Thenral Mullai 2015 Vol 14, Issue 1

Thenral mullai

A Publication of Tamil Sangam of Greater Washington INC ñô˜: 14

Þî›: 1

F¼õœÀõ󣇴 2046

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volume: 14

number: 1

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Dear Fellow Washington Tamils, Thanks for electing a new board which includes me as your new President!

Welcome to all the new board members and the Thendral-Mullai Editorial Board!

Thanks to all members who renewed their membership for the year 2015.

May I request others to renew their memberships for the year as soon as possible. Please also ask your friends and family to become members of Tamil Sangam. We are in the know about some difficulties some of you have encountered while renewing your memberships through the website. We are in the process of rectifying them. We will make your experience with our website better and will introduce new features in our website soon. Your suggestions to improve the functioning of Tamil Sangam are very welcome.

On behalf of the board, may I wish you a very happy Chithirai and a wonderful spring-time!

With Warm Regards,

Sundar Kuppuswamy

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Ü¡¹¬ìf˜, õí‚è‹. õ£Cƒì¡ õ†ì£óˆ îI›„ êƒèˆF¡ õóô£ŸP™ ºî¡ º¬øò£è Þó‡ì£‹ ݇ì£è “ªî¡ø™ º™¬ô” ºî¡¬ñ ÝCKòó£è e‡´‹ àƒè¬÷ ê‰FŠðF™ ñ†ìŸø ñA›„C. èì‰î 2014 Ý‹ ݇´ ° Þî›èÀ‹ º¿ õ‡íˆF™ ܬñ‰F¼‰î¶. îI› ݘõº‹ ÜÂðõºI‚è 14 «ð˜ ÜìƒAò ÝCKò˜ °¿ CøŠ¹ì¡ ªêò™ð†ìù˜. îI›„ êƒè àÁŠHù˜èœ, îI›Š ðœO ÝCKò˜èœ ñŸÁ‹ ñ£í‚è˜èœ ݘõºì¡ ÜŠHò ð™«õÁ ð¬ìŠ¹èœ ÜìƒAò 𙲬õ Þî›èœ ªõOõ‰î¶. èì‰î õ¼ì‹ ° Þî›èÀ‹ °Pˆî «õ¬÷J™, îI›„ êƒè Mö£ «ñ¬ìJ™ ܶ¾‹ îIöèˆF™ Þ¼‰¶ õ‰î CøŠ¹ M¼‰Fù˜è÷£™ ªõOJìŠð†ì¶. õ£Cƒì¡ õ†ì£óˆF™ õC‚°‹ îI› Þ¬÷ò ܼ…ê£î¬ùò£÷¼ì¡ «ï˜è£í™ ð°F ÜPºè‹ ªêŒ¶ 嚪õ£¼ ÞîN½‹ ªõOò£ù¶. Þ¶õ¬ó àôA™ â‰îªõ£¼ ÞîN½‹ ªõOõó£î “裆´ ò£¬ùè¬÷” H®ˆî¬îŠ ðŸPò 膴¬ó ÜKò ¹¬èŠðìƒèÀì¡ ªõOò£ù¶. «ñ½‹ Iè„ Cø‰î õ®õ¬ñŠ¹ì¡, àòKò î£O™ îóEJ™ îó‹ õ£Œ‰î Þîö£è î‰Fì âƒè÷¶ º¿ ºòŸCè¬÷ «ñŸªè£‡«ì£‹. ÜŠðEJ¬ùˆ ªî£ìó, îI›„ êƒè ªêòŸ°¿ ªî¡ø™ º™¬ôJ™ ⋬ñ ºî¡¬ñ ÝCKò˜ ðE¬ò Þšõ¼ìº‹ ªî£ìó «õ‡®‚ ªè£‡ìîŸAíƒè, èì‰î õ¼ì‹ ÝCKò˜ °¿M™ ðEò£ŸPòõ˜èO™ æK¼õ˜ îMó, ñŸø¬ùõ¼‹ Þšõ¼ìº‹ â‹ºì¡ Þ¬í‰¶œ÷ù˜. ܶñ†´ñ™ô ºî¡º¬øò£è Þ‰î ݇´ âñ¶ «õ‡´«è£À‚° Þíƒè î¬ôïèK™ Þòƒ°‹ î¬ô„ Cø‰î ܬùˆ¶ îI›Š ðœOèO™ Þ¼‰¶ «ñ¡¬ñò£ù îI› ªñ£N èŸH‚°‹, «ð£ŸÁKò ÝCKò˜èœ, Þšõ¼ì ÝCKò˜ °¿M™ ެ퉶 ðEò£Ÿø º¡õ‰¶œ÷ ªî¡ø™ º™¬ôJ¡ îó‹ ªñ¡«ñ½‹ àò¼‹ â¡ðF™ äòI™¬ô. Þ‰î CˆF¬ó„ CøŠ¹ ÞîN™, î¬ôïè˜ îI›Š ðœOèOL¼‰¶ îI› ðJ½‹ ñ£í‚è˜èO¡ ܼ¬ñò£ù ð¬ìŠ¹èœ ðô Þì‹ ªðŸÁœ÷ù. îI› Þ¬÷ò êºî£òˆF¡ ê£î¬ùèœ Þšõ¼ìº‹ ªî£ì˜A¡øù. Þšõ¼ì‹ 15 «ð˜ ÜìƒAò ÝCKò˜ °¿M¡ Üòó£î à¬öŠð£™, Þ‰î ÞîN™ Þìªï¼‚è® ãŸð´‹ Ü÷MŸ° ð¬ìŠ¹èœ õ‰¶œ÷¶. Üõ˜èÀ‚° âñ¶ ñùñ£˜‰î ï¡PèÀ‹ ð£ó£†´èÀ‹. ªñ¡«ñ½‹ âƒèœ ðE Cø‰¶ M÷ƒè àÁŠHù˜è÷£Aò àƒèO¡ ðƒèOŠ¹ Iè Iè ÜõCò‹ â¡Á ÃP Ü´ˆî ÞîN™ e‡´‹ àƒè¬÷ ê‰F‚°‹ õ¬ó..... ªï…² G¬øò¡«ð£´ õ£›ˆF M¬ìªðÁ‹!

