கண்ட அற்புதம் கேட்கவும் வேண்டுமே...திவ்ய பாசுரம்

கண்ட அற்புதம் கேட்கவும் வேண்டுமே...திவ்ய பாசுரம்  

"நான் கண்ட அற்புதத்தை கேட்பீர்..." என்கிறார் ஆழவார். அதாவது அவர் வர்ணனை செய்வதை நாம் கற்பனையில் கண்டு அவர் அனுபவித்ததை நாமும் அனுபவிக்க வேண்டும். "என் சொல் உன் அர்த்தம்" என்ற அளவில் பரஸ்பர தொடர்பு இருக்கும் வேளையில், தாம் அனுபவித்த்ததை  படிப்போர் அனுபவிக்கும் விதம் எழுதுவது கடினமே. அதே போல் அந்த வர்ணனையின் ஸூக்ஷமங்களை இசையின் மூலம் வெளியிடுதலும் ஒரு சவாலே. அந்த சவாலை ஏற்று செவ்வனே பதில் தந்து இருக்கிறார் இளையராஜா. 

"புவியுள் நான்..." என்னும் இந்த பாசுரம் பெரியாழ்வார் திருமொழி 3.6 பதிகமாக அமைந்திருக்கிறது. இப்பதிகம் முழுவதும் கண்ணபிரான் குழலூதுவதின் சிறப்பை பெரியாழ்வார் பாடுகிறார். அதை உணர்ந்து தான் ராஜவும் இப்பாட்டில் புல்லாங்குழலை பெரும்பாலும் பயன்படுத்தியுள்ளார். இப்பாடலில் 7ஆம் பாசுரத்திலிருந்து 9ஆம் பாசுரம் வரை எடுக்கப்பட்டுள்ளது. முதல் ஆறு பாடல்கள் சிறப்பாக இருந்தாலும் இந்நான்கு பாடல்கள் மிகவும் சிறப்பு. ஏனென்றால் முதல் இரு பாசுரங்களில் ஆழ்வார் பொதுவாக கண்ணனின் குழலோசையை எப்பொழுதும் ரசிக்கும் கோப கோபியர்கள், அடுத்தது ஆடல் பாடலுக்கு பெயர்போன அப்சரஸுகள், இசையில் சிறந்த கந்தர்வர்கள் பிறகு கண்ணனையே த்யானம் செய்யும் நாரதர் போன்றோர் அழைக்கப்பட்டனர். இவர்கள் கண்ணனின் குழல் கேட்க வந்தது அதிசயமன்று.  

7வது பாசுரத்தில் 'அவியுணா மறந்து வானவர்' என்று தேவர்களே கண்ணனின் இசையை கேட்க தங்கள் வேலையை விட்டு வந்தனர் என்று பாடினார். அப்படியென்றால் கண்ணனின் இசையை பெரும்பதவிகளில் இருப்பவர் மட்டும் தான் கேட்க முடியுமா என்றால் இல்லை என்பதை சொல்லும் விதமாக அடுத்த பாசுரத்திலித்திருந்து பறவைகள், கன்றுகள், மான்கள் போன்ற மிருகங்களும் ரசித்து கேட்டன என்று கண்ணனின் எளிமையையும் காட்டுகிறார். அதனால் தான் என்னவோ ராஜாவும் குறிப்பாக இந்த நான்கு பாசுரங்களை எடுத்து கண்ணனின் உயர்த்தியையும் எளிமையையும் காண்பிக்கிறாரோ என்னவோ? ஏனெனில் இளையராஜா உயர்தட்டு மக்கள் மட்டுமே இரசித்து வந்த கர்நாடக சங்கீதத்தையும், ஒரு சிலர் மட்டுமே அனுபவித்து வந்த மேற்கத்திய சங்கீதத்தையும், நாட்டுப்புற சங்கீதத்தையம் பலரும் ஏற்கும் வண்ணம், வெவ்வேறு விதமான இசையும் ஒன்றாய் கலந்து அனைவரும் இரசிக்கும் வண்ணம் அனைவரையும் சென்றடைய செய்தார் அல்லவா? பகவான் சர்வசுலபன், அவனது இசையும் அனைவரையும் சுலபமாக சென்று அடையவேண்டுமல்லவா? 

ஆரம்பிக்கும்போது கண்ணனே குழலூதுவது போல் அமைத்து நம்மை உருக்கும் வேலையை ஆரம்பித்து விடுகிறார் இளையராஜா. குழலிசை, அதிலும் மோஹன ராகம், சொல்லவும் வேண்டுமோ? இருபத்திஐந்து வினாடிகள் குழலிசை பிரதானமாய் கேட்கவைத்து நம்மை கட்டிப்போடுகிறார். பின்னணியில் ஒரே ஸ்வரத்தினை இசைக்கும் கீஸ். குழியின் எதிரொலி போல் பின்னே தொடரும் அந்த சத்தம் சுகம். இருபத்திமூன்றாம் வினாடி, தாள வாத்தியங்கள் இசையில் சங்கமிக்க தொடங்குகின்றன. எப்பொழுதும் டோலக், தபலா, கடஷரீங்காரி, ஷேகர், மிருதங்கம் என உபயோகப்படுத்தும் ராஜ இதில் ட்ரம்ஸ் மற்றும் ஆக்டோபாட் உடன் இரண்டு மாத்திரைகளுக்கு கடம் உபயோகிக்கின்றனர். பாடல் துவங்கியதும் குழல் ஓய்வெடுக்கின்றது. 

