Saturday, December 25, 2010
GEOSCIENCE MCQS
Thrivikramji Bag’s a Fulbright Predoctoral award
Thrivikramji Bag’s a Fulbright Predoctoral award
In Oct, 1971, USEFI announced the award of Fulbright Pre-doctoral Fellowship to me (but conditionally) with a possibility to undergo MS studies in Syracuse University, NY. However, the award was anything but firm and will possibly be firmed only if there is a no-show by an awardee or if the IIE had an extra fund coming from the Federal Govt.
In fact, the face to face for selection of young college/university lecturers for the award took place in Madras, say during Aug, 1971, in the USEFI office and one of the selector’s was Prof Saravanan (Presidency College, Madras). I was the only Keralite among the 10 or so candidates from the southern region taking part in the group discussion under the watchful eyes of the experts and Mrs. Nalini Shetty (Education officer, USEFI,
This GD session was over in 30 minutes and was followed by a session of interview where I satisfactorily answered the questions by the experts. But was unsure if I will be in the shortlisted group for the express reason that I was the only Keralite and the rest came from different parts of TN, Karnataka and AP. I took the selection process rather lightly and yet came back home happily knowing that I had a good chance of being selected.
In the month of Oct 1971, I had a letter from USEFI, New Delhi, signed by one KS Nair, asking me to get ready to go to US by June of 1972, and the offer was subject to the conditions I noted above. Obviously, it was not an exciting piece of news and I was quite unsure of the ultimate outcome. However, a friend of mine, KP Sreedhar (
Another interesting incident connected with the interview, also happened in May, 1972, when the MSc lab examinations took place in the Dept. of Geology,
Usually the skilled assistants do not appear in front of the examiners unless there is a direction from the Chairman of the team of examiners. I was kind of idiotic in not recognizing the one with ashed forehead, i.e., the very same Dr Saravanan, who screened me orally and selected for the award, albeit tentative.
In fact, my disposition perhaps surprised Dr Saravanan, and he wanted Prof. Menon (Chairman) to call me in and put me through a sort of identification parade to find out if I recollected the face of Dr Saravanan. On a prompt, I walked into the Chairman’s office to face questioning as to whether I ever had seen one of the two examiners anytime in the past. To their dismay I answered in the negative. The team broke into a loud laugh in my answer, while I stood there with a small face facing them. Then, Dr Saravanan wanted me to take a closer look at his face which I did and then said apologetically “Yes sir, you interviewed me in the USEFI office, Madras for the fellowship”
He then unveiled the secret and told me that I will be going to US for higher studies in the fall of 1972.. He also added that he had exercised special affection and loyalty to his specialization which made my name figure in the list of awardee’s.
Beyond that point the process was on the fast track. Firstly, I had the firm offer and I was required to get the visa stamped in Madras Consulate and go to
I went to Madras in the first week of June 1972 first to the Passport Office (for me then it is the one closest to my home in Trivandrum), to expedite the issue of Passport and then for the US visa. The Passport was with me in 48 hours of my personally meeting the Officer concerned. Then I went over to the consulate for the visa. Without any hassle visa was approved and then I collected the health screening report from a doctor in the town. In fact earlier I had met this doctor so that he will put me through a routine check before preparing the medical report on my health. The health report given to me will have to be hand carried along to USA, to be given at the port of entry.
Once I had the visa I intended to reach home the fastest manner possible. Obviously it is flying from
The idea that I can fly to Trivandrum occurred to me when I noticed, Mr Anthraper coming out of the Kerala Travels Office in Madras-Egmore on an earlier occasion during my stay in Madras Egmore. From the doctors office I rushed to Kerala Travels, and crashed into the office of Mr. Anthraper, the Manager. I identified myself and told that I was a friend of Baby, his own kid brother who then used to work for the Dept. of Geology and Mining, Govt of Kerala,
A ticket was written out for me. The next morning I promptly reported to the airport and passenger office. I had the boarding pass issued quickly. I waited in the lounge along with the small crowd bound to Trivandrum. Finally in about 20 min we were put in a bus and driven to the boarding step ladder. The aircraft was a tiny (HS748) passenger aircraft, powered by a pair of propellers. I had a window seat and remember it was the first ever flight I took in my life.
