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Interview with… D.J.K. Cornelius

D.J.K. Cornelius has designed so many machines and workstations for people with special needs in the last forty years that he’s lost count.

None of them have anything to do with his regular job as an industrial engineer. And he’s never patented any of his designs. But they’ve made a life-changing difference to hundreds of mentally challenged young people across the nation. And they’ve certainly given Cornelius himself more satisfaction than any designing he’s done on the job.

“It’s far more rewarding than what I was trained for professionally,” says Cornelius, founder of the Navajyothi Trust, which completed 40 years in 2009. “Others may say creating an industrial conveyor belt is more complex engineering, but changing people’s lives this way is much more satisfying.”

His specially crafted workstations are based on a simple principle – that modifying the working environment to suit the needs of the mentally challenged allows them to maximise their potential. “Rather than focussing on what they can’t do, you look at what they can, and find innovative ways to make the most of their abilities,” he says.

This means that youngsters at his institute (with IQs measured at 50 and below) today perform highly precise and complex tasks for companies such as Delphi TVS and Brakes India Ltd., creating diesel pumps for cars, perhaps, or bicycle or motorcycle chains, and earn a respectable salary.

“They aren’t given these jobs out of charity,” he stresses. “This is a business agreement, and the companies’ requirements are rigid.  At Navajyothi, every person is a social contributor, and they can hold their heads high.”

His journey began back in 1968, when he helped diagnose two children of close friends as being mentally challenged (he was a consultant for the Industrial Therapy Centre at the Institute of Mental Health in Kilpauk at the time). An engineer with a love for medicine, he’d spent long hours reading his doctor father’s books on mental disability, and later in Presidency College, had worked with the psychology department, helping design equipment for experimental psychology.

“They came to me for assistance because they’d been running from pillar to post and hadn’t gotten a diagnosis,” he recalls with emotion. “When I broke it to them gently, they were shattered.”

Moved by the impact it had on the children and their families, he dedicated himself thereafter to the cause of mental disability.

“What I found sorely lacking was post school-age programmes, so that 16 year olds emerging from special schools were just left high and dry,” he says. “Employment facilities were more occupational than vocational – their income was a pittance and their products were just not marketable.”

And so he established the Navajyothi Trust in 1969, with a grand total of Rs. 3000 as the corpus of the trust (“A couple of friends pooled in Rs. 1000 each”) and designed his first workstation shortly after (“the more sophisticated the task it assisted them in, the more they’d earn” was his mantra).

Unfortunately, this project found no support in Chennai, and he began work instead in Bangalore under the aegis of NIMHANS, in a small rented residence with just three students, training them and introducing them to his workstations. Soon people began to hear about his work – a National Award came the trust’s way in 1981, and visiting dignitaries urged him to take his work across the country.

“They’d never seen anything like it before, and said it should reach more people,” he says.

That’s how he came to develop the Diploma in Vocational Training & Employment (DVTE ) to teach instructors to train the mentally challenged in his techniques. It became the first such course in India to be licensed by the Rehabilitation Council of India (RCI), and is today taught (in a modified form) at several institutes across the country, from Chandigarh to Thiruvananthapuram. In time, the little centre he started morphed into a full-fledged institute – training, creating research modules and publishing works, and of course, designing and developing his workstations. And in 2000, it finally shifted to Chennai entirely, after the trust was gifted land in Ambattur by the Tamil Nadu state government.

In these four decades, Cornelius has seen a lot change. “There’s greater awareness about disability today, and plenty of work has been done on the legal side, with a lot of rights being legislated,” says the 79-year-old, who is also one of the founding members of The Spastics Society of Tamil Nadu, was associated with the National Institute for the Mentally Handicapped, and has served on several expert committees for government ministries. “But there’s still a need to infuse more science and technology into the fight.”

He adds with a smile: “I would like to spread my work into other areas of disability as well; I only hope I have enough time.”

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Book launch: Samit Basu’s ‘Turbulence’

It isn’t often that a book launch begins with a dramatic audio-visual presentation. Especially one that looks like a promo for a summer Hollywood blockbuster film. But then, not every novel has 17 superheroes fighting to save the world…

In spite of a delayed start, the launch of ‘Turbulence’, fantasy fiction writer Samit Basu’s ‘breakaway’ mainstream novel (his quirky version of one, anyway) at Landmark ended up being quite as lively as the book itself.