ஷரத் பாடியிருக்கிறார். பதம் பிரித்து பாடவுதில் கோளாறு. உச்சரிப்பில் முயற்சி தேவை. "பூணி மேய்க்கும் இளங்கோவலர் கூட்டத்து..." என்று பாடும் போது, "இலங்கோவலர்..." என்று பாடுகிறார். இருமுறை பாடுகிறார், தவறாகவே பாடுகிறார். அதே போல், "...கூட்டத்துஅவையுள் * நாகத்தணையான் குழலூத அமரலோகத்தளவும்சென்றிசைப்ப.." என்று பாடும் பொழுது, நாகத்து என்று முந்தின வரியோடு சேர்த்து விட்டு, அணையான் என்ற சொல்லை தனியாக பாடுவது தவறு. கற்றுத்தந்தவரின் தவறு.

இப்பொழுது வரும் இடையிசை. சுமார் எட்டு வினாடிகளுக்கு குழலிசை ஆரோஹணத்திலேயே இசைக்கும். ஏன்? பின்வரும் வரிகளில், :...நாகத்தணையான் குழலூத அமரலோகத்தளவும் சென்றிசைப்ப..." என்று ஆழவார் பாடியிருப்பார். இவரது குழலிசை வானுலகம் வரைப்போவதை இப்படி ஆரோஹ ஸ்வரங்களில் இசைத்திருப்பர் இளையராஜா. ஒரேடியாகப்போகாமல், படிப்படியாய் போகும் அழகே தனி.... மெலோடிக் ப்ரோக்ரேஷன்....இதே ஸ்வரங்கள் அந்த வரிகளை பாடிய பின் மீதும் ஒலிப்பதன் மூலம் நாம் முன் சொன்ன வார்த்தைகள் உண்மையாகின்றன. பாடல் பாடும் பொழுது பின்னணியில் சன்னமாய் கிடார், சிந்த், தந்தி என வாத்தியங்களின் இசைக்கலவை ரசிக்கக்கூடியவை. சரணத்தின் கடைசியில் 'கோவிந்தனை தொடர்ந்தென்றும் விடாரே' பாடும்போது ஒலிக்கும் தந்தி வாத்தியங்களின் முன்னேற்றக்கோர்வை, தேவர்களெல்லாம் கண்ணனை பின்தொடர்ந்து கொண்டேயிருப்பர் என்பதையும் கண்ணனை அவர்கள் தேடுவதும், அவனை நோக்கி ஓடுவதையும் அழகாக தன் இசையாலே உணர வைத்திருப்பார்.

மீண்டும் இடையிசை. சுமார் இருபத்திஐந்து வினாடிகள் குழல் நமது காதுகளின் வழியாக உல் சென்று நம் மனதில் ஆசனம் போட்டு அமர்ந்துகொள்ளும். அதிசயமாக ரிதம் அப்படியே மாற்றமில்லாமல் இருக்கும். 

அடுத்த சரணத்தில்,'சிறுவிரல்கள் தடவி 'அதாவது குட்டி கண்ணன் தன் சின்ன சின்ன விரல்களால் புல்லாங்குழலை வாசிக்கிறான் என்றும்..'செங்கண்கோட செய்ய வாய்கொப்பளிப்ப.." என்று வரும் பொழுது நான்கு வினாடி குழலின் ஒலி சுகமோ சுகம்.  குட்டி கண்ணன் தன் அழகான கண்களை உருட்டி,தன் உதடுகளால் குழலூதுவதை பார்த்தால் உலகத்தை காப்பதை விட்டுவிட்டு இந்தக்குழலை ரொம்ப ரசித்து வாசிக்கிறானே இந்த கண்ணன் என்று ஒரு குறு நகைப்பையும் இசையில் வெளிப்படுத்துகிறார் ராஜா. அதோடல்லாமல் "குறுவெயர்ப் புருவம் கூடலிப்பக் கோவிந்தன் குழல் கொடு ஊதின போது..." என்று பாடும் பொழுது வரும் குழல் அலாதி. அவ்வளவு ரசித்து வாசிக்கும் போது முத்து போன்று புருவம் சிறிது வியர்த்ததாம், அந்த வியர்வை வழியும் வேகம் போல் அந்த குழலிசை வேகமாய் ஒலிக்கும். அப்படி வாசித்த கண்ணனின் அழகும் அவனின் இசையையும் அன்று வாழ்ந்தவர்கள் மட்டும் அனுபவிக்கவில்லை நாமும் இப்போது அனுபவிக்கும் பாக்கியத்தை ராஜா தந்திருக்கிறார். மேலும்,கண்ணனின் குழலோசையை ஒரு நிமிஷம் கூட தவற விடக்கூடாது என்று காதுகளை ஆட்டாமல் இருக்குமாம் மாடுகள். ஆகையால், இசையின் ஆதிக்கத்தை மெல்ல மெல்ல குறைத்து, இப்பொழுது நாம் கூட ராஜாவின் இந்த இசையை கேட்டு செவியாட்டாமல்,கைகால்களை ஆட்டாமல் இருக்க வழி செய்கிறார். 