I was seated in the second row on the right side of the isle. Mr Madhu a cine star was given the first row seat. I am not sure if he had the pleasure a window. But there was plenty of legroom though. After the routine counting, checking and announcements the aircraft taxied and then took off. The cabin was noisy, and the engine on my side was rather shaking on the flight. May be some thing not unusual. It was doing around 225 mph. It stopped at Trichy and the in
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Friday, December 24, 2010
Mother in laws are absolutely greedy
Monday, December 6, 2010
Should we add more GH gases by biomass burning
Many researchers are concerned about Keralas carbon foot print .and are devising means and processes to reduce it. One group proposed the popularization of Hot Boxes in the kitchens of Kerala. A hot box (for the novice) is a box with with an opening large enough to support a cooking pot. The box needs precooking preparation. First step is collecting the suitably dry biomas from own the backyard or others. Then chopping it to some sort of uniform size. This is ready for stuffing the HB now. Fill the HB tightly with biomass. Now the HB is ready for starting a cooking process. Light the biomass, and it will burn without any open flame. Place the pot with the half or partly cooked food stuff over the hot box. Further cooking will take place with out much of assistance of attending. The expectation is that such a HB will reduce the carbon foot print
A claim is made that the “Parishath Aduppu” is a great success. However, the design reduces the spread of smoke inside the kitchen by adding an exhaust stand pipe (generally recommended is a readymade AC pipe- opening over the roof. The success claimed in the proposal is not supported by a life cycle study of this “aduppu” anyway.
A similar claim is made for the “hotbox”, HB, of IRTC. As I understand, it warrants a two stage cooking of rice (as explained during the presentation by Dr RVG Menon). First stage is boiling the pot of water in the three stone stove or aduppu, then pouring the readied rice into the pot and taking it to boiling. In the stage two, the boiling pot of rice and water is shifted to HB.
The HB seems (not demonstrated by a video presentation nor by a demo) to be a device to consume the biomass, but the downstream analysis of the gaseous effluent for its component gases are not presented along with the proposal. Consequently, the role of HB in GH gases reduction remains to be demonstrated. Science has it that instead of biomass burning, burying the biomass under the soil is a mechanism of sequestering GH , (i.e., CO2.) released by the biomass
The acceptability of HB by the Kerala society is not proved or supported even by a telephonic survey or similar
The Public sector oil companies of India have proposed a scheme for “free” LPG connections with gas-table and gas cylinder to all the BPL families in during the next five years (2010 onwards). This proposal is pending approval of the core committee and the Union Cabinet. Hence I am unsure of the need and acceptance of the proposed HB in the state. .
Even in the BPL families, the kitchen always welcomes some new tool rather than the variants of classical three stone wood stove or tools like Parishath aduppu and HB..
Biomass may exist in large volumes in the state. But with the modern mindset, I wonder how many of the folks will go around fetching biomass needed to energise the HB.
Dr. Thrivikramji.K.P.
Saturday, May 1, 2010
Sri Bhuvanendran:AN EXPERIENCE OF MINE

AN EXPERIENCE OF MINE
(By Sreekandath Gopala Menon, M.A)
[The author of this article is a physics professor of Travancore University College. We are publishing this only because it is a narrative of the experience of a respected person possessing very deep knowledge and extraordinary research talents in physics.-Editor. Kerala Kaumudi.](This piece appeared in the Keralakaumudi daily of Dec.20, 1951)
Careful examination or scrutiny of what they see and hear is a habitual behaviour of scientists. There are numerous evidences for the operation of certain miraculous powers, beyond the realm of human mind, around us. One of my experiences is an example for this truth.
