folktale. Oral traditions have found themselvescompeting for space with the onslaught of textual, and audio-visual andtechnological advancem ents. Some Pu blishing H ouses seem to be filling in the


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is not one of preaching from a highermoral ground .

Sources also seem to stem fromg r a n d m o t h e r ' s t a l e s l u r k i n gs o m e w h e r e i n o u r c h i l d h o o dexperiences. Sandhya Rao retells apopular Marathi folktale Ekki Dokki,which she r eca l l s f rom he r ownchildhood . The stories therefore retaina cer ta in chi ld l ike innocence andhonesty which appeals to both theyoun g peop le and ad ults alike. While

resource person s are excellent aven uesfor discovering forgotten tales, it isalso becoming increasingly importantto document and r ecord narr atives.

T h e c o l l a b o r a t i o n w i t hstorytellers has add ed a performan ce-like quality to the text. The langu ageused is simple and the sentences aresho r t and punc tua t ed wi th sound word s, which are effective, both w henreading aloud or alone.

In a folkstory from Bihar called

The curly tale , the Elephan t Hhrrumphsand the Lion Hraaws . Adopting the useof such sound words ad ds to the magicof the tale. One can almost hear thes o u n d s o f t h e j u n g l e . W h a t i sinteresting is that the text never usesword s that convey a sense of finality.It leaves it to the reader to form his/ her imp ressions of the tale.

The tales presented are alsonot language-specific. The word-birdseries features cross-cultural, cross-l ingual s tor ies tha t a re publ ishedsimultaneously in English, Kannada,Malayalam and Tam il. Thu s, there isan attempt m ade in trying to reducethe e ff ec t o f a l i ena t ing ce r t a insocio-economic groups. It also provid eschildr en an oppor tun ity to experiencethe multi-cultural heritage of Indiabeyond the geograph ical and culturalboundaries.

T h e v i s u a l p r e s e n t a t i o n i sextremely important especially at at ime when we are competing with

s l ick MTV l ike programmes. Thebooks prod uced b y Tulika reveal ah igh qua l i t y o f p re sen ta t ion and

attention to detail. Each Folkstory ispresented in the fo lks ty le of tha tpar ticular region. A Rajasthan i folktaleis illustrated by ad apting illustrationsfrom the traditional Parh cloth.The

kalighat style of painting is adaptedto illustrate a Bengali Folktale. Thedan ger using folk forms is that theirrole can become reduced to that of becoming mere accessory figures.H o w e v e r , t h e d e s i g n e r s h a v esensitively ad apted these folk tales andthe effect is that of the illustrationsmerging with the tale. While the listis certainly not comp rehensive, I wishto highlight the two books designedb y M u g d h a s h a h a n d U m akrishnaswamy are good.

Magic Vessels , d e s i g n e d b yMug dh a Shah, uses th e Ayyanar styleof sculptu re in d epicting characters thatcome from a Tamil Nadu village. Brightearthy colours are jud iciously used an dt h e c h a r a c t e r s h a v e a b e a u t i f u ldreamlike, doll- l ike quali ty in thel andscapes t hey emerge f rom in .The huge eyes are used for both theanimal and hu man characters and arerepr esentative of the terracotta figu rest h a t g u a r d v i l l a g e s e v e n t o d a y.The visuals never stand ap art from the

text and m erge well with it.

And the land was born , illustratedby Uma krishnaswamy, adapts fromthe original paintings done by theBhilalas on the mud-washed walls of their hom es. The figures are evocativeand charmingly tell the story of creationaccording to th e Bhilala tribe who livein cen t r a l Ind ia . The des igne r i ssens i t i ve i n adap t ing the f i gu re sw i t h o u t e v e r r e d u c i n g t h e m t ocaricatu res. The illustrations m aintainthe humorous (sometimes politicallyincorrect!) tone of the story. Readingthe visual presentation is in i tself a u n i q u e e x p e r i e n c e . C h i l d r e na r e t h u s e x p o s e d t o v a r i o u sa r t f o r m s a n d f o l k t r a d i t i o n s .Art appreciation is introduced at anearly age. . Children are given theopportunity to experience variousforms of representation. In th e tale, whowill be ningthou ? , T h e d e s i g n e rAV I lango, uses a lmost abs t rac t ,free-flowing lines to depict a Manipu rifolktale. These styles of presentationare a welcome dep arture from the usualillustra tions which are sometimes crude

g a p b y w e a v i n g t a l e s w i t h acontemp orary ethos in mind . Availinglatest methods in p rinting and design,they have managed to r e t a in t heessence of the story-telling trad itions.