இந்த சரணம் முடிந்தவுடன் ஒரு சின்ன transformation வரும் அதன் பின் பெண் பாடகர் பாடுவார். விபவரி ஆப்டே (இப்பொழுது ஜோஷி). இங்கு தான் இளையராஜா தான் ஒரு ஜீனியஸ் என்று நிரூபிக்கிறார். ஏனென்றால் இதற்கு பின் வரும் பாசுரங்கள் கண்ணனோட அழகை ரசிப்பதாக இருக்கும் பொதுவாக கோபிகைகள் தான் கண்ணனின் அழகை அப்படி ரசிப்பார்கள் அதையுணர்ந்து தான் என்னவோ விபாவரியை பாட வைத்துள்ளார் போலும். ஒரு மராட்டி முல்கி (மராத்தியப்பெண்) இவ்வளவு அழகாக தமிழ் உச்சரிப்பு, சொற்கள் பிறழாமல், இசையும் கெடாது, இத்துணை நேர்த்தியாய் பாட முடிகிறது. கோடி வந்தனம். 

இதுவரை, மெதுவாக ஆக போய்க்கொண்டிருந்த இசையின் வேகம், இப்பொழுது சூடு பிடிக்கும்;  வேகமாக மாறும்(பொதுவாக நமக்கு பிடித்த ஒருவரை பார்க்க போகிறோம் என்றால் இதயதுடிப்பு அதிகமாகும்,கோபிகைகள் கண்ணனை பார்க்க ஆசை அதை தன்னுடைய இசையில், வேகத்தில் அழகாக காட்டியிருப்பார்). "குண்டன்னோல வேகம் தெச்சாவே.." என்று வரும் இன்கேம் இன்கேம் இன்கேம் காவாலி என்ற கீதகோவிந்தம் பாடல் நினைவில் வருதோ? 

அடுத்த சரணத்தில் 'கருங்கண் தோகை மயிற்பீலி அணிந்து கட்டிநன்குடுத்த பீதகவாடை' என்று விபாவரி அவர்கள் பாடும்போதே மயில் பீலி அணிந்து பீதகவாடை அணிந்த ஆயர்பெருமானே கண்முன் நிற்பான். 'மரங்கள் நின்று'.... என்று ஒரு இடைவெளி விடும்போது 'உணர்ச்சியில்லாத மரம் போல்' என்னும் வாசகம் பொய்யாகிவிடும். 'மலர்கள் வீழும் வளர்கொம்புகள் தாழும்' வரிக்கு பின் 'இரங்கும்(நிலைகுலைந்து)' என்று ஒருநிசப்தம் இருக்கும். காரணம் கண்ணனுக்கு நிழலாய் அமைந்த மரத்தில் இருக்கும் கொம்புகள், மலர்களெல்லாம் குழலோசையில் மயங்கி நிலைகுலைந்தனவாம்.

இன்று ராஜாவின் இசையில் நாமனைவரும் மயங்கி நிலைகுலைந்தது உண்மைதானே?

https://www.youtube.com/watch?v=CJl1DJgITpU

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"Please listen to the miracle I have seen..." says Aazhwar, emphasizing that we should visualize what he describes and experience it as he did. Achieving this deep connection—where "my words are your meaning"—is challenging, making it difficult to translate such experiences into words for the reader. Similarly, conveying these subtleties through music is no easy task. Yet, Ilayaraja took on this challenge and delivered a masterful response.

The verse "Puviyul naan..." is part of Periyazhwar Thirumozhi (3.6), where Periyazhwar extols the beauty of Kannapiran’s flute. Understanding this essence, Ilayaraja extensively incorporated the flute into his composition. Specifically, he selected the 7th to 9th pasurams from the song, as they hold a unique significance. In the initial verses, Azhwar invites various groups—first the gopis enchanted by Kannan’s music, followed by the Apsaras renowned for their dance, then the Gandharvas, masters of music, and finally Narada, the celestial sage himself. Given such an illustrious audience, it is no surprise that all were drawn to Kannan’s divine music.