One can reach the Nair house of Cherukal Puthern Veedu (by foot), half a mile northward from the road junction of Eruthurkada, just beyond 27th mile stone in Thiruvananthapuram-Nagarcoil road. I had gone to that house on Tuesday and Friday of the last week. The intention of my visit was to put, the miracles taking place in that house day after day, under scientific observation. I was accompanied by Sri.Govinda Kaimal, a traffic inspector, who is one of my relatives.
We reached Cherukal Puthen Veedu by 9 P.M on Tuesday night. Items for the ceremonial offering ( puja) were found arranged inside a temporary thatched shed in front of that old house with a roof of plaited coconut leaves. A number of persons including Sri. Varinjam Raghavan Pillai who accepted Sanyas, were chanting reciting hymns. There were also a large number of visitors. After some time, the chief puja performer brought a boy wearing a blue shirt and knickers of silk and laid him on his back upon a bed placed in the center of the temporary thatched shed constructed for performing ceremonial offerings. The boy was deep asleep. The eyes and eyebrows of this eye-catching boy of about six years old were highlighted with collyrium; along with a decorative dot adorning his forehead.
They beautified and decorated the boy’s body with garlands of flowers in a manner very much similar to ritual of worship of any deity. Along with the chanting of hymns, the crowd began the worship of the boy like rotating or waving lighted lamps following the traditional worship conducted in a temple. At the conclusion of the ritual of waving of flames of camphor, the people assembled there reverentially saluted by touching the camphor flame.
The boy was still in slumber without showing any movement of his body throughout the entire duration of the period of ceremonial worship that extended over one and half hours. I could witness the devotees of this boy who considered him as a divine boy, including his grandmother, prostrating themselves in adoration. After the completion of the ritual worship the flowers that adorned the child and vibhuti were distributed among the devotees present there, as ‘prasadam ’.
Soon afterwards the body was taken into a small bedroom of about 12 feet by 8 feet, but without a ceiling and laid him there. This is his bed room. This room has two doors, one at its western wall and another at its eastern wall and a small window on the western wall. At the southeastern corner of the room there is a stone symbol – ‘Atma Lingam ’ installed by the boy himself. The worship related rituals of this idol is done by the boy himself.
Throughout every night, apart from the mother and the grandmother of the child, two or three visiting women choose to remain in this bedroom. After closing of the both doors (fitted with locks of wooden bolts), the lighted stand-lamp (nilavilakku) is put off. During night, the visiting women devotees occupy the quadrangle or yard or patio on the western side of the boy’s bedroom and in the ‘Thaiveedu’, while the male devotees slept in the shed on its western side. I and Kaimal remained awake throughout the night expecting many things. I was told that either at midnight or just before the day break the sound of “ Om Ghara” can be heard emanating from the bedroom followed by the sound of recitation of hymns while both doors open on their own accord. I was also informed that the sounds come from an invisible person – a maharshi, named ‘Jatadhari’
Until the midnight of Tuesday there were no voices from any incorporeal or invisible beings. As we have to start our return trip before 4 A.M in the early morning we could not spend any more time there. However, I received a message before Friday noon noting that at about 5 A.M in the morning voice of an invisible being could be heard which started with an “om ghara” and followed by recitation of two lines of a hymn and disappeared after the informing that it would be visiting the place the following night. The message also noted that as it was a very unusual to announce in advance of its arrival, it is definite that voice of incorporeal being could be heard there on Friday night.
As some others were also notified the contents of the message we, together with Sri. Pala Gopalan Nair, Lecturer in Intermediate College, Trivandrum, his mother-in-law and some other persons, reached there before 8 P.M. The ritual of worship has started well before the routine time on that evening, I was told that the visitors present there witnessed, incidents of anointing or consecration by pouring water over the stone symbol or idol installed inside the bed room by an invisible being and appearance of spontaneous flames in the camphor lamp.
