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Volume 2

A Family-Magazine from SevA dArShAn KuwAit

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Issue 2

15th May, 2012

For more information contact : Seva Darshan, Kuwait - INDEMB/KWT/ASSN/150 Sevadarshan@gmail.com

Sopanam - May 2012

Sopanam E-Magazine - (For members circulation only)

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Sopanam - May 2012

Editorial
One of the parameters that judge the greatness of a civilization is its art and cultural evolution over a sustained period of time. Culture refers to the state of intellectual development or manners of the people of a civilization. Indian culture is rich, diverse and unique in its very own way. As our civilization has progressed and we accept modern changes and means of living, our values and beliefs remain unchanged. The rich values inherited by the Indians are deep rooted within their minds and souls. In this edition, we have dedicated a few pages to the various forms that will showcase the richness of our Indian culture. Sometimes the action of a few individuals leave a disrespectful mark on the glorious image of our nation. This is always pointed to show the nation and its people in a bad light and to demoralize the society on the whole. When people defame religious icons and national identities in the name of progressive thinking, there is bound to be a reaction and often these are highlighted as the negative aspects of the society. We must ensure that positive thoughts are those which are highlighted always. This is what helps a nation and its people to evolve. The gruesome images of murder that is now filling the front pages of our media leaves the readers in a depressing state of mind every morning. The state of affairs of our nation today fares no better. Be it the industrial stagnation or the falling money value, it is through quite an alarming phase our nation passes. But we must have faith in our ability to survive these countless onslaughts. In the early years it was foreign invaders who came in and looted our country. Today, its the enemies within our state. We must sharpen our outlook and be aware of what happens around us to recognize these enemies and be alert of what they do. Only an alert and rationally thinking society can survive the pressure put on us by the fast and evolving new environment.
editorial Board
Krishna Kumar Paliath Manoj Nair Vibheesh Tikkodi Redhish Chandran Gayatri Raveendran

As the summer approaches, many of our readers in the gulf would be preparing to go on their long vacation back to their motherland, India. We wish you all the best on your journey. As you celebrate your holiday, we would like to remind you to be wary of those unfortunate brothers and sisters who live around you. Our flamboyant expressions must not create a dis harmony in anyones mind. Also take some time to visit the Seva Darshan supported Bala Sadanams across the country. It would be a warm welcome for the people living there. Make sure our children on this vacation get to see as much of the country as they can. Help them understand the various rituals and customs that they will witness during the holidays. Let this be an educative and happy holiday for them.

data Management

Ajaykumar Anjaneyam Rajarajan Ganesan Anandharaj Konni Rani B. Basker Sindhu Sanjith Reshmy Krishna Kumar Aneesh Kumar. U Ajith Kumar. S Suresh Varickolil Roopesh R. Souparnika Reshmi Sudheer

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Sreenivasan C.P. Sunil Pookode Vinaya Babu. C.K. Viswajith .M.K. Prejith

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email : vbkuwait@gmail.com
Sopanam - May 2012 3

Spiritualism

ArmnId

Kurma Avatar of Maha Vishnu

Sindhu Sanjith

Kurma Avatar is the second incarnation of Lord Vishnu. In this avatar, Lord incarnates himself in the form of Tortoise to help Devas get the Amrita and regain the power that they had lost due to the curse by the great sage Durvasa. There is an interesting story related to this transformation of the God Himself.

Indira and the Devas did as was told to them. The Asuras agreed to it and joined in the venture. The Devas and the Asuras uprooted the mountain and headed to the sea shore. But they could not carry it too far due to its weight. Indra pleaded to Lord Vishnu who immediately appeared on Garuda Vahana. Later Garuda carried the Mont Mandara to seashore. When Garuda disappeared from the scene, Vasuki appeared obeying Maha Vishnus order and allowed himself to be used as the rope to be tied around Mount Mandara for churning the ocean. The Devas and Asuras started churning the ocean with Mandara and Vasuki in place. Slowly Mount Mandara started sinking as it had no support. Seeing this, Lord Vishnu to rescue in the form a large tortoise and placed the mountain on His back and also helped in churning of the ocean. While churning, the concentrated impurities of the ocean came up in the form of deadly poison. Devas took it to Lord Shiva, who collected it in His palm and swallowed it. As the churning continued, the precious things started emerging from the ocean. Finally, Dhanwantari appeared with the jar of Nectar of Immortality in his arms. The Asuras snatched the jar from his arms and quarreled for the nectar. This time also Lord Vishnu appeared for Devas rescue. This time Lord Vishnu took the form of a charming, young, beautiful lady by the name Mohini. The Asuras, fascinated by the dazzling beauty of Mohini, offered her the jar of Nectar and asked her to distribute it to them. She agreed to do so on the condition that her act will not be questioned by the Asuras. She asked them the bathe and line up in separated rows for the nectar to be served. She served the nectar to the Devas first and made sure that the till the last drop the nectar was served to the Devas only, not leaving behind even a single drop for the Asuras. Finally when the nectar was completed served, Mohini transformed into Maha Vishnu and left the scene on His Garuda. It is then the Asuras realized that they were cheated and started fighting with Devas. The Devas has regained their original valor, power and strength and easily defeated Asuras. Indra regained his throne and also the lost glory. Thus Lord Vishnu, once again saved the Devas who sought refuge in Him.

Once Indra, the King of Devatas was riding on his elephant. He came across the great sage Durvasa, who offered him a special garland, which was considered to contain fortune. Indra accepted the garland and placed it on elephants trunk. The elephant, irritated by the smell of the garland, threw it on the ground. This enraged Durvasa Muni and cursed Indra to be bereft of all good fortune, strength and energy. In the battles that followed, the Devas were defeated and dethroned by the Asuras. King Bali conquered the Universe. The helpless and distressed Devas ran to Lord Brahma for aid. Lord Brahma directed them to Maha Vishnu who told them that the only way for Devas to overcome this crisis was by obtaining the Nectar of Immortality. For this Lord Vishnu asked them to cast plants, herbs and creepers into the Ocean of Milk and use Mount Mandara as the churn-staff and Vasuki, the king of serpents as the rope to churn the Ocean of Milk. Lord Vishnu asked Devas to befriend their enemies and join them to churn the Ocean for the nectar.
4

Sopanam - May 2012

Spiritualism Cultural

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1. Fmhpw `uXnI kpJw AXns Ghpw Db \nebn thWw. CXv e`nm A[manIamb s]cpamw t]mepw Ah kzoIcnpp. ]t [amNcWanmsX a\pjy\v B\w A\p `hnm km[npIbn. 2. [amNcWm Hmtcm hynbptSbpw `uXnIhpw B[ym nI hpamb Db DImIpp, Fp am{Xa kqW temI hpw kpcnXamIpp. CmcWmemWv [aw hnizhmlI FdnbsSpXv. 3. imcocnIw, am\knIw, B[ymnIw Fns\ 3 Xcnep hnjaXIfm a\pjy _pnappp. "A[aw XsbmWv Cu hnja XIfptSbpw aqe ImcWw'. 4. Cmev apspanm hn[w h[nphcp {]IrXntm` fm a\pjy ZpcnX A\p`hnpp. B[p\nI imkv{Xns klmbm CXns\ t\cnSpXn\p {ia sNbvXp hcppv. ]t CXns aqe ImcWw Adnbm Bcpw {ianpn. Hmtcm a\pjy\pw [amNcWw sNpIbmsWn {]IrXn a\pjy\v A\pIqeamIpIbpw {]IrXntm` Cm XmIpIbpw sNpw. 5. "[amNcWw sNmh \inpw' Fm "[aw BNcnp hs\ Cuizc kwcnpw'. 6. Cuizc Fmbvt]mgpw DImIpw. "FhnsSbmtWm [aapXv AhnsS hnPbapIv ' Fp alm`mcXn ]dnpIv. `mcXob [amNcWn\npw AIp t]mIm\p ImcW :- BZyImefn `mcXob kmznIcmbncpp. ]t Ime{ItaW Cu kmznIX Ipdp XpSn. P\ aSnbmcpw Zcn{Zcpw tcmKnIfpw BIm XpSn. hnincnph\v A[ymspdnv Nnnm km[ya. am\pjnI aqey At[mKXn {]m]nv a\pjy AgnaXnmcmIm XpSn. Cu ]men bph Xeapd ]mmXy kwkvImctmSv BIjnsv imkv{Xklmbm _mlytemIspdnv IqSpX AdnbpXv kzm`mhnIamWv. `mcXobcpw Cu ]mX ]npScpIbpw, imkv{X]ptcmKXnsbpdnv Adnhv t\Sm XpSpIbpw sNbvXp. Ccw ]ptcmKXn ImcWw `mcXob `uXnIamb ktmj t\SpIbpw AXn Xs IpSpntmIpIbpw sNbvXp. Fm IqSpX IqSpX `uXnI kpJ tXSntmIm XpSnbtm AhcpsS ZpxJfpw {]iv\fpw h[nm XpSn. Ah A\izcamb B\w \Ip [amNcWs adpt]mIpIbpw CXv [ans A[x]X\n\v ImcW amIpIbpw sNbvXp. PohnXnse Hmtcm Imcyhpw kmznIhpw ssNX\ya bhpampXn\mbn BNmc[as ]mentIXv ([amNcWw sNtIXv) BhiyamWv. ssZ\wZn\ PohnXnse Hmtcm Imcyhpw [an ]dbpX\pkcnv sNpI. BNmc[ a]me\neqsS \apv kam[m\]chpw B\abhpamb PohnXw \bnm Ignbpp.
Courtesy : H.H. Dr. Jayant Athavle (Founder, Sanatan Sanstha) 5

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Sopanam - May 2012

kmwkvImcnIw
Cultural

Nataraj a Scientific Metaphor

Subhamoy das

Nataraja or Nataraj, the dancing form of Lord Shiva, is a symbolic synthesis of the most important aspects of Hinduism, and the summary of the central tenets of this Vedic religion. The term 'Nataraj' means 'King of Dancers' (Sanskrit nata = dance; raja = king). Nataraj is the "clearest image of the activity of God ...which any art or religion can boast ofA more fluid and energetic representation of a moving figure than the dancing figure of Shiva can scarcely be found anywhere," (The Dance of Shiva) the Origin of the nataraj Form: An extraordinary iconographic representation of the rich and diverse cultural heritage of India, it was developed in southern India by 9th and 10th century artists during the Chola period (880-1279 CE) in a series of beautiful bronze sculptures. By the 12th century AD, it achieved canonical stature and soon the Chola Nataraja became the supreme statement of Hindu art. the vital Form & Symbolism: In a marvelously unified and dynamic composition expressing the rhythm and harmony of life, Nataraj is shown with four hands represent the cardinal directions. He is dancing, with his left foot elegantly raised and the right foot on a prostrate figure 'Apasmara Purusha', the personification of illusion and ignorance over whom Shiva triumphs. The upper left hand holds a flame, the lower left hand points down to the dwarf, who is shown holding a cobra. The upper right hand
6

holds an hourglass drum or 'dumroo' that stands for the male-female vital principle, the lower shows the gesture of assertion: "Be without fear." Snakes that stand for egotism, are seen uncoiling from his arms, legs, and hair, which is braided and bejeweled. His matted locks are whirling as he dances within an arch of flames representing the endless cycle of birth and death. On his head is a skull, which symbolizes his conquest over death. Goddess Ganga, the epitome of the holy river Ganges, also sits on his hairdo. His third eye is symbolic of his omniscience, insight, and enlightenment. The whole idol rests on a lotus pedestal, the symbol of the creative forces of the universe. The Significance of Shiva's Dance: This cosmic dance of Shiva is called 'Anandatandava,' meaning the Dance of Bliss, and symbolizes the

