The Punny Artist

Sabari Venu’s @meancurry is a hit, with its pun-filled humour and political comics

Sabari Venu, a design graduate and staunch believer in the power of puns, says his Instagram account @meancurry is where he breeds his love for chalu (lame jokes) and puns! His Instagram handle speaks volumes about his love for wordplay— a ‘mean curry’ that translates to ‘fish curry’ in Malayalam or curry (in this case, himself) that is mean. Sabari, in a funny slant, calls himself a ‘sadist’ as he says he “enjoys the thought of people suffering his humour.” However, what can be inferred is that his 16,300 followers on Instagram are ‘suffering’ happily. His first-ever comic strip depicts an investigation scene where a man dies as a coconut falls on his head and the investigator describes it as a Thenga Kola, a play on the word ‘kola’ which means both bunch as well as murder. There’s another one in which a dog dons a dummy painting of Claude Monet’s Water Lily Pond around its neck and Sabari eloquently calls this frame, ‘Naayinte Monet’, which translates to ‘Dog Monet’. He is blatant in creating comics that debate the raging political news of the times. It was a game-changer for him when a parody of Shashi Tharoor requesting for votes during the 2019 Lok Sabha Elections picked up comments from the man himself on social media. “For those who enjoy bilingual Malayalam/English puns, there’s no better place than @behance “mean curry” comics!” Tharoor commented. The comic says Vote Tharoo(R) which reads as ‘give me a vote’ in Malayalam.

Originally from Thiruvananthapuram, Sabari’s love for puns started in his childhood and is inspired by a family that loves to crack jokes.“My family and I have been cracking punny jokes for a long time now and to add to that, I was surrounded by a lot of friends with a similar passion towards wordplay. So puns come to me almost instinctively now,” he says. Over time, Sabari has grown confident about his comics and his audience. “Initially, I could never imagine myself being considered an artist. Neither could I believe I could match the skills of established artists. But eventually, I’ve come to realise that all that matters is to enjoy the process of doing what you do without comparing and fear of judgment,” says Sabari. 

In a defense of his political comics, he voices his right to expression as an artist and more so, a citizen. Sabari has never stopped himself from posting funny stuff about political leaders and situations in the country. However, he does address the issues he has to face as an artist. “More than challenges, it’s the fear of the repercussions. We should not be living in a society where an artist is threatened and lives in fear, for criticising people in power. The trolls are ruthless and can be emotionally exhausting to deal with. The simple solution which I have found to be very effective is to avoid engaging and to block liberally. The second anyone resorts to personal insults, derogatory remarks, or anything crass I do not think twice before blocking them,” says Sabari.

Besides comics, Sabari has his finger in a few pies as he makes it clear that he does not want to restrict himself to his comic page, @meancurry. Animation, illustration, photography and playing around with clay are some of the other things he does. “The comics format has worked out well for visualising my puns and certain ideas for Mean Curry. Even here, I have made use of animations to execute certain ideas,” he says. He stresses that illustrations and comics are a way for him to address the issues that concern him. “It is a responsibility I have felt as an artist to speak up about the current political scenario, especially at a time when speaking up is considered to be seditious and our freedom of expression is under threat.”

The inspirations for his comics are many, including the independent artists he was introduced to during college and an animation film called Whose Reality by Vaibhav Kumaresh. He particularly credits a series of comic books he used to read as a child, Asterix and Obelix in which there is an unbeatable wordplay that eventually drove him towards the habit of punning. Considering the social underpinnings in his comics, characters and representation, Sabari defines them as the important elements in his process of creation, which, he adds, is something he respects in the works of other artists. With no more than 38 posts uploaded on his page since 2017, it’s definitely ‘quality over quantity’ for Sabari, who is a freelancer now at Bengaluru. He credits social media for his growth as an artist and says he still has so much to learn and a long way to go.

Trivia

When not creating art, I

Trek, play football or blob around

If not an artist, I would have become

A wildlife biologist/photographer

Comic pages I follow on Instagram

Green Humour, Extra Fabulous comics, Goodbad Comics, Sanitary Panels, N Ponnappa, BPB, tilly.krishna 

A non-artist personality I love

Atishi Marlena

I am the most productive

After midnight

Poacher: An Almost Binge Watch

Directed by Richie Mehta, “Poacher” is a Hindi-Malayalam-language crime drama miniseries that recently premiered on Amazon Prime Video. The series boasts a talented cast, including Nimisha Sajayan, Roshan Mathew, Dibyendu Bhattacharya, and Kani Kusruti, who deliver powerful performances despite the script’s occasional missteps.

The show takes inspiration from the real-life case of the biggest elephant ivory poaching ring ever busted in India. The screenplay, while not a complete recreation of the events, weaves a compelling narrative around a team of dedicated forest officials, NGO workers, and concerned citizens who risk their lives to bring the perpetrators to justice.

