Newsletter January 2025


Newsletters

Welcome to the First Edition of Our 2025 Newsletter!

We believe all of you had a wonderful time during the holiday season. Whether it was spending time with loved ones, embracing quiet moments of rest, or finding joy in festive traditions, we hope your holidays were filled with warmth and happiness.

Before we start this year’s journey, let’s take a moment to honor the legacies of two extraordinary individuals from Kerala who left us recently—M. T. Vasudevan Nair and P. Jayachandran.

M. T. Vasudevan Nair, touched the hearts of many with his profound storytelling and unmatched contribution to Malayalam literature and Cinema. His works, which often delved deep into human emotions and social circumstances, will continue to inspire generations to come.

The passing of the legendary playback singer P. Jayachandran has left a void in the world of music. Our beloved Bhaavagaayakan‘s soulful voice enchanted audiences for decades, will forever remain a part of the rich culture of Malayalam cinema. His songs, brimming with emotion, continue to resonate within each one of us, and will remain timeless.

As we begin 2025, we hold these two remarkable figures in our thoughts and honor their immense contributions to the arts and culture. May their legacies continue to inspire and guide us in the years to come.

Now, with the start of 2025, we embrace the spirit of new beginnings. It’s a time to set fresh goals, explore new opportunities, and continue growing in every aspect of our lives. With a brand new EC team of COMA, I’m excited to see the initiatives that the 2025 Executive Committee has planned for our community this year. My best wishes go out to the 2025 EC for a successful and impactful year ahead! The strength and success of our organization rely on the support of our volunteers, paired with the passion and dedication of the Executive Committee. Let’s all work together as a team and contribute our efforts to ensure this year is another exceptional one for COMA.

Thank you for being part of our community. We look forward to sharing this new year’s journey with you, filled with growth, positivity, and unforgettable memories.

Prahlad T. Indira


Presidential Address

Stephen John (2025 COMA President)

(Stephen lives in Powell, Ohio, with his wife Nicey and daughter Anjali. He is from Kottayam and is in Ohio from 2015 onwards. His hobbies are Portrait Photography and road trips. He works as a Data Analyst and is also a clergyman serving as the Chairman of the Anglican Church of India Synod.)

Dear COMA friends,

2025 started with a bang for me, and let me wish you all a happy and prosperous 2025!

I know some of you might be wondering why I chose to be the President despite knowing how tedious it is. It takes away most of our personal time and family time. Just like you, I also treasure my personal and family time. But I also believe in giving back to our wonderful community. I truly want to show everyone that leading COMA can be a collaborative and fun experience!

My vision for COMA in 2025 is all about getting everyone involved! The responsibility of COMA should not be solely with the trustees and the EC. We’re a community, and that means we all have a part to play!

I believe in shared responsibility for the benefit of the community, and I hope to build that new culture within COMA this year. And I would say that is the main driver for my decision.

To make this happen, I started the General Committee or GC this year. This is for people who are interested in working in specific areas instead of working in EC. It also reduces the workload of EC.

Currently, we have additional members working in the following areas:

  1. Photography Club
  2. COMA Talks Live
  3. Food Committee
  4. Volunteers committee
  5. Event planners
  6. Fundraising committee

I am confident that this new setup will attract more members to join EC or GC in the future. Also, I hope the future ECs will continue forming GCs to accommodate more members who are willing to help in specific areas.

Speaking of a good team, I am lucky to be working with amazing people in the EC this year – Dr. Rajesh Rajan (VP), Ms. Parvathy Harilal (General Secretary), Ms. Linda Chan (Joint Secretary), and Mr. Rohit Suresh (Treasurer)

And in GC, we have Ms. Amalu Jospeh (Lady Secretary), Miss Gaurinanda Sudheesh (Website), Mr. Prahlad T. Indira (Newsletter), Mr. Bimal Sebastian (Food Committee), Mr. Rahul RP (Photography Club), Mr. Rakesh Vijayakrishnan (Sports Secretary), Mr. Aslam Abubacker (Volunteers) and Mr. Sudheesh Vasudevan (Youth Wing).

I can say that our COMA community is in safe hands! And a big thanks to my friends who introduced these special people to my life.

Now, here’s where we need your help! Our community is growing, and that means we need bigger and better venues and programs. To make this happen, we need to think outside the box and be willing to embrace some changes. This might mean contributing a little extra financially and volunteering some of your time.

This would help us to better plan our events with support from external sponsors. And, if you think you can support us by helping us in specific areas, then please reach out to me or one of the EC members. We welcome any and all support!

Once again, I wish you all a happy 2025 and hope that we can continue to entertain you as previous committees have done.

Thank you!

Stephen John


My experience in the Meals on Wheels program

Sudheesh Vasudevan

(Sudheesh lives in Plain City, Ohio, with his wife Lekshmi and daughter Gaurinanda and son Gautham. He is from Kottarakkara and is in Columbus from 2016 onwards. He likes travel and road trips. He works as a Senior Software Developer)

On a snowy Sunday morning, I was excited to finally participate in a Meals on Wheels program that had long been on my wish list.

Even though it was a chilly Sunday morning, this program motivated me to learn how social actions can lead to mental satisfaction.

Route V1600 was scheduled for Arun, Priya, Kannan, and me. Everything was very well organized, and we started our route on time.

We were assigned to 15 homes, but as a newcomer, I was curious how to deliver this food to them. 

I had a lot of questions in my mind – How can we approach someone’s home? 

How do they treat us? Different food restrictions based on their health and age? And so on. 

Arun helped me resolve most of my questions. 

Walking towards an unfamiliar home in sub-zero temperatures on slippery roads really fills us with mixed feelings. 

However, all the challenges fade when we see happy faces with genuine smiles and warm greetings. Some had truly been waiting for us.

We had varying experiences in each home. In some, the residents clearly instructed us on where to place the food. However, we received no response in two homes when we knocked on their doors. Many individuals also struggled to open the food container lids, even when they were by themselves. Despite this, I could see the determination for self-sufficiency in their smiles and expressions.

After the food delivery, we felt so happy and joyful that we could brighten someone’s day! It was such a wonderful feeling to share a little kindness.

Their faces and smiles bring back cherished memories of our parents and grandparents, who were separated from us by thousands of miles.

The fabric of our society is not yet ready to rely on anyone; however, the Meals on Wheels program offers a chance to help those who truly need assistance.

Kannan was the youngest on our team. I was very pleased with our COMA youth representative, Kannan. He impressed me by engaging respectfully and chatting with senior members while assisting them.

Arun and Priya, you are really Proud parents  !!

Once I got home after the food delivery, I realized I had missed my breakfast, but because of this excitement, I never felt hungry throughout the journey. I really enjoyed that day!!

January is the month of Martin Luther King Jr., so let’s remember his famous quotes. 

“Life’s most persistent and urgent question is, ‘What are you doing for others?”.

— Sudheesh Vasudevan


കൊഴിഞ്ഞിട്ടും എന്തിനോ…..

Aravind. V. K.

(Aravind, originally from Trivandrum, has been residing in Ohio, since 2019 with his wife Mekha, their children Parvanendu and Yug Nand, and their two toy poodles, Benji and Bella. He is a data engineer by profession, who seamlessly combines his technical expertise with a passion for the arts. Aravind has directed and produced several creative projects, including the recently released South Indian musical album ‘Hasthinapuri.’ In addition to filmmaking, he is a skilled cameraman, editor, seasonal singer, and enjoys pencil drawing and writing. Aravind is also known for his talent as a magician and mentalist, with his thoughtful performances. Aravind’s work blends innovation, creativity and storytelling with dedication.)

ചിലത് കൊഴിഞ്ഞു പോയി എന്ന് അംഗീകരിക്കാൻ നമുക്ക് കഴിയാറില്ല. പ്രത്യേകിച്ചും ഹൃദയത്തിന്റെ ആഴങ്ങളിൽ കുരുക്കിട്ട് പടർന്നു കിടക്കുന്ന വള്ളികളിലെ ഓർമപ്പൂക്കൾ. അത് എല്ലാ പുതുമയോടും കൂടി എന്തിനോ നമ്മുടെ നെഞ്ചിൽ മൊട്ടിട്ടു കൊണ്ടിരിക്കും. അങ്ങനെ ഒരു അനുഭവമാണ് ഈ ലോകത്തു നിന്നും നമ്മെ വിട്ടു പോയ ഭാവഗായകൻ P. ജയചന്ദ്രൻ എന്ന ജയേട്ടൻ നമുക്ക് നൽകികൊണ്ടിരിക്കുന്നത്. കൊഴിഞ്ഞു പോയി എന്ന് നമ്മെ കൊണ്ട് സമ്മതിപ്പിക്കാതെ മലയാളി മനസിന്റെ നിത്യവസന്തമായി എന്നും ഓരോ ദിവസവും, ഓരോ നിമിഷവും മൊട്ടിടും ജയേട്ടൻ.. ഒരു മലയാളി മനുഷ്യ മനസിന് ഉണ്ടായേക്കാവുന്ന ഒട്ടു മിക്ക വികാരങ്ങളിലും ഇഴ ചേർന്ന് കിടക്കുന്ന കെ.ജെ യേശുദാസ് എന്ന ഇതിഹാസ ശബ്ദം നിലനില്കുമ്പോളും ഭാവഗായകൻ എന്ന വിളിപ്പേര് ഒരാൾക്കു കിട്ടുന്നു എങ്കിൽ അത് സാക്ഷാൽ പി. ജയചന്ദ്രൻ എന്ന നമ്മുടെ ജയേട്ടന് തന്നെ  ആയിരിക്കും. അത്ര മാത്രം തേൻ കിനിയുന്ന ഭാവ സൗന്ദര്യമാണ് ആ ശബ്ദത്തിന്. ജയേട്ടനെ കുറിച്ച് ഈ ലക്കത്തിൽ എഴുതാൻ അരവിന്ദ് മതി എന്ന് ശ്രീ പ്രഹ്ളാദ് പറയുമ്പോൾ അത് സന്തോഷമാണോ അതോ സങ്കടം ആണോ ഉള്ളിൽ ഉണ്ടാക്കിയത് എന്ന് പറയാൻ പറ്റാത്ത അവസ്ഥ ആയിരുന്നു.

9 വര്ഷങ്ങള്ക്കു മുന്നേ ആയിരുന്നു എന്റെ സാംസങ് ഫോണിലെ വാട്സ്ആപ്പിൽ ഒരു കോൺടാക്ട് വന്നു വീണത്. “P ജയചന്ദ്രൻ Singer“. അയച്ചു തന്നത് എന്റെ സുഹൃത്തും തബലിസ്റ്റും ആയ പ്രശാന്തേട്ടൻ ആയിരുന്നു. പൊന്നാവണി പാട്ടുകൾ എന്ന എന്റെ ആദ്യ ഓണം ആൽബത്തിലെ 10 പാട്ടുകളിൽ 2 എണ്ണം പാടാൻ വേണ്ടി ആണ് എന്റെ ഉറ്റ സുഹൃത്തും അതിന്റെ സംഗീത സംവിധായകനും ആയ സുരജ്ഉം പിന്നെ നമ്മൾ എല്ലാപേരും ജയേട്ടനെ കിട്ടുമോ എന്ന് ആഗ്രഹിച്ചു തുടങ്ങിയത്. ദാസേട്ടൻ ഒഴികെ പിന്നണി ഗാന രംഗത്തെ ഒട്ടു മിക്ക ഗായകന്മാർ എല്ലാം ഇതിൽ പാടുകയും, മാത്രമല്ല  അവരുടെ ഒക്കെ കൂടെ ഫോണിൽ സംസാരിച്ചു ബന്ധം തുടങ്ങാൻ പറ്റിയതിന്റെ സന്തോഷം ഉള്ളിൽ കൊണ്ട് നടക്കുമ്പോളും, എന്താ എന്ന് അറിയില്ല ജയേട്ടന്റെ നമ്പർ ഫോണിൽ വന്നു കണ്ടപ്പോൾ എന്തോ നിധി കിട്ടിയത് പോലെ ആയിരുന്നു. മലയാളം കണ്ട ലെജൻഡറി ഗായകരിൽ ഒരാൾ ആയതു കൊണ്ടും, മറക്കാൻ പറ്റാത്ത ഒരുപാട് പാട്ടുകൾ ഒരുപാട് തലമുറകൾക് സമ്മാനിച്ചത് കൊണ്ടും ഒക്കെ ആണ് അത്. മാത്രം അല്ല, എവിടെയൊക്കെയോ എന്തൊക്കെയോ എന്റെ അച്ഛനെ ഓർമിപ്പിക്കുന്ന തരത്തിൽ ഉള്ള മുഖഭാവവും, മൂക്കും, ചേഷ്ടകളും ഒക്കെ ആയിരുന്നു ജയേട്ടന്. അത് കൊണ്ട് തന്നെ നമുക്കു എല്ലാപേർക്കും ഉള്ളിൽ തോന്നുന്ന പോലെ – നമുക് ഒട്ടേറെ പരിചയം ഉള്ള ആൾ. പക്ഷെ നമ്മെ ഒട്ടും അറിയില്ല താനും. മിക്ക സെലിബ്രിറ്റിയുടെ അടുത്തും നമുക്ക് ഉള്ള തോന്നൽ അതാണല്ലോ. പക്ഷെ ഇതാ എനിക്ക് നമ്പർ കിട്ടിയിരിക്കുന്നു. വിജയ് യേശുദാസ്, മധു ബാലകൃഷ്ണൻ, ഉണ്ണി മേനോൻ, സുധീപ് കുമാർ, എം.ജി ശ്രീകുമാർ ഇവരോടൊക്കെ ഫോണിൽ സംസാരിച്ചിരുന്നു ഈ ഒരു ആൽബത്തിന് വേണ്ടി. മാത്രമല്ല വളരെ സൗഹൃദപരമായുള്ള അവരുടെ ഇടപെടലുകളും അടുപ്പവും എല്ലാം മനസിന് സന്തോഷം തന്നിരുന്ന സമയവും കൂടെ ആയിരുന്നു, ഇനി ഇപ്പോൾ ദാസേട്ടന് ഒപ്പം മനസ്സിൽ കൊണ്ട് നടക്കുന്ന ജയേട്ടനോട് സംസാരിക്കാമല്ലോ, വാട്സ്ആപ് ചാറ്റ് നടത്താമല്ലോ, കൂട്ടാകാമല്ലോ ഇതൊക്കെ ആയിരുന്നു എന്റെ ചിന്ത.

പക്ഷെ അത്ര എളുപ്പം ആയിരുന്നില്ല സജി കാര്യങ്ങൾ…

ഫാഷൻ ഒക്കെ ഒരുപാട് ഇഷ്ടപെടുന്ന ജയേട്ടന്റെ വാട്സ്ആപ് പ്രൊഫൈൽ പിക്ചർ കാണാൻ ആയിരുന്നു ആദ്യത്തെ തിടുക്കം. ജയേട്ടനെ വാട്സ്ആപ്പിൽ കാണാനെ ഇല്ല. ആഹ് പോട്ടെ. അതൊന്നും ഇഷ്ടം ആയിരിക്കില്ല എന്ന് കരുതി. ഒന്നോ രണ്ടോ SMS അയച്ചു നോക്കി, No രക്ഷ. പ്രശാന്തേട്ടനെ വിളിച്ചു. ഇനി നമ്പർ വല്ലതും മാറിപ്പോയോ എന്ന് അറിയില്ലല്ലോ. പ്രശാന്തേട്ടൻ ചോദിച്ചു – “നീ വിളിച്ചു നോക്കിയോ ?” ഞാൻ ഇല്ലെന്നു പറഞ്ഞു. “ആ വിളിച്ചു നോക്ക്, എന്നിട്ട് കിട്ടാൻ ഉള്ളത് വാങ്ങി വെച്ചോ” എന്ന് പറഞ്ഞിട്ട് പ്രശാന്തേട്ടൻ ചിരിച്ചിട്ട് ഫോൺ വെച്ചു. അയ്യോ ഇനി മെസ്സേജിങ് എന്ന സംവിധാനമേ ഇഷ്ടം ഇല്ലാത്ത ആളാണോ എന്നൊക്കെ കരുതി ഞാൻ അങ്ങ് കേറി വിളിച്ചു, കേട്ടാൽ ജയേട്ടൻ തന്നെ എന്ന് 100 % ശതമാനം ഉറപ്പുള്ള ശൈലിയിൽ ഒരു ഹലോ കേട്ടു. ജയേട്ടന്റെ പാട്ടു കേൾക്കുമ്പോൾ ഉണ്ടാകുന്ന അതെ സന്തോഷം ആ ഹലോ വിളിയിലും എനിക്ക് കിട്ടി. ഞാൻ തുടർന്നു – “ജയേട്ടാ  നമസ്കാരം , ഞാൻ  അരവിന്ദ് ആണ്.” ജയേട്ടന്റെ മറുപടി വെടിയുണ്ട പോലെ പെട്ടെന്ന് ആയിരുന്നു-   “ഏതു അരവിന്ദ്…???” ദേഷ്യത്തിൽ ഉള്ള സ്വരം ആയിരുന്നു. അത് മുതൽ നമ്മുടെ രണ്ടു പാട്ടുകൾ പാടാൻ നിശ്ചയിച്ചിരുന്ന ദിവസത്തിന്റെ തലേ ദിവസം വരെ ഉള്ള ജയേട്ടനെ സംസാര ശൈലി മുഴുവൻ ധാർഷ്ട്യ രൂപത്തിൽ തന്നെ ആയിരുന്നു. “മെസ്സേജ് ഒന്നും ഞാൻ നോക്കാറില്ല എന്തേലും ഉണ്ടേൽ വിളിക്കണം” – എന്ന് പറഞ്ഞത് കൊണ്ട് മാത്രം 2 തവണ കൂടി വിളിച്ചു. പക്ഷെ ഇത്ര പരുക്കൻ രീതി കണ്ടിട്ട്  ഞാൻ ഒന്ന് ജയേട്ടനെ കുറിച്ച അന്വേഷിക്കാമെന്നു കരുതി. ഇങ്ങനെ തന്നെ ആണ് എന്ന് അറിയാൻ കഴിഞ്ഞു. മാത്രമല്ല ഒരുപാട് വിളിച്ചു ഓവർ ആക്കിയാൽ പുള്ളി റെക്കോർഡിങ്ങിനു പോലും വരില്ല എന്നും ആരോ പറഞ്ഞു. എന്തായാലും റെക്കോർഡിങിന്റെ തലേ ദിവസം ഞങ്ങൾ തൃശൂർ എത്തി. വൈകുന്നേരം ആയപ്പോൾ ഒന്ന് ഓർമ്മിപ്പിക്കാൻ ആയി ഞാൻ ഒന്ന് കൂടെ വിളിച്ചു – “ജയേട്ടാ അരവിന്ദ് ആണ് . നമ്മൾ ഇവിടെ എത്തി. നാളെ 11 മണിക്ക് ആണ് റെക്കോർഡിങ് .” ഒരു മൂളൽ കേട്ടോ ഇല്ലയോ എന്ന് പോലും ഓർമ ഇല്ല. ഫോൺ നിമിഷങ്ങൾ കൊണ്ട് കട്ട് ചെയ്തു. നാളെ ജയേട്ടൻ എത്തുമോ ഇല്ലയോ എന്ന് വരെ സംശയം ആയി. ശ്രീരാഗം സ്റ്റുഡിയോ യിലെ സൗണ്ട് എഞ്ചിനീയർ എന്തോ അർത്ഥ ഭാവത്തിൽ നമ്മെ നോക്കി ചിരിച്ചു, ഞാൻ ഇത് എത്ര കണ്ടിരിക്കുന്നു എന്ന ഭാവത്തിൽ.

