Govt Circular On Muslim Marriages Kicks Row In Kerala

By Shiva Menon / Trivandrum

A government official circular in Kerala directing local bodies to register marriages of Muslim girls above the age of 16 and men who have not attained the age of 21 years has kicked up a row in Kerala. The circular, issued by Administration Department, directs secretaries of civic bodies to register marriages of Muslim girls and men who have not attained the mandatory age limit of 18 and 21 respectively on production of a certificate from the religious regulatory institution.

Exclusive Interview-'Ready To Return Whenever Govt Wants Me': Dr.Zakir Naik

By M H AHSSAN | INNLIVE

Controversial preacher Zakir Naik has said he is wil ling to return to India “whenever the government or the agencies want me“. Last week, Naik had cited “travel plans“ and said he would come to India only next year. In an interview to INNLIVE from Jeddah, Naik said he was ready to face action if he had broken any law and challenged anyone to show he had attempted to disrupt harmony in India. 

OpEd: Indian Muslim Voters Do Not Behave Any Differently

By M H Ahssan / INN Live

If, and this is a big If, a Muslim Vote Bank (MVB) existed, it would reveal itself in even a cursory study of the constituencies where Muslims are in a position to determine the outcome of the elections. If it did exist it would be very easy to show how 10-12 per cent of the total electorate was behaving in a manner that was different from the general electoral trends. In fact, the existence of a disconnect between the electoral performance of the so-called non-Muslim seats and the so-called Muslim seats would be the clearest proof of the existence of such a vote bank.

Coin-Operated 'She-Toilets' Set To Make Swachch Mumbai

Back from a visit to Kerala, the first state to have such toilets, BMC officials plan to install coin-operated stainless steel toilet booths in the city in about a month’s time.

The she-toilets: With complete stainless steel 4X4 structures, she-toilets will have a coin-operated door, sanitary napkin-vending machine, incinerator to burn the napkins and auto flush.

These toilets will have aerobic or anaerobic bacterial tanks, which will process the solid waste and only liquid will remain.

BJP’s Expansion Drive Hits Resistance In South, East India

Party's membership drive gets lukewarm response in Kerala and Tamil Nadu.

The Bharatiya Janata Party’s quest to become the “largest political party on the planet” by 2016 appears to have hit a bump. While its membership drive has managed to enrol tens of lakhs in northern and western states, the response in the southern and eastern states has been tepid.

In over a month, the party has registered 21 lakh new members in Uttar Pradesh and 14 lakh new members in Delhi, according to party leaders. Twelve lakh people have joined it in Gujarat and 10 lakh in Maharashtra, they say.

ISLAMIC HERITAGE - PHOTO FEATURE

By M H Ahssan

From Kerala to Kashmir and from Tripura to Gujarat, India has a vast and rich heritage of Islamic architecture.



Taj Mahal, Agra, Uttar Pradesh, 17th century.

India is an enchanting land watered by the streams of compassionate philosophies since ancient times. Flourishing communities of the Islamic, Christian, Zoroastrian and Jewish faiths exist here. The Hindu, Buddhist, Jaina and Sikh faiths were born here. It has a great cosmopolitan heritage of culture and art.



The best-recognised monument in the Indian subcontinent is the Taj Mahal, the tomb of Arjumand Banu Begum (also known as Mumtaz Mahal), wife of the Mughal emperor Shah Jahan. He was also later laid to rest here. The pearly clarity of the white marble structure acquires different hues with the changing colour of light, from sunrise to sunset.

Although Mughal architecture of north India is famous, the fascinating richness of Islamic architectural heritage in other parts of the country is not so well known. The vastness of India's Islamic architectural heritage is unbelievable. India has more beautiful medieval Islamic architectural heritage than any other country. This is a fact which neither Indians nor the rest of the world is fully aware of.



QUTB MINAR, DELHI, early 13th century. In 1206, Mohammed Ghori was assassinated and his realm was divided among his slaves. One of them, Qutbuddin Aibak, assumed control over Delhi. He built the Qutb Minar near the Quwwat-ul-Islam ("might of Islam") mosque. One of the world's tallest minarets, it is 72.5 metres high.

It is a known fact that the most famous Islamic monument of the world, the Taj Mahal, is in India. But what is not equally well known is that one of the oldest mosques in the world is also in India, in Kerala. In fact, India has a vast and rich Islamic architectural heritage, from Kerala in the south to Kashmir in the north, from Tripura in the east to Gujarat in the west.



AGRA FORT, UTTAR Pradesh, 16th-17th century. Akbar, one of the greatest Mughal emperors (reign 1556-1605), was a brilliant intellectual and ruler. A remarkable monarch whose empire rivalled that of Asoka, he built a network of fortresses and palaces between 1565 and 1571. The first of these was the fort at Agra. His successors Jahangir and Shah Jahan added many sections within the fort. Here is a part of the white marble section of Agra Fort, which was built during the reign of Shah Jahan.

Islamic architecture is characterised by a few visible symbols. One is the arch, which frames the space; the second symbol is the dome, which looms over the skyscape; and the third is the minaret, which pierces the skies. Minarets were actually symbols in the middle of deserts. They represented fire, which was lit atop them to guide travellers. The dome represents the infinite and also the sky. As tomb architecture represents both the finite and the infinite, the dome has a very important role to play.



GATEWAY OF AKBAR'S Tomb, Sikandra, near Agra, Uttar Pradesh, 17th century. The impressive structure was built by his son Jahangir, who closely supervised the work, which was completed in 1613. Akbar did not impose his faith on his subjects. He forged matrimonial ties with Rajput rulers. Some of his closest confidants and advisers followed faiths other than his own.

Islam did not come to India from the north as is commonly believed. It came through Arab traders to the Malabar region in Kerala, and Muslims flourished as a trading community there. You can still see traces of that community amongst the Moplas of Kerala, who trace their ancestry to the Arabs.



ZIARAT OF SHAH Hamadan, Srinagar, Kashmir. In the mountainous kingdom of Kashmir, Islamic architecture was heavily influenced by ancient Hindu and Buddhist stone architecture. Wood was used extensively in the mosques and tombs of the Kashmir Valley. Shah Hamadan from Persia is known to have laid the foundations of Islam in the Kashmir Valley. The saint is deeply revered by the people. Built on the bank of the river Jhelum in Srinagar, the ziarat is a beautiful example of Kashmiri wooden architecture. It is in the ziarats of the saints of Kashmir that the people of the valley worship. Over the centuries, both Hindus and Muslims have equally revered the ziarats.