܃Wè£óI¡¬ñ: ¹ô‹ ªðò˜‰î îIö˜èO¡, îI› ݘõô˜èO¡ îI› e¶ àœ÷ ݘõˆ¬î á‚°M‚°‹ ªð£¼†´, Üõ˜èO¡ ð¬ìŠ¹èœ ªî¡ø™ º™¬ô ÞîN™ ªõOJìŠ ð´A¡øù. Ýè«õ, Þ‰î ÞîN™ õ‰¶œ÷ ð¬ìŠ¹èO¡ 輈¶èœ ò£¾‹ ð¬ìŠð£OèO¡ 輈¶èœ Ý°‹. âù«õ, Ü‰î‚ è¼ˆ¶èÀ‚° õ£Cƒì¡ õ†ì£óˆ îI›„ êƒè«ñ£ Ü™ô¶ ªî¡ø™ º™¬ô ÝCKò˜ °¿«õ£ ªð£ÁŠ«ðŸè Þòô£¶.

Disclaimer: The views and opinions expressed in articles published in ThenRal Mullai are those of the authors and do not necessarily reflect the official policy or position of Tamil Sangam of Greater Washington Inc or ThenRal Mullai editorial board.

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M÷‚è‹ : Ü‰î‚ è£ôˆF™ I¡ê£ó‹ A¬ìò£¶. Þ¼†®™ ïè‹ ªõ†®ù£™ ê¬î»‹ ªõ†´Šðìô£‹ â¡ð Üšõ£Á ÃP àœ÷ù˜ . ðˆKï£î¡ ̬ù °Á‚«è õ‰î£™ «ð£°‹ «õ¬ô ïì‚裶 M÷‚è‹ : ð‡¬ìò è£ôˆF™ ñ£†´ õ‡®J™ Hóò£í‹ ªêŒõ£˜èœ. ÞóM™ ªê™½‹«ð£¶ 裆´ŠÌ¬ù, ïK ºîLò Môƒ°èœ °Á‚«è õ¼‹«ð£¶ ÜõŸP¡ è‡è¬÷Š 𣘈¶ ñ£´èœ IóÀ‹. Þ¶«õ ï£÷¬ìM™ i†®½‹ ñ£PM†ì¶ M…ë£QèO¡ 輈¶ : M…ë£Qèœ Íìï‹H‚¬è¬ò õF™¬ô â¡Á Þ‰Fò M‡ªõO Ý󣌄Cò£÷˜ ÃP»œ÷£˜. ãªù¡ø£™ Þîù£™ «õ¬ô ñŸÁ‹ «ïó‹, ií£Aø¶ â¡ð¶ Üõ˜èO¡ 輈¶. ÜPMò™ »è‹ Þ¡Á àô¬è‚ èEQJ™ ²¼‚A M†ì¶. ÜPMòL¡ MvõÏð õ÷˜„C ñQîQ¡ C‰î¬ù¬ò º¿¬ñò£è ñ£ŸøM™¬ô â¡ð¶ õ¼ˆîˆ¶‚°Kò ªêŒF. èEQJ™ «ü£Cò‹, ü£îè‹, F¼ñí ªð£¼ˆî‹, ó£C‚è™ Mò£ð£ó‹ ¶õƒA â™ô£ Mîñ£ù ï‹H‚¬è èÀ‹ ¸¬ö‰¶ M†ìù. ð°ˆîP¾ ñ¬ò ñQî¡ õ£›‚¬è ªïPò£è ޡ‹ õ°ˆ¶‚ ªè£œ÷M™¬ô â¡«ø è¼î«õ‡®J¼‚Aø¶. ªð¼‹ð£½‹ Íìï‹H‚¬èèO¡ ̘iè‹ ã«î‹ å¼ ÜP¾¬ó ªê£™õîŸè£è Ýó‹H‚èŠð†ìî£è ªê£™ôŠð†ì£½‹, Cô ܉î õ¬èèO™ Üìƒè£¶ â¡ð¶‹ è‡Ã´. ªê£™ôŠð†ì êÍè, èô£„ê£ó, G蛾Š H¡ùEJ™ ªê£™ôŠð†ìõŸ¬øŠ 𣘂è£ñ™ Ü å¼ Hóð…ê ܃Wè£ó‹ ªè£´‚°‹«ð£¶ Íì ï‹H‚¬èèœ Mû M¬îè÷£A M´A¡øù. è‡í£™ 裇𶋠ªð£Œ, è£î£™ «è†ð¶‹ ªð£Œ, bó Mê£Kˆ¶ ÜPõ«î ªñŒ âù õ£›î«ô ÝøP¾‚°  ªêŒ»‹ ñKò£¬îò£è ܬñ»‹.

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𣶠5&‹ ݇´ Mö£¬õ º¡Q†´ (ä‰î£‹ ݇´ Mö£) G蛄Cèœ ï¬ìªðø àœ÷ù. ÜŠ«ð£†®èœ ïìù‹, 𣆴, Þ¬ê, æMò‹ ñŸÁ‹ ê¶óƒèŠ «ð£†® ï¬ìªðø àœ÷ù. F¼‚°øœ ñŸ-Á‹ îI›„ªê£Ÿèœ «ð£†®»‹ ï¬ìªðø àœ÷¶.