പിറ്റേ ദിവസം ആദ്യത്തെ റെക്കോർഡിങ് വെച്ചിരുന്നത്. പിന്നണി ഗായികയും ഹിന്ദുസ്ഥാനി സംഗീതത്തിൽ നമ്മുടെ അഭിമാനവുമായ ഗായത്രി അശോകനുമായിട്ടായിരുന്നു. പുള്ളിക്കാരിയും തൃശൂർ ആണല്ലോ. വളരെ പെട്ടെന്ന് നമ്മളുമായി ഒട്ടേറെ അടുത്തു ഗായത്രി. സൂരജിന്റെ കോമ്പോസിഷന്റെ ബ്രില്ലിയൻസിനെ പറ്റി ഒക്കെ സംസാരിച്ചിട്ട് റെക്കോർഡിങ് നടന്നു കൊണ്ടിരിക്കുന്ന സമയത്തു അപ്രതീക്ഷിതമായിട്ട് ഒരു പൊക്കം കുറഞ്ഞ മനുഷ്യൻ മീശ ഒക്കെ ചുരുട്ടി കതകു തള്ളി തുറന്നു പെട്ടെന്നു അകത്തു വന്നു അവിടെ ഉള്ള സോഫയിൽ കേറി ഇരുന്നു. അത് നമ്മുടെ സാക്ഷാൽ ജയേട്ടൻ ആണെന്ന് മനസിന് ഉൾക്കൊള്ളാൻ അല്പം സമയം എടുത്തു. മാത്രം അല്ല, അല്പം നേരത്തെ ആണ് ജയേട്ടൻ എത്തിയിരിക്കുന്നതും.  ഗായത്രി പാടി കൊണ്ടിരിക്കുന്നു. സൗണ്ട് എഞ്ചിനീയർ പെട്ടെന്ന് എല്ലാം നിർത്തി. ഗായത്രി ഹെഡ്സെറ്റ് എല്ലാം ഊരി വെയ്ക്കുന്നത് കണ്ടു. സംഗതി പാളിയോ? എന്തേലും ഇഷ്ടം ആയില്ല എങ്കിൽ ജയേട്ടൻ സ്റ്റുഡിയോയിൽ നിന്ന് ഇറങ്ങി പോകാറാണ് പതിവ് എന്നൊക്കെ രാവിലെ കേട്ടതേ ഉള്ളു. മുഖത്തു ദേഷ്യം പോലെ ഉണ്ട് താനും. ഗായത്രിയുടെ റെക്കോർഡിങ് തീരാത്തത് കൊണ്ടാണോ എന്നൊക്കെ നമ്മൾ വിചാരിച്ചു. പിന്നെ മുതൽ അവിടെ കണ്ടത് ഗായത്രിയുടെ മാജിക് ആയിരുന്നു. ഓടി വന്നു ജയേട്ടനെ കെട്ടി പിടിച്ച്, കുശലാന്വേഷണം ഒക്കെ നടത്തി, ഞാൻ പോണേ ജയേട്ടാ എന്നൊക്കെ പറഞ്ഞു മൊത്തത്തിൽ അവിടെ ഉള്ള മൂഡിനെ മാറ്റി, നമ്മളെ എല്ലാപേരെയും ജയേട്ടനുമായി നിമിഷങ്ങൾ കൊണ്ട് സെറ്റ് ആക്കി വാതിൽ തുറന്നു പുറത്തു പോയി. ഞാനും നമ്മുടെ സുഹൃത്ത് അരുൺ ചന്ദും സൂരജിനോട് ജയേട്ടനെ നോക്കിക്കോളാൻ ആംഗ്യം കാണിച്ചിട്ട് പുറത്തേക് കൂടെ ഇറങ്ങി. ഗായത്രി പറഞ്ഞു – ഒട്ടും ടെൻഷൻ അടിക്കേണ്ട. നിങ്ങൾക് മാജിക്കൽ ഔട്ട്പുട്ട് കിട്ടണം എങ്കിൽ ജയേട്ടൻ നല്ല മൂഡിൽ ആയിരിക്കണം. ഞാൻ പിന്നെ വന്നോളാം. നിങ്ങളുടെ മുഖത്തെ ടെൻഷൻ ആദ്യം കളയൂ. എത്രമാത്രം ആശ്വാസം നമ്മുടെ മനസിന് തന്നിട്ടാണ് ഗായത്രി പോയതെന്ന് എത്ര പറഞ്ഞാലും മതി ആവില്ല .. 

നമ്മൾ പതുക്കെ അകത്തേക്ക് കയറി. സൂരജ്ഉം കവി ശ്യാം എനാത്തും ഒക്കെ ജയേട്ടനെ സ്വയം പരിചയപെട്ടിട്ട് നമ്മളെയും പരിചയപ്പെടുത്തി. ഓ താൻ ആണ് അരവിന്ദ് അല്ലെ? നമ്മൾ എല്ലാം കാൽക്കൽ തൊട്ട് അനുഗ്രഹം വാങ്ങിച്ചു. ഭാഗ്യം ജയേട്ടൻ നല്ല മൂഡിൽ ആണ്. “ഓക്കെ നമുക്ക് പാട്ടു നോക്കാം”  എന്ന് പറഞ്ഞിട്ട് ജയേട്ടൻ പാട്ടിന്റെ പ്രിന്റഡ് പേപ്പർ കയ്യിൽ എടുത്തു. പിന്നെ അവിടെ നടന്ന ഒരു മൂന്നു മണിക്കൂറത്തെ അനുഭവം വാക്കിനാൽ പറയുക സാധ്യമല്ല. ഇതിനു മുന്നേ ഉള്ള എല്ലാ പാട്ടുകാരും എന്താണോ സൂരജ്‌ ട്രാക്ക് പാടി വെച്ചിട്ടുള്ളത് അത് അണു വിട തെറ്റാതെ ട്യൂണും സ്വരസ്ഥാനവും മാറാതെ ഭംഗിയായി പാടി തന്നു എന്നുള്ളത് ശെരി തന്നെ ആണ്. ഉണ്ണിയേട്ടൻ (ഉണ്ണി മേനോൻ) കുറച്ചു പൊടി കൈകൾ കൂടെ എക്സ്ട്രാ തന്നു എന്ന് മാത്രം. പക്ഷെ ജയേട്ടന്റെ കാര്യങ്ങൾ വേറെ ഒരു ലെവലിൽ ആണ് അവിടെ സംഭവിച്ചത്. ഒരു കാര്യം ആദ്യമേ പറഞ്ഞു കൊള്ളട്ടെ. മ്യൂസിക് ഡയറക്ടർ തന്റെ ഭാവനയിൽ മെനഞ്ഞു വെച്ചിരിക്കുന്ന ഒരു സൃഷ്ടി അതേ രീതിയിൽ പെട്ടെന്ന് കിട്ടിയില്ല എങ്കിൽ നിരാശൻ ആകും എന്നത് സ്വാഭാവികം ആണ്. ഇവിടെ അങ്ങനെ ഒക്കെ തുടക്കത്തിൽ ഉണ്ടാകുകയും ചെയ്തു. പിന്നെ ജയേട്ടൻ പാടുമ്പോൾ ഒരുപാട് നിർദേശങ്ങൾ കൊടുത്താൽ ഇറങ്ങി പോകും എന്നുള്ളത് ഉറപ്പുള്ള മറ്റൊരു കാര്യവും. പക്ഷെ ഞാൻ പറയാൻ ആഗ്രഹിക്കുന്ന ഒരു കാര്യം നമ്മൾ എല്ലാം അനുഭവിച്ച ഒരു അഭൗമമായ ഒരു അനുഭൂതിയെ കുറിച്ചാണ്. ജയേട്ടൻ തെറ്റി പാടുന്നത് തന്നെ കേൾക്കാൻ എന്താ ഒരു സുഖം ആണ്! ഇവിടെ തെറ്റി പാടുന്നത് എന്ന് ഉദേശിച്ചത് കമ്പോസർ ചെയ്തു വെച്ചിരിക്കുന്നതിൽ നിന്ന് വ്യതിചലിക്കുന്നതിനെ ആണ് കേട്ടോ. ഒരു പക്ഷെ അതായിരിക്കാം ജയേട്ടന്റെ മനസ്സിലും, ഹൃദയത്തിലും, ബ്രയിനിലും ശെരിയായി ഉരുത്തിരിഞ്ഞു ഭാവഗീതമായി പുറത്തു വരുന്നത്. ഇങ്ങനെ പാടി പാടി ജയേട്ടൻ തന്നെ അവസാനം ട്രാക്കിലെ പോലെ പാടി തരുകയും ചെയ്യും. പക്ഷെ പറഞ്ഞറിയിക്കാൻ പറ്റാത്ത ഒരു വ്യത്യാസം ഓരോ വാക്കിലും ഫീൽ ചെയ്യും അതും ഭാവഗായകന്റെ തൊണ്ടയിൽ നിന്ന് വരുമ്പോൾ. ജയേട്ടൻ വോക്കൽ ബൂത്തിൽ നിന്ന് കൊണ്ട് – “പുലരി പൂ മഞ്ഞല തഴുകി അരികെ നീ വാ” എന്ന വാരി പാടുമ്പോൾ  അക്ഷരാർത്ഥത്തിൽ നമ്മൾ എല്ലാ പേരും മുഖത്തോടു മുഖം നോക്കി ചിരിച്ചു. ആ ചിരി എന്തിനാ ചിരിച്ചേ എന്ന് നമുക് ആർക്കും തന്നെ അപ്പോൾ പറയാൻ കഴിയുമായിരുന്നില്ല. പക്ഷെ ആ സ്റ്റുഡിയോയിൽ ഇരുന്ന എല്ലാപേരുടെ മുഖത്തും ഒരു പുഞ്ചിരി നൽകാൻ ആ ആലാപനത്തിനു സാധിച്ചു എങ്കിൽ, എന്താ പറയുക?? മഞ്ഞല എന്ന വാക്കും ജയേട്ടന്റെ ശബ്ദവും കേട്ടാൽ ആ വാക്ക് ഇനി ദാസേട്ടൻ പാടേണ്ട ആവശ്യം ഇല്ല തോന്നി പോകും. അത് മാത്രം അല്ല. ഓരോ വാക്കും ജയേട്ടൻ പാടുമ്പോൾ നമുക്ക് തോന്നുന്നത് 70 വർഷത്തിൽ അവർ പറയാത്ത വാക്കുകൾ ഉണ്ടാവില്ല എന്നാണു. തുടക്കക്കാർ ആയ നമ്മുടെ മുന്നിലെ സ്‌പീക്കറിൽ നിന്ന് പുറത്തു വരുന്നത്, ദേവരാജൻ മാഷും, ദക്ഷിണാമൂർത്തി സ്വാമികളും, അർജുനൻ മാഷും, ജോൺസൻ മാഷും, രവീന്ദ്രൻ മാഷും ഒക്കെ സ്ഫുടം ചെയ്തു എടുത്ത ഭാവഗായകന്റെ തേനൂറുന്ന മാന്ത്രിക ശബ്ദമാണ്. ഇതിനു അപ്പുറം ഈ ലോകത്ത് എന്ത് വേണം എന്ന് തോന്നി പോയ അവസ്ഥ. പതിവ് പോലെ സംഗീതത്തിന് അടിമപ്പെടുമ്പോൾ കാരണം അറിയാതെ ഉള്ള കണ്ണീർ അപ്പോളും ഉതിർന്നു വീണു. ജയേട്ടൻ പാടിയത് ഒന്നും കളയണ്ട എന്ന് സൂരജ്  സൗണ്ട് എഞ്ചിനീരിന്റെ കൂടെ പറയുകയും ചെയ്തു. 

ഈ ഓൾഡ് ഈസ് ഗോൾഡ്, പഴയതിന്റെ വീര്യം എന്നൊക്കെ ചുമ്മാ പറയുന്നതു വേറെ, അനുഭവിക്കുന്നത് വേറെ. “Aged 70 years” ന്റെ മാജിക് അന്ന് നമ്മൾ അനുഭവിച്ചു അറിഞ്ഞു. ഒരു വല്ലാത്ത മനഃപൂർവ്വമായ അലസതയുടെ സൗന്ദര്യം ജയേട്ടൻ വാക്കുകളിൽ സമന്വയിപ്പിക്കുന്നതായിട്ട് തോന്നാറുണ്ട്. രണ്ടു പാട്ടുകൾ പാടി കഴിഞ്ഞു ജയേട്ടൻ നമ്മോടു കൂടുതൽ അടുത്തു. നമ്മുടെ കുടുംബ കാര്യങ്ങളും, ജയേട്ടന്റെ വിശേഷങ്ങളും ഒക്കെ പങ്കു വെച്ചു.

ഗായത്രി നല്ല പാട്ടുകാരിയാ ഞാൻ കേട്ടു. പക്ഷെ അവൾ എന്തിനാ പാട്ടിന്റെ സ്വരം ഒക്കെ എഴുതി വെച്ചേ ?? ഓരോ ലൈനിന്റെയും സ്വരങ്ങൾ ഒക്കെ എഴുതി വെയ്ക്കുന്നത് കണ്ടു. അതിന്റെ ഒക്കെ ആവശ്യം ഉണ്ടോ?. അങ്ങ് പാടുക. സ്വരങ്ങൾ ഒക്കെ പിന്നെ അല്ലെ ഉണ്ടായത് ?” – എന്നൊക്കെ പറഞ്ഞു ജയേട്ടൻ തമാശകൾ ഒക്കെ പറയാൻ തുടങ്ങി. ഒരു കൊച്ചു കുട്ടി ചോദിക്കുന്നത് പോലെ നമ്മോട് എങ്ങനെ ഉണ്ടായിരുന്നു ആ ലൈൻ പാടിയത് എന്ന് വരെ ജയേട്ടൻ ചോദിച്ചു. ആ ഇതിഹാസത്തിനു അതിന്റെ ഒന്നും ആവശ്യം ഇല്ല. പക്ഷെ സംഗീതത്തിനോടുള്ള ജയേട്ടന്റെ അഭിനിവേശവും പ്രണയവും അന്ന് നമ്മൾ കണ്ടു. മാത്രം അല്ല ആ പ്രഭാവം, സ്റ്റൈൽ ഒന്നും തന്നെ മറക്കാൻ കഴിയുന്നില്ല. പക്ഷെ ഫോൺ മാത്രം ഒരു ബേസിക് ആയ ഒന്ന്. ടച്ച് സ്ക്രീൻ ഫോണോ, വാട്സാപ്പോ ഒന്നും അത്രയ്ക്കു പിടിത്തമില്ല ജയേട്ടന്. നമ്മളെ എല്ലാപേരെയും കെട്ടി പിടിച്ചു സൂരജിന് ഒരു മുത്തവും കൊടുത്തിട്ട് ആണ് ജയേട്ടൻ അന്ന് യാത്ര ആയതു. ഒരു  വൊൽക്‌സ്‌വാഗൻ പോളോയിൽ ഒരു ചെറുപ്പക്കാരൻ പയ്യനെ പോലെ നമ്മോടു യാത്ര പറഞ്ഞു ജയേട്ടൻ.

പല തവണ ഞാൻ അതിനു ശേഷം ജയേട്ടനെ ഫോണിൽ വിളിച്ചു പരിചയം പുതുക്കി. പിന്നീട് ഒരിക്കൽ തിരുവനന്തപുരത്തു ഒരു റെക്കോർഡിങ്ങിനു വന്നപ്പോൾ ഞാൻ ബാലരാമപുരം കൈത്തറിയുടെ ഒരു കസവു മുണ്ടു ഓർമ്മ സമ്മാനമായി കൊടുക്കുകയും ചെയ്തു. “ഇതൊക്കെ നല്ല വില ആകില്ലേ, ആ എന്തായാലും  സന്തോഷം” എന്ന് പറഞ്ഞിട്ട്  ജയേട്ടൻ ഒരു കള്ളചിരിയും സമ്മാനിച്ചു. ഒരിക്കലും ക്ഷീണം ബാധിക്കില്ല എന്ന് തോന്നിപ്പിക്കുന്ന ശരീര ഭാഷ ആയിരുന്നു ജയേട്ടന്. കുറച്ചു മാസങ്ങൾക് മുന്നേ ക്ഷീണിതൻ ആയുള്ള ജയേട്ടനെ കാണാൻ തന്നെ മനസിന് ബുദ്ധിമുട്ട് ആയിരുന്നു. ഒന്ന് വിളിക്കണം എന്ന് പല തവണ തോന്നിയതും ആയിരുന്നു. പക്ഷെ ചെയ്തില്ല. അത്രമാത്രം ഫോൺ കോളുകൾ ജയേട്ടന് വരുന്നുണ്ടാകും എന്ന് മനസ്സിൽ കരുതി. ഇന്നിപ്പോൾ ഇത് എഴുതുമ്പോളും ജയേട്ടന്റെ “ഉറങ്ങാതെ രാവുറങ്ങീല” എന്ന ഗാനം പശ്ചാത്തലിൽ കേൾക്കുന്നുണ്ട്. ജയേട്ടന്റെ ശബ്ദത്തിൽ ഹിന്ദോളം കേൾക്കാൻ വല്ലാത്ത ഒരു സുഖമാണ്. “ശിശിര കാല മേഖ മിഥുന” എന്ന കീരവാണിയുടെ ഗാനത്തിലൂടെ ജയേട്ടൻ ഹിന്ദോളത്തെ അമർത്തുന്നതും, ലോലമായി തലോടുന്നതും ഒക്കെ കാണാം. അതു പോലെ “വെൺചന്ദ്ര ലേഖയൊരപ്സര സ്ത്രീ” എന്ന വയലാർ-ദേവരാജൻ മാഷ്-ദാസേട്ടൻ  മാജിക്കിലെ ഹിന്ദോള  ഗാനം ജയേട്ടൻ പാടിയ ഒരു വേർഷൻ യൂട്യൂബിൽ ഉണ്ട്. വല്ലാത്ത ഒരു അനുഭവം ആണ് അത്.

ജയേട്ടൻ നമ്മെ വിട്ടു പോയി. ദൂരെയേതോ മർത്യ ഭാഷ കേൾക്കാത്ത ലോകത്തു മധു തേടി പോയി. കനകാംബരങ്ങൾ വാടിയിട്ടും മോഹം കൊണ്ട് നമ്മൾ എല്ലാപേരും കടത്തു വെള്ളത്തിൽ അങ്ങയെ കാണാൻ എത്താറുണ്ട്. പക്ഷെ “നിന്നെ മാത്രം കണ്ടില്ലല്ലോ, നീ മാത്രം വന്നില്ലല്ലോ” എന്നുള്ള തോന്നൽ – “സമയ രഥങ്ങളിൽ അങ്ങ് മറുകര തേടുന്നു” എന്നുള്ള യാഥാർഥ്യം നെഞ്ചിൽ ഊട്ടി ഉറപ്പിക്കുന്നു. പല തവണ അങ്ങയെ നേരിട്ട് കണ്ടിട്ടുണ്ട് എങ്കിലും എന്റെ മനസ്സിൽ പതിഞ്ഞു കിടക്കുന്നത് ദൂരേക്ക് മറയുന്ന ആ പോളോ കാറിന്റെ ഡ്രൈവിംഗ് സീറ്റിൽ ഇരുന്നു കൊണ്ട് എവിടെയൊക്കെയോ എന്റെ അച്ഛനെ ഓർമിപ്പിക്കുന്ന ചിരി ചിരിച്ചോണ്ട് ബൈ ബൈ പറയുന്ന അങ്ങെയാണ്.

