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OCTOBER - NOVEMBER 2009 ISSUE 04

äŠðC - 裘ˆF¬è 2009 ñô˜ - 1 Þî› 04

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EDITORIAL õí‚è‹! OCTOBER - NOVEMBER 2009 ISSUE 04

äŠðC - 裘ˆF¬è 2009 ñô˜ - 1 Þî› 04 G˜õ£è ÝCKò˜ CH ÝCKò˜ °¿ îIöóC º¼è¡ Fhð¡ ýKê¡ àˆîñ¹ˆFó¡ Jonathan Lee Derryck õ®õ¬ñŠ¹ Ý‹ð™ è¬ôòè‹ ó£«ü‰Fó¡ Ü¡¹ Þ¬íòˆî÷ àîM Ý‹ð™ è¬ôòè‹ ªî£¬ô«ðC 0845 643 5882

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AAMBAL - ISSUE 4  AUGUST - SEPTEMBER 2009

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õò¶ Þ¼‚èô£‹ â¡Á‹ ªê£™Aø£˜èœ. Ü«î êñò‹, ÞŠ«ð£¶ ꣉«î£‹ «îõ£ôò‹ àœ÷ ÞìˆF™î£¡ ºîL™ Þ‰î‚ «è£J™ è†ìŠð†ì¶ â¡Á‹, ܶ «ð£˜„²WCòó£™ ÜN‚èŠð†ì Hø°, èìŸè¬óJ™ Þ¼‰¶ 1.5 A«ô£e†ì˜ îœO, ÞŠ«ð£¶œ÷ Ýôò‹ ܬñ‚èŠð†ì¶ â¡Á‹ ªê£™Aø£˜èœ. Güñ£ù «è£J™, è콂°œ è†ìŠ- 𠆮¼‰î¶ â¡Á‹, è£ôŠ«ð£‚A™ èì™ àœ õ£ƒAòî¡ M¬÷õ£™, ܶ ñ£PŠ «ð£ù¶ â¡Á‹ Aø¶ å¼ Ã†ì‹. «ð£˜„²WCò˜è÷£™ ÜN‚èŠð†ì Þ‰î Ýôòˆ¬î, MüòïèóŠ «ðóóê˜èœ, 16&‹ ËŸø£‡®™ F¼‹ð‚ 膮J¼‚Aø£˜èœ. Þó‡´ õ£ê™èœ ªè£‡ì Þ‰î ÝôòˆF™, Þ¼ ð‚èƒèO½‹ «è£¹óƒèœ à‡´. Aö‚° «è£¹ó‹ 40 e†ì˜ àòó‹ ªè£‡ì¶.

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Ý‹ð™ - Þî› 4  äŠðC - 裘ˆF¬è 2009

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ªõœO‚Aö¬ñèO™ èŸð裋𣜠‚° 裲 ñ£¬ô ÜEM‚èŠ- ð ´‹. Þ¶ °PŠH†ì Cô ð‚î˜ °¿MùK¡ è£E‚¬è. Þ‰î Üôƒè£óˆ¬îŠ 𣘂è ð‚î˜- è œ Ã†ì‹ Ü¬ô«ñ£¶‹. Ü‰î «ïóˆF™ èŸð裋𣜠¹è› ð£´Aø ð‚FŠð£ì™èœ åL‚°‹. ÝôòˆFÂœ å¼ CPò ñJ™ à¼õº‹ ñJ™ Ç´‹ Þ¼Šð¬î‚ è£íô£‹. èŸð裋ð£œ, ñJ™ à¼õˆF™ õ‰¶, è쾬÷ õíƒAòõ˜ â¡ð¬î G¬ù¾Ãó«õ Þ¶. ªê¡¬ù ñJô£Š- Ì K½œ÷ ÞˆF¼‚«è£J™ ñJ- ô £ŠÌ˜ Ü™ô¶ ôv «ð¼‰¶ GÁˆîƒèOL¼‰¶ ï¬ìˆªî£¬ôM™ àœ÷¶. ñJô£ŠÌ˜ â‹Ý˜®âv óJ™ G¬ôòº‹ Iè ܼA«ô«ò àœ÷¶. Þî¡ Ü¼A«ô«ò ó£ñA¼wí£ ñì‹, ꣌ð£ð£ «è£J™, «õî£‰î «îCè˜ «îõvî£ù‹(ÿ ÿGõ£ê˜ «è£J™), «èêõŠªð¼ñ£œ «è£J™, ñ£îõŠªð¼ñ£œ «è£J™, º‡ì‚è‡E «è£J™, «è£ôMNò‹ñ¡ «è£J™, õ£hvõó˜ «è£J™, è£óavõó˜ «è£J™, ióðˆFóê£I «è£J™, ÜŠð˜ê£I «è£J™, ôv ïõ-ê‚F Mï£òè˜ «è£J™ ÝA-ò¬õ ܬñ‰¶œ÷ù.

ïõó£ˆFK èO™ Ì‹ð£¬õ, F¼ë£ù ê‹ð‰î˜ ÝA«ò£K¡ à¼õ„ C¬ôèÀ‹, õóô£Á‹ 𣘬õ‚° ¬õ‚èŠð†´, è¬ô G蛄Cèœ Üóƒ«èÁ‹. «è£¬ì‚è£ôˆF™, ï´«õ ñ‡ìðˆ¶ì¡ îò å¼ CPò î‡a˜ ªî£†®, ñô˜è÷£™ ÜôƒèK‚èŠð†´, ÝôòˆFÂœ ¬õ‚èŠð†®¼‚°‹. FùêK ° «õ¬÷ ̬üèœ ïì‚A¡øù. ÜF裬ô «õ¬÷J™ å¡Á, ºŸðèL™ å¡Á, Hó«î£û è£ô ̬ü å¡Á, ó£ˆFKJ™ å¡Á. ðƒ°Q ñ£îF™ ÜÁðˆF Íõ˜ F¼Mö£ Þƒ«è I辋 Hóðô‹. Þ‰î ãKò£«õ F¼Mö£ è¬÷ 膴‹. Ü«î ñ£î‹ ï¬ìªðÁAø ðƒ°QŠ ªð¼Mö£¾‹ IèŠ HóCˆF. Þ‰î èO™ ï¬ìªðÁAø «î«ó£ˆêõ‹ 𣘬õ‚° M¼‰¶. èð£hvõó˜ å¼ «îK™, î¡ ñ¬ùM èŸð裋ð£Àì¡ Üñ˜‰F¼‚è, Hó‹ñ£, Ü‰îˆ «îK¬ù 憮„ ªê™Aø Þ‰î‚ è£†C ð‚î˜è¬÷ ªõ°õ£è‚ èõ¼‹. «î˜ º¿‚è ñô˜è÷£™ ÜôƒèK‚èŠð†®¼‚°‹. ð‚î˜èœ å¡Áî, «îK¬ù Þ¿ˆ¶„ ªê™õ£˜èœ. Ü´ˆ¶ Hó‹«ñ£ˆêõ‹. ÞF™ èð£hvõó¬ó»‹ èŸð裋ð£¬÷»‹ ÜöAò à¬ì ñŸÁ‹ ï¬èè÷£™ ÜôƒèKˆ¶, õ£èùˆF™ Üñó„ ªêŒ¶, «è£J¬ô»‹, ܬîªò£†®ò °÷ˆ¬î»‹ ²ŸP õô‹ (Hóî†êí‹) õó„ ªêŒõ£˜èœ. Þ¶ ªõš«õÁ õ£èùƒèO™, 9 èÀ‚°ˆ ªî£ì-¼‹.