Since ancient times, India has had considerable trade contact with the Arab world. In the 1st century A.D., the Roman historian Pliny the Elder wrote about the existing routes to India and the July monsoon winds that traders used to catch to reach the Indian coast. He spoke about a ship that left the coast of Arabia and took 40 days to reach Muziris, which was then the name of present-day Kodungalloor.



GOL GUMBAZ, BIJAPUR, Karnataka, 17th century. The Gol Gumbaz, literally meaning "Round Dome", is one of the most impressive monuments in India. Built during the reign of Muhammad Adil Shah in the mid-17th century, it is the mausoleum of the ruler. It is one of the largest domes ever made in the world.

With the advent of Islam, Arab traders became the carriers of the new faith. The first mosque in India was built at Kodungalloor by the Chera King Cheraman Perumal in A.D. 629, within the lifetime of the Prophet. This is one of the oldest mosques in the world.



TOMB OF SHER Shah Suri, Sasaram, Bihar, 16th century. Sher Shah Suri (1486-1545) defeated the Mughal emperor Humayun in 1537 and created an empire. Even though he reigned only for five years, he laid the foundations of an Indian empire for later Mughal emperors. His lasting legacy is the Grand Trunk Road that he laid from Sonagarh in Bangladesh to Peshawar in Pakistan. Of Afghan origin, Sher Shah was born in Sasaram. His tomb is situated at the centre of an artificial lake. The location of the tomb in the middle of the water is a reference to Paradise with its plentiful waters, as described in the Quran.

Kayalpattnam is an ancient town about a kilometre from the mouth of the Tamiraparani river. Arab traders built the Kodiakarai Mosque here as early as Hijri 12, or A.D. 633. It is the first mosque to be built in Tamil Nadu and ranks among the oldest mosques in the world. Kayalpattnam has many other early mosques. In fact, Kerala on the west coast of India and Tamil Nadu on the east coast have numerous mosques, made through the ages. At Nagore, on the east coast, is one of the grandest dargahs ever made.



HUMAYUN'S TOMB, DELHI. It was built in the 16th century by Haji Begum, the emperor's eldest widow. It is closely related to the previous architecture of Delhi, of the 14th and 15th centuries.

Islam came to the north of India through different invasions, starting with the invasion of Mahmud of Ghazni, who came as far as Gujarat. Thereafter, there was the peaceful contribution of different Sufi saints, traders and other individuals who moved to the northern region of India because of political instability or dynastic changes that were taking place in and around Central Asia and Afghanistan at that time. Gradually, a small community developed and increased its strength once Turkish rule was established in north India.


JAMI MASJID, CHAMPANER, Gujarat, 15th century. A new capital was built at Champaner by Sultan Mahmud Begarha towards the end of the 15th century. The Jami Masjid is one of the most striking buildings here. The symmetrical appearance of the whole is enhanced by the exquisite details of its parts. The surface is profusely decorated with fine carvings. It is one of the most exquisite monuments of Gujarat.

The Quwwat-ul-Islam Mosque was the first mosque built in north India, in A.D. 1193. A number of Quranic verses are beautifully etched on the mosque. Some medieval writers say they are so beautifully carved that it looks as if they are written on wax.

MAHMUD GAWAN MADARSA, Bidar, Karnataka, 15th century. Founded in 1472 by Mahmud Gawan, the Persian minister of Muhammad Shah III, it was built by engineers and craftsmen from Gilan on the Caspian Sea. The structure closely resembles the madrassas of Persia and Uzbekistan.

The most impressive monument in the Qutb complex in present-day Delhi is the Qutb Minar itself. It was made in the early 13th century by Qutbuddin Aibak, the sultan of Delhi. At 72.5 metres, it is one of the tallest minarets in the world. The traveller Ibn Batuta, who came to India after journeying all over the Islamic empire, starting from Africa and covering Samarkand and Damascus, has recorded that nowhere in the world has there been a minaret as impressive as the Qutb Minar.



STONE JAALI, MOSQUE of Sidi Saiyyad, Ahmedabad, Gujarat, 16th century. One of the unique features of Islamic architecture in Gujarat is the use of intricate stone jaalis with exquisite carving. Naturalistic carvings of foliated designs with delicate leaves and shoots derive directly from earlier indigenous traditions.

Close to the Qutb complex is the tomb of Ghiyasuddin Balban, another 13th century ruler of Delhi. Balban ruled from 1266 to 1286. His tomb marks a very important development in the field of architecture. Before this tomb was built, a number of arches had been made in Indian Islamic buildings, but these were not “true arches”. In Balban's tomb, for the first time in India, a keystone, which is fundamental to the true load-bearing arch, was used at the top of the arch. Subsequently, the “true arch” began to be used in numerous structures across the country.



BIBI KA MAQBARA, Aurangabad, 17th century. The mausoleum of Emperor Aurangzeb's wife Rabia ul Daurani was built by her son Prince Azam Shah between 1651 and 1661. Set at the centre of a charbagh enclosure, the white marble mausoleum was inspired by the Taj Mahal. It is known as the `Taj Mahal of the Deccan'.

The Alai Darwaja was built by Allauddin Khilji as part of the extension of the Qutb complex in 1305. It is very fascinating from the point of view of architecture. In the 13th century, owing to Mongol attacks in West Asia and Central Asia, a large number of craftsmen had to flee from their lands. Many of them were given refuge in this part of India and were very fruitfully employed in the making of the Alai Darwaja. We see here the introduction of the horseshoe arch in Indian monuments.

The Deccan
Meanwhile, Islamic influence continued to grow further south, in the Deccan. The end of the 15th century saw the establishment of five sultanates in the Deccan: Ahmadnagar, Bijapur, Golconda, Bidar and Berar. The sultan of Bijapur was a descendant of the Ottoman dynasty of Istanbul. The sultan of Golconda was a Turkman prince who had taken refuge in India. The sultans were followers of the Shia sect of Islam and were close allies of the Safavid rulers of Iran. A distinct culture thus developed in the cosmopolitan community of the Deccan.


JAMA MASJID, JUNAGARH, Sourashtra, Gujarat, originally built in the 13th century. Junagarh is located at the foothills of the Girnar hills. The name literally means "old fort". The plan of this is in the Arab style, which was not repeated in Gujarat after its subsequent conquest by the Delhi Sultanate.
The streets of the Deccani sultanates were filled with Turks, Persians, Arabs and Africans. In India, the Deccan became the greatest centre of Arabic learning and literature. In fact, Iran and Central Asia only had single courts. If you were a soldier, a religious figure, an intellectual or an artistic person and you could not find a sponsor in what is now Iran or Uzbekistan, chances were that you could find some sort of patronage in the Deccan. Thus there was a continuous migration of people, ideas and artistic devices from the Near East to the Deccan.