In the 7th verse, Azhwar describes how even the gods abandoned their duties to listen to Kannan’s flute, saying, "Aviyuna, forgetful of the sky." However, Kannan’s music was not limited to celestial beings. In the following verse, his humility is highlighted—birds, calves, and deer were equally enchanted by his melody. Perhaps this is why Ilayaraja chose these verses—to emphasize both Kannan’s grandeur and accessibility. Just as Ilayaraja blended Carnatic music (once exclusive to the elite), Western music (enjoyed by a select few), and folk music (rooted in the masses), he ensured that music reached and resonated with everyone. Similarly, shouldn't Bhagavan Sarvesulapan’s music be accessible to all?

Ilayaraja carefully structures his composition, immersing us in the melody of the flute right from the start. The Mohana raga flute piece, spanning twenty-five seconds, captivates us, with background keys echoing the melody like a lingering reverberation. At the twenty-third second, percussion instruments subtly merge with the melody. Known for using dolak, tabla, Ghatashringari, shaker, and mridangam, Ilayaraja uniquely incorporates Ghatam alongside drums and octopod here. As the song begins, the flute momentarily rests.

The song, rendered by Sharad, presents challenges in pronunciation due to the separation of verses. Certain phrases, such as "Pooni meyikkumm ilangovalar kootathu..." are slightly mispronounced. Additionally, in "...kuttathu avaiyuul * nagatthanaiyaan kuzhalutha amaralokathalavumsentrisaiappa..", "nagathu" is incorrectly linked to the previous line, affecting the intended meaning. Such nuances highlight the importance of precise enunciation in classical compositions.

A significant interlude follows. For eight seconds, the flute plays in Avarohan (ascending notes), mirroring Azhwar’s verse: "...Nagathanaiyan Kuzhalutha Amaralokathalavum Sentrisaiappa...". Ilayaraja employs a gradual melodic ascent, adding a unique charm. The recurrence of these swaras after the lyrics reinforces the immersive experience. As the song progresses, a rich blend of instruments, including the guitar, synth, and strings, enhances the musical tapestry. Particularly, when the line "Govindhanai Ketthi Nennum Vidaare" is sung, the tanthi’s beautiful resonance evokes the divine pursuit of Kannan’s presence.

Another interlude follows, lasting twenty-five seconds, where the flute resounds deeply, embedding itself into our consciousness. Remarkably, the rhythm remains unchanged, maintaining the spellbinding effect.

In the next stanza, "Chiruviralgal tatavi" describes young Krishna's tiny fingers deftly playing the flute. When "Sengankankoda vaikappallila..." is sung, a four-second flute sequence enhances the imagery. The visualization of young Krishna, his expressive eyes rolling as he plays, is beautifully captured in Raja’s playful musical phrasing. As the lyrics progress, "Kuruveyarpurvam Kudalibak Govindan played the flute with his small eyebrows...", the accompanying flute melody intensifies, mirroring the beads of sweat forming on Krishna's brow. Raja ensures that Kannan’s enchanting music, once experienced by the fortunate few of the past, is now accessible for us to cherish.

Even Kannan’s beloved cows, always restless, would momentarily pause to listen to his flute. Similarly, Ilayaraja modulates the musical dominance, compelling us to be still, engrossed in the melody, unable to move our hands or feet.

A transition occurs as the female singer enters—Vibhavari Apte (now Joshi). This is where Ilayaraja’s genius shines. The following verses describe the admiration of Kannan’s beauty, traditionally sung by the gopis. Appropriately, Raja chooses a female voice, ensuring authenticity in the rendition. Vibhavari, a Marathi native, delivers impeccable Tamil pronunciation, preserving the lyrical integrity while maintaining the music’s elegance—an achievement worthy of immense praise.

Until this point, the song maintained a measured tempo. Now, as emotions intensify, the pace quickens. This acceleration mirrors the excitement of someone eager to meet their beloved. It recalls the Geetha Govindam song "Inkem Inkem Inkem Kavali," where the lyric "Kundannola Vegam Techave..." conveys a similar rush of emotions.

As Vibhavari sings, "Karungankann Thokai Mayil Peeli Nandhu Kattinankudutta Peethakavadai," the imagery of Kannan adorned in a peacock feather and golden attire becomes vivid. The pause before "Trees standing..." emphasizes the next line: "Unachiyiyilda Maram Pol," illustrating how even trees are enchanted by Kannan’s music. In the subsequent line, "Malargal Vizhum Valarkombugal Thazhum," a deliberate silence before "Irangum (Nilakulainu)" symbolizes the awe-struck stillness of the flowers and branches, entranced by Kannan’s flute.

Today, just like the celestial beings, animals, and nature that once stood in rapture at Kannan’s divine music, we too find ourselves spellbound by Ilayaraja’s masterful composition.

https://www.youtube.com/watch?v=CJl1DJgITpU

Tamil Nadu's Language Politics, PM SHRI Schools and Students' loss

 

Tamil Nadu's Language Politics, PM SHRI Schools and the Students' loss

The issue of language politics has once again provided an opportunity for Tamil Nadu’s ruling party, the DMK, to reinforce its political stance. Over the past five decades, the party has consistently framed itself as a defender of regional identity, often attributing its challenges to the policies of the Central Government. The recent controversy over the implementation of the National Education Policy (NEP) and the PM SHRI schools scheme follows a familiar pattern, with the DMK portraying itself as a victim while the BJP positions itself as its principal opposition in the state.