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«èœMèœ. ⶠÜP¾? ⶠð‡¹?ⶠñè¬ù„ ꣡«ø£ù£‚ °‹? Þ‰î «èœMèÀ‚° M¬ì¬ò  èŸè «õ‡´‹. H¡¹ Üî¡ð® Hœ¬÷èÀ‚°‚ èŸH‚è «õ‡´‹. â¡ i†®™ ïì‰î å¼ CÁ ê‹ðõˆ¬î„ ªê£™A«ø¡; å¼ ï£œ â¡ ñèœ êÁ‚°ñó‹(slide) M¬÷ò£ì «õ‡´‹ â¡Á âƒèOì‹ «è†ì£œ. ܶ °O˜, è£ô‹ ðQ ªðŒ¶ ªè£‡®¼‰î¶! ªõO«ò ªê™ô º®ò£¶. ÜõÀ‚° ãñ£Ÿø‹ ªè£´‚è âƒèÀ‚° ñù¶ õóM™¬ô. àìù®ò£è Þ¬íòî÷ˆF™ «î® å¼ ð„¬ê Gø êÁ‚¬è õ£ƒA‚ ªè£´ˆ«î£‹. ÜõO¡ ¹¡ù¬è 𣘈¶ ñù‹ °O˜‰«î£‹! Ýù£™ Üõœ ÜF™ 3  Ãì º¿î£è M¬÷ò£ì M™¬ô. ܶñ†´‹ Þ™¬ô, ÜõO¡ Üì‹ ÜFèñ£è ªî£ìƒAò¶. å¼ ï£œ â¡ î£ˆî£ Mì‹ ªî£¬ô«ðCJ™ «ðCªè£‡®¼‰î«ð£¶ âîŸè£è«õ£ Üõœ Üì‹ H®ˆ¶‚ ªè£‡®¼‰î£œ! â¡ î£ˆî£ â¡ùªõ¡Á «è†è ï£Â‹ õ¼ˆî ºì¡ “C¡ù C¡ù Mûòˆ¶‚ ªè™ô£‹ Üì‹ H®‚Aø£œ â¡«ø¡” . Ü Üõ˜ “¬ñî£ùˆ Fô Þ¼‚è «õ‡®òªî™ô£‹ i†®™ Þø‚Aù£™ ފ𮈠 Ý°‹ â¡Á ªê£¡ù£˜”. âù‚° ªõ´‚ªè¡ø¶. «ôê£è ¹ˆF‚° å¡Á ↮ò¶!  G¬ùˆî¶ â™ô£‹ A¬ì‚°‹ â¡ø â‡í‹ ªð£Œò£ù¶, õ£›‚¬èJ™ ãñ£Ÿøˆ¬î„ ê‰F‚è„ ªê£™L‚ ªè£´‚è «õ‡®ò ÜõCòˆ¬îŠ ¹K‰¶‚ ªè£‡«ì¡. Ü¡Á ºî™ ‘Þ™¬ô ‘ â¡ø ªê£™¬ô ªê£™ô‚ èŸÁ‚ ªè£‡«ì¡. Üõœ M¼ŠðŠ ð†ì¬õ ÜõCòñ£ùî£? â¡Á âù‚°œ «èœM â¿ŠH ÜõCòñŸø

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¬õèÀ‚° “Þ™¬ô º®ò£¶” â¡«ø¡. ºîL™ Þ™¬ô! â¡ø ªê£™¬ô ãŸè ÜõÀ‚°‚ è®ùñ£è Þ¼‰î¶, ¹ó‡´‹ èˆF»‹ ܿ; Þ¡Á ÜõÀ‚° Þ™¬ô â¡ø ªê£™¬ô ÜÂêK‚èˆ ªîK»‹.  G¬ùˆî¶ ïì‚è M™¬ô Ü™ô¶ A¬ì‚è M™¬ô â¡ø£«ô£ ¶õ‡´ Mì£ñ™; Üî¡ è£óíˆ¬îŠ ¹K‰¶‚ ªè£‡´ HŸè£ô õ£›‚¬è¬ò õN ïìˆî  Þ¡Á ªê£™½‹ ‘Þ™¬ô’(No) à â¡ð¶ ⡠輈¶. °ö‰¬îJ¡ àôè‹ I辋 CPò¶! Ýù£™ Üõ˜èO¡ õ£ù‹ I辋 ªðKò¶. Üõ˜èO¡ ÜP¾„

