In Wayanad, students of a landslide-hit school record 100% pass rate in board exams
Results of the state board exams were announced Friday.
The landslide that struck on the night of July 30 last year had claimed 298 lives and partially wiped out the school, situated at the worst hit village Chooralmala. Among the victims were 32 school students of GVHSS Vellarmala – seven from Class 10. Two, meanwhile, lost both parents.
A month after the landslide, the school, with its 328 students and 26 teachers, was temporarily relocated to Meppadi – some 13 km away. Since then, students have been trying to pick up pieces of their lives — with the help of school, teachers, and the Parents-Teachers Association.
According to GVHSS headmaster V Unnikrishnan, it was a challenging task. A teacher was given the charge of three students, not only to keep an eye on their education but also their personal and family lives.
'As repeated sessions of counselling were not enough to help students return to normal days, we engaged them in various activities such as sports and arts. They took part in the state school fest, demonstrating their fighting spirit. That helped the students get out of the haunting memories of the traumatic night and the losses,' he said.
While a section of students continued to live in Chooralmala, the worst-affected ones were relocated to various villages under Meppadi panchayat. This meant that a bus — donated by Manipal Foundation – had to ferry them each day to school.
At school, special lessons for Class 10 were held from 7.30 am till 9.30 am. Then began their regular school lessons from 10 am to 4 pm. Students were not only given mid-day meals, also breakfast and supper with the support of two Kuwait-based organisations, Unnikrishnan said.
'Students would sometimes be absent-minded and lost in the classroom. Even during the board exams in March, students had problems because of the trauma of the devastation. But we nursed them back. For us, this mission was our responsibility rather than a sacrifice. We wanted to showcase a model of survival before the entire world,' Unnikrishnan said.
On the day of the result, Kerala's Education Minister and senior Communist Party of India (Marxist) leader V Sivankutty made special mention of the school, calling its Class 10 pass rate 'inspiring'.
'It is a great strength of survival. All the 55 students who appeared for SSLC (Secondary School Leaving Certificate) exam from the landslide-ravaged GVHSS Vellarmala have become eligible for higher studies,' he said, adding: 'I have called the headmaster Unnikrishnan to congratulate teachers, students and parents'.
Congress leader Priyanka Gandhi, the MP from Wayanad, made a mention of the school in a Facebook post, making special reference to Muhammad Haani K, a student who lost nine members of his family — including his parents and two siblings – to the landslide.
'…big congratulations to all students who passed the Kerala SSLC exams, and to GVHSS Vellarmala for achieving a 100 percent pass rate,' her post on Friday read. 'Special congratulations to Muhammad Haani K, who rescued his grandmother during Wayanad's darkest hour and has now passed his 10th-grade exams with flying colors (sic). Courage. Resilience. Brilliance. Your story inspires us all.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
38 minutes ago
- Time of India
Army chopper's emergency landing delights Tinsukia locals
1 2 3 4 5 6 Dibrugarh: An Indian Army Cheetah helicopter carrying four personnel made an emergency landing at a local playground in Tinsukia district on Tuesday morning after developing a technical malfunction during a routine sortie. The aircraft, with two pilots and two Army officials aboard, was en route from the Dinjan-based military station in Dibrugarh to Anini in Arunachal Pradesh when it encountered a sudden technical snag at around 9:05am. The pilots safely landed the helicopter at the Dibrupariya Sports Association's playground in Kathalguri. The unexpected touchdown turned an ordinary morning into a community spectacle. As word spread, scores of students and villagers gathered to witness the rare sight of a military helicopter parked in their neighbourhood. What could have been a tense moment quickly transformed into a cheerful photo opportunity, with locals lining up to take selfies and group pictures against the unusual backdrop. Social media was soon flooded with images, turning the incident into a viral moment. "We were just heading out when we heard the helicopter approaching. At first, we were worried something serious had happened, but the crew remained calm and professional. They assured us it was a minor technical issue and would be resolved soon. They were very kind and even posed for pictures with the children," said Annadeep Moran, a local resident who witnessed the landing. After nearly 50 minutes of on-site repairs, the issue was resolved, and the helicopter resumed its journey without further incident. While the Army has not released an official statement regarding the malfunction, sources said it was a minor glitch that was promptly fixed. The Cheetah helicopter, a light utility aircraft commonly used by the Indian Armed Forces, has long been a reliable workhorse in the northeastern region, often operating in difficult terrain and unpredictable weather conditions. Stay updated with the latest local news from your city on Times of India (TOI). Check upcoming bank holidays , public holidays , and current gold rates and silver prices in your area.