Sopanam - May 2012

kmwkvImcnIw
Cultural
cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death. The dance is a pictorial allegory of the five principle manifestations of eternal energy creation, destruction, preservation, salvation, and illusion. According to Coomerswamy, the dance of Shiva also represents his five activities: 'Shrishti' (creation, evolution); 'Sthiti' (preservation, support); 'Samhara' (destruction, evolution); 'Tirobhava' (illusion); and 'Anugraha' (release, emancipation, grace). The overall temper of the image is paradoxical, uniting the inner tranquility, and outside activity of Shiva. A Scientific Metaphor: Fritzof Capra in his article "The Dance of Shiva: The Hindu View of Matter in the Light of Modern Physics," and later in the The Tao of Physics beautifully relates Nataraj's dance with modern physics. He says that "every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destructionwithout endFor the modern physicists, then Shiva's dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomena." the nataraj Statue at Cern, Geneva: In 2004, a 2m statue of the dancing Shiva was unveiled at CERN, the European Center for Research in Particle Physics in Geneva. A special plaque next to the Shiva statue explains the significance of the metaphor of Shiva's cosmic dance with quotations from Capra: "Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics."
Sopanam - May 2012

To sum up, here's an excerpt from a beautiful poem:

"The source of all movement, Shiva's dance, Gives rhythm to the universe. He dances in evil places, In sacred, He creates and preserves, Destroys and releases. We are part of this dance This eternal rhythm, And woe to us if, blinded By illusions, We detach ourselves From the dancing cosmos, This universal harmony"

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Bharath Dharshan

History of Somnath Temple

Courtesy: internet Shree Somnath is first among the twelve Aadi Jyotirlings of India. It is the holy place of the Aadi Jyotirling Shree Somnath Mahadev and it also has the sacred soil from where Bhagvan Shri Krishna took his last journey to his neejdham. Ancient Indian traditions maintain a close relationship of Somnath with release of Chandra (Moon God) from the curse of his father-in-law Daksha Prajapati. Moon was married to Twenty-Seven daughters of Daksha. However, he favoured Rohini and neglected other queens. The aggrieved Daksha cursed Moon and the Moon lost power of light. With the advice of Prajapita Brahma, Moon arrived at the Prabhas Teerth and worshipped Bhagvan Shiva. Pleased with the great penance and devotion of Moon, Bhagvan Shiva blessed him and relieved him from the curse of darkness partially, thus causing the periodic waning of moon. . Pauranic traditions maintain that Moon had built a golden temple, followed by a silver temple by Ravana, Bhagvan Shree Krishna is believed to have built Somnath temple with Sandalwood. Located as it is, it is widely believed that if one were to sail from here in a straight line, the end of the journey would be at the North Pole, without having to travel over land. The research based on ancient Indian classical texts show that first Somnath Jyotirling Pran-Pratistha was done on the auspicious third day of brighter half of Shravan month during the tenth Treta yug of Vaivswat Manvantar. Swami Shri Gajananand Saraswatiji, Chairman of Shrimad Aadhya Jagadguru Shankaracharya Vedic Shodh Sansthan, Varanasi suggested that the said first temple was built 7,99,25,105 years ago as derived from the traditions of Prabhas Khand of Skand Puran. Thus, this temple is a perennial source of inspiration for millions of Hindus since time immemorial. The later sources of history account for several desecrations by invaders during eleventh to eighteen century A.D. The temple was rebuilt every time with the reconstructive spirit of the people. The modern temple was reconstructed with the resolve of Sardar
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Patel who visited the ruins of Somnath temple on November 13 1947. Then President of India, Dr. Rajendra Prasad, did the Pran-Pratistha at the existing temple on 11 May 1951. Somnath temple stands at the shore of the Arabian ocean on the western corner of Indian subcontinent in Gujarat State. This pilgrimage is one of the oldest and finds its reference in the ancient texts like Skandpuran, Shreemad Bhagavat, Shivpuran etc. The hymn from Rig-Veda quoted below mention the Bhagvan Someshwar along with the great pilgrimage like Gangaji, Yamunaji and Eastward Saraswati. This signifies the ancient value of this Tirthdham. Somnath is in Prabhas Patan very near to Veraval. Somnath means "The Protector of Moon God." The Somnath Temple is known as 'the Shrine Eternal,' as although the temple has been destroyed six times it has been rebuilt every single time. Brahma, one of the trinity, installed the Brahmashila, and paved way for the construction of the temple. On the request of the Chandrama and other gods Bhagwan Shankar assumed the name Somchandra (Jyotirlinga) and resided there eternally. He became famous by the name Somnath in the three worlds. Since, it was the Prabhas Kshetra where Bhagwan Shri Krishna performed all his Lilas. In this temple there is a small cave in which a lamp burns continuously. The Skanda Purana describes the Sparsa Linga of Somnath as one bright as the sun, the size of an egg, lodged underground. The Mahabharata also refers to the Prabhasa Kshetra and the legend of the moon worshipping Shiva.
Sopanam - May 2012

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Bharath Dharshan
The present temple is the seventh temple reconstructed on the original site. The first temple of Somnath is said to have existed before the beginning of the Christian era. The second temple, built by the Maitraka kings of Vallabhi in Gujarat, replaced the first one on the same site around 649.In 725 Junayad, the Arab governor of Sind, sent his armies to destroy the second temple. The Pratihara king Nagabhata II constructed the third temple in 815, a large structure of red sandstone. In 1024, Mahmud Ghazni raided the temple from across the Thar Desert. During his campaign, Mahmud was challenged by Ghogha Rana, who at the ripe age of 90, sacrificed his own clan fighting against this iconoclast. The temple and citadel were ransacked, and more than 50,000 defenders were massacred; Mahmud personally hammered the temple's gilded lingam to pieces and the stone fragments were carted back to Ghazni, where they were incorporated into the steps of the city's new Jamiah Masjid (Friday mosque).The fourth temple was built by the Paramara King Bhoj of Malwa and the Solanki king Bhima of Gujarat (Anhilwara) or Patan between 1026 and 1042. The wooden structure was replaced by Kumarpal who built the temple of stone. The temple was razed in 1297 when the Sultanate of Delhi conquered Gujarat, and again in 1394. The Mu-

present temple was built by the Shree Somnath Trust which looks after the entire complex of Shree Somnath and its environs. The following extract is from Wonders of Things Created, and marvels of Things Existing by Asaru-L Bilad, a 13th century Muslim geographer. It contains the following description of Somnath temple and its destruction: The following is a long quotation:Somnath: celebrated city of India, situated on the shore of the sea, and washed by its waves. Among the wonders of that place was the temple in which was placed the idol called Somnath. This idol was in the middle of the temple without anything to support it from below, or to suspend it from above. It was held in the highest honor among the Hindus, and whoever beheld it floating in the air was struck with amazement, whether he was a Musulman or an infidel. The Hindus used to go on pilgrimage to it whenever there was an eclipse of the moon, and would then assemble there to the number of more than a hundred thousand. They believed that the souls of men used to meet there after separation from the body, and that the idol used to incorporate them at its pleasure in other bodies, in accordance with their doctrine of transmigration. The ebb and flow of the tide was considered to be the worship paid to the idol by the sea. Everything of the most precious was brought there as offerings, and the temple was endowed with more than 10,000 villages. There is a river (the Ganges) which is held sacred, between which and Somnath, the distance is 200 parasangs.They used to bring the water of this river to Somnath every day, and wash the temple with it. A thousand brahmans were employed in worshipping the idol and attending on the visitors, and 500 damsels sung and danced at the doorall these were maintained upon the endowments of the temple.

ghal Emperor Aurangzeb destroyed the temple again in 1706.Sardar Vallabhbhai Patel, then Home Minister & the first Deputy Prime Minister of India, took a pledge on November 13, 1947 for its reconstruction for the seventh time. A mosque present at that site was shifted few miles away. It was completed on December 1, 1995 and President of India, Dr. Shankar Dayal Sharma, dedicated it in the service of the nation. The
Sopanam - May 2012

The edifice was built upon fifty-six pillars of teak, covered with lead. The shrine of the idol was dark, hut was lighted by jeweled chandeliers of great value. Near it was a chain of gold weighing 200 mans. When a portion (watch) of the night closed, this chain used to be shaken like bells to rouse a fresh lot of brahmans to perform worship.

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Bharath Dharshan

Devataatma Himalaya
rajarajan Ganesan Mahakavi Kalidas mentioned the Himalayas as Devataatmaa Himalaya: which is a perfectly suitable word. The Himalaya parvat, the highest mountain in the world, is having many holy peaks,shrines and rivers inside its multiple folds. Kailas Parvat, where our Lord Shiva abodes with Parvatiis the holiest peaks inside Himalayas. This is where Lord Karthikeya born. A Darshan of this holiest peak will remove all the sins accumulated through many births. On the way to this holy peak is the ManaSarovar lake. The rivers Ganga, Yamuna etc. are taking the sins of people when they take dip in these rivers. Then these river-devatas take birdsform and dip in this crystal clear water filled Manasarovar lake to relieve from the burden of acquired sins.Yatris always worship this this lake first before proceeding further to Kailas parvat. Once Ranana tried to lift this parvat with his enormous power, but Lord Shiva pressed the parvat by his toes and Ravanas fingers were trapped under. Then Ravana sang the Samavedha in a beautiful Kambothi raga, in which Lord Shiva when enjoying the song lifted his toes and using this chance Ravana escaped. Now, it is highly unfortunate that we have to get permission from China to visit our holy Kailas Parvat and ourManasaroavar lake. Badrinath is one of the 108 Vaishnav holy shrines, situated deep inside Himalayas. Here is Bhagawan Vishnu blesses in the form of Nara-Narayana. This is one of the holiest shrine for the Vaishnavas. In this ice cold mount, we can see the hot water springs with boiling water and steam. Joshimath is another holy place just at the bottom of Badrinath mount. Badrinath is about 50 km from Tibet border.