6

AAMBAL - ISSUE 4  OCTOBER - NOVEMBER 2009

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Üõ¼‚° ꇮ«è²õó ðîM ÜOˆ¬î îꇫì²õó ï£òù£˜ õóô£Á ÃÁA¡ø¶. “ à‡ìèôº‹ à´Šðù¾… Å´õù¾‹ àù‚è£è„ ꇯêÂñ£‹ ðî” â¡Á Þ¬øõ¡ î¡ ªê£ˆ¶‚èœ ò£õŸ¬ø»‹ Mê£óê¼ñ¼‚°‚ ªè£´ˆî£˜. Þî¬ù “ñ£E ð£™èø‰¶ ݆® õNðì cœ àôªèô£‹ Ý÷‚ªè£´ˆî â¡ ÝE...”

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“õ‰î ñíô£™ ÞLƒè‹ ñ‡EJ¡ è‡ ð£ô£†´‹ C‰î ªêŒ«õ£¡ î¡è¼ñ‹ «î˜‰¶ C¬îŠð£¡ õ¼ñˆ îî¬ù„ ꣴ ê‡¯ê¡ âø¼O‚ ªè£‰îí¾ ñô˜ ªè£´ˆî£¡ «è£OLªò‹ ªð¼ñ£«ù” & F¼º¬ø: 1:62:4 ꇯê ðîM ªè£´ˆ¶ î¡ î¬ô‚ è‡Eò£ù ªè£¡¬ø ñô˜ñ£¬ôò»‹ Þ¬øõ¡ Å®ù£¡ â¡Â‹ ë£ù ê‹ð‰îK¡ ߬ø  «ïK™ 𣘊ð 胬èªè£‡ì «ê£ö ¹óˆF½œ÷ «ê£j²õó˜ «è£J½‚°„ ªê™ô«õ‡´‹. Þ‰î ë£ù‚ èM¬î‚° ãŸø «ñ£ù„C¬ô ܃° Þ¼‚A¡ø¶. à‡¬ñò£ù ð‚î¡ âŠð® Þ¼‚è «õ‡´‹ â¡ðî¬ù ꇫì²õó˜ ºèˆF™ è£íŠð´‹ ܬñF»‹ ð‚F èô‰î Üì‚躋, Þ¼èó‹ ÊH Þ¼‚°‹ Gô»‹ â´ˆ¶‚ 裆´A¡øù. Cõ¡ 輬í õN‰ªî£¿è ꇫì²õ󼂰 ñ£¬ô ÜEMˆ¶ ܼœð£L‚A¡ø£˜. ñô˜ ñ£¬ôJ™ àœ÷ 嚪õ£¼ ñôK¡ ÞîN½‹ CŸH î¡ ¬èõ‡íˆ¬î‚ 裆® Þ¼‚A¡ø£¡. ð£˜‚èŠ ð£˜‚è ðóõê͆´‹ Þ‰î «ñ£ù„ C¬ô¬ò CŸH, ê‹ð‰îK¡ «îõ£óˆ¬î 𣮠ÞóCˆ«î ð¬ìˆF¼Šð£¡ «ð£™ Þ¼‚A¡ø¶. ë£ùê‹ð‰î˜ ñ†´ñ™ô ²‰îó¼‹ “ꇮ‚° à¡ê¬ìI¬ê ñô˜ ܼœ ªêò‚致” î£Â‹ Cõ¬ù õ탰õî£è‚ ÃÁA¡ø£˜. “bF™¬ô ñ£E Cõè¼ñ… C¬îˆî£¬ù„ ê£F»‹ «õFò¡ îî¬ùˆ î£Oó‡´… «êFŠð ßê¡ F¼õ¼÷£™ «îõ˜ ªî£öŠ ð£îè«ñ «ê£Á ðŸPùõ£ «î£œ «ï£‚è‹”

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âù ñEõ£ê輋 ꇫì²õ󼂰 F¼õ£êèˆF™ 𣮊 ðóõêŠð´A¡ø£˜.

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ªðŸ«ø£˜èÀ‚° å¼ º‚Aò °PŠ¹ àƒèœ °ö‰¬îèÀ‚° ðg†¬ê ªï¼ƒ°A¡øî£!  àƒèœ Hœ¬÷èÀ‚° î¡ù‹H‚¬è¬ò ᆴƒèœ.  “â¡ù£™ º®»‹”, “ù Þ¬î„ ªêŒ«î¡” âù ñùˆ¶E¾ì¡ ªê£™ô‚ îòõ˜èœ Ý‚°ƒèœ.

