MGS is a historian who salvaged Kerala history from myths and legends, says KKN Kurup
was able to cherish echoes and ethos of leaders like K P Kesava Menon, K Kelappan, EMS and K Damodaran.
MGS arrived on the scene when the studies on Kerala were handled by experts in Malayalam, and scientific historiography was camouflaged by myths and legends. The unification of Kerala in 1956 inspired him to trace the history and culture of Kerala, reconstructing the later Chera Kingdom with exact chronology from different epigraphical relics. He mastered early scripts like Kolezhuthu and Vattezhuth and wrote his magnum opus 'Perumals of Kerala', a doctoral study under the guidance of Prof P K Narayana Pillai.
Indian History Congress was held at the fledgling Calicut University in 1974 with more than 700 delegates including top-ranking historians which was inaugurated by K P Kesava Menon. In fact, this meeting of scholars and teachers inaugurated an era of new learning, writing, and teaching of history. This trend could carry on to the present even after his career as chairman of Indian Council for Historical Research (ICHR).
I have seen many scholars in India and abroad who are specialised in their respective areas. But MGS was one who was able to share his ideas and knowledge in every channel of human creativity and intellectual achievements. For instance, MGS wrote a masterly foreword for my cultural anthropological work, The Cult of Theyyam and Hero Worship in Kerala (Calcutta, 1973).
In his early years he wrote poems, cultural articles and guided doctoral dissertations in different areas like traditional historical accounts to the Punnapra-Vayalar agrarian movement. Only a versatile genius can deliver such different goods according to the needs of the client.
I do remember his arguments in academic seminars, committee meetings and witnessed his true love and affection to the student community. He encouraged all, including outsiders, to freely air their views and was untouched by personal or academic rivalries. On one occasion he recommended a centre for Kayyur for Peasant Studies in Kasaragod.
At the same time, he could write an article for the public on the achievements of our Prime Minister Narendra Modi. Being highly influenced by the humanism of writer M Govindan in his youth, even in the career as an academician and administrator, he followed benevolent humanism and rationalism.
I have more occasions than any other academician to make him a role model, and evaluate him as a student, fellow delegate, speaker, writer, and researcher in different conferences in India and abroad. His academic experiences in Russia, Japan, the US and the Oriental Institute, London, were helpful to his colleagues, students and even the public.
MGS could shed light on Indian historiography and deconstruct the Euro-centric, colonial historical writing. William Logan had written in Malabar Manual about scholars who can be branded as 'Sons of Soil' who could write the scientific history of a region to help their historical progress and development. Surely MGS belonged to this category.
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Indian Express
9 hours ago
- Indian Express
John Abraham at Idea Exchange: ‘In the name of being secular, you can't be making controversial films. But biased films finding an audience is worrisome'
Actor-producer John Abraham on Tehran, his interest in geopolitics, the thin line between patriotism and jingoism and why the best films are coming out of the Malayalam industry. This session was moderated by Devyani Onial, National Features Editor Devyani Onial: You debuted in films in 2003. It has been a long journey… Devyani Onial: Your latest film, Tehran, on Zee5 is topical with all that has played out between Israel and Iran. But you also have a personal connection with Iran — your mother traces her roots to the country. Tehran came to me as a typically good guy India and bad guy Iran, and I said, hey, wait a second. So my father's a Malayali and my mother and my grandfather from my mother's side came from Iran. So obviously I said Iran can't look so bad. There has to be something nice about this country. So we wrote a story about Iran, Israel, India, and how India was affected by the whole Iran-Israel conflict. Of course, you had another player in Palestine, and not topically so, because this film was made way before the war. The war happened later and we said this is a very interesting premise, and how do we project this film? So we kept this film very neutral, we kept this film very true to what actually happened. It's not your typical patriotic film. It shows the good and bad that happened, that exists within this country, which we're very scared today to show in this kind of hyper-political atmosphere. Devyani Onial: There's a very thin line between patriotism and jingoism. Do you worry about crossing that line when you are making a film or acting in one? Yes, totally. What's very worrisome for me is that in the present political climate, when you make films that aren't really true to the grain of what's really secular, and they find a massive audience, that gets you thinking and worried. I'm not saying they're good or bad films. They're impactful films, which is why they worked. But then you wonder what your responsibilities are as a producer, as a filmmaker, as an actor. And I've chosen to take the path that's probably very