200
TOWARDS THE CREATION OF A WORLD FOR ALL!!!
Monday, December 31, 2007
Saturday, December 29, 2007
Friday, December 28, 2007
Within their "natural boarders” Or The Other Order
Within their "natural boarders”
Or
The Other Order
"Borderless new world"
Is the motto of
The "New World Order"
Busy as bees
Are our think tanks
Penning down thousands
And thousands of trees
In order to stuff
The new order
Into the minds of
Post Barbarians
By re-redesigning
The demography
Of their minds
But the Post Empire
Thinks back and moves
In reverse
With its own
“Legal reasons”
The Post Empire
Where “the Sun never sets”
Fortressing its "natural boarders"
Not in fear
Of "Deadly Pirates of Arabia"
Or the religious missions
And the Army of Merchants
As in the Sixteenth Century
Fortressing its "natural boarders"
Is the other order and
"Has nothing to do with racism"
An authentic Neo Mission
But not another "Civilizing Mission"
Its not beyond the "natural boarders"
And "its nothing to do with racism" too
But to practice
An authentic "way of cultural life"
And the "cohesion of communities"
Within the legally protected
"Natural Boarders"
Free from
"The dangers of run over by foreigners"
Or
"Has been swamped by foreigners"
A Non EU Unfriendly
Particularly Subcontinent Unfriendly
Post Empire
Is to practice
An authentic "way of cultural life"
And the "cohesion of communities"
Within the legally protected
"Natural Boarders"
S.Jeyasankar
Sunday, December 23, 2007
Are you jokeing at me or Talk of a little girl
Mother, listen to me
Are you listening at me?
Hm, listening
Our class teacher told us
We are the peole
of a developing country
And depending on the charity
of developed countries
So, what?
Mother, why we are not
A developed county?
Are we not celeberating
The Independant Day Annually?
My social studies teacher taught
We are celeberating it for five decades
That means fifty years, am i correct?
Yes dear you are right.
Why the people of dependant country
celeberates Independant Day?
Is it also a custom
like new year celeberations?
Oh dear, my child
I am relieved and happy
that you are not get caught
in the clutches of school education
Or the media mania
Dear child you better ask this to you father
He is the Master of the world affairs
Consume news from paper to TV
From morning to midnight
I am in the kitchen and
Peeling the onions for 'saampaar'
Dear you are well aware
I am working in two offices
One with a pay
Other without and recognized not
As a work either
Its said my duty
Because i am a woman
Darling, could you bring me
A cup of tea, love flavoured honey
And think of extra classes
For our little sparrow
She becomes like grand mothers
and talking tall beyond her height
"to be or not to be..."
Are you jokeing at me?
No father, i am memorizing
The line of a classical play
For our Children's Festival
"to be or not to be..."
S.Jeyasankar
Painting of Kamala Vasuki
Friday, December 21, 2007
Creative Living Spaces
Creative Living Spaces
Concept Paper
The concept of the Creative Living Spaces is a creative process with the participation of children in the homes in order to create and construct living spaces to enhance the creative capability of the children.
It’s also a process to transform the fixed ideas and perspectives and even the mobility of Children in homes who are comparatively living in an atmosphere conditioned by various factors.
The designs of the structures will be worked out through workshops with the participation of the children to incorporate their ideas, imaginations, interests, requirements, desires, tastes and creations.
Special attention will be given to the aspirations and expectations of Girl Children in Homes.
The workshops will be facilitated by the Coordinator with the support of animators.
The creative plans will be finalized by the Aesthetic Coordinator with the consultation of professionals of the particular fields related to creative building constructions.
The process of the construction work will be facilitated by the animators of the Third eye with the guidance of administrative Coordinator and an Aesthetic Coordinator of the Third Eye with the support of creative construction unit of the Third eye.
The basic notion of the construction process is not only to create Creative Living Spaces but also to transform the conventional imaginations of living and working spaces of Children.
The planning and construction process of the Creative Living Spaces are also designed to engage the Children to contribute into it creatively and commit themselves to feel it’s theirs. Portions of the Creative Living Spaces are also designed to require continues commitment of Children creatively and constructively.
The Creative Living Spaces will be constructed harmonious with the nature and with environment friendly materials.
All the stake holders of the main program and well wishers will be incorporated into this process. Locations of place for the Creative Living Spaces will be finalized with the particular authorities.