 Üõ˜èœ ªê£™õ¬î‚ «è†´ ñA›õ¬ì»ƒèœ.  Üõ˜è¬÷ˆ ‚ ªè£´ˆ¶ àŸê£è‹ ᆴƒèœ.  蟰‹ ÝŸø½‹, 蟰‹ º¬ø»‹ Hœ¬÷èÀ‚° Hœ¬÷èœ «õÁð´‹. Cô˜ ÝCKò˜ ªè£´ˆî °PŠ¬ð ð®ˆîP‰¶ ªè£œõ˜. Cô˜ °PŠ¬ð ð®Šð«î£´ e‡´‹, e‡´‹ â¿F ÜP‰¶ ªè£œõ˜. Cô˜ «è†ð¬î«ò ë£ðèˆF™ ¬õˆF¼Šð˜. Cô˜ 𣘊ð¬î«ò (ðìƒè÷£è‚ WP) ë£ðèˆF™ ¬õˆF¼Šð˜. Þ¬îŠ ¹K‰¶ ªè£‡´ Üõóõ˜‚° ãŸø MîˆF™ èŸè M´ƒèœ

 ܬñFò£è Þ¼‰¶ ð®‚è‚ Ã®ò Þ숬î ãŸð£´ ªêŒ¶ ªè£´ƒèœ. ܉î ÞìˆF™ Fò£ù ܬø «ð£¡ø ܬñF Þ¼‚膴‹. °¬ø‰î¶ Þ¼ð¶ GIì «ïóñ£õ¶ ܬñFò£è Þ¼‰¶ ð®‚è M´ƒèœ. ܃«è ªî£¬ô«ðC, ªî£¬ô‚裆C êŠîƒèœ Þ™ô£F¼‚膴‹.

 àƒèœ °´‹ð‚ èvìƒè¬÷ ðg†¬ê «ïóˆF™ ªê£™ô£b˜èœ.  ðg†¬ê‚° 𮂰‹ Hœ¬÷èO¡ º¡¹ °®ˆ¶M†´ ê‡¬ì «ð£ì£b˜èœ. ܶ Üõ˜è÷¶ ñù ܬñF¬ò‚ ªè´‚°‹.

 ðg†¬ê «ïóˆF™ Hœ¬÷è¬÷ 𣘆®èÀ‚° ܬöˆ¶„ ªê™ô£b˜èœ. ªê¡ø£½‹ ÜFè «ïó‹ èNˆ¶ i´ F¼‹ð£b˜èœ. ðg†¬ê ⿶‹ Hœ¬÷èœ ï¡° ɃAù£™  ð®ˆî¬î àŸê£èñ£è â¿î º®»‹.

 Hœ¬÷è¬÷ M¬÷ò£ì¾‹ M´ƒèœ. àìŸðJŸC ͬ÷‚° «õ‡®ò å‚Cê¬ù‚ ªè£´Šð ë£ðè ê‚F õ½Šð´‹.

 º‚Aòñ£è Üõ˜èÀ‚° æŒõ£è Þ¼‚è «ïó‹ ªè£´ƒèœ. Ü‰î «ïóˆF™ Üõ˜èœ M¼Šð‹ «ð£™ âî¬ù»‹ ªêŒò M´ƒèœ.

 Þ¬õ â™ô£õŸPŸ°‹ «ñô£è ï™ô á†ì„ ê‚F»œ÷ àí¾è¬÷‚ ªè£´ƒèœ. ðöƒè¬÷»‹, W¬óè¬÷»‹, ªè£¿Š¹œ÷ ¬ñ‚èó™, êñ¡, H™ê£† «ð£¡ø e¡è¬÷»‹ àíM™ «ê˜ˆ¶‚ ªè£œÀƒèœ. ÞõŸP™ ͬ÷‚°ˆ «î¬õò£ù å«ñè£-&3 Þ¼‚A¡ø¶. (°O¬èè¬÷ õ£ƒA‚ ªè£´‚è «õ‡ì£‹. ÞòŸ¬èò£ù àí¾Š ªð£¼†èO™ å«ñè£&3 Þ¼‚A¡ø¶).

ñö¬ô„ ê£ó™ àƒèœ °ö‰¬îèOù¶ Ý‚èƒèœ... àƒèœ °ö‰¬îèOù¶ Ý‚èƒè¬÷ ñö¬ô„ê£ó™ ð°F‚° I¡ù…ê™ Íô«ñ£ Ü™ô¶ î𣙠Íô«ñ£ ÜŠH¬õ»ƒèœ. ÜŠ¹‹ «ð£¶ àƒèœ ªðò˜, ºèõK, ªî£¬ô«ðC â‡, ñö¬ôJ¡ GöŸð숬 âñ‚° ÜŠH¬õ»ƒèœ. I¡ù…ê™ ºèõK: kidspages@aambal.co.uk ºèõK: Aambal Magazine, P.O.Box 369, Sutton, Surrey SM1 9GG

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Ý‹ð™ - Þî› 4  äŠðC - 裘ˆF¬è 2009

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èìL¡ àŠ«ð! ñ£«è† èìŸè¬ó‚° «ð£Œõ‰î Þó¾ ñ¶, M«ù£ˆ, Có£E Íõ¼‹ Ƀè«õ Þ™¬ô. ⊫ð£ M®»‹ èì™ cK™ Þ¼‰¶ âŠð® àŠ¬ð â´Šð¶ âù è‡MNˆ¶‚ 裈F¼‰îù˜. «ïó‹ ªê™ô„ ªê™ô ñ£«è†«ð£Œõ‰î è¬÷Šð£™ Üõ˜è¬÷ ÜPò£ñ«ô ɃAM†ìù˜.

ñÁ裬ôJ™ Íõ¼‹ «ïó‹ ªê™ô«õ ⿉F¼‰îù˜. Có£E M«ï£ˆF¡ î£Jì‹, “Ý¡®! ï£ƒèœ ªè£‡´õ‰î èì™cK™ Þ¼‰¶ âŠð® àŠ¬ð â´Šð¶?” â¡Á «è†ì£œ. M«ù£ˆF¡ Ü‹ñ£ Có£E¬òŠð£˜ˆ¶, “Có£E! èì™ cK™ Þ¼‰¶ àŠ¬ðŠ HKˆªî´‚èˆ «î¬õò£ù ªð£¼†è÷£ù 1. cƒèœ ªè£‡´õ‰î èì™c˜ 2. Üèôñ£ùè «ð‚Aƒ «ó 3. ñó‚èó‡®