One of the show’s strengths lies in its portrayal of the complexities involved in tackling such a deeply entrenched issue. The script delves into the motivations of both the poachers and those fighting against them, avoiding simplistic portrayals of good versus evil. This nuanced approach resonates deeply with viewers, prompting introspection on the factors driving environmental crimes.

However, the series sometimes falters in its pacing. Certain episodes meander through investigative procedures and bureaucratic hurdles, which can test an audience’s patience. Thankfully, the narrative picks up steam later on, culminating in a thrilling chase and a suspenseful final confrontation.

The acting performances across the board are commendable, with a special nod to Nimisha Sajayan and Roshan Mathew. Both actors portray their characters’ dedication and moral dilemmas with remarkable restraint. While the dialogue could have delved deeper into the emotional toll the investigation takes on them, the nonchalant delivery avoids melodrama and lends an air of authenticity to their portrayals.

While the core narrative of “Poacher” is captivating, there are instances where the characters and their motivations feel somewhat forced. Certain plot developments could have benefited from a more organic and less contrived progression.

Despite these minor shortcomings, “Poacher” remains a visually stunning and thought-provoking miniseries. The cinematography captures the breathtaking beauty of the Indian landscape while also starkly portraying the devastating impact of poaching on the ecosystem. The story ultimately delivers a powerful message about the importance of environmental protection and the crucial role individuals can play in enacting positive change.

Overall, “Poacher” is a compelling and informative addition to the realm of crime dramas. Although held back by some pacing issues and forced character development, the series boasts exceptional performances, stunning visuals, and a powerful message, making it a worthwhile watch for those interested in environmental issues and intricate crime narratives.

Trapped Artists

In the olden days, all that mattered was a good job that would set up a good life. In the last few years, we have become part of a new world that has a different set of ideologies about life and career paths. However, there is still a struggle for young people when it comes to acceptance, even from their parents. Priorities and choices have changed for many and yet, they still struggle for acceptance. The older generation is still looking for clones while young people are spending their time trying to create and develop new lifestyles. Their potential abilities and energy are not appreciated and they are forced to live a life their parents want them to, even if it is filled with outdated concepts. 

Parents will give more importance to education and they will make sure that their kids get the best of all. But the sad part is when they do not care about the things that are said in the name of education, the ideas that are being followed, with their childrens’ own ideas not taken seriously. 

They are forced to work their regular 9-5 with only one idea, which is that of their older ones and they are trained in the same mould. If you take a walk through a flea market, you can see the most creative inventions of many young people who are not even 23 and still manage to have a strong base and come up with their own business ideas and who also have great potential skills. Girls and boys nowadays come up with new ideas at a very young age and they work for it and become entrepreneurs really early. 

One of the things that children learn is they go in search of more interesting things to make their product unique, with concepts and ideas that they come up with. This is not a typical adult job! Understanding these new ideas is something very difficult, but parents treat their kid’s ideas and business as a hobby. Travelling, food blogging and even sitting at home and reviewing a movie is now a valid job title. But they are not taken seriously. Many people are trapped by common concerns of marriage and other life events expected by society. Many of them are changing the city just to keep them away. There might be a lot of them sitting inside a box, despite having immense potential, because of their families. It is not all the work that goes into the fruits of all; A saviour from all evils! So if there is no home and no help, how many ideas and skills will come to the fore? Who can rise above all those who have no talent? What is the difference between those who are broke and those who are in the middle of a 9 to 5 job? It’s all about giving a chance to yourself and your talents. 

 

Prajwal Xavier is a calligraphy artist who intertwines old lettering styles and modern day evolved designs. 



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Review-The Paris Wife

Not an Eden

Caricatures of domesticity and the realities of living with literary giants are beautifully captured in Paula MacLain’s bestseller, The Paris Wife

Never judge a book by its cover, they say. Which is precisely what I went on to do with The Paris Wife. The cover shows a stylish young woman, sitting at a cafe in a kind of 1950s setting, smiling as she scribbles into a tiny notebook. I was enchanted; this would be the story of a woman who was in charge of her life, chasing a creative or passionate pursuit beyond the calls of domesticity that must have been a given in that era. This would be exciting, I thought, as I turned the book over.

The blurb turned out to be even more of a lure. The book was a fictionalised account of author Ernest Hemingway’s first marriage (he would eventually take that tally up to four, with barely a pause between each). Jazz Age Paris, writers, artists, alcohol, gossip, infidelity…the blurb promised a lot. And well, it turned out to be quite the literary equivalent of clickbait.

Don’t get me wrong, author Paula McLain has a great writing style and she wields historical fiction with ease. The book is heavy on name dropping and engages the most luscious artistic and literary settings. It has a tempestuous yet tender Ernest doing his best to be dutiful to his wife and child, but also being caught up in the splendour of being himself and the heady whirlwind of success and artistic company.

All of this makes for great reading, when we have literary names like Gertrude Stein and Ezra Pound as actual characters in the book. It leads to a wonderful read, especially if you are a bibliophile. But the real problem lies with the premise of the book, which is that it is meant to be the story of Hadley Richardson, whom Ernest married in 1927. Hadley is nothing like the image of the elegant, self-possessed woman on the cover.