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Cø°è¬÷   MK¾ ð´ˆî «õ‡´‹. Üõ˜èœ ïñ¶ H‹ðƒèœ.  â¡ù ªêŒA«ø£«ñ£ ܬîˆî£¡ °ö‰¬î»‹ ªêŒò M¬öAø¶.  â¶õ£è °ö‰¬î¬ò Ý‚è G¬ùA«ø£«ñ£ ܶõ£è«õ  ºîL™ ñ£ø «õ‡´‹.  ⊫𣶋 èEQ¬ò»‹ ¬èŠ «ðC¬ò»‹ 𣘈¶‚ ªè£‡«ì Þ¼‰î£™ Üõ˜èÀ‹ ܬî«ò 𣘂è Ý¬êŠ ð´õ£˜èœ! â¡ °ö‰¬î ¹ˆîè‹ ð®‚è«õ‡´‹ â¡Á  M¼ŠðŠð†ì£™  ¬èŠ «ðC¬ò îM˜ˆ¶ ¹ˆîèˆ¬î ¬ è J ™ â ´ ‚ è « õ ‡ ´ ‹ . ªðŸ«ø£ó£ù  ºîL™ ñ£ø«õ‡®òõ˜èœ. °ö‰¬îèOì‹ ÜFè‹ à¬óò£ì «õ‡´‹. Üõ˜èO¡ Üèó£F«ò  . °ö‰¬îè¬÷ ï‹ ªñ÷ù‹ îQ¬ñŠð´ˆ¶‹. êeðˆF™ âù¶ ܼ¬ñ ï‡ð˜ F¼ ñ«è‰Fó¡ ‘ ªð£‹¬ñ蜒 â¡ø î¬ôŠH™ å¼ èM¬î¬ò â¿F ºèËL™ ðA˜‰î¶ G¬ù¾‚° õ¼Aø¶! Þ«î£ Ü‰î õKèœ “ « ð ² ‹ ª ð £ ¼ œ «ðê£F¼Šð «ð꣊ ªð£¼Oì‹ «ð²‹ °ö‰¬î蜔 - °ö‰¬îèO¡ ܈î¬ù «èœMèÀ‚°‹ ðF™ ÜO‚è «õ‡´‹. “è£‚è£ ã¡ è¼Š¹?” “è쾜ù£ ò£¼?” “ÌI ã¡ ²ˆ¶¶?” ܊𣂰 ñ†´‹ 㡠 õ÷¼¶? ÞŠð® â‰î «èœM¬ò»‹ CÁ H œ ¬ ÷ J ¡ « è œ M è œ î £ « ù â¡Á ðF™ ÜO‚è îM˜ˆ¶ Mì‚Ã죶. thenral.mullai@gmail.com

Üõ˜è¬÷ Þ¡Á  Üô†Cò‹ ªêŒî£™,  «è†°‹ «èœMè¬÷ H¡ï£O™ Üõ˜èÀ‹ Üô†Cò‹ ªêŒõ£˜èœ â¡ð¶ àÁF. ªðŸ«ø£˜èœ îñ¶ èù¾è¬÷ˆ î¡ Hœ¬÷èœ «ñ™ FEˆ¶ Mì‚Ã죶. Üõ˜èœ ï‹ èù¾è¬÷ G¬ø«õŸÁõîŸè£è ïñ‚° Hø‚è M™¬ô, îù‚ªè¡Á èù¾èœ 裵‹ àK¬ñ¬ò Üõ˜èÀ‚°‹ îó «õ‡´‹. Üõ˜èœ èù¬õ Güñ£‚°‹ Fø¬ù‚ èŸH‚è «õ‡´‹. ðô Hó„ê¬ùè¬÷ âF˜ˆ¶Š «ð£ó£´‹ ñùF숬î Üõ˜èOì‹ à‡ì£‚è «õ‡´‹. ÜõCòI™ô£ ñ™ ð£¶è£Š¹ õ¬÷ ò ‹ Þ † ´ °ö‰¬îè¬÷‚ «è£¬öè÷£ 辋, ðò‰î£¡ ªè£™Lè÷£è¾‹ õ÷˜ˆ¶Mì£ñ™ 𣘈¶‚ ªè£œ÷«õ‡´‹. ²î‰Fóñ£è Üõ˜èO¡ â‡í æ†ì‹ ܬñò ã¶õ£ù Å›G¬ô¬ò Üõ˜èÀ‚° ªè£´‚è ºòŸC‚è «õ‡´‹. ܬùˆ¶ àJ˜èOìˆF½‹ Ü¡¹ 裆쾋, ñŸøõ˜èÀì¡ ðA¼‹ «ñ¡¬ñ¬ò»‹ ñø‚è£ñ™ ªê£™Lˆîó «õ‡´‹. Hø °ö‰¬îè«÷£´ M¬÷ò£´‹ «ð£¶ M†´ˆ  °íˆ¬îŠ ¹°ˆî «õ‡´‹. ñ¡QŠ¹ «è†è, ï¡P ªê£™ô 臮Šð£è ðJŸC ÜO‚è «õ‡´‹. Üõ˜èœ º¡¹ ܊𣠫õÁ Ü‹ñ£ «õÁ â¡Á ï쉶‚ ªè£œ÷‚Ã죶. “Ü‹ñ£Mì‹ «è†ì£™ A¬ì‚裶 Ýù£™ ÜŠð£ ï™ôõ˜, ÜõKì‹ «è†´ â¬î»‹ õ£ƒAMìô£‹” â¡ø â‡íˆ¬î M¬÷M‚è‚ Ã죶. Ü‹ñ£¾‹ ܊𣾋 åˆî â‡í‹ à¬ìòõ˜èœ; Ü‹ñ£ â‰î è£óíˆFŸè£è å¼ Mûòˆ¬î

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«õ‡ì£‹ â¡Aø£˜è«÷£ ܬî ܊𣾋 ÝîKŠð£˜ â¡ø â‡í‹ °ö‰¬î‚°Š ¹K»‹ ð®ò£è ªðŸ«ø£˜ Þ¼õ¼‹ ï쉶 ªè£œ÷ ºòô «õ‡´‹. °ö‰¬î ªð£Œ ªê£™ô£ñ™ Þ¼‚è«õ‡´ñ£ù£™ ‹ ªð£Œ ªê£™õ¬îˆ îM˜‚è èŸÁ‚ªè£œ÷«õ‡´‹. °¬ø‰îŠ ð†ê‹ °ö‰¬î¬î‚°ˆ ªîKò£î ð®ò£õ¶ 𣘈¶‚ ªè£œ÷ «õ‡´‹! ïñ¶ Hœ¬÷èO¡ ºî™ ï‡ð˜èœ ï£ñ£èˆî£¡ Þ¼‚è «õ‡´‹; Ü‹ñ£ ܊𣠪꣡ù£ êKò£î£¡ Þ¼‚°‹ â¡ø ï‹H‚¬è¬ò Üõ˜èÀ‚°‚ èŸH‚è «õ‡´‹. Ü‹ñ£¾‹ ܊𣾋 ñ‚ 臮Šð¶‹ Cô «ïóƒèO¡ ñÁŠ¹ ªê£™½õ¶‹ ñŠ ð£¶è£‚è«õ â¡ø ÜP¬õ  Üõ˜èÀ‚°Š