News18
9 hours ago
- News18
Why Did Japan Keep Netaji Subhash Chandra Bose's Death A Secret For 5 Days?
On August 23, Japanese agency Domei announced Netaji Subhash Chandra Bose's death, but doubts arose as Britain and intelligence agencies suspected a secret escape The Japanese government records indicate that Netaji Subhash Chandra Bose's plane crashed at Taipei's Toihoku Airport on August 18, 1945, and he succumbed to his injuries at a local hospital hours later. However, Japan kept news of his death under wraps for five days, raising questions about the secrecy. When the Japanese news agency Domei announced Bose's death on August 23, 1945, scepticism abounded. The Hindustan Standard, a Kolkata-based newspaper, reported the news with a London dateline in its August 24 edition. It mentioned that a Japanese news agency reported the death of Subhash Chandra Bose, stating that he suffered severe injuries in a plane crash and later died in a hospital. According to records, from August 18 to August 23, the news of Netaji's death was kept secret before being finally broadcast, raising questions about the reasons for this delay. August 18, 1945 Netaji Subhash Chandra Bose's plane departed for Sali Formosa at 5 am on August 18, reaching Taihoku (Taipei) airport by noon. The passengers had a light lunch before takeoff. Eyewitnesses report that as the plane lifted slightly from the Taihoku runway, it caught fire and crashed, breaking into two pieces. The Shahnawaz report states that the plane lost control after flying only 30–40 meters and fell from a height of about 50 meters in just three seconds. Bose, who was seated near the petrol tank, was immediately taken to the local military hospital. He arrived at the hospital around 3 pm with third-degree burns and in critical condition. His health continued to deteriorate, and by 7 pm, he became unconscious and slipped into a coma. He was reported to have died on the night of August 18. August 19, 1945 Colonel Habibur Rahman, a close associate of Subhash Chandra Bose, was with him at the time of his death. Rahman told the Shahnawaz Commission that local arrangements were made for the coffin, and the news of Bose's death was sent to Tokyo. It was communicated from there that a plane would be sent to transport his body, but this information was kept secret. On August 19, a telegram arrived at the hospital from the Imperial Headquarters of Japan confirming that Bose's body would be flown to Tokyo. His body was placed in a coffin in preparation for transport. August 20, 1945 Colonel Habibur Rahman told the Shahnawaz Commission that he wanted Subhash Chandra Bose's body to be taken to Tokyo to remove any doubts about his death. Bose's body was brought to Taihoku Airport on August 20 but remained there, reportedly due to unknown reasons. Colonel Rahman stated that the plane could not carry the coffin as it did not fit. Subsequently, instructions came from Tokyo to cremate the body locally. A death certificate was issued on August 20, citing severe burns and shock as the cause of death. By evening, the cremation took place at a temple adjacent to the hospital in Taihoku. The colonel added that Japanese authorities did not want anyone to be informed at the time about the identity of the deceased. August 21, 1945 Major Nagamoto of the Japanese Army told the Shahnawaz Inquiry Commission, 'On the morning of August 21, I reached the hospital at 8 am to take the Indian military officer with me. At the crematorium, I saw that the body had been completely burnt. Following Buddhist tradition, I collected the neck bone with a chopstick and placed it in a box, then gathered bones from all parts of the body. The Indian military officer assisted me. Once the small wooden box was full, it was closed and covered with a white cloth. We then went by car to Hongaji Temple, where a special ceremony was conducted that day." Colonel Habibur Rahman confirmed the same account before the commission. August 22, 1945 A meeting was held in Tokyo between senior military officials and the government to decide how Netaji Subhash Chandra Bose's death should be announced. It was agreed that the news should be conveyed by an officer of the Azad Hind Fauj. The Japanese were reportedly unsure about the timing of the announcement and whether the world would believe it. Ultimately, it was decided that an Azad Hind Fauj officer would be responsible for making the news public. August 23, 1945 On August 23, the Japanese news agency Domei (now Kyodo News) officially announced Netaji Subhash Chandra Bose's death. However, many, including the British government and its intelligence agencies, doubted the report, suspecting that the Japanese had allowed Bose to escape quietly before releasing the news. Alongside Netaji, the death of Colonel