In her own words, she is sturdy and stoic, not just in appearance (which one can overlook), but in character. She is one who has resigned herself to being a dull spinster before she meets Ernest. Although she has an interest in the piano, her life and any passion she could have pursued, pales next to Ernest’s bigger purpose, so to speak. Her days are a lesson in monotony, relieved only by her thoughts about Ernest, or the evenings with him, and later, with her baby.

The book was a New York Times bestseller, and I’ll recommend it if you like historical fiction. You can lose yourself in the Gay Paree of yore, and catch an intimate look into the lives of some of the most wonderful writers of the time. Of course, it is a little depressing to discover that they can be as boorish and selfish as the rest of us, while parading off some of their faults as whimsical artistic eccentricities. 

It is rather sad, though, that in a book about her, Hadley turns into the pale watercolour next to a display of vibrant Van Goghs and Gauguins. A sad metaphor for the life of someone who lived in the shadow of literary giants.

Fashion, Content Creation and Loads of Caffeine

It was in class 7 that my report card read ‘Stylist’ in the ambition column, an upgrade from the earlier ‘Pet Shopkeeper,’ which in itself had been decided upon after a lot of thinking. I got into NIFT, completed 4 years and now, I am a graduate with a degree in fashion communication. 

Fashion communication was like going shoe shopping. Sometimes, you love a pair but the more you wear them, you realise they’re not very comfortable. And you have to try on a pair to know if they fit just right.

I liked styling. I liked fashion journalism. And I thought I’d make it to Vogue. But the fashion industry had something else in store for me. Yes, the industry is glamorous but it’s also filled with deadlines and skipping meals, less dressing up and more leggings “for the win” and caffeine is the sole ingredient that gets you through it.

It took me a while to understand this. I was in denial—I was sure I could make it big; my laptop password was “dream big.” Then COVID-19 showed up at our doorsteps and survival was what was important. In a way though, it opened doors to greater opportunities (at least for me).

I had started content creation on social media last September but I wasn’t consistent. I did it out of interest and even though I wanted to take it up professionally, I was scared. So, I used this time to be productive and started working hard on my content. 

I started out by creating styling videos that talked about styling a certain piece or how to dress for an event. Then, I realised that this was an exhausted area to tap into. It made no sense for the audience to watch repeat content. It is important to stand out. Make sure it’s different. Always bring something new to the table, and always stay true to your style and aesthetic.

As a student of fashion communication, I saw the industry paving way for new trends. It was not the fashion magazines or luxury brands that invested in a narrative for their products. Small brands had realised the importance of weaving a story and introducing a concept to sell a product. Customers want exclusivity and they want to invest in brands that have values similar to theirs. This is where content creation comes into play.

I realised that what brands want is someone who can create a story that is both personal and relatable. Hence, I started creating videos that had a theme; a story to tell and not just putting my wardrobe out there because honestly, how many times will you wear a white shirt? The fashion industry has come to a point where all brands have in-house photographers and stylists. There are companies that focus on creating a visual language for brands. Creating videos that help brands create a brand identity and reflect their collections’ aesthetics is what I want to focus on. 

If you are looking to enter this industry, learn as many skills as possible. When I started off, I knew nothing. I taught myself to edit videos and started using my camera even though photography was one of the subjects I hated in college. All of you out there needn’t be graphic designers or editors, and there is no need to hire someone to get the work done. All you need is YouTube, the best school to master any software. But remember: do not over edit. Too much editing leaves you with something that’s no longer yours.

The idea is to follow a design process. The first step is to brainstorm. If inspiration strikes, brainstorm using a word or theme that you have picked. Without this, your work is meaningless, even to yourself. Next comes the pre-production part- things you would need to narrate your story. For example, models for your project, a set for the project in hand, what props to use, extra additions you need for the perfect lighting, etc.

Before you get to your location, you must create a mood board and a theme board consisting of pictures of items you might need or props to bring about the feel or even reference images for the kind of poses you are going for. The boards are your guides to help you stay on track and not deviate too much from the original idea you had in mind. These boards can be created either using cut-out pictures or made digitally or even made using 3D elements if you need textures. 

Under execution, comes planning: list everything you might need and have them ready. Remember that you always need backup, be it a model or a substitute prop. You must be able to pull off the shoot even if a crisis occurs. Cancelling a shoot is definitely not an option in this field. Improvisation is what you need if something doesn’t work out.

After execution comes post production, which includes editing postures, adding text or layout if it’s an image. This is the last step and involves looking at details. This design process is a professional way of doing things. This process can be incorporated in any division of labour in the industry, be it photography, styling or even journalism and can be used to create any kind of content.

Kochi, unfortunately, is still in the phase of growing as a fashion industry. People haven’t really opened their minds in terms of what can be shown. It’s hard to get a project here wherein you’ll have the creative freedom to run the show. But it’s moving to a better place as magazines have started exploring other options rather than doing what they have been doing for ages now. 