real. I'm not right-wing. I'm not left-wing. I am apolitical in my views. I'll probably call myself a socialist capitalist. So I want to stick to the path that actually is true. Shubhra Gupta: You started with Jism and then you did Kabul Express, two completely different kinds of films. So my idea of looking at you as an actor was that you were actually looking at a spectrum from one to the other. And as a producer, you seem to have been an outlier. What are the things that you look for when you are looking to back a movie and when you're looking at acting? I think my career is defined more by my failures than my successes. I believe the films that have stood out for me are the ones that have failed, be it Water, Kabul Express, No Smoking (2007), Madras Cafe, even The Diplomat. I have understood that where I have a voice is when I'm an outlier, when I make the kind of stuff I want to. In fact, Vicky Donor was a film that no one wanted to touch but we made it with a lot of conviction. So that's one part of me. The other part of what you said was, yes, I do films that have a lot of action, that have a lot of testosterone. You fight, you break, you bang. You have a large audience for that. But what I am hoping for through my films is to marry craft with content. Right now, they're parallel streets. Shubhra Gupta: Not too many people will remember a film that you'd done, Viruddh (2005). There was a very interesting texture to your part. So would you look at those kinds of very specific, not so much action, but more emotional kind of roles now, going forward, given the fact that you are now being associated with this muscular, macho hero kind of films? I think it's the other way around where I was always associated with the muscular, macho image. I'll tell you where I get my feedback from. I get my feedback from when I travel on flights, because as an actor I am very insulated from people. So when I travel, the impression I get from an audience that sits next to me generally is that, we love the films that you're doing now, the stuff that you're doing now makes a lot more sense. So when we see a John Abraham film, we expect something different. So there's an honest attempt to… like I said, geopolitical stuff is something that's very close to my heart. Do I want to make films that are more thought-provoking? Yes, that's the idea. But does that mean I alienate and give up what has also worked for me? No, I won't. I would never be apologetic about it. So you have to draw that balance and do both. But in the process of doing both, you shouldn't end up making a mess. Divya A: I heard you once say that you have geopolitical anxiety. I think in this Trump era we all have it, maybe to some degree. But for you personally, where did this interest in geopolitics start from and how did it become an anxiety or something that consumed you because all your films are coming out of that space now? From childhood, we were always drawn to watching the news. With the advent of the internet, my interest in the geopolitical space kept growing. In fact, recently I did an interview with Oksana Boyko of Russia Today on the whole Russia-Ukraine conflict and then the bureau called me and said, 'How do you know so much about Russia?' So I think it's my Mallu roots of having something about a Marxist, politically. But I think it just adds to whatever I kind of enjoy indulging in. So, I have developed this fondness for space has always excited me. Rinku Ghosh: OTT came up as an alternative platform for content-driven films but now we see the same bigness of commercial cinema on it. Do you feel there has been a blurring of lines between OTT and the big screen? Second, you are championing causes like the wildlife reserve in Telangana. You have also taken up the Northeast United FC, promoting football. Do these pursuits keep you grounded or are you carving out a new path for yourself? The lines are blurred a bit. But if you ask me if there should be a demarcation, I don't think so. On the animal front, I campaign for the cause of animals across this country and I am going to continue to do so because I think they're voiceless and they need a voice and some of us are doing it. Some of us mean well for the cause and whether it's writing letters to chief ministers or whatever it takes, I will do in my capacity because if there's a calling in my life, it's for animals. Without offending any human beings, animals are very important to me. I am very passionate about football. I'm opening a 15-acre academy in Shillong, where we want to get kids aged eight to 10. We can get one Messi or Ronaldo in this world from India and that's my aim. Owning a team for the sake of vanity doesn't exist in my scheme of things. But again, I'm not that actor who's going to sit with black glasses in a stadium and just look around. I want to see results. Devyani Onial: Aamir Khan recently launched his film Sitaare Zameen Par on YouTube. What do you think of that model? I think Aamir is a flag-bearer for some of us. That said, films need to be on screen for a longer period of time. I understand that YouTube is a great disruptor, so that's great. But I question the window, I'm confused. I've just been hit by a truck. So I guess I'll wait and think about it. But I think it's a disruptor and I think he's done something very differently. So kudos to him. I think you've got another platform that people would