A remarkable example of an architectural transplant from Central Asia is the madrassa of Mahmud Gawan, in Bidar, built at the end of the 15th century. It would be very hard to tell the difference between this and the madrassas of Uzbekistan or eastern Iran. The similarities between the two are not only in form or in other architectural elements such as corner minarets, the square courtyard in the middle and four great arched portals, but also in the decorations of the exterior with blue-and-white tiles.

Sultan Ibrahim Adil Shah II ruled Bijapur from 1580 to 1627. He was a contemporary of the Mughal emperor Akbar. A visit to his rauza, or tomb, is a pilgrimage for someone deeply interested in Indian art, for some of the finest miniature paintings ever made in India were made during his rule.



IBRAHIM RAUZA COMPLEX, Bijapur, Karnataka, 17th century. The monumental heritage of the Deccan is distinctive and quite different from that of the Mughals. The architectural styles that are seen in Bijapur, Bidar, Gulbarga and Hyderabad are closely related to those of Persia and Turkey. Ibrahim Adil Shah II ruled the kingdom of Bijapur from 1580 to 1627. He was one of the most humane and cosmopolitan kings in history. He was a magnanimous patron of the arts. Painting, poetry and music flourished during his reign. In his autobiography, the great sultan calls himself the "son of Ganesa", a Hindu deity.
The Gol Gumbaz in Bijapur is the tomb of Sultan Muhammad Adil Shah, who ruled from A.D. 1627 to 1657. This is the largest dome ever built in the Islamic world. It is the second largest dome in the world, after the one at Saint Peter's Basilica in Rome. It measures 37.92 metres on the inside.

The massive Bidar fort was built in the 14th and 15th centuries. It is one of the most formidable forts in the country. It has walls that run for 5.5 km around. Inside, it has beautiful palaces, two mosques, a madrassa, ornamental gardens and hamams.



TURKISH MAHAL, BIDAR Fort, Karnataka, 15th-16th century.
Timur, when he came to India, was struck by the beauty of its historical cities. In his autobiography, Malfujaate Taimoori, he says, “I ordered that all the artisans and clever mechanics who are masters of their respective crafts should be picked out from among the prisoners and set aside. And accordingly some thousands of craftsmen were selected to await my command. I had determined to build a Masjid-e-Jami in Samarkand, the seat of my empire, which should be without rival in any country. So I ordered that all the builders and stonemasons of India should be set apart for my own special service.” In some other records it is said that he took about 3,000 artisans from India and employed them in the construction of the Jami Masjid at Samarkand.

Mughal architecture
The dynasty founded by Babur became one of the greatest the world had seen. It ruled a vast empire whose fame spread far and wide. The culture and the art it created helped shape future developments in all spheres of life in the Indian subcontinent.

Humayun's Tomb, which might be considered the first great masterpiece of the Mughals, is very much related to the previous architecture of Delhi. It is closely linked to the Lodhi and Tuglaq architectures of the 14th and 15th centuries. Mughal architecture presents us with a fusion of local elements, building techniques, styles and traditions with imported traditions and styles. The genius of Mughal architecture is that it sustained this incredibly rich mingling of different traditions throughout its history.

Agra was the imperial capital of Akbar in the mid-16th century. The fort here was one of the most powerful in north India. In 1565, Emperor Akbar ordered the reconstruction of the fort. The fort has palaces of Akbar, Jahangir and Shah Jahan. The most prominent among all the structures are the white marble buildings of Shah Jahan. The Khas Mahal, made of pure marble, is one of these elegant buildings. It is flanked by the palaces of Shah Jahan's daughters Roshanara and Jahanara.



THE BIDAR FORT is one of the most impressive forts in the country. Completed in 1532, it was the largest architectural undertaking of the Bahamanid dynasty. It has palaces, two mosques, a madrassa and many royal tombs inside.

In 1571, Emperor Akbar decided to build a new capital city. And a magnificent city was built at a site not very far from Agra. It was called Fatehpur Sikri. This was Akbar's most ambitious architectural project. By the end of the 16th century, there were a quarter of a million people living in the new city.

In the building of Fatehpur Sikri, no cost was too much, no effort too great, for Akbar. He wished to build the city true to his conception. As a matter of fact, miniature paintings of that period show the emperor amidst the workers, supervising the construction of the city himself. Fatehpur Sikri is one of the best ordered and symmetrically laid-out cities of the entire medieval world.

The world's best-known tomb stands testimony to a timeless love story. The Taj Mahal was built in 1648 by the Emperor Shah Jahan in memory of his beloved wife Arjumand Banu Begum, known to the world as Mumtaz Mahal. The construction of the Taj Mahal was a stupendous engineering feat. It is built of marble and is finely inlaid with semi-precious stones. As many as 20,000 workers and master craftsmen laboured for 17 years to erect this magnificent edifice. Several hundreds of mosques and Islamic tombs of great beauty are spread throughout India.

Coming to the west of the country, in Gujarat is the World Heritage Site of Champaner of the 15th century. In the east there is the impressive Nakhoda Masjid and several others in Kolkata. There are famous dargahs in Hajo and other places in Assam. In the north-eastern region of India, in Agartala in Tripura is the beautiful Gedu Mia Ki Masjid.

In the mountainous State of Kashmir, Islamic architecture was influenced by ancient Hindu and Buddhist traditions. The resultant form was combined with influences from Persia and Turkistan. Wood was used extensively in the mosques and tombs of Kashmir.

India has a vast, living heritage of Islamic architecture. These monuments are a great treasure of India's culture and many of them are recognised as World Heritage Monuments. We see in these the confluence of local talent and inspiration from Iran, Arabia and Central Asia. These mosques, tombs, madrassas, palaces and fortresses are a unique heritage of Islamic architecture.

Kerala Raj: 'The Story Of A Constable Dubbed Super CM'

By Alok Tripathi / INN Live

Salim Raj, 42, is an ordinary constable in the Kerala Police and has been in custody since September 10 for allegedly attempting to kidnap a couple on a highway. Yet, it appears it is Salim Raj's raj in Kerala. The Kerala High Court says so.

Is Salim Raj, Chief Minister Oommen Chandy's former bodyguard, the state's real Chief Minister whom even the Director-General of Police fears, asked Justice Harul-ul-Rashid of Kerala High Court on October 1, while hearing petitions seeking CBI inquiry into a land grab case. Justice Rashid was particularly disturbed by the state DGP K.S. Balasubramanian, who received a complaint against Raj for alleged land grabbing and forwarded it to the Chief Minister instead of taking action.