In the fu ture i ssues of th isnews le t t e r, we hope to h igh l igh tCultural Publications t ha t work topr omo te folklore. We hop e to give youan insight into some of the issuesraised an d th e processes by which thet e x t , t a l e a n d v i s u a l d e s i g n a r e

i n t e g r a t e d t o f o r m a n a e s t h e t i cpresentation.

In th is i ssue we begin wi thTul ika , a Chenn ai - based basedPublishing house that specificallyworks with children and children'sbooks. The vision outlined suggeststhat Tulika aspires to present Cultureas a living and exciting part of life.By pr esenting children images of Indiawh ich are n ot static but a re constantlye v o l v i n g , t h e r e s e e m s t o b e acommitted d esire to erode the notiont h a t o u r t r e a s u r y o f s t o r i e s a r eoutdated. The catalogue presents aspectrum of books that vary both incontent and design. I would like toparticularly highlight the Under the

Banyan Tree , a continuing series of folktales from different parts of theregion. This review attemp t to explorehow the story, language and designintegrate to create the magic of astoryteller.

Tu l ika uses a w ide va r i e tyof sources for m aterial. Collaborationwith leading fo lk s toryte l lers hasl ead to an in t e r e s t i ng co l l ec t ion .Dr Vayu Naidu has been involved inm a n y o f t h e p r o j e c t s . A w r i t e r ,storyteller and performer she is thefounder member of Brumhalata, anintercultural storytell ing companybased in United Kignd om. Her wideexperiences in th e field of storytellingclearly shine through in the qu ality of t he p re sen ta t ion . The s to r i e s a r ewritten in a style that is reminiscentof a performance. The text f lowss m o o t h l y a n d t h e t o n e a d o p t e d

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ART AND LIFEIN BAN GLADESH :

Henry Glassie .Blooming ton : Ind ianaUn ivers i ty P ress , 1997, p r icen o t m e n t i o n e d , p p . 511,ISBN 0 253 33291 5

M a h a l a k s h m i J a y a r a m i s a

f r ee lance r e sea rche r based inChennai working in the area of cultu ral stu dies.

Henry G l a s s i e ' s p u r p o s e i nth i s r i ch and evoca t ive vo lumei s cl e a r a n d u n a m b i g u o u s . A s inh i s e a r l i e r b o o k s o n I r e l a n da n d Tu r k e y , h e s e t s o u t ' t oi n t r o d u c e t h e p e o p l e o f Bang ladesh th rou gh the i r a r t an dt o u s e t h e i r a r t t o e x e m p l i fy t h es t u d y o f c r e a t iv i t y i n i t so w n c o n t e x t s a s p a r t o f a genera l inqu i ry in to the hum ancondi t ion ' (p .7) .How ever, Glass iec l e a r l y g r o u n d s t h i s a r t i n t h el i v e d e x p e r i e n c e o f t h e a r t i s tt h a t e n c o m p a s s e s t h e s o c i a l ,h is tor ical and cul tur al . In set t ingo u t t o s tu d y a n d u n d e r s t a n d a r twi th in a soc io -cu l tu ra l con tex t ,G l a ss i e r e n d e r s u n n e c e ss a r y t h ec o m m o n w e s t e r n d i s t i n c t i o n sbe tween a r t and c ra f t , aes the t i c sa n d u t i l i t y , t h e u s e f u l a n dt h e d e c o r a t i v e . I t i s t h r o u g h

M o r e u n i f i e d b y l a n d t h a nd iv ided by r e l ig ion , Hind us andMusl ims m ingle in constant , easycordial exchan ges, found ed up onshared ear thly exper ience. Even

in re l ig ion , desp i t e theo log ica ld i v e r g e n c e t h e y r e a c h t o w a r daccord . The Hind u po t t e r shap esan a t t r ac t ive image o f a m osque .T h e M u s l i m p o e t i n v o k e sSaraswat i and uses Radha 's lovefor Kr i shna as a symbol o f theh u m a n b e i n g ' s l o v e o f t h e o n eGod. ' (p.179)

I t i s th is syncret ism tha t Glass ieseeks to explore and reveal to hisr e a d e r s p r i m a r i l y t h r o u g h t h e

p r o c e ss e s a n d m e t a p h o r s o f po t t e ry, th rough in te rv iews w i thi n d i v i d u a l p o t t e r s a n d a r t i s t s ,leading finally to a u nified mod el/ theory o f Bang ladesh i a r t a s i tresolves the dichotomies .