Í¡¬ø»‹ Íõ¼‹ â´ˆ¶ õ‰¶  ªê£™õ¶«ð£™ ªêŒ»ƒèœ.” “«ð‚Aƒ «ó¬ò Ü´ŠH™ ¬õˆ¶ ܬóõ£C èì™ c¬ó M†´ Å죂A Þ¬ìJ¬ì«ò ñó‚èó‡®ò£™ ¶÷£M õó¾‹. Ü‰î‚ èì™ c˜ õŸP ܬóõ£Cò£è õ¼‹ ªð£¿¶ ÜîÂœ eFò£è àœ÷ èì™ c˜ º¿õ¬î»‹ M†´ ܶ¾‹ õŸP 膮ò£è õ¼‹ «ð£¶ ņ¬ì‚ °¬øˆ¶ ¬õˆ¶‚ A÷ø¾‹. àŠ¹ ðOƒ°è÷£è à¬øðìˆ ªî£ìƒ°‹ «ð£¶ «ð‚Aƒ«ó¬ò 2750 F Þ™ Å죂Aò ÜõE™ ¬õˆ¶, ªõœ¬÷Š ðOƒ°‚ 膮è÷£è àŠ¹ à¼õ£A õ¼‹ «ð£¶ «ó¬ò ªõO«ò â´ˆ¶ ÝøM´ƒèœ” â¡ø£œ. M«ù£ˆ 殄 ªê¡Á èì™c¬ó‚ ªè£‡´ õ‰î£¡. Có£E «ð‚Aƒ «ó¬ò â´‚è, ñ¶ ñó‚è󇮬ò ⴈ. «ð‚Aƒ «ó¬ò Ü´ŠH™ ¬õˆ¶ M«ù£ˆF¡ Ü‹ñ£ ªê£¡ù¶ «ð£™ ªêŒî£˜èœ. àŠ¹Š ðOƒ°‚ è†®èœ ÝPò¶‹ Üî¬ù «ð£ˆîLÂœ «ð£†´ Í®ù£˜èœ. M«ù£ˆ è¬ìJ™ õ£ƒAò àŠ¬ð»‹ èì™ cK™ Þ¼‰¶ â´ˆî àŠ¬ð»‹ ²¬õˆ¶Š 𣘈¶ “èì™ cK™ Þ¼‰¶ ï£ƒèœ îò£Kˆî ÞòŸ¬èò£ù àŠH™ àŠ¹ˆ ñ °¬øõ£è Þ¼‚A¡ø¶” â¡Á ªê£¡ù£¡. àì«ù Có£E»‹, ñ¶¾‹ àŠ¬ð„ ²¬õˆ¶Š 𣘈¶ “Üõ¡ ªê£™õ¶ êK«ò” â¡Á ªê£¡ù£˜èœ. M«ù£ˆF¡ Ü‹ñ£ ñè¬ù ªð¼¬ñ»ì¡ 𣘈¶ “èìL¡ àŠ¹ â¡ð¬î ÜP‰¶ ªè£‡¯˜è÷£?” âù‚ «è†ì£œ. Íõ¼‹ å¼Iˆî °óL™ “Þ¶ èìL¡ àŠ«ð” â¡ø£˜èœ.

ÜP¾‚° M¼‰¶ 1. ÌI â‰îˆ F¬êJ™ ²ŸÁA¡ø¶? 2. IèŠðöƒè£ôˆF«ô«ò ñQîù£™ ÜPòŠð†ì M…ë£ù‹ â¶? 3. è®è£óˆF™ Þ¼‚°‹ ñE, GIì‹, Mù£® 裆´‹ Í¡Á è‹HèÀ‹ ²ŸPõ¼‹ «ð£¶ ⊪ð£¿î£õ¶ å¡Á‚ªè£¡Á 1200 Þ¬ìªõOJ™ GŸð¶‡ì£? 4. î𣙄«ê¬õ ⃫è, ⊫𣶠ºî¡ºî™ ï¬ìªðŸøî£è õóô£ŸP™ ðFõ£A»œ÷¶? 5. å†ì般îMì Ièc‡ì Éó‹ î‡a˜ °®‚è£ñ™ ªê™ô‚îò Môƒ° â¶?

7. M…ë£ùˆF¡ î âùŠ«ð£ŸøŠð´‹ «î£ñv Ü™õ£ â®êù£™ ¹Fî£è âˆî¬ù ªð£¼†èœ 致H®‚èŠð†ìù? 8. 2 Þ¡ º¡ 1ä â¿Fù£™ 12 â¡Â‹ ⇠A¬ì‚°‹. Þ¶ 2 䊫𣙠6 ñ샰 îò¶. Þ¶«ð£™ æ˜ â‡E¡ º¡1ä â¿Fù£™ 5 ñ샰 ⇬í à‡ì£‚è‚îò ⇠â¡ù? 9. ªî¡Aö‚è£Cò£M™ âƒ«è ºî¡ºî™ ªð‡èœ è™ÖK è†ìŠð†ì¶? Üî¡ ªðò˜ â¡ù? 10. ºî™ Gøƒèœ âˆî¬ù? ܬõ â¬õ? 㡠ܬõ ºî™Gøƒèœ âù ܬö‚èŠð´A¡øù?

6. àôA«ô«ò I芪ðKò c÷ñ£ù °¬è â¶? M¬ìèœ: 1. «ñŸA™ Þ¼‰¶ Aö‚è£è 2. õ£ùê£vFó‹ 3. Þ™¬ô 4. âAŠF™ A. º. 2000 5. âL 6.êè£ó£‚ °¬è 7.1069 8. 25 9. ò£›Šð£í‹ à´M™ ñèO˜ è™ÖK 10. Í¡Á, CõŠ¹, ð„¬ê, cô‹. ñŸ¬øò Gøƒè¬÷‚ ªè£‡´ Þ‰î Gøƒè¬÷ àíì£‚è º®ò£¶.

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Ý‹ð™ - Þî› 4  äŠðC - 裘ˆF¬è 2009 11


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ries o t s g in n in w e iz r p îèœ ðK¬êŠªðÁ‹ CÁè¬

"Goodbye Dad"

"HK‰«î£‹ ê‰Fˆ«î£‹"

The sun rose shinning bright as the dawn broke. Two birds were chirping a duet. The cockerel crowed a wake-up call. A refreshing morning breeze filled the home Nishan shared with his parents. The father often stayed away as he was a Charity worker.

«è£¬ì M´º¬øJ¡ ºî™ ÷ Iè Iè ñA›„C»ì¡ ÞóCŠð¶ â¡ø º®¾ì¡ ÜF裬ô‚°œ Hó«õCˆ«î¡. «õèñ£è 裬ô‚èì¡è¬÷ º®ˆ¶M†´ ê£Iò¬ø‚°„ ªê¡«ø¡. ܃° å¼ ªðKò ¹¬èŠðì‹ ñ£†ìŠð†®¼‰î¶. ÜF™ âù¶ ªðŸ«ø£˜èœ Ýù‰î‹ G¬ø‰î ºèƒèÀì¡ â¡¬ùŠ 𣘈èœ.

The smell of breakfast was irresistible. Nishan was lucky to have a breakfast in this war-torn homeland.