THE CHILD 'MALNUTRITION HOAX' SURVEYS OF INDIA

By M H Ahssan / Hyderabad

The bad news for India’s jholawallas is getting worse. With every passing day, as more evidence pours in from the real world, it appears that the Food Security Bill—an act of faith for Sonia Gandhi and her NAC cohorts—will become a costly voter indulgence rather than a necessary antidote to extreme poverty and child malnutrition.

The stock myth our poverty-mongers have drummed up is that “malnutrition levels in India are worse than in sub-Saharan Africa.” Since this raises fears of children with sunken eyes and bow-shaped legs, opposing over-subsidised food for 65 percent of the population is a strict no-no for anyone with an ounce of conscience.

Special Report: Worshiped Inside Temples, But Mistreated Outside: The Fate Of Captive Elephants In India

WEEKEND KA TADKA: I recently visited a popular south Indian Lord Ganesha temple, Kottarakara Sree Maha Ganapathy Temple. What struck me besides the scorching summer heat, was the horde of devotees thronging the sanctum sanctorum with fervour. Murmured chants and prayers lent an other worldly feel to the atmosphere. Having sought my share of the Lord’s blessings, I ventured outside to explore the premises of the temple.

Outside the main entrance stood an elephant tethered to a tree, flapping its ears serenely, munching palm leaves and bananas. It was a majestic creature, easily the largest I had ever encountered, with its long trunk and gleaming tusks. A small crowd of excited onlookers watched with awe and took pictures from all possible angles.

AGAINST ALL ODDS: OF SPORTS, PASSION AND REALITY

By Venugopal / Kottayam

Meet M B Santosh, one of India's only three FIFA-accredited referees, who drives an auto-rickshaw and works as caretaker of an apartment in Kottayam, Kerala to support a family of five. Here, he shares the incredible story of his life and passion with INN.

A day in the life of Santosh, FIFA referee, at his hometown Kottayam, in Kerala Santosh is up and about early in the morning. He goes to the stadium ground for an hour of rigorous work-out; drops his daughter at school; takes out his auto-rickshaw and operates in the town for a few hours before reaching the Skyline apartments, of which he is the caretaker. He is back once again with the auto rickshaw in the afternoon; returns to the apartment in the evening and attends to the routine work there. Also takes up assignments as a personal driver on hire.

Opinion: 'Aadhar' To Cause 'Congress' Debacle In 2014!

By Purnachander Rao | Hyderabad

After getting the results of Assembly elections recently held in Delhi, Rajasthan, MP and Chhattisgarh were in the desired line. The results give an impression that people all over the country waiting for an opportunity to teach UPA and Congress party a lesson!

Few days back, just before the elections, when I reached Kerala from Delhi, my mother, a staunch Congress supporter, who never votes for any non-congress party or a candidate, told me that now she has to pay Rs. 1000 + for the gas cylinder. And she termed Aadhar linked direct subsidy as a foolish decision. Her comment is indeed in tune with the response of women living in the neighborhood. 