Near Badrinath is a place called Maanaadhar where Vyasamuniwith his disciples did the composition of Vedas in to four parts. And he wrote all the 108 puranas from here only. Vyasa Maharishi lived in a cave called VyasaGufa near Badrinath, where he wrote the sloga book Jaya which was the basic book for MahaBharata. It is to be noted the holy river Saraswati was flowing north of Badrinath. Now it is believed flowing underground and joining with Ganga and Yamuna at Prayag. Kedarnath is another important holy shrine of Lord Shiva. This is one of the 12 Jyothirlinga spread over different parts of our country. This Linga is a natural one and a peak of a mount. Neelkanthparvath is standing high behind this shrine. By vehicle, we can reach GowriKund, a place down 14 kms from kedarnath and at the starting place of the peak. From Gowrikund, by trekking we can reach Kedarnath. One thousand years ago Sri AdiShankara visited this place and joined with God. Gangotri is the place where holy river Ganga starts. Earlier Ganga was flowing in swarga at the feet of Sri Vishnu. There is a history how Ganga came to earth. In the Ikshvaku dynasty, Sagara was a famous and powerfulking. He wanted to perform an AshwametaYagna. He let his horse to visit the entire country to receive the honour given by the kings
Sopanam - May 2012

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of different region. If he performs this yagna, he will become equal to Devenrdra. So Devendra took the horse and kept near in Kapila Rishis ashram in Paadhaalalokam. The guardians of the horse were shocked and all the 60,000 sons of Sagara went all the nook and corners in search of the horse. The went to Paadaalalokam also. Finally they found the horse near Rishi Kapila. He was in penance and not aware of the horse standing nearby. The sons of Sagara thought the Rishi had stolen their horse and they disturbed his penance. The rishi opened his eyes and instantly all the 60,000 sons of Sagara were burnt to ashes. On hearing his sons were burnt to ashes, King Sagara became sad and died. His Grandson king Bhageeratawanted to do the final rites for the dead ancestors. He wanted to bring the holy Ganga river from swargato earth. He did penance for a long period towards Sri Ganga devi to come to earth. She appeared and asked him to get permission from MahaVishnu. King Bhageerata started his penance towards MahaVishnu to give permission to Ganga to flow to earth. Finally MahaVishnu gave permis-

Ganga devi came to Lord Shivas head and then started flowing to earth. Even now we can see the force of Ganga there. King Bhageerata was running in front of her showing the route. Suddenly he found Ganga was not following him. He came to know that Ganga submerged Jahnu Maharishi along with his ashram. The angry rishi pulled the whole of Ganga river into his ears. Bhageeratathen explained his plight and requested the rishi to let her flow. The rishi became cooled and let her flow down. Due to the imprisonment in Jahnu Maharishis ears, she is called Jahnavi. Then she was calmly flowing coming to Rishikesh, then reaching to plains at Haridwar(Maya). King Bhageerata performed the final rites for his ancestors with their ashes and fulfilled his duties. Since Bhageeratas efforts Ganga came to earth, so is called Bhageerati. Throughout the length of the perennial river Ganga many holy shrines are there. Yamunotri is the place where river Yamuna starts from the snow. This is also another holy place where thousands of pilgrims are coming to have Darshan.

sion. But Gangadevi told Bhageerata that she will come to earth with a tremendous force that if suitable receiver is not there, then the earth will become to pieces by her force. Bhageerata again started his penance towards Lord Shiva to help him by receiving the Ganga and let her to flow slowly. Lord Shiva was happy with his penance and gave him the boon of receiving the Ganga on his head.
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The rivers Sindhu and Brahmaputra are originating near this lake. One of the seven holy sapta-nadhis is Sindhu, which is now flowing only less than ten kilometers inside our country. Rest in Pakistan! Brahmaputra is the only river having a male name and is the longest river in our country. It encircle the Himalayas half way east side and finally reaches the Ganga sagaram. On its bank are the Kamakhya temple- a Shakti peetham, Parasuramkuntam (earlier
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Satyasantan was a great king who did great tapas. He made war against the demon king Kolasura who was torturing Devas and the people on the earth. Finally Satyasantan killed Kolasura and gave freedom for all. Now Srinagar is situated on the place. Biltehar is the place where Lord Shiva came as a hunter and tested Arjuna by fighting for the killed pig. Prayag means joining of two or more rivers. Throughout the ranges of Himalayas, numerous prayags are there like Rudraprayag, Karnaprayag, Devaprayag etc. Mukthinath, Pasupatinath are very old Shiva temples in Nepal. Janaka maharajas place and Sri Sitadevis birth place Mithilaapuri is inside Nepal. Bhagwan Buddhas birth place Lumbini is also inside Nepal. Himalayas is abode of many holy shrines and rivers and even now we can see Sadhus doing penance on Himalayas in different places. A view of the ice cladden peaks ofKailasParvat, GowrishankarShikaram(Mt Everest), KanchanJanga, Nanga Parvatam, Nandadeviwill sure give us an immense divine feeling. All these divine things really make worth to call the Himalayas as Devataatma Himalaya:

Brahma kundam) and many shrines. It runs through the Kaziranga forest where the famous one-horned Indian rhinoceros is having asylum. Haridwar is the holy place situated at the feet of Himalayas. It is one of the 7 Mokshapuris. AdiShankara established Chathurdama (four maths) in the four corners of our country. The math in the north is at Haridwar. (Other 3 maths are in Shringeriin south, Dwaraka in west, Puri in east). Ganga flows here very calmly. The aarti performed at the banks of Ganga everyday evening by thousands of devotees is an inspiring one. Haridwar, also called as Maya is the place where Daksha conducted yagna without inviting Lord Shiva. Sati (earlier birth of Parvati) came here,entered into the yagna fire and died followed by the destruction of yagna by Lord Shiva. Himalayas was the place many rishis selected to do penance and established their ashrams. Vasishtha Rishi Aruntati ashram is in theTehriGadhwal district. Sri Uttava lived in a village, Uttavachowri in the Himalayan range. Here he got the upadesh from Sri Krishna. Dehradun, in the Himalayan range is always associated with military training and Martial arts. Dronacharya gave the military training to Kauravas and Pandavas in a place near Dehradun. Also in that very same place now our national military training center is established.Pandavas spent their last days here only.

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The Missile Woman

Dr. Tessy Thomas
Between cooking at home and getting the family off to work and school, Kerala born Dr. Tessy Thomas was busy working on getting the Agni V missile launched. True to the Indian cultural upbringing, Tessy has managed to maintain the balance. Her upbringing as part of a family with an ailing father and 5 siblings has made her strong to take up the challenges in her life. Like all her colleagues who work and maintain their homes, Tessy feels its part of the Indian culture that women take up this role at home. She broke the male bastion to head as Project Director, the Agni V missile team. The Agni V missile is an indigenously developed, 5000-km range, nuclear capable ballistic missile. She has been working with the Agni series in various capacities. With her name surfacing after the successful launch, the DRDO (Defense Research and Development Organisation) has lent a new face to its often secretive world. only a scientist and her gender has no place in the advancement of science and work for the Nation. Krishna Kumar Paliath a home maker and a scientist has often been a challenge to her. But her passion for cooking ensured a hearty meal on the table always! Her son is named Tejas and is doing his final year engineering. Her husband Saroj Patek is a commodore in the Indian Navy and is posted in Mumbai. Dr. Tessy calls it, the Weapon of Peace. If you are strong enough, nobody will dare to touch you. If you have a stick in your hand, nobody will come to beat you because you will retaliate. Its not what I want. its the countrys requirement She grew up in a common mans household going to school and playing with other children. After her childhood visit to the Thumba rocket station, she had engineering and working on missiles on her mind and guided her studies and ambition to reach this goal.

Her story is truly an inspiration for the new generation who grow up thinking only extra ordinary people can reach such famed Tessy, inspired from Mother Teresa, says she is heights in their career.

Her sari clad image send around India and the world by the media truly made every Indian proud. Tessy says in the difference in the space industry in India has happened in the last 20 years. She considers Dr. A.P.J Abdul Kalam as her mentor, who directed her towards this project. After the Agni launch, she has now set her eyes in the Mutiple Independent Re-Entry Vehicle (MIRV) to be used on further Agni launches. Her mother was her other inspiration in life. After her father suffered a stroke, it was her mother, Kunjamma Thomas, who raised the five girls and one boy. Her father encouraged her to take up engineering before he passed away y in 1991. Balancing the life of
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Rich heritage of Indian Art -A Birds eye view

Is it ever possible to map the essence of the endless mysteries and marvels of this universe in a few sentences? Can the beauty and depth of nature be fathomed? Likewise it is simply impossible to capture the essence of Indian Art in a commentary spanning a mere thousand words, for Indian Art is an entity that spans numerous dimensions of existence, tradition and perception. Inseparable from the rich culture and heritage of India, art is verily a way of life in this country that has produced some of the greatest artistic wonders of this world. Who hasnt been mesmerized by the beauty of the Taj Mahal and the sentiments it relays. Art has the unique ability to travel through civilizations, cultures and eras, absorbing and imbibing various elements from each period, resulting in what is called artistic innovation. In a cultural context, Art plays a pivotal role as an epochal spokesperson bringing to light lost civilizations of this world. In other words the ruins and remains, cave and rock paintings, sculptures and artifacts that have been unearthed in many parts of the world, left behind by people who went before us, relate the story of their existence, survival, customs and rituals. Painting, sculptures, literature, music, dance and other forms of fine expression are collectively known in modern times as Art. However, as a painter and sculptor, I have always found myself drawn to the rich and diverse history of painting, stone carving and sculpting. These have been a source of ceaseless amazement and inspiration for generations of artisans. When thinking about Indian art it would be prudent to think of it as an extension of Indian culture as art forms are expressions of different social strata and groups. In India, where art is an indispensable part of every aspect of life it often holds larger than life connotations for the common man. Thus one finds Gods and Goddesses figures finding common place on canvasses and in sculptures. SCULPTURES While it is difficult in general to date the origin of art in this world, it is known today that in India art originated nearly five thousand years ago during the