Some clients are ready to take the risk to do something different and not mainstream. But yes, options are few and the biggest challenge here is that the fashion industry still sees such professions as glorified hobbies and hence, are not ready to pay for the service or want to get it done at very cheap rates.

But the real problem here isn’t the brands or clients. It’s us. Once we provide a service for free, it’s expected to be done for free the next time as well. That is where it becomes a huge problem for all the freelancers out there. When a fresher comes in and decides to work with a brand for free just because it might be a good start, what they are not thinking about is the fact that every year brings in a new batch of freshers. If they all continue to do this, brands would just keep hiring freshers who work for them happily for just ‘exposure’. Even if it’s a small amount, make sure you charge a professional fee. After all, it’s your work. Own it.

I still haven’t stopped dreaming. You should never! Hope takes you a long way. I have phases when I want to give up but then I tell myself, I have just started out on my journey to the moon. It is only time and consistency that will get you where you want and it is important to love what you do and still have passion. Chasing something that doesn’t bring you joy will give you no pride or happiness in the end. So make sure not to lose the reason you started out in the first place. Kochi too has a long way to go in this industry but that’s even better for us as we are also growing. There’s no better process of learning than growing together.

Ten libraries you must check out in Kochi

This one’s for all those who have fallen headlong into a book and emerged, many hours later, as if from a world of dreams. Every bookworm will know the joy of discovering book nooks in the city, be it a quaint secondhand book store or a coffee shop that allows you the luxury of whiling away the time with the latest bestseller. We have put together a list of 10 of Kochi’s libraries, some of which you already know about, but are a must in a list of this sort. And some that are tucked away in the middle of this city’s bustle, interesting finds that are as serendipitous as stumbling upon a first edition of your favourite book.

Tagore Library and Reading Room

Moulana Azad Road, Karuvelipady, Thopumpady

Named after Rabindranath Tagore, this library was formed by a group of youngsters in 1944. Yes, way before Independence. And it’s still going strong, with more than 1,100 members and a collection of over 25,000 books.

Open from 5pm-8pm on all days, except Mondays

Eloor Lending Library

Press Club Road

book-loving crowd. Set up in 1979 in Kochi by P Luiz John, the library now has branches in 5 cities across the country. The library caters for a wide variety of readers, from professionals to little kids. If you haven’t already, go get yourself one of their well-thumbed Tintin and Asterisk comics.

Open from 10am-7pm on all days

Ernakulam Public Library

Convent Road

This one’s a blast from the past. The state’s oldest library was set up in 1870. With over 10,000 members and more than 1.5 lakh books in a variety of languages, this is a book lover’s dream come true.

Open from 10am-7pm Monday to Saturday; 9.30am-5pm on Sunday

EMS Cooperative Library

Mavelipuram, Kakkanad

Set up by the Ernakulam District Cooperative Bank in 1999, the library now houses more than 20,000 titles. It even has a special section for the visually challenged and a space called the garden library, where one can read in the lap of nature.

Open from 1pm-7pm Monday to Saturday; 10am-5pm on Sunday

Pandit Karuppan Memorial Library

Thevara Ferry

This library offers membership only to those who reside nearby or to those who are introduced by existing members. The 60-year-old library has a reading room which is open from 7am to 7.30pm every day. Both children and adults make up the 400-strong membership of the library, which stocks over 12,000 titles.

Open from 5.30pm-7.30pm; closed on Sunday

Yashoda’s Library

Kappalandimukku, Mattancherry

This library was born from a little girl’s dream: young Yashoda, who was in class 7 at the time, wanted to make books accessible to all, irrespective of their financial status. She started the library last year, which lends books for free from her collection and her family’s contributions. There is no membership fee but books have to be returned in a fortnight.

Open from 9am-7.30pm on all days

Blossom Book Fair

Press Club Road

Every book lover in Kochi would have stopped by Blossom Book Fair at least once. Or twice. Or 10 times. What’s not to love about piles of pre-loved books at dirt-cheap prices! Why is a bookshop on the list of libraries? Because you can return books bought from the fair at 40 per cent of the cost; which means you can read for a nominal price.

Open from 10am-8pm on all days

AKG Memorial Library

Edapally Toll

Almost all of the city’s libraries have decades of stories to share. Like this one, that was begun in 1977. The library now has over 27,000 titles and more than 2,500 members. If you have an academic bent of mind, do check out the vast collection of books about science, research and medicine. The library’s reading room stays open from 6.30am to 8.30pm.

Open from 4pm to 8pm from Monday to Saturday; 10am to 6pm on Sunday

Mahatma Library

Thrippunithura

This library deserves a place in the annals of history. Begun in 1933 after A K Gopalan called for setting up a library during the Guruvayur satyagraha in 1932, the library was a venue for freedom fighters to meet and discuss developments. Mahatma Gandhi himself has visited the library that was named after him.  