Sidei was also announced. The five-day delay in Japan's announcement of Bose's death remains a mystery. Key Questions That Emerged Why was Netaji Subhash Chandra Bose's name not recorded in the hospital register? Interestingly, even Colonel Sidei, who died alongside him, was also not listed. If Netaji died on 18 August, why did Japan not send any senior officials to Taihoku to confirm his death, despite his high status as head of the exiled Indian government? Why did Japan conceal Subhash Chandra Bose's death for five days? When the news finally emerged, even his close associates in Japan found it hard to believe. Why did the third Justice Manoj Mukherjee Commission report that no plane had crashed at the Taihoku airport from August 7 to October, despite claims of Bose's crash? The Commission also found that the names of Subhash Chandra Bose, Lieutenant General Sidei, and the pilots were missing from the funeral register (17–25 August), and no Japanese or Taiwanese newspapers reported the crash. It further concluded that the ashes at Tokyo's Renkoji Temple belonged to Japanese soldier Ichiro Okura, not Netaji. If Subhash Chandra Bose truly died in a plane crash, what purpose did Japan serve by keeping his death a secret? Their actions remain mysterious and suspicious. Click here to add News18 as your preferred news source on Google. Get breaking news, in-depth analysis, and expert perspectives on everything from politics to crime and society. Stay informed with the latest India news only on News18. Download the News18 App to stay updated! tags : air plane crash death japan mystery netaji subhash chandra bose secrecy view comments Location : New Delhi, India, India First Published: August 19, 2025, 15:47 IST News india Why Did Japan Keep Netaji Subhash Chandra Bose's Death A Secret For 5 Days? Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy. Loading comments...
Scroll.in
10 hours ago
- Scroll.in
From protecting honour of ‘fallen' royal families to a disappearing art form: The story of rafugari
For any piece of clothing to be loved and lived in longer, grandmothers used two methods of mending – invisible and visible – with their needle and thread or Bharati aunty's weapon soodhi dharam. Let us look at the first one, which was the chosen one, through a relatively modern Indian lens. Mending in the past was about wrapping a cloak of invisibility over the damaged and 'dishonoured' part of the fabric. Most women (and some men) in a family knew the basics of this technique that could revive their or their family's honour. But when this technique could not be perfected as a skill at home, experts were summoned. Local tailors worked on ordinary and everyday clothing – elementary repair like fixing tears, zips, buttons, seams and more. More skilled artisans called rafugars took over complex repair and revival of nostalgic, occasional or expensive pieces of clothing that were dunked in stories of honour or pride. Rafugars studied each textile or garment's patterns minutely and understood their emotional narratives, too. They used matching threads or pieces, sometimes removed from the piece itself (another example of organic reuse and recycle), to recreate a design that was symbolic of the individual's or the family's status, culture or clan. Rafūgari, the ancient form of darning, was prevalent in various parts of Central Asia, Iran, Samarkand and north India. It involved craftsfolk of Kashmir embroidering intricate designs on clothes and repairing antique shawls. It was an art form that was done precisely, slowly, mindfully and artistically, using two tedious techniques – patchwork and tana-bana – the former is applique using scraps of the base fabric for overlay defects and the latter is yanking threads off the textile to seal the hole. The repair now, in all its hidden glory, had to merge with the cloth and become almost invisible. The artists believed that the hallmark of a good rafu overlay was its specialty to blend into the background design so much so that even the maker himself (it was mostly men who would do this professionally with unsaid and unacknowledged help from the women in their families) should get confused where the damage was if asked to point out later. Rafu originally was more than just physical repair for the torn textile or clothing owner and the torn textile or clothing repairer. It was concealed healing that encompassed rebuilding memories and sometimes even honour. It held emotions and economy for both concerned. 