«ð£F‚è «õ‡´‹. àî£óíˆFŸ° â¡ ñè¬÷«ò â´ˆ¶‚ªè£œ«õ£‹. â¡ õ£˜ˆ¬îè¬÷ Üõœ ¹ø‚èE‚è£ ñ™ Þ¼‚°‹ ð®ò£è âŠð® ï쉶 ªè£œ÷«õ‡´‹ â¡Á ðJŸC «ñŸªè£‡«ì¡, Cô è¬îèœ Íô‹ ªðŸ«ø£¬ó ñFŠðF¡ ÜõCòˆ¬î ªð£Á¬ñ ò£è à혈F«ù¡. Þ¡Á â¡ °ö‰¬î âƒèœ Þ¼õK¡ õ£˜ˆ¬î è¬÷»‹ ªð¼‹ð£½‹ ‚ èNŠðF™¬ô. ÜõÀ‚° Ü‹ñ£ ܊𣠪꣡ù£™ «è†è «õ‡´‹ â¡ð¶ º¡¬ð Mì ÞŠ«ð£¶ ï¡ø£è ªîK‰F¼‚Aø¶.  èŸÁ‚ ªè£‡«ì Þ¼‚«è¡!  èŸð¬õèÀ‚° ÜõO´‹ Þ¼‰¶ ñ£Ÿø‹ ªîK»‹ «ð£¶ àœÙó ñA›A«ø¡! ÜõO¡ ÜP¾ Fø¬ù‚ ªè£‡ì£®ˆ F¬÷‚A«ø¡! ÜõO¡ ñö¬ô ñ¬öJ™ ñùî£ó ï¬ù‰¶ Üõ÷¶ 自裇´ Þš¾ôè¬îŠ ð£˜‚è‚ èŸÁ‚ªè£‡«ì Þ¼‚A«ø¡! °ö‰¬î õ÷˜Š¹ â¡ð¶ 嚪õ£¼ ªðŸ«ø£¼‹ Üõóõ˜ ¬èŠðì b†´‹ õ‡í æMò‹. ܬî  ï‹ M¼Šð‹ «ð£™ ²î‰Fóñ£èˆ b†ìô£‹. b†´‹ ªð£¿¶ H¬ö õó«ð£A¡ø ÜP°P ªîK‰î£™ àì«ù F¼ˆF õ¬óòô£‹; ðô õ‡í‹ Þ†´ ñAöô£‹.  õ¬ó‰¶ º®‚°‹ º¿¬ñªðŸø æMò‹î£¡ ï‹ Hœ¬÷èœ. 嚪õ£¼ æMòº‹ Üö°! èŸø¶ ¬èò÷¾! ޡ‹ G¬øò 蟫ð£‹, °ö‰¬îèÀ‚°‚ èŸHŠ«ð£‹. â‰î‚ °ö‰¬î»‹ ï™ô °ö‰¬î  ñ‡E™ Hø‚¬èJ«ô! Üõ˜ ï™ôõ˜ Ýõ¶‹ bòõ˜ Ýõ¶‹ ªðŸ«ø£˜ õ÷˜ŠHQ«ô! êKù?

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19

Education in the

U.S. vs. India

–from Students’ Perspective (Continued from last issue)

Compilation: Dr. B. Radhakrishnan

Please see the last issue for the first part of this article. It’s online at: http://washingtont amilsangam.org/ThenralMullai/ ThenralMullaiOnline/ TMIssues/2014_4.aspx (washingtontamilsangam.org > Thenral Mullai > Volume 13, issue 4) We set out to publish this article in the last issue to help NRI families, who may be mulling the idea to move back to India –either temporarily or permanently. We asked students to share their thoughts - who studied here in the United States during some part of primary and/or middle schools and then went to India to continue their studies. In this issue, two sisters, Kavya Kumaran and Nitya K u m a r a n , d a u g h t e r s o f M r.

Kumaran and Mrs. Geetha Kumaran have shared their views on this subject. They too went from here, studied in India for few years and have come back to continue

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ãŠó™ 2015

studies here.

their

K a v y a Kumaran The Indian education system teaches one, persistence and the Kavya Kumaran value of slogging.

Nitya Kumaran Of sticking it out.

Respect can be won through hard system of education doesn’t work and unyielding determination necessarily teach you how to if it gets you a favorable number at persist with something. The the top of your paper. But there is importance of staying with no joy in learning. Memorize until something. But it makes learning you can’t anymore. Recite back to enjoyable. I love school because I me facts that you will never use. feel my mind expand. I feel like I’m The essential component that’s actually learning something. If you missing is how to learn. What’s are self-motivated there is nothing more frustrating is that the playing that won’t make you successful in field isn’t level. Teachers and peers the American system. As long as will still see you by the rank you you are willing to put in the work, hold. I’m not saying the system of as long as you are willing to learn, education in America is perfect. there is nothing you cannot do if There are qualities more important you set out to do it. than intelligence. The American

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Nitya Kumaran

You will know not to share your opinion in India and you will think your opinion matters in America. This is the way education is best summed up in the two powers. India teaches you to memorize vast amounts of information in short amounts of time. Unders tanding of concepts is unimportant unless relevant to an examination; work is test-focused and career-focused. It forgets to respect individual creativity and understan ding.

