Latest news with #Theyyam
The Hindu
30-05-2025
- Politics
- The Hindu
Theyyam museum to come up at Kadannapally
A museum dedicated to preserving the ritualistic art of Theyyam without compromising its spiritual and traditional values will be established at Chanthappura in Kadannapally - Panapuzha grampanchayat, Minister for Registration, Museum and Archaeology Minister Ramachandran Kadannappally has said. Inaugurating the Theyyam museum project on Thursday, the Minister said that the museum was aimed at portraying Theyyam as a purely ritual art form. He added that the museum's design and narrative had been finalsied after in-depth consultations with Theyyam practitioners, ensuring authenticity and cultural integrity. The project, originally proposed during the tenure of the first LDF government, faced delays due to technical issues, despite land allocation by the Public Works department and detailed planning. It was revived later with a fresh administrative santion of ₹7.96 crore. The construction has been entrusted to Uralungal Labour Contract Cooperative Society, with ₹1 crore already disbursed as mobilisation advance. The Minister called for the timely completion of the museum, highlighting the importance of preserving Theyyam in its true form. MLA, presided over the function. Rajmohan Unnithan, MP, and former MLA T.V. Rajesh were the chief guests. Museum and Zoo department Director P.S. Manjula Devi presented the project overview.
Nylon
20-05-2025
- Entertainment
- Nylon
Interview with Leica photographer, Laxmi, on her incredible photo exhibition that showcases photos of three major festivals in India
Leica Singapore presents one of the most captivating photo exhibitions ever, featuring three major festivals in India, photographed by Laxmi using Leica cameras. The pictures speak for themselves; they are colourful, they evoke emotions, and more than anything, they are thought-provoking, making you wonder how these photos were achieved and the blood and bruises that went into creating them. We had the privilege to speak with the photographer Laxmi, about her pictures, and the meaning behind them. Laxmi Kaul, photo courtesy Leica Singapore. NYLON: What is this exhibition about? LAXMI: Utsav is my love story with India — with its sacred festivals, its deep-rooted traditions, and the people who live them fully. For over a decade, I've immersed myself in documenting three of India's most powerful spiritual festivals: the Kumbh Mela, Holi, and Theyyam. Each one is different in sound, rhythm, and energy — but they're all anchored by one thing: undying faith. If there is no undying faith, there will be no festivals. The photos in this exhibition are basically an amalgamation of three very major festivals that are held; one being the Kumbh Mela, which comes once every 12 years. Then there's Holi — a festival of colours, which happens every year. And Theyyam is another festival down south. The other two are up north in India. The Leica Gallery at Leica South Beach Quarter, featuring Utsav – India in Celebration, a photo exhibition by Laxmi. Photo courtesy Leica Singapore. Each festival is very different in its own way. But the one anchoring point for all the festivals is basically faith. And faith, to me, is a very deep subject. Everybody has their own faith, and everybody likes to follow their own faith in their own way. Faith manifests in different ways, so these are just manifestations of faith in different ways; one with colour and dance, one with taking a dip in the holy rivers and believing that you will get purified and you will be closer to salvation in the journey of your spiritual life… Photo by Laxmi, used with permission. N: What made you want to photograph all these festivals? L: This wasn't a pre-planned project. I didn't start with a roadmap or even a destination. I followed instinct, emotion, and curiosity. What began as something deeply personal — a need to witness, to understand — quickly became something far bigger than me. Photo by Laxmi, used with permission. I photographed the mass pilgrimage of the Kumbh Mela, where millions gather to bathe in sacred rivers. I stood in the explosion of colour and chaos that is Holi. And I was drawn to the trance rituals of Theyyam in the south, where men transform into deities through ancient performance. But more than the spectacle, what moved me was the quiet in-between moments; I didn't want to just photograph the chaos — I wanted to find tenderness within it. I searched for the stolen glances, the sacred silences, the rituals happening quietly behind the noise. The truth of these festivals lives in those moments. Photo by Laxmi, used with permission. At the heart of every image I made is faith. Faith in something larger, something unseen — and deeply felt. Photo by Laxmi, used with permission. If there is no faith in people, That belief is still important; it's very relevant. Photo by Laxmi, used with permission. And if you're not going to hold on to our past, what are we going to show our kids and what are we leaving for them? We're leaving only technology and social media, and that's about it. What about our roots? What about our culture, whether it's Indian, Chinese, Thai, be it anywhere in the world; even Christian or Muslim — what are we leaving for them? I want to leave something. I want to leave a footprint behind for people to know