Origins of the Dispute

In February 2024, the Union Government reached out to the Tamil Nadu Education Secretary regarding delays in signing the Memorandum of Understanding (MoU) for the state’s participation in the Prime Minister Schools for Rising India (PM SHRI) initiative. Tamil Nadu responded in March, expressing its willingness to sign the agreement and stating that a committee had been formed to assess the matter. The state government also requested the release of pending funds under the Samagra Shiksha Abhiyan (SSA).

By August 2024, Tamil Nadu communicated its willingness to proceed with the MoU, provided that references to the NEP were removed from the agreement. This led to a stalemate, with the Centre opting to withhold ₹2,152 crore in education-related funds—resources that had been previously disbursed based on the state's assurances. The Central Govt's stand is that if the NEP is not being implemented, then the funds would not be disbursed. The earlier funds also would be taken back after some time perhaps! 

The Core Issue: Policy vs. Autonomy

At the heart of the dispute is Tamil Nadu’s opposition to the NEP, particularly the three-language formula, which the state views as a step towards the imposition of Hindi. How is this possible is known only tho them. While the NEP does not mandate Hindi, it does recommend the inclusion of a third language, which could be any Indian language. The Tamil Nadu government has strongly resisted this aspect, maintaining its long-standing policy of a two-language system. However, this two-language policy is not at all official. The Govt even refused to provide data on the students who study 3 languages and 2 languages which indirectly states something wrong here. 

The DMK has framed the Centre’s decision as an unfair financial penalty imposed on the state for refusing to comply with the NEP. The government has warned that the withholding of funds will impact the payment of teachers’ salaries and hinder improvements in government school infrastructure.

This statement is ridiculous. A Bank offers a loan amount to a party for doing a business. However, if the receiver fails to start a business, how can he/she expect the bank to disburse the loan? TN Govt's stand is similar to this! 

A Political Standoff

Despite its repeated legal challenges against the Central Government on various issues, the Tamil Nadu government has yet to seek judicial intervention in this matter. Instead, the DMK has leveraged the controversy across mainstream and social media, reviving allegations that the BJP-led Union Government is attempting to impose Hindi through indirect means stoking the emotions. This also had helped the Govt to divert the attention of the people from its failures. 

For the BJP, this dispute provides an opportunity to establish itself as the primary opposition to the DMK in Tamil Nadu, a role it has been striving to secure over the past five years. Meanwhile, the DMK benefits from rallying its voter base by portraying the BJP as a threat to regional autonomy.

Until the Tamil Nadu government decides to pursue legal action, this debate over the NEP and the three-language formula is likely to remain a political flashpoint rather than a resolved policy matter. Unfortunately, the real impact of this impasse will be felt by the students in government schools, who risk being caught in the crossfire of political maneuvering.

Stampedes in India: Causes, Impacts, and Prevention - "Me First" Syndrome?

Imagine this: A flight is about to take off - boarding is about to start. Every passenger has got a ticket, a boarding pass. Their seats are fixed. Every passenger has got a fixed seat. Boarding announcement is made. Passengers are requested to follow the zone sequence as mentioned in the boarding pass. Yet, what do we see? People pounce on the gate. Not one, but one can see multiple queues forming up. Why do we behave so? Not only here but everywhere be it on roads, public places...

Stampedes in India are relatively common, particularly during large religious festivals where massive crowds gather in confined spaces with inadequate safety measures. These deadly crowd surges occur across the country and frequently make headlines.

A stampede is a disruption in the orderly movement of a crowd, often triggered by panic, a perceived danger, or an intense desire to attain something. The rapid and uncontrolled movement of people in such scenarios often leads to injuries and fatalities.

According to the National Crime Records Bureau, from 2000 to 2013, nearly 2,000 people lost their lives due to stampedes in India. A 2013 study in the International Journal of Disaster Risk Reduction (IJDRR) highlighted that 79% of these incidents took place during religious gatherings and pilgrimages.

Key Aspects of Stampedes in India

1. Religious Festivals: Most stampedes occur during major Hindu festivals like the Kumbh Mela, where millions gather in confined spaces, making crowd control a significant challenge.

2. Poor Infrastructure: Inadequate facilities, narrow pathways, and a lack of proper crowd management systems at religious sites significantly increase the risk of stampedes.

3. Triggering Factors: A minor accident, rumor, or sudden movement within a densely packed crowd can trigger a stampede.

4. Casualties: Stampedes often result in high casualties due to the sheer number of people involved and the lack of emergency preparedness.