Splendor of the Spectacle

By M H Ahssan

A Scene from Nalacharitham-Nala and Hamsam (Swan) Kathakali, the classical art form of Kerala is a spectacular blend of dance, drama, mime and song and is over 300 years old. One can debate whether Kathakali is a stylized dance-drama or a pantomime or a classical ballet. Rabindranath Tagore was deeply impressed by the aesthetic range and the narrative techniques of Kathakali when Kalamandalam presented a program in Santiniketan. The great poet ranked it as the epitome of performing arts in India and included Kathakali in the curriculum of Viswabharati.  Kalamandalam Gopi-Scenes from the Kathakali "Subhadraharanam" (The Theft of Subhadra) Kathakali was given birth, nurtured, patronized, and increasingly refined by its traditional patrons—mainly the high-caste ruling and/or land holding extended families, especially titled royal lineages of Nairs (Kshatriya group engaged earlier in serving Royal families) and the highest ranking Namboodiri brahmins. Kathakali was born only in the 17th century. But in less than four centuries it grew up to represent as India's most trumpeted cultural heritage in all cultural arena abroad. Kathakali took its shape as it is today by the amazing amalgamation of four different dances. Kootiyattam - the most ancient Sanskrit dance drama of India and the only dance to receive the UNESCO award for "Masterpiece of the Oral and intangible heritage of humanity". The hand gestures of Kathakali are heavily drawn from Kootiyattam. Ramanattom - the real precursor of Katahkali invented by Kottarakkara Thampuran in South Kerala as a substitute for the dance drama 'Krishnanattom' that existed under the patronage of Zamorins of Calicut in North Kerala. Period AD 1660-1680 Chakyarkoothu - A fine blend of social satire, mime and comedy, the Chakyarkoothu is usually presented in the traditional temple theatre Koothambalam) Krishnanattom - It is based on `Krishnageethi’, a 17th Century Sanskrit work written by the Zamorin, Raja Manadeva, the story of Lord Krishna is told over eight nights. It is currently staged only in Guruvayur temple. It cannot also be denied that the divine martial art 'Kalarippayattu" and Malabar "Theyyam" (the most outstanding ritualistic dance form of North Kerala. The bizarre head dresses, costumes and body painting and trance like performances are simply spectacular) have played important roles in shaping the costumes and rigorous training requirements of Kathakali. Kerala Kalamandalam, the world renowned institution founded in 1930 by the great Malayalam poet Vallathol Narayan Menon and Mukunda Raja, located at Cheruthuruthy in Trichur district, gives intensive training in Kathakali to young aspirants. In Kalamandalam, Kathakali students are trained in such a way as to master the techniques first. Character-analysis and emotional identification are encouraged to be undertaken during successive stages of study according to individual preferences and leaving sufficient room for improvisation within the classical frame work. A complete art, Kathakali perfectly synchronizes on stage Nritta (pure dance), Nritya (ex-pressional dance), Naatya (histrionics), Geeta (vocal music) and Vaadya (percussion ensemble). It is a pantomime in which the performing artiste does not sing or speak. Kathakali characters communicate through the language of hand-gestures (over six hundred gestures are in use), body movements and facial expressions. Music is an essential ingredient of Kathakali and the Bhagavathar or the singer plays a key role in the staging of the art form. Kathakali is usually presented at dusk in the premises of temples, sometimes continuously for ten days, each night featuring an act of the play and lasting till day break. Kelikottu, an orchestration, announces the performance. The lighting of a huge Nilavilakku (A large bronze lamp) on the stage followed by the beat of Suddha maddalam (a percussion instrument similar to Mridangam) marks the ritualistic beginning of a Kathakali performance. A colourfully decorated piece of cloth called "Thirassiila" functioning as a curtain, movable to any part of the stage, is held by two persons just before the entry and exit of all main characters and on other specific occasions such as manifestation of deities. This is a traditional theatrical device to transcend time and space. The curtain is also used to signify the start and finish of each scene. The make-up of Hanuman Kathakali plays have their themes selected from the great Indian epics, Raamayana, Mahaabhaarata, and the Bhaagavata. Some of the most famous Kathakali stories include "Nala Chartitha' (Story of Nala), Kalyana Saugandhika (The search of Saugandhika flower and famous Hanuman-Bhima encounter), Keechkavadhom (The killing of demon Keechaka), Duryodhanavadhom (Killing of Duryodhana ) etc. Love, Separation, virtue vs vice, comic-relief, emotional struggles, gruesome-war and murder are common scenes in the Kathakali plays. In "The God of Small Things", novelist Arundhati Roy describes in vivid prose the ‘secret’ of these ‘Great Stories’ adapted for kathakali performance, and their popular appeal: "the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings. They don’t surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover’s skin. You know how they end, yet you listen as though you don’t. In the way that although you know that one day you will die, you live as though you won’t. In the Great Stories you know who lives, who dies, who finds love, who doesn’t. And yet you want to know again. That is their mystery and their magic." A scene from Nalacharitham (Story of Nala and Damayanthi) The padams (verses) in the text of the play is sung by the principal and supporting vocalists. Vocal musicians or Bhagavathars standing at the corner of the stage sing, the lead singer called Ponnani bhagavathar keeps time with a resounding gong called the Chengila. He is assisted by Shinkidi (Assistant)who plays a pair of Ilathalam (small cymbals). The dancers semiotically translate the songs into appropriate gestures, movements and ex-pressions. Chenda and Maddalam are the two major percussion instruments used in Kathakali. They provide audio effect to the performance by tracing the character behavior, which includes both the Aangika (gestural) and Saatvika (emotional) aspects of Abhinaya (acting). The Percussion artists have ample scope for improvisation in this dance. A strong and loud percussion instrument like "Chenda" yields in the hands of a maestro like Kalamandalam Krishnankutty Puthuval to depict the 'gentle laugh of a baby' or 'the snore of a demon'. All padams (verses) performed by the actor-dancers, constitute the ‘dialogue’ of the play, and occupy a majority of a performance’s duration. When padam are performed, the entire ensemble is involved as the lines are sung by the vocalists, the actor-dancers ‘speak’ each line with hand gestures as well as enact the narrative, and the percussionists set and keep the basic rhythmic structures and times within which the lines are sung/spoken/enacted. Each padam usually has three parts: the pallavi (refrain), anupallavi (subrefrain), and caranam (literally ‘foot’). While the anupallavi may be omitted from a padam, there are usually several caranam. It is in the performance of the padam that we encounter kathakali’s characteristic form of repetitious double-acting of each line of the text. As a general rule, each line of a padam is enacted at least twice by the actor-dancer while the line is sung repeatedly by the vocalists. Kathakali music belongs to the Sopana category of music which is typical of Kerala and is characteristically slow, strictly adhering to the thala (rhythm) giving full scope for abhinaya (acting). The dancer mimes according to the padams (verses) which helps the audience grasp the conversation, mood etc of each character on stage. The lead Bhagavathar plays a key role in a Kathakali performance. He is not just the singer, but also the manager of the entire show. As such he has sound knowledge of the story being enacted, the characters and all the verses. As the caretaker of the show he controls the length of each act according to its importance, and ensures that all equipment including weapons (wherever used) reach the stage on time. The ragas selected for each stanza would accentuate the mood of each section of the performance score; they increased the variety of rhythmic patterns and speeds used in performance, including slower tempos so that the action itself could be made more subtle and stylized. The singer also enjoys the freedom to manipulate the duration of each scene through his music. The two styles of Kathakali prevalent today are popularly known as 'Vadakkan Chitta' (Kalluvazhy or Northern Style) and 'Thekkan Chitta (Kaplingadan chitta or Southern style). It is said that the Southern one is "Lokadharmi' (Realistic Representation) and the Northern one is 'Natyadharmi' (Stylized Representation). This means that if one has to depict a monkey, the Northern style may go by its measured Mudra for a monkey while the Southern actor may show the gestures of Monkey for easy grasp by the audience. The credit for Northern style in standardizing the customs and rituals in Kathakali goes mainly to Kaplingattu Namboodiri. The southern style is more realistic and is characterized by rapid movements on stage, penchant for emotional drama, histrionics and humor during the improvisation mode or Manodharma and their affinity for elaboration of Puranas. The greatest Kathakali dancer of 20th century, the late Kalamandalom Krishnan Nair, was a unique blend of both these styles. It is vocalized that 'Bhava Abhinaya' is better in Southern style than in Northern style. The most dominant colour of 'Kathakali" is black or rather darkness. It is like a picture that takes the most spectacular image in the background of darkness. All its ethereal beauty vanishes as the day rushes in. That is what imparts a dreamlike quality to Kathakali. I cannot think of seeing a Kathakali during day. May be it is this aspect that grants this great spectacle an ephemeral quality - like an enchanting spectacle that vanishes before our eyes as the day breaks in. A Scene from Kalyana Souganthikam (Hanuman and Bhima. Hanuman returning the mace back to Bhima) The 'Aharya' (Sartorial or make up) aspect of this art is the most striking and stunning element of Kathakali. It must have been evolved after a careful analysis of ancient murals, sculptures and paintings. In Kathakali, the makeup creates a superhuman and celestial sensation and effect. Like a painting, Kathakali make-up and costuming is intricate, elaborate and colorful. It takes about three hours for an actor to transform into a full-fledged character with facial make-up, head-gear, ornaments and colorful costumes. The duration varies according to the character and complexity of the costume. Theppu is the first stage where the artiste himself applies the basic facial paintings. On this the Chuttikkaran (makeup man) puts the Chutti which forms the second stage of the makeup. The Chutti plays a crucial role in differentiating the characters and their personality and has the following basic classification: Pacha (green), Kathi (knife), Thadi (beard) and Kari (black). A Kathi Face-make up - Usually for Villians like Ravana , Keechaka etc. The absolute identification of the character with the actor is the lasting emotive influence of Kathakali in the viewer's memory. Kathakali dance is more emotive than any other classical dance due to its inherent freedom, built within its structure itself, which allows each actor ample opportunity for improvisation. Great actors often transcend the real legendary heroes and heroines they depict when they come on stage. Fortunately most of the 'Puranic' characters in our epics like Arjuna or Krishna convey a sense of infinity (One does not know where Arjuna or Krishna starts or where he ends) to the audience. This imparts a superhuman element to the visual image of the actor as if they are of celestial origin. Chuvanna Thadi (Red beard make-up intended for cruel characters like Dusshassana, Bali etc) The complete absence of Oral communication by the actor in this most communicative dance is a paradox in itself. A Kathakali actor creates mountains and rivers with astonishing felicity and dexterity by the swift and supple movements of his fingers and alternating facial expressions. It conveys a lasting impression that this mode of communication is far more savvy, lofty and peppy than the Oral. The only hitch is that the audience requires a certain amount of mental preparation, such as mastering of the meaning of mudras, to fully appreciate the subtleties of this dance. This then is the case with all arts such as Painting or Classical Music or even literature. Thus, Kathakali dance-drama is like a vast and deep ocean. Some may come to a performance with their hands cupped and only be able to take away what doesn’t slip through their fingers. Others may come with a small vessel, and be able to drink that: And still others may come with a huge cooking pot and take away so much more! Finally, one is reminded of the lines of WB Yeats when a great Katahkali actor mesmerizes the audience with his symphony of symbols to fashion the final fusion of the dancer with the dance: "O chestnut-tree, great-rooted blossomer, Are you the leaf, the blossom or the bole? O body swayed to music, O brightening glance, How can we know the dancer from the dance? "