S. Jeyasankar.
Concept Paper
The concept of the Creative Living Spaces is a creative process with the participation of children in the homes in order to create and construct living spaces to enhance the creative capability of the children.
It’s also a process to transform the fixed ideas and perspectives and even the mobility of Children in homes who are comparatively living in an atmosphere conditioned by various factors.
The designs of the structures will be worked out through workshops with the participation of the children to incorporate their ideas, imaginations, interests, requirements, desires, tastes and creations.
Special attention will be given to the aspirations and expectations of Girl Children in Homes.
The workshops will be facilitated by the Coordinator with the support of animators.
The creative plans will be finalized by the Aesthetic Coordinator with the consultation of professionals of the particular fields related to creative building constructions.
The process of the construction work will be facilitated by the animators of the Third eye with the guidance of administrative Coordinator and an Aesthetic Coordinator of the Third Eye with the support of creative construction unit of the Third eye.
The basic notion of the construction process is not only to create Creative Living Spaces but also to transform the conventional imaginations of living and working spaces of Children.
The planning and construction process of the Creative Living Spaces are also designed to engage the Children to contribute into it creatively and commit themselves to feel it’s theirs. Portions of the Creative Living Spaces are also designed to require continues commitment of Children creatively and constructively.
The Creative Living Spaces will be constructed harmonious with the nature and with environment friendly materials.
All the stake holders of the main program and well wishers will be incorporated into this process. Locations of place for the Creative Living Spaces will be finalized with the particular authorities.
S. Jeyasankar.
Poem of a Man femenist.
Poem of a Man femenist.
I am a Man
And proud to be a Man
We are the Makers and Owners of
Ancient Art and Modern Sciences
Modernized the Ancient Arts
As Scientific Disciplines too
I am proud to be a knot
In the web of His Story
Is anyone here about her story
In his story?
Diplomacy is a scientific practice
A socio scientific practice
The Modernized practice
Of an Ancient Art
I am a Man
And proud to be a Man
It sparks as modern science
within the hidden and cold walls
of prisoned faculties
Breeds the intellectuals
Hands of the Modern Rulers
Who proudly produces
Instability, misery, and chaos
Blood and death
Diplomacy is a scientific practice
A socio scientific practice
The modernist practice of the ancient art
I am a Man
And proud to be a Man
The exhibition of Manliness
With the power of pen and the art of gun
I am a Man
And proud to be a Man
s.jeyasankar
**Painting of Nirmalavasan
Wednesday, December 12, 2007
Cover Page of Children's Magazine of the Thirdeye
Cover Pages were designed by S Nirmalavasan with the paintings of children's in "Homes"
jeyasankar
Friday, October 19, 2007
Tuesday, September 25, 2007
Reformulation of Kooththu- Launching of Books and a Documentary
Third Eye
Local Knowledge & Skill Activists Group
Proudly Presents
Festival of launching Books and Documentary CD on Kooththu Reformulation (Kooththu – Traditional Thamil Theatre)
Books
Seelamunai Kooththu Meeluruvakkam
(Seelamunai Kooththu Reformulation – Sharing Experience – 01)
Author: - S. Sivanayagam – Eattu Annaviyar (Kooththu Script writer and Reader)
Kooththu Meeluruvakkam – Kodpadum, Seyatpadum
(Kooththu Reformulation – Theory and Process)
Author: - T. Gowrieeswaran
Documentary CD
Kooththrin Kuralkal – 01
(Voices of kooththu Performers – 01)
Date: - Wednesday 26th September 2007
Time: - 09.00 AM – 11.45 AM
Venue: - Main Hall, Batticaloa Government Teachers Training College, Batticaloa.
We are proudly inviting you all.
Agenda
09.00 – 09.05 Lighting Traditional oil lamps
09.05 – 09.06 Silence prayers
09.06 – 09.10 Song
09.10 – 09.15 Inauguration Speech
09.15 – 09.20 Chairperson Address
09.20 – 09.25 Introduction Speech
09.25 – 09.35 Launching of Books
09.35 – 09.55 Book Evaluation speech – 01
09.55 – 10.00 Song
10.00 – 10.20 Book Evaluation speech – 02
10.20 – 10.25 Launching of Documentary CD
10.25 – 10.50 Screening of Documentary
10.50 – 11.00 Special Address
11.00 – 11.30 Acknowledgement speeches of authors
11.30 – 11.40 Vote of Thanks.