In se t t ing ou t a t the ou t se t tha t'ar t i s the most hu man of thingsn u r t u r e d i n s o c i a l e x p e r i e n c e ,un i fy ing wha t ana lys i s d iv ided ,a r t i s p e r s o n a l a n d c o l l e c t i v e ,i n t e l l e c t u a l a n d s e n s u a l ,i n v e n t i v e a n d c o n v e n t i o n a l ,mater ia l and sp ir i tual , useful andbeaut i ful , a comp rom ise betweenwil l and condi t ions . ' (p .1) Glass iethen l inks i t wi th cu l tu re , s t a t ingtha t ' cu l tu re u nfo lds th rough a r tin accord wi th i t s own s tand ards 'bu t s ign if ican t ly p o in t s ou t tha t' i n t r a d i t i o n a n d p r e d i c a m e n t ,e v e r y c u l t u r e d i f f e r s a n d a r tpe rmi t s us to conf ron t cu l tu resand compare them in l ine wi ththeir ow n p rof i les of value. ' (p .1)

T h o u g h t h e m e t a p h o r a n dm e t h o d s o f p o t t e r y f o r m st h e c e n t r a l t h e m e o f t h e b o o k ,G l a s s ie e xe m p l i fi e s / e l a b o r a t e st h e r e s o l u t i o n o f b i n a r i e s a n dseemingly i r resolvable opposi test h r o u g h c o n v e r s a t i o n s o n t h em e t h o d s a n d p h i lo s o p h i e so f i n d i v i d u a l a r t i s t s- p o t t e r s ,b o a t - b u i l d e r s , b r a s s c a s t e r sa n d e n g r a v e r s , w e a v e r s o f m u s l in a n d c a n e m a t s , a n dp a i n t e r s o f r i c k s h a w s . U s i n gt h e i n d i v i d u a l t o s i g n a l t h eg e n e r a l , G l a s s ie d e c o n s t r u c t s

and sometimes alien to the cultural andsocial milieu of the read er.

These books show, how variouselements need to merge together toprod uce a unified text. Even thou gh

the pub l i sh ing houses can neve rreplace the mag ic of the oral trad ition,however, in our changing tim es, it isr ea s su r ing to f i nd tha t t he re a r epu blishing group s like Tulika wh o arepassionate about p ropogating folklorein a form that is both pleasing andaccessible to the contem por ary read er.While Tulika is know n as a childr en'spu blishing hou se, I mu st confess thatthey have drawn out the child in me!- Somewhere in my mind, as I readthe tales, is a vision of sitting on hot

afternoons on m y grand mother's lapand the words Once upon a time .

r e s o l u t i o n o f t h e s e a n d o t h e rapp aren t ly obv ious b ina r ies tha tG l a s s i e r e v e a l s t h e c o m p l e xs y n c r e t i s m t h a t d e f i n e s a n dn u r t u r e s a r t a n d c r e a t i v i t y a n d

i n d e e d , a l l l i f e p r o c e s s e s i nBangladesh .