The event had Basu in conversation with author, poet and dancer Tishani Doshi, and it was refreshingly laidback, with both writers joking around (you know any conversation that begins with mildly off-colour references to the anthology of Indian erotica they both wrote for isn’t going to take itself too seriously).

That isn’t to say the packed audience didn’t get a feel for the book; both readings from the book brought to life Basu’s comic turn of phrase, and had the listeners chuckling more than once. And the chat that followed was full of information about random old superheroes (“Arm Tear Off Boy”, anybody?) that would make any geek giddy with happiness.

“After seven years of writing fantasy fiction, I decided to do the sort of novel Indian writers are supposed to, dealing with the realities of contemporary India and the questions 20 and 30-year-olds ask themselves,” says Basu, who became one of India’s youngest published authors when he came out with the first part of his GameWorld trilogy at the age of 23.

Somehow, though, his ‘big crossover book’ turned into a superhero novel, even as it covered a host of urban Indian issues – the media, politics, and terrorism, Bollywood, cricket and other ‘popular Wiki subjects’. “I realised our world is far more bizarre than any fantasy universe,” says the author, who’s also done comics, screenplays and a graphic novel. “I kept turning up the volume on the characters so they won’t be lost in the middle of it all, and in spite of myself, ended up with a superhero novel.”

‘Turbulence’ tells the story of a group of people who step off BA flight 142 from London to Delhi and find they’ve all gotten superpowers – and this is the cool part – linked to their innermost desires. A wannabe Bollywood star can now make anyone love her; an overworked mom can split herself into multiple copies; an Air Force officer can fly, and then there’s the guy who can control the weather with his stomach…

“I’m sure every superpower in this book has been done before by some insane comic book writer in 1940s America,” he says. “But I’ve done away with costumes (the good ones are all taken anyway), sidekicks and origin stories (gamma rays, radioactive spiders, etc.); I wanted this to be about a group of people dealing with real life situations.”

Except for the fact that they have superpowers, that is. Not surprisingly, the rest of Basu’s free-wheeling chat with Doshi and the audience was superhero-themed, from the sad state of Indian superheroes (“Shaktimaan? I mean, come on…”) to what superpowers he’d like, personally (“Not invisibility – I don’t think I’d use it for good.”).

And, of course, everyone wanted to know – what about a sequel? “I actually have it all planned out in my head, but I’m tired of writing series. Maybe I’ll do something completely different instead,” he says. Sounds like a plan.

DIVYA KUMAR

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Book Launch: Jaishree Misra’s ‘Secrets and Sins’

Photo: R. Ravindran

Popular fiction in India is coming of age, and Jaishree Misra, for one, is glad.

The prolific writer was recently in the city for the launch of her sixth novel, ‘Secrets and Sins’, part of her ‘Secrets’ series with Harper Collins, and declared herself happy to be churning out zippy, easy-to-read commercial fiction.

“In the West, my books are positioned as ‘The Big Beach Reads’, you know, the kind that are sent right off to airport bookshops,” said Misra, who recently moved back to Delhi after living and working in London for years. “I’ve tried a lot of different styles, and I feel this is more my natural calling. I quite like the idea of having more readers – one of the perks of commercial fiction!”

With the current changes in the Indian popular fiction market, there couldn’t be a better time for a desi writer to be in the business.

“Earlier, the assumption was always that Indian popular fiction would have poor language, be printed on poor quality paper, and just be rather cheap and tawdry overall,” she said in conversation with Anuradha Ananth at the launch event in Landmark. “But now, publishers are waking up to the fact that they need the buoyancy of the popular fiction market, thanks in large part to Chetan Bhagat’s books selling in lakhs. We have more well-produced and well-written books overall.”

‘Secrets and Sins’, the second novel in a three-part series commissioned by Harper Collins, certainly fits the bill, with its glossy cover design and a plot that’s all romance, glamour and infidelity with a dash of Bollywood masala. It tells the story of Riva Walia, a British Indian award-winning writer, and Aman Khan, a Bollywood superstar, both with troubled marriages, who rekindle their college romance after they’re thrown together at the Cannes Film Festival (minus their respective spouses).

Her first couple of books, particularly her debut novel ‘Ancient Promises’, were rather different. “I was trying to be literary, but even then my agent in the U.K. felt that my writing could end up falling between the two categories,” said Misra.  “Under the auspices of my current editors, I was shoved firmly into the commercial fiction category.”

And she feels no desire to change that categorisation. “One can tackle all sorts of themes in a light, easily accessible way – Marian Keyes, for instance, deals with domestic abuse in ‘This Charming Man’,” she said. “That’s the job of a good commercial fiction writer.”

In fact, she’s already completed a preliminary draft of the third and final book in the ‘Secrets’ series, about a young girl returning to find her birth mother. “It’s confusing to promote one book while writing the next – I get the character names mixed up sometimes!” she said, laughing.

But up next, she’d like to take a bit of a break. “I’m working on a big project on the outskirts of Delhi for people with disabilities,” said Misra, whose own daughter has severe learning disabilities. “It’s something I’ve wanted to do for the last 15 years. And then, of course, I’ll return to writing.”

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How to… be a drama queen

1. Drama queens (or kings; this is certainly not restricted to the fairer sex) must live life as if all the world really were a stage, and the spotlight were perennially shining upon them. Any event at any time of the day can be cause for Drama – no happening is too trivial or small. What the rest of the world shrugs off as minor irritants, the drama queen must turn into grand Shakespearean tragedy. The milk boiled over! Oh the horror, the horror! You missed the bus! The agonising pain of it all!
2. What drama queens needs most of all is, naturally, an audience. In any emotionally charged situation, they must find a way to be the centre of attention, whether it’s warranted or not. In other words, become the bystander who bursts into hysterical sobs or faints away dramatically at the scene of an accident or crime and has to be comforted/sedated/revived, etc. (while the actual victim sits huddled sadly on the sidelines). Or the guy throwing a massive temper tantrum for having been kept waiting for 15 minutes at a government office, while about 100 others around him have been waiting in quiet resignation for the last several hours.
3. Perhaps the greatest pleasure in a drama queen’s life is the re-telling (and re-living) of these moments of great personal strife and tragedy. An audience, therefore, is once again a prerequisite, and the more incredulous, the better. Because with each telling, the tale must get more and more improbably dramatic, and the drama queen’s own role must get more and more tragic/heroic, until it loses touch with reality altogether. Being a stickler for the truth is a strict no-no.
4. That’s why drama queens must always have their own posse (P. Diddy has nothing on them) – after all, they need to have a mobile audience unit with them at all times to provide round-eyed responses to their stories and/or splash cold water on their faces when the histrionics go overboard. And what’s in it for the posse, you ask? Well, they revel in all that constant drama – It’s like being part of a real life soap opera, and the gossip never runs dry.
5. When drama queens/kings run short on ‘real’ audience members (even the posse tires at times), they can turn to the virtual. The possibilities are endless online – dramatic Facebook status updates! Cryptic tweets about (vaguely hinted at) tragic events! And to the big one, darkly emotional diary entries on the blog! And soon the Internet audience is clamouring for more. What could be more satisfying?

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How to… be a bookworm

  • You don’t read books, you inhale them. Once you start reading, it’s going to take a pretty earthshaking event (or really, really rotten writing) to make you stop before you get to the end. (Skipping to the last chapter and reading the ending is simply not an option, as any self-respecting bookworm knows.)
  • Reading through the night and going to work / school bleary-eyed and half-asleep the next morning is a bookworm’s badge of honour. And nothing, of course, is better than having a day all to yourself to just read, continuously and obsessively (family and friends know better than to try and come between you and your book on a day like that).
  • Going to a library or a bookstore is both incredibly exciting and incredibly stressful to a bookworm. So much to read and so little time… you usually end up cross-eyed after hours of non-stop browsing and in a state of frenzied despair over what books you should choose out of the hundreds calling out to you.
  • Simple pleasures that make a bookworm’s day– that wonderful new-book smell (you’ve been known to stick your nose between the pages and breathe in blissfully), the joy of re-reading that well-thumbed old novel (in which you know every fold or tear of the pages), and that warm feeling you get when you see a stack of yet-to-be read books sitting invitingly on your bedside table
  • Book listings, literary review columns and such may be just something to skim over for most; for the bookworm, they’re the Holy Grail. If you find yourself constantly making mental wish-lists of what to read, and insist on lugging half a dozen heavy books with you even on a trekking holiday (because you’ll never get through your list otherwise!), you are firmly in book-geek territory.
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    Interview with… Andrew Logan

    Photo: R. Raghu

    The hotel room is all muted tones of olive green and cream, and I’m worried. It doesn’t seem like the right backdrop in which to photograph the famously colourful designer, sculptor and painter Andrew Logan.

    Then