How TN is Demolishing the Centre’s Cash Transfer Argument?

Tamil Nadu’s message to union finance minister P Chidambaram on Wednesday that cash transfers instead of PDS amount to escaping from public responsibility is a line that all chief ministers, including from the Congress ruled states, should take. Not based on populism or vote-bank politics, but evidence from the field.

Tamil Nadu’s finance minister O Panneerselvam had adequate reasons for his reservations. His state has a universal PDS system and doesn’t categorise people into BPL (below poverty line) and APL (above poverty line) when it comes to food security and hunger, as against the policy of the Centre.

Its PDS, despite all the inherent ills such as corruption, diversion and inefficiency, is a working model. The crowd at its shops ahead of this year’s Pongal festival was a testament of its utility to people.

Tamil Nadu has been a leader in universalising food distribution. Now, at least three other states are moving towards universal PDS, while three others want to make it more inclusive. Recently, Chattisgarh government passed its own right-to-food bill that in effect universalises its PDS. The Centre, given a chance, wants to do away with it and dole out cash.

This is where the Centre’s policy is at variance with what the states want or what the people want. 

Despite the initial hawkishness on cash transfer as the all encompassing panacea, the UPA government has gone more or less silent on the issue when it comes to PDS. However, if the states do not exert pressure, it might still take the trick out of its neo-liberal bag.

One of the key arguments for cash transfer instead of PDS is the reportedly limited use of the system by poor people and other defects such as pilferage, poor quality and services that deter the beneficiaries. The logic of supplies falling in to the wrong hands was used for targeting the beneficiaries — the introduction of APL and BPL categories — and restricting their entitlements.

Stating that half of the PDS-grains between 1971 and 2001 had been diverted and there were systemic problems with the system, the Planning Commission sounded absolutely certain that the PDS wouldn’t work.

The states, as well as advocates of universal PDS, in fact, have sufficient reasons to prove the Planning Commission and the Centre wrong.

Writing in People’s Democracy (the mouthpiece of the CPM), Archana Prasad presents evidence to show that coverage and efficiency improve as the system moves towards universaliation.

Based on a 2011 survey by economist Reetika Khera, she says that the expanded coverage in some states “has increased the efficiency of the PDS as it has reduced the diversion of PDS stocks.” Based on the national sample survey data, she says that “the diversion went down from 52 per cent in 2004-2005 to 11 per cent in 2009-2010, whereas in Orissa it went down from 70 to 30 per cent in the same period.”

Interestingly, the supporters of the cash-for-food, particularly Congress states such as Delhi, quote national sample survey data that suit them such as the incomplete coverage of the system. Instead of expanding the system to reach all the needy, when it actually starts working dramatically better, the Congress wants to abandon it altogether.

The biggest problem that deters the PDS is corruption, pilferage, diversion, poor weighing systems, irregular timings etc. What the system needs is reforms and not abandonment. Studies have shown that wherever the PDS is working well, people prefer food grains to cash. Contrary to what Sheila Dixit tells us, majority don’t want cash, but a reformed and better PDS.

The Wadhwa Committee, as mandated by the Supreme Court, recommends strong state intervention in running the PDS shops and weeding out corruption to make it efficient and more useful to people. A glance of its reports on different states shows that the biggest challenge is the corrupt and inefficient way the PDS systems are run. The way to move forward is to reform.

The data is clear on the correlation between universalisation and efficiency. When it reaches more people, there will be increased public pressure for efficiency and accountability, and it starts working better.

Here are two relevant summaries of the Wadhwa Committee reports on Tamil Nadu and Kerala, which offer an interesting contrast between reality and myth. Tamil Nadu has a state-run universal PDS and Kerala, which seems to be pilot testing most of the central government policies, has a targeted scheme wherein the fair price shops are run by private entities.

On Tamil Nadu:
“The State Government of Tamil Nadu follows Universal Public Distribution System in place of Targeted Public Distribution System envisaged by the Government of India. The State Government has done away with the identification of APL and BPL families to avoid errors of exclusion of eligible and vulnerable families. However, State has identified AAY beneficiaries. The Universal Public Distribution System ensures food security to every family cooking separately. It is left to the choice of the families to opt for the type of cards they can hold based on their need and preferences.”

On Kerala:
“That PDS in Kerala is best in the country is a myth. The system is as corrupt as in any other States which the Committee visited and submitted reports. It was however, stated before the Committee that the State was best when there was distribution of PDS on Universal Rationing System basis. It must however be noted that Kerala is deficit State in terms of production of foodgrain. PDS is of great relevance and importance in the State. It is thus, all the more necessary that PDS in the State is strengthened. Committee has suggested that in order to combat corruption and for strengthening PDS there has to be zero tolerance approach. Everything appears to be fine on paper but its implementation is faulty. The whole system has to be revamped.”

There is overwhelming evidence universalisation is one of the ways to make the PDS work. More over, poverty is dynamic and there is a no guarantee that a person who is APL today doesn’t slip into BPL. 

Hence this categorisation is against the logic of social protection.

Tamil Nadu has shown the way with a universal system followed by Himachal where APL groups pay a slightly higher price. Andhra Pradesh has 80 percent coverage, while Orissa, Rajasthan and Jharkhand want to make it more inclusive.

And the Centre has its own logic. Its pundits should realise that mathematical models and skewed reading of data often don’t tell the complete story. The real story is with the millions of people in the field.