܉ ªï£®J™ âù‚° Ü‰î‚ ªè£®ò ê‹ðõ‹ G¬ù¾‚° õ‰î¶. ܶ ï¬ìªðŸø êñò‹  âù¶ CˆFJ¡ i†®™ îƒAJ¼‰«î¡. ÜŠð® Þ™¬ô«ò™,  Þ¡Á Þƒ° Þ¼‰F¼‚èñ£†«ì¡. Ü¡Á Þø‰î¶ âù¶ ªðŸ«ø£˜ ñ†´ñ™ô, âù‚° Iè ªï¼ƒAò ï‡ðù£Aò âù¶ ܇í‹ Ãì. Þ„ ê‹ðõˆF¡ Hø° âù¶ Ü‹ñ£M¡ èò£ù âù¶ CˆF«ò ⡬ùŠ ªð£ÁŠªð´ˆ¶ õ÷˜ˆî£œ.

He was about to take his first mouthful when they heard a commotion. People ran blindly, screaming, holding onto their dear lives. It was the ear piercing sound of the bomber-aircrafts; minutes away from taking innocent lives. The rifle shots rang through the air and the bullet's echo was ever-lasting until the prey was killed. It no longer mattered if they were animals or humans. They were all hunted. Among this mayhem, Nishan recognised two friends approaching them. They were carrying someone and instincts said something was wrong. Still emotions failed to accept it but nothing could wipe away the pain when Nishan discovered it was his beloved father's lifeless body. "Wake-up Dad he cried bitterly, stop sleeping!" Dad he croaked stroking his cheek "I love you". Nishan's eyes filled with tears. A tear rolled down his cheeks and fell on his Dad's dry lips. The aircraft flew-by and they counted their lucky stars. There was no time to have a proper funeral. They quickly got into a tractor to take his father's body to be cremated. Nishan was three years old still he needs to fulfil his duties as a son. It was time to wash the ashes of his father in the River. They used to spend happy days by the sacred river during festivals; it is now become the final resting place of his father. Nishan walked solemnly into the river and said his final goodbye.

Stefan Saijeeswaran 12

AAMBAL - ISSUE 4  OCTOBER - NOVEMBER 2009

âù¶ º¡ G¬ù¾è¬÷ H¡Â‚° ¬õˆ¶ M†´, CˆFJì‹ M¬ìªðŸÁ, âFK™ Þ¼‰î ñ¬ô‚ °¡Áè¬÷ «ï£‚A„ ªê¡«ø¡. Ü‰î‚ «è£¬ì ªõJ™ ªõŠðˆF™ âFK™ «îƒAJ¼‰î °O˜‰î cK™ ïìŠð¶ Iè ܼ¬ñò£è Þ¼‰î¶. ⡠裙èÀ‚° W› Þ¼‰î èŸèœ âù¶ 裙è¬÷ àóCù. Þ÷‹ ªî¡ø™ âù¶ ñù¬î‚ °Oó ¬õˆî¶. ⡬ù„ ²ŸPJ¼‰î 裟Á âù‚° ÞQ¬ñ¬òˆ î‰î¶. êŸÁˆ ÉóˆF™ å¼ C†´‚°¼M ⡬ù‚ ÃM ܬöˆî¶. ݘõˆ¬î Üì‚è º®ò£ñ™, Ü‰î„ C†´‚°¼MJ¡ ܬöŠ¬ð «ï£‚A «õèñ£è„ ªê¡«ø¡. Iè Üöè£è Þ¼‰î Ü‰îŠ ðø¬õJ¡ ªê†¬ìJ™ å¼ è£ò‹ ãŸð´ˆîŠð†®¼‰î¶. Ü‰îŠ ðø¬õ Üš«õî¬ùJ™ îMˆî¶. ܶ e‡´‹ ⿉¶ ªê†¬ìò®ˆ¶Š ðø‚è I辋 è®ùŠð†ì¶. ÜõêóˆF™ â¡ù ªêŒõªî¡Á «ò£Cˆ«î¡. CP¶ îò‚èˆF¡ H¡, âù¶ î¬ôJ™ 膮J¼‰î ¶E¬ò‚ èöŸP ÜŠðø¬õJ¡ CøA™ ÞÁ‚è‚ è†®«ù¡. CøA™ Þ¼‰¶ æ®ò Þóˆî‹ °¬øõ¬î‚ è‡ì¾ì¡ âù¶ ªï…ê‹ ñA›„Cò£™ ªð£ƒAò¶. Þóˆî‹ õNõ¶ °¬ø‰î¬î‚ è‡ì ÜŠðø¬õ, M‡¬í «ï£‚AŠ ðø‰î¶. âù‚° ï¡P ªê£™õ¶«ð£™ ⡬ù„ ²ŸP„ ²ŸP Í¡Á îì¬õ õ‰î¶. H¡, âFK™ ªîK‰î å¼ Ýôñóˆ¬î «ï£‚AŠ ðø‰î¶. ù£, ÜŠðø¬õ¬òŠ HKò ñùI¡P, Üî¬ùŠ H¡ªî£ì˜‰¶ ªê¡«ø¡. C†´‚°¼M Ýôñ󈶂 A¬÷èÀ‚°œ ªê¡Á ñ¬ø‰î¶. âù¶ Ýõ¬ô Üì‚躮ò£ñ™, Ýôñóˆ¬î ªê¡ø¬ì‰«î¡.

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܃°, å¼ CÁõ¬ù‚ 致 MòŠð¬ì‰«î¡. Üõ¬ùŠ 𣘈¶ ⡬ù Mì ͈îõ¡ â¡Á G¬ùˆ«î¡, êŸÁ ²ŸP õ‰¶ Üõ¬ù ãø ÞøƒèŠ 𣘈«î¡. Üõ¡ ⡬ù‚ 致 ªè£œ÷M™¬ô. Üõù¶ ñùF™ «õÁ â‡íƒèœ «ð£½‹! Üõ¡ °PŠ«ð Þ™ô£ñ™ èŸè¬÷ iC‚ªè£‡®¼‰î£¡.

CREATIVE WRITING

CÁõ˜èÀ‚è£ù CÁè¬îŠ«ð£†® Group 1

Ü„ CÁõQ¡ ºèˆF™ ã«î£  è‡ìP‰î ü£¬ì iCò¶. Üõù¶ è‡è«÷£ ªêƒèÁŠð£è Þ¼‰î¶. Üõù¶ è¡ùƒèœ ªê‹¬ñò£è Þ¼‰îù. Üõù¶ Í‚«è£ Iè‚ Ã˜¬ñò£è Þ¼‰î¶.