be buying for tomorrow saying, if not XYZ, then you have another option, it's fantastic. Shiny Varghese: Your mom is from Iran. It has such a different history from what we see in Iran today. So do you have stories of that time that your mom has told you about? My mom has 21 cousins in Iran—in Yazd, in Shiraz. It has always been my dream to take mom there. Unfortunately, she has dementia now. She can speak Farsi and I think the most beautiful thing that I did was to learn the language for Tehran. Also, I think Iran is probably the most misrepresented country in the world. Culturally, artistically, they're so fantastically rich. You get some of the most beautiful films out of Iran. Shiny Varghese: There's a dialogue in Madras Cafe where the journalist says that just because I criticise what's happening around, it doesn't make me anti-national. Is that a statement the film was trying to make? If you see, in The Diplomat also, we've shown the good and the bad there (in Pakistan). You've got to be honest to your process, which is why I said what's really dangerous is that certain radical views are finding a massive audience. It's really scary. So it's important for us as filmmakers to get the right message across. I want to believe that India is a secular country, that we're a fantastic democracy, and I want us to stay that way. Devyani Onial: Addressing the media in 2023 after Pathaan's release, Shah Rukh Khan said that Deepika Padukone was Amar, he was Akbar and you were Anthony. That perhaps sums up the film industry and India in one line. But do you sometimes feel that idea is under assault? I don't think there's a secret about the fact that we're making our views very clear as actors and directors. So, yes, a lot of us pretend to be secular. That's very good. And as long as we pretend, it's also very good. And people who don't get the fact that we pretend, it's even better. So that's the way I put it. But, everybody is entitled to their view. And so do filmmakers, and if they have a particular view, then so be it. In the name of being secular, you can't just be making films that could possibly be controversial. But there are films that are openly biased that are finding an audience. That's what is worrying. That's all. So there's a difference between the two. Ivinder Gill: You said India is not really the good guy in Tehran. So did you face any regulatory hurdles because of that? Do you think that is the reason why the film did not get a theatrical release? I give all credit to the Ministry of External Affairs for viewing this film and for passing it because they've been fantastic. This is the kind of film you get into with your eyes open. And when you see the film, you won't find anything particularly controversial except for what's really happening in the world. So yes, we did face a lot of hurdles. But that's the idea, right? When you do something creative, when you want to make a statement, when you want to do something that you believe is different, you are going to face some amount of restriction. It goes with the territory. I'm not wearing it on my sleeve. I'm not complaining. It's absolutely fine. Devyani Onial: You have produced a Malayalam film (Mike, 2022) and you also have a writer's room in Kerala. Is this an exciting space for you? At least as of today, I think the best films in this country come from the Malayalam film industry. If you ask me who my favourite actor is I will say Mohanlal, by light years — I love Meryl Streep also! The industry is very brave. Look at Mammootty playing a politician, and then you find out in the film (Kaathal) that he's gay. I mean, it's brave for that man to do a film like that. So I thought that maybe I could borrow from some of their ideas. I set up a writer's room in Kerala and I said, listen, let's generate ideas out of there and see films that could be made nationally or only in Malayalam. I want to make all kinds of films but it's the right time to make good Malayalam films. Shubhra Gupta: When you are talking about films, in the last few years, and they have been solidly backed by propaganda, I'm just wondering whether filmmakers like you or other people, the pretend-secularists or actual serious secularists, can take that space that has been ceded? Absolutely. I know the industry. There's hope. There are very good people in this industry. There are very secular, fantastic people here that want the best for films, that want the best for society, that want the best for the country. So I have a lot of hope and a lot of faith. And we'll see it coming in the next few years, mark my words. Rinku Ghosh: You are a fitness icon. Everybody is looking for some tips from you. Can the 40-plus also start on a fitness journey? I'll start by saying this — the lady who trains with me in the gym is a 74-year-old woman with stage two cancer who has had chemotherapy. The point I'm trying to make is that there is no age to get fit. It's a mindset. A lot of women who feel post menopause life is over, please throw that out of your head. You can get fit at any point of time in your lives. Most of the people I train with or I train or I give advice to are women. Contrary to the image I have that I hang around with only dudes, I don't. I just speak about living a good life. If you want longevity, quality of life, you've got to eat the right things, think about the right things and be very, very disciplined.
The Hindu
16 hours ago
- The Hindu
Inaccuracies flagged in Class IV textbook
After an error in the teacher text for Class IV Environmental Science kicked up a row, inaccuracies in English and Malayalam Environmental Science textbooks for students have also been flagged. In the Malayalam medium 'Parisara Padhanam' textbook, Chapter II titled 'India Ente Rajyam' has an activity in which students have to write the names of the leaders related to certain facts. A query requires students to name the first woman president of the Indian National Congress with a descriptor terming her the 'Nightingale of India.' The answer would be Sarojini Naidu, but she was the first Indian woman president of the Congress. Annie Besant was the first woman president of the INC. Similarly, the textbook asks students to name the person who formed the Indian National Army and fought against the British with a descriptor that says 'Netaji.' However, Subhas Chandra Bose revived the INA; it was founded by Mohan Singh. A map of India too has inaccuracies, with Assam finding no mention. SCERT Director Jayaprakash R.K. says the errors in textbooks have come to their notice. For instance, the question on the Congress woman president inadvertently left out the word Indian. Again, the map did not leave out Assam; only its name went missing. Teachers had also been given instructions during their training regarding the errors that had cropped up. The printed textbooks, though, continue to carry the factual error. He said that usually when errors in textbooks come to their attention after printing, these are immediately corrected on the SCERT website. Teachers are then informed about it during their next cluster training. However, when the SCERT website was checked, it was found that the correction had been made only in the Malayalam textbook, while the English version still asked the name of the first woman to become president of the Indian National Congress, not the first Indian woman. Similarly, the Malayalam textbook online asks students to name the person who reorganised the Indian National Army and fought against the British, but English one does not mention reorganised; only that he formed the INA. Case of Assam The map in the Malayalam textbook online fails to mention Assam, though its capital Dispur is marked. Both Assam and its capital are marked in the English textbook. Dr. Jayaprakash reiterated that directions to make corrections in the text online had been given as soon as it came to the SCERT's attention. The Kerala School Teachers' Association alleged a deliberate bid to rake up a controversy. Necessary corrections had been made in the textbooks online, it said. Asked about steps to correct the errors in the printed textbook, organisation general secretary T.K.A. Shafi said an option was to make available to students the relevant pages with the corrections. It had been done in the past, but no such decision had been taken as yet, he said. Recently, the teachers' handbook for Environmental Science for Class IV had mentioned that freedom fighter Subhas Chandra Bose fled to Germany 'fearing' the British. After the sentence kicked up a storm, the SCERT corrected it.
Mint
a day ago
- Mint
Shashi Tharoor asks why Kerala didn't celebrate Janmashthami on August 16: No ‘different Christmas'
Congress leader Shashi Tharoor questioned on Sunday, August 17, as to why Keralites didn't celebrate Janmashthami on August 16. In a post on X, Tharoor said, "Yesterday, 16th Aug, 2025 (Saturday), was celebrated as Bhagwan Sri Krishna #Janmashthami across India — except in the state of Kerala!" He mentioned that the "Malayalam calendar shows this year's Janmashthami date as 14th Sept, 2025(Sunday), NOT yesterday." Tharoor asked people to "enlighten" him as to why this is so. "Surely even a Bhagwan can't be born on two different days six weeks apart!," he said. "Is there a case for rationalising the dates of religious holidays so that all adherents of a faith can celebrate with their fellow believers at the same time? After all, Keralites don't observe a different Christmas!," Tharoor noted. An X user explained Tharoor why Janmashthami in Kerala fell on a different date than rest of the country. He said, 'Most of India follows the Purnimanta calendar (lunar month ending with the full moon) or the Amanta calendar (lunar month ending with the new moon) for determining festival dates.' "Janmashtami, celebrating Lord Krishna's birth, is observed on the eighth day (Ashtami) of the Krishna Paksha (waning phase of the moon) in the month of Bhadrapada or Shravana, depending on the region," he added. The X user went on to explain that in Kerala, 'the Malayalam calendar (solar calendar) is used alongside lunar calculations, and local traditions also prioritise a specific astrological configuration of the Rohini Nakshatra (the star associated with Krishna's birth) or the precise timing Janmashtami's date is determined by the Ashtami tithi (lunar day) and the presence of Rohini Nakshatra at midnight, as Krishna is believed to have been born at midnight.' "In Kerala the presence of Rohini Nakshatra along with the Ashtami tithi is mandatory to determine the birthdate of Krishna whereas in other states it is not so," he added. Most parts of the country celebrated Janmashthami on August 16.