America attempts to teach you how to approach thinking. It forgets to respect the routine work required for the mastery of any subject; work is application-focused and enjoy ment-focused. There is an emp hasis on mastering the narrow area of knowledge you have chosen to study.

Past information is wielded for survival in the present. The average student has a great memory and is always willing to persist through the grind work, observing and replicating quickly. One’s greatness lies in taking lessons from the past.

America emphasizes broad general knowledge critical thinking and the method of learning over the subject content itself.

It is focused on using past information to find future information. The average student has an advanced ability to articulate her feelings, speaking and questi oning quickly. One’s greatness lies in dreaming of the possibilities of the future.If one writes an essay in the US, its logical flow of thought will be given the most attention.

Though the sample size is small, the similarity in their views is striking. Hope this helps the parents as well as their kids who may be moving to India as to what to expect when they go there, in terms of their studies.

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 1984 - L ¼‰¶ ݇è¬÷Mì ªð‡è«÷ Þîò «ï£Œ 致 ÜFè‹ Þø‚A¡øù˜.  ݇èÀ‚° Þ¼Šð¶ ñ£FK, ªð‡è¬÷ Þîò «ï£Œ A Þ¼ŠðîŸè£ù ÜP°Pèœ ªîKò£¶. - ñ£ó¬ìŠ¹ A Þø‚°‹ ªð‡èO™ 64% ªð‡èÀ‚° â‰î Mî ÜP°PèÀ‹ Þø‚°‹ õ¬ó Þ¼ŠðF™¬ô  «ñŸ°PŠH†ì¬õ ðŸP ãø‚°¬øò ð£FŠ ªð‡èÀ‚° (46%) ªîKò£ñL¼‚Aø¶ !  Ü ª ñ K ‚ è Š ª ð ‡ è ¬ ÷ M ì Ý C ò Š ªð‡èÀ‚° Þîò «ï£Œ °‹ õ£ŒŠ¹ ° ñ샰 ÜFè‹.  Þ‰î‚ è¬ìC„ ªêŒF ñŸªø™ô£õŸ¬ø»‹ Mì Üð£ò„ êƒA¬ù ÜFèñ£è«õ åL‚è„ ªêŒAø¶! ã¡, º¡¬ðMì ÞŠ«ð£¶ ªð‡è¬÷ Þ÷ õòF«ô«ò Þîò «ï£Œ °Aø¶?

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“Diet & Exercise” - Þ‰î Þó‡´ ªê£Ÿè¬÷ âˆî¬ù º¬ø «è†®¼Š«ð£‹?! àí¾, àìŸðJŸC - Þ¬õ Þ󇮙 èõù‹ ªê½ˆFù£™ Þîò «ï£Œ õó£ñ™ ð£¶è£‚èô£‹. Ýó‹ð‚è†ì Þîò «ï£Œ õ‰F¼‰î£½‹ Ü‰î «ï£Œ cƒA ïôºì¡ õ£öô£‹. Þîò «ï£Œ ñ†´ñ™ô, ꘂè¬ó «ï£Œ, ¹ŸÁ «ï£Œ «ð£¡ø ðô àJ˜‚ªè£™L «ï£Œè¬÷ õó£ñ™ î´‚èô£‹. àí¾: å¼ ï£¬÷‚° 30 A󣺂° ÜFèñ£è „ꈶ (Fiber), 50 A󣺂° ÜFèñ£è ¹óî‹ (Protein), 1 0 A ó £ º ‚ ° ° ¬ ø õ £ è ª è £ ¿ Š ¹ à†ªè£œÀî™ Cø‰î¶. Þ¬î âŠð® ï¬ì º¬øŠð´ˆ¶õ¶? Fùº‹ Þó‡´ õ¬èŠ ðöƒèœ, Þó‡´ èŠ è£ŒèPèœ, å¼ èŠ ªè£‡¬ì‚èì¬ô «ð£¡ø ‘d¡v’ õ¬èèœ, å¼ ¬èŠH® Gô‚èì¬ô, õ£™ï†, º‰FK, Hvî£ «ð£¡ø ªè£†¬ìõ¬èèO™ å¡Á, ð£™, îJ˜, º†¬ì, õ£ó‹ Þ¼º¬ø ꣙ñ¡ «ð£¡ø e¡õ¬èèœ â¡Á ðö‚èŠ ð´ˆF‚ ªè£œÀî™ ï¡Á. ÜKC„ «ê£Á, ð£vî£ õ¬èòø£‚è¬÷ °¬øõ£è¾‹, «è›õó°, æ†v «ð£¡ø º¿ î£Qò (Whole grains) õ¬èè¬÷