Artist Sasikrishnan

www.sasikrishnan.com

Indus Valley civilization, also known as the Harrappan culture. The timeline of evolution of art in India begins with ancient Indian art, early Indian art, Medieval Indian art, 15th to 19th century art and Contemporary and modern Indian art. The earliest form of art in India was rock painting such as those depicted in the Bhimbetaka paintings. The Mother Godesses and the Dancing Girl from Mohenjodaro are a celebrated pieces of sculpture in terracotta and bronze dating back to the Harappan days of Indian art and so are 'Man's Torso' and the 'Bearded man, both in stone. The steatite seals with impressions of animals like the unicorn bull, the Brahmani bull, rhinoceros, the earthenware jars painted with floral designs, terracotta toys, copper and stone sculptures are some of man's earliest artistic expressions. The Art of India is a confluence of influences from different religions and different parts of the world, some of these being Buddhism, Hinduism, Islam, Greek and British. The stupas at Sanchi, the cave temples of Karle, the rock cut caves of Ajanta and Ellora that continue to draw large number of tourists from all over the world stand as powerful reminders of the Buddhist influence on Indian art. Indian art was later influenced by Hinduism and this is reflected in temple art and architecture. Did you know that there are three types of Hindu temples? Nagara or northern style, Dravida or southern style and the Vesara or combination style. The philosophy behind the temples of India and the

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rituals they follow are an intrigue in themselves but even more mind-boggling is Hindu Mythology, stories from which have been copiously sculpted and painted on the walls of temples. An exemplary piece of Indian temple art that has captivated the world and demanded sheer attention is the Khajuraho Group of Monuments which have become skills and these have fortunately reached us today as figures from nature and mythology painted on village walls that mark seasonal and religious festivals and other special events of the life-cycle. Some of these are the very traditional and famous paintings of India are: Madhubani, Lepakshi, Tanjavore, Mithila paintings, Kalamkari, Patachitra, Warli, Batic, Mysore paintings etc While ancient Indian art derived form and structure from tradition and religion, today's art forms are spontaneous expressions steeped in social and political challenges, circumstances and other contemporary thoughts. These artists portray the tribulations of life in a society that is at times farce and at other times demanding thereby adding a newer dimension to artistic expression. In short, their art is not merely a personal indulgence but strives to go beyond and convey the feelings of the masses. No article on Indian art is complete without the mention of some of the greatest artists of our times. synonymous with mans erotic desires. The explicit depiction of sensuousness, the voluptuous figures and the expression of intense passion in these carvings remain one of the greatest paradoxes of a religion deeply rooted in puritanism. Somewhere in the 16 century, the Mughals laid bare their designs on India and in the process introduced the techniques of stone working, metallurgy and miniature paintings. Indian paintings can be divided broadly divided into Murals and Minature paintings. While Murals are large works that are carved on caves and other solid structures like Ajanta caves, miniature paintings are miniature in size, intricately designed as the name suggests and are usually done on materials such as paper and cloth. This art form of intricate detailing originated in Rajasthan and the different schools of miniature paintings in Rajasthan were Bundi, Kishangarh, Jaipur, Marwar and Mewar. Here it is important to make a mention of the Ragamala series of miniature paintings which is a series of illustrations based on Ragamala or the Garland of Ragas depicting six different musical frequencies or ragas. Indian mythology has always been a source of mystery to the world around and it would not be wrong to say that Indian villages are the power houses of tradition and culture. Story telling is a legacy that every Indian has acquired by way of generations. The diversity of Indian culture coupled with vivid imagination has resulted in the continuous outflow of stories in the form of traditional art
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ARTISTS OF INDIA In the galaxy of artists of India, Raja Ravi Varma of Travancore occupies a hallowed place. He was the first Indian painter to exhibit oil paintings and he won particular recognition for his depiction of scenes from the epics of the Mahabharata and Ramayana. Although Varma was essentially an Indian painter of traditional images, the technique he followed was fundamentally European. He was the recipient of the first prize in the Vienna Art Exhibition in 1873. Jamini Roy was an exponent of art from Bengal whose forte lay in the portrayal of the simplicity in the life of the folk people. He was awarded the Padma Bhushan in 1954. His work has been exhibited extensively in international exhibitions and can be found in many private and public collections such as the Victoria and Albert Museum, London. Abanindranath Tagore was a pioneer of his times and he formed the Swadeshi movement and gave form to the Indian Society of Oriental Art. He modernized Mughul and Rajput forms of art to nullify the Western effect that was in vogue during the colonial reign of Britain resulting in the Bengal School of Art. Not only was he an artist but has also contributed immensely to literature through many childrens books authored by him. Under the Bengal School of Art, as a student of Abanindranath Tagore, Nandalal Bose flowered into an artist particularly known for the Indian style of painting. He

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with his students and a few fellow artists is an important contribution of this genius. In recent years the art loving world has read a lot about M.F. Husain, a phenomenal painter, equally controversial. Certainly M.F. Hussain needs no introduction at all. His creative genius inspired an entire generation of artists who credit him for globalizing Indian Art. His narrative paintings stylized in a modified Cubist format, invoke different emotions, some scathing, some comical, some sombre. It would not be wrong to state that M.F.Hussain is Indias answer to Picasso of the West. later went on to become the principal of Kala Bhavan under Shantiniketan. His primary influence came by way of the Ajanta Murals and his most famous works include paintings of Indian Mythology, women and rural scenes. Among the painters of India, Amrita Sher-Gil deserves special mention as the most expensive woman painter of India who was greatly influenced by the Mughal and Pahari schools of painting and the cave paintings of Ajanta. Her travels in India resulted in the famous South Indian trilogy paintings, Brides toilet and Brahmacharis. Born of mixed parentage, she has been dubbed India's Frida Kahlo. The JJ School of Art, Bombay produced a prodigious exponent of art called Jatin Das whose works were exhibited in the Biennales in Paris in 1971, in Venice in 1978 and the Documenta in Kessel in 1975. The paintings of Jatin Das mainly deal with the emotional aspects of the relationship between man and woman. His portrayal of rural life and human sentiments has won him several accolades. Having held over 55 one-man exhibitions in India and abroad he is one of Indias foremost contemporary artists. He has also done several murals and sculpture installations. He works in oil, water colour, ink, graphics and cont. His works have been auctioned by major international auctioneers like Sothebys, Christies and Osians. K. C. S. Paniker, was one of the brightest metaphysical and abstract painters in India who interpreted the countrys age-old metaphysical and spiritual knowledge in the 60s with symbols and images of early scripts and calligraphy, when Indian art was still under the influence of the western painters. "That was the time when a few Indian artists were trying to break out of this Western influence and establish an idiom and identity of their own," he once said. The Cholamandal Artists Village, formed in 1966, 21kms from Chennai central, along
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M.F Hussain was the founder member when The Progressive Artists' Group was formed by Francis Newton Souza and S. H. Raza and Manishi Dey were early members. They were soon joined by noted painters S. K. Bakre, Akbar Padamsee, Ram Kumar and Tyeb Mehta. The group was formed with the aim to liberate Indian painting from the clutches of the nationalist influence of the Bengal School of Art and to engage in avant-garde paintings that would find acceptance at an international level. European style was the most prominent influence that shaped this group, however, like all good things that come to an end, this group was disbanded in 1956. At

this juncture it is important to talk about Tyeb Mehta whose Triptych Celebration sold for 1.5Rs crore at a Christie's auction in 2002. He was also famous for the Diagonal series, Shantiniketan triptych series, Kali and Mahishasura. Well, this is neither the beginning nor the end of the story as art continues to travel through time leaving its footprints on each era through the works of stalwarts. As this piece is being created, somewhere in India and elsewhere, art is certainly evolving reaching out for the stars This involves the stretching of the periphery of Indian canvas is stretched beyond Indian peninsular boundaries to imbibe the global changes in art and its soul.

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Dance forms of India

Being a land of diversities, India is blessed with lot of its unique traditional values, culture and heritage. Among those splendid treasures there exist a number of various dance forms which counts to the tradition of different parts of our land. It is to be noted that most of them are closely related to our epics and mythology. Adherence to the guidelines in Natyashastra makes a dance form considered as classical and shows a tint of spirituality in its literature and presentation. On the other hand, folk dance forms have its heart in the tradition and life style of local inhabitants and their rich heritage. The declared eight Indian classical dance styles are:

reshmy Krishna Kumar

importance of three basic concepts of Bhava, Raga and Thaala.

Kathak, has its origin in North India linked to the nomadic bards known as Kathaks, or story tellers. These bards, performed in village squares and temple courtyards. Mythological and moral tales from

Bharatanatyam, the classical dance form originated Tamil Nadu, then famous by the name "Daasiyattam". It got its present form regularized by 'Thanjavoor Brothers', Ponnayya, Chinnayya, Sivanandam and Vativelu. The name itself potrays the

the scriptures found its form in Kathak music. Hand gestures and facial expressions along with instrumental and vocal music perk up the stories portrayed by dancer.

Kathakali, is a classical Indian dance-drama originated in Kerala during 16th century. It fascinate the audience in terms of its attractive make-up of characters, costumes, finest gestures and the body movements. It has its deep root in Hindu mythology. The use of Mudras and Abhinaya find its pinnacle in a
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Manipuri, the major dance form of Manipur, personify delicate, lyrical and elegant movements. The specialty of the dance lies in its feet moves,

Kathakali performance. Pradesh, with lively, rounded and fleet-footed movements. Finding many similarities with Bharatanatyam, it is the only dance form where in the dancer dance upon a brass plate, placing the feet upon the raised edges. The dancer moves the plate with much balance as the individual is traditionally dancing on the plate while balancing a small vessel containing water on their head.

Kuchipudi, traditional treasure of Andhra

which is viewed as part of a composite movement of the whole body. dance from Kerala. The word Mohiniyattam literally means dance of the enchantress. Mudras and facial expressions are more important than the rhythmic steps. Costumes and ornaments of Mohiniyattam have much in common with female char-

Mohiniyattam, is a traditional South Indian

acters of Koodiyattam and Kathakali. The music of Mohiniaattam is, as in kathakali, in the sopaanam style.

Odissi, referred as Odra-Magadhi in Natyasastra is the traditional dance form from the eastern part of India, Orissa. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the independent movement
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Bright and colorful costume and jewelries with a folk touch makes it special asset of Indian cultural heritage. These dance forms are developed by group of people depending on their own socio-cultural setup and directly reflects their traditional lifestyle. This may be attached to occasions like birth of a child, weddings, sowing the field, harvest, change of seasons etc. While almost all of them are performed by the rural people, to express their joy on many occasion and festival, the elements differ from one region to another. Modernization has brought changes in the original format of many folk forms. Time has faded away many folk dance forms from our collection. Now

of head, chest and pelvis, and upon the basic square stance known as chauka. with respect to the performers and performance. Performed only by male monks in monasteries, Sattriya Nritya has usually based on mythological stories

Sattriya, is a totally different form of dance

the new generation has recognized the importance of preserving our traditional values especially the rural counterpart. Efforts are made to revive the different folk form all over India by various cultural groups which is a positive sign for the preservation of our endangered splendid cultural art forms. presenting mythological teachings to the people in an accessible, immediate, and enjoyable manner. Bihu, Ghumura Dance, Sambalpuri, Chhau and Garba and special dances observed in regional festivals such as Lohri and Navratri. They are simple and beautiful despite the essence of rawness in them. The prime element in folk forms is the expression of entertainment, celebration and joy.
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Indian folk dances includes Bhangra,

"To worship God by Natya is to fulfill all desire and to that one is unfolded the path of salvation. The Dance gives prestige and longevity and destroys all misery. the art gives guidance to the dull witted and increases the good fortune of humanity"
- Vishnudharmottara Purana

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aebm-f t\m-hep-IfpsS \mhgnIfneqsS...