Major Causes of Stampedes in India

1. Structural Failures

• Collapse of makeshift bridges, railings, or temporary structures

• Unauthorized and unsafe building constructions

• Difficult terrain and poor accessibility at religious sites

• Narrow streets with insufficient entry and exit points

• Absence of emergency exits

2. Fire and Electrical Hazards

• Fires in makeshift facilities or illegal structures

• Lack of working fire extinguishers

• Unauthorized fireworks in enclosed spaces

• Power failures triggering panic and mass exodus

• Unsafe electrical connections and faulty equipment

3. Crowd Behaviour

• Mass hysteria or craze leading to chaotic movement

• Crowds pushing at entrances/exits before or after an event

• Rush during distribution of disaster relief supplies

• Anxious and competitive crowds at promotional events

• Last-minute changes in train platforms causing sudden movements

4. Security Lapses

• Insufficient and untrained security personnel

• Poor coordination among security forces

• Lack of surveillance, CCTV monitoring, and public announcement systems

• Inadequate route security and metal detectors

• 5. Lack of Coordination Among Stakeholders

• Poor coordination between police, local administration, and emergency services

• Infrastructure development delays due to lack of funding and resources

• Inadequate medical assistance, public transport, and parking facilities

• Delayed posting of key personnel

Impacts of Stampedes

1. Trauma and Loss: Victims and witnesses suffer immense psychological trauma, especially those who lose loved ones. 

2. Economic Hardship: Many victims come from lower-income backgrounds. Their deaths often leave families without a primary breadwinner, causing financial distress. Additionally, funeral and medical expenses add to the burden.

3. Erosion of Public Trust: Repeated stampedes due to mismanagement erode faith in event organizers and authorities. Negligence in planning and poor safety measures continue to be major concerns.

4. Loss of Social and Human Capital: Stampedes disproportionately affect women and children, leading to a loss of valuable human capital.

NDMA Guidelines for Stampede Prevention

Recognizing the recurrent nature of stampedes at mass gatherings, the National Disaster Management Authority (NDMA) has developed a Suggestive Framework for Preparation of Crowd Management Plans to prevent such incidents.

Key Measures for Crowd Management:

• Understanding the Venue and Crowd:

• Type of event (religious, political, academic, etc.)

• Expected crowd demographics (age, gender, economic background)

• Venue details (location, accessibility, topography)

• Role of stakeholders (NGOs, local administration, law enforcement)

Crowd Handling Strategies:

• Proper traffic regulation around event venues

• Clearly marked route maps and emergency exit plans

• Barricading for crowd control and queue management

• Use of a snake-line approach for queue regulation

• Strict control of VIP movement to avoid disruptions

Safety and Security Measures:

• Ensuring authorized use of electricity and fire extinguishers

• CCTV monitoring and drone surveillance

• Public address systems for real-time communication

Medical and Emergency Preparedness:

• Establishment of medical aid stations

• Emergency response centers for post-disaster management

Role of Various Stakeholders:

• Event Managers: Must develop and implement crowd management plans in coordination with local authorities

Civil Society: NGOs should assist in traffic control, medical support, and resource mobilization

Police: Must participate in pre-event venue assessments and implement crowd control measures

Media: Should educate the public about safety measures and highlight gaps in disaster preparedness

Challenges in Implementing NDMA Guidelines

1. Poor Implementation: State governments and local authorities often fail to enforce NDMA guidelines effectively.

2. Rising Population and Urbanization: Increasing population densities make urban areas and pilgrimage sites more susceptible to stampedes.

3. High Tolerance for Crowds: Cultural norms in India allow for higher crowd densities, increasing the risk of stampedes in large gatherings.

4. Lack of Governance and Accountability: Authorities responsible for granting event permissions often fail to follow safety regulations, with little accountability for lapses.

Recommendations for Preventing Stampedes

1. Legislative and Regulatory Reforms: The Supreme Court has emphasized the need for comprehensive legislation addressing state liability in disasters like stampedes.

2. Professionalization of Crowd Management: Better communication, specialized training, and transparency in event management can significantly improve safety.

3. Technological Interventions: CCTV surveillance with AI-powered crowd monitoring, Drone surveillance for real-time crowd assessment and Facial recognition systems for identifying potential risks

4. Capacity Evaluation: Venues should undergo rigorous capacity assessments before allowing mass gatherings, with infrastructural improvements to ensure safety.

5. Crowd Behaviour Management: Public address systems should be used to dispel rumours, calm crowds, and guide systematic evacuations.

6. Stricter Compliance and Penalties: Authorities must enforce fire and structural safety regulations, conduct random inspections, and revoke licenses for violations.

7. Civil Society Engagement: NGOs should be actively involved in organizing safe mass gatherings by mobilizing resources and ensuring better preparedness.

8. Learning from Global Best Practices: India can adopt successful crowd management models, such as those implemented during the Hajj pilgrimage in Mecca, to enhance safety protocols.

