Monday, 9 May 2016

നെന്മണി കഥകൾ - 1: പ്രളയം


“ഉള്ളവർ ഉള്ളവർ ഉണ്ണാനിരിക്കുമ്പോൾ
ഉണ്ടെന്ന ബോധമാണ്‌ ഉണ്മയെങ്കിൽ  
ഇല്ലാത്ത ലോകരെ അവിസ്മരിച്ചീടുകിൽ
ഉണ്ടാകും നൊമ്പരം തന്മയത്ത്വം,
ഉണ്ടേലും ഇല്ലേലും ഉള്ലോരുലോകത്തിൽ
താനുണ്ടെന്ന തത്ത്വമാണ്  ആത്മസത്യം!”

കഥ 1: പ്രളയം - അമ്മയുടെ കുട്ടാനാട്ടിലെ ബാല്യകാല ഓർമ്മകളും 
അമ്മ പറഞ്ഞ കഥകളും വാക്കുകളും ഉള്ളടങ്ങുന്ന ഒരു സ്മരണ.

പ്രളയം ഓരോരോ നെന്മണിച്ചോറെടുത്തെൻ അംഗുലി തുമ്പത്താ വെണ്മകാൺകെ ഓർക്കാതെവയ്യമ്മ തൻ വചനം പിൻകാല വൃത്താന്തം ഉപസ്സ്മൃതികൾ ഓളങ്ങൾ തല്ലുമാ ഗ്രാമനാടിൻ പുഞ്ചപ്പാടങ്ങൾ നീരൊഴുക്കിൽ നെഞ്ചകം മുങ്ങി കിടന്നനാളിൽ നഷ്ടപ്പാടങ്ങൾ നീളെ നീളെ കഷ്ടപ്പാടുകൾ എമ്പാടും, ഗ്രാമം കഞ്ചുകം മുങ്ങിയ ചഞ്ചലാക്ഷി! ഇക്കൃഷി നാശങ്ങൾ ഏറെയെന്നും നെല്ലും കതിരും പതിരുമായി കുഞ്ഞുങ്ങൾക്ക്‌ ഉണ്ടല്ലോ വേർതിരിവ് കൂട്ടത്തോടന്നവർ നോക്കിനിന്നു ഒഴുകിപ്പായുന്നത്‌ ആറ്റിലൂടെ ഒരോണത്തിൻ മോഹങ്ങൾ പൂങ്കുലകൾ വേലിയുമില്ല വരമ്പുമില്ലാ വേല- യ്ക്കോ ഒട്ടും വഴിയുമില്ലാപ്രദേശം ഇമ്മട്ടിൽ പോയാൽ ആക്കരയിൽ കുട്ടികൾ വാടിത്തളരുമ്പോൾ പട്ടിണി വന്നോരോ വാതിൽ മുട്ടും പേമാരി പിന്നെയും പെയ്തു നിന്നാൽ തെല്ല് വിറകിന്നും പട്ടടക്കും ബുദ്ധിമുട്ടും നിൽക്കക്കള്ളിയില്ല ആ കയത്തിൽ കൊക്ക്മുണ്ടിയാണേൽ പറക്കാല്ലോ! കൊക്കിൽ ജീവനുള്ളാത്മാക്കളെങ്ങിനെ മക്കൾതൻ രോധനം കണ്ടുനില്ക്കും?, വിശക്കും മക്കൾതൻ രോധനം കണ്ടുനില്ക്കും?! പട്ടിണി കൊണ്ട് കൈനീട്ടവേണ്ടും! മാനാഭിമാനങ്ങൾ വില്ക്കവേണ്ടും!! ഇക്കഥ താണ്ടിയോരമ്മയുമായി അന്നുണ്ണിയായി ഉണ്ണാൻ ഇരുന്നനേരം ആരാരോ കൂട്ടുകാർ ആറ്റിറമ്പിൽ ചങ്ങാടം കെട്ടി തുഴയുമായി കൂക്കി വിളിക്കുന്നു കൂട്ടിന്നായി ഇട്ടെഴുന്നേൽക്കാൻ ഉത്സാഹമായി പറ്റതിൽ അല്പം ബാക്കിനില്ക്കെ അന്നുനെഞ്ചിൽ കൈവച്ച് അമ്മചൊല്ലി: “ഇതു തിന്നാതിരിക്കല്ലേ പൊന്നുണ്ണി ഒരു നുള്ളുച്ചോറും കളയല്ലേനീ! ഈ നെന്മണിച്ചോറും നിൻ കണ്മുന്നിൽ എത്തിച്ചേരുന്നത്‌ ഓർത്തുനോക്കൂ നഷ്ടപ്പാഠങ്ങൾ മറക്കരുതേ കഷ്ടപ്പാടുകൾ ഓർത്തുനോക്കൂ ....” ഓരോരോ നെന്മണിച്ചോറെടുത്തെൻ അംഗുലി തുമ്പത്താ വെണ്മകാൺകെ ഓർക്കാതെവയ്യ അമ്മതൻ വചനം: "ഇതെത്ര പേരുടെ സന്തതം പരിശ്രമം!"

©Sujit Sivanand - May 2016.



Tuesday, 5 April 2016

'Maattoli' - A Tribute to Mahakavi Kumaran Asan



Published in the March 2016 issue of 'Maattoli', a Toronto based Malayalam magazine.

Monday, 22 February 2016

ചാരുകസേര

ചാരുകസേര

വീടിൻറെ ഉമ്മറചാരുകസേര-
യിൽ അച്ഛൻ ഇരിക്കുന്നുണ്ടാവാം  
തീതിന്ന ബാല്യവും ബാന്ധവവേർ-
പാടും ഓർമ്മയിൽ ഓടുന്നുണ്ടാവാം

കായലിനക്കരെ മാമരത്തോപ്പുകൾ
വീശിവരുന്നൊരു കാറ്റിൽ
കാണാറുണ്ടച്ഛൻ അറിയാതുറങ്ങും
ആചാരുകസേരയിൽ സാന്ദ്രം

അങ്ങോട്ടും ഇങ്ങോട്ടും ഓടും
തിരക്കിൽഞാൻ ഓർക്കാറുണ്ട്
എന്തേ അച്ഛൻറെ പണ്ടത്തെ
കഥകൾ കേൾക്കാറില്ലൊന്നും?

കൂട്ടുകാരൊക്കെ പോയതിനാലോ
കൂടുതൽ മിണ്ടാട്ടമില്ലാതിരിക്കേ
കൊച്ചുമക്കൾമാത്രം കേൾക്കാറു-
ണ്ടച്ഛൻറെ ധർമ്മാധർമ്മവിലാപം

വീടിൻറെ ഉമ്മറചാരുകസേര-
യിൽ അച്ഛൻഇരിക്കുന്നുണ്ടാവാം

നേരമിരുണ്ട് ഞാൻ വീടെത്താൻ എന്തേ
വൈകിയതെന്നില്ലോരു ചോദ്യം, എന്നാലും
ദൂരത്തുനിന്നു ഞാൻ കാണാരുണ്ടച്ഛൻ
കാത്തു വേലിക്കൽ നില്ക്കുന്നതായി

വീടെത്തുമ്പോഴോ - ഒന്നുമറിയാതെ
വീണ്ടും ചാരിഇരിക്കുന്നകണ്ടാൽ
ഓർമ്മയിലാണെന്നഭാവം എങ്കിലും
കാണാം മായുന്നൊരു  മൗനശകാരം

വീട്ടിൽ വരാറുള്ളെൻ ചങ്ങാതിമാ-
രോക്കെ അച്ഛനെ കാണാറുണ്ടത്രേ
ഞാനറിയാതെൻ കാര്യവിശേഷങ്ങൾ
അവരോടു ചോതിക്കുമായിരുന്നത്രേ

കായലിനക്കരെ മാമരത്തോപ്പുകൾ
വീശിവരുന്നൊരു കാറ്റിൽ, മാമക
ചാരുകസേരയിൽ ഞാനിരിക്കുമ്പോൾ -
എല്ലാം ഓർമ്മകളാണ്ണെന്നുമാത്രം!


Penned in February 2016, in memory of singer Bibinkumar's Late father who lived in Palluruthy, Kochi.
Copyright retained by the author
©Sujit Sivanand





Friday, 1 February 2013

'Ambasamudram' - Blue Verses

(Inspired by biographical recordings of Sree Narayana Guru)

-  അംബാസമുദ്രം -

നീലാംബരമേ കണ്ടതു നീ അംബാസമുദ്രമേ കണ്ടതു നീ കണ്ടവര്‍ രണ്ടേ ഇന്നിനി, നിങ്ങള്‍ കണ്ടവര്‍ രണ്ടേ ഇന്നിനി നീലത നീര്‍മിഴി ഒഴുകാതെ ആത്മനൊമ്പരം നെഞ്ചടക്കി നടന്നകന്നൊരു നായകനെ മാനവ സോദര യാചകനെ നീലാംബരമേ കണ്ടതു നീ അംബാസമുദ്രമേ കണ്ടതു നീ.... നീരസം തീരെയും അറിയാതെ ആത്മകഥകള്‍ കുറിക്കുമ്പോള്‍ ആ രോദനം നീ മറക്കാതെ നീല മഷിയില്‍ എഴുതൂ നീ! നീലാംബരമേ കണ്ടതു നീ അംബാസമുദ്രമേ കണ്ടതു നീ കണ്ടവര്‍ രണ്ടേ ഇന്നിനി,നിങ്ങള്‍ കണ്ടവര്‍ രണ്ടേ ഇന്നിനി....


ഈ പാട്ടിന്‍റെ പശ്ചാത്തലം :

വിദ്യാനന്ദസ്വാമി എഴുതിയ ശ്രീ നാരായണ ഗുരുവിന്‍റെ ഒരു സഞ്ചാരത്തെ കുറിച്ചുള്ള വിവരണം ശ്രീ മൂര്‍ക്കോത്തു കുമാരന്‍ എഴുതിയ ഗുരുവിന്‍റെ ജീവചരിത്രത്തില്‍ നിന്നും മനസ്സിലാക്കാം.

മഹാസമാധിക്കു ഒരുവര്‍ഷം മുന്‍പ് ഗുരു വർക്കലയില്‍ നിന്നും അംബാസമുദ്രത്തിലേക്ക് പുറപ്പെട്ടു. "വാര്‍ധക്യം പല രോഗങ്ങളും നല്‍കിയ ശരീരവുമായി ഗുരു നടത്തിയ ഈ സഞ്ചാരത്തിനുണ്ടായ കാരണം ഈ അവസരത്തില്‍ എഴുതാതിരിക്കുന്നതാണ് ഭംഗി എന്ന് കരുതുന്നു. ആളും മേളവും ഇല്ലാതെ നമ്മുടെ നാട്ടുകാരുടെ നന്ദികേടില്‍ നിന്നും ഗുരു ഓടി ഒളിക്കുകയായിരുന്നു. മഴ ഏറ്റു നനഞ്ഞ വസ്ത്രവുമായി നടന്നും പുഴയില്‍ നിന്നും കുളിച്ചും ആല്‍ മരത്തിന്റെ വേരുകൊണ്ട് പല്ലുവൃത്തിയാക്കിയും അലഞ്ഞു നടന്ന വൃദ്ധനായ നമ്മുടെ ഗുരുവിനെ നമുക്ക് അറിയാമോ? ഗുരു അന്ന് പറഞ്ഞ വാക്കുകള്‍:

"ഇനി മലയാള രാജ്യത്തേക്ക് പോകേണ്ട, നമുക്ക് ഇവിടെ എവിടെ എങ്കിലും താമസിച്ചാല്‍ മതി. ആരെങ്കിലും അന്വേഷിച്ചു വരും ആയിരിക്കും. എന്നാലും പോകരുത്. ആരുവരാന്‍ നമ്മെ അന്വേഷിച്ച്? നമ്മുടെ ദാസ് വരുമായിരിക്കും...പിന്നെയും ചിലര്‍ എങ്കിലും ഉണ്ടല്ലോ...ഈ തമിഴരെ പോലെ ആര്‍ക്കും സ്നേഹം ഇല്ലല്ലോ..."  ആ അലച്ചിലിനിടയില്‍ ഗുരു പറഞ്ഞു. "ജീവ ചരിത്രം എഴുതുന്നവര്‍ ഉണ്ടെങ്കില്‍ഇതെല്ലാം വിട്ടുപോകാതെ എഴുതേണ്ടതാണ്".

തമിഴ് നാട്ടില്‍ നിന്നും ഗുരു ശ്രീലങ്കയിലേക്ക് പോയി. ശിഷ്ടം ജീവിതം അവിടെ ജീവിക്കാം എന്ന് ഗുരു ആഗ്രഹിച്ചു. പിന്നെ പല ഭക്തന്‍മാരെയും കൊണ്ട് ശുപാര്‍ശ ചെയ്യിപ്പിച്ചാണ് ഒരുവിധം ഗുരുവിനെ ശിവഗിരിയില്‍ തിരിച്ചെത്തിച്ചത്. അതിന്‍റെ ശേഷം ആയിരുന്നു ശിഷ്യ പാരമ്പര്യം ഉറപ്പിക്കുന്നതിനായി ധര്‍മ്മസംഘം സ്ഥാപിച്ചത്.

അന്നാ രോദനം കേട്ടവരും  കണ്ടവരും എല്ലാം മറഞ്ഞുപോയി.  കണ്ടവര്‍ രണ്ടേ ഇന്നിനി. നീലാംബരവും അമ്ബാസമുദ്രവും മാത്രം.


©Sujit Sivanand
(Penned in February 2012)

Monday, 6 August 2012

Poem: Poomottukal (Flower Buds)



- പൂമൊട്ടുകള്‍-

( ഒരു ഊട്ടു പാട്ട് )

അമ്മയുടെയും  നമ്മെ വിട്ടുപോയ എല്ലാ അമ്മമാരുടെയും ഓർമ്മക്കായ് 


പ്രമേയം: ഒരു അമ്മയും കുട്ടിയും തമ്മിലുള്ള സംവാദമായി ഒരുക്കിയ ഈ പാട്ടിന്‍റെ പശ്ചാത്തലം അഞ്ചു ബാല്യ സങ്കല്‍പ്പങ്ങളായ - ഭൂമി, ചന്ദ്രന്‍, സൂര്യന്‍, അച്ഛന്‍, അമ്മ എന്നിവയും, അവയ്യില്‍കൂടി നേടുന്ന ഭാവാനുഭവങ്ങളും, ആ അനുഭവധാര തന്നെ ആറാമതായി തന്‍റെ ഗുരുവായി അറിവായി തന്നില്‍ വിളങ്ങുന്നു.  ഈ ഊട്ടുപാട്ടില്‍ക്കൂടി അമ്മ കുട്ടിക്ക് അറിവും മൂല്യങ്ങളും പകരുന്നു.


 

അമ്മ:
ആരിയന്‍ നെല്ലിന്‍റെ ചോറു തരാം
അന്നത്തിന്നപ്പുറം  പാടിത്തരാം
അമ്മയീ  താലത്തില്‍ വച്ചിരിപ്പൂ
പൂമൊട്ട്  പോലഞ്ചുരുളമാത്രം
അമ്മ:
ഒന്നാനാം പൂമൊട്ടിതാര്‍ക്ക്  വേണ്ടി?
ഒക്കെയും തന്നോരു ഭൂമിക്കല്ലേ?
ഒപ്പവുമുള്ളൊരു ദേവിക്കല്ലേ?
ഉണ്ണി:
ഒന്നാനാം പൂമൊട്ട്  ഭൂമിക്കല്ലോ
ഭൂമിയും ദേവിയും ഒന്നാണല്ലോ
അമ്മ:
രാമാനം കാക്കുന്ന ചന്ദിരനോ?
രാപോയി പാക്കുന്ന തിങ്കള്‍മീനോ?
രണ്ടാനാം പൂമൊട്ടിതാര്‍ക്ക് വേണ്ടി?
ഉണ്ണി:
രണ്ടാനാം പൂമൊട്ട് ചന്ദിരന്
ചന്ദിരനാണല്ലോ തിങ്കള്‍മീനും
അമ്മ:
മൂവന്തി ചോപ്പിച്ച ഭാനുമാനോ?
മുല്ലപ്പൂ മഞ്ഞിലെ ഭാസുരനോ?
മൂന്നാനാം പൂമൊട്ടിതാര്‍ക്ക്  വേണ്ടി?
ഉണ്ണി:
മൂന്നാനാം പൂമൊട്ട്  ഭാനുമാന്
ഭാനുമാനാണല്ലോ ഭാസുരനും
അമ്മ:
നല്ലോല കെട്ടി പൂപ്പന്തു തട്ടാം
നാലാമന്‍ പൂമൊട്ടിതാര്‍ക്ക് വേണ്ടി?
ഉണ്ണി:
നല്ലോരു നാളിനായ്‌ വേലചെയ്യും
നല്ലചഛനായിതു  മാറ്റിയാലോ?
അമ്മ:
ഇല്ലില്ല ഉണ്ണിക്കു ശക്തി വേണം  
നല്ലോല കെട്ടി പൂപ്പന്തു തട്ടാന്‍
അമ്മ:
ആകെ വിശക്കുന്നു അമ്മക്കിപ്പോള്‍
അഞ്ചാമന്‍  പൂമൊട്ടിതാരെടുക്കും?
ഉണ്ണി:
ആകാശത്തേക്കമ്മ നോക്കിനില്‍ക്കൂ
ആരാരാ പൂമൊട്ട്  കൊണ്ട്പോകും?
അമ്മ:
കാക്കത്തിയാണോ പൂച്ചത്തിയോ
അഞ്ചെല്ലാം പൂമൊട്ടും കൊണ്ടുപോയി!

©Sujit Sivanand

Friday, 30 December 2011

Inspired by the poem 'Arivu'

A few years ago when I enjoyed the gist of the poem 'Arivu' by Sree Narayana Guru, and in the backdrop of the five elements of nature ('pancha-bhootha') as the building-blocks that compose and decompose life; I penned the English verses below with the intention of later translating to Malayalam (see link).

The alternating stanzas paint the eternal self as statements of what 'I am not’ and what ‘I am’. Usage of the 'I' represents the immortal component of a human life (not this author), summing up that we are not our bodies, but essentially configurations of imperishable consciousness or knowledge.


- Why 'I' cannot die -

I came not from the earth,
water, space, fire, nor wind
that took shape in knowledge
of the mitochondrial kind.

Built on blocks of information,
aspirations, wins or pains
from follies of sometimes
this human nature unkind.

Cry not for that earthen pot,
nor the water, the fire,
that space or the wind,
all that I just left behind.

I am here, that you’ll find,
as knowledge disseminated,
what others assimilated
and inspirations of some kind.

--------------0---------------

On occasions, such as the recent passing of my mother (pictured above) and earlier still my father and some friends, this thought calmly prevailed as the spiritual answer or truth behind their memorable lives.

Saturday, 24 April 2010

A Brief Poem by Kumaran Asan




Written by Mahakavi Kumaran Asan, circa 1910, the poem titled "Kuttiyum Thallayum" (Child and Mother) is in simple language, setting out an imaginary dialogue between a toddler and mother. This work was part of a collection of poems published under the title "Pushpavadi" (Floral Garden).

In a question-answer format, the poet symbolizes a child's fantasy, of flying high to play with butterflies, and contrasts it with some of the unachievable feats that we expend our youth hoping to achieve; in a Universe where our knowledge is belittled by our relative insignificance.

In just eight short verses, the mother-child dialogue turns interestingly philosophical, as much as it is enchanting.

Knowing well that the charm of the original cannot be fully brought across from one language to another; here I have translated the verses into English, observing poetic diction as far as possible. This is primarily for the benefit of the younger ones who might get to appreciate the poem a step further.

Child and Mother


Look Mother!, it's this vine from where,
now lush-blossoms fly, off into the air!

Mistaken! you are, O'little one today, all
pretty butterflies these are, for sure I'd say.

See, what a glory in the sky, O'Mother,
they're simply soaring, one above another!

O'what a shame! Play-not I can, amid them there,
all because  fly nor can I; [pity me Mother!]*

O'little one, you keep counting feats you
cannot meet - whilst ye beauty simply fleets!

Ah! playful toddler aren't you? Little jasmine,
could you even walk? [Then so to fly?]*
O'tell me why [can't I fly]* is that so? A kiss I
can spare you, Mother, should you tell me why.
Belittled here is knowledge, yours and mine,
Sweetie, the rest remains a mystical-will divine.


*[Implied]

Expressional translation: Sujit Sivanand

29 June 2009

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Sunday, 28 February 2010

Restoring a rare picture of Gurudevan


About two years ago my brief visit to the Alummoottil Meda (manor) at Muttom, Mavelikara, was primarily to shoot pictures of that old manor. At the time, I noticed a large framed picture of Gurudevan that donned the wall of the Meda's hallway. Being familiar with most of Gurudevan's real-life photographs that are currently in the public domain, this ageing picture on the wall struck my attention as one not seen nowadays in the press, websites and journals. I clicked a couple of shots of the picture from off the wall and compared it to many of the similar looking pictures of Gurudevan, only to confirm that this was indeed a unique one. Also noted that the picture was deteriorating due to the affects of tropical weather.

Last week one of the current heirs of the Alummoottil family, Mr. Radhakrishnan Madhavan, and I met at Muttom to have this picture restored and digitized for long term preservation. We opened up the heavily misted glassed frame, gently cleansed the emulsion layer of the photo-paper and using macro lenses copied the original print on a high resolution DSLR camera.

Photograph or painting

The reason I am still calling this a 'picture' (and not insisting it is a 100% photograph) is because it is evidently a highly "touched-up" photograph ~ most likely shot, touched-up, re-photographed, enlarged and printed by 'Sree Krishna Photos, Kayankulam' as indicated on the mount ~ not sure whether the studio exists today.

I have run the picture through art experts, who concur that it is a "touched-up" photograph and not a painting; as in the early 20th century there were hardly any artists who could have achieved such a high degree of perfection in portraiture painting in Kerala. Aso there is no artist's sign-off or dating. Details of the 'untouched' portions (such as clothes, hands etc.) are of a high photo-realistic quality.

It was rather common practice in the early days of black & white plate photography that photo studios employed artists to cut & paste the subject on new backgrounds and to give finishing touches to portraits; sometimes doing the 'touch-up' work directly on the large format negative plates itself. Where the original shot was not under ideal lighting conditions and background settings, these artists often replaced the background by painstakingly blending the cut-out edges, by touch-up artwork, to a backing paper, and finally re-photographing on a second negative plate. Thus achieving the kind of results we easily get today in Photoshop.

History of the picture

Information collected so far indicates that the original picture was most likely created by the Alummoottil family through a photographing commission, during one of Gurudevan's private visits to their Meda circa 1920; when Alummootil Channar was celebrating his Sashtiabdapoorthy and the Guru graced the function and stayed at the Meda for a couple of days. It was not unusual in those days that prominent families arranged for a photographing session on Gurudevan's private visits.

With the kind permission of senior members of the Alummoottil family (Dr. Ravindran Madhavan and Mr. Radhakrishnan Madhavan) I am pleased to release this picture today into public domain.

Attribution on the digital edition

This digital edition would be available for public use, but shall bear 'Creative Commons' attribution to the Alummoottil family. Wherever the picture is to be used, 'attribution of source' is expected to be disclosed as below.

CC Attribution: Alummoottil Portrait 1920

For attribution type refer:http://creativecommons.org/licenses/by/3.0/


Sujit
Mavelikkara
28 February 2010

Thursday, 19 November 2009

N. Sivanand

Snapshots from a life in retrospect

N. Sivanand was a golden-ager among Kuwait's expatriate oil sector employees. After having served in the British Indian Army in Burma and Indonesia and the private sector in Bombay, in January 1948, Sivanand was one of the early Indians expatriates to arrive in the then British protectorate of Kuwait. Journeying from Bombay in a small charter aircraft that landed on a gatched mud airstrip inside the walled city of Kuwait, Sivanand was part of a British Petroleum managed team formed to launch the commercial oil operations of Kuwait Oil Company (KOC).

Sivanand worked for KOC up to 1966 and after construction of the Shuaiba refinery, he moved to the new set up of Kuwait National Petroleum Company (KNPC), from where he later retired in 1986, after 39 years of service for the oil sector in Kuwait. Popularly known as ‘Siva’ during his days in Ahmadi, Kuwait, he was founder member and patron of various socio-cultural organisations such as the Kuwait Photographic Society (KPS), Unity Cricket Club (UCC), Kerala Samajam, Kerala Dramatics Society (KDS) and the Gardeners' Club of Kuwait.


Siva’s three greatest passions were photography, cricket and gardening. His aptitude for art and his outstanding talent for black & white photography were behind the lens that captured hundreds of artistic portraits and priceless images of the history of early Kuwait from the 1940s through to the 1970s.

Birth and early childhood

Sivanand was born on 20th November 1924, at Kallumala, Mavelikara, as the eldest son of his mother Paapyamma, a school teacher, and father M. C. Narayanan ("M. C."), a social reform activist and later Judge of the Village Panchayat Court and honorary Second Class Magistrate.

Sivan spent most of his early youth in Mavelikara, going to school mostly in the company of his many cousins and friends from Kallumala. Of the several incidents he recalled from his youth, were those days around the historic Temple Entry Proclamation of Travancore in 1936, when he and his cousins for the first time walked into the until then forbidden enclosure of Sree Krishnaswamy Temple at Mavelikara, only to be blockaded and challenged by some of his own schoolmates, thus leading to his squad of cousins overpowering those who resisted their entry.

In 1941, on graduating from Bishop Hodges High School in Mavelikara, it was Sivan’s desire to take up higher studies. However, at that time, his father had suffered losses in a furniture manufacturing unit that resulted in accumulating liabilities, which threatened to attach the family properties and home. As the eldest son, Sivan felt obligated to support the family and assist with the education of his younger siblings.

An underage in the British India Army

Pressed by social pressures and daring youth, Sivan moved in search of employment, leading him to a friend in Calcutta. In Calcutta, at age sixteen and aware of the risks of war, young Sivan enrolled in the British India Army, which was recruiting for the Allies’ Asian resistance in World War II. Sivan soon found himself being moved with platoons through North East Frontier Area and into the midst of the war in Rangoon, Burma. For months his money order remittances would promptly reach home, but in line with the army’s secrecy over its troop movements Sivan’s whereabouts was unknown to his parents, as his letters were never delivered home. Meanwhile Sivan was never alone, as he made many good friends and acquaintances from the army; those that influenced his outlook on life and to later venture abroad. Noteworthy among his close friends from Calcutta were two brothers, Sunil Kumar Lahiri and Sujit Kumar Lahiri (whose first names Sivan later adopted for two of his sons). So also an older soldier and compatriot from Travancore, Louis Chettan (fondly called ‘Chettan’, meaning big brother) became a friend and mentor, - their friendship lived through to the late nineties until the passing of Chettan. Sivan also maintained friendships with his British comrades, such as Major Beavers who introduced him to the art of photography.

Sivan’s service in the army did not however last long. Towards the end of the second year in the army and based on a petition from his mother to the Army Headquarters, despite the war, Sivan was duly discharged from the army on grounds of his mother’s claim that Sivan had enrolled in the army as an underage recruit, at sixteen.

Bombay - Tough times and aspirations

Moving to Bombay, in 1943, Sivan initially worked in the private sector for JK Mills, Impex and other short-term clerical jobs, often having to live in poor boarding facilities. Sivan, who by nature never complained of his difficulties, once recalled those days as some of the toughest having to spend the nights in makeshift sleeping bags to ward of the swarms of mosquitoes that troubled him more than the enemies in the warfront! That boarding, although mediocre, it seems was located near a pig sty in the suburb of Chembur.

Around 1945 Sivanand was better employed in Air India and was counting on the number of years of savings needed before he could go back to Travancore or Madras and continue with his studies. At this juncture came an offer of employment in the Middle East, then infamous for its extreme weather and harsh living conditions in the desert (before the days of electricity and water supply). British Petroleum (BP) was offering a salary of Rs 275 plus all-found accommodation and bi-annual leave travel, for work in the desert sheikdom of Kuwait. The offer sounded attractive to Sivan, as at that time his thinking was that, at double the current savings he could get back to studies in half the number of years of his working life.

Willingness to adventure to Kuwait was mustered, but financial ability was still in question. Sivan having supported his family and siblings over his working years had no liquid cash in savings to spare for the initial expenses for the venture to Kuwait. On hearing of Sivan’s plans, Louis Chettan encouraged Sivan; and without asking handed over Rs 400 (a substantial sum of money in those days) for Sivan’s expenses and remittances home during the job transition period. Louis Chettan, before his death, in a letter to this author, recollected this incident and how Sivan duly returned the money over the first two months, mailing currency notes back to Chettan in two envelopes (as there was no banking and remittance facilities from Kuwait in those days).

Life in Old Kuwait

In January 1948, flying from Bombay on a small charter aircraft that landed on a gatched mud airstrip inside the walled city of Kuwait, Sivanand was part of a British Petroleum managed team that arrived to launch the commercial oil operations of Kuwait Oil Company (“KOC”). Sivan more than once reminisced hearing the news of Mahatma Gandhi's assassination whilst Sivan was in the midst of his initial journey to Kuwait. Sivan’s plans of working abroad were short-term, but destiny had it that Sivan would be there a lot longer.

Living conditions in the first year in Kuwait were tough. Camps were in canvas tents with just kerosene lamps for the night. Electricity was yet to come. Even the ruler’s palace had just begun to enjoy the privilege of electricity supply from a generator operated by KOC. Potable water was transported in sheepskin water bottles from Basra carried on the backs of donkeys. KOC used to have makeshift seawater filtration units until later the first distillation plant was set up by the British.

Weekends were days that Sivan and his collegues used to drive from Ahmadi to the walled city of Kuwait. Sivan often taking the opportunity to capture the city scenes on camera. On such occasion, strolling with his camera and clicking pictures around this ruler’s palace, Sivan was summoned by the palace guards. Sivan thought he was being led into the palace because of the sensitivity of having taken pictures of the palace gate. However, he was to meet a senior royal family member, H.E. Sheikh Abdullah bin Jabir Al-Sabah, who requested that a few pictures be taken of H.E. and a teenaged daughter.

Pursuit of passions

In retrospect, Sivan’s life was all about making the best of what was possible in a place without many social openings or conducive living conditions. From childhood, Sivan was fond of reading books, as he grew up in a home (a. k. a. “Vaayanashaala”) that housed a public library set up by his father. Sivan took to reading; and his exposure to books and magazines triggered an avid interest in art, photography and gardening, which he took up as a passionate hobbies and challenges in his life in Kuwait. As more Indian and British expatriates came into Kuwait, Sivan cultured a large circle of like-minded friends from across communities, including Indians, British and Kuwaitis. He kept himself busy with cultural activities and building social networks where they did not exist.

Sivan and his friends founded organisations such as the Kuwait Photographic Society, Cricket Club and the Gardeners' Club of Kuwait. He also played active roles in Malayalee organizations such as the Kerala Samajam and Kerala Dramatics Society (KDS).

Sivan’s Photography

From the 1950's through to the 1970's Siva’s house was outfitted with latest photography equipment and gadgetry such as still cameras, exposure meters, flashes, floodlights and dark room equipment like agitators, enlargers, washing trays and stock of chemicals and consumables; all essentials of a professional photo studio. While most of the photo shoots Siva undertook was in pursuit of his hobby, he was also occasionally engaged as a freelance photographer by KOC and KNPC on special occasions. Some of the early aerial photographs of Ahmadi township in Kuwait were shot by Siva.

Siva was several times winner of trophies such as the Scott Shield, Agfa Gevaert Trophy, Magwa Shield, Asad Shield from the 1950s through the 70s. In 1976 alone, before retiring from his passionate hobby as a photographer par excellence, Siva won all three, the gold, silver and bronze medals in the annual KPS competitions. His photographic works on the desert life of Kuwait have also won him prizes at the Rotary District 320 photographic competition in India.

Principles and Ethics

At home Sivan used to occasionally reiterate his own of values and ethics of dealing with people. He often told his children not to be afraid of seeking what was rightfully theirs; but never to seek or keep anything outside the bounds of righteousness. Sivan cited his reason for leaving home to work at the age of sixteen was because he wanted to free his family of debts.

In later life too Sivan and his father M.C. set in practice their ethics and moral values over and above opportunities. An exemplar of such values was shown in the early 1960s when the family had for over 25 years held under lease (paattom) possession five acres of agricultural dry land within Mavelikara Municipal limits; land that was rightfully owned by members of the Kaleeyikal family of Mavelikara. Under the Kerala Land Reforms Act of 1963, the property could have transferred ownership to the tenant, but both M.C. and Sivan took a moral stance. They approached the owners and offered to either buy the property or return it. The owner (family's son-in-law, a head constable of police and friend of M.C.) was taken aback by the gesture and was gladly willing to sell it for next to nothing. After ensuing discussion and putting the property on the market, it was then purchased by Sivan at a premium to the price offered to them by the MKV family; and with the full goodwill of Kaleeyikal family. Both Sivan and M.C. held to their own moral high ground, which prevailed over benefits offered by the law.

Retirement and Passing

Follow retirement from his service in Kuwait in 1986, Sivan was keen on spending time as an agriculturist back in Mavelikara, the family’s hometown. As an extension of his passion for gardening—which earned him many prizes from the Gardener’s Club in Kuwait—Sivan earnestly took to becoming a planter. He kept his interest in vegetables and fruits (one giant banana bunch he grew using a tissue-cultured sapling, was subject of a news report in Malayala Manorama) and went on to develop a rubber plantation around the present-day main Elavanthi property. He also took to farming other crops. After spending 20 years as a planter and agriculturist, age-related health problems gradually disabled Sivan towards the end of 2006, after which he lived in Cherthala with his daughter’s family.

Despite his disabilities, Sivan held on to his resolve to live to participate in the lives of his children and grandchildren, never complaining or being disheartened about his deteriorating physical condition.

The ailing Sivan peacefully passed away on 14th November 2009, just a week short of his 85th birthday.

Sivan’s last rites and final farewell rituals were performed by his sons (including Anil who grew up as Sivan's son) and grandsons at the Elavanthi house, Mavelikara, on 18th November 2009. As a mark of respect and in keeping with the age-old family tradition of retaining footprints of ancestors, a pādha-palaka (foot board) bearing Sivan’s foot imprint in sandalwood paste is preserved at the Elavanthi house.

By Sujit Sivanand
19 July 2008 (as updated on 19th November 2009)