Mulanthuruthy Public Library

Mulanthuruthy

Winner of the State Library Council’s Best Library Award 2017-18, this library stocks more than 23,000 titles. What’s more, the library also grows paddy in a 5-acre farmland it owns, which had been lying fallow for over 30 years, and sells organic produce.

Open from 6am-6pm on all days

Other notable libraries in the city include Granthapura (which has multiple branches), 

The Reading Room (Vazhakkala), and the T S Murali Memorial Open Library (Vaduthala).

Ten libraries you must check out in Kochi

This one’s for all those who have fallen headlong into a book and emerged, many hours later, as if from a world of dreams. Every bookworm will know the joy of discovering book nooks in the city, be it a quaint secondhand book store or a coffee shop that allows you the luxury of whiling away the time with the latest bestseller. We have put together a list of 10 of Kochi’s libraries, some of which you already know about, but are a must in a list of this sort. And some that are tucked away in the middle of this city’s bustle, interesting finds that are as serendipitous as stumbling upon a first edition of your favourite book.

Tagore Library and Reading Room

Moulana Azad Road, Karuvelipady, Thopumpady

Named after Rabindranath Tagore, this library was formed by a group of youngsters in 1944. Yes, way before Independence. And it’s still going strong, with more than 1,100 members and a collection of over 25,000 books.

Open from 5pm-8pm on all days, except Mondays

Eloor Lending Library

Press Club Road

book-loving crowd. Set up in 1979 in Kochi by P Luiz John, the library now has branches in 5 cities across the country. The library caters for a wide variety of readers, from professionals to little kids. If you haven’t already, go get yourself one of their well-thumbed Tintin and Asterisk comics.

Open from 10am-7pm on all days

Ernakulam Public Library

Convent Road

This one’s a blast from the past. The state’s oldest library was set up in 1870. With over 10,000 members and more than 1.5 lakh books in a variety of languages, this is a book lover’s dream come true.

Open from 10am-7pm Monday to Saturday; 9.30am-5pm on Sunday

EMS Cooperative Library

Mavelipuram, Kakkanad

Set up by the Ernakulam District Cooperative Bank in 1999, the library now houses more than 20,000 titles. It even has a special section for the visually challenged and a space called the garden library, where one can read in the lap of nature.

Open from 1pm-7pm Monday to Saturday; 10am-5pm on Sunday

Pandit Karuppan Memorial Library

Thevara Ferry

This library offers membership only to those who reside nearby or to those who are introduced by existing members. The 60-year-old library has a reading room which is open from 7am to 7.30pm every day. Both children and adults make up the 400-strong membership of the library, which stocks over 12,000 titles.

Open from 5.30pm-7.30pm; closed on Sunday

Yashoda’s Library

Kappalandimukku, Mattancherry

This library was born from a little girl’s dream: young Yashoda, who was in class 7 at the time, wanted to make books accessible to all, irrespective of their financial status. She started the library last year, which lends books for free from her collection and her family’s contributions. There is no membership fee but books have to be returned in a fortnight.

Open from 9am-7.30pm on all days

Blossom Book Fair

Press Club Road

Every book lover in Kochi would have stopped by Blossom Book Fair at least once. Or twice. Or 10 times. What’s not to love about piles of pre-loved books at dirt-cheap prices! Why is a bookshop on the list of libraries? Because you can return books bought from the fair at 40 per cent of the cost; which means you can read for a nominal price.

Open from 10am-8pm on all days

AKG Memorial Library

Edapally Toll

Almost all of the city’s libraries have decades of stories to share. Like this one, that was begun in 1977. The library now has over 27,000 titles and more than 2,500 members. If you have an academic bent of mind, do check out the vast collection of books about science, research and medicine. The library’s reading room stays open from 6.30am to 8.30pm.

Open from 4pm to 8pm from Monday to Saturday; 10am to 6pm on Sunday

Mahatma Library

Thrippunithura

This library deserves a place in the annals of history. Begun in 1933 after A K Gopalan called for setting up a library during the Guruvayur satyagraha in 1932, the library was a venue for freedom fighters to meet and discuss developments. Mahatma Gandhi himself has visited the library that was named after him.  

Mulanthuruthy Public Library

Mulanthuruthy

Winner of the State Library Council’s Best Library Award 2017-18, this library stocks more than 23,000 titles. What’s more, the library also grows paddy in a 5-acre farmland it owns, which had been lying fallow for over 30 years, and sells organic produce.

Open from 6am-6pm on all days

Other notable libraries in the city include Granthapura (which has multiple branches), 

The Reading Room (Vazhakkala), and the T S Murali Memorial Open Library (Vaduthala).

 A Rebirth Through Art

State award-winning artist Vincent S. believes his art should touch the hearts of those yearning for perspective.

An artist who enjoys wrenching the rose-coloured glasses off the eyes of the public and presenting them with bare reality, Vincent S is not afraid to speak his mind. “My name is Vincent and I am not a Christian or a Hindu. I believe that I am my own god ” he says. The State award-winning artist has been part of more than 100 exhibitions and art shows, and he never fails to astound his audience with his blatant criticism of humanity. 