Stampedes in India remain a significant concern due to poor infrastructure, mismanagement, and inadequate security measures. While NDMA guidelines offer a structured approach to preventing such tragedies, effective implementation, technological interventions, and coordinated efforts among stakeholders are necessary to safeguard lives during mass gatherings.

What is Love?

What is Love?

Is love a feeling, an emotion, an urge, or just an activity? When we say, "I love you," it often implies an action. Rarely do we hear someone say, "I am in love with you," which suggests a deep emotional state. For now, let’s accept that love is a feeling. But then, why does a mother’s love differ from romantic love or the love for food? This is because love encompasses a range of strong emotional and psychological states. In essence, love is a profound attraction and emotional attachment, representing kindness, affection, and compassion. At its core, love is an experience one person has for another.

What Influences Attraction?

Not everyone is naturally drawn to all kinds of people. Personal preferences are shaped by factors such as caste, religion, gender, region, language, financial status, physical appearance, and social norms. In today’s world, people often suppress their natural instincts in public interactions, knowing that selflessness and compassion enhance their social acceptance.

Social and cultural backgrounds, intellectual depth, and artistic inclinations also influence attraction. Some individuals seek partners with similar values, religious beliefs, and world-views, while others find excitement in contrasting personalities. These preferences stem from a person’s upbringing and deeply ingrained beliefs.

Moreover, beauty standards play a role in attraction. Why are we often drawn to physically appealing individuals? Why does attraction rarely extend to those with unconventional features or disabilities? The answer lies in biology—hormones and brain chemistry play a significant role in human attraction.

The Science of Relationships

Let’s explore the medical and biological aspects of attraction. (Perhaps a doctor among us can validate this!) Research indicates that certain hormones, such as oxytocin and vasopressin—produced in the hypothalamus—are responsible for fostering emotional connections. Oxytocin, often called the “bonding hormone,” plays a crucial role in developing attachments. It strengthens relationships, whether between romantic partners or a mother and her child during breastfeeding.

Pheromones also influence attraction. In the animal kingdom, scents help creatures identify mates. Similarly, human pheromones—such as estratetraenol in females and androstadienone in males—impact attraction at a subconscious level. Physical traits like a healthy body, symmetrical features, and overall vitality enhance one’s desirability. Healthy individuals are seen as better reproductive partners, making them more attractive from an evolutionary standpoint.

How Does One Fall in Love?

Love begins when one encounters a person who aligns with their ideology and evokes sexual attraction. This process triggers a surge in dopamine and testosterone, encouraging behaviors that foster connection. Oxytocin plays a key role in deepening emotional bonds. However, love can fade when serotonin levels shift in the hypothalamus, reducing attraction and emotional intensity.

In simple terms, love starts as infatuation. Infatuation grows from attraction, where individuals highlight their best qualities. However, once two people begin living together, their flaws become apparent. Disillusionment sets in, leading to frustration, disappointment, and, eventually, cracks in the relationship. High expectations often result in discontent, which can escalate into anger and conflict.

The Reality of Love

Love is not about compromise but about mutual understanding. Problems arise when one partner tries to customise the other, tries to change the other. In arranged marriages, this pressure is lower, as partners accept each other as they are. Love is a blend of chemistry and biology, but intellect plays a crucial role in sustaining relationships.

There is no harm in not falling in love before marriage. Sometimes, it is wiser to love the person you marry rather than insist on marrying the person you love. In the end, successful relationships are built on acceptance, understanding, and shared experiences.

Valentine's Day - Is it a Lovers' Day?

 

Valentine's Day, celebrated on February 14th is certainly not a Lovers’ day. If we traced its origins, we can find this in both ancient Roman traditions and early Christian history. Over time, it evolved into the modern celebration of love and romance. Here's a breakdown of its origins:

The Roman Festival – Lupercalia

Initially, before Valentine’s Day was associated with love, the Romans celebrated a festival called Lupercalia from February 13–15. It was a “fertility” festival honouring Faunus, the Roman God of agriculture, and involved rituals that were believed to bring health and fertility. Some rituals even included a matchmaking lottery (typical to our swayamvar), where young men and women were paired.

Saint Valentine – A Christian Martyr

The holiday is named after Saint Valentine, but the exact identity of the real Valentine is unclear. There were multiple early Christian martyrs named Valentine. 

The most popular legend says that Saint Valentine of Rome was a priest in the 3rd century who secretly married couples to help young men avoid conscription into the Roman army. Emperor Claudius II forbade marriages because he believed single men made better soldiers. Valentine was eventually caught and executed on February 14th, around 269 AD. 

Another version of the legend states that Valentine healed a blind girl, possibly the daughter of his jailer, and sent her a farewell note signed "From your Valentine", a phrase still used today.

The Romantic Connection – Middle Ages & Chaucer

By the Middle Ages, the idea of Valentine’s Day as a day of love gained popularity in Europe. Geoffrey Chaucer, the English poet, wrote a poem in the 14th century connecting the day to courtly love, which was the tradition of expressing admiration and devotion to a beloved. This started the association of Valentine’s Day with romance.