Like other days, the boy was taken inside the bedroom and the doors were locked. The mother-in-law of Pala Narayanan Nair was one among the women who choose to remain inside the room. After some time, we were taken near the window of that room. Inside that pitch darkness in the room we could notice a white brilliant shine resembling that emanating from gems of diamond of about the size of one rupee coin – very similar to that from a mercury arc light. The brilliance increased and decreased in its intensity periodically. I could also see the people who were present outside the house entering the bedroom one by one, after opening the closed door, to witness the strange incident. I carefully observed whether it was the rays of the moon shine that penetrated through the holes in thatched roof and reflecting from the forehead of the boy. My assumption was proved incorrect. Later the radiance transformed itself and attained the shape of a flame of a wick-stand-lamp (nilavilakku), intermittently radiating white bright flash light. Afterwards, the brightness changed to deep red colour having the size of a one rupee coin. Both Gopalan Nair and Kaimal were observing all these.
Later there was an authoritative assertion to light the lamp. No one knew from whom that command came. . With the lighting of the lamp, people came into that room and reverentially prostrated before the child sleeping on his belly. Thereafter the doors were closed and the women went back to their seats around the bed of child. After some moments the heavy sound of “Om Ghara’ could be heard. Various hymns containing words of Tamil, Malayalam and some other unknown language- recitation originating inside the room- began to be heard. I could hear the words Bhuvanendra Deva and Prabhakara in melodious and loud appellations.
The door opened itself while the recital of the hymns was going on and while everyone out side was watching it was again closed without any outside agent. No one could observe any one there with material or in corporeal form. As per the ethereal announcement that there would be yet other incorporeal voices, we could hear the sound of “Om Ghara” and recitation of hymns by about 5.30 A.M in the morning. When we enquired (about the events) with the women who were present in that room in the night they noted that they were unable to trace the person from whom the voices came out during the incidents and also that they could not feel or see anyone with tangible physical body entering the room from outside. We who were remaining outside could neither see anyone leaving that room. I did not make any attempt to carefully scrutinize the interior of the room with the aid of a torch light.
The boy woke up in the morning and came outside. I could not see any weariness on his nice/gentle face. Infrequently a smile magnetically attracting the heart towards him radiated from his face with serious expression and with eyes looking aimlessly. He never looked fixedly or intently at anyone. Any one will be desirous of gazing indefinitely at the splendour and expressions of emotional fluctuations of his face.
Devotees consider the boy as ‘Kalki’ or incarnation of Lord Vishnu. Bhagavan Jatadhari has noted this fact. There are several people who have witnessed the inexplicable incidents of showering of flowers over the body of the boy, in addition to the kalabham and bhasmam , while visiting and touring temples.
The splendour we have experienced and voices we have heard there are subjects of wonder. For photographing of that splendour of the child .and recording of those incorporeal voices, if the consent of the ethereal being is obtained we could make a request to do so and would have received an answer .My friends are ready to make such an attempt. Numerous miracles associated with this boy are described in the book entitled”Bhuvanendra Khadgi” authored by Sri Varinjam Raghavan Pillai.
What we have witnessed there is manifestation of some unknown and inexplicable power.
[This is a very much a word by word translation of the original Malayalam article which appeared in one of the leading Malayalam newspapers- The Kerala Kaumudi dated 20th December, 1951, Translators: Thrivikramji and Mohanakumar]
Sunday, April 11, 2010
Thiruvattar Balan Pillai and the Neovillupattu
Thiruvattar Balan Pillai and the Neovillupattu.
Thiruvattar Balan Pillai (1910-1992), the originator of Malayalam villupattu- more aptly called Neovillupattu, and its lead artist, worked for the Special Armed Police (SAP) force of erstwhile Travancore state and later Kerala. He joined the Police force, when the Travancore State’s army to which he belonged, was disbanded after Indian Independence.
Balan Pillai’s Neo-villupattu performance in scores of venues in the early decades of second half of the last century, still lingers in the minds of at least a small group of connoisseurs. In fact, many of the fans vanished from the earthly scene. On account of the glittering-stage-performance of the team and the story lines or themes that they chose to deal with, the Neovillupattu attained the status of a legend and heritage in the scene of Malayalam art and culture.