The complex h i s to ry o f modernBa n g l a d e s h e v e n s i n c ec o l o n i a l i s m - p a r t i t i o n e d i n t oE a s t a n d We s t B e n g a l b y t h eB r i t i s h , f a c e d w i t h i n d u s t r i a lr u i n d u e t o c o l o n i a l e c o n o m i cp o l i c i e s , u n i t e d w i t h d i s t a n tP a k i st a n a f t e r i n d e p e n d e n c e b ythe Two -na t ion th eory, the f igh tf o r l in g u i s t ic a n d c u l t u r a l

i n d e p e n d e n c e i n t h e e a r l ys ixt i e s , fo l lowed by th e b ru ta l i tyo f t h e w a r f o r I n d e p e n d e n c ei n 1 97 1 a n d s o o n a f t e r t h e

assass ina t ion o f B a n g a b a n d h uM u j i b u rR a h m a n ,buffe ted by thef a l l o u t o f t h ed e m o l i t i o no f t h e B a b r iMas j id in 1992l e a d i n g t o a

r e s u r g e n t I s l a m i s a n df i n a l l y w e s t e r n a i d - d r i v e nindustrialisation and development- b e l i e s t h e c a l m s e r e n i t y o f t h e v a s t d e l t a i c r e g i o n , t h ec o n f l u e n c e o f r i v e r s , c u l t u r e s ,re l igions and ar t . Movements andmigra t ions ac ross the border toIndia includ e not only people andp r o d u c t s b u t a l s o i d e a s a n dp h i l o s o p h i e s , t e c h n i q u e s a n d

t rad i t ions .Given th i s backgroun d Glass ie ' se m p a t h y f o r h i s s u b je ct - t h e a r to f h i s in fo rmants , the i r c rea t ionsa n d t h e i r c o u n t r y - h e w e a v e st o g e t h e r t h e p a s t a n d p r e s e n t ,r u r a l a n d u r b a n i n a s i n g l ec on t i n u u m . H i s e t h n o g r a p h yl e a d s h i m t o c o n c lu d e t h a t' throu gh mil lennia of adap tat ion,d u r i n g d a i l y w o r k , p e o p l e o f Bang ladesh have d eve loped onecu l tu re o f the quo t id ian . Hinduand Musl im vi l lages look al ike

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conven t iona l ca tegor ies such ast h e u s e f u l a n d t h e d e co r a t i v e o re v e n t h e d i v i d e b e t w e e n s e x e s .T h e u b i q u i t o u s w a t e r p o t o rkalshi m a d e b y m o s t o f t e n b y

Hind u p o t t e r s can be bo th wh ee la n d m o u l d - m a d e , t h e fo r m e r b ym e n a n d t h e l a t t e r b y w o m e n .Yet in i ts f inal for m of p erfects y m m e t r y a n d b a l a n ce , t h ep o t r e f l e c t s t h e e s s e n t i a lcharacter is t ic of a l l Bang lad eshia r t - symmet ry, smooth su r facesand a ce r t a in lum inos i ty. In i t sdetai l , the pot ap pears d ecorateda t t h e n a r r o w n e c k , w h i ch ,h o w e v e r , i s p a r t o f t h e v e r yp r o c e s s i n t h e c o i l m e t h o d

a d o p t e d b y t h e w o m e n , w h of o r m t h e n a r r o w n e ck w i t h c o il sp r e s s e d t o g e t h e r. W h a t a p p e a r sm e r e l y d e c o r a t i v e t o t h eobse rver i s a pa r t o f the p rocessf o r t h e w o m e n a n d , t h e r e f o r e ,i s f u n c t i o n a l a n d i s e c h o e d i nt h e p o t s t h r o w n o n t h e w h e e l b yt h e m e n .

T h e b o o k r e c o r d s s e v e r a lins tances o f a r t i s t i c r e so lu t iono f r e l i g i o u s d i c h o t o m i e s :

the pa in t ing o f I s l amic imagess u c h a s t h e Ta j M a h a l o ro t h e r m o s q u e s i n D h a k a , o nr i ck s h a w s b y m i d d l e cl a s se d u c a t e d H i n d u w o m e n , t h ec a s t i n g o f b r o n z e i m a g e s o f d e i t i e s i n t h e w o r k s h o p o f a M u s l im w o m a n e n t r e p r e n e u r,a M u s l i m p o t t e r h a v i n g l e a r n tf r o m a H i n d u m a s t e r , t h e u s eo f t h e l o t u s a s a n i m a g e o f p r o s p e r i t y a n d t h e i n t r i gu i n g

a d a p t a t i o n o f t h e t a l e o f Abrah am's sac r i f ice o f h i s son tot h e H i n d u c o s m o l o g y w h e r e i n i ti s danv i r Karna who sac r i f i cesh i s s o n t o K r i s h n a , o n l y t o h a v e

h im res to red to l i f e . Accord ingto Glass ie , he was un able to t raceth i s ep i sode in any o th e r ve r s ionof the M ahabharata and conc lud esi t i s of local or igin .