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Sopanam - May 2012

Mathru Dharshan

amXr Zi\w

Salt

Pepper

Menu for Hot Summer

Anuradha Sundara raman Our country is home to the ancient science of Ayurveda,which not only prescribes remedies for various ailments,but also takes a holistic view of health by suggesting appropriate foods depending upon individual health types.According to Ayurveda all foods have either heat producing or cooling properties.Accordingly it suggests different foods for various seasons.Too much of heat-producing food is believed to affect the blood circulation and cause sluggishness resulting in pitta dosha.Pitta is a fire element responsible for governing metabolism and changes in the body, including digestion. Excessive pitta can result in many health problems and hence it is balanced by eating naturally cooling foods. Summer foods suggested traditionally, help not only to cool our body but also help to hydrate the skin.Though one would be tempted in summer to indulge in extremely cold foods and drinks,these are actually known to interfere with digestion and sweating, the body's natural cooling mechanism. Hence it would be more prudent to moderate our intake of cold food and replenish it with food that is easy to digest and contains a lot of water. Most dairy products, several legumes and lentils, most fruit and veggies and grains like wheat, Basmati rice and barley have cooling properties and are therefore perfect for the hot summer days. Nature has ensured that summer provides us with a wider variety of vegetables than in any other season.We also have many succulent,juicy summer fruits to choose from such as watermelons, guavas,lichees, mangoes, musk melons, sweet lime (mousambi),oranges,papaya,grapes,banana s, pineapples,sapota(chikku), pomegranate.These juicy,tropical fruits are ideal hydrants.In order to prevent heat-strokes plenty of water and other fluids must be consumed and intake of oily and spicy food must be reduced. An ideal summer diet option would be to have chilled soups,salads,veggies,fres hfruits, juices,lassis.etc. We have here an Indian chaat have with the five
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essential tastes: sweet, sour, spicy, crunchy and cool. It is a simple recipe that can be put together in minutes. It can be served cold or at room temperature.

Chickpea and Potato Chaat

ingredients: 4 cups chickpeas, boiled 1 large potato, boiled and finely chopped 1/2 seedless cucumber, finely chopped, or 1/2 raw green mango, finely chopped (optional) 3 small fresh green chilies, finely chopped 1 medium red or yellow onion, finely chopped 1/2 teaspoon red chili powder,w or to taste 1/2 teaspoon ground cumin, or to taste Salt and pepper to taste 1 tablespoon tamarind paste or juice of 1 lemon or more to taste 1 bag plain potato chips, coarsely crushed, for garnish Fresh cilantro, finely chopped, for garnish (optional) Preparation: Mix the boiled chickpeas with the potato, cucumber, chilies and onion. Mix the red chili powder, ground cumin and salt and pepper with the tamarind paste.You can vary the spices to make it as hot or as mild as you like. Combine the dressing with the vegetables in a large bowl. Mix, taste and adjust the seasonings. Before serving, add the crushed chips to each portion or simply pass the chips around as a topping so they don't get soggy. If you like, garnish the chaat with cilantro. Raita is a yogurt-based accompaniment to a meal and is a natural coolant that's especially welcome during the summer months. It takes no time to put together and even less time to devour! This is an ideal Indian recipe for an outdoor meal or picnic, and it will be most appreciated when you serve it with a spicy dish.

Sopanam - May 2012

Salt

amXr Zi\w
Pepper
Thandai

Mathru Dharshan

Cucumber Raita
ingredients: 2cups yoghurt 1 large cucumber, grated Salt to taste Sugar to taste 1/2 teaspoon mint powder 1/2 teaspoon chili powder 1/2 teaspoon ground cumin Pepper to taste Beat the yogurt until it is completely smooth. Grate the cucumber and squeeze out the excess water. (You can also tie the grated cucumber in a cheesecloth for a couple of hours and let the water drain into a bowl.) To the yogurt, add salt and sugar to taste, and mix. Add the cucumber and combine well. Sprinkle the mint, chili powder, cumin and pepper on top of the raita and serve.

Thandai is another typical summer drink made

especially in the hot and dry summer months.As it's name suggests it is an excellent thirst-quencher. Ingredients: 15 almonds 2 tsp fennel seeds/saunf 2 tsp poppy seeds 8 cardamom pods 12 tsp sugar 2 tsp peppercorns 2 tsp cumin seeds 300ml water 400ml milk 4 tsp crushed ice Preparation: Grind all the spices, with the almonds separate. Blend together in a large bowl, and add water and milk. Strain through a cheesecloth until liquid is smooth. When it comes to drinks we have a host of choices. For eg.A lemon and honey drink combination has the power of instantly replenishing your body's lost water and also works as an energizer.Jal Jeera is another popular Indian summer drink.Jeera, or cumin, is the main flavor in this drink. Mix 1 1/2 tbsp mint paste, 1tbsp coriander paste, 2 tbsp cumin powder, 1tbsp dry mango (amchur) powder, 1tsp black salt, 1tbsp sugar and juice of one lemon. Then mix it with two glasses of water. Pour on some ice if needed, and it is ready to drink. The spices used in these drinks have a cooling effect and helps your digestive system perform properly in spite of the summer heat. This drink is often used as a digestive drink after meals. The best drink however is provided by nature-tender coconut water.The liquid from a tender coconut (90% is water) is so pure and cooling and is considered to have healing properties and to pacify pitta dosha. Thus balanced and naturally sourced foods and drinks would keep one in good spirits during our tropical,harsh summers.As the saying goes,"One is what one eats".A little thought and planning can go a long way to ensure that one has a hassle-free and enjoyable summer.

Aam Panna

Raw mangoes are considered to have a cooling effect,especially when juiced up with other herbs. Aam Panna is a popular North-Indian drink.Easy to prepare and energising in effect,it is an ideal summer drink. Ingredients: 4 medium-sized raw green mangoes 2 cups sugar 1 cup water 1 tbsp coarsely ground black rock salt 1 tsp freshly ground pepper 2 tbsps Aniseed/fennel seeds ground coarsely 2 tbsps cumin seeds roasted and ground coarsely Chilled water Crushed ice Sprigs of mint to garnish Preparation: Wash, peel and grate the raw mangoes. Mix the mangoes, sugar and water in a deep saucepan and boil till the mangoes are soft.Put this mixture into a food processor and blend till smooth.Put the blended mix back into the saucepan on a medium flame.Add the remaining ingredients and cook for another 5 minutes.Take off from the fire and allow to cool completely.Pour into glasses, dilute with a little chilled water if needed, mix well and add crushed ice.Garnish with a sprig of mint and serve.
Sopanam - May 2012

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Ipsshnse FM XcwKw

a\p N{tiJ
1980 Aepgbn P\np hf a\pN{tiJ Cv Xs kz]v\kmmXvmcns \ndhnemWv. PohnXns \m hgnIfn a\phn\v Fpw {]tNmZ\ambn \nesImIncpXv Xs A Adv. {io F.N{tiJc Bbncpp. Hcp FM tj F Xs kz]v\w kmmXvcnpXn\v a\phn\v Xmpw XWepambXv {io. ^nenv taml Bbncpp. United Network Financial Controller Bbn tkh\a\pjvTnp AtlamWv a\phns kz]v\v NndIpItfInbXv. Atlns A\p{KlWen Cv Ipsshnse BZy aebmfw FM Bb 98.4 UFM s No^v Hm]tdnwKv Hm^okdmbn a\p Xs kl{]hIsc \bnpp.

a\phns hmpIfntev... 98.4 UFM hntijfntevv...

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Zriy-am-[yaw Ac-p-hm-gp Cm-e-v, tdUntbm F Bi-b-hp-ambn aptm-p-t]m-Ip-hm ImcWw?

tNmZy-n\v Dcw \Ip--Xn\v apv Nnm-]-c-amb Hcp `nX NqIn-m-t--XpI-v. "Zriy-am-[yaw Ac-p-hm-gp Cmev ' F Xc-n Rm Nnn-p-n-. A-c-samcp A{]-amZnXzw Zriy-am-[y-a-n Fv hy-X-bp--Xp-sImI-mWv Cu `nX Rm Nqn-m-p--Xv. sSen-hn-j h-Imew apX C-cn-ep Htsd A`n-{]m-b- Dbp-h-n-p-Iv. sSen-hn-js kzm[o\w hn-p--tXmsS ]{X--fpsS {]Nmcw Ips\ Ipd-bpw F hne-bn-cp--em-bn-cpp s]mXpsh DIm-b-Xv. Fm Cu Nnbvv Hc-Sn-m-\hpw Csv Imew sXfn-bnn-pI-v. temI-cm-Py- Fm-sa-Sp-mepw {][m\ ]{X--fpsS {]Nmcw Cme-b-f-hn IqSn-bn-t-bp-p. tIcfw Xs DZm-l-cWw. \psS {]apJ ]{X-sms Hmtcm hjhpw Bbn-c-W-n\v hmb-\-m-cmWv IqSp-X-embn DIm-Ip--Xv. HmUnv _yqtdm Hm^v kp-te-js hmjnI dntmp-I CXv sXfnbn-p-p-apI-v. Cy-bn Xs {]mtZ-inI `mj-bn Ghpw IqSp-X sSen-hn-j Nm\-ep-I D kwm-\-amWv tIc-fw. hnt\m-tZm-]m[n F \ne-bnepw Hw hm-I-f-S--ap ssZ\wZn\ hnh-c- Adn-bp--Xn\pw P\- sSen-hn-js\ B{i-bnp-pIv FXv icn-Xs. ]s AXv "sSen-hn-js\ am{Xw
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B{i-bn-pp' F \ne-bn ImW-cp-Xv. Hcp aoUnbw F \ne-bn sSen-hn-j D]-tbm-Kn-p--t]mse ]{X--sfbpw tdUntbm-tbbp-sams P\- kao-]n-p-pI-v. \psS \mn F^v.-Fw. tdUn-tbm-Iv hn-p-h-cp kzoIm-cyX Xs DZm-l-cWw. sSen-hn-j Hcp Imev tdUntbmsb ]n-n-sb-Xv icn--bm-Wv. BIm-i-hm-Wn-bpsS Imcyn AXv kw`-hn-p. BIm-i-hm-Wn-bpsS {]t-]W ssienb-Sw Htsd LS-I- Cm-cy-n ]cn-K-Wn-t--XpI-v. Fm IqSp-X P\-Io-b-amb coXn-bn F^v.Fw tdUntbm h-tm AXv tIhn-bpsS ]pXnb A\p-`-h-ambn Xs P\ kzoI-cn-p. sSen-hn-j\v ]e-tmgpw t{]-I-cp-ambn Hcp "C n-akn' krjvSn-m Ign-bm-dn-. Fm tdUn-tbm-bpsS Ghpw henb {]tXy-IX t{imXm--fp-ambn A-c-n-semcp Bg-n-ep _w krjvSn-m Ign-bp-p-sh-p--XmWv. \ ap--dnbmw \-sf-tm-ep Xe-ap-d-bpsS a\-kn tdUntbm krjvSn Hcp henb Xcw-K-s-p-dnv. tdUn-tbm-bpsS henb km[yX a\-kn IIp-sImI-p-X-s-bmWv Cu {]t-]W am[y-a-n-tev Rm {i tI{o-I-cn-Xv. ]ns, Fhn-sS-bmWv tdUntbm XpS-m Xocp-am-\n-Xv F-Xp-IqSn a\-kn-em-t--XpI-v. \me-c-ew ae-bm-fn-I Xmakn-p Ipssh-n-emWv Hcp am[yaw XpS-m Rm Xocp-amSopanam - May 2012