എഴുത്തു നിർത്തുമ്പോൾ ഗിരീഷ് പുത്തഞ്ചേരിയുടെയും, പി.ഭാസ്കരൻ മാഷിന്റെയും അങ്ങ് ഭാവം നൽകിയ വരികൾ ഓർത്തു പോകുന്നു – 

കൊഴിഞ്ഞിട്ടും എന്തിനോ പൂക്കാൻ തുടങ്ങുന്ന… കാവ്യ പുസ്തകമല്ലോ അങ്ങയുടെ ജീവിതം” 

അരവിന്ദ്


Newsletter December 2024

As we celebrate the 2024 holidays, my hope for each of you is that this holiday season becomes a time of deep connection, filled with cherished moments spent with friends and family. There is no greater joy than the happiness that comes from simply being in the presence of those we love.

It has been a true pleasure curating the articles for the COMA newsletter over the past two years. This journey has been both rewarding and inspiring, allowing me to collaborate with both familiar faces and new acquaintances. I’ve especially enjoyed witnessing the incredible creativity that flows through our Malayali community, and it’s been a privilege to share these stories with you all.

As I write this note for the final newsletter of the year, I want to extend my heartfelt thanks to everyone who has supported this newsletter. From the contributors who shared their stories to the readers who engaged with them, and to all those who took a moment to appreciate my efforts — whether in person, through a kind text, comment, or email — your encouragement has meant the world to me.

Thank you for being part of this journey. Here’s to new stories, new connections, and new adventures.” – Unknown

Wishing you and your loved ones a merry Christmas and a joyful New Year!

— Smitha Nishant

My rollercoaster ride – My PhD journey – by Dr. Katherine Saju Parakal

(Katherine lives in Powell, Ohio with her husband and two beautiful daughters. For fun, she enjoys watching movies and playing sports, always finding ways to stay active and entertained. She did her PhD in Environmental Science, at OSU, focusing on identifying weaknesses in PFAS fish toxicological studies and improving a PFAS aquatic food web model that risk assessors can use to better evaluate the ecological impacts of PFAS in aquatic food webs.)

It’s funny now to look back and see how life unfolds. After finishing my engineering degree, I never imagined I’d pick up another book. All I cared about back then was landing a job, any job, and making money, nothing else mattered. But here I am, after seven years of study – two for my master’s and five for my PhD. It’s been a deeply personal journey, full of highs and lows, and through it all, my family has been my unwavering support. My husband, my mom, my kids – they have been my pillars of strength, always there to lift me up when I needed it most.

Now, when I look back, everything feels like a blur—those sleepless nights, the frustrated cries, the moments of self-doubt… all of it. What did I miss along the way? I missed so much. I missed precious moments with my little kids—times I could have spent just being with them, playing without a care in the world. I missed quality time with my husband – the simple joys of watching movies together, laughing at our favorite scenes, and playing games late into the night. I missed the comfort of sitting next to my mom, holding her hand, listening to her stories, and sharing mine. I missed being there for her, offering soothing words when she worried. All those small, beautiful moments slipped away while I was caught up in the demands of this journey.

But despite all the challenges, I can truly say this journey has been worth it – not for the dissertation or the title, but for what it has taught me about life itself. Nothing is achieved alone; it takes a village, and I’ve been  greatly blessed to have that village. Whether in the form of my supportive husband, my selfless mom, my kids, or my kind neighbor, at every turn, I found love, help, and prayers. I couldn’t let them down. Every time I wanted to give up, they were my motivation to keep going.

When I realized that I wasn’t doing this for myself alone, but for everyone who had supported me along the way, it gave my work a renewed sense of purpose. There’s something deeply powerful about doing something for others – it pushes you to work even harder, to persevere even when things get tough. I prayed constantly throughout the journey, and those prayers gave me the strength to stay calm in the face of uncertainty. God has most definitely been my steady hand.

People had warned me that the defense would be nerve-wracking and to prepare for the worst, but oddly enough, I was calm. I knew that all the people who loved me were praying for me, and even amidst the intimidating faces in the room, I saw a familiar one – my friend who had helped me practice. It was as if God had sent that face just to calm me. I fielded the questions with unexpected ease, and when I was asked to step out for the committee’s decision, I prepared myself for whatever outcome. And when the door finally opened, which felt like an eternity, I looked at my advisor’s face, and he said, ‘Congratulations.’ In that moment, I couldn’t hold back the tears of joy. It wasn’t just my achievement – it was a celebration for all the people who had supported me along the way. That day was as much theirs as it was mine.

This journey taught me: patience – to focus on the problem at hand and suddenly you find yourself at peace, perseverance – failure is good  but do not beat yourself up but pick up the pieces and start over, stay away from distractors – there will always be people to dissuade you to tell you that your aren’t enough, keep away from them, keep close the people you love for they will be there no matter what, and be kind – for everyone is fighting their own battle that you may not know of. 

At the end of it all, I am filled with nothing but gratitude. Gratitude truly can be a game changer, helping you recognize the blessings even in the toughest moments and giving you the strength to face whatever challenges lie ahead.

As I wrap up this journey, I would like to leave everyone with this message: Please, hold on to this truth – ‘If my mind can conceive it, and my heart can believe it, then I can achieve it.’ May this remind us all that with belief, perseverance, and a little faith, anything is possible.

A Christmastime Catastrophe – by Miriam Cherian

(Miram Cherian is a young author, who is the daughter of Dr. Jisna Paul and Dr. Mathew Cherian. She’s an 8th grader at Grizzell Middle School, Dublin.)

E to G to A to F. E to G to A to F. The first notes in the treble clef of “O Holy Night”, which I would be playing in a few short hours. I anxiously thought about the time ticking down, dreading the moment I would have to play the song. It was almost as if I already knew how the Christmas performance at the church was going to go…

Eventually, I changed into a simple white dress and leggings, left my room, and waltzed down the stairs. After I’d practiced the song again and again, for good measure, I sat at the dark brown piano bench and let thoughts crowd my mind, running my hands over the fabric of my dress. Soon, my mom would come back all the way from Singapore. She’d been on a work trip there for about two weeks, a shorter time than I had been learning my piece. At the moment, I’d have much rather been traveling the world than worrying about a performance. See, when I would have to perform, it wouldn’t only be that I had to play the song on the piano, it was that I had to sing lyrics along with it as well.

Once I’d turned those thoughts over in my mind for a minute, I made myself get up and wandered into the living room, only to find my little sister Rachel sprawled across a black sofa, watching TV. “Are you able to get off the screen and get ready?” I asked her.

“In five minutes,” she responded lazily. Why do I even try? My annoying sister was always a good distraction no matter what. I settled down on another couch.

An hour later, I heard the familiar click of the front door opening. My mom had come back. We didn’t have much time for pleasantries, though, since we had to leave soon. My mom put her stuff down and got ready quickly.

“Have you got everything?” my mom asked me once she was good to go.

“Yes,” I responded, a tiny bit annoyed. She hurried Rachel and me through the garage door. I opened the door to her red minivan, which slid automatically with a whirr, a fearfulness rising in me. Through the window, I could see my grandma bringing my other little sister Anna to the car. Next, my mom rushed through, calling my dad to come as well. A few minutes later, the door shut with a thud as my dad came through. He climbed into the driver’s seat, and we were off.

“Are you feeling ready?” my mom asked immediately.

“Sure,” I responded sarcastically, but by sheer facts, I should’ve. I’d practiced for a while, and I’d dedicated myself to this piece. Despite all of that, though, it still wasn’t enough. I thought about all this as we turned out of the neighborhood, rubbing the leather of the seat anxiously, my eyes fixed on the window. I had this distant look I got when I was deep in my own head. It hadn’t been snowing much that winter, so everything just looked bleak and gray without the mysticality of snow. The thing was, I only felt stage fright toward playing piano, and I’d only felt it recently. In fact, I’d had a solo for the spring choir concert just months before. Why won’t this feeling just go away? I felt relieved that our church wasn’t very close, so the drive was a bit long.

However, tree by tree, minute by minute, we got closer, and suddenly I was pushing through the door with a light woosh. My family and I entered quietly, setting our bags and music down, yet my mind was as loud as could be. That was when the first pieces of my catastrophe began to come together, as my mom and I walked toward one of the leaders in our church.

“So she’ll be playing on that black piano in the corner, right?” my mom asked.

“No…but we can set up one of the electric pianos for her,” he replied. I was taken aback. An electric piano? The weight of the keys are different, and I’ve never practiced this song on an electric piano, I thought. This is not good. This can’t be good. With the church leader and my mom, I strutted up to the piano once it was set up.

“What about the music stand?” I wondered aloud as it was nowhere to be seen.

“We can place a spare music stand, and you’ll play standing,” he explained. More things that were changed? I’d never played a song standing, not even in practice, but I didn’t say anything about it. Quietly I sat in my seat as the service began, trying my best to keep track of how far it was from my turn on the agenda, ruminating on the onslaught of changes that had come. 6 events. A choir sang. 4 events. I came up and read a section from the bible. 2 events. 1 event. MY TURN.

Clop. Clop. Clop. I tentatively walked to the front of the room, to the piano, feet pushing one in front of the other on the rough dark blue carpet. I couldn’t walk too fast or too slow, otherwise I’d have looked too nervous. The air was tense as I came back around the piano. As I settled my fingers on the piano, I felt the glossiness of the white keys, but I also felt the unfamiliarity of standing while playing. Finger one on E. Finger five on C. Don’t look up. Don’t look up. There were a painstaking few seconds of silence, the air crackling, before I forced myself to press on the first note.

“O Holy Night! The stars are brightly shining…” I began to sing. Elation mixed with my nervousness. I was doing it! I hadn’t messed up! I could get through this performance!

“It is the night of the dear Savior’s birth. Long lay-” Panic seized me. What was I doing? I’d stopped playing the song, my mind going completely blank on the song I’d practiced for weeks. I stared out over the small crowd, embarrassed and ashamed. This was exactly what I’d been trying to avoid.

“Do you want to try again?” the leader asked, breaking the silence.

“S-Sure,” I responded shakily. I hastily set my fingers down again, trying to grasp onto any semblance of calm that I had.

“O Holy Night! The stars are brightly shining-” I stopped again, panic choking me, completely taking over my thoughts. I was supposed to have gotten through on at least the second try.

One last time, with eyes set on the piano, I tried again. “O Holy Night! The stars-” I froze, my eyes wide. This can’t be happening. This can’t be happening. There were so many eyes staring at me, so many people who had seen my mistake.

“Um, can I take a break?” I squeaked out awkwardly, my throat tight, my voice raw, too embarrassed to even be in the room anymore.

“Of course,” the leader responded, and then I tried my best not to bolt out of the room as I exited.

An hour later, I was sitting and sulking, away from the service, my head in my hands. Everything had fallen apart so quickly. People came and went, trying to comfort me and offering their condolences.

“It’s just that you’re a perfectionist,” someone explained.

“We’re all here for you,” another assured.

No matter what they said, though, I couldn’t shake the feeling, because I was mad at myself. In turn, I wasn’t looking for forgiveness from others, I was looking for it from myself. I was so, so mad that I’d made a fool of myself, that I’d wasted all the hard work I’d put into this song.

Of course, it was only more embarrassing to have all these people seeing me in this state, distraught and upset. I was trapped in my own head, trapped in this place. Now I knew even thinking about a performance would make me afraid that I would mess up again. I felt as if I could never perform on the piano again.

At the same time, however, I had an inkling that there was a world in which this hadn’t happened. Where I’d never been as panicked, where I’d come into this whole thing with a bit more optimism. Where I’d never even messed up.

Even though I can think about it all I want, I can’t turn back time. When things don’t go as planned, all someone can hope is that they’ll become better for the mistakes they made. That they will be stronger than they were before. At that moment, all I could hope for was that I’d stop feeling so down on myself. Now I hope that I can learn to let go of my panic, or at least to fight it, because that’s the only way to move on.

If my nervous thoughts are butterflies, I hope to learn to let every one of them fly off into the distance.

Chelorkku Shariyakum Chelorkku Shariyakilla – by Anil Koothoor

(Anil lives in Plain City, Ohio with his wife Sabitha and son Ash. He moved from Calgary to Ohio in 2021. Since then, he has been an active member of COMA. Anil is an avid traveler and has explored over 45 countries. He is passionate about local food and soccer.)

The WhatsApp message popped up on my phone around 7 PM: 

“10 PM meeting. Anoop’s basement. Be there. Big plans for the dance performance for COMA-Onam.”

I groaned. A dance performance for COMA Onam? On a weeknight? At midnight? It was so typical of this group – chaotic, last-minute planners who somehow thought their best ideas came alive under the cover of darkness. Or maybe it’s just the only time they get to themselves once the chaos of household duties finally settles. Either way, this had always been our group’s hallmark: squeezing creativity out of the last moment. 

Still, I reluctantly dragged myself off the sofa, threw on a T-shirt and shorts, and grabbed the car keys. Behind me, my ever-supportive, better half chimed in:

“Dance? Seriously? For you? Should I pack a first-aid kit? At least do a few stretches before attempting anything remotely resembling a dance move.”

But I wasn’t ready to give up. 

“Who knows? One day I might be performing Michael Jackson’s Dangerous moves on stage!” I shot back confidently.

Her response was lightning-quick, as always. 

“Just don’t be dangerous to others – they’re young and have their whole lives ahead of them.”

I knew exactly what she was referring to – our own Mammooka and his Thuruppu Gulan antics, where stepping on people seemed part of the choreography.

As I stepped toward the door, her final jab hit home. “Let me know when you need me to call the paramedics.” 

That was it. I knew there was no winning this battle. Defeated, I quietly made my way out into the dark night, hoping to preserve what little dignity I had left in me as a dancer.

The streets were eerily quiet, and the pale glow of streetlights gave everything an almost dreamlike quality. By the time I reached Anoop’s house, it was just past 10 PM. 

Outside, three of our usual suspects were huddled together, deep in discussion – like a panel of experts solving world crises. I could faintly hear the names “Dhoni” and “Jadeja” being thrown around, which meant only one thing: cricket.

These guys, self-proclaimed cricket pundits, genuinely believed no one on the planet understood the game better than they did. If given a chance, they would probably fight tooth and nail – may be even to death – for the privilege of coaching their favorite teams, Chennai Super Kings and Rajasthan Royals.

One thing was certain: God truly loved the millions of true cricket fans out there. Why? Because this bunch is safely employed miles away in America, where the only “live match” they’ll ever see is the buffering wheel on their streaming app.

“Look who finally showed up,” one of them pointed at me with a mischievous grin, prompting the others to burst into laughter. “Thought you’d ditch us, man.” 

Oh yeah, I thought about it,” I shot back, “but I finally decided to come because I know you guys desperately need my choreography expertise.

The laughter doubled, I wasn’t ready to back down – I had already lost a battle at home, and I wasn’t about to lose another within 15  minutes. I stood my ground, pretending I was the MVP of dance moves. 

“At least I showed up before the start. I am sure, there’s still one more genius who hasn’t arrived yet,” I said with a funny smirk, folding my arms like I had just scored a point.

Oh yeah, him?” one of them quipped, barely able to contain their laughter. “He probably hasn’t even left home. Let’s just hope he makes it before we finish our grand finale!”

The whole group burst out laughing. We headed down to the basement together. 

The basement was lit dimly, the glow from a single bulb competing with the flickering screen of a 55” TV. But instead of the usual cricket match replays, something entirely unexpected was playing – a Malayalam news channel. The anchor’s voice filled the room, delivering updates on a high-profile harassment case involving several well-known celebrities. He was passionately dissecting the details, while the judge’s investigation report was being debated, and everyone in the room was eager like “Tell me, the whole nation wants to know”. What? I didn’t think anyone debating or watching was really interested in knowing the facts. 

I paused, surprised. This group wasn’t exactly known for keeping up with current events, let alone diving into something this heavy. I half-expected someone to switch it off and put on a game as usual, but instead, everyone was engrossed.

Arguments were already in full swing. The friend sitting cross-legged on the couch with a half-empty glass in hand, was vehemently defending the celebrities, claiming the accusations were fabricated. “It’s all for money and publicity,” he spoke. 

Are you serious?” another friend shot back, leaning against the wall with a glare. “Just because they’ re famous doesn’t mean they can get away with anything.

The room was divided. Some were passionately defending the victim, citing the courage it took to speak up. Others were quick to dismiss it, questioning motives and credibility. This has always been like this and it was no surprise to me. We never agreed on one thing. The chaos only grew louder with every passing minute, fueled by alcohol and the sheer stubbornness of the group.

Then the self-declared “leader” of the group eventually raised his voice. “Enough! We didn’t come here to solve the world’s problems. We are supposed to be planning the dance performance, remember?” 

The meeting finally shifted gears – if only slightly. Someone connected their phone to the speakers, and a high energy track filled the room. But as we attempted to choreograph a routine, the arguments from earlier spilled over into the dance floor.

Let’s start with a simple step,“ the usual backbencher suggested.

Nothing will be simple for you,” the flag-bearer, now a frontline dancer quipped. Attempting a spin and nearly knocking over a lamp.

Everyone had their own ideas. A couple of them wanted clean, synchronized movements, and one kept improvising ridiculous hip-hop moves that made no sense with the song. Another one was too drunk to follow any rhythm. And then there was me – trying desperately to follow the beat while avoiding the disaster zones around me created by the one next to me with his wildly exaggerated arm movements. The friend who used to be a frontline dancer just got promoted to back row because his steps looked more like an interpretive reenactment of someone stepping on hot coals.

Just as we’d settled into a semblance of chaos, the basement door creaked open. In walked the usual latecomer. “Am I late?” he asked, as if he hadn’t just strolled in an hour after everyone else. 

Not at all!” the group chorused in mock unison. “We were just waiting for you to show up and save the day!”

It was the only time the entire group managed to align on anything that evening. 

As usual, unfazed by the sarcasm, Mr. Late jumped straight into the routine – except he was hopelessly out of sync but definitely better than some of us in the back row. For us, every step was either too early, too late, or completely wrong. 

Back row brigade, are you guys dancing or conducting a fire drill?” the deputy leader jested. 

“Hey, at least we’re consistent in making mistakes”. One of us shot back, just as someone else accidentally spun into the wall and sent a water bottle tumbling. 

After an hour of trying, it was clear. Uniformity was a distant dream in our dance. 

Chaos resumed in full force and the choreographer decided to take a break to discuss the next dance movements with his deputy. All joined at the bar table: as usual the group divided over their favorites – this time it was Trump vs. Kamala.

As I sat back watching the chaos unfold, I couldn’t help but be reminded of my college hostel days. Back then similar nights unfolded in my cramped dorm room. After too much drinking where the finest “bourbon” available to us was the questionable XXX Rum – we’d sit for hours passionately debating the impossible. And not just debating, we truly believed that we could prove nothing was impossible.

The topics were as absurd as they were ambitious. Someone would shout, “why can’t we intersect parallel lines? They are parallel for now! Let’s make them meet!” Then, out came the chalk, markers, paint brush swiped from hostel rooms. The walls were our canvases, but they quickly became insufficient for our visionary genius. Equations spilled onto the floor, over the edges of desks, and eventually onto the backs of assignments that were already overdue by weeks. Some formulas were so long and elaborate that they couldn’t fit on any surface, leading us to trace imaginary lines through the air as if we were choreographing a mathematical ballet. Our crowning glory was always the audacious attempts to rewrite the theory of relativity and disproving gravity.