Stefan Sajeeswaran - 10 years - "Goodbye Dad" Kirusanth Murugaiah - 11 years - The Orphan Survivor Praveen D Harris - 10 years -Environment

Üõ¬ùŠ 𣘂è âù¶ ªðŸ«ø£˜èO¡ G¬ù¾ ñù¶‚°œ õ‰î¶. âù¶ Ü‹ñ£M¡ è‡èÀ‹, âù¶ ÜŠ��£M¡ Í‚°‹ ܄ꮈ𣙠Üõ¡ «ñ™ Þ¼‰î¶. âù¶ Ý„êKòˆ¬î Üì‚A‚ ªè£‡´ Üõ¡ ªðò¬ó MùM«ù¡.

Group 2

ÒÝÏó¡” âùŠ ðFôOˆî£¡.  âF˜ð£˜ˆî¶‚°‹ ñ£øè Üõù¶ °ó™ Iè ªñ¡¬ñò£è Þ¼‰î¶. «õÁ ªê£™õîŸA¡P Òâù¶ ªðò˜ ÜH” âù„ ªê£¡«ù¡.

To claim your pricezes please contact us via kidspages@aambal.co.uk Subject: Winners - Creative Writing.

Changavy Kayamuhan - 13 years - "Printhom Santhithom" Shivani Sivarajah - 12 years - "Today is special" Javian Thevarajah - 13 Years - "From Another Planet"

àƒèœ ðK²è¬÷ ªðÁõ kidspages@aambal.co.uk â¡ø I¡ù…ê™ ºèõK»ì¡ ªî£ì˜¹ªè£œÀƒèœ.

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AAMBAL - ISSUE 4  OCTOBER - NOVEMBER 2009

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Þ¶ èì£óˆF™ (ñ«ôCò£M™) 自촂èŠð†ì ð™ôõAó‰î 虪õ†´. Þˆî¬èò ð™ôõ Aó‰î 虪õ†´èœ Þ‰«î£«ùCò£, ò£õ£, ð£L, è‹«ð£®ò£ ô£‰¶ «ð£¡ø èO½‹ A¬ìˆF¼‚A¡øù. Þ¡Á «ðêŠð´‹ è¡ùì‹, ªî¿ƒ°, ¶À, ñ¬ôò£÷‹, Cƒè÷‹, , ü£õ£, ð£L «ð£¡ø ðô àôèªñ£NèO½œ÷ ⿈¶ õKõ®õƒèO™ ð™ôõAó‰îˆF¡ 般î ï¡° è£íô£‹.

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Important price level $1050 / $1070

2. îƒèˆF¡ M¬ô Þ¡ùº‹ ÜFèK‚°‹ âù ÃÁõîŸè£ù Ü´ˆî è£óí‹ ÜªñK‚è ªì£ô˜ Ý°‹. àôè ꉬîJ™ îƒèˆF¡ M¬ô ܪñK‚è ªì£ôK™  èE‚èŠð´A¡ø¶, âù«õ ܪñK‚è ªì£ôK™ °¬ø¾ ãŸð´‹ ªð£¿¶ ܶ îƒèˆF¡ M¬ô¬ò ÜFèK‚°‹. ñ£˜„ 2009 Þ™ Þ¼‰¶ ܪñK‚è ªì£ôK¡ M¬ôò£ù¶ °¬øõ¬ìò ªî£ìƒA»œ÷¶. Þ¶ Þ¡ùº‹ °¬øõ¬ìò‚ îò õ£ŒŠ¹èœ ªî¡ð´õ îƒèˆF¡ M¬ô Þ¡ùº‹ ÜFèK‚è‚ Ã´‹. 3. îƒè àŸðˆF ݇®Ÿ° ݇´ °¬øõ¬ì‰¶ ªè£‡«ì «ð£A¡ø¶. Ýù£™ îƒèˆF¡ àð«ò£èº‹, «î¬õ»‹ ݇®Ÿ° ܇´ ÜFèKŠð Þ¶ îƒèˆF¡ M¬ô¬ò âF˜è£ôƒèO™ àò˜õ¬ìò„ ªêŒ»‹. 4. àôèŠ ªð£¼÷£î£óˆF™ IèŠ ªðKò õ™ôóê£è âF˜è£ôˆF™ õó‚îò Þ‰Fò£, Yù£ «ð£¡ø èÀ‹ ÜFè÷¾ îƒè¬î ªè£œõù¾ ªêŒõ¶‹ îƒèˆF¡ M¬ô¬ò âF˜è£ôˆF™ ÜFèK‚èô£‹.

Gordon Brown got it wrong? 1999 ÞŸ°‹ 2002 ÞŸ°‹ Þ¬ìŠð†ì è£ôè†ìˆF™ ÜŠªð£¿¶ ÞƒAô£‰¶ Finance Minister Ý辋 𣿶 Hóîñó£è¾‹ Þ¼‚°‹ Gordon Brown ÞƒAô£‰F¡ Gold Reserve ™ CôõŸ¬ø ܾ‡v 塬ø 300 Ÿ°‹ °¬øõ£ù M¬ôJ™ MŸð¬ù ªêŒî¶ ðô¬ó Ý„êKòˆFŸ° àœ÷£‚AJ¼‰î¶.

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𣿶 àœ÷ $1025 M¬ô¬ò Mì îƒèˆF¡ M¬ô Þ¡ùº‹ ÜFèK‚°‹ â¡ðî¬ù W«ö àœ÷ è£óíƒè¬÷ ꣘ð£è ÃP àÁFŠð´ˆî£ô£‹. 1. ªðKò Hedge Funds, ªðKò õƒAèœ â¡ðù Speculative Ü®Šð¬ìJ™ Þô£ð‹ ܬ컋 «ï£‚A™ Technical Analysis â¡ø º¬ø¬ò ð£Mˆ¶ îƒèˆF¡ M¬ôèO™ ãŸøˆî£›¾è¬÷ à‡´ ð‡µA¡ø£˜èœ. Üî£õ¶ Technical Analysis â¡ø º¬øJ¡ ð® îƒèîF¡ M¬ô $1050 / $1070 â¡ø M¬ô¬ò Mì ÜFèK‚°‹ «ïóˆF™ Hedge Funds Þ¡ùº‹ ÜFè Ü÷õ£ù îƒèˆ¬î ªè£œõù¾ ªêŒõî¡ Íô‹ Üî¡ M¬ô¬ò Þ¡ùº‹ ÜFèK‚è„ ªêŒõ£˜èœ. Oil Þ¡ M¬ôò£ù¶ üùõK 2007‹ ݇´ $45 Ýè Þ¼‰¶ H¡ù˜ ü¨¬ô 2008‹ ݇´ $150 Ýè ÜFèKˆîFŸ°Š H¡ù˜ ÝÁ ñ£îˆF™ Üî£õ¶ üùõK 2009 Þ™ $150 ÞL¼‰¶ $35 Ýè °¬øõ¬ì‰îîFŸ° Hedge Funds º‚Aò è£óíñ£°‹.