A vegetarian by choice, Vincent talks about how he perceives human beings as mere parasites, feasting and taking advantage of the bountiful world around them.  “I believe that the most dangerous of species to have ever walked the earth are human beings themselves. And the worst part is that we still haven’t realised that we’re the ones digging our own graves,” he says, with a wry laugh. 

Vincent’s journey as an artist began in and around the walls of a tiny village school in Kanjiramkulam. With encouraging teachers by his side (most of whom were often his muses), Vincent swiftly found his way up the artistic ladder. After getting a Bachelor’s degree at the Trivandrum Fine Arts college, he decided to develop his artistic skills by mingling with the public. He felt that the real beauty of society lay in the villages and their tight-knit communities. 

It was when he was at the peak of his artistic career that a grave illness took hold of him. For almost 20 years, Vincent suffered, losing weight and at one point, even losing his memory. “I liked to say that Vincent S is no more, ” he reminisces. 

 Vincent finally rose, as if from the dead, in 2014 and after two years, he picked up from where he had left off. He acquired a Post-graduate degree, and re-entered the art scene with a wiser countenance and a voice that longed to be heard after so long.

Vincent likes creating with pen and ink on paper, doing precise, elaborate works and leaving no white space untouched. One notable feature of Vincent’s artworks is the absence of a title. “As an artist, my job is to express my thoughts clearly to my audience. I don’t believe I have the right to influence their thought processes or observations in any way, even with a title,” says Vincent.

He believes that artists make use of art in two ways. “Firstly, it can be commercialised. Today, it is not that hard for a talented artist to make millions out of a painting. Secondly, it can be used as a medium to touch the hearts of those who yearn for perspective. I am more inclined to make use of art for the latter. I have a lot of things I want to say, things I want to express and I’ve come to realise that my pen and ink are much more powerful than loud words and gestures,” says Vincent.

Vincent is also a proficient writer who has published a collection of poems as well as short stories.  He also founded the Ananda Kala Kendram in Kanjiramkulam, where aspiring art students can hone their talents in sculpting and painting. 

 A REBIRTH THROUGH ART

State award-winning artist Vincent S. believes his art should touch the hearts of those yearning for perspective.

An artist who enjoys wrenching the rose-coloured glasses off the eyes of the public and presenting them with bare reality, Vincent S is not afraid to speak his mind. “My name is Vincent and I am not a Christian or a Hindu. I believe that I am my own god ” he says. The State award-winning artist has been part of more than 100 exhibitions and art shows, and he never fails to astound his audience with his blatant criticism of humanity. 

A vegetarian by choice, Vincent talks about how he perceives human beings as mere parasites, feasting and taking advantage of the bountiful world around them.  “I believe that the most dangerous of species to have ever walked the earth are human beings themselves. And the worst part is that we still haven’t realised that we’re the ones digging our own graves,” he says, with a wry laugh. 

Vincent’s journey as an artist began in and around the walls of a tiny village school in Kanjiramkulam. With encouraging teachers by his side (most of whom were often his muses), Vincent swiftly found his way up the artistic ladder. After getting a Bachelor’s degree at the Trivandrum Fine Arts college, he decided to develop his artistic skills by mingling with the public. He felt that the real beauty of society lay in the villages and their tight-knit communities. 

It was when he was at the peak of his artistic career that a grave illness took hold of him. For almost 20 years, Vincent suffered, losing weight and at one point, even losing his memory. “I liked to say that Vincent S is no more, ” he reminisces. 

 Vincent finally rose, as if from the dead, in 2014 and after two years, he picked up from where he had left off. He acquired a Post-graduate degree, and re-entered the art scene with a wiser countenance and a voice that longed to be heard after so long.

Vincent likes creating with pen and ink on paper, doing precise, elaborate works and leaving no white space untouched. One notable feature of Vincent’s artworks is the absence of a title. “As an artist, my job is to express my thoughts clearly to my audience. I don’t believe I have the right to influence their thought processes or observations in any way, even with a title,” says Vincent.

He believes that artists make use of art in two ways. “Firstly, it can be commercialised. Today, it is not that hard for a talented artist to make millions out of a painting. Secondly, it can be used as a medium to touch the hearts of those who yearn for perspective. I am more inclined to make use of art for the latter. I have a lot of things I want to say, things I want to express and I’ve come to realise that my pen and ink are much more powerful than loud words and gestures,” says Vincent.

Vincent is also a proficient writer who has published a collection of poems as well as short stories.  He also founded the Ananda Kala Kendram in Kanjiramkulam, where aspiring art students can hone their talents in sculpting and painting. 

The Fight to Retell History | Variyamkunnath Haji

Four Malayalam films were announced in a span of two days, centred around the life of prominent historical figure, Variyamkunnath Haji. Even before production has started, the films are courting controversy for their wildly divergent political perspectives. 