that, okay, maybe 50 years down the line, there's no more Holi celebrated; but look, these are the pictures. This is how it used to be. This is my documentation. This is my love. This is the oxygen that flows through my veins. N: How long did it take you to shoot all the photos in this exhibition? L: This exhibition was shot over a decade starting in 2013. Photo by Laxmi, used with permission. N: What were some of the challenges that you faced while shooting these pictures? These spaces were not easy to navigate, especially as a woman. Often, I was the only female photographer in intensely male-dominated environments. I was met with suspicion, resistance, and in some moments, outright hostility. I felt violated. I cried. I broke down. But I stayed. I had to. If I walked away, what message would that send to the women coming after me? Photo by Laxmi, used with permission. Photo by Laxmi, used with permission. Photo by Laxmi, used with permission. Photo by Laxmi, used with permission. N: What gear did you use to create these photos? L: My Leica cameras were more than tools. They were companions — extensions of my presence. Whether it was the weatherproof SL during Holi, the intimacy of the M10 with my favourite 50mm lens, or the agility of the Q and Q3 — I shot openly, vulnerably. I never shielded the gear — or myself. I leaned in. For Holi, I used the Leica SL a lot because it's all weatherproof. I also used the Leica M10. I was wearing a raincoat, and I would open the zip and quickly take the M10 out and take a picture and put it back in, just to conceal it. Portraiture has always been the soul of my work. I gravitate to the 50mm because I crave connection — eye to eye, human to human. When the space got tighter and the crowds closed in, I adapted. I went wide. I moved quickly. But always with intention, and always from the heart. Photo by Laxmi, used with permission. But because it's Holi and it's such a large scape, I did shoot with the 28mm lens a lot. [Compared to the M], the SL, of course, is a bit more lenient. I had the 24-70 lens so it gave me a little bit more breathing space so I could be a little further away from the line of fire, and the men getting upset about a woman being there. I could move away and zoom in and use the 70 and shoot. The Leica Gallery at Leica South Beach Quarter, featuring Utsav – India in Celebration, a photo exhibition by Laxmi. Photo courtesy Leica Singapore. I don't go to take photographs. I go to feel. My camera is not just how I see — it's how I listen. The photostories in this exhibition, Utsav, have been unfolding since 2013. This is not just a collection of images. It's a testimony — of identity, of belief, of survival. These traditions are fading, slipping through our fingers. If we don't preserve them, what are we leaving behind? Algorithms? Filters? Noise? Where are the roots? These images are my offering. My proof that this existed. That it mattered. They are not perfect pictures. They are lived truths — of devotion, surrender, resilience. This is the story of faith. The story of people. And through it, I found not just their soul, but my own. Laxmi Kaul's Photo Exhibition, Utsav – India in Celebration runs from 16 May to 30 July 2025 at Leica South Beach Quarter (located at 36 Beach Rd, #01-01 South Beach Quarter, Singapore 189766).
Indian Express
17-05-2025
- Entertainment
- Indian Express
Young Malayali ‘chenda' artiste gives percussion twist to Rahat Fateh Ali Khan's ‘O Re Piya', video goes viral
A young percussionist from Kerala is winning hearts on the Internet with her cover of O Re Piya, played on the traditional chenda, a percussion instrument unique to Kerala, with roots that stretch back several centuries. The chenda, a cylindrical drum widely used in Kerala's temple festivals and classical art forms like Kathakali and Theyyam, isn't often heard in Bollywood covers. But Instagram user Samveda M V has changed that with her striking performance of the Rahat Fateh Ali Khan song from the 2007 film Aaja Nachle. In the video, Samveda brings the soulful melody to life using sharp, syncopated beats on the chenda, creating a unique fusion that has impressed social media users. Shared on her handle @samveda_mv with the caption 'O re piya. Please do ignore the flaws,' the video has clocked 2.8 million views and over 4.3 lakh likes. A post shared by SAMVEDA M.V. (@samveda_mv) The performance has earned Samveda an outpouring of praise. One user commented, 'Woowwwww girlllllllllllllll….this made me reallllly sooo happyyyyyyy Keeeeep goinggggggg.' Another user said, 'This is talent.' One Instagram user wrote, 'Those who liked it after seeing this should see the rest of the post as well. This will hit the first million.' A lot of other users reacted to the video with heart emojis and clapping emojis. Samveda regularly shares performances of her blending the classical percussion instrument with popular songs. Her skillful use of the chenda, an instrument typically played by male artistes during temple festivals and rituals, is being lauded for bringing visibility to Kerala's folk traditions. Recently, a talented flautist named Mehboob, from Rajasthan, captured the hearts of many with his impromptu performance at the Raipur airport. He skillfully played a beautiful rendition of Teri Mitti by B Praak and Arko from the movie Kesari. The video quickly went viral.