I n a d d i t io n t o t h e s y n c r e t is m i nr e l i g i o n , G l a s s i e a l s o r e c o r d sthe reso lu t ion o f o the r b ina r iess u c h a s t h e c o n f l i c t b e t w e e nu t i l i t y a n d d e c o r a t i o n ( a s i nt h e k a l s h i s o r t h e p o t t e r yp i g g y - b an k s ) , m o d e r n i t y a n dt r a d i t i o n ( p o t t e r M a r a n C h a n dP a u l ' s ch a n g i n g r e p e r t o i r e )c h a n g e a n d r e v i t a l i z a t i o n( M a r a n C h a n d P a u l ' s r e t u r nt o t r a d i t i o n a l / c la s s ic a l Be n g a l iscu lp tu res fo r insp i ra t ion fo r h i sexpor t marke t ) , the secu la r andt h e s a c r e d i n p o t t e r H a r i p a d aP a l 's m u r t i s o r t h e c a n e m a t s o f C h i t t a g o n g .

Glass ie conc ludes wi th a mode lf o r u n d e r s t a n d i n g a r t i nBanglad esh . Whi le mak ing c lea rt h a t h e d o e s n o t i n t e n d t opos tu la te a un ive rsa l mode l fo ra r t in every cu l tu re , Glass ie d oese m p h a s i se t h a t h i s m o d e l o ff e r sa bet ter opt ion than conven t ionalwestern m odels so 'contam inatedb y c l as s a n d g e n d e r p r e j u d i c esendem ic in ind us t r i a l cap i t a l ismt h a t a r t h a s n e a r l y b e c o m eiden t i f i ed wi th ob ject s mad e byedu ca ted m ales fo r consum pt ionby t he r i ch . ' (p .371)

In his circular m od el, rath er l ike acolour wheel , Glass ie uses thea p p a r e n t o p p o s i t io n b e t w e e nthe useful and th e decorat ive , thes a c r e d a n d t h e s e c u l a r ,

t h e r e p r e s e n t a t i o n a l a n d t h enon-representat ional to der ive ase r i es o f s t ages which media teb e t w e e n t h e s e o p p o s i t i o n swh ereby categories merge even ast h e p r o c e s s e s a n d c r e a t o r sthemselves defy n eat pa rcelling inthe creat ion of ar t in Bangladesh.

Even as he p resents the su ccessesof syncret ism and resolut ion viaa r t a s l i v e d e x p e r i e n c e i nB a n g l a d e s h , a l o w m u r m u r o f

unease echoes th rough the book as Glass ie records th e breakdow nin t radi t ional re la t ions betweena r t is t a n d b u y e r / p a t r o n w i t hi n c r e a s i n g i n d u s t r i a l i s a t i o nand the inexorable move towarda m a r k e t e c o n o m y. W i t h t h et i e s b e t w e e n s u p p l i e r o f r a wmaterial, potter/ weaver engraver/ p a i n t e r a n d t h e u l t im a t econsumer increasingly dictated byn a s c e n t c l a s s , c o m m e r c i a lc on s i d e r a t io n s a n d h a r d e n i n greligious positions, the isolationo f t h e a r t i s t a s c r e a t o r s e e m si n e v i t a b l e . I n a c o n t e x t w h e r elived experience as a totality of h i s t o r y , r e l i g i o n , s o c i a l a n dfami l i a l r e l a t ions has p layed am a j o r r o l e in s h a p i n g a n dnu rtur ing ar t , it s imp act is l ikelyto be d evasta t ing.

P r i n t e d a n d p u b l i s h e d b yM . D . M u t h u k u m a r a s w a m yfor N FSC, # 65, f i fth c ross s t r ee t ,Velacher y, Ch enn ai 600 042,Tele fax: 044-2450553,E-m ai l: [email protected]

(For private circulation onl y)

Printed at N agaraj and Comp any Pvt. Ltd., #153, Kalki Krishnam urth y Salai, Thiruvanmiyur, Chenn ai 600 041.

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