We weren’t content with just reworking the basics of physics – hell no, that would’ve been too modest for our overinflated egos. On other nights, the mathematical equations on the walls gave way to lofty debates about the meaning of life, morality, and topics such as “free liquor for college students“. Sometimes we tried to mix up physics with philosophy. We debated hours on “If gravity is just a suggestion, what about morality? Is it relative too?” The walls, already stained with remnants of our mathematical revolutions, soon became canvases for our so-called  social wisdom. Quotes like “Knowing yourself is the beginning of all wisdom – Aristotle” was common on all walls. Some other nights, when physics and philosophy felt too heavy for our overworked brains, the debates shifted to modern poetry. Of course, in true hostel spirit, these were loud, chaotic, and frequently interrupted by someone belting out the lines at full volume, shattering the midnight silence and probably waking up half the hostel. 

By the end of these late night debates, the walls of my room resembled the backdrop for a conspiracy theorist. Our scribbling and performances always came to a halt when the bottles ran dry. A collective sign would sweep through the room, as if the universe itself had conspired to stop us.

I laughed to myself, snapping back to the present, nothing has changed. The same energy, the same chaos, the same sheer stubbornness, and the same camaraderie were alive in this basement. Except now, instead of trying to defy gravity, we were trying not to injure ourselves doing an impromptu “Balle Balle” (Sardar dance).

But just like those late-night hostel debates, nothing came of this meeting. The dance routine remained a jumbled mess of individual moves. No one agreed on anything, and eventually, we just gave up for the night, sprawling out on the couches and chairs, laughing at the absurdity of it all.

As I walked home in the early hours of the morning, I thought about the parallels. Life hadn’t changed much since those hostel days. Plans still dissolved into chaos. Arguments still ended with no clear winner. And yet, there was something comforting in the familiarity of it all.

We’d probably bomb the dance performance, just like we failed to intersect parallel lines in the hostel. But maybe that wasn’t the point. It was simply being together, sharing these ridiculous moments, and moving forward – messy, chaotic, but still moving.

Life, like that dance, would never be perfectly synchronized. And maybe that was okay. What matters is this spirit of camaraderie, the relentless optimism, and the positive attitude that brings this team together. 

A word from our sponsor – Sony Joseph

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Newsletter September 2024

Smitha Nish

It was wonderful to meet so many of you in person at the COMA Onam celebrations. COMA Onam 2024 was a beautiful homage to our Malayalee traditions. From the colorful Pookkalam and delicious Sadhya to the cultural programs that included Thiruvathira and Mohiniyattam, the event showcased the richness of our culture. Every year, I am truly amazed and humbled by the dedication of our volunteers working tirelessly to make the Onam celebrations a success – their efforts remind us of the importance of togetherness and create a renewed sense of connection among the patrons.

My heartfelt gratitude goes to the 2024 COMA Executive Committee and all the volunteers for orchestrating yet another memorable event for all of us. A shout out also to the performers for keeping us entertained.

Media Links

— Smitha Nishant

Subin Thomas

Behind the scenes of the 2024 COMA Onam Sadhya – Subin Thomas

(Subin lives in Powell, Ohio with his wife Simple and two kids, Kevin and Trisha. Subin enjoys music and outdoor activities.)

Onam, one of the most significant and widely celebrated festivals in Kerala is also the most anticipated event in our community. Every year it brings together hundreds of Malayalees, fostering a sense of belonging and joy. Though the event is marked by various traditional activities and cultural programs, the grand attraction is the Onam Sadhya.

This year, like most previous years, I had the privilege of volunteering at the Onam Sadhya for approximately 600 people. Organizing and serving a traditional Onam Sadhya for the multitude was both a challenging and rewarding experience. It required meticulous planning, seamless coordination, and teamwork to deliver a satisfying meal to such a large group. The preparations began days in advance. From organizing to coordinating volunteers, every step had to be planned with precision.

We met the previous day so that we could chart out the table layout and seating arrangement, clean the tables and chairs, clean and store the paper banana leaves, organize utensils, glasses, napkins, and wipes, arrange the water station, as well as work with the EC and decor teams for any other requests.

The Sadhya volunteers were divided into two teams: a serving team and a refill team.

The sheer number of people meant that food refills had to be immediate, and ensuring that no dish ran out before everyone had been served was a constant concern. But another major challenge was ensuring that the entire Sadhya wrapped up by 2 PM so that the cultural programs could start on time, particularly because the venue had curfews.

With the time constraint in mind, we had to be extremely efficient with the serving process. The serving and refill teams needed to coordinate perfectly to ensure that every guest was served promptly, without rushing through the experience or compromising the quality of service.

The actual day of the Sadhya was a whirlwind of activities. We started by unloading food trays from the truck early in the morning, ensuring that every dish was transferred into the serving containers and stationed at the right spot. It was vital to keep track of all 15-20 dishes traditionally served during Sadhya, making sure everything from the Avial to the Payasam was ready on time.

Serving began at 11:30 AM as soon as the guests were seated. The serving team moved swiftly, placing clean banana leaves in front of each guest, following the traditional order of serving – starting with pickles, banana chips, and progressing through the vegetable dishes, rice, and curries. It required careful coordination, as we couldn’t afford any gaps in service, especially with such a large crowd.

It was fascinating to see how well the team functioned under pressure. Everyone knew their station, whether it was refilling rice or serving sambar, and the flow of service remained steady. Communication was key – we had team leaders overseeing different sections of the venue, ensuring smooth coordination between the kitchen and serving areas. Though the team worked under pressure, we didn’t forget to have the occasional fun by sharing banana chips, having a cup of payasam, cracking jokes, etc.

One of the most fulfilling aspects of this experience was seeing the joy on people’s faces. There is something incredibly rewarding about being part of such a traditional and significant cultural event. As we served each dish, folks would smile, offer their thanks, and often engage in conversation, creating a sense of community that made all the hard work worthwhile.

Being part of the Sadhya team and serving a Sadhya at this massive scale taught me invaluable lessons in teamwork, coordination, and adaptability. It has also deepened my appreciation for the cultural significance of the Sadhya, as it is not just a meal, but an experience that embodies tradition, hospitality, and togetherness.

The process of serving a Sadhya is not just about the food; it’s about bringing people together and creating a shared experience. It was heartwarming to see families, friends, and even strangers seated together, enjoying the meal, and celebrating the spirit of Onam.

Devika Rajan

My Experience at the COMA Onam Festival – Devika Rajan

(Devika is an 8th grader at Liberty Middle School. Her hobbies include reading, singing, and playing the flute. She performed dance at the Onam festival this year. She is the daughter of Mauja and Dr. Rajesh Rajan.)

Attending the COMA Onam event was a beautiful journey into my culture and reinforced my understanding of what Onam represents. As soon as I arrived, I was greeted by the stunning Pookalam that decorated the entrance. The vibrant colors and intricate designs reminded me of the Pookalam my mom used to create at our front door.

One of my favorite parts of the celebration was the Onam Sadhya. The spread was incredible, featuring an array of delicious sides paired with rice. I enjoy the annual tradition of feasting on a banana leaf.

The event also showcased Kerala’s rich cultural heritage. The introductory performance highlighted various traditional art forms including Theyyam which was new to me. I was thrilled to watch, especially since my mother was part of this performance. My brother also had his first performance this Onam which made it even more special. In addition, everyone attending wore beautiful traditional attire, which added to the festive atmosphere.

Another highlight of Onam was the entry of the Maveli, which was celebrated by everyone in attendance. The entry of Maveli was nice to watch as it was accompanied by the lively sound of Chenda and Pulikali.

Performing at COMA was an unforgettable experience for me and my friend Gauri. After countless hours of practice, stepping onto the stage felt exhilarating. Sharing our dance with the audience and receiving their applause made all the hard work worthwhile.

Devika Rajan dance

Overall, the COMA Onam event was an enriching experience that allowed me to celebrate my culture in a meaningful way. It reminded me of the importance of traditions and the joy they bring to our lives. I enjoy all COMA celebrations as they allow for me to gather with all my friends and have a great time.

Adithya Menon

COMA volunteering from a youth perspective – Adithya Menon

(Adithya Menon is a senior at Olentangy Liberty High School. In his free time, he likes to be active by going on hikes, playing basketball with friends, and working out. He is the son of Deepa and Jay Menon.)

Being part of the COMA Youth Wing has been an amazing experience. As a volunteer, I’ve participated in many community activities, like helping with the super fun Onam celebrations. Serving the traditional Sadhya meal was a blast because being part of such an important cultural event felt great. I also helped with registration, making sure everyone got their wristbands and checked in without a hitch.

But that’s not all! We’ve been busy planning cool events and programs for adults and kids. One exciting event coming up is a community hike on October 12th. It’s a perfect way to bring everyone together and enjoy some time outdoors. Getting involved in planning these activities has been awesome for my leadership skills and has taught me a lot about what goes on behind the scenes of running an event.

Youth helping at the Sadhya - Onam 2024

What’s been cool is working with people who are all about making a difference in our community. It’s been great for learning the ins and outs of organizing events.

Oh, and did I mention? You also earn service hours for all the time you put into helping out through this program. Overall, my time with the COMA Youth Wing has been super rewarding. I’ve grown as a leader and gotten more involved in my community. I wish many more youth would get involved as it’s a great way to have fun and community bonding, and I can’t wait to see what’s next!

Sachin Sugathan

The Joy and Challenges of Organizing Onam Sadhya in Columbus, Ohio – Sachinlal Sugathan

(Sachin is a COMA Onam Food Committee volunteer. He has been an active member of COMA from 2011, and lives with his wife Preeti and daughter Sahasra in Galena, Ohio.)

For the past 12 years, I have had the privilege of serving on the food committee for the Central Ohio Malayalee Association (COMA) during our annual Onam celebrations. Every year, we work hard to bring the traditional Onam sadhya to our community – a feast that evokes memories of home, heritage, and the unity of Malayalees. However, organizing a Sadhya in a city like Columbus, Ohio, comes with its unique set of challenges, which we have experienced firsthand.

The Complexity of Onam Sadhya

The Onam Sadhya is no ordinary meal. It is an elaborate spread of over 25 different curries and side dishes, each representing the cultural richness of Kerala. What makes it even more challenging is that every region of Kerala has its own variations of these curries. For instance, a simple Avial, Kootucurry, or Erissery can taste vastly different depending on whether it’s made by someone from one part of Kerala versus another region. This means that satisfying the expectations of one person can easily disappoint another. Finding a middle ground that appeals to the diverse palates of our Malayalee community is an intricate balancing act.

Limitations in Columbus

In larger cities with a significant Malayalee population, organizing a massive feast is somewhat more manageable. However, in a city like Columbus, the situation is quite different. None of the local restaurants have kitchens or utensils large enough to accommodate the volume of food required for a traditional Onam Sadhya. As a result, they are forced to cook in batches, often starting as early as midnight the day before. This can compromise the freshness of the food, sometimes leading to one or two dishes spoiling by the time they are served. Keeping over 25 dishes fresh and consistent over such a long period is no easy task. On top of that, the logistics of transporting all these dishes from the restaurant to the event venue adds another layer of complexity.

How Bigger Malayalee Organizations Tackle These Challenges

I’ve had the chance to connect with Malayalees from major regions in states like New York, Georgia, and Florida, and it’s evident that they manage the Sadhya logistics more smoothly, thanks to their greater resources. Many large Malayalee organizations in these cities have invested in custom-made utensils, burners, and even giant pots designed specifically for cooking and serving the Kerala Sadhya. These items are stored in dedicated storage units year-round, ready to be used during festivals like Onam.

Some organizations even go as far as flying in chefs from Kerala or other states to ensure that the Sadhya tastes as authentic as possible. These chefs, with their expertise, make the preparation of the meal smoother and closer to how it is traditionally done in Kerala. The key difference, of course, is the financial backing that these larger organizations enjoy. With significant sponsorships and donations pouring in annually, they have the budget to tackle such logistical challenges with ease. In comparison, COMA operates with more limited resources, making it all the more difficult to deliver a flawless Sadhya.

A Labor of Love

Despite these challenges, I have seen the incredible dedication and teamwork within COMA’s food committee. Our volunteers and local chefs go above and beyond to make the Onam Sadhya experience as memorable and authentic as possible. Every year, we should reflect on our experiences, adapt, and grow, motivated by our collective love for our culture and the passion to bring a taste of Kerala to our close-knit community in Columbus.

While we may not have the large-scale resources of bigger cities, our passion and commitment to delivering a traditional Sadhya, complete with all its complexities, are what truly set us apart. With continued support from the community, we can continue to make our Onam celebrations a cherished event for all.

In the end, organizing the Onam Sadhya is a labor of love – one that brings us closer together as a community and reminds us of the beautiful traditions we hold dear.

Disclaimer: Vocabulary enhanced using generative AI.

Newsletter August 2024

As August draws to a close and summer winds down, we are looking forward to September – a time of celebration for us Malayalees. Onam is a time to celebrate prosperity, abundance, and togetherness. However, as we revel in the festivities, let us also remember those affected by the recent tragedies in Wayanad, Kerala.

COMA’s Wayanad fundraiser is dedicated to supporting the victims who have lost their homes and livelihoods. All proceeds will go directly to the Kerala Government Chief Minister’s Distress Relief Fund (CMDRF). You can contribute to this vital cause by sending your donations via Zelle to coma.officails@gmail.com.

Thank you for your generosity and support during this critical time.

The COMA Onam program is on September 14th, Saturday. More details to follow. Get your tickets here:

Wishing all my readers a joyous Onam!

Sreejith Chandran

Sreejith Chandran’s Random Ramblings

(One half of his brain has gone nomad and the other has gone in search of the first. Glorifying his random ramblings and packaging it is his main hobby! Otherwise sane and grounded.)

സംഗീതമേ അമര സല്ലാപമേ!

എന്തിരോ എന്തോ! എന്തായാലും സംഗീതം എന്നത് ഒരു മഹാസാഗരം ആണെന്ന് പറയുമെങ്കിലും, എന്നെ സംബന്ധിച്ചു അത് മുല്ലപെരിയാർ ഡാം പോലെയാണ്.. ഓരോ മഴക്കാലത്തും അത് പൊട്ടും പൊട്ടും എന്ന് വിചാരിക്കും, പക്ഷെ ഒരിക്കലും പൊട്ടൂല.. (ഇത് കുറച്ചു ലോങ്ങ് ആണ്, ക്ഷമയോടെ വായിച്ചു തീർക്കണം എന്നപേക്ഷിക്കുന്നു ☺)

സംഗീത സപര്യ തുടങ്ങുന്നത് വർഷങ്ങൾക്ക് മുൻപാണ്.. രണ്ടിലോ, മൂന്നിലോ പഠിക്കുന്ന കാലം. നാട്ടിലെ അമ്പലത്തിൽ എല്ലാകൊല്ലത്തേയും പോലെ 41 ദിവസത്തെ ചിറപ്പ് മഹോത്സവം നടക്കുന്നു. ഓരോ ദിവസത്തെയും ചിറപ്പ് ഓരോ കുടുംബക്കാരുടെ വകയാണ്. അന്ന് നമ്മുടെ ചിറപ്പ് ദിവസം, വൈകുന്നേരം ദീപാരാധനയും കഴിഞ്ഞു ഒരു ഭജന ഉണ്ട് . സ്വാമി അപ്പൂപ്പൻ നേതൃത്വം നൽകുന്ന ഭക്തിനിർഭരമായ ഭജന. കൂടെ ഏറ്റു ചൊല്ലാൻ ഞങ്ങൾ കുറെ കിഡ്‌സും മുതിർന്നവരും. അമ്പലം മലമുകളിൽ ആരുന്നത് കൊണ്ടും, കോളാമ്പിയിലൂടെ ലൈവ് സംപ്രേക്ഷണം ചെയ്തിരുന്നതുകൊണ്ടും, ഇത് നാട്ടുകാർക്ക് മുഴുവൻ ഉള്ള ഭജൻ ആയിരുന്നു. അപ്പൂപ്പൻ പാടുന്നു, എല്ലാരും ഏറ്റു പാടുന്നു.

ആവേശത്തോടെ ഞാനും പാടി. പാടി എന്ന് പറഞ്ഞാൽ തകർത്തു പാടി..

ഞാൻ സർവം മറന്നു പാടിക്കൊണ്ടിരുന്നു. (സർഗം എന്ന സിനിമയിലെ ആ രംഗം ഓർമ്മ വരുന്നുണ്ടാകും, അല്ലെ.. ഏതാണ്ട് അതുപോലെ). അധികം നീണ്ടില്ല,അതിനു അനുവദിച്ചില്ല എന്ന് പറയുന്നതാകും ശരി. സ്വാമി അപ്പൂപ്പൻ വിറയാർന്ന കൈകൊണ്ടു അമ്മയെ ചേർത്ത് പിടിച്ചു പറഞ്ഞു. “ആ ചെറുക്കനെ ഒന്നെണീപ്പിച്ചു വിട്, അല്ലെങ്കിൽ അവൻ നാട്ടുകാരെ ഇന്ന് ഒറക്കില്ല! ഇങ്ങനെ ഉണ്ടോ ഒരു കീറൽ?!”

ആ ചെറിയ പന്തലിൽ നിന്ന് അമ്മയുടെ തണുത്ത കയ്യും പിടിച്ചു ഇറങ്ങിയത് ഇപ്പോഴും ഓർമയുണ്ട്. അന്ന് തീർന്നതാ തിരുമേനി, ഈ സ്വാമി അപ്പൂപ്പന്മാരോടുള്ള ബഹുമാനം!

പിന്നെ ഒരു വാശിയാരുന്നു, സംഗീതം പഠിച്ചേ അടങ്ങു. ഒടുവിൽ വയലിൻ പഠിക്കാനായി ചെന്ന് കേറിയത് ഒരു സിങ്കത്തിന്റെ മടയിൽ. മൂന്നുമാസമായിട്ടും അങ്ങേരു എന്നെ വയലിനിൽ ഒന്ന് തൊടീച്ചില്ല! എന്നുമാത്രം അല്ല, ആഗ്രഹം അറിയിച്ചപ്പോൾ പറഞ്ഞു, നീ ആദ്യം സ രി ഗ മ എന്നൊന്ന് തെറ്റാതെ പറഞ്ഞു പടിക്കു, പിന്നെ പാടിപ്പടിക്കണം, എന്നിട്ടല്ലേ വയലിൻ!? ഗുരുവിനെ മുണ്ടു പൊക്കി കാണിച്ചു അന്ന് തുടങ്ങിയ യാത്ര.. സഫറോങ്കി സിന്ദഗി, കബിനഹി കഥം ഖുദം!