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News
ae-bmfw tdUntbm Ctm \ne-hn-ep-Iv. Ipssh-n ae-bm-fnIv thIn F \ne-bn Hcp am[y-ahpw DIm-bn-cp-n-. tIc-f-tmSpw ae-bm-f-tm-Sp-ap kvt\lhpw hnIm-c-]-c-amb ASp--hp-amWv Fs Ipssh-n-te-s-m t{]cn-n--Xv.

Zriy-am-[y-a-cw-Ks {]ap-J AWn-\n-c-p bp.F^v.-Fw. Sow AwK-sf sXc-s-Sp--tm DIm-bncp am\-Zw Fm-bn-cpp?
P\--fn-te-s-p R-fpsS Hmtcm ]cn-]m-Snbpw B am\-Z--ns Af-hp-tIm hy-am-p-pI-v. Ipssh-nse Hmtcm ae-bm-fnbpw a\-kn sImIp-\-S-p ]cn-]m-Sn-I-fmWv Fmw. Sow AwK--fpsS {]Xn` Hmtcm ]cn-]m-Sn-bnepw {]Imiw ]c-p-pI-v. B {]Xn-`- X-s-bm-bn-cpp am\-Z-w. A`nap-J--fpsS ASn-m-\-n-em-bn-cp-n sXc-s-Sp-v. tIc-fnse Zriy-am-[ya taJ-e-bnepw tdUn-tbm taJ-e-bn-ep-sams \nd-p-\n kmn-[y--fmWv bp.-F-^v.-Fw. Sow AwK-. Rm t\cn-mWv Fm-h-tcbpw IIs-n-b-Xv. Ign-hp-am-{X-am-bn-cpp sXc-s-Sp-ns ASn-m-\w.

a\p N{tiJ, ^nenv tamlt\msSmw \n--Xv. AhnsS GXp-X-c-n-ep am[yaw thWw Fv Xocp-am-\nm henb Bi-b-p-g--sampw DIm-b-Xp-an-. Xnc-t-dnb Cu kaq-l-n ImgvN-sb-m IqSp-X {]kn tIhnv Xs-bm-sW hy-amb t_m[y-amWv 98.4 bp F^v. Fw F tdUn-tbm-bpsS ]nd-hnv Imc-W-am-b-Xv.

Xm-fpsS kz]v\-Xp-ey-amb Cu ]-Xnv Ipsshv Xs sXc-s-Sp-m FmWv ImcWw?

Rm kqNn-n--tm, ae-bm-fn-I-fpsS hen-b-tXm-Xn-ep kmn[yw Xs-bmWv {][m-\-Im-c-Ww. Ipssh-ns Fm taJe-bnepw B kmn[yw {]I-S-am-Wv. hnI-k\ taJ-e-bnepw tkh-\ta-J-e-bnepw sXmgnta-J-e-bnepw \nm-W-ta-J-e-bn-ep-sams kanX kmn-[y-amb \psS Bfp-Isf IIn-sv \Snm ae-bm-fn-bmb F\nv Ign-bp-am-bn-cp-n-. kzw \mn \nv hf-sc-Zqsc, Hcp cmPy-ns samw ]ptcm-K-Xnv henb kw`m-h-\-I \Ip \psS \mp-Imv {]tbm-P-\-{]-Zamb Fs-nepw sNWsa sNdnb Nn-bn \nmWv Cu henb ]Xn DS-se-Sp--Xv. kz]v\-Xp-ey-amb ]-Xn-bm-bn-cp-n, kz]v\-]-Xn Xs-bm-bn-cpp AXv. Ipssh-nse kml-N-cy a\-kn-em-n-b-tm t_m[y-amb HpI-v. am[y-a--fn \nv AIv Ign-bp Hcp henb hn`mKw ae-bm-fn-I Ipsshn-epI-v Fv Rm Xncn--dn-p. hfsc Xnc-t-dnb Pohn-X-amWv Ipssh-n ae-bm-fn-I \bn-p--Xv. AXn-cm-hnse tPmenv t]mIp-p, ]ns Xnc-tmSv Xnc-v, sshInv hon-se-n-bmtem, av ]e-Im-cy-fpw AhnsS \sf Imn-cn-pw. `mcy tPmenv t]mIp-tm `mhv hon, `mhv tPmenv t]mIp-tm `mcy hon. Ipp-sf t\mp--X-S--ap hop-Im-cy-fn ]ecpw Hgn-hp-k-a-b--fn hym]r-X-cm-Ip-p. apNn-e-cpsS Imcy- hyXy-kvX-am-Wv. tPmen-bpsS ka-b-{I-ahpw _mlp-ey-hpsams Ahsc hnt\m-Z-n-tbpw hnh-c--fp-tSbpw temIv \nv AIn \np-p-Iv. Iymp-I-fnepw apw Ign-bp sXmgn-em-fn-I-fp-tSbpw ss{Uham-cp-tS-bp-sams Imcyw DZm-lc-Ww. sSen-hn-j ImWmt\m ]{Xw hmbn-m-t\m- t]mepw kabw Inm--h-cmWv Ipssh-nse _lp-`q-cn-]w ae-bm-fn-I-fpw. Ahcnte-s-m Ign-bp GI am[yaw tdUntbm Xs-bmWv. bp.-F.Cbpw _lvssd\pw Ds-sS-bp K^v cmPy--fn
Sopanam - May 2012

em`-\-jvS--fpsS IW-s-Spv \S-p Hcp hyh-kmbw F-Xn-ep-]cn, A{]-Jym-]nX eyw Fs-nepw CXn\p-]n-n-eptIm?
{]Jym-]n-Xhpw A{]-Jym-]n-X-hp-amb Hcp eyw am{X-sa-bp-p. R-fpsS t{imXm-v IqSp-X hyXy-kvX-amb A\p--`-h ]Ip-\IpI F eyw. \mn-epw temI-p-sams \S-p kw`-h- A-tm Ipssh-nse ae-bm-fn-Iv Fn-p-sIm-Sp-pI, Hw Xnc-t-dnb Pohn-X-n Ahv am\-kn-tIm-m-k-n\p thZn-sbm-cp-pI, ae-bm-fn-bpsS PohnX-n-s\mw k-cn-p-sImIv th]n-cn-bm Iqp-Im-c-\mbn amdpI Fn-h-sbms B ey-ns `mK-amWv. ]ns, hyhkm-b-sa ]Z-{]-tbm-K-ns A-hym-]vXn-sb-p-dnv Rm Nnn-p-n-. Fnepw kzm`m-hn-I-am-bn-s m]-\-ns km-nI LS-\bpw ]cn-K-Wn-t--XpI-v. R-fpsS am-nwKv ]m-fn-I-fp-ambn lrZ-b-_w Imp-kq-n-m\pw R {] Xn-m-_--cm-Wv.

P\--fpsS CS-bn bp.-F-^v.-F-n-\p kzoIm-cyX Ipssh-nse Cy P\-X-bpsS \-bvmbn Fs\ D]-tbm-Knmw?

AXn-tms hy-am-W-tm. Ipssh-nse Cy-mcpsS Pohn-X-hp-ambn _-s hnj-b-X-s-bmWv bp.-F^v.-F-ns ]cn-]m-Sn-I-fpsS ImX. Znh-khpw 18 aWn-qdpw t{imXm-v R-fp-ambn kwh-Zn-m-\p Ah-k-c-apI-v. cmPy-ns hnhn[ `mK--fn Xma-kn-p t{imXm- Fmhcpw Ah-cp-ambn _-s hnj-b--sf-p-dnv R-fp-ambn kwkm-cn-m-dp-Iv. Cusbmcp Bi-b-hn-\n-ab kwhn-[m\w XsbmWv tdUn-tbm-bpsS Ghpw henb {]tXy-I-X. P\--fp-ambn _-s Fm {]iv\-fnepw kPo-h-XtbmsS CS-s]-Spp FXmWv 98.4-bp.-F-^v.-F-ns s]mXp-kz-`mhw. kz`m-hn-I-ambn AXv Ipssh-nse Cy P\-X-bpsS \bvv D]-I-cnpw Fp-Xn kwi-b-an-.

AXn-\m-bp Fsmw ]-Xn-I-fmWv DXv?

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Fp-sImI-m-sWv hy-am-bn-. Ctm Xs ihpw kpk--hp-amb Hcp hmm dntmnwKv kwLw RpI-v. Ipssh-nse sk{S sUkvIpw AXp-t]mse Ipsshv _yqtdmbpw ^e-{]-Z-ambn {]hn-p-pI-v. tIc-f-nse Imcy- GtIm-]n-n-m Xncp-h-\--]p-cv tI{o-IrX dntmnwKv kwhn-[m-\-apI-v. Hw tZiob Imcy--fn hnh-c-ti-J-c-W-n\v \yqUln-bnepw bp.-F-^v.-Fw. _yqtdm {]hn-p-p. IqSmsX av K^v cmPy--fn-semw R-fpsS kv{SnwKam-cp-sS kmny-hpapI-v. hmm-ti-J-c-W-nepw t{ImUo-I-c-W-nepw Ah-X-c-W-n-ep-sams Zriy-am-Ip s{]m^-j-W-enkw XsbmWv R-fpsS hmm-kw-L-ns {]tXy-IX.