Modern Valentine's Day

By the 17th and 18th centuries, the exchange of love letters became common. In the 19th century, the first mass-produced Valentine’s Day cards appeared. Today, the holiday is widely celebrated with gifts, flowers, chocolates, and romantic gestures.

Is It Just Lovers' Day?

While Valentine's Day is not mainly about romantic love, it has also relevance to include expressions of love between friends, family, and even self-love. In many cultures, people give gifts to friends, teachers, parents, and children, making it a broader celebration of love and affection.

Valentine's Day Around the World

Valentine’s Day is celebrated differently across various cultures:

• United States & Europe: Common traditions include exchanging cards, chocolates, and flowers, along with romantic dinners and special gifts.
• Japan: Women give chocolates to men on February 14th, while men return the gesture on White Day (March 14th).
• South Korea: The holiday is extended over several months, with unique celebrations like Black Day (April 14th) for singles.
• Brazil: Instead of February 14th, Brazilians celebrate Dia dos Namorados (Lovers’ Day) on June 12th, marked by music, dancing, and gift-giving.
• China: The Qixi Festival, celebrated in August, is considered a traditional equivalent of Valentine’s Day, inspired by a romantic legend.
• Finland & Estonia: These countries focus on friendship rather than romance, calling it Friend’s Day.

Valentine’s Day continues to evolve, embracing diverse cultural traditions and interpretations of love worldwide.

How is it celebrated in India? 

A guy visits a shop to buy cards for his Valentine's day. He asks for a Card, with a message printed, "You are my first and last love - From Your valentine". The shop-guy says, "Yes we do have them". Then the buys says, "Then, give me 10 err 14 of them..."

Shri Krishna is a Maayan indeed - So is Raja who weaves magic with his notes

This musical track celebrates the joyous birth of Bhagwan Shri Krishna, a figure revered as leader, God, and everything. The question arises: why does Periyaazhwar place Krishna's birth in Thirukkoshtiyoor, when scriptures cite Mathura? The answer lies in the puranas, which state Thirukkoshtiyoor is where Krishna, as a divine counsel with the Devas, decided to be born. Thus, it is deemed his birthplace. The track draws from four pasurams (hymns), specifically the 1st, 2nd, 6th, and 7th, though the 10th (the phalashruti) is notably absent.

The track opens with the cry of a newborn, reminiscent of a similar scene in the film Thalapati, but where that birth was fraught with pain, this one is pure joy. The infant's cry is followed by trembling violins and bells, then transitions into a vibrant string section that captures the celebratory mood of Mathura. Woodwind instruments join, adding to the festive atmosphere.

Krishna's birth, as the narrative goes, occurred not in Nandagopan's home, but was brought there by Vasudev. The universe was in a state of unaware slumber until Krishna's arrival. The notes reflect these feelings in the prelude. The song, while primarily in Sindhubhairavi (Bhairavi in Hindustani), subtly incorporates elements of Aabheri and Suddha Dhanyasi.

The first verse introduces Krishna with three names: Kannan, Kesavan, and Nambi, praising his beautiful eyes, hair, virtues, and overall handsomeness. Kannan's birth brings joy to Nandagopar's household, and the inner courtyard is named "Kannan Muttram" in his honor. The tradition of spraying coloured powder mixed with fragrant-oil, similar to the "Sembulapeyalneer" mentioned in Silappathikaaram, is described. This custom, akin to modern Holi celebrations, signifies happiness and festivity.

The interlude musically depicts the joyous reactions of the people of Thiruvaipadi upon hearing of Krishna's birth. The music, with its strings and synth, mimics their dancing, singing, jumping, searching, and slipping. Key-bits in the interlude evoke a sense of playful jumping while the swinging octaves indicate skidding. The verse describes the overwhelming joy in Thiruvaipadi. People ran, slipped in the mud, shouted, embraced, searched for Krishna, sang, and danced. The hymn portrays the grand celebration of Krishna's birth by the five lakh priests of Ayipadi. The word "alippar" is interpreted as both "shouting" and "embracing." The vocal humming and the use of multiple drums during the lines about musical instruments enhance the track's richness.

As the celebrations subside, the music mellows, but interrupted strings hint at a significant event. The verse narrates Yashoda bathing Krishna and seeing the entire universe in his mouth, an event that leaves her awestruck. The music mirrors Yashoda's experience, transitioning from surprise to amazement, and finally to shock. The background music pauses, leaving only strings and tabla to emphasise the awe-struck moment, followed by bells signalling a return to normalcy.

The music shifts from Sindhubhairavi to Hindolam as Yashoda realizes Krishna's divine nature, recognizing him not as an ordinary child ("Aayan"), but as a divine being ("Maayan").

The track concludes, highlighting the composer's own "Maayan"-like ability to weave musical magic.

https://www.youtube.com/watch?v=Y5tey5fuBps