Thanking You.
Seelamunai Kooththu Meeluruvakkam
(Seelamunai Kooththu Reformulation – Sharing Experience – 01)
Author: - S. Sivanayagam – Eattu Annaviyar (Kooththu Script writer and Reader)
Kooththu Meeluruvakkam – Kodpadum, Seyatpadum
(Kooththu Reformulation – Theory and Process)
Author: - T. Gowrieeswaran
Documentary CD
Kooththrin Kuralkal – 01
(Voices of kooththu Performers – 01)
Date: - Wednesday 26th September 2007
Time: - 09.00 AM – 11.45 AM
Venue: - Main Hall, Batticaloa Government Teachers Training College, Batticaloa.
We are proudly inviting you all.
Agenda
09.00 – 09.05 Lighting Traditional oil lamps
09.05 – 09.06 Silence prayers
09.06 – 09.10 Song
09.10 – 09.15 Inauguration Speech
09.15 – 09.20 Chairperson Address
09.20 – 09.25 Introduction Speech
09.25 – 09.35 Launching of Books
09.35 – 09.55 Book Evaluation speech – 01
09.55 – 10.00 Song
10.00 – 10.20 Book Evaluation speech – 02
10.20 – 10.25 Launching of Documentary CD
10.25 – 10.50 Screening of Documentary
10.50 – 11.00 Special Address
11.00 – 11.30 Acknowledgement speeches of authors
11.30 – 11.40 Vote of Thanks.
Thanking You.
Thursday, August 23, 2007
Reformulation of Tamil Traditional Theatre
Reformulation of Tamil Traditional Theatre as an organic form of Community Theatre - 14th August 2007
Home > News > Seminars & Events
Abstract
Kooththu, the Traditional Theatre of the Tamils of Sri Lanka, is an art form that integrates people in the process of its creation and performance. There are so many activities being practiced by the people during the period of Kooththu process, to identify this art as a community art
Basically , Kooththu is a people centered art form where they play, learn, teach, relax, share, love, debate, discuss, decide, create, etc. Kooththu is performed on the round stage and people sit around it during the performance time throughout the night. They can enjoy the play with total freedom. The process of Kooththu performance naturally contains the aspects of Community Theatre and it is easy for us to develop an organic form of Community Theatre based on Kooththu alternative to Global Culture imposed by the Multinational Forces, which alienate the people and turn them into mere consumers.
Reformulation is a process, where recreating or reconstructing things in a way to face the current nature of the world. The contemporary world is almost controlled by multinational forces and the process labeled as Globalization.
Globalization is the process whereby individual lives and local communities are affected by economic and cultural processes that operates world-wide. In effect it is the process of the world becoming a single place.
One important dimension of this global change is the dramatic increase in the consumption of goods manufactured, designed and/or marketed by firms based in Europe, North America and Japan. The dramatic global increase in the consumption of "northern" goods has been perceived, in many places, as the greatest threat to the continued existence of local traditions, local cultures and local economic autonomy.
In an oppressive and colonized system, the process of reformulation will function as a liberating and decolonizing one. Rediscovering of pre-colonial space or world of the colonized people and deconstructing its asymmetrical or hierarchical order in order to create a liberated and self sustained world of the people in the Globalaized World is the fundamental aspect of reformulation.
The reformulation of Kooththu is not a work of a specialist individual or an experiment in a laboratory in the modern sense and the reformulation of Kooththu is not only a form-oriented one, but also a content oriented one. It’s not only a change in an art form but also a change in the people who perform and celebrate it. The reformulations must be put forward with the participation of the people in their own location and the progress is experienced and evaluated by the participants. It’s a process of learning by doing.
The change in the minds of the people will lead to change in their activities. Plans, strategies and actions for the reformulation process must be created and designed for these purposes and the community and the facilitator must evaluate the process. The role of the facilitator is to implement these activities with the awareness and participation of the community. This must not be handled alone by the facilitator.
Even though the process of Kooththu is people centered, the oppressive nature of the hierarchy of caste and gender orientation must be contested in the reformulation process.
The part played by the women on the stage performance is nil but as usual in the Tamil communities, the part played by them off the stage in all aspects is tremendous but not recognized. It will be an important aspect to look into in the process of reformulation of Koothtu as a community theatre alternative to globalization.