ഭഗത് സിങ്, നെപ്പോളിയൻ, കുഞ്ഞാലിമരക്കാർ, ഈ മൂന്ന് പേരും ആണ് എൻ്റെ ഐഡോൾസ്! തോറ്റമ്പിയവർ ആണെങ്കിലും, ജയിക്കാൻ വേണ്ടി പൊരുതിയവർ ആണ്. ഒരിക്കലെങ്കിലും എനിക്ക് ജയിച്ചേ മതിയാകു. സ്കൂളിൽ സബ്‌ജൂനിയർ ലളിതഗാന മത്സരം നടക്കുന്നു. സ്കൂളിൽ പുതിയതായതു കൊണ്ടും, ആളിനെ അത്രക്കങ്ങട് വശമില്ലാത്തതുകൊണ്ടും, സീനിയർസ് നമ്മളെയും മത്സരിക്കാൻ കേറ്റി. ഗാന്ധി ഹൌസിന്റെ അഭിമാനമാകാൻ ഞാൻ സ്റ്റേജിൽ കയറി “ചിങ്ങ തിരുവോണ സൂര്യോദയം” രണ്ടര കട്ടക്ക് പിടിച്ചങ്ങു പാടി. കറക്റ്റ് ടൈമിൽ പാടി നിർത്തി. ഫുൾ നിശബ്ദത.. സ്റ്റേജിൽ നിന്ന് ഇറങ്ങി വന്ന എന്നോട് അന്നത്തെ മ്യൂസിക് ടീച്ചർ ആയിരുന്ന (ജഡ്ജ് കൂടെ ആയിരുന്നു) ആൻ്റണി സാർ പറഞ്ഞു, ” നീ കറക്റ്റ് ടൈമിംഗ് ആരുന്നു . ഓൺ ടൈം പാടി നിർത്തി. ഒരു രണ്ടു സെക്കന്റ് കൂടെ നീണ്ടിരുന്നേൽ ചിലപ്പോ നീയാ മൈക്ക് അങ്ങ് വിഴുങ്ങിയേനെ!”. ഓ ഡാർകോടു ഡാർക്ക്! നിർത്തി അങ്ങ് അപമാനിക്കുവാരുന്നന്നെ..

സംഗീതം ആദ്യ പ്രണയം പോലെ ആണ്.. അടുക്കാൻ ശ്രമിക്കുന്തോറും അകന്നുകൊണ്ടേയിരിക്കും. എന്തിനും ഒരു അന്ത്യം ഉണ്ടാകണമല്ലോ. കാലങ്ങൾ കഴിഞ്ഞു, ബിൽ ഗേറ്റ്സ് മൈക്രോസോഫ്റ്റ് ഉണ്ടാക്കി, HCL കമ്പ്യൂട്ടർ കണ്ടു പിടിച്ചു, സംഗീതം Smule-ലൂടെ കൂടുതൽ ജനകീയം ആയി. ഒരു അവസാന ശ്രമം എന്ന നിലക്ക് ഞാൻ Smule വെച്ച് ഒന്ന് പാടി. എല്ലാർക്കും ഷെയർ ചെയ്യുന്നതിന് മുന്നേ ഞാൻ തന്നെ ഒന്ന് കേട്ട് നോക്കി. ശിവനെ, ഓർമിപ്പിക്കല്ലേ! പെറ്റ തള്ള സഹിക്കൂല!

സ്വാമി അപ്പൂപ്പനോടും, വയലിൻ മാസ്റ്ററോടും, ആൻ്റണി സാറിനോടും കാൽക്കൽ വീണു മാപ്പപേക്ഷിച്ചുകൊണ്ടു നിർത്തുന്നു! Smule-നു നന്ദി!

Pedaling for a Cure

(After working in Louisville and St. Louis, Praveen moved to Columbus in 2011 with his wife Priya and daughter Gowri. As a family, they enjoy all outdoor activities, whether it’s camping, hiking, biking, or playing tennis. They both hail from the outskirts of the serene city of Trivandrum.)

Pelotonia weekend was vibrant and energetic as over 6,500 riders navigated Central Ohio on routes ranging from 20 to 190 miles. Riders on routes shorter than 100 miles completed their journey in a single day, while those tackling the 155- and 190-mile routes spanned their ride across both Saturday and Sunday. This year’s event, held from August 2-4, kicked off with a lively celebration at McFerson Commons on Friday evening, featuring a performance by the popular indie pop band Clubhouse. Bike check-ins were also available to help riders prepare for their early morning starts the next day.

Participating in Pelotonia was a memorable experience for me—a ride I had hoped to join since moving to Columbus in late 2011. After finally signing up in 2024, I joined my Big Lots team. I had previously taken part in events such as the Susan G. Komen 5K, Fight for Air 40-floor stair climb, and Warrior Dash. Pelotonia was the next challenge on my list, driven by both the demanding ride and the meaningful cause behind it.

Over the past decade, I’ve lost many close relatives to cancer and witnessed others overcome their battles with the disease. This ride was dedicated to all those who lost their lives fighting cancer and to those who fought back with incredible strength. While we often masked our sorrows behind smiles, the support from everyone cheering us on made the experience profoundly emotional.

For this event, I tackled a 50-mile route – thanks to the COMA bike club for helping me find my comfort zone in biking. The ride was filled with participants setting their own pace, and the energy on the course was truly inspiring. I’m grateful for the opportunity to have participated in this year’s ride and to have contributed to the larger cause of finding a cure for cancer.

Motion ⮕Action ⮕ Progress

Newsletter July 2024

Summer is in full swing, and there is so much excitement for the 2024 Paris Olympics! All eyes are on Team USA as they prepare for an unforgettable performance, and we are equally thrilled about Team India already securing two medals and aiming for even more.

Meanwhile, the COMA Executive Committee is diligently preparing for one of our biggest events of the year – our Onam celebrations. This is a fantastic opportunity to showcase your cultural talents and entertain fellow Malayalees. We encourage you to sign up for performances and reach out to the Executive Committee if you’re interested in volunteering for the Onam event. Your support will be vital in making this event a resounding success. This year’s COMA Onam will be on September 7th Saturday. Onam tickets will open up shortly, keep an eye out for that and more details about the event.

Here’s another reminder to renew your COMA annual memberships. Please note that memberships run from July 1st of the current year to June 30th of the following year. COMA Membership for 2024-2025 is now available for purchase on the COMA website!

— Smitha Nishant

Red tailed hawk – A poem by Aadhya Pradeesh

(Aadhya Pradeesh is a rising 4th grader at Shale Meadows Elementary. She’s the daughter of former EC member Pradeesh Puthiyattil and Aswathi Pradeesh.)

A firey red
On their tail
The great precise birds

Just so proud
Squawking
Very loud

Fenix and Torch
Their eyes badly hurt
People take care of them

Flying so high
Are those kings
Of our skies

Why teens should do CPR, first aid, and babysitting training – by Lipikha Sreejith

(Lipikha is an avid dreamer, and she enjoys swimming and singing . A foodie at times, she loves to travel. She goes to Hyatts Middle School and is a Red Cross certified baby-sitter. Liphika is the daughter of regular COMA patrons Deepika and Sreejith Chandran.)

Image: Poster created by Liphika using Adobe Express.

The life of a Malayalee American – by Nish Nishant

(Nish is a wannabe writer who has unsuccessfully attempted to make a living as a published author. He lives with his wife Smitha and son Rohan in Worthington, Ohio.)

There is an anecdotal opinion among non-Malayalee Indians that there is no spot on this planet where you would be hard-pressed to find a Malayalee. While I am unsure of the veracity of that theory, Malayalees have certainly flourished in the United States of America. The dichotomy of being both Malayalee and American can often be an interesting experience, and most Malayalees embrace this clash of cultures with a belligerent and yet cheerful approach. I often find myself telling people that I am not just an Indian American but that I am particularly a Malayalee American. Now that may be awfully specific, but my Malayalee identity forms the core of my persona and it’s fairly impossible to look around that.

One of my pet theories as to why Malayalees effortlessly assimilate into American sub-culture is that we don’t have a dietary block when it comes to American food. Kerala is one of the few states in India where any four-legged bovine animal is at any arbitrary point in time at certain risk of being slaughtered and consumed for food. I never get tired of reminding my American friends that unlike their other Indian acquaintances, I have no issues in consuming substantial quantities of filet mignon, pork chops, and bacon. And boy, do we love our liquor or what? I am yet to meet a Malayalee American who wasn’t scholarly about various kinds of wines, scotch whiskies, and beers. We may have travelled half way across the globe to lead new lives, but we’ve taken our fondness and tolerance for booze with us.

Malayalee Americans may listen to Katy Perry and The Black Eyed Peas, but at the faintest hint of a tune by K J Yesudas or K S Chithra, we go back to being Malayalee music enthusiasts. Mohanlal, Mammooty, Suresh Gopi, and Prithviraj continue to occupy the same ranks in our hearts as Tom Cruise, Keanu Reeves, and Bruce Willis. The cliché that you can take a Malayalee out of Kerala, but that you can never entirely take Kerala out of a Malayalee holds surprisingly true. This detail can be quite simply observed at any Malayalee cultural event across America, including events organized by our very own COMA. Kids who were born here and some of who have never set foot in Kerala sing and dance to the beats of popular Malayalam songs. Many of them watch Asianet and Surya TV when they come home from school, although it’s questionable as to whether that’s a great idea these days!

That said, at the end of the day, the one absolute certainty is that we Malayalee Americans are all the same, more or less speaking. Husband and wife looking to grow their careers, hoping to send their children to top colleges, saving up to buy a comfortable home in a nice neighborhood, keeping our weekends free to socialize and have fun with friends and family – yeah, we really are all the same. We are Americans and we are Malayalees, and we are proud of those independent identities. Cheers to all my fellow Malayalee Americans!

[This article was originally published in the COMA souvenir for the 2013 Suresh Gopi show.]

Newsletter June 2024

It’s definitely ice cream weather in Ohio and I hope everyone’s staying cool out there! June 2024 will go down in memory for India’s remarkable T20 world cup win. The match was absolutely electrifying and the India T20 team played like champions. Congratulations Team India for the stellar performance!

My sincere apologies for the delay in sending out our June newsletter and thank you for your patience and understanding as we finalized the content.

We’re proud to announce the recent graduation of young COMA adults from The Ohio State University last month. Read on for their graduation updates. Congratulations to our college grads, and best wishes for your future endeavors!

It’s time to renew your COMA annual memberships. Please note that memberships run from July 1st of the current year to June 30th of the following year. COMA Membership for 2024-2025 is now available for purchase on the COMA website!

— Smitha Nishant

COMA Onam 2024 Exclusive Realtor Sponsor – Sony Joseph, Realtor

COMA is proud to announce that our very own Mr. Sony Joseph will be the supporter and exclusive realtor sponsor of the 2024 COMA Onam event. Sony Joseph is renowned for his extensive market knowledge, negotiation skills, service, and unmatched devotion to clients. Those planning to buy, sell, or invest in real estate are encouraged to reach out to him for a complimentary consultation.

COMA Summer Picnic – A youth wing perspective – Rianna Shome

(Rianna is a rising senior at Olentangy Liberty High School, where she is an active member of the Girl’s XC and Track teams. In her spare time, she loves to bike, play pickleball, hang out with friends, and watch movies with the fam!)

Being able to have a minor part in the amazing production that was the 2024 COMA picnic was such a wonderful experience and honor. I don’t remember a time in my life where I wasn’t attending COMA functions and being a part of nativity plays with my brother or dances with my friends. However, being able to see a pea size amount of the “behind the scenes” of an event has opened my eyes to the work and planning that goes into them. This year, I joined the COMA Youth Wing which enables kids such as myself to be more involved in the community.

Our first task was to plan games at the COMA picnic for the kids. Our goal was for them to be involved and have fun. Akash and I volunteered to be the “leads”. This meant attending a few COMA calls and organizing the games for the kids. With the other members and help from the committee, we decided to organize the following games: Tug of War, Lime and Spoon, Sack Race.

On the day of the picnic, everyone on the youth committee had different roles. Some handled registrations and others helped out with making sure the games ran smoothly. Akash and I explained the rules of the games and helped with keeping track of the scores. It was so nice to see everyone having fun playing the games and working hard to win. The scorching heat brought out the competitiveness of the color groups which was a sight to see.

I was so glad that I was able to contribute to the picnic because it helped me to get closer to the community, meet new people, and build connections. My experience at the picnic would definitely not have been as great without the other members of the Youth Wing and the hard working members of the COMA Committee. They made it easy for us to be a part of the team. Special shoutout to Girish Uncle for his guidance and support through this valuable experience.

Graduation News

Neelima Gopinath – The Ohio State University

Neelima Gopinath graduated with Honors from The Fisher School of Business at The Ohio State University, specializing in Management Information Systems. She was a part of the Honors Program as well as the Politics, Law, and Society Scholars Program. She also received a minor in Communication Technology. She was active in the business school’s philanthropic organization, FisherCares, and was a member of OSU Inaayat (OSU’s classical dance team). During her time as a student, Neelima worked in various technical departments at OSU and interned at Battelle Memorial Institute. She will be joining Clearsulting, a digital finance consulting firm, this July, as an analyst. She is the daughter of Gopi Haridass (former Vice President and Trustee) and Preethi Gopinath.

Rohan Shome – The Ohio State University

Rohan Shome graduated with honors from the Ohio State University with a bachelors degree in Biology and a minor in Psychology. He is looking forward to pursuing a graduate program in the healthcare field. Rohan is the son of former COMA EC member Sumita Shome and Shome Thomas.

Newsletter May 2024

May is high school graduation month – the culmination of years of hard work and dedication for both students and parents. This edition of our newsletter shines a spotlight on the incredible achievements of our graduating high school seniors. Congratulations to the Class of 2024 and wishing you the very best in your future endeavors!

Last month, a group of dedicated COMA patrons ran the Cap City Quarter and Half marathons. Anoop Joseph Babu has penned a captivating writeup of the beautiful journey that led the team triumphantly to the finish line. Congratulations, finishers! It’s a true testament to your passion and unwavering spirit!

As the school year comes to an end and summer vacations begin, many of you may be eagerly planning visits to family in India or exciting getaways. Wishing you all safe travels and memorable adventures, and may you return rejuvenated from your journeys. For those remaining in Ohio, wishing you a delightful summer and unforgettable moments!

— Smitha Nishant

Tuskers Running Club – Anoop Joseph Babu

(Anoop lives in Dublin with his wife Neethu and two kids. He’s an avid badminton and cricket player, and a big fan of running and soccer.)

The date was April 27th, 2024. It was a cool cloudy morning, and a stiff breeze was blowing. The energy around was palpable as 11,000 odd people converged on downtown Columbus for the Cap City Half Marathon. There we were among that sea of humanity, more than fifty of us from Team Tuskers, boisterously chatting away, being loud as ever, ready to run what was, for many of us, our first marathon. Of course, what event is complete without some Malayali participation?

All this started a few months back when Austin Pereira embarked on creating a “Columbus Tuskers marathon runners’ group” with the (one would have thought) unrealistic goal of getting COMA members off their couches and in their running shoes, that too in the middle of the Ohio winter.

Then, lo behold, something magical started happening, the group started swelling as, one by one, folks joined, inspired maybe by overindulgences during Thanksgiving and Christmas (like yours truly) or truly to challenge themselves.

The plan was to run every Saturday, and run we did, puffing and panting, cramping, and straining. There were the regulars, and every week we saw more new faces. With Austin’s tireless encouragement and enthusiasm, the engagement we saw was truly amazing and I would like to think it motivated us all. It was not all pain, we had fun together. We saw the trees transform from bare branches to leaves and flowers, and the silence replaced by chirping of birds, as we ran through the barrenness of winter into the green of spring. Slowly but surely, we started to run better and further, pushing our body and mind a bit more every time.

Back to race day, as our group was allowed to start, each of us knew that it would be a test of the body and more importantly the mind, it would not be easy, exactly the reason why we signed up. The nervous energy and euphoria carry you through the first couple of miles and then it starts. The duel between the body that wants to stop and the mind that keeps pushing it forward. The miles went by slowly, the terrain changed, the climbs became steeper and tougher, the clouds parted, and the sun shone, we cramped and felt drained at times, but we soldiered on, the body finding the rhythm it was seeking, one foot in front of the other, one deep breath after another.

More than a couple of hours and 12 miles later, we faced what was to be the final obstacle, a steep double peaked incline, testing mettle and strength. With ragged breaths and dogged determination, we climbed until we could see the final stretch and the finish line tantalizingly far away. The emotion I felt (which we all probably shared) was a mix of pride, happiness, and relief as the mind willed the body, pushing it forward until we breached the finish line.

Once the initial wave of elation, exhaustion, and pain had passed and the selfies were taken, the realization hit. We had done it, something that seemed but a distant possibility had been achieved, the distance had been run. And as someone once said, it is not the distance you must conquer in running .. it is yourself. And we, each in our own way, had done it.

Go Tuskers!!

A special thank you to Austin Pereira for all the encouragement and co-ordination. We would not have done this if not for you. A special thank you to Thomas Oommen as well for the advice, motivation, and inspiration you provided for a lot of us first time runners.

Health tips for runners – Dr Rajesh Rajan

(Rajesh Rajan is a Nephrologist who also manages Infuse One (an infusion/Botox center). He is from Pandalam, Kerala. He grew up in New York and moved to Columbus in 2022. He lives in Liberty Township with his wife Mauja, kids Devika and Dhinan, and puppy Meeka.)

As many of you are going to embark on running for leisure or for marathons, I strongly recommend that you get an annual physical and run the blood work that comes with it. Most insurance covers this as part of wellness check at no cost (but please check with your insurance first).

Usually basic blood work is done looking at electrolytes such as potassium, magnesium, calcium – all which can lead to muscle cramps if deficient. Hemoglobin and iron levels can be checked if you have any symptoms of fatigue. Plus many other pointers on your health. So, I highly recommend each one of you to go for a wellness check.

In addition, stretching is key to prevent injuries and so is proper hydration.

For the newcomers, it is essential to build up on your run – starting at a low pace (target a zone 2 heart rate or running/ jogging at a pace where you are able to have a conversation).

Lastly, if you are experiencing any pain, do not ignore it as it may be related to footwear, muscle imbalances, or ineffective stretching. Our goal is to have fun but not get injured.

Happy running!!!

Graduation News

Abhinav Muthiraparambath

Abhinav is set to graduate with an honors diploma at Olentangy Liberty High School as the Valedictorian of the class of 2024. With aspirations to pursue a career in medicine, he’s carefully considering his options, including a pre-med program at Johns Hopkins University majoring in public health studies and a seven-year BS/MD track at the University of South Florida. Abhinav’s accolades include academic achievements such as being recognized as a National Merit commended scholar, recipient of the Governor’s Merit Scholarship, and membership in both the National Honors Society and Spanish Honor Society. Additionally, he actively engages in research at The Ohio State University and shares his passion for science by teaching children through Be WISE. Beyond academics, he’s displayed dedication and skill as a three-year lettered wrestler for Olentangy Liberty High School. Abhinav is the son of Ashish and Sangeetha Muthiraparambath.

Aedin Pereira

Aedin Pereira, son of Austin and Deepa Pereira, graduated from Olentangy Liberty High School with Summa Cum Laude, Honors Diploma, and AP Scholar with Distinction. He attended the prestigious Ross Mathematics Camp and Honors Summer Math Camp, where he researched and published a paper on AI in Bioinformatics. Aedin founded and led the first and only statewide virtual Math Circle during COVID. He is a 4-year varsity rower who competed in the 2021 US Youth National Rowing Championship Finals. Aedin served as Captain of the Liberty High School Speech & Debate team, qualifying for US Debate Nationals. He also served as President of the Student Council and the Service Club, and is a member of the National Honor Society. Aedin plans to attend Columbia University in the fall.

Arya Janardhanan

Arya graduated Summa Cum Laude from Dublin Jerome High School. She will be attending Otterbein University majoring in Biochemistry and Molecular Biology. She is a recipient of the President’s Scholarship and will be participating in the Pre-Med Early Assurance Program. She was COMA’s Youth Wing President last year. She is also the founder and President of her school’s Neuroscience club. She has been volunteering at Marysville Memorial Hospital for the past 2 years. Arya is the daughter of Anuja and Ajayan Janardhanan (former COMA president).