Kerala Pioneer Eyes New Horizons For 'Jackfruit' Industry

By Samuel Johnson in Kochi

A new food processing company in Kerala proposes to market innovative products, the success of which could well place the largely neglected jackfruit in the focus of attention of bigger players in the state’s food processing industry. 

Artocarpus Foods Private Limited, is a newly started food processing company in Kerala. Located at Thaliparamb in Kannur district, it is the country’s first full-fledged jackfruit processing venture. Artocarpus is the genus name of jackfruit’s family of fruits.

KERALA'S MANGO 'GARDENS OF DESPAIR'

By Guna Sekhar Pelu / Trivandrum

Muthalamada, in Kerala, is the biggest centre of mango production in the country. Exports of mangoes alone are worth Rs200 crore per season. But this year the rain gods have refused to bless the trees in the right time.

The closest thing one can think of comparing with Chammanampathy in Muthalamada in Kerala’s Palakkad district is Comala, the place where dead men grow sick of heat and loneliness, created and described by Mexican novelist Juan Rulfo. Still, Muthalamada is an economically important place as it is the biggest centre of mango production in the country. The topography of Muthalamada is disappointing with the sun’s heat hanging in the atmosphere like a cruel and permanent feature over the anemic vegetation that grow over a thin layer of sun-beaten, dry and dusty soil beneath which the earth is a gigantic mass of black rock. 

Chammanampathy, an inalienable part of Muthalamada (crocodile den, literally), is hot round-the-year, but I would visit it religiously in summer because of three reasons: The mangoes, the people and the imposing peaks of the Anamalai-Parambikulam forest ranges that guard it on the south.

The Quest For Gold: Who Will Get The Tonnes Of Gold In The World’s Richest Temple - Kerala, Modi Or Pakistan?

The Centre’s plan to monetise gold reserves in temples has again stirred a debate on what to do with the riches in the Sree Padmanabhaswamy temple.

The Modi government’s planned move to monetise gold reserves in temples has once again sparked a fierce debate in Kerala on how to deal with the treasure worth billions stacked in the underground vaults of the Sree Padmanabhaswamy temple in Thiruvananthapuram.

Sabarimala: A Different Kind of Pilgrimage

By M H Ahssan & Keshav Rao

In January every year, devotees throng the Sabarimala temple situated in the Sahayadri ranges in Kerala, to participate in the renowned Mandala Puja conducted during Makara Sankaranti. The deity worshipped here, Lord Ayyappa, is believed to be an incarnation of Vishnu and is also known as Sastha and Harihara Sutha. The basic concept of incarnation is that God descends in order to let man ascend.

The name Ayyappa or universal father is a corrupted form of the Sanskrit Aryabha, standing for nobility and effulgence. Sastha means a stern upholder of righteousness, one who punishes the wicked and protects the virtuous. The term Harihara Sutha is derived from a legendary story about how Lord Vishnu took the form of a bewitching enchantress and enticed Lord Siva who submitted to 'her' charm. The result of their union is Harihara Sutha. Mythology apart, the etymological significance of Harihara is ''One who with rays of knowledge, Haribhi, dispels the darkness of ignorance or Horanthi. Harihara also symbolise Pravrithi and Nivritti — action and actionlessness (which is knowledge) respectively — the twin planks of Sanathana Dharma, the ''immortal code of conduct''.

The Sabarimala temple attracts large crowds during the Mandala worship in January for several reasons: It is an affordable spiritual 'retreat', and is a refreshing change from one's mechanical daily routine. It is also an opportunity to observe rigidly an abstemious vow for 41 days, something one is unlikely to do in the normal flow of life. The vow enjoins one to observe absolute physical cleanliness and maintain transparent mental purity. During this period, devotees abstain from sexual activity, and from consuming meat, tobacco, alcohol and drugs.

The very first step in the penance is to wear a garland of Tulsi leaves or Rudraksha, and thereafter, throughout the 41 days, a life of plain living and high devotion is adopted. The pilgrim is initiated into this ritual by being garlanded by another Ayyappa devotee. He bathes daily in the morning, visits the temple, cooks his own food and looks at every other devotee as an 'Ayyappa' with an equal mindedness crossing all barriers of caste, community, social status, or cultural background. He cultivates mental purity by consciously overcoming negative traits like anger, jealousy, pride, or injury to another, in thought, word or deed. He endeavours to the best of his ability to be truthful, humble, content and focuses his mind on Lord Ayyappa through silent contemplation or organised Satsanghs and group singing of devotional songs. He assiduously practises brahmacharya or celibacy.

During the trek to the hill temple, the pilgrim carries a cloth bundle with two compartments, one for items of worship — coconut, ghee, camphor and scented sticks, and the other for articles necessary for sustenance — rice and other provisions. While trekking, the pilgrim addresses every other devotee as 'Ayyappa', to underscore the fact that all are equal in the eyes of God. Every being carries the hallmark of divinity in the inner-most recess of his heart. Finally at the sanctum sanctorum, against the backdrop of hills, rivers and forests, the ocean of humanity surges forth in continuous waves — but with military discipline — and devotees chorus in unison, ''Swamiye Saranam Ayyappa''. Mounds of burning camphor give rise to clouds of fragrant smoke visible for miles. Ghee offerings cascade over the idol, guided by the presiding priest. In all, the entire scene of worship symbolises the basic truth that the elements constituting the cosmos Brahmanda — earth, fire, water, air and ether — and the individual are self-same. It drives home the fundamental truth of Advaita philosophy that man the microcosm and Brahman the macrocosm are not different. When the sky is rent with the sound of God's name, it echoes the Nada Brahman, the sound that is a manifestation of Brahman.

When the devotee sees ghee flow over the idol, he is reminded of Sankaracharya's exhortation about one's thought flow while contemplating on God. It should be smooth, continuous, noiseless and silent like the flow of ghee. Says Sri Krishna in the Bhagavad Gita, ''He who sees Me everywhere (and in everything) and everything in Me — such a person is not lost to Me, nor am I lost to him'' (VI.30). Supremely satisfied on fulfilling his vows, the devotee makes yet another vow to come back. The Sabarimala pilgrimage is a highly rewarding individual spiritual experience; it is a fine way of getting away from the daily grind and experience a wonderful feeling of rejuvenation and realisation through the grace of Lord Ayyappa.

The sun rose majestically over the Sabarimalai mountains in the central part of Kerala. The sky was glittered with orange and yellow rays of the sun. The splendid 'Pampa' river - that runs through the valley of the Sabarimalai - was calm and still. Five pot-bellied men, in their fifties, were seen chanting and dipping in the pampa river . When they were done with their customary ablution rites, they would don spotless white cloth , and apply holy ash on their fore head.