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AAMBAL - ISSUE 4  OCTOBER - NOVEMBER 2009

«ñ«ô ÃPò¶ «ð£™ 𣿶 ♫ô£¼‹ Iè Üõî£QŠð£è âF˜ð£˜ˆ¶‚ ªè£‡®¼‚°‹ îƒèˆF¡ M¬ôò£ù¶ $1050 / $1070 Ý°‹. $1070 M¬ô‚° «ñ«ô îƒèˆF¡ M¬ô ÜFèKˆî£™ Üî¡ M¬ô $1200 ä ñ†´ñ¡P $1500 õ¬ó «ð£è‚ îò ꣡Áèèœ ªî¡ð´A¡øù. ÞF™  ޡ‹ å¼ ¹œOMðóˆ¬î»‹ 輈F™ ªè£œ÷ «õ‡´‹. Üî£õ¶ 1980Þ™ M¬ô»ì¡ ðíi‚è (Inflation) ÜFèKŠ¬ð ñ†´‹ èEˆî£«ô«ò Þ¡Á îƒèˆF¡ M¬ô $1500 Ýè Þ¼‚è «õ‡´‹.

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AAMBAL - ISSUE 4  OCTOBER - NOVEMBER 2009

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How to be popular online... Do you Tweet? Do you Digg? Friend? Tumble? Stumble? Feed or blog? Quite possibly. Millions of people do. Latest figures show that in August Internet users spent 17 of their surfing time on social network and blogging sites. That's almost three times the amount of time spent on such sites only a year ago and represents a fair few nudges, pokes and posts as well as plenty of late nights. Jon Gibs, the vice president of media and agency insights at Nielsen the company who reported the figures believes the data reveals a fundamental shift in the use of technology. "This growth suggests a wholesale change in the way the Internet is used."

Social media is the future People love to connect, communicate and share and clearly that desire is growing rapidly and now it's easier than ever. Now it's not just celebrities like Lily Allen, famous for starting and building her career around her Myspace page, or Twitter hot shots Steven Fry or M.I.A. or bloggers Perez Hilton or TMZ using social media as 'life streams'. Everyone's at it.... Well, nearly everyone, George Clooney was quoted this week as saying, “I would rather have a prostate exam on live television by a guy with very cold hands than have a Facebook page.” Nice one George. He's in a minority though, as more and more people join the social media juggernaut every day; not only using it as a useful and fun way of keeping in touch with friends and sharing information, pictures or news, but also for business.

A popularity contest Have you ever heard the expression, 'it's not a popularity contest'? Well when it comes to social media, they're wrong. Popularity is the currency of social media success. Is there anything worse than being at a party watching everyone else having a great time yet feeling ignored, left out? Popularity matters and it matters big time. Who can't resist looking at how many friends or followers their friends have? It's only natural. Popularity is often seen as an endorsement of quality. Surely more than 3 million Ashton

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Kutcher fans can't be wrong? Can they? And it's a self-perpetuating thing - the more fans you have, the more you acquire. What's even better than raw popularity though is qualified popularity, being

When it comes to the business benefits of Social Media, or Social Media Marketing, SMM, as the experts call it, whilst not a choosy as people looking for kicks, businesses too might want to focus their attentions on relevant prospects.

How to be popular online... followed, friended or liked by people who you like too - people who you can relate to and who's input into your social media-sphere leaves your life, your internet, your business a happier more satisfying and more profitable experience. Friends for friend’s sake will end up sooner or later (most likely sooner) as exhausting, tedious and dull - a waste of your precious time.

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So the big question is. How to become popular? Well, contrary to what many would have you believe, there really is no great secret. It's easy. Be famous! Seriously though, for the 99.99999 of us who don't star in movies, top the charts or commit massive corporate WWW.AAMBAL.CO.UK


How to be popular online... fraud, what is it we can do that can help build our friends lists and for businesses, our influence, reach and competitive advantage? Well the first thing to do is to simply ask yourself what makes people popular in their 'real', offline worlds. What is it about popular people that appeals to and attracts other people to want to spend time with them, to trust them and to want to befriend them? All these same factors bear strongly on how you are perceived online too. Here's a short list of guidelines guaranteed to improve your online popularity with exactly the sort of people you want to be friends with.

Cheese! Smile in your pictures, your avatars and smile in your written tone. People are naturally attracted to positivity. You know what they say, 'if you haven't got anything nice to say, don't say anything.' Respect others and their opinions. Sure a little controversy, a little polite disagreement can draw a lot of attention but trolling, being disrespectful will get you nowhere in the long run.

Add value Adding value to the experience of anyone who has the pleasure of your online company adds value to you, whether you are just being you or representing a company. Make the engagement worthwhile by sharing something that benefits your audience. A link, advice, news, even a compliment - people like valuable people.

Dare to be Dare to be the kind, considerate person or company that you really are. There's nowhere and there's no need to hide online. Good and bad news travels fast. Rather than playing games with your personal or professional persona why WWW.AAMBAL.CO.UK

not dare to be yourself. Many companies are finding the whole SMM experience liberating AND profitable, enjoying the conversation and letting it reveal their true strengths whilst highlighting and strengthening their weaknesses. Dare to be different. It's a wide world web - make yourself visible by differentiating yourself. Get creative and try to draw clear blue water between you and everyone else. Easier said than done, but enormously rewarding if you succeed. Just ask Apple or Radiohead. Dare to be passionate. Don't fake it, feel it. There's room online for everyone, especially the sincere, the genuine and the committed. Whatever you believe in, believe with conviction. You'll be amazed how positively people will respond.

Interest and Empathy If you care, then don't be afraid to show it. People love it when others show interest or concern in a blog or a tweet. Participate. Be prepared to take the initiative, the first step in expanding your network.