Speaker
Sivagnanam Jeyasankar, Senior Lecturer in Drama and Theatre Arts, Department of Fine Arts, Eastern University Sri Lanka.
Organisers
Department of Indology, Contemporary Tamil Culture programme, French Institute of Pondicherry
Venue
Jawaharlal Nehru Conference Hall, French Institute of Pondicherry, 11, Saint Louis Street, Pondicherry - 605001
Reformulation of Tamil Traditional Theatre as an organic form of Community Theatre - 14th August 2007
Home > News > Seminars & Events
Abstract
Kooththu, the Traditional Theatre of the Tamils of Sri Lanka, is an art form that integrates people in the process of its creation and performance. There are so many activities being practiced by the people during the period of Kooththu process, to identify this art as a community art
Basically , Kooththu is a people centered art form where they play, learn, teach, relax, share, love, debate, discuss, decide, create, etc. Kooththu is performed on the round stage and people sit around it during the performance time throughout the night. They can enjoy the play with total freedom. The process of Kooththu performance naturally contains the aspects of Community Theatre and it is easy for us to develop an organic form of Community Theatre based on Kooththu alternative to Global Culture imposed by the Multinational Forces, which alienate the people and turn them into mere consumers.
Reformulation is a process, where recreating or reconstructing things in a way to face the current nature of the world. The contemporary world is almost controlled by multinational forces and the process labeled as Globalization.
Globalization is the process whereby individual lives and local communities are affected by economic and cultural processes that operates world-wide. In effect it is the process of the world becoming a single place.
One important dimension of this global change is the dramatic increase in the consumption of goods manufactured, designed and/or marketed by firms based in Europe, North America and Japan. The dramatic global increase in the consumption of "northern" goods has been perceived, in many places, as the greatest threat to the continued existence of local traditions, local cultures and local economic autonomy.
In an oppressive and colonized system, the process of reformulation will function as a liberating and decolonizing one. Rediscovering of pre-colonial space or world of the colonized people and deconstructing its asymmetrical or hierarchical order in order to create a liberated and self sustained world of the people in the Globalaized World is the fundamental aspect of reformulation.
The reformulation of Kooththu is not a work of a specialist individual or an experiment in a laboratory in the modern sense and the reformulation of Kooththu is not only a form-oriented one, but also a content oriented one. It’s not only a change in an art form but also a change in the people who perform and celebrate it. The reformulations must be put forward with the participation of the people in their own location and the progress is experienced and evaluated by the participants. It’s a process of learning by doing.
The change in the minds of the people will lead to change in their activities. Plans, strategies and actions for the reformulation process must be created and designed for these purposes and the community and the facilitator must evaluate the process. The role of the facilitator is to implement these activities with the awareness and participation of the community. This must not be handled alone by the facilitator.
Even though the process of Kooththu is people centered, the oppressive nature of the hierarchy of caste and gender orientation must be contested in the reformulation process.
The part played by the women on the stage performance is nil but as usual in the Tamil communities, the part played by them off the stage in all aspects is tremendous but not recognized. It will be an important aspect to look into in the process of reformulation of Koothtu as a community theatre alternative to globalization.
Speaker
Sivagnanam Jeyasankar, Senior Lecturer in Drama and Theatre Arts, Department of Fine Arts, Eastern University Sri Lanka.
Organisers
Department of Indology, Contemporary Tamil Culture programme, French Institute of Pondicherry
Venue
Jawaharlal Nehru Conference Hall, French Institute of Pondicherry, 11, Saint Louis Street, Pondicherry - 605001
Sunday, July 29, 2007
Thursday, July 12, 2007
Cover of a Play Script: Man is here; Where is Women?
A new short play in Thamil by S.Jeyasankar
with the Translation in English By Lallini Tissaweerasinghe
and designed by S. Nirmalavasan.
Monday, July 09, 2007
vasan.jpg)
Lessons from a replica
S.S. KAVITHA
Here’s a play that teaches one the importance of creating a positive society.
Photo: G. Moorthy The cast: Out to do away with the ills of society.