ChnsS P\n-p-h-f ae-bmfn Ipn-Imbn \psS ]gb \gvkdn Km\-, IY-I, ae-bmf `mj ]cn-N-bs-Sp-p ]cn-]m-Sn-I Fnh Ds-Sp-p Imcyw ]cn-K-W-\-bn-eptIm?
Hcp ]c-kv]cmib hn\n-ab D]m[n F \ne-bn-ep {]h\-n IqSp-X kPo-hX ssIh-cp-p-I-bmWv {][m-\-e-yw. X-ab {]t-]Wkwhn-[m-\-n-s\mw R-fp-ambn kwhZn-m hnim-e-amb asm-cn-Sw-IqSn t{imXm--fn-te-s-p-IbmWv. 24 aWn-qdpw kPo-h-amb R-fpsS sh_vsskmWv B thZn. Htsd ]pXp-a-I \nd sh_vssk-n Hcp-nbn-cn-p \nc-c k kwhn-[m-\- ^e-{]-Z-ambn t{imXm-v D]-tbm-K-s-Sp-mw, WWW.98.4.UFM.COM F sh_vsskv kin-p-tm Cmcy- t_m[y-am-Ipw. sh_ vsskv IqSmsX P\--fpsS Pohn-X-hp-ambn t\cnv _-s-Sp {]tXyI ]cn-]m-Sn-Ifpw Xm-dm-p-pI-v. AXpw sshIm-sX t{imXm--fn-te-s-pw. am[y-a-ns kmaq-ly-[w IqSn \n-ln-p-sImI-mIpw bp.-F-^v.-Fw. {]hn-p-I. Ctm Xs Acw ]cn-]mSn \ne-hn-epI-v. shn-bmgvN 9 aWn-ap-X 11 aWn-hsc {]t-]Ww sNp 'Ipokv t\cw' Ipn-Iv thIn-bp ]cn-]m-Sn-bm-Wv. Ipn-I-fpsS kPo-h-amb ]m-fnw ]cn-]m-Sn-bn Ddv hcp-p-pI-v. Iem-]-c-amb A`n-cp-Nn-I-fp Ipn-Iv R-fpsS pUn-tbm-bn-sen ]cn -]m-Sn-bn ]p-tN-cmw. sSen-t^m hgnbpw t^kv_p-p-h-gnbpw pUn-tbm-bp-ambn _-s-Smw. Ipn-Iv Ipn--Y-Ifpw Ipnm-p-Ifpw t\gvkdn ]mp-I-fp-sams ]Ip-\Im Ipn-IfpsS Am-h\pw ]cn-]m-Sn-bn-epI-v. `mjm-]-cn-Nbw {][m\ hnjb-am-p A-c-temIw F ]cn-]m-Sn- shn-bmgvN sshInv Apap-X Bdp-hsc Ctm {]t-]Ww sNp-pI-v. sshImsX IqSp-X ]cn-]m-Sn-Ifpw Ds-Sp-m km[n-pw.

Cu Ime-b-f-hn ]e-tmgpw bp.-F-^v.-Fw. hmI Snhn Nm\ hm-I-fpsS ]p\-cm-hn-jvIm-c-ambn tXmn-bn-pI-v. kz-amb Hcp hmm dntmnwKv kwLw `mhn-bn {]Xo-n-mtam?
hm-Iv ]{X-hm-I-sf-tm, sSen-hn-j hmI-sftm, tdUntbm hm-I-sftm thXn-cn-hp--Xmbn tXmn-bn-n-. Hcp hm \Ip-tm AXnse hnh-c- icn-bmbn ssIam-dpI F-Xp-am-{X-amWv eyw. tdUn-tbm-bn Zriy- ImWn-m Ign-bn-tm. AXp-sImIv Xs ]p\cm-hn-jvImcw F Nn icn-bm-sWv tXmp-n-. Zriy- \Im-\p Ignhv sSen-hn-j\v am{X-ap--Xm-Wv. ]{X-pw tdUn-tbmbvpw hmp-Ifpw hmN-I-fpw hgn Zriy-_nw-_- krjvSn-m Ign-bpw. A-c-n-ep Zriy-_nw-_-krjvSn RfpsS hm-I-fpsS {]tXy-I-X-bm-Wv. Am-cy-n {]tXyIw {in-p-pI-p-Xm-\pw. tIhn-m-c\v hm-bpsS sXfnabpw IWn-i-Xbpw IrXy-ambn A\p-`-h-th-Zy-am-pI F-XmWv R-fpsS {][m\ Dt-iyw. B Xc-n Xs-bmWv shw tNmsX hm-Isf kao-]n-p--Xv. kz-amb Hcp hmmdn-tmnwKv kwLw `mhn-bn {]Xo-n-mtam Fv tNmZn-Xv
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hfp-h-cp Kmb-I, kwKo-X-, Ihn-I XpSnb Iem-Im-c-mv t{]mm-l\w \Ip ]cn-] m-Sn-I-fp-Im-Iptam?
AXn-\p thZn R Hcp-n--bn-pI-v. tdmv & tdm, anIvkv am, bp Hm Unam v, lmSv t{Xm_vkv XpS-nb kwKoXm-[n-jvTn-X-amb ]cn-]m-Sn-I-fnsemw ]pXp-X-e-apd Kmb-Ipw kwKo-X-p-sams ]s-Sp-mw. [mcmfw t]sc CXn-\Iw Xs R Cu ]cn-]m-Sn-I-fn ]s-Sp-n-n-p-apI-v. C\nbpw AXn-\p Ah-k-c- Hcp-]m-SpI-v. Xm-cy-ap--hv Rfp-amb t\cnv _-s-Smw. kmln-Xy-Im-c-mp {]tXyI CSamWv A-c-tem-Iw. AhnsS Ihn-Iv IhnX sNmmw, Fgpp-Imv IY-]-d-bmw.

Cy-mv thIn-sbmcp Nm\ F \ne-bn cq]w sImI bpF-^v-F-n\v Cy kwkvIm-c-ns sshhn-[yhpw Icppw ]pXp-X-e-ap-dbvv Adn-bn-psIm-Sp-m Ignbpw Fv Icp-Xp-ptIm? B coXnbn-ep ]cn-]m-Sn-I {]Xo-n-mtam?

Cy kwkvIm-c-ns Icpv Xs-bmWv bp.-F-^v.F-ns kPo-h-Xbvv B[m-cw. hyXy-kvX-amb B kwkvIm-cns \nd-qp-I R-fpsS Fm ]cn-]m-Sn-Ipw angnth-Ip-pI-v. Hp {in-p-t\m-q... Xangv Pohn-X-ns {]Xn-^-e-\-amb hos v Kem (sh-n-bmgvNIfn sshInv 7
Sopanam - May 2012

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kPo-h-X-tbmsS Cu {]iv\w N-sN-bvX-tm Kuc-h-tmsS hnjbw Dsm-m Btm-BWn Xm-dm-bn. XpSv tI{ [\-Im-cy-a-{n-bp-ambn Cu hnjbw N-sN-p-sav Atlw hy-am-n. ]noSv Btm-BWn [\-a-{nsb ImWp-Ibpw \nIp-Xn-bn-msX sImIp-t]m-Im-hp kz-ns ]cn-[n-bpbm-sav [\-a{n Dd-p-\Ip-Ibpw sNbvXp. ]mXn-h-gnbn Dt]-n-msX hm-bp-sS XpS Ddv hcp-p-I-bmWv amtSm-ns asmcp [w. Ipssh-nse kvIqfp-I-fn aebmf`mj ]T\ hnj-b-am-m-Xv, {]hm-kn-I-fnse B-l-Xym-\ncv Db-cp--Xv, Ipn-I Ip-hm-fn-I-fm-Ip kml-N-cyw, \mn H-bvm-Ip {]hm-kn-I-fpsS amXm-]n-Xm-, \gvkp-am t\cnSp {]iv\-, km-nI Xn-p-I-fn IpSp-p {]hm-knI, hn-p-h-cp {Sm^nIv \nb-a-ew-L-\-, A{i--sImIv A]-I-S-ns-Sp Ipp- XpSn Htsd hnj-b--fmWv CXn-\Iw amtSmv ssIImcyw sNbvX-Xv. kwhm-Z-n\v e`np henb {]Xn-I-cWw Xs-bmWv amtSm-ns {]kn hn-n-p--Xv.

apX 9 hsc), lnn kwKo-X-ns amkva-cnI temIw t{imXmv \Ip Nmv\n-cmtX (sh-n-bm-gvN-I-fn cm{Xn 10 apX 12 hsc) Fo ]cn-]m-Sn-I-fn \nd-p-\npXv \psS sshhn-[y-am kwkvImcw Xs-bm-Wv. ]pXp-X-e-apd tIn-p-t]m-ep-an-m ]gbX-e-ap-d-bnse ]mp-Ifpw ]ms-gp-pImcpw Iem-Im-c-m-cp-sams bp.-F-^v.-F-n-eqsS ]p\-\np-p-. Ime-v ]pd-In-te-p B kmcw Xs-bmWv Cy-mv thIn-bp Nm\-embn Cu tdUn-tbmsb amp-Xv. Hw `mc-X-ns hnkvXr-X-amb kwkvIrXn tIhn-bpsS A\p-`-h-am-n-am-p ]pXnb Nne ]cn-]m-Sn-Ifpw DS {]t-] Ww XpS-pw.