The world doesn't revolve around YOU. Instead of just talking about yourself, your life, your problems or whatever, offer advice, insight and guidance to help others. Offer value. This is particularly powerful way for businesses to attract new potential customers, for example though blogs that share advice and know-how revealing an expertise in a particular subject. Last and most certainly not least

Have Fun! Enjoy the conversation and respect the conversation enough so it can enjoy you too.

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Purandara Dasa (1484 – 1564) is one of the most prominent composers in Karnatic music. His contribution to music is immeasurable, and he is often called the "Karnataka Sangeeta Pitamaha" (Father of Karnatic Music). The dasas, among them Sripadaraya, Kanaka Dasa, Jagannatha Dasa, Vijaya Dasa, and Kamalesha Vittala and others, propounded bhakti to the Lord through music over several years. Purandara Dasa, who always concluded his songs with a signature and salute to Lord Purandara Vittala, is believed

understanding of the power of music and its appeal to illiterate common folk.

Purandaradasa's life Inscriptional evidence shows Purandaradasa was born in 1484 AD in Ksemapura, near Tirthahalli, Shivamogga district. Some scholars had proposed that Purandaradasa was born in Purandaragad near Pune, but this is considered a historical mistake - connecting the "pen name" (ankita) of the dasa with a location that mainly served as a military encampment in

Father of Karnatic Music Amritha to have composed as many as 75,000 - 475,000 songs. However, only about 1000 are known today. All his musical compositions are in Kannada, the state language of Karnataka. Purandara Dasa is among the great saints of India in his

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the 15th and 16th century, and where neither Kannada could have been popular nor any commercial activity would have flourished. The only son of Varadappa Naik, a wealthy merchant, he was named Srinivasa, after the Lord of the Seven Hills. He received a good education

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in accordance with family traditions and acquired proficiency in Kannada, Sanskrit, sacred lore, and in music. When he was sixteen years old he married Saraswatibai, a pious godfearing girl. He lost his parents when he was 20. He inherited his father's business (in precious stones and pawn-broking), rapidly expanding it and amassing immense wealth. This earned him the appellation 'Navakoti Narayana'. When he was at the zenith of his business, Providence enacted the nowfamous 'nose-ring' episode, to make the greedy and miserly merchant realize the worthlessness of his attachment to worldly possessions. Once, a Brahmin man wanted to perform the sacred thread ceremony (upanayana) for his son and came to Srinivasa’s wife for money. She gave him her nose-ring to sell for money, and the man went to Srinivasa himself to get the money. The miser lent the man his money, but his wife was worried about what to say to her husband, so she prayed to her favourite deity who gave her a nose-ring just like the one she had. When Srinivasa hurried home, anxious to know if the nose-ring was hers, he was bewildered seeing her wear the same one! She narrated the story, and he was WWW.AAMBAL.CO.UK


Father of Karnatic Music converted, believing in the virtue of his wife and the virtue of a charitable life. The shock treatment marked a turning point in his life. Giving away all his wealth to charity, he left his house with his wife and children to lead the life of a wandering minstrel to spread the gospel of God. He was only 30. In his very first song after the incident, he laments his wasted life of indulgence. It begins as 'Ana le Kara' in raga Suddha Savaeri, set to Triputa talam

He also composed a large number of lakshya and lakshana geetas, many of which are sung to this day. His sooladis exhibit his mastery of the techniques of music, and are considered an authority for raga lakshana. Scholars attribute the standardization of Varna mettus entirely to Purandaradasa.

Purandaradasa spent his last years in Hampi. The mantapa (mandap) in which he stayed is known as Purandaradasa Mantapa (mandap). He took sanyasa towards the close of his life. He joined his Maker in 1564 at the age of 80.

Purandara dasa and Karnatic Music Purandaradasa was one of the foremost Haridasas, a saint-composer and a mystic. He is credited with having consolidated and structured the teaching of Karnatic music. He systematized the teaching method by framing a series of graded lessons such as swaravalis, janta swaras, alankaras, lakshana geetas, prabandhas, ugabhogas, thattu varisai, geetham and sooladis. He introduced the Mayamalavagaula as the basic scale for music instruction. These are followed by teachers and students of Karnatic music even today. Another of his important contributions was the fusion of bhava, raga and laya in his compositions. For the first time Purandara Dasa started commenting in his songs on the daily life of the people. He incorporated in his songs popular folk language and introduced folk ragas in the mainstream. The most important contribution he made was the fusion of bhava, raga and laya into organic units.

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In the course of his wandering he met the holy sage Vyasatirtha. According to Prof. Sambamoorthy, Srinivasa had his formal initiation at the hands of Vyasatirtha in 1525 when he was about 40 years old, with the name Purandaradasa bestowed on him by Satyadharma Teertha, a later occupant of the Vyasatirtha Matha (or Vyasaraya Matha). Purandaradasa travelled extensively through the length and breadth of the Vijayanagara Empire, composing and rendering soul-stirring songs in praise of god.

as well as orally passing down his compositions. Purandaradasa was a vaggeyakara (performer), a lakshanakara (musicologist) and the father of musical pedagogy. He is credited with having elevated Karnatic music from merely religious and devotional music into the realm of a performing art. For all these reasons and the enormous influence that he had on Karnatic music, musicologists call him the "Sangeeta Pitamaha" or the grandfather of Karnatic music. Some scholars believe that for Purandara Dasa giving it a strong foundation and a clear sense of direction we would not be having Karnataka Sangeeta today.

Sri Krishna

Cultural Needs

Purandaradasa’s Musical Compositions Purandaradasa was a prolific composer who is said to have composed around 4, 75,000 songs. However, only around 1000 compositions have been found to date. Most of his compositions are written in simple Kannada, but he has also written in Sanskrit. He set most of his compositions in popular tunes/ragas of his time so that even a common man could learn and sing them. His compositions are also popular as 'Padas' and 'devarnamas'. His keertanas are generally in Adi tala and Madhyama kala. His songs touch almost every aspect of spiritual life such as devotion, morality, ethics, good behavior and compassion to all living beings. Purandaradasa's devaranamas occupy an honoured place in the devotional music of south India. Purandaradasa's era was probably the beginning of Karnatic music's movement towards krithi based classical music (one of its distinguishing characteristics compared to Hindustani). The peripatetic dasas who followed him are believed to have followed the systems he devised,

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Removal Service

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Call us on 020 8427 3494 or 07951 347 591

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• Electrical • Kitchen & Barthroom Plumbing • Central Heating etc...

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Specialised in all type of Plumbing & Heating

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Aambal Magazine Issue 4