Filmmakers are clamouring to tell the story of Chakkiparamban Variyamkunnathu Kunjahammed Haji in time for the 100th anniversary of his biggest victory. The industry has already immortalised Haji on the big screen 32 years ago in 1921, starring Mammooty. T G Ravi played Haji in the film, which won the State Award for Best Film with Popular Appeal and Aesthetic Value in 1988. However, the new set of films seems to have stirred up some unpopular public sentiment.

The Face of the Rebellion

The year 2021 marks the 100th anniversary of the Malabar Rebellion, a resistance movement against British colonial rule. The rebellion started as a reaction against pressure by the British on the Khilafat movement, which was allied to the nationalist movement, in Valluvanad and Eranad. The Mappillas in the area led the rebellion, taking over British government offices, treasuries, courts and police offices; asserting control of the area. However, the later parts of the rebellion saw communal violence and casualties between the Muslims and Hindus in southern Malabar.

Variyamkunnathu Haji joined the Khilafat movement in Kerala and rose in ranks to become a prominent figure in the Malabar Rebellion. C Gopalan Nair, in his book, The Moplah Rebellion, published in 1923, described Haji as one who styled himself as the Raja of the Hindus, Amir of the Mohammaddens and Colonel of the Khilafat army. He ran a parallel government with activist and cleric Ali Musliyar for over six months, seizing control of a large area from the British. His rule lasted from August 22, 1921 till his capture on January 6, 1922. After his capture, Haji was sentenced to death. Haji’s death has been regarded a mark of the collapse of the rebellion.

To the Big Screen

Renowned Malayalam filmmaker Aashiq Abu announced that his film, Vaariyamkunnan, starring Prithviraj Sukumaran, would release alongside the century mark of the Malabar Rebellion. The announcement from the actor and the director described Haji as “The man who stood up against an empire that ruled a quarter of the world. The legend of a leader, a soldier, a patriot.” The statement sparked public outrage from several people who cited Haji as a Muslim radical leader who carried out genocide on thousands of Hindus.

The outrage led to a hate campaign against both Aashiq and Prithviraj. The Sangh Parivar stated that the movie was an attempt to glorify a Muslim leader who was a jihadi responsible for several deaths. The Hindu Aikya Vedi asked Prithviraj to leave the project as the organisation felt it glorified Haji. The Vedi claims the film is part of a conspiracy to whitewash the revolt of 1921. And, it further states, the film will reopen old wounds for the Hindu community.

Meanwhile, Chief Minister Pinarayi Vijayan stated that Kerala recognised Haji as a warrior who led a brave battle against the British. He went on to say that there was no need for a communal angle to be brought into it. However, the political sensibilities of the filmmakers have also made the news. A scriptwriter on Aashiq’s team, Ramees Mohamed, left the project post allegations about his old extremist and misogynistic social media posts.

Rebellions Galore for the Industry

The unexpected response to the film’s announcement has been the back-to-back announcements of three more films based on the same man and his place in history. Celebrated playwright Ibrahim Vengara announced his film, The Great Vaariyamkunnath, to be adapted from his own play on the subject. Director and ex-MLA P T Kunju Muhammed announced his film on the subject, titled Shahid Vaariyamkunnan. He said his project will be an honest retelling of history.

The film to be made by filmmaker and BJP leader Ali Akbar will “reveal the true facts” of Haji. In a public video published on his social media platform, Ali Akbar claimed that the announcement of the project had led to threatening phone calls and abuse against him. Further, he said that this would not deter him from making the film. He had already crowdsourced contributions over ₹16 lakh for the film. Besides, in the video, he also appealed to the chief minister to aid him in recovering the money that was remitted to fake accounts claiming to be him.

This is the first time in Malayalam film history that four films are being made separately around the same historical figure and event. The films are gearing up for production, but the political outrage is loud and determined to halt them in their tracks. The films are set to portray a fierce rebellion in Kerala history, but they are sure to see a fight of their own for reign over the box office.

City of Girls

“But I had never been an ardent fan of society, so I didn’t object to seeing it challenged. In fact, I delighted in all the mutiny and rebellion and creative expression. And of course I loved the clothes.” 

This thought forms the essence of Elizabeth Gilbert’s latest novel City of Girls. Set in New York in the 1940s, it tells the story of Vivian Morris who is born to very conservative parents but is a free spirit at heart. She fares miserably at college and is sent away to her aunt for a short vacation. This turns out to be a turning point in nineteen-year-old Vivian’s life. Her Aunt Peg is the owner of a run-down revue theatre called Lily Playhouse. Vivian falls headlong into a world of show girls, glamour and a truly bohemian lifestyle and she embraces all that she sees around her. Along with Celia, a young dancer, she has a rip-roaring time. A skilled seamstress, Vivian also takes charge of the clothing department and enjoys a remarkable amount of success in turning out beautiful creations with limited resources. It’s the best time in Vivian’s life until a grave error forces her to part ways with Aunt Peg, albeit for a short period. Then comes the War which disrupts everything. The rest of the book shows the grit and strength in Vivian and how the War changed lives overnight.