Express Tribune
10-03-2025
- Entertainment
- Express Tribune
Hanumankind's 'Run It Up' is made in India, for India
Rapper Hanumankind, born Sooraj Cherukat, has unveiled his latest single Run It Up, marking his return after the success of Big Dawgs in 2024. Released on Friday, Run It Up sees Hanumankind collaborating once again with producer Kalmi and director Bijoy Shetty, the creative team behind his previous hit. It is difficult to sit still once you hit play on Run It Up. The track is a vibrant fusion of rap and hip-hop with traditional Indian cultural elements, particularly from the rapper's native Kerala, adding an unmistakably distinct Indian flavour to the composition. In particular, the song's production incorporates the dull yet sonorous rhythmic beats of the chenda, a traditional cylindrical percussion instrument, adding an even background beat to Hanumankind's impeccable flow. At the lyrical end, Hanumankind delivers rapid-fire verses that invoke the ambition, resilience, and cultural pride that Kerala is home to. The singer packs a powerful punch with just the first verse, "We dealing with things you ain't seen before / We feeling the weight of our ancestors." He goes on to emphasise the tough lives dealt to his people and the beauty they have churned from them, "We went from nothing to something / Got all of them jumping / To shit that we made from the air." As the verses follow one another at a steady but speedy pace, the chorus turns down the noise, except the background percussions, and the singer looks into the camera and chants, "Run it up, the sun is up / To when it's down, get ya money up / I put money down on all of us / On my people now, on what I love". Otherwise level, the rhythm opens a clearing at about the mid-mark of the song as Hanumankind takes a few breaths, adding a complex earthiness and humanity to the music. In a few seconds, the beat picks up again as the artist sings, "We go from angry and mad to angry and glad to find a solution for us / We go from sorry and sad and to ready to grab our weapons and get to the front." This breather marks, perhaps, my favourite section of the song as it juxtaposes beautifully with an onslaught of verses after it, foregrounding the song's drum beats and temple-like ringing bells, which only end abruptly with the song. The accompanying music video is a visual celebration of Southern India's rich cultural heritage. Directed by Shetty, the rust-hued video is an ensemble of a variety of traditional Indian art forms and martial arts. Notably, it features Kalaripayattu, one of the oldest martial arts originating from Kerala, known for its strikes, kicks, grappling, and weaponry techniques marrying beautifully with the incredible energy of the song. Coupled with the frenzy of martial arts, the video also highlights Theyyam, a ritual dance form from Kerala characterised by elaborate costumes and face painting, and Kathakali, a classical dance-drama known for its intricate storytelling and vibrant makeup, adding colour to the song canvas. Other cultural elements in the music video include Garudan Thookkam, a ritual art form involving performers dressed as eagles, and Chenda Melam, traditional percussion beats. In making this song, Hanumankind lives up to the cultural pride he sings about while pushing creative boundaries, blending modern urban imagery and traditional motifs. Run It Up pulses with an energy that transcends borders, drawing listeners in with its deft fusion of traditional Indian elements and contemporary hip-hop. The track's resonance isn't limited to a single geography - it's a statement in a growing wave of desi rap that refuses to be boxed in. Hanumankind channels regional textures, but his flow, production choices, and lyrical dexterity ensure the song speaks to a much wider audience. Fans have responded enthusiastically, praising its dynamic production and the way it seamlessly blends cultural touchpoints without feeling constrained by them. In a scene that is increasingly global, Run It Up asserts itself as a track that isn't just representing, but expanding the conversation. Run It Up is available for streaming on major platforms, including Spotify. The official music video can be viewed on Hanumankind's YouTube channel.