'Fallen' illustrious families across princely states in India secretly repaired their wearable heirlooms to present a 'raised' and 'well-to-do' front to the outside world, even though they may have crumbled on the inside. The rafugars would be sworn to secrecy with the blue-blooded secrets stuck permanently like thorns in their throats and hearts. Even though the aristocrats sometimes denied connections with the rafugars or even their existence. These points, I remember, were raised by New Delhi-based textile artist, designer and researcher Priya Ravish Mehra at an exhibition. Mehra, who is unfortunately no more, worked extensively in this field. She called this group of artisans one of the most ignored and hidden lots, unfortunately laced with social shame that was not their own. When, in Hazrat Ganj, a busy market complex in Lucknow (Uttar Pradesh), I met zardozi artist and former rafugar Shahid bhai, who refused to be recorded or captured on video. He used to work full-time at a dry cleaner's shop mending formal clothing. He said, ' Maine zardozi ke saath rafugari Abba or apne Ustadji se sikha. Who bahut accha kaam karte the. Rafugari mein paise kam hain lekin sukoon milta hai. Kisi tute cheez ko sundar banana karigari hai. Bahut waqt lagta hai. Aaj-kal kaun paise deta hai us kaam ka? Turant se log naye kapde karidte hain. Utne hi paise mein naya milta hai na. Ya phir nayi embroidery kara lo [I learnt rafu along with zardozi embroidery work from my teacher and dad. They used to work perfectly. There is less earning in rafugari but it gives us peace of mind. To mend something broken and make it beautiful is an art. It takes a lot of time. Nowadays, who pays for such fine work? People buy new clothes immediately. You get clothes at the same cost. Why spend on repairing? Instead, most people get new embroidery done].' Speaking to Shahid bhai made me realise this invisible skill was revered but has become invisible today. It is sometimes forgotten in the name of fast fashion. Susan Strasser, a professor of history at the University of Delaware, in her book, Waste and Want: A Social History of Trash, traces 'progressive obsolescence' of clothing. According to her, before that (during World War I), clothing was repaired, handed down or recycled. Today, a tear here and there for us means a dash to the mall or a swish of the fingertip on our phone to buy new sets. We have no love lost for that old piece with a torn heart. It is here that I realise there is another angle to this story of torn clothing. Of late, the visible form of mending has gained stardom. The art of visible mending is about showing off the repair than hiding it. Many tag it as an act of pride. We love letting our tears and tears grow. We love meandering with it. Our heads are held high in the process. There is honour in flaunting torn clothing. Just like stretch marks, birthing scars or tattoos. Technically, mending using a needle and thread is a worldly act that sits on a fence with many views. It means repairing old clothes or textiles that have broken or lost closures, tears, tears, holes, stains, burns or defects to make them reusable, and even better than before. It connects art, craft, engineering, therapy, collectivism and even spirituality. Mending needs a few ounces of textile knowledge and science if one wants to do it perfectly like in rafu. Then we can shift this into the space of self-healing fabrics, which pops itself into textile engineering. Now, if done collectively with others, it can become therapeutic – a feel-good and a release. The idea has been discussed before: ''Why are you stitching flawlessly, alone?' Stitching collectively while sealing memories on kantha rids fear of imperfection'. It talks of how sisterhood or brotherhood of mending or stitching while co-creating textile art can be healing for the group. And when done with mindfulness individually, it can be meditative – like any other form of flow-based artwork. And finally, when the tear or tear is reimagined creatively as a design using other forms of art, it can be shoved into the basket of abstract or conceptual textile installation art with some profound, unspoken meaning tucked into its core. Quite like kintsugi, the Japanese art of repair using gold dust, which prolongs the life of a broken thing, shuns newness, embraces imperfections and, of course, saves money. Each piece always carries a story of the material object, the maker, and the emotion and connection of both. Mending anything (including clothes), on the other hand, in any part of the world, in both ancient and modern cultures, was initially need, life and driven by the local situation and not trendy or art-based unless it wanted to be so or was desired by the maker. And it stayed so till the industrial revolution and mass production changed everything – where everything was standardised and perfect. The change with time is: This love for perfection in earlier times made invisible repair a type of textile skill, while the love for imperfection today is making visible mending a form of textile art. T