ÜFèñ£è¾‹ à†ªè£œÀî™ ï¡¬ñ ðò‚°‹. (ðì‹ ð£˜‚è¾‹). ê¬ñò½‚° ÝLš â‡ªíŒ àð«ò£Aˆî™ ï™ô¶. àìŸðJŸC: Fùº‹ 30 GIì‹ «õèñ£è ïìˆî™ (Brisk Walk) ï™ô¶. (ðì‹ ð£˜‚è¾‹) ðìˆF™ àœ÷¶ «ð£™ å«ó è™L™ Þó‡´ ñ£ƒè£Œ Ü®‚èô£‹! ܽõôè‹ º®‰¶ i†´‚° õ¼‹«ð£¶, å¼ ¬ñ™ º¡ð£è«õ ÞøƒA‚ ªè£‡´ ïì‚èô£‹. i†´‚° õ¼‹ àŸê£èˆF™ «ê£˜¾ ªîKò£¶. ñù¶ ¬õ‚è «õ‡´‹ Üšõ÷«õ! Þ¶ îMó «ò£è£êù‹ ðJ¡Á ªêŒõ¶ ê£ô„ Cø‰î¶. ÞóˆîˆF™ ꘂè¬ó, ªè£ôv†ó£™ Ü÷¾èœ êKò£è Þ¼Šð¶ º‚Aò‹. ܬîMì º‚Aò‹, Þóˆî Ü¿ˆî‹ êKò£è Þ¼Šð¶. Þóˆî Ü¿ˆî‹ ÜFèñ£è Þ¼Šðõ˜èœ Hó£í£ò£ñ‹ â‹ Í„²Š ðJŸC ªêŒ¶ õ‰î£™ ñ£ˆF¬óèœ Þ¡P Ü¬î‚ °¬ø‚è Þò½‹. î°‰î «ò£è£êù ÝCKòKì‹ ªê¡Á ðJ¡Á ªè£œõ¶ ïô‹. Þ¬î„ ªê£¡ù£™ ï‡ð˜ å¼õ˜, “ý«ô£! ï£ƒè ªð£ø‰îFL¼‰¶ Í„² M†®†®¼‚«è£‹. âŠð® Í„² M쵋 ªê£™L‚ ªè£´‚è 400 ì£ô˜ «è†ð£ƒè÷£‹, ÜGò£òƒè!” â¡ø£˜. Üõ¼‚° â¡ù ðF™ ªê£™õªî¡Á ªîKò£ñ™ F¬èˆ¶ G¡«ø¡ !!

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H¡ù˜ «ñì‹ Hè£T ¼vì‹ è£ñ£ (Bhikaji Rustom Cama’s) ªè£® õ‰î¶ . ªè£®¬ò‚ Æì£è «ñì‹ Hè£T è£ñ£, Mï£ò‚ ñ£î˜ ê£õ˜‚è˜ (ióê£õ˜‚è˜ ) ñŸÁ‹ ²õ£I A¼wíõ˜ñ£ ÝA«ò£ó£™ õ®õ¬ñ‚èŠð†ì¶. «ñì‹ è£ñ£ Üõ˜è÷£™ Þ‰î ªè£® ªü˜ñQJ¡ v¶ˆ†Aóˆ (Stuttgrat, Germany) â¡Â‹ ÞìˆF™ Ýèv† 22, 1907 Ü¡Á ðø‚èMìŠð†ì¶. ªõO´ GôˆF™ ðø‚èMìŠð†ì ºî™ Þ‰Fò «îCò‚ªè£® ޶. Þ¬îŠ ‘ªð˜L¡ èI†® ªè£®’ â¡Á ܬöˆî£˜èœ.

1917™, HK†®w «ñô£F‚舶‚° à†ð†ì ²ò ݆C (status of Dominion ) «è£K‚¬è ⿉î êñòˆF™ ð£ô èƒè£îó Fôè˜, HK†®w ÎQò¡ ü£‚ ܬìò£÷ˆ¶ì¡ å¼ ¹Fò ªè£®¬ò à¼õ£‚Aù£˜. Þ‰î‚ ªè£® ªõ°üùƒèœ ñˆFJ™ Hóðô‹ ܬìòM™¬ô.

1921 ™, ñ裈ñ£ 裉F, Þ‰Fò£M¡ ܬùˆ¶ êÍèƒèÀ‹ HóFGFˆ¶õ‹ ªð¼‹ õ¬èJ™,

Þ‰Fò «îCò‚ªè£® õóô£Á å¼ ¹Fò ªè£®¬ò õ®õ¬ñˆî£˜. Þ‰î‚ ªè£®J™ Í¡Á õ‡íƒèœ Þ¼‰îù. 裃Aóv àò˜ñ†ì‚ °¿ Þ‰î ªè£®¬ò ܃WèK‚èM™¬ô. Þ¼ŠH‹, ñ‚è÷£™ ãŸÁ‚ªè£œ÷Šð†´ ðóõô£è Þ‰Fò ²î‰FóŠ «ð£ó£†ìˆF™ ðò¡ð´ˆîŠð†ì¶. Þ‰¶, ºvL‹ ñŸÁ‹ Y‚Aò˜èO¡ êÍèˆ¬î‚ °P‚°‹ õ¬èJ™ Gøƒèœ Þ¼‰î è£óíˆî£™, 1931™ ¹Fò ªè£® ÜPºèŠ ð´ˆîŠð†ì¶. Þ¶ Í¡Á õ‡íƒèÀì¡ ï´M™ ó£†¬ì„ ê‚èóˆ¶ì¡ õ®õ¬ñ‚èŠð†ì¶. Þ¬î‚ è£ƒAóv àò˜ñ†ì‚ °¿ ܃WèKˆî¶.

1947™, Þ‰Fò£ ²î‰Fó‹ ܬì‰î«ð£¶, ó£«ü‰Fó Hó꣈ î¬ô¬ñJ™ å¼ °¿, Þ‰Fò «îCò ªè£®¬ò õ®õ¬ñˆî¶. Üõ˜èœ Þ‰Fò «îCò 裃AóR¡ ªè£®J™ CÁ ñ£Ÿøƒè¬÷„ªêŒ¶ Þ‰Fò «îCò ªè£®¬ò à¼õ£‚Aù˜. ÞF™ ñˆFJ™ Þ¼‰î '󣆮ù‹' c‚èŠð†´ 'Ü«ê£è„ ê‚èó‹' ÜPºè‹ ªêŒòŠð†ì¶. ï¡P: http://knowindia.gov.in/myindia/myindia_ frame.php?id=4

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°Á‚ªè¿ˆ¶ °PŠ¹ Animal Names Hint for Crossword)

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ãŠó™ 2015

41

Youth Corner

Interview with Performing Carnatic Vocalist Veena Sivaraman

By Hrishi Balaji

Carnatic music, the traditional music of South India, is one of the world’s oldest and most developed systems of classical music. Originating during the Vedic period (around 4th century AD), Carnatic music has continually grown and evolved throughout the course of history. Indian classical music is unique among all forms of world music, in that it revolves around the concept of the raga. In their simplest forms, ragas are musical scales with a set pattern of notes used when ascending (arohana), and used when descending (avarohana). Additionally, they have characteristic gamakas (precise microtonal oscillations) and various “grammatical” rules that must be followed when transforming the notes of the scale into musical phrases. To become a performing artist, a student must spend years honing his/her instrument, building a repertoire of compositions, and learning to improvise in hundreds of ragas. Though this task seems impossible to complete, especially for a teenager living in the Western world, a select number of dedicated students have managed to complete it.

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One such student is our own Veena Sivaraman, from the Washington tri-state area. Veena has been studying Carnatic vocal music from the age of four. She was introduced to the art form by her family, and inspired by her mother and sister - both classically trained dancers - to pursue it. Her family background contributed greatly. Her great grandfather is Rajagopal Iyer, who is the brother of Papanasam Sivan, a Tamil poet and musical genius, commonly referred to as the Tamil Thyagaraja.

Though immensely talented to begin with, it is not her talent or early exposure to music that takes credit for Veena’s virtuosity - that honor goes solely to her hard work and dedication. Even at an advanced stage, Veena “practice[s] akaras daily in different ragas,” and emphasizes “quality over quantity” when it comes to practice. Mindless repetition is not likely to propel a student nearly as far as thoughtful practice. Keeping that in mind, Veena advises aspiring students to practice as much as they can. In her own words, “practice, practice, practice!”

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Veena Sivaraman

Hrishi Balaji: How long have you been singing?

Veena Sivaraman: I started singing when I was 4, so about 13 years.

Hrishi: How were you

introduced to music?

Veena: My sister is a dancer and my mom is a dance teacher, so music has always been around the house. Car rides were full of Carnatic music, so I’ve been exposed to it from the very beginning. When I understood my family heritage and gained further exposure through family members who were actively involved and left an impression in music and arts, like my grand-aunts Rukmani Ramani and Janaki Ramachandran and my grandfather M.G.Ramachandran, I was further inspired to pursue music seriously. As I progressed in my abilities, I had the pleasure of singing with, being encouraged by, and performing with my cousins who are also musicians. Overall, it has been a very healthy and nurturing environment to help me grow as a musician.

Hrishi: Who are your gurus, what roles have they played in your musical journey?

Veena: Majority of training has come from Rajaram sir, a teacher from India. He taught me many varnams and krithis, and taught me the fundamentals of music very well. My voice really shaped up under his training. After that, I started to learn from K. Gayathri, another Indian performing artist. With her I learned more advanced aspects of music, such as manodharmam (improvisation.) thenral.mullai@gmail.com

Hrishi: What is a typical class like for you?

Veena: Classes are usually a mix of learning compositions, and trying manodharmam. Some classes are entirely devoted to manodharmam. As far as alapana, I will repeat after my guru if I am unfamiliar with the raga; otherwise I usually sing on my own and my teacher guides me.

Hrishi: How have you reached your current level of musicianship what kind of practice is necessary?

Veena: I think quality of practice is more important than quantity. I usually practice akarams, lots of manodharmam, compositions I know, and I try to write down notation for the compositions I know. I usually practice for about 1½ to 2 hours daily.

Hrishi: What’s your favorite raga?

Veena: Hmm… I really like Thodi. You could sing it a million times and it would never sound the same. When you listen to all the great artists singing Thodi, all versions are Thodi, but are very unique in their own way.

It abounds in compositions and has so many sangathis (musical phrases) that are definitive of the raga. The gandharam is simply amazing.

(Thinking back to the concept of gamaka explained above, The gandhara (3rd musical note in the scale) of Thodi has many different kinds of gamakas (microtonal oscillations) associated with it, so the raga is not just limited to combinations of 7 notes.)

Hrishi: How did you learn to sing manodharmam (improvisation)?

What was difficult for you and how did you overcome it?

Veena: When I first started learning

ãŠó™ 2015

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ñô˜ñèœ ü£¡ê¡

manodharmam, it was with kalpanaswaras, most difficult one of all three. I love math and music- so figuring out calculations in swarams and playing a r o u n d w i t h d i ff e r e n t thalams has always been one of the most interesting and fun aspects of Carnatic music for me. For raga alapana, the trick is to really understand the form, or structure of an alapana.

Once you understand the format, singing alapana becomes much easier. I found neraval (melodic improvisation of a given line of text, in rhythm) to be the hardest. Proficiency at neraval requires a strong proficiency in raga alapana and kalpanaswara singing, so the only remedy is practice.

æ†v ¹†´ Oats Puttu (Steamed Oats with Coconut)

Hrishi

Hrishi: What insights would you offer to an aspiring beginner?

Veena: I would say to start out by doubling the amount of time you practice. You really see a difference in how fast you progress as you practice, and it is very encouraging. You can start learning more interesting things in class, and end up becoming more hooked on to the music.

Hrishi: How was your experience singing for an Indian film?

Veena: It was awesome! When performing live, you don’t think about how perfect every note has to be; being in the studio, you really think about how you need to emote and pronounce perfectly, so that the audience can experience your music without you being there. The final product is so rewarding; the experience overall was amazing.

Hrishi: Thank you for your time Veena and all the best!.

Veena: You are welcome. It was great talking with you.

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