Chn-Sps tIc-fob kaq-l-ns Bi-b-cq-]o-Ic-W-n\pw ka-\z-b-n\pw Hcp s]mXp-th-Zn-bm-Im \pw AXp-hgn ae-bmfn kaq-l-ns ]pXnb i_vZ -am-Im\pw bp.-F-^v.-F-n\v Ign-bp-sav hnizm-k-aptIm? AsX-s\ ssIh-cn-m km[npw?
icn-sbv t_m[y-ap Imcy--fn s]mXp A`n-{]mb cq]o-I-c-W-n\v thZn-sbm-cp-pI FXmWv GsXmcp am[ya-n-sbpw [w. ae-bmfn kaq-l-ns Pohn-X-p-Sn-pI Xs-bmWv bp.-F-^v.-F-ns lrZb kv]-\w. tIhnp-d-n-cpv \n-tfmSv kwh-Zn-p-I-bmWv R. tIc-fob kaq-l-ns Hgp-n-\-\p-k-cnv Ftmgpw R-fp-ap-Im-Ipw. \nv ]d-bm-\p-Xv R-fn-eqsS Gp-]-d-bmw, A\p-`-h- ]p-sh-bvmw, Xam-i-I ]dv s]mn-n-cn-mw, [oc-amb {] Jym-]-\- \S-mw. AXp-sImIv Xs Ipssh-nse aebmfn kaq-l-ns ]pXnb i_vZ-ambn CXn-\Iw Xs R amdn--gn-p-sh-p--XmWv icn-bmb hkvXp-X.

amtSmv P\-{i BIjn-p-p F-Xn-ep ktm-jhpw Biw-kIfpw Adn-bn-p-Xn-s\mw Hcp tNmZyw... P\-]p-\n-p Xocp-am-\v ASn-hcbn- - Sm Hcp ]cn-[n-hsc kzX-{-am-[y-a klm-bIam-Ipp - F Xncn-dn-hn Ipssh-nse `mc-Xo-bcpsS {]iv\ A[n-Im-cs-hcpsS {i-bns-Sp-m amtSmv - - t]mse-bp kwhm-Z Fs\ {]tbm-P\s-Spmw - Fp Icp-Xpp?
Biw-k-Iv \n. kzX-{-am-[ya kwkvIm-c-ns ASnm\-n-emWv amtSmv hnj-b-sf kao-]n-p--Xv. hnj-b--fpsS sXc-s-Spv apX ]T-\hpw hni-I-e-\hpw Ah-X-c-Whpw hsc \ne-hn-ep kwhmZ ]cn-]m-Sn-I-fn \nv hyXy-kvX-hp-am-Wv. {]hmkn `mc-Xo-b-cpsS PohnX Npp-]m-Sp-I-fn \nmWv amtSmv hnj-b- IIs-p--Xv. bmYmyt_m-[-tm-sS-bp kao-]\w, IrXy-X-bp \ne-]m-Sp-I, hnjbm-[n-jvTn-X-amb hni-I-e\w Fn-h-bn-sems \njvIjn-p IWn-i-X-bmWv amtSm-ns\ {it-b-am-p--Xv. {]hm-kn-IfpsS {]iv\- A[n-Im-cn-I-fpsS {i-bns-Sp-m Xobmbpw amtSmv hgn-sbm-cp-p-pI-v FXpw Rv A`n-am-\-I-c-am-Wv. Hcp DZm-l-cWw {]hm-kn-I \mn-tev sImIp-t]m-Ip kz-n\v \nIpXn CuSm-p--Xmb hm amtSmv N-sN-bvX-tm e`n {]Xn-I-cWw Xm Adnn-pI-m-Ipw. Cu N-bn Btm-BWn Fw.-]nbpw Uln-bn \nv X-abw ]p-tNn-cp-p. amtSmv
Sopanam - May 2012

tZiobX hfp--Xn am[y-a-p {] k-n-sb-mWv? Xm-fpsS Cu kwcw-`-n\v {]kvXpX hnj-b-n \Im-hp kw`m-h\ Fm-bn-cn-Ww FmWv B{Klw?
Hcp ]gb kw`hw Hmn-mw ASn-b--cm-h {]Jym-]n-tm Cy-bnse {]apJ tZiob Zn\-]-{X-amb Cy FIvkv {]kv B Xocp-am-\-tm-Sp {]Xn-tj[w tcJ-s-Sp-n-bXv FUntm-dn-b tImf-n Idp--ajn ]pc-n-smI-m-bn-cp-p. Hcp P\-X-bpsS hnIm-c-amWv t]Pn Idp--ajn ]pcn B ]{Xw BteJ\w sNbvX-Xv. tZio-bX Hmtcm am[y-a-n-sbpw hnIm-c-am-sWmWv Fs hnizm-kw. cmPyw \nWm-bI L--fn-eqsS IS-p-t] m-Ip-tm tZio-b-X-bpsS Imh-em-fm-tII-Xv am[y-a--fm-Wv. 98.4bp-F-^v-F-n-tbpw lrZ-b-hn-Imcw tZio-bX Xs-bm-Wv. tZiob-X-bpsS i_vZ-km-n-[y-ambn ae-bm-fn-bpsS a\-n 98.4-bp.-F^v.-Fw. Ftm-gp-apI-m-Ipw. AXp-X-s-bmWv Hmtcm `mc-Xo-b\p thInbpw Rv \Im Ign-bp Ghpw henb kw`m-h-\. \n-tfm-sSmw R-fp-apI-v, Ftm-gpw.
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News VISHU SEVA DINAM - 2012
SEVADARSHAN FAHAHEEL UNIT
A variety of cultural entertain m e n t s we r e the n sta ge d by Se va Da r sha n me mbers, ladies and children. Ranga p o o j a , Vishukka ni- Skit, Thir uva thir a ka li- t h e e n c ha nting da nc e f or m of Ke r a la , Kris h n a leela-dance drama, Classical dance f o r m s such as Bharathanatyam Dasavath a r a m , Kuchipudi, Unarthupattu - a musica l s k i t , Dandiya and finally the signature e v e n t of the day, drama Rest House sta g e d b y the Thapasya Theatre (cultural wiw n g o f Adhyathmik Samithi - Fahaheel) we r e t h e prime items enthralled the audien c e . A t diff e r e nt inte r va ls, the a udie nc e e n c o u raged their awesome performances w i t h loud a ppla use . The me tic ulous e ve nt wa s c o- or d in a ted by Aneesh Kumar Unnikrishnan N a i r, Pr ogr a m Conve nor with a c tive in v o lv e ment and support of Mathru Darshan , B a l a Darshan, Adhyathmik Samithi and S e v a Sa mithi - Fa ha he e l units. Aff ilia te d to the I ndia n Emba ssy, Se v a Da r sha n ha s be e n f unc tioniwwng in K u wait for the last 6 years, promoting s o c i a l , cultural and welfare services by w a y o f he lping the ne e dy, suppor ting e c o n o mic a lly ba c kwa r d pe ople , a id to a iling , p r o viding platform to youngsters to e x h i b i t their in-born talents, conducting c l a s s e s and workshops for younger genera t i o n t o introduce the richest heritage of In d i a . The Se va Dina m wa s de dic a te d to support the ongoing welfare activi t i e s o f Bala-Balika- Seva Sadans with th e k i n d he lp of like minde d c ommunity me m b e r s .

I n v i e w o f promoting fraternity and cord i a l e x i st e n ce among the m embe r a nd fam il i e s, S E VA D A R SH A N - F ahahe e l organi z e d V I S H U SE VA D IN A M o n the ev en i n g o f 1 3 t h A pril, 2012, at the au ditori um o f I n t e r n ational B ritish S choo l, Fa hahe e l . Wi t h t h e t r aditional lamp lighting, the p r o g r a m b e g a n in front of a family crowd of a b o u t f i v e h undred. Follow ed by a c ult u r a l m e e t i n g , the budding stars & talents of S e v a D a r sh an - Fahaheel team prese nted v a r i e t y c u l tural events depict the nost al g i c m e m o r i e s of our mother land India . A d v. S u m od, Co-ordinator, Vichar B h a r a t h i - F a h a h eel unit presided the c ult ura l m e e t i n g a nd had delivered an inspirat i o n a l Vi sh u Message during his pr e sid e n t i a l a d d r e s s. Sajeev Nair, Pres ident, A d h y a t h m i k S am ithi-F ahaheel unit we lco m e d o n e a n d all. R . S asidharan Na ir, S e v a C o - o r d i n ator addressed the audience w i t h h i s S e v a Message and Sudhir Menon, S ev a C o - o r d i n ator, -Fahaheel unit pr opo s e d t h e v o t e of thanks.

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SEVADARSHAN FAHAHEEL UNIT

Sopanam - May 2012

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SEVADARSHAN ABBASIYA UNIT

News

VISHU SEVA DINAM - 2012

Th e A S b b a si y a unit' s S eva D inam pr ogr a mme wa s he ld a t the Unite d I ndia n Sch o o l. A l arge g a t h e r i n g o f people attended the f unc tion tha t wa s ina ugur a te d by Dr. Na mp o o r i. A w i d e v a r i e t y o f programmes were performed on stage by the members of the unit a n d t h e c h i l dr e n o f B a l a Darshan, The Vishu message was given by Shri. Ajayanji and t h e S e v a rep o r t w a s a l so read at the venue.

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Sopanam - May 2012

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News VISHU SEVA DINAM - 2012
SEVADARSHAN SALMIYA UNIT
On t h e a u sp i c ious day of Vishu, 14th Apr il the Sa lmiya Unit of Se va Da r sh a n h e ld i t s S e v a D i n a m programme at the Indian Communitu School, Amman Branch. T h e w e l l a t t e n d e d p r o g r amme featured dance, songs and skits by the children of Bala D a r s h a n . M a n y o f t h e m e mbers adn attendees came forward with the vishu kaineetam's.The M a t h r u S am i t h i m e m b ers brought along a var ie ty of pa ya sa m tha t wa s e njoye d by e ve r y o n e . T h e p r o g r a m m e w a s inaugurated by respected elders from the society. Sri. Krishna. K . P i l l a i s p o k e i n t h e i mportance of Vishu and our c ustoms.

Sopanam - May 2012

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Kalidas Story
had brought the king bad luck. He was asked if he had anything to say before he was taken away for execution. Im very sorry for bringing you bad luck, Your Majesty, said Kalidasa. But it is reasonable to also punish accordingly the person who saw me this morning because as you can see he has brought me bad luck too. That reply surprised the king as he realized that he was a fool to have listened to the fortune tellers who called themselves Wise men. Being impressed with Kalidasa, the king adopted him as his son. It was in the palace that Kalidasa developed his literary skills and later emerged as a famous poet in India.

Kalidasa was a famous Sanskrit poet who lived in India during the third century A.D. As a young boy, he was poor and lived with his mother in small hut facing the kings palace. Within the palace walls was a large orchard of mango trees. During the fruit season, the trees were heavy with sweet, delicious mangoes. When no one was watching, Kalidasa would climb over the walls and help himself to the mangoes. One day when Kalidasa was stealing the mangoes, he did not realize that the king was watching him from the palace window. That morning, while the king was peeling a mango, he accidentally cut his hand. Since the cut drew a lot of blood, the king summoned his Wise men and fortune tellers to tell him the significance of that accident. The Wise men thought for a while and asked the king if he saw anything unusual that morning. The king replied that he saw a boy stealing some mangoes from the palace ground. Oh! What your majesty saw was very inauspicious. That boy will bring you bad luck, said the Wise men. It is good if your majesty could get rid of him immediately. The king ordered that Kalidasa be brought before him. As the poor trembling boy stood before the king, he was told that the king had seen him stealing the mangoes and this
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Malavika Krishna. K
Baladarshan, Abbasiya

Anuksha Narayanan
Baladarshan, Abbasiya

Sopanam - May 2012

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