Balan Pillai created this stage show of the neovillupattu by refining or redefining the villupattu which is truly a group act or team show, native to the neighboring state of Tamil Nadu. Villupattu as practiced Tamil Nadu, is a dramatized performance by a team of say six or seven artists all of whom are seated on the stage and in two rows. The leader narrates a story of a king or Hindu god as answers to questions/comments made by one or other member of the team. The rendering both in verse as well as poetic prose, is very loud and lively. A turban and dhoti is the only outfit. Facial makeup basically was application of sandal wood paste on the forehead, upper arms and the chest.
The name villupattu originated from the lead instrument, the villu which is not shaped like a bow. Structurally, it is a long wooden pole of say 7-8 ft length, with a uniform cross section of 2.0-2.5” except at the ends, where firmly fitted decorative brass caps are drawn into eye holes facing each other. The rod is adorned with a set of tight fitting brass rings (placed at uniform spacing), and drawn into eye holes to which are hung bunches of jingling bells and chilankas.
A word about Chilanka. It is a hollow sphere shaped casting in bell metal, partly filled with half a dozen or so metallic balls, larger in size than the narrow slit at one end and like in a bell, an eye hole at the opposite end to enable secure fastening.
During the concert, team members sit in two rows - one behind the other, wearing only a costly head scarve and equally expensive costly mundu. In the front row are seated the leader at the right hand end, and the three other artists who literally support the Villu, which sort of rests partly on the neck of a large-fired-mud-pot (about 18” in dia. and whose mouth faces the artist) placed roughly at the middle and at the firm grip of hands of one or two artists seated to the left. The leader readies the villu by tying a fine rope to the villu and the other end to one of the big toes. The artist at the center and seated behind the large red pot, uses a fan cut out of leaf-petiole-sheath of arecanut palm, to rhythmically beat on the mouth of the pot to make a deep bass sound..
Villlu is readied for concert, by tying-taut a rope between the ornamental-brass-ends. The leader also has a pair of special wooden-needle-like-drumsticks of about 15” long and crafted and decorated fashionably with clasps, highlights and trims of brass. Each stick is fashioned by turning in a lathe like machine and the finished needles are driven more than half way through the center of split-hollow-spheres of brass before attaching clasps for the firm grip and trims at the tips.
The team leader holds the drumsticks by the clasps, and rhythmically hits the taut sting and the villu, to make the bells and chilankas jingle loudly. Maestros like Thiruvattar Balan Pillai, will juggle the sticks skillfully and artistically keeping the audience spell bound. In fact, the audience in the dim light will not miss the reflective brass in the bright stage lights or the costume adorning artists of the team or their facial expressions.
Pillai assembled a team of (both civilians as well as SAP service men) artists for the villupattu stage show. Some of the distinguished members were, stage actor Thoppil Ramachandran Nair (Nedumangad), Sankarankutty Nair (Sreekanteswaram, Trivandrum), Thankappan Nair (Ambalammukku, Trivandrum) and Achuthan (Oolampara, Trivanrum),
The theme of the first neovillupattu was the development agenda of the first five year plan. As the trio of Mannathu Padmanabhan, makkappuzha Vsudevan Pillai and MP Manmathan, was depicted in the story, naturally, Pillai received special the accolades.
The story of “Velu Thampi Dalava” took Pillai’s team to the peak of honour and popularity in the state. Yet another equally powerful crowd catcher was “Kochu Seetha” Though, M/s KG Sethunath and KV Thikkurisi created the prose and verses of the story, it was Pillai’s tuning and narration style that took the neovillupattu to greater heights.
Biographic sketch of Thiruvattar Balan Pillai
Pillai was born to the couple Sri Chitharal Sankara Pillai and Eswari amma, in the village of Chitharal, on the right bank of Kuzithura ar and 4 km south of Arumana and about 4 km westerly of Thiruvattar. Thikkurissi Sukumaran Nair, a famous cine artist of last century and a lad from the neighbouring village of Thikkurissi was a contemporary of Balan Pillai and contributed immensely in the neovillupattu venture.
(compiled by thrivikramji@gmail.com)