These five vedic astrologers would then head to the famous Ayapppa temple in Sabarimalai, and ensconce inside the sanctum sanctorum for three days. Here, they would conduct a traditional exercise known as DEVAPRASNAM - It means to " know the mind" of Lord on various issues, including the ban of entry of menstruating women in to the temple. After three days, they would come out and tell the world, that the lord had indeed told them not to allow the menstruating women to visit him.

Pilgrimage to Sabarimalai
The sabarimalai Mandala / Makara Vilakku pooja has just started for this year. It will be officially over with the final festivities on Makarasanthi day. On this day, millions of devotees will witness the mystic and sacred jothi (flame) rising behind the mountains. For the next six to eight week millions of Ayappa devotees will converge on the Sabarimalai to offer their prayers to Ayappa. They will don all black clothes. Neither they will trim their body hairs nor consume alcohol. They will practice celibacy during this period. During the pilgrimage all the devotees are equal.

The devotees will be mostly males with a small number of female devotees. However, one section of the community will be absolutely barred from entering the Ayappan temple- Menstruating Women

Sabarimalai History
Before delving in to the subject matter of menstruating women, let me give you a brief history of Sabralimalai and the Ayappa temple. The Ayappa Temple is on the Sabarimalai mountains, in the central part of Kerala.

Ayappa or Manikantha as the deity is called, is a concept derived from a deity known in ancient Kerala as SASTHA and in ancient Tamil Nadu as AIYANAR.

Sastha-Aiyannar worship become very prominent during the sixth to eighth century. In Tamil Nadu He is a village deity, but in Kerala He has been regarded as an embodiment of rapprochement between Saivism and Vaishnavism.

Sabarimalai is associated with a a woman saint- Sabari- who figures in the Ramayana. She is said to have lived close to these mountains. Ayappa temple stands on a hillock, 6.5 kilometers from the Pampa river. Tradition, which has many variations, tells how Lord Sastha came to take up His abode here. When the ocean of milk was churned so that nectar could come up from the depths, lord Vishnu assumed the form of an entrancing woman, Mohini, in order to divert the attention of the demons so that they would not seize the nectar. Lord Siva felt her attractions. Out of this union was Sastha born.

Origins of Ayappa
One day a king of Pandalam , whose territory was Sabarimalai , went hunting. While hunting, he saw a beautiful child along the banks of Pampa. Since the king and queen were childless, they adopted him as their son. Since he wore a blue diamond around his neck, he was called 'Manikanta'. It was Manikanta, who would later be called Ayapppa.

Meanwhile, the royal couple were blessed with their own son. The queen, was very much in favor to install her own son on the throne. So one day, the queen pretending to be ill, demanded the young Ayappa to go the forest and bring the milk of the Tigress. She thought that Ayappa would never return from this journey. The young Aiyappa promised her to get the milk and went to the forest . Here, he met Indra, who was being harassed by Mahishi, a demoness with the head of a buffalo. She had obtained a promise from Brahma that only the son of Lord Shiva and Lord Vishnu would be able to kill her. At Indira's request , Ayappa killed her. In gratitude, Indira directed his followers to take the form of tigers and tigresses with cubs to accompany with Ayappa and return to his palace. When the queen saw Ayappa with the tigers, she felt her mistake. It was then that Ayappa revealed that he was God Sastha. At the king's request, he took permanent abode on the Sabarimalai.

Menstruation: Is it a crime?
Now coming to the subject matter: God or the creator gave this world two different sexes, male and female. In female, he created an organ known as uterus (womb) , with a specific function of receiving and naturing a fertilized ovum (egg plus sperm), which would grow in to an infant in nine months. When this function is not carried out, the womb would shed it's inner coat.

The curse on the women starts on the very first day she menstruates, a period in which the girl's body is considered to be very hot and polluting. It is also believed that the release of blood from a body orifice (opening) - in this case from the vagina, attracts spirits and demons that can devastate a family's happiness and it's power of vitality. Women during this period are considered to be impure, unclean, polluted and contaminated.

Such ludicrous ideas were perpetrated by the male dominated Hindu society to degrade the women and create a complex that the women are inferior to men.

The main perpetrators of this crime were none other than the Brahmins, who until the last century used to shut their women in specially constructed houses within their colonies. During this time, these women are not allowed to come out of their houses. Since they wielded enormous influence over the population in ancient times, they forced their beliefs on other communities.

Do Males Menstruate?
If society considers the blood coming out of a female orifice to be impure, what about the blood coming out of a male orifice? When males have piles ( hemorrhoids) they drip blood from their posterior orifice (rectum). In fact I would consider this blood to be more dirtier and offensive than the menstrual blood because it is mixed with the feces.

Yet, the males visit their favorite gods while dripping blood on their undergarments. Cancer of the male genitalia is more common among the Asian men. When you have this form of cancer, you drip blood from your anterior orifice (urethra - tube through which urine comes out) .

In India, this type of cancer is more common among a group of people who are closely involved with the temple activities and it's environments.

Yet, this group is allowed inside the sanctum sanctorum of any temple to conduct various rites for the gods while dripping blood from their anterior orifice. Do we consider this ` male blood 'to be impure and polluting'? Where are the demons and spirits when males drip blood from various orifices? How about the men who vomit blood (Hemet emesis)? Are these men forbidden from entering Hindu Temples?

I would say that the women are also partly responsible for the persistence of this appalling ignorance. I am personally aware of many highly educated females , who would not step inside a temple during this time. There is nothing to be shamed about menstruation , because it is a normal physiological process.

Menstruation is a normal physiological process. This was created for a specific function in women. Hence, there is nothing wrong or to ashamed when women go through menstruation. It is utter ignorance to consider the women to be impure and polluting during this time. It is ludicrous to believe that gods do not want them to come to their abodes - temples- during such times.

Pollution and pureness does not depend on the blood that any person sheds from his or her orifices. It depends on your speech, action and deeds. In Hindu philosophy , the main purpose of the soul is to attain liberation. This primarily depends on the karma that each soul has committed. Liberation of the soul neither depends on the sex of the soul nor on the blood that the - temporary - physical body sheds.

It does not matter to God whether you are either ugly or 'impure' physically .God will accept any one as long as their minds and actions are pure. After all it was Lord Shiva who gladly accepted meat from a low caste hunter- Kannapa Nayanar- at Kalahasthi. I am absolutely convinced that it would not matter to God whether one is menstruating or not.

Let Hindu women take a firm stand on this issue and give up the ignorance that menstruation is awful. Let us make sure that the men do not dictate terms with the female anatomy and physiology. Let the women of Eelam take the lead on this issue and openly confront this ignorance by going to the temples during this period. Only then the 'Creator' would smile upon them.