Vivian will capture your heart with her honesty and zest for life. Each character has their own energy and is distinct, be it Aunt Peg with her devotion to the theatre and to her ex-husband, or Celia the young showgirl with her hunger for living it up. The first half is a celebration of life with Vivian exploring new avenues and new experiences; and the second half shows her coming into her own as a strong independent woman.

This book is written well and brings to life an era which saw major changes in lifestyle and society as a whole. There’s glitz and showbiz juxtaposed with the deprivation and difficulty of a country affected by a debilitating War. 

The Woman Behind The Travelling Screen

With the International Film Festival of Kerala (IFFK) travelling across the state, acclaimed film editor and IFFK’s artistic director Bina Paul is excited to share her thoughts and experience

Officially putting on its travelling pants, the International Film Festival of Kerala is well on its way to enlighten the world with its large range of curated films. Bina Paul, artistic director of IFFK, talks about the journey of the festival and her experience in the film industry. 

As artistic director of IFFK, how did you overcome the various challenges thrown up by the pandemic?

One of the biggest challenges we had to face was deciding what sort of festival we wanted. Most of the film festivals abroad were either held online or were not held at all due to the pandemic. And the problem with having an online festival is that most filmmakers are reluctant to give their films because of piracy issues. Plus, being on an online platform can affect the business of the films, as other OTT platforms wouldn’t be very willing to buy them.

 So, by the end of November, we decided to conduct the festival physically, but in a small manner. Yet it became pretty clear to us that announcing the festival in an art-loving place like Kerala would bring about thousands of people in no time. So with an ‘If the mountain won’t come to Muhammad, then Muhammad must go to the mountain’ attitude, we decided to make it a travelling festival where we would bring the films to the people, thus being able to conduct it in a controlled manner. 

IFFK has emerged as one of the leading film festivals in India. How would you describe the journey towards its success? 

The journey has been pretty slow and steady. There have been two parts to this journey. The first part involves our focus on the artistically rich audience of Kerala. One of the reasons why the IFFK is a success today is because Kerala offers the right audience for it, mostly because of its vibrant film history. We nurtured this audience in many ways, like introducing student passes as well as film and professional passes. The second part is concentrated on the programming of the festival. We mainly concentrate on films centred around areas like Africa, Asia and Latin America and we celebrate the fact that we’re not interested in big, commercialised films, but rare gems that hardly reach a global audience. We also have a collection of select Malayalam films at the heart of it. So, it was our focus on the audience as well as the programming of the festival that has ultimately led us to where we are right now. 

What does IFFK aim to achieve through this festival? Do you believe that it acts as a window to a worldly perspective for an audience that is only familiar with regional aspects? 

It is very difficult to say because the effect that art has on individuals is vastly diverse. But, in many ways, IFFK has led to the creation of an audience that is flexible and open-minded about different types of films. It has almost become a school for many filmmakers who would get to see various types of films and narratives of different kinds. So essentially, what IFFK does is that it creates a more rounded perspective of the world. When you watch a film, it is not just the story that influences you, but even aspects like language and culture. It basically builds on an existing film culture, modifying and renewing it. And this can be seen through the film industry in Kerala. 

You won your first national award for a film that was made by an all women crew back in 2002. How much has the film industry changed for women since then? 

(Laughs) That’s an interesting question. I would say that there has been little change for women in the film industry, until the last two years. It’s still very male-dominated and women as well as people from other genders are pretty reluctant to enter the industry because of this. Sure, today there is more vocalization of the problem and we have the government providing grants to encourage participation from diverse groups, but I believe that a lot more needs to be done than just making the industry a gender-equitable space.

How has the Woman in Cinema Collective (WCC) helped in addressing the various challenges that women face in the film industry? 

 For the first time, the WCC was actually recognized as a voice. Till then, there was so much silence and so much invisibilisation of the problem and so, the most important thing that WCC did was vocalise it and say that, “Look there is such an issue and it needs to be addressed.” Subsequently, a lot of people are now conscious on how to deal with women and are working towards finding an equal footing with us. So the WCC has really been able to bring that to the forefront.

What is your opinion on the censorship of films and their content? 

I’m a person who believes that censorship of content is not really required. While the government of India insists on having a grading system where certain content is graded for certain people, I am not really for it. I think that people should have the capacity to hear criticism as well as give criticism and therefore, give the audience the choice to accept it or reject it. 

With the emergence of films like C U Soon, how do you think the process of filmmaking itself is evolving? 

It goes without saying that the film C U Soon shows a very innovative and practical way of filmmaking during the pandemic. For me, a film is still about sitting in the theatre and watching it as a spectator. But whether you tell your story through a computer visual or a graphic visual, I think it’s how you tell a story that is most important and how it reaches the audience. So, it’s not like anybody is discovering the wheel. It’s more like people are finding new ways to use it. Filmmaking is the youngest art form in the world and it has been evolving since the beginning. In the end, it’s not the computer or the technology as much as it is the mind. And that is the beauty of films, don’t you think?