click on photograph to see enlarged view
Wood’s film can quite simply be called an “epic”. The vast sweep of time and space that the series covers is breath-taking. One can see his special pre-occupation with Tamil Nadu as he lingers in Thanjavur, admiring the famous “Rishabantaka”-Chola bronze of Shiva, and goes on to show the entire process of bronze-casting in Swamimalai. Wood is at his best when he goes on a bus trip to the “Karthigai Deepam” in Tiruvannamalai and gets intensely involved in the excitement, jostling with thousands of devotees. He draws the viewer to discover what he has discovered in the length and breadth of India, and needless to say, he does it with such passion that no one can resist responding to his compelling story. Wood emphasises that the regional cultures of India are civilisations in themselves.
The six parts are — Origins and Identity, The Power of Ideas, the Growth of CiviliSation, Age of Gold and Iron, the Great Moguls, and Freedom. Each episode spans vast periods, and gives us a wide perspective of our history. “India became a free nation only 60 years ago, but in a real sense it has existed for thousands of years”, writes Wood in the book which accompanies the series, published by the BBC. Wood’s mammoth film and the book are undoubtedly the best celebration of India. “We got an amazing re-action, our viewership rating was 88 per cent,” exclaims Wood. His idea was to “inspire people to look for more”. His film is not the typical journalistic attack on India’s social inequities or the caste system. He deliberately sets out to share his “amazement” at so many things with his viewers. There are “brand-new discoveries” he talks about, and asks with the enthusiasm of an explorer: how many people know what Ashoka did for governance and welfare? Or for that matter what Akbar did, or where Kanishka came from? Who but Wood would tell us that Patna is such an interesting and historic place? He says that if he should write one detailed book it would be about the history of Patna. “Scratch the surface and you will find that the imperial capital of 300 B.C. is still there. Off the cuff we found a power house of Hindu, Buddhist and Muslim history waiting to be explored”, comments Wood.
Keeping an eye on the current tastes of young audiences, Wood has used film clips to illustrate many a historical character. What better visual can accompany Wood’s words about the Kama Sutra than Sharukh Khan and Kareena Kapur cavorting in the midst of a water-fall! Strains of A.R. Rahman’s music can be heard in many instances, giving that essential ethnic touch to the sound-track. But the bouquet must certainly go to the Royal Philharmonic’s haunting orchestral music. It lingers in one’s ears for long.
Film-making is a team process. Wood and his team, particularly the cinematographer and his mates, leave us with awesome images from the Himalayas to Kanyakumari. “Everybody responds; India is so film-savvy that even the priests in the temples suggested what we should shoot,” laughs Wood. Historians, scientists, archaeologists, writers, freedom-fighters and princes speak in the film. “The main voices are ordinary Indians from all walks of life,” says Wood, who has a knack of spurring on their enthusiasm. School boys, pilgrims, travellers in a train, holy men, housewives, all respond with such uninhibited ease, at times providing a touch of humour not lost on Wood! Throughout the series he keeps up his infectious energy, making his viewers run with him to see the next most amazing thing about India.
The visuals of the great historic sites in India, Pakistan as well as Afghanistan are splendid large canvases. The Mahabharata, Ramayana, and the life of the Buddha are contextualised in these famous locations. We see Wood talking to famous inheritors of legacies in places to which no camera crew has ever been before. The film follows the trail left by migrations, conquests and holy wars. Among the many fascinating encounters is our introduction to the Gardezi family of Multan (in southern Punjab, Pakistan), who can trace their ancestry to the very beginnings of Islam in India. They guide Wood through the beautiful monument built over the tombs of their ancestors and show him priceless illustrated manuscripts still in their possession.
Finding that the DNA of a certain community in Kerala still retains the original DNA of pre-historic migrants from Africa may astound some viewers. In search of the elixir of the gods, “soma”, Wood ends up in an Afghanistan bazaar, sipping a strange herbal tea! Leafing through old books and precious manuscripts in various libraries, he criss-crosses the sub-continent, and comes up with unforgettable nuggets of information — Serfoji’s Saraswathi Mahal library in Thanjavur is older than the Bodleian. Kalidasa was court poet to Kumara Gupta rather like Virgil was to Augustus Caesar. India welcomed Christianity long before Europe embraced it. Ayodhya’s greatest Hindu temple, dedicated to Hanuman, was paid for by a Muslim Nawab. The film is sprinkled with several amazing details that would certainly motivate young Indians everywhere to explore their own heritage.
The series is scheduled to be telecast in America in early 2008. Wood hopes it will be shown in India too, very soon. “The Story of India” as told by Michael Wood is “a tale of incredible dreams, great inventions, enormous diversity, phenomenal creativity and the very biggest ideas”. Michael Wood has paid a loving and rich tribute to “one of the world’s emerging powers” with class and style.”
[By Lakshmi Viswanathan]
It seems that this is indeed a relevant question considering an ongoing insect threat which now exists in India caused by an insect pest which came in with the Eucalyptus Tree.
The next Arunachala Grace News, which will be sent out at the end of this month, has an article on the Eucalyptus and the many beneficial properties of the tree and its leaves. If you are not yet a subscriber, you can sign up (at the subscribe facility on the left margin of this site) for a free monthly Arunachala Grace newsletter sent direct to your inbox.
Om Namah Shivaya
After observing the activity over the course of some months, one day I stopped by and started to chat with the man in charge. The shed belongs to a man called Muniraja who each month arranges prasadam (food offerings) to be given to pilgrims performing giripradakshina during Full Moon.
Mooji will share satsangs in Tiruvannamalai from the 22nd of December 2007 to the 3rd of February 2008, daily, 10 a.m.-12 noon, with the exceptions of the following days:
Thursday Dec. 27th, 2007
Wednesday: Jan. 2nd, 2008
Tuesday: Jan. 8th
Monday: Jan. 14th
Sunday: Jan.20th
Saturday: Jan 26th
Friday: Feb. 1st
(Satsangs are in blocks of 5 consecutive days with the 6th day off.)
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The Light on the Hill Top
This was the first time that the little cubs were seeing the Deepam light on the top of the Arunachala Hill. They were all awe-struck at the sight.
Each one was telling his own version of the story and little Spotty was listening to each version with complete belief, unmindful of the inconsistencies.
Arunacub, who loved the Mahabharata, was telling Spotty of Vishnu and Brahma fighting with bows and arrows. Tirucub talked of Nandi the bull as Nandi the Hippo.
Mum Lioness had a difficult time controlling her laughter at this one. To read more, go here.
In the meantime a collection of photographs of various functions of the Deepam Karthigai Festival.
Generally I don't promote photographs of Rukku, the Temple Elephant, but in this case as she is getting lots of nice exercise and looks extremely perky, am happy to do so.
Arunachaleswarar and his Goddess Unnamulai on the Silver Bull - Periyar Rishaaba Vaganam of the fifth day.
On the same day Ambal on a Silver Bull.
Photographs of the murtis of the morning of the 10th day of Karthigai Festival. The first picture is of Sri Vinayaka.
The next photograph is of Arunachaleswarar and the Goddess Unnamulai.
It is estimated a crowd in excess of a million attended the 2007 Mahadeepam lighting function at Arunachala. However the occasion was not completely without incident.
Just before the lighting of the flame which occurred shortly after 6 p.m. on November 24th, a flame appeared on the Hill directly below the area containing the Deepam cauldron. The flame was so large that some people even thought that it was the Deepam light itself.
Miscreants allegedly set fire to the dry grass on the Hill, a few minutes before the sacred lamp was lit.
Six photo-journalists, who covered the lighting of the Karthigai Mahadeepam on Saturday, found themselves in the midst of a fire which broke out on the hilltop.
One photo-journalist said; “We were scared when the fire encircled us. There was no way of escape for us except to backtrack on our path. Luckily, it changed course. We reached the plains after a lot of difficulty since we missed the path while trying to avoid the fire,” Devotees also faced difficulties due to the fire.