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Time of India
4 days ago
- General
- Time of India
Tamil Nadu govt model school students turn silambam exponents at city expo
CHENNAI: Oothukolli, a poison-tipped dart propelled through a slender steel tube from Nilgirs, Bogu, a flute-like stick concealing a hidden blade from Kallakurchi, Kathivaal, a short sword echoing the grace of fencing blades from Kanyakumari, and Kavan, a sling that whips projectiles with deadly precision - Nagapattinam. These were among the many traditional martial art weapons from Tamil Nadu on display at a one-of-a-kind silambam exhibition held for the first time on Egmore Museum premises in Chennai by the state school education department. The event offered visitors a chance to see the artistry and ingenuity of Tamil martial heritage up close - from the beauty of a spinning staff to the stealth of a concealed strike. Silambam is not just about acrobatically twirling a five-foot staff cut from tree branches; it is the root from which much of Tamil Nadu's traditional combat forms and weapons evolved. To spread this message, the exhibition showcased the skill and knowledge of 39 presenters –– all students of govt model schools from across the state. These students, trained in Silambam three days a week beyond school hours, guided visitors through the weapons, explaining their origins, uses, and place in Tamil culture. You Can Also Check: Chennai AQI | Weather in Chennai | Bank Holidays in Chennai | Public Holidays in Chennai | Gold Rates Today in Chennai | Silver Rates Today in Chennai The crowd favourite was the Oothukolli, where a lightweight dart, sharpened to a fine edge and dipped in poison, is shot through a 40–50 cm steel tube. 'The flow is much faster with bamboo tubes,' explained Rathina Chandran, a Class XII student from Nilgiris Model School. The Bogu drew curious glances for its deceptive appearance-looking like a simple flute but hiding a concealed blade beneath its outer covering. 'This was used for carrying out sly attacks. I have read about these weapons in books, but seeing them up close was a different experience,' said Senthil Kumar, an aikido and silambam teacher from Chennai. Other displays bridged past and present, revealing how weapons like the Kathivaal resemble fencing swords, and the Kavan mirrors the modern-day slingshot. Visitors also watched live demonstrations featuring silambam staves, the whiplike Urival, and the dagger-like Katari. A panel discussion explored silambam's place in history and its potential for revival. 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. Get the latest lifestyle updates on Times of India, along with Happy Independence Day wishes , messages , and quotes !
Time of India
27-07-2025
- General
- Time of India
Here are some heritage trees of Chennai threatened by urban development and need conservation
You've probably passed by them countless times without noticing. But it's time to stop and look, as some of these indigenous heritage trees in Chennai are quietly vanishing from sight Once upon a time, before Madras became Chennai, these heritage trees indigenous to the landscape could be found in abundance in the city. Over the years, due to development projects and a lack of understanding of their ecological value, most of these were cut, and their numbers dwindled. 'Many are in unprotected public spaces and hence removed overnight. Ironically, a heritage tree, an etti maram, was removed for a parking lot in Semmozhi Poonga. A huge Brazilian ironwood tree was removed from Alwarpet for the metro rail project,' says T D Babu of Nizhal Foundation. Here are a few such trees left in urban public spaces, which need to be conserved for their ecological significance, rarity, and age. Vanni [or] khejri (Prosopis cineraria) The Marundeeshwarar Temple in Thiruvanmiyur is worth visiting just for a glimpse of this rare vanni or khejri tree, fenced in the corner. At least 100 years old, this drought-resistant deciduous tree has a deeply penetrating root system. 'It is the tree of palai (drought area) which is interspersed in the mullai landscape. In the Guindy forest, you can find a few wild vanni trees, indicating a palai landscape. We lost one in Kalakshtetra campus, and the one at Marundeeshwarar might be the only one left in the core city. ' The species is of historical significance since 363 Bishnois sacrificed their lives to protect a grove of vannis in 1730 following the Khejarli massacre, he adds. It is the state tree of Rajasthan, as it has historically played a significant role in the economy of arid regions. A nitrogen-fixing species, it is host to lac insects. It is believed that the Lord appeared before Agastya Muni and explained to him the formulae of various herbs under this particular tree. Nunnera [or] button tree (Anogeissus acuminata) Step inside the Egmore Museum compound, and on your way to the museum theatre, you will find this tree on your left. The nunnera often grows on rocky soils where nothing else grows well and is highly tolerant of dry climates. It's a preferred species for reforestation and a source of fuel, fodder, gum, tannin, and timber. The timber can be used for making tools and furniture. There is one more at the Tamil Nadu Medical Services Corporation Limited on Pantheon Road. Mavalingam [or] sacred garlic pear (Crateva adansonii) On the left-hand side of the Gandhi Mandapam bus shelter is this Mavalingam. A drought-hardy tree frequented by birds and butterflies, it grows even in rocky soils. 'It was abundant in Chennai's wetland areas like Pallikaranai and Guindy. Recently, a huge tree was felled to construct a memorial for Rettamalai Srinivasan, and large numbers of mature trees were felled to widen the Pallikaranai road near Tamarai Kulam. A lone tree is left near the entrance of the Appasamy building,' says Babu. It loves sunny weather and blooms profusely in congenial soils. Mavalingam is considered sacred in Hinduism. Purasu [or] flame of the forest (Butea monosperma) Right next to the Gangadeeswarar Koil at Purasawalkam is this purasu tree. Purasawalkam is said to have been full of these trees, which is why the name, but not many are left now. The bright red flowers could make entire mountain ranges appear to be on fire, hence the English name 'flame of the forest'. Purasu is a pioneer species — the first to grow in gaps in the forest — and tolerates nutrient-poor, waterlogged soils, as well as heat and drought. The leaves grow in triads and are said to represent Brahma, Vishnu, and Siva. The tree is called Kimshuka in Sanskrit, referring to the curved parakeet-shaped flowers. 'Its leaf litter can convert saline lands fertile and hence it's of high ecological significance to a coastal city like Chennai,' says Babu. Thumbili [or] black and white ebony (Diospyros malabarica) Pass by the TN Highway Department depot at Nandanam, and you will find this tree with distinct pink leaves jutting out. Thumbili is a characteristic riparian species often found along hilly streams, and the bark extract can be applied to boils and tumours. The leaves are used for black dye, while the hardwood is used for furniture. 'The tree is 100 years old, and maybe just a couple of them are left in the core city,' says Babu.
New Indian Express
26-07-2025
- Politics
- New Indian Express
AP seeks Centre's help to bring back Amaravati Buddhist artefacts from UK
GUNTUR: In a bold cultural reclamation move, the Andhra Pradesh government has formally urged the Centre to help bring back centuries-old Buddhist artefacts from the British Museum and Indian institutions, marking a renewed push to restore Amaravati's lost heritage as the State reimagines its capital. In a letter dated July 19, Ajay Jain, Special Chief Secretary, Youth Advancement, Tourism and Culture Department, requested the Ministry of External Affairs to initiate talks with the UK for the return of over 130 Amaravati limestone sculptures currently housed in the British Museum. These include rare dome slabs, railing pillars, and Jataka panels dating as far back as the 2nd century BCE. The artefacts trace back to the great Amaravati Stupa, built during the reign of the Satavahanas, who ruled the Deccan between the 1st century BCE and 3rd century CE. Known for its refined relief carvings depicting the life of the Buddha, and early Buddhist symbolism, the stupa was one of the most sophisticated centres of Buddhist art in India. Many sculptures were removed during the colonial rule, first documented by Colin Mackenzie in 1797, and later systematically excavated by the British officials. By the late 19th century, several prized pieces were transported to London, and others to the Egmore Museum in Chennai. Today, the British Museum's Gallery 33A houses a globally renowned collection of Amaravati artefacts. The AP government also asked Tamil Nadu to expedite return of nearly 500 Amaravati-origin pieces from the Egmore Museum.
New Indian Express
05-05-2025
- Politics
- New Indian Express
Andhra Pradesh government pushes to reclaim Amaravati artefacts
GUNTUR: As Andhra Pradesh revives its plans for a world-class capital at Amaravati, the state is also setting its sights on reclaiming a rich cultural heritage scattered across the globe. Ancient Buddhist sculptures and artefacts originating from Amaravati — once a thriving centre of Buddhism and the Satavahana dynasty — are currently housed in museums in London, Chennai, Kolkata, Delhi, Germany, and the United States. The AP Department of Archaeology and Museums has submitted a comprehensive report to the State government, highlighting the historical significance of bringing back these artefacts, some dating to the 2nd century BCE. Many of these pieces — including stone slabs, relief panels from the Amaravati Stupa, and depictions of the life of the Buddha — were moved during British colonial rule. By 1885, hundreds of Amaravati artefacts had been transferred to the Egmore Museum in Chennai. The British Museum in London houses over 130 of these objects in its Gallery 33A. Others remain in national institutions across Hyderabad, Delhi and Kolkata. 'Amaravati's legacy doesn't belong in fragments across continents. It belongs here, where it was born,' said Dr Jasti Veeranjaneyulu, Chairman of the Amaravati Development Committee and Vice President of the All India Panchayat Parishad. He has been advocating for the return of the artefacts for over a decade. CM N Chandrababu Naidu had previously taken up the issue, including a visit to the British Museum during his earlier tenure. Plans are now being considered to set up an international-standard museum in Amaravati to house and exhibit the reclaimed pieces. Officials believe this effort will not only restore cultural continuity but also enhance Amaravati's global identity as an artistic hub. 'Reclaiming this legacy isn't just about artefacts—it's about identity, pride, and historic justice,' he said.
Yahoo
15-03-2025
- General
- Yahoo
'Their untold stories need to be told': Teens capture India's labourers in pictures
The elderly woman gazes wistfully into the distance, her hands curled over a basket of tobacco, surrounded by the hundreds of cigarettes she has spent hours rolling by hand. The photograph is one of several snapped by student Rashmitha T in her village in Tamil Nadu, featuring her neighbours who make traditional Indian cigarettes called beedis. "No-one knows about their work. Their untold stories need to be told," Rashmitha told the BBC. Her pictures were featured in a recent exhibition about India's labourers titled The Unseen Perspective at the Egmore Museum in Chennai. All the photographs were taken by 40 students from Tamil Nadu's government-run schools, who documented the lives of their own parents or other adults. From quarry workers to weavers, welders to tailors, the pictures highlight the diverse, backbreaking work undertaken by the estimated 400 million labourers in India. Many beedi rollers, for instance, are vulnerable to lung damage and tuberculosis due to their dangerous work, said Rashmitha. "Their homes reek of tobacco, you cannot stay there long," she said, adding that her neighbours sit outside their homes for hours rolling beedis. For every 1,000 cigarettes they roll, they only earn 250 rupees ($2.90; £2.20), she told the BBC. In the state's Erode district, Jayaraj S captured a photo of his mother Pazhaniammal at work as a brick maker. She is seen pouring a clay and sand mixture into moulds and shaping bricks by hand. Jayaraj had to wake up at 2am to snap the picture, because his mother begins working in the middle of the night. "She has to start early to avoid the afternoon sun," he said. It was only when he embarked on his photography project that he truly realised the hardships she has to endure, he added. "My mother frequently complains of headaches, leg pain, hip pain and sometimes faints," he said. In the Madurai district, Gopika Lakshmi M captured her father Muthukrishnan selling goods from an old van. Her father has to get a dialysis twice a week after he lost a kidney two years ago. "He drives to nearby villages to sell goods despite being on dialysis," Lakshmi says. "We don't have the luxury of resting at home." But despite his serious condition, her father "looked like a hero" as he carried on with his gruelling daily routine, said Gopika. Taking pictures with a professional camera was not easy initially, but it got easier after months of training with experts, said the students. "I learned how to shoot at night, adjust shutter speed and aperture," said Keerthi, who lives in the Tenkasi district. For her project, Keerthi chose to document the daily life of her mother, Muthulakshmi, who owns a small shop in front of their house. "Dad is not well, so mum looks after both the shop and the house," she said. "She wakes up at 4am and works until 11pm." Her photos depict her mother's struggles as she travels long distances via public buses to source goods for her store. "I wanted to show through photographs what a woman does to improve her children's lives," she said. Mukesh K spent four days with his father, documenting his work at a quarry. "My father stays here and comes home only once a week," he said. Mukesh's father works from 3am till noon, and after a brief rest, works from 3pm to 7pm. He earns a meagre sum of about 500 rupees a day. "There are no beds or mattresses in their room. My father sleeps on empty cardboard boxes in the quarry," he said. "He suffered a sunstroke last year because he was working under the hot sun." The students, aged 13 to 17, are learning various art forms, including photography, as part of an initiative by the Tamil Nadu School education department. "The idea is to make students socially responsible," said Muthamizh Kalaivizhi, state lead of Holistic Development programme in Tamil Nadu's government schools and founder of non-government organisation Neelam Foundation. "They documented the working people around them. Understanding their lives is the beginning of social change," he added. Follow BBC News India on Instagram, YouTube, X and Facebook.