The sky is filled with stars and similarly the earth with refugee children ... We love to live in unison both with nature and people…. the introductory song sung by the 20-odd children of Children’s Theatre group of Centre for Experiencing Socio-Cultural Interaction (CESCI) reflected the children’s untainted nature. To enhance their blemish-free qualities, the children who were all draped in two-shades of green were giggling and laughing and took position s and started enacting the children’s drama “Kuthiraikkutti Venumappa.”
They not only voiced their views on children’s nature and societal-evils but also created their own music and sounds suited to their situations not from instruments but with their mouths.
But, the drumbeats that were played occasionally by an artiste were hardly audible.
Briefing the story-line of the play, Sivagnanam Jeyasankar, senior faculty in the Department of Fine Arts, Eastern University, Batticaloa, Sri Lanka, in charge of creative facilitation said that the power of grasping knowledge and skills in childhood years was tremendous.
Suppu, the child in the play “Kuthiraikutti Venumappa” inherits insincerity from his father. Suppu reflects the cheating traits of his father all through his life and in the end reaps the consequences of the same. Positive world
The play as such would deal with this issue and create a playful environment for children and parents to think positive in order to lead a happy life, Jeyasankar said.
He said that he motivated the children to come up with their own ideas and thoughts and helped them channel their energy, besides improvising their thoughts and giving shape to their ideas.
The children’s theatre of CESCI had given the village children an opportunity to think, imagine and visualise their words into action in the form of a drama, said M. Shanmugaraja, actor-cum-theatre personality, who took care of the set and costume designing.
Village children
With the Children’s theatre, the CESCI had planned to focus on community development involving village children, he said and added that the Children’s Theatre Group that was formed in April 2007 had completed its first production called “Chipichung” (monster), and the second production was “Kuthiraikkutti Venumappa.”
With the Children’s theatre, the CESCI had planned to focus on community development involving village children, he said and added that the Children’s Theatre Group that was formed in April 2007 had completed its first production called “Chipichung” (monster), and the second production was “Kuthiraikkutti Venumappa.”
Shanmugaraja said that they had planned to produce four dramas a year that would be enacted in village schools. “Many elite schools had engaged an exclusive drama teacher as drama would help children in their over-all development. But, who will take care of rural children, especially in Government schools, who are often deprived of pleasant things? The children’s theatre would get involved,” he pointed out.
“We are free from all kinds of dirt found in society. But, unwillingly we become a party to it or become a part of it. This is what we highlight in the play,” said P. Meena, a Std. IX student.
The play has a lesson for parents that they should behave better for the sake of their children, who invariably imbibe qualities good and bad from their parents. Besides, the play also concentrates on the prevailing social evils, such as dowry harassment and greed, said P. Nivetha, a Std. VIII student.
Jeyasankar is here for a children’s theatre workshop, produced in association with CESCI, involving kids from the villages of Kadavur, Vemparali, Kancharampeattai and Chathirappatti near Madurai.
© Copyright 2000 - 2006 The Hindu
Monday, June 25, 2007
Sunday, June 24, 2007
Thursday, June 21, 2007
Living Space: Exhibition of Paintings
Paintings of Vasuki, Kiko and Vasan
@ Teachers' Trainning College Hall,
Batticaloa,
Sri Lanka.
On 23rd & 24th June 2007
Time8.30am to 5.00pm
THIRD EYE
Local Knowledge and Skill Activists Group
Monday, June 18, 2007
Living with Hue…
Living with Hue…
is a continues creative program for school children with colors.
Children of Vivekananda Girls’ School of Batticaloa, Sri Lanka involved in this program with the Facilitation of S. Nirmalavasan of the Third Eye and co-facilitated by T. Gowreeswaran of the Third Eye Local Knowledge and Skill Activists Group.
Conscious effort of the Principal and the staff of the Vivekananda Girls’ School of Batticaloa, Sri Lanka paved way for the success of the creative program.
Living with Hue… is a creative program with colors where people are living with intense war.
S.Jeyasankar
Sunday, June 17, 2007
Play on Parai at Madurai- May 2007
A Play on Parai is being in process at Madurai by Nigazh Centre for Alternate Art and Culture, Madurai. The first phas of the process was facilitated by S.Jeyasankar.
Kuthirai Kutty Venumappa in Practice-Madurai May/June 2007
A children's play in practice at CESCI* Campus at Madurai facilitated by S.Jeyasankar
CESCI* Centre for experiencing socio-cultural interaction.
Natham Road, Chattrapatti, Madurai, India
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