Awards

  • National Merit Scholar
  • Valedictorian
  • International HOSA qualifier
  • President’s Education award
  • Diploma with Honors
  • President’s Volunteer Service award

Adithya Arun

Adithya Arun is graduating on May 19th from Olentangy Orange High School. He will be attending The Ohio State University and plans to major in Computer Information Systems. He’s the son of Ramya Kalyadan (Priya) and Arun Radhakrishnan.

Newsletter April 24

April showers may bring May flowers, and for our Malayalee community, they usher in much-loved festivals like Easter, Vishu, and Ramadan. I trust you all had the chance to celebrate these with friends and family.

May is high school graduation month, and the next edition of our newsletter will feature 2024 graduating seniors from the community. If you would like your senior to be featured in the COMA newsletter, please share their details along with a senior portrait with our EC team. Kindly send the information to coma.officials@gmail.com.

A dedicated group of Malayalees has been training for the OhioHealth Capital City Half and Quarter Marathons over the past few months. The group leader, Austin Pereira, has done an admirable job coordinating the training runs. The 56 strong team is gearing up for their finest performance yet on race day that is on Saturday, April 27th. Here’s to wishing each and every one of the runners the very best!

— Smitha Nishant

Immigration advocacy initiative – Girish Sasankasekhar

(Girish lives in New Albany with his wife Divya and two children, Gautham and Diksha. He works in the IT industry and has been active in various social engagements nationally. He hails from Trivandrum.)

I would like to share a recent experience of a great opportunity that me and my son (Gautham Girish) got to attend: a joint session at the Executive Office of the White House, for an immigration advocacy initiative.

For the past 5 years, I have been collaborating with various organizations on immigration advocacy initiatives for the welfare of Employment-Based immigrants, specifically H1B and L1 category of applicants and dependents. I am sure most of you are aware either directly or indirectly about the various challenges being faced by EB (Employment Based Visa) families, being on a long wait to process Green Cards, visa stampings, or dependent related job issues. Despite various legislative efforts being initiated in the congress for more than a decade, it’s a sad reality that there is no solution yet to resolve the broken immigration system. My personal goal is to continue to keep our voices heard in the best ways we can, by collaborating with various organizations or panel members to help us find a solution for the EB community, to overcome their uncertainties, and to provide a peaceful life for their families and children.

As part of the ongoing efforts, I was successful in establishing relationships with various committee members and the counsel of the House and Senate. As a result, we finally got an opportunity to get introduced to the executives of the White House Immigration team. We requested a joint session with USCIS (US Citizenship and Immigration Services), to talk through some of the ongoing problems, and to request/explore for some temporary solutions due to the current political situation in the congress. My son was included to represent children who will potentially face challenges to continue their education and their career path beyond 21 years of age. We also had a senior immigration attorney from Georgia join our panel to talk through the legal aspects of the situation. The meeting was very successful by having the Senior Advisor of USCIS Director along with White House officials listening to our concerns, and they have promised to explore temporary measures while Congress continues to make efforts for major law changes.

It was such a proud moment to represent more than a million Employment-Based immigrants, and we are committed to have follow up conversations till we see a successful outcome. If anyone would like to be part of such initiatives and make your voices heard, you are more than welcome to reach out to me anytime.

COMA Meals on Wheels : Quarter 1 update – Nish Nishant

(Nish Nishant lives in Worthington, OH with his wife Smitha and son Rohan, and coordinates the COMA Meals on Wheels program.)

I extend my heartfelt gratitude to all the dedicated volunteers who have generously given their time and effort to support the COMA Meals on Wheels program this year. Your unwavering commitment and compassion have made a significant difference in the lives of those in our community who rely on this vital service. Your selflessness and dedication embody the spirit of community and kindness that COMA symbolizes. Thank you for making a meaningful impact through the COMA Meals on Wheels routes.

If you’d like to volunteer for COMA Meals on Wheels, please reach out to the EC team.

Know your EC team – Yoga Venu (2024 General Secretary)

A humble kid innocently asked the universe, “Hey, if you’ve got my life all figured out, why bother praying?” And what does the universe do? Universe politely responds with a metaphorical reflection, linking one’s life to the pages of a book, each event scripted with the directive to “let it happen as per your wish.”

Yes! Despite the predetermined course set forth by the universe, it is our beliefs and thoughts that would shape our destiny!

This sense of realization ignited a flame of empowerment within me, prompting a shift towards “positive thinking” and “believing in myself”.

And then, out of the blue, I find myself with COMA, being part of EC 2024 as General Secretary.

Yep, that’s right. Me, Yoga Venu, born and raised in Chennai, Tamil Nadu. Being a blend of Tamil and Malayalam cultures, I’m like the ultimate cultural cocktail and my roots are from Kuttipuram, Malapuram district in Kerala. Like many of you, Pazhampori and Kappa & Meen Curry are my weaknesses.

Reflecting on my academic pursuits, I always question myself why I had troubled myself with such rigor, when perhaps a gentler approach would have sufficed. I apparently took my academics a little more serious than needed. Nevertheless, the lessons gleaned from this introspection paved the way for personal growth and enlightenment.

After three decades of sipping filter coffee in Chennai, in 2016, I decided to shake things up and move to the dream land of many. Of course I am one of them!

They say, the US is like “Actor Rajinikanth”; you might not get it at first, but eventually you will throw confetti at it! Let me tell you, I felt the same when I landed in the States. However, the initial disorientation gave way to the unexpected sense of belonging.

First stop, New Jersey and Chicago – where the pizzas are deep and the winters are deeper. But then, I landed in Columbus Ohio. Ah, Columbus – the land of conservative vibes and slow living. It’s like the universe said, “Hey you have been running like a headless chicken, why not chill here for a bit?”

And here I am, chilling in Columbus for the past 8 years, with my daughter, Chetana alias Ishika Menon, who’s 20, going on 200 with her wisdom.

Because, when life throws you curveballs, you just gotta roll with it, having your choices and convictions as the influencers!

Newsletter March 2024

I am still recovering from the exhilarating experience of COMA’s 2024 inaugural event, “Kaliyattom”. The all day event was a resounding success. Enthusiastic participation and fierce competition made the games event truly memorable for the participants. Congratulations to all the winners, and best wishes to everyone else who participated for next time.

The cultural programs showcased captivating dance performances, a magic show, trivia, and the comedy skit was a hilarious addition. The unique glow party that followed was undeniably a hit with all ages. Thank you to the Executive Committee of 2024 for organizing such an enjoyable event!

If you missed the event, please use the links below for the event highlights, photos, and videos.

Kaliyattom Media Links

Kaliyattom Winners

Table tennis (mixed doubles):
Winner: Minna Varkey & Samit Pathak
Runner-up: Ravi Hariharan & Anjana Hari

Table Tennis (Doubles):
Winner: Samit Pathak & Vishnu Sajeevan
Runner-up: Pradeesh Pudhiyattil & Anoop Joseph

Table Tennis (Singles):
Winner: Samit Pathak
Runner-up: Ravi Hariharan

Cards-28:
Winner: Niju Baby & Team
Runner-up: Gigi Mathew & Team

Rummy:
Winner: Pramod Pudhiyattil
Runner-up: Sakunthala Puthiyattil

Carrom:
Winner: Sajid Babu & Arun Chand
Runner-up: Aslam & Subhash

Chess:
Winner: Devarsh Binoop
Runner-up: Akshay Roshan

Cornhole
Winner: Anjan Harishankar
Runner-up: Jiya Jay

COMA Onam Sadya Coordination – A behind the scenes introspective – Valsan Palika

(Valsan is a long time resident of Columbus and a very active member of the Malayalee community. He lives in Lewis Center with wife Vijaya and two children, Hrishikesh and Niranjan. He hails from Kannur.)

Onam is Kerala’s most significant festival, marking the pinnacle of our annual celebrations. Legend has it that Kerala once thrived under the benevolent rule of King Mahabali of great wisdom and compassion. His era was characterized by fairness and prosperity, ensuring the well-being of his subjects, or ‘praja,’ to the utmost degree. His strength and popularity made even the Gods envious, and he was sent to the depths of ‘Pathalam’ by Vamana. It is believed that Mahabali visits us each year during Onam, symbolizing the spirit of unity cherished by Keralites. The festival is during the Malayalam month of Chingam, which is around August or September. It lasts for about ten days, and the main day is called Thiru Onam. This is when everyone takes part in lots of rituals, celebrations, and cultural events to mark the occasion.

Back home, Onam events are packed with various activities like Puli Kali, Thiruvathira Kali, and Vallam Kali, in addition to the traditional Pookkalam and Onam Sadya. Here in Columbus, we enjoy a day packed with cultural activities, beautiful Pookkalam designs, a traditional delicious Ona Sadya served in vazha ila, and the cherished visit of Mahabali. We even had Pulikali during our 2023 Onam celebrations! Vallam Kali may be planned soon! It is heartwarming to see Malayalee women, men, and children dressed in traditional attire, singing Onam songs, and showcasing other talents, sharing Onam memories, and relishing the Sadya together; it transports us back to Kerala on that day!

History

It all began several years ago with just a few Malayalee families from Columbus and Dayton coming together in Columbus to celebrate Onam as a community event. With hundreds of families moving to Columbus in recent years, it has evolved into the biggest gala event organized by COMA, bringing together the entire community in celebration!

The COMA Onam celebration is thoroughly enjoyed and appreciated by the community, becoming a cherished highlight of the year. Finding a suitable venue, coordinating cultural events, organizing a traditional Sadya, and managing the flow of events on the day are all incredibly complex tasks that require careful planning and coordination. The event’s resounding success is attributed to the meticulous planning and execution by the COMA executive committee, drawing from continuous learnings from past events. A vast volunteer base for COMA works tirelessly for weeks leading up to the event, ensuring its seamless realization.

Having been part of the volunteer group organizing COMA events for over 25 years, I can attest that organizing Onam is no small feat. It stands out as the most complex event to coordinate, largely due to the intricate arrangements needed for the Sadya, the centerpiece of the celebration. Here, I’ll delve into the details of how the Sadya is planned and executed.

In the early years, the Sadya was entirely dependent on volunteer efforts, with the number of guests estimated beforehand. However, this approach posed two significant challenges: the risk of either shortages or excess of Sadya items, and the potential for missing dishes if a volunteer assigned to cook a particular item couldn’t attend the event. Over the years, several incremental enhancements have been adopted to address these challenges and refine the Sadya planning process to its current, mature state.

Planning

The success of the Sadya hinges on three crucial factors:

  1. Accurate Guest Count: Ensuring an accurate count of guests, including children, is essential to guarantee there is sufficient food for everyone. This involves thorough planning and communication to gather RSVPs and anticipate attendance accurately. Our EC does a fantastic job in communicating early and getting the expected attendance well in advance of the event.
  2. Reliable Vendor Selection: Finding a trustworthy vendor to prepare the Sadya is paramount. This vendor must be capable of delivering high-quality, authentic dishes in the required quantity and within the specified timeframe. Thorough vetting and negotiation are essential to secure a reliable partnership. Indeed, the availability of vendors specializing in authentic Kerala dishes is a significant challenge as locally, there is only one such vendor available. Starting a local business that offers Kerala cuisine presents a promising opportunity to meet the demand for authentic dishes!
  3. Timely Service: Serving the complete Sadya in a timely fashion to the entire crowd is critical for guest satisfaction. This requires efficient coordination among volunteers, vendors, and event organizers to ensure smooth and prompt delivery of the dishes, maintaining the integrity and freshness of the meal.

The Sadya

Onam Sadya is a lavish feast comprising a wide array of dishes, each adding its unique flavor and texture to the meal, satisfying to different tastes you have. While the exact dishes may vary based on regional preferences and personal taste, some common dishes and savories include:

  1. Avial: A mixed vegetable curry cooked in coconut gravy, seasoned with curry leaves and coconut oil. The story of the origins of Avial is indeed an intriguing one from the Indian epic Mahabharata. According to the legend, Bhima, one of the Pandava brothers, disguised himself as a cook named Vallalan during their exile in the forest. One day, unexpected guests arrived, he gathered whatever vegetables and leftover ingredients he had, cooked them together to create a delicious dish, which became known as Avial.
  2. Ghee & Parippu Curry: This is the first course. One of the distinctive features of Parippu Curry is its adaptability to regional variations and personal preferences. While the basic recipe remains consistent, different regions and households may add their unique twists by incorporating ingredients like grated coconut, garlic, ginger, or even vegetables like pumpkin or ash gourd. Some may opt for a smoother consistency, while others prefer a slightly chunky texture. It is extremely hard to serve a Parippu Curry that satisfies everyone!
  3. Kaalan, Olan, Pulissery, Pachadi, Thoran(s), and Koottu are indeed essential components of an authentic Onam Sadya, each offering unique flavors and textures to the feast. Additionally, Pappadam, pickles, pazham and varuthupperi serve as the perfect accompaniments to the Sadya, adding extra crunch, tanginess, and spice to the feast.
  4. While Sambar and Rasam may not be traditionally exclusive to Kerala cuisine, they have become integral parts of Onam Sadya due to their popularity and versatility in South Indian cuisine.
  5. Prathaman and Payasams indeed stand as the crowning glory of the Onam Sadya, offering a delightful end to the meal. There are several varieties such as ada prathaman, parippu prathaman, chakka prathaman, pal payasam, and palada (names and exact preparation varies).

Together, these dishes form a symphony of flavors and textures, showcasing the rich culinary heritage of Kerala and making Onam Sadya a truly memorable culinary experience. Overall, Onam is a joyous occasion that brings people together, irrespective of caste, creed, or religion, to celebrate the spirit of unity, prosperity, and happiness. It is a time to cherish traditions, create lasting memories, and spread love and goodwill among all.

Catering

A significant amount of work happens behind the scenes to ensure the successful serving of the Sadya, which is the most critical aspect of Onam celebrations. A dedicated group of lead volunteers and executive committee representatives initiates the planning process several months prior to the event day.

Identifying vendors, primarily restaurants specializing in traditional Kerala cuisine, is a meticulous process for us. We consider factors such as reputation, reliability, food quality, and cost-effectiveness. We meet with them to discuss our requirements, negotiate pricing, and finalize agreements. Authenticity and taste are paramount, so we always taste and affirm the quality before finalizing the contract, especially if the vendor is new to us. We pay close attention to the timing of preparation, delivery, packaging, and transportation to ensure freshness, timely delivery, and ease of serving.

Looking ahead, we are exploring novel options for future events. One exciting idea is COMA organizing a community cooking event for Onam Sadya. Here, skilled and interested volunteers can come together for a fun night of preparing the Sadya themselves! This not only fosters community spirit but also allows us to showcase our culinary talents and traditions in a more hands-on way. If you have the skill and interest, please feel free to reach out to organizers well in advance of the next Onam!

Serving

A detailed and organized Sadya serving plan is prepared. Volunteers are assigned specific tasks, led by experienced team members. A schedule ensures tasks are completed on time.

  1. Food Reception and Setup: Volunteers receive, label, and store food from vendors. Then the team arranges the food counters in the dining area and sets up serving utensils.
  2. Serving: Volunteers serve the item portions out of each dish onto banana leaves.
  3. Table Organization: Organizers ensure guest comfort and supply tables with necessities.
  4. Cleanup: A dedicated crew maintains cleanliness throughout the event and ensures tables are ready to set up for the next ‘pandhis’ quickly.

There are several other things to be arranged and kept ready for serving the Sadya. These include banana Leaves to serve the Sadya in traditional way. Ample quantities of serving utensils, plates, glasses, napkins, and cleaning supplies are arranged.

This structured approach ensures a seamless and enjoyable Sadya experience for all guests.

We visit the event venue to assess suitability for hosting the Sadhya, considering factors like space, seating capacity, accessibility, and facilities. A floor plan is prepared detailing the layout of dining tables, food stations, serving areas, and guest seating arrangements, keeping in mind compliance with safety regulations, and obtaining necessary permits or permissions if required. We also plan for contingencies with a mitigation plan. The venue set up is completed with the help of volunteers on the previous night before the event – including setting up tables, cleaning the banana leaves, etc. The event and excitement start a day early for the volunteers!

Onam Day

On the day of the event, all preparations culminate in a vibrant celebration. Volunteers arrive early at the venue to receive food from vendors and ensure it is stored correctly. The setup of the venue and tables is thoroughly reviewed for a smooth service, and food items are transferred to serving containers. The banana leaf, or vazha ila, is laid out, and servers serve condiments and Sadya items in a specific order. Guests are seated orderly, and rice, parippu, and other main items are served. Each item is served multiple times to ensure guests’ satisfaction. Towards the end, varieties of payasam are served, typically by youth volunteers, either in cups, or in the banana leaf for those who prefer a more traditional experience.

It brings immense satisfaction to the organizers and volunteers to see guests enjoying and savoring the satisfying Sadya. The vibrant colors of the dishes, the aromatic spices, and the joyful chatter of friends and family create a warm and inviting atmosphere. Their smiles and expressions of satisfaction reflect the shared joy of the occasion. It’s a testament to the rich culinary heritage and hospitality of Kerala, bringing people together to celebrate and enjoy the simple pleasures of good food and good company. Knowing that we’ve played a part in creating memorable experiences and fostering a sense of community and joy fills us with pride and fulfillment. It’s moments like these that remind us why we come together year after year to celebrate the richness of our culture and traditions during Onam.

The work for volunteers continues even after every guest has enjoyed their Sadya. They are responsible for cleaning up the venue, setting tables and chairs back to their original arrangement, tidying up the kitchen area, removing trash, and ensuring all utensils are cleaned and returned to their proper places. Additionally, any rented or borrowed items need to be accounted for and returned to their respective vendors. This post-event cleanup is just as crucial as the preparations beforehand, ensuring that the venue is left in pristine condition and ready for the next event. It’s the dedication and hard work of these volunteers that contribute to the overall success and smooth running of the Onam celebration.

Final Thoughts

Year after year, we refine and improve our processes based on past experience to ensure our guests have a fantastic Sadya experience and that the serving is completed within the scheduled duration. This not only ensures that cultural events start on time but also keeps the plan of Onam events on schedule. By learning from past successes and challenges, we continuously enhance our efficiency and effectiveness, ultimately contributing to the seamless and enjoyable celebration of Onam for everyone involved. This tradition of improvement and knowledge transfer is passed from one executive committee to the next, ensuring continuity and growth in our organizational efforts. There is also a dedicated pool of organizers and volunteers, whose numbers increase year after year, with unwavering commitment, ensuring the seamless execution of Onam and other COMA events. Their growing passion and dedication contribute to the smooth coordination and successful implementation of the celebration.

A Comparative Primer on the Films of Mrinal Sen and Ritwik Ghatak – Part 2 – Sandeep Ravindranath

(Sandeep Ravindranath is a student of the audiovisual arts. He has served as a live sound engineer for such acts as Chitravina Ravi Kiran, Nagai Muralidharan, The Carnatica Brothers, Ustad Shahed Pervez Khan and Steve Gorn among others. As an on-location sound recordist, his work on the Lebanese film What Remains was shortlisted for the Student BAFTA in 2018. He holds a Master’s degree in Music Technology from New York University and was a programmer analyst for Sony Music in Manhattan.

His directorial venture The Bookshelf dealt with the subject of growing intolerance in India and was commissioned by Perumal Murugan’s Kalachuvadu and Indira Chandrasekhar’s Tulika. In 2016, Sandeep was offered a full scholarship in the direction program at Columbia College Chicago where his thesis film Diary of an Outsider received Jury invitation from the Directors Guild of America to its Student Awards. To date, his shorts Lullaby, The Bookshelf, Santhana Gopala, Diary of an Outsider and Sub Brothers have screened at over 120 film festivals in 21 countries winning numerous awards along the way. His latest short, Anthem for Kashmir, launched by Anand Patwardhan and T.M. Krishna was censored by the right wing government of India.

Sandeep lives in Dublin, Ohio.)

The Trilogies

After Baishey Sravan, Sen would use the idea of famine again, briefly in Calcutta 71 (1972) and in Akaler Sandhane (In Search of Famine, 1980). All three instances reveal Mrinal Sen as an artist who studied the social and political ferment of his times and informed on them in his art, reincarnating each time with a world of fresh realizations. Calcutta 71 was the second film in his overtly political phase of filmmaking that began with the film Interview (1970). It was a reflection of the violent mood of Calcutta youth at that period of time – the Naxalite movement was at its height and Sen channeled that restlessness into an avant-garde filmmaking that defied the existing Indian cinematic conventions by mixing Brechtian alienation, the cinema verite style, and a non-narrative structure. All the films of this phase – Interview, Calcutta 71, Padatik and Chorus (the first three are known as his Calcutta Trilogy but it could easily be a tetralogy) are characterized by stylistic experimentation where form takes precedence over the dynamism of the thematic entity.

Calcutta 71 was an ideological extension of Interview, both elaborating a Marxist view of class exploitation, poverty, and hunger, resulting in a bitter commentary on the human predicament. Padatik (The Guerilla Fighter, 1973) on the other hand, made a direct political statement by probing those same Marxist values for its contradictions and asserting the need for a timely reassessment. Needless to say, the crowd that sang Mrinal Sen’s praise after Calcutta 71 called him a traitor after Padatik. Padatik was followed by Chorus (1974) which returned to the political philosophy of the earlier two films in the trilogy but was modeled as a satirical re-enactment this time, ending on a note of open revolt.

Padatik is the only film in the Calcutta Trilogy (and Chorus) without a disjunctive narrative structure revealing a distinct beginning, middle, and end. However, this structure is still “interrupted” using the stylistic devices employed in the French New Wave including freeze frames and jump cuts. There are flashbacks and found footage from two foreign films – the Argentinian revolutionary activist film, Hours of the Furnace and Joris Ivens’ documentary on the Vietnam war. There is even an entire sequence where one of the central characters in the film asks several women in a very news-reporting style, questions dealing with women’s empowerment in contemporary Indian society. Many have found these experiments in the Calcutta Trilogy distinctly Godardian and Satyajit Ray was particularly critical calling it an over indulgence in the empty ideological and stylistic posturing of European new wave cinema . While Ray himself has a trilogy on Calcutta (comprising the films Pratidwandi, Seemabaddha and Jana Aranya) that draw comparisons with Mrinal Sen’s trilogy, it is the structural experiments that mark the differences between the two. The question that Jonathan Rosenbaum asks of Luis Bunuel, “how does a sworn enemy of the bourgeois keep his identity while devoting himself to a bourgeois form [narrative cinema] in a bourgeois industry [film industry]?”, is apt for Sen as well. The answer is, “either by subverting these forms or by trying to adjust them to his own purposes.”

Ghatak’s Partition Trilogy – Meghe Dhaka Tara (The Cloud-Capped Star, 1960), Komal Gandhar (The Gandhar Sublime, 1961) and Subarnarekha (The Golden Line, 1962), was the cinematic representation of the socioeconomic implications of the Partition. With these films, he illustrated the mindset of the refugees of Partition by relentlessly drawing the audience into the time and space of those left homeless and crumbling on the faded outskirts of a nation.

Meghe Dhaka Tara was an allegory for the traumatic consequences of the partition of Bengal, capturing the disintegration of a Bengali family as a result of dislocation, poverty, self-interest, and petty internal division. An impoverished family living in a refugee slum after the partition of Bengal struggles for survival and the self-sacrificing protagonist, Nita, has to give up her college studies in order to work. Through many twists and turns of the plot, she becomes the sole earning member of the family. Her elder brother Shankar, who would normally be the head of the household is irresponsible, spending his days singing, dreaming of one day becoming a great singer. He leaves for Bombay soon after, to pursue his singing career returning only at the end of the film. By this time he is an accomplished singer who has become wealthy. However, his ascent to professional and material success has come at the cost of a commensurate decline in Nita’s well being who is now wasting away with a terminal illness.

Striking in Meghe Dhaka Tara is Ghatak’s embrace of the melodramatic style which his background in theatre clearly contributed to. Far from seeing it as pejorative, Ghatak in an article defends melodrama calling it a “much-abused genre,” going on to say in a 1974 interview that “I am not afraid of melodrama, to use melodrama is one’s birthright – it is a form.” The success of Meghe Dhaka Tara, however, is that this melodrama isn’t pure escapism or pure heart-wringing sentimentality but that it exudes a tough, realist sadness – it is his paean to women’s boundless courage and strength, and an indictment of an opportunistic and oppressive social structure.

While Ghatak is known for his eccentric style, his use of the expressionist soundtrack on Meghe Dhaka Tara is certainly bold and experimental. Providing a commentary on the narrative action, Nita’s misery is accompanied by the sound of a whiplash and a hissing sound fades up and down whenever her mother walks into the picture.

In Komal Gandhar, Ghatak merged the motif of fragmentation of a revolutionary cultural movement with a broader motif, the fragmentation of a people. The disintegration of the IPTA and the ideals that it once stood for, had left its mark on Ghatak. The film brought with it an overwhelming nostalgia for the IPTA days where the protagonists struggle to find a new identity in a fast-changing environment as old values crumble. With Subarnarekha, Ghatak provides a prophetic glimpse of the future where post-independence optimism gives way to the harsh realities and disintegrating moral values that are inextricable parts of the civilized urban society. The story of Ishwar and Sita, two of a large, floating population of refugees immediately after independence, it is a bitter tale that mercilessly exposes the canker within.

The archetype of the mother dominates Ghatak’s films and Subarnarekha is no exception with the reconstruction of the Puranic tale of goddess Sati in the character of Sita. In that tale, Sati immolates herself through the fire of her concentration in order to satisfy the ethics of good womanhood because her father Daksha, is greatly opposed to Sati’s husband Shiva whom Daksha believes to be beneath their social status. In Subarnarekha, Ishwar represents Daksha, for he is a surrogate father to Sita and much like Daksha, Ishwar also has an intense dislike for her husband Abhiram because of his lower caste. With the exception of Ajantrik, all Ghatak films from the 1950s and ‘60s show a compulsive engagement with the sister-brother relationship. Thus we have Sita-Ramu of Nagarik, Mini-Kanchan of Bari Theke Paliye, Nita-Shankar of Meghe Dhaka Tara, Anasuya-Pakhi of Komal Gandhar, and Sita-Ishwar of Subarnarekha. As the film critic Moinak Biswas points out , “it is consistent with the ‘obsession’ with the mother archetype in [these] films that the brother and sister should form the primary basis of love.”

The music used in Subarnarekha is another critical aspect. Sita sings a Tagore song much like Nita in Meghe Dhaka Tara. The song, which describes the rural Bengal landscape is used to illustrate the innocence and openness of the world of children and to serve as a counterpoint to the degraded and restricted environment of Sita and Ishwar as adults. Another piece of music used in the film – the one in the party scene and Sita’s suicide scene, is the same music from the orgy scene in Fellini’s La Dolce Vita. Ghatak in an essay writes, “There are times when a tune used in a film by someone else is used to make an observation, the way I myself have done. The music that accompanies the scene of orgy at the end of La Dolce Vita, where Fellini lashes out at the whole of Western civilization, is known as Patricia. I sought to make a similar statement in my Subarnarekha about my own land, this Bengal, so sparkling with intellect. So I have used the same music in the bar scene [and in Sita’s suicide scene], to make a suggestion. The music helped me say a lot of things.”

Later Films

Sen returned to the backdrop of famine once again in Akaler Sandhane (In Search of Famine, 1980), this time in the self-introspection phase of his filmmaking. The films starting with Ekdin Pratidin (And Quiet Rolls the Dawn, 1979) to Khandhar (The Ruins, 1983), move away from the anger and bitter satire of his earlier phase to develop an attitude of concern and compassion for the urban middle class of Calcutta bound by their narrow conventions and false moral values. Sen now felt the need to retreat into himself and analyze – “what I used to do before was to locate my enemy outside me. Now I’m trying to find my enemy within myself, to point my accusing finger at myself.”

Akaler Sandhane is a story of confrontations at different levels – between urban and rural culture, between a tragic past and a potentially tragic present, between cinematic illusion and the reality it claims to present, between an artist and his exploitative instincts which he disguises in the garb of creativity. The film is about a film crew going to a remote village of Bengal to make a film on famine. Sen’s humor is evident in this film where at one point, the film crew with its incessant consumption causes a shortage of meat and produce in the village, resulting in a mini-famine there.

The other films in this phase also tackle such contradictions. Kharij (The Case is Closed, 1982), is a subtle understated exposure of bourgeois compromise and the deliberate self-imposed blindness to the reality that makes such a compromise possible. The film uses the death of a child servant as a political symbol, to ponder upon themes of morality and social class, examining the disparity that exists between the lower and middle classes of Calcutta. In the film, a middle-class family employs a young boy as their house servant – a seemingly normal thing to do in Indian homes even today. In a twist of fate, the boy then dies from carbon monoxide poisoning. As far as a plot setup is concerned, this is all that happens in the film. The narrative then turns into a study of how the middle-class society addresses this particular event.

The film opens with a conversation between an unseen couple in the back of a taxicab as the man offers to buy the woman anything she desires – a new apartment, a car, wardrobe, a television set – all invaluable necessities of happy urban living. In the next scene, the woman, visible this time, suggests another commodity – a house servant who can help break coal for the stove, run errands, and be an attendant and playmate to their young son. The attitude of entitlement and commodification is thus foretold in the film’s opening sequence highlighting materialistic privilege as an agent of indifference, discrimination, insularity, and exploitation.

In another particularly revealing sequence that examines the idea of morality, the homeowner asks for advice from a lawyer on the legal implications of the matter. The homeowner claims that the boy had always been treated as a member of the family. His disingenuous words are rebutted by the lawyer who points out that the boy used to sleep under the stairs, was given very little money, and was ultimately regarded as inferior – any positive interaction from the family was minimal, thus making them active participants in the event. The lawyer, however, confesses that ultimately “the legal lie will prevail over the moral truth.” Sen thus exposes a culture of collective accountability, where exploitation of the poor and the weak are rationalized not only by economic necessity but also socially enabled by an implied complicity that reinforces the status quo.

For a narrative that deals with the subject matter of class, and particularly the exploitation of servants, it would be very easy to descend into ideological rhetoric or sentimentalized melodrama. Sen, however, avoids both. He sharply contrasts the dead boy with the privileged and protected son of the homeowner and maintains a pervasive sense of uncertainty – an uncertainty of conflict between social classes, that pushes the story forward. Without a single line of preaching, the highly nuanced narrative finds the dead boy’s father and another servant boy in the building – representatives of the ‘lower’ class coming through in the end as more dignified than their ‘upper’ class employers.

Khandhar (The Ruins, 1983) explores another guilt and another betrayal – a young man from the city brings along two of his friends, a writer, and a photographer, for a weekend visit to his dilapidated country estate where his cousin Jamini lives, a prisoner of the forgotten past, with her blind and ailing mother. For Subhash, the professional photographer, the encounter with Jamini becomes fraught with the very idea of exploitation and guilt – he takes pictures of her and the sprawling ruins, distancing himself however from any emotional responsibility of participating in Jamini’s painful reality. He returns to the safety of the city, dissociating himself from the experience and relegating Jamini to the one-dimensional prison of a photograph on the wall of his studio. For Mrinal Sen, Subhash is his alter-ego when he says, “I too am intruding with my picture-making machines into the unbearable lives of others, building up a relationship with the young and the old. And then, after finishing the film, I pack up my machines, gather my men and come back to the city, to my tidy, organized room.” Khandhar is then, another exercise in self-introspection, another attempt to understand the foibles of his own time, his own class in the context of a highly personalized cinematic experience.

The memories and nostalgia of his childhood and early youth spent in east Bengal (now Bangladesh) drew Ghatak towards making his penultimate film Titash Ekti Nadir Naam (A River Called Titash, 1973). Based on a Bengali novel of the same title, the film revolves around the life of a fishing community on the banks of the river Titash. The river that gives life to the community steadily dries up, but the protagonist, dying of thirst on its sandy bed dreams of a new life. This assertion of life in the midst of calamity, exploitation, and deprivation is a recurring motif in Ghatak’s films. In Titash Ekti Nadir Naam, it expresses itself throughout the film in the simple joys and sorrows of a people living in daily communion with the river. The song of Lalon Shah, a mendicant poet of the nineteenth century, sets the rhythm of the film which ebbs and flows with the waters of the Titash, investing in the protagonists, the fishing community, a poetic and sentient realism. Ghatak said of the film, “Titash became a kind of commemoration of the past that I left behind long ago. When I was making the film, it occurred to me that nothing of the past survives today, nothing can survive. History is ruthless. It is all lost. Nothing remains.”

The End

While both Ghatak and Sen were participants in the IPTA movement and were both influenced by it, it is Ghatak’s use of melodrama, songs, and coincidence that are telltale signs of his background in theatre. Sen, on the other hand, distanced himself from the sentimentality of his early films, experimented with new wave techniques and settled eventually for a cinema of self-introspection. While Sen made 27 feature films in a career spanning 47 years, Ghatak made 8 features and a handful of unfinished fragments in his film career that spanned 25 years. Sen faced both adulation and intense criticism, especially in the role of a political film-maker. His refusal to stand by an earlier political perception, his eagerness to adapt to his immediate surroundings, his spontaneous response to new political understanding and his constant self-evaluation have all been critiqued from time to time. Yet for Sen, these are signs of growth that he has consistently documented in his work.

Sen recalls his last meeting with Ghatak on Christmas Eve of 1975. While Sen was busy getting ready for the shooting of his film Mrigaya starting the next day, Ghatak arrived at his door unannounced. Emaciated from years of alcohol abuse, with a ghostly pallor on his face and gasping for breath, Ghatak grabbed Sen’s hand like a phantom from the past. The two friends had dinner, they talked and they cracked jokes. Ghatak promised that he would give up drinking. A little more than a month later on 6th February 1976, Ritwik Kumar Ghatak died. In a career ridden with inconsistencies, where extraordinary craftsmanship often went hand in hand with childlike indifference, where the struggle to find money for films met with constant failure, where alcoholism depleted the resources of a keen mind, it is not unnatural that Ghatak found few admirers in his lifetime. Long ago, in his passionate and futile appeal to an indifferent audience, talking about his off-mainstream cinema that had just begun its struggle for survival, he had said, “try to understand that we are moving in the middle of a flowing river. Whatever we are at this moment, that is not our final entity. We shall grow and give shade. We are only waiting for a little sustenance.” Apt then are the last words he ever spoke on the screen, as the protagonist dying in the crossfire between the police and the revolutionaries in his final film Jukti Takko Aar Gappo, “one must do something.”

Sources

  • Mukhopadhyay, Deepankar. The Maverick Maestro. New Delhi: Indus, 1995. Print.
  • Ghatak, Ritwik K. Cinema and I. Ed. Avik Banerjee. Calcutta: Dhyanbindu, 2015. Print.
  • Banerjee, Shampa. Profiles: five film-makers from India. New Delhi: National Film Development Corporation, 1985. Print
  • Rosenbaum, Jonathan. Goodbye Cinema, Hello Cinephilia. Chicago: University of Chicago Press, 2010. Print.
  • Mukerjee, Madhusree. Churchill’s Secret War: The British Empire and the Ravaging of India During World War II. New York: Basic Books, 2010. Print.
  • Simha, Rakesh K. “Remembering India’s forgotten holocaust.” Tehelka.com. Tehelka, 13 June 2014. Web. 21 March 2017.
  • Bingham, Adam, ed. Directory of World Cinema: INDIA. Chicago: University of Chicago Press, 2015. Print.
  • Rosenbaum, Jonathan. Movies as Politics. California: University of California Press, 1997. Print.
  • Boswas, Moinik. “Her Mother’s Son – Kinship and History in Ritwik Ghatak.” rouge.com.au. Rouge (2004). Web. 25 August 2017.
  • O’Donnell, Erin. “Woman and homeland in Ritwik Ghatak’s films.” Jump Cut: A Review of Contemporary Media No. 47 (2004). Web. 21 March 2017.
  • Chatterji, Shoma A. “Ek Din Pratidin – Mrinal Sen’s Indictment on Patriarchy.” learningandcreativity.com. Silhouette Magazine, 14 May 2015. Web. 23 March 2017.

Know your EC team – Pravi Gopalan (2024 Treasurer)

When I sat down to spill the beans in this article, I was scratching my head, wondering where the heck to start. Let’s rewind to the good old days – I popped into this world in a tiny village called “Kundamkuzhy” in Kerala’s Kasaragod district. My childhood was like a wild adventure kids nowadays can only dream of. Picture this: endless freedom, playing from sunrise to sunset, tag games on tree branches that felt like treetop Olympics, crashing at relatives’ houses, and pulling off Olympic-level dives and swims in the river. Meanwhile, my parents were clueless about my whereabouts. Now, when I’m sweating bullets about my own kid’s safety, I ponder how my folks managed to be so carefree. Maybe it was because, back in the day, raising kids was a whole village affair. Yes, a village-wide babysitting network!

My carefree saga rolled on until 6th grade when I bagged a ticket into Navodaya, a boarding school that flipped my world upside down. It took a hot minute to adjust to the schedule and to wave goodbye to my cherished freedom. Adapting to the new routine was like trying to dance to a new beat, but after a few weeks, everything clicked into place. The next seven years saw me bouncing between Navodayas in Kasaragod and Raebareli (UP). Those years sculpted the basic me – the good, the bad, and the quirky. I completed my B. Tech from LBS College of Engineering, Kasaragod and M. Tech from IIT Roorkee.

Fast forward to 2010, and I found myself in Roanoke, VA, a picturesque spot nestled in the Blue Ridge mountain valley. Eleven years of soaking in the beauty before I did the shuffle to Columbus, OH, for work. Roanoke was stunning, but we missed the buzz of a big Kerala community and Malayalee festivals. I had contacted COMA before moving to Columbus, and received guidance, and bam, the next week, we were picnicking (in 2021) with Columbus Malayalees, making a bunch of new buddies.

I got married in 2013 but I met my first love in 2021 – The soccer. I love soccer and used to play in college days, but since I moved to the US, I had no opportunity to play until I moved to Columbus. I got drafted into the famous Tuskers Soccer team for a $1M annual salary :D, and suddenly I was jet-setting around the US for tournaments, feeling like a soccer rockstar.

That is when “veruthe soccer kalichu enjoy cheythu nadanna enne” some friends lured into 2024 COMA EC.

I met my wife Shruti in 2013 and we have a son Ryan. I am very happy that my son has the opportunity to have a glimpse of our Kerala culture through our association and the plenty of Malayali friends we met here.

Here is a photo of my simple and humble family 😛

Regards,
Pravi

P.S. Thanks to ChatGPT 😊

Newsletter February 2024

Hope my readers had a delightful Valentine’s Day with family, friends, and happy moments. February is American Heart Month. This is a great time to get to know your heart better and focus on your cardiovascular health. Preventive measures to reduce the risk of heart disease can also help improve your overall health and well-being – a win-win approach to wellness!

COMA is gearing up for its inaugural event of 2024 – promising a full day of fun with tournaments, games, cultural performances, dinner, and culminating in an electrifying glow party and DJ night. If you haven’t secured your tickets already for the Kaliyattam event on March 2nd, please do so through the COMA website. Tickets are available for both the daytime tournaments and the evening dinner event:

Congratulations to Nijith Zacharia for winning the COMA Kaliyattam poster design contest. Here’s the prize winning poster:

Invest in your heart – Dr. Niju Baby Narakathu

(Niju is an Internal Medicine Physician who works as a hospitalist at Riverside Methodist Hospital, Columbus, and Genesis Health system, Zanesville. He is from Perumbavoor, Kerala who completed residency in New York and moved to Columbus in 2017. He lives in Powell with his wife Katherine and two beautiful daughters – Joella and Qianna.)

I believe there is no month other than February, the month of “love”, to think about our heart, but in a “different” way. Understanding heart health allows us to recognize and reduce the risk factors for heart disease. By educating ourselves we can make healthier lifestyle choices. Additionally, it also helps in early recognition of the warning signs, seeking medical help, and potentially preventing serious complications or fatalities. Heart Health Awareness empowers us to take proactive measures to protect our cardiovascular well-being, leading to a better quality of life and longevity.

What does heart attack mean and why is it important to know about heart attack?

Heart attack happens when the blood flow which brings oxygen to your heart muscles gets cut off, causing damage to the heart muscles. Commonly confused, heart attack is not the same as cardiac arrest. Cardiac arrest is when the heart stops beating suddenly and is most likely an electrical problem of the heart.

According to the American Heart Association, about every 40 seconds someone in the United States suffers from a heart attack. Learning that you have coronary artery disease or a heart attack can be scary or overwhelming. But understand that everyone’s situation is different, and many people can live a full productive life after an event. With proper treatment and lifestyle changes, further damage can be prevented or limited after a heart attack.

What are the symptoms of a heart attack?

  • Pain, pressure or discomfort in the chest, especially with exertion or activities, or at rest
  • Pain or discomfort in other parts of the upper body, shoulders, arms, back, neck, jaw, or stomach
  • Shortness of breath
  • Nausea, vomiting, burping, or heartburn.
  • Cold, clammy skin
  • Fast or uneven heartbeat
  • Feeling dizzy

It is important to understand that a heart attack symptom is not always as we typically see in the movies where a man clutches his heart and collapses. It can be subtle and confusing, especially in women, where you can mistake this as “acid reflux” or “flu” or sometimes even “normal aging”. Please note that heart disease is the No. 1 killer among women in the United States, according to the American Heart Association.

It is particularly important to understand that chest pain does not always mean heart attack, but it is important to see a health care professional right away if you experience any of the above symptoms.

What puts you at risk for a heart attack?

  • High blood pressure
  • Diabetes
  • Kidney disease
  • High cholesterol, more specifically high LDL, low HDL

Your risk is even higher if you:

  • Smoke or vape
  • Eat a diet that is high in red meat, sugar, and fats, low in fruits and vegetables
  • Do not get regular physical activity
  • Obesity
  • High stress levels
  • Have a parent or sibling with heart disease
  • South Asian ethnicity (yes, that is all of us!)

What can you do to lower your risk?

  • Quit smoking/vaping
  • Eat a healthy diet and maintain healthy body weight
  • Limit alcohol intake
  • Regular activity – Aim for at least 150 minutes a week of moderate-intensity aerobic activity (such as brisk walking) or 75 minutes of vigorous aerobic activity (such as jogging), or a combination of both, preferably spread throughout the week. It is also good to include moderate- to high-intensity muscle-strengthening activity (such as resistance or weight training) at least twice a week
  • Find ways to manage stress – yoga, relaxation techniques, and breathing exercises
  • Take prescribed medicines as recommended by your doctor
  • Healthy sleep habits – adults should aim at 7-9 hours a day

What is considered a heart healthy diet?

The specific amount of each food type that you should eat depends on your age, weight, and sex. But your eating pattern or the types of food in your diet is important.

  • Grains: Try to eat whole-grain, high fiber foods each day – brown rice, whole grain breads, cereals.
  • Fruits and vegetables: Try to eat 4 to 5 servings each day; include as many kinds or colors. If possible, eat fresh. If canned fruits or vegetables are your only option, check the labels and look for products without added sugars or salt.
  • Dairy: Try to have 3 to 4 servings each day.
  • Protein: Low fat or lean meat that are baked or broiled, like chicken and turkey without skin. Include oily fish twice a week (tuna, salmon, mackerel). Dried peas, beans and lentils are also rich in protein and fiber.
  • Fats: healthy fats are monounsaturated fats or polyunsaturated fats – found in olive oil, canola oil, and sesame oil, they are also found in nuts, seeds, avocados. and nut butters.
  • Salt and condiments: Always include low-sodium or salt free broths, soups, soy sauce, or condiments.
  • Sweets: Avoid in general. Choose low-fat products with no trans fat.

What should you avoid in a heart healthy diet?

  • Grains: salted breads, rolls, crackers, quick breads, self-rising flours, biscuit mixes, regular breadcrumbs, instant hot cereals, commercially prepared rice, pasta, and stuffings.
  • Fruits and vegetables: prepackaged, regular canned, frozen vegetables with sauce, pickled vegetables, with added sugar or salt
  • Dairy: malted milk, buttermilk, chocolate milk.
  • Meat products: smoked, cured, salted, or canned.
  • Fats: unhealthy fats – saturated fats and trans fats (partially hydrogenated oils, egg yolks, butter, cheese, fried foods, margarine, baked goods likes cookies or cakes).
  • Condiments and snacks: salted and canned peas, beans and olives. Miso, salsa, ketchup, barbecue sauce, soy sauce, teriyaki sauce are all high in salt.
  • Sweets: baked goods in general, artificial sweeteners, fruit juices, soda, and other sweetened drinks.

Try not to shop when you are hungry!

A Comparative Primer on the Films of Mrinal Sen and Ritwik Ghatak – Part 1 – Sandeep Ravindranath

(Sandeep Ravindranath is a student of the audiovisual arts. He has served as a live sound engineer for such acts as Chitravina Ravi Kiran, Nagai Muralidharan, The Carnatica Brothers, Ustad Shahed Pervez Khan and Steve Gorn among others. As an on-location sound recordist, his work on the Lebanese film What Remains was shortlisted for the Student BAFTA in 2018. He holds a Master’s degree in Music Technology from New York University and was a programmer analyst for Sony Music in Manhattan.

His directorial venture The Bookshelf dealt with the subject of growing intolerance in India and was commissioned by Perumal Murugan’s Kalachuvadu and Indira Chandrasekhar’s Tulika. In 2016, Sandeep was offered a full scholarship in the direction program at Columbia College Chicago where his thesis film Diary of an Outsider received Jury invitation from the Directors Guild of America to its Student Awards. To date, his shorts Lullaby, The Bookshelf, Santhana Gopala, Diary of an Outsider and Sub Brothers have screened at over 120 film festivals in 21 countries winning numerous awards along the way. His latest short, Anthem for Kashmir, launched by Anand Patwardhan and T.M. Krishna was censored by the right wing government of India.

Sandeep lives in Dublin, Ohio.)

Mrinal Sen recounts in an interview, his first meeting with Ritwik Ghatak at an Indian People’s Theatre Association (IPTA) gathering – a lanky young man almost his age was reading out his new play with great passion. IPTA, the cultural arm of the Communist Party of India that nurtured many major literary, artistic and theatrical talents of the age would once again sow the seeds that birthed two giants, in an entirely new medium this time – cinema.

That first encounter turned into the frequent meetings at the Paradise Cafe – a cheap tea-shop in South Calcutta where budding filmmakers – young, unemployed and desperate, gathered to discuss films for hours together. It was during these sessions that Sen decided to become a filmmaker, crediting this momentous decision to both the ambiance of the cafe and the infectious enthusiasm of Ghatak. Today, both Mrinal Sen and Ritwik Ghatak are iconic names in the annals of Indian Cinema – their names etched along with that of another Bengali auteur Satyajit Ray. They were pioneers who changed the course of Indian Cinema, leaving behind the commercial, spectacle and glamour driven movie-making of Bombay in favour of a new kind of filmmaking that treated cinema as the art form that it is, using the medium to focus on social and political issues – the partition, famine, caste and poverty, communalism, the position of women, the anguish of the educated unemployed, dissent and so on. They would go on to inspire filmmakers in other regional languages to walk their path, thereby firmly establishing the culture of the Parallel Cinema of India.

Common Roots

Mrinal Sen and Ritwik Ghatak’s common roots go further back than the meetings at the Paradise Cafe or the IPTA. They were both from villages that became East Pakistan in 1947 (now Bangladesh) and moved to Calcutta during their formative years in an undivided Bengal. These socio-political realities of their time would find its way into their filmmaking – if it was the partition for Ritwik Ghatak, it would be famine for Mrinal Sen. Ghatak’s cinematic world would be a world of exiles where dwell the homeless, the rootless and the child separated from the mother – films peopled with characters who have been driven from their homes, forced to draw sustenance from the vitiated atmosphere of the cities. For Sen, while the physical aspect of famine finds a backdrop in three of his films, it is the ideas associated with famine – poverty, hunger, inequality, and injustice caused by human greed and exploitation that find voice in his narratives. The cinematic medium for Ghatak was the weapon that gave vent to his passionate unrest and for Sen, it was a window through which his keen glance penetrated his surroundings with compassion, humor and sometimes rage.

Early Films

Ritwik Ghatak was the first to reach the milestone of completing a feature film. His first feature, Nagarik (Citizen, 1952) was completed three years before Satyajit Ray’s Pather Panchali but was released only in 1977, a year after Ghatak’s death. Ray once said that, had Nagarik been released before his Pather Panchali, Nagarik would have been accepted as the first film of the alternative form of Bengali cinema. The story of a lower middle-class family which by force of circumstance, finds itself declassed through poverty, Nagarik makes a political statement that remains valid even today – in a city teeming with people, the common man, the citizen, who will never win and yet, refuses to admit defeat. Amidst the squalor and degeneration of city life, Nagarik’s hero emerges with hope. The repeated blows of fortune, the path of despair from the tenement to the slums, cannot kill his spirit – the young, unemployed hero will continue to fight for his right to live. Nagarik was shot on a shoestring budget, with a cast entirely unused to the film medium and skeletal facilities buoyed up on primitive equipment. The technical deficiencies notwithstanding, Nagarik reveals the unmistakable signs of an emerging style and the unique sensibility that permeates Ghatak’s later films. Ghatak even managed to pay tribute to that little cafe that played an unforgettable role in the development of Indian cinema – the tea-shop that the hero visits after his failed job interview is, the Paradise Cafe.

The melodramatic style which Ghatak imbibed during his years as a playwright, actor, and director in IPTA is channeled into his film oeuvre starting with Nagarik. The variety of both indigenous and foreign theatrical styles that IPTA incorporated, such as the Bengali folk form, Jatra, and Brecht’s “epic” form greatly contributed to the theatrical shape of his melodramatic style. Ghatak’s melodrama in the Brechtian sense detached the audience from the action of the narrative; instead of a willingly “suspended disbelief” caused by an emotional investment in the hero’s journey and his fate, the audience was now prompted to produce a critical, objective response to the socio-political commentary that Ghatak was making. The frequent use of wide angle lens, placement of the camera at very high, low and irregular angles, dramatic lighting composition, expressionistic acting style and experimentation with songs and sound effects, carry on through his entire body of work.

Mrinal Sen’s first film Raat Bhore (Dawn at the end of the Night, 1955) meanwhile, turned out to be such a disaster that he once referred to the experience as “that feeling of disgust which envelopes a man after his first visit to a brothel.” His second film Neel Akasher Neechey (Under the Blue Sky, 1959) was laced with subtle political undertones and had a good run at the box office but Sen in retrospect found it unbearably sentimental and technically shoddy. It was with his third film Baishey Sravan (The 22nd Day of Sravan, 1960), that Mrinal Sen really came into his own. An exploration of a personal predicament that grows out of a larger tragedy outside the boundaries of the home, Baishey Sravan, was the story of a middle-aged village hawker and the disintegration of his relationship with his young bride in the context of the Bengal famine of 1943. Sen had witnessed firsthand the ravages of the famine in which he saw people dying in their hundreds on the streets of Calcutta – walking skeletons begging for a mouthful of rice before succumbing to their horrible fates . An estimated 3 to 4 million Bengalis perished in that famine caused by the Second World War and crop failures, and compounded by the callous colonial administration and its racist masters in London.

After the first half of the film is spent on a truly idyllic portrayal of the couple, the famine enters silently. There is not a single shot that represents the famine physically – there are no starving people begging for food, there are no vultures and jackals fighting over carcasses and there are no emaciated babies fiercely sucking the breast of its dead mother. The context of the war and the impending calamity is set up with a shot of a passing convoy, the sounds of an airplane and a very long shot of the villagers moving to the city in search of food. As the cry for food becomes louder and louder outside, Sen keeps his camera fixed indoors where the couple, like two animals in a cage, fight each other as poverty and starvation break down the last vestiges of their humanity.

Ghatak’s second film Ajantrik (The Pathetic Fallacy or The Unmechanical, 1958) had a theme that was startlingly new for Indian cinema at the time – it was among the earliest films in India that showcased an inanimate object – a car, as a major character. The story is about a taxi-driver Bimal and his undying love for his battered old jalopy whom he fondly refers to by a human name, Jagaddhal – a run down, 1920’s Chevrolet that is literally falling apart at the seams. Ghatak humanises the car with a comic treatment – headlights that move of its own volition, and the sense of brotherly affection between Bimal and the car with a number plate that reads “BRO 117”. The dialog Bimal establishes with the car – Jagaddhal never “catches colds” or “gets tummy aches” further highlights the humanising aspect of their attachment. Ghatak’s innovative use of sound design that was way ahead of its time further accentuates this anthropomorphising – while Bimal pours water into the car’s radiator, a gulping sound accompanies the action in the soundtrack. Towards the end of the film, as Jagaddhal is dying in spite of the replacement of its parts and the extensive work done on it, a metallic grinding sound becomes louder and louder indicating Jagaddhal’s “sickness”. While there is still some theatricality, unlike his other films, Ghatak has toned down his use of melodrama in Ajantrik in favor of a comedic-drama form. He still retains some symbolism, for instance in the shot where Jagaddhal is being dragged away by scrap-collectors, the frame is composed through the crosses in the cemetery next to which Bimal lives.

As Ghatak’s concerns over modernism and its discontents are well known, Ajantrik could be read as a cautionary tale about man’s obsession with technology in an increasingly material and urban world. While in an article , Ghatak refers to the film as “the story of a crazy man”, and says that “only silly people can identify themselves with a man who believes that that God-forsaken car has life”, the affectionate portrayal of Bimal and his companion in the film certainly does not betray this seemingly condescending tone. In fact, Bimal might well be an extension of Ghatak himself who as an innovative filmmaker, broke all kinds of cinematic rules and regulations. Like Bimal he resisted the fashions of his day, eventually paying the price with an isolation rewarded by a personal vision that goes against the grain. Ajantrik could also have inspired Satyajit Ray to make Abhijaan (The Expedition, 1962) four years later, which had a similar theme of a taxi-driver and his fondness for his car but that film ends on a happier note. This could explain why Abhijaan was one of Ray’s biggest ever successes at the Bengali box-office, while as Ghatak himself recalled, Ajantrik “grossed exactly nothing.”

References

  1. Mukerjee, Madhusree. Churchill’s Secret War: The British Empire and the Ravaging of India During World War II. New York: Basic Books, 2010. Print.
  2. Simha, Rakesh K. “Remembering India’s forgotten holocaust.” Tehelka.com. Tehelka, 13 June 2014. Web. 21 March 2017.
  3. Ghatak, Ritwik K. “Some Thoughts About Ajantrik.” Cinema and I. Ed. Avik Banerjee. Calcutta: Dhyanbindu, 2015. Print.

Know your EC team – Shyam Mohan (2024 Joint Secretary)

“You are what you Think!” Let me begin my story with this. Something that I realized from the early stages of my life. Something that I’d like to pass on to COMA youth as well. Thoughts lead to Emotions, Emotions lead to Actions, and Actions lead to Outcomes! So in a way you create your own story/future/destiny!

My name is Shyam Mohan Ganesh-bhavan Neena. An ardent Kerala-loving, Malayalam-loving person born in the Malabarian coast of Kerala – Kozhikode. I’m sure at least some of you would have read the name twice and thought ‘what’s the deal with his name!”. Like the long name, the story behind it is also long! Overall people take me as a simple person, but I am also a person who understands Lena (Multiverse! :D) So I can be interesting too 🙂

Born to middle class central-government employee parents, inter-state transfer and school hopping were a normal part of my life. After spending my toddler days in Bangalore, pre-school days in Kannur, and elementary school days in Vishakapattanam (AP), we finally ended up in the land of Anathapadmanabha – Thiruvananthapuram, where I finished my schooling from Kendriya Vidyalaya, Pattom and Computer Engineering from College of Engineering, Thiruvananthapuram (CET).

If asked for a nostalgic moment from my childhood, the memories are not complete without mentioning the load-shedding nights (power-cut) we used to have back in the day, where me and my family used to go to the terrace and lie down facing the sky, our faces lit by the diamonds in the sky. My father was a Meteorologist (Weather Forecaster). Sky watching was his job but he did make sure some of that occupational wisdom was passed on to us. To this day, when I look at the night sky, I can spot many of the constellations or read a few cloud patterns to predict if it’ll rain the following day or not. Well.. almost 🙂 He also taught me to occasionally zoom out and realize that we are nothing but an insignificant cosmic dust in this infinite universe and to be humbled by our mere existence in the grand scheme of the cosmos.

I’ve always believed hobbies are food for the soul. Besides the common hobbies of a 80/90’s kid, like playing street cricket, stamp collection, playing RoadRash etc., I also picked up some new hobbies as an adult – photography, drawing, and cooking. Being a passionate nature lover and growing up in the lap of our God’s Own Country, the urge to pickup photography was inevitable. Starting with my first camera (now vintage), a Minolta 35mm, I slowly moved on to a Nikon DSLR, and I now own a SONY Alpha Mirrorless.

Among all my hobbies, drawing is the one that is most fulfilling, where I lose track of time and feel recharged thereafter. Being a foodie and born in a place that I think is a food destination of our vibrant diverse state, many of the favorite moments of my early life were in the kitchen with my dad, or relatives, or with my grandmother. I picked up cooking during my bachelor days and continue to do it whenever I get time.

Having been born in northern Kerala and having lived mostly in southern Kerala, I had visited most of the districts in Kerala by the time I was of prime age, but the central district of Palakkad had always eluded me. I finally ended up marrying my wife from Palakkad, a place that I visited for the first time in my life on the day I met her. Falling in love with everything I saw that day, rest is history 😉 Well, here we are – a family of four with our two beautiful children, Eva and Milan. Apart from our priceless family time at home, our favorite family destinations include Munnar, Colorado, and the Caribbeans.

After coming to the United States 15 years ago, and having travelled or worked in 30+ states, I finally chose our dear-old Ohio to settle in! They say Home is where you find peace. Ohio is our second home (after Kerala) and this is where we want to come back to, always. Be it the four seasons, the food, good education for children, or the welcoming “Mallus”, I believe there is something for everyone here – in the humble view of a simple guy like me 🙂 And honestly, COMA feels nothing short of an extension of our own kin and clan!

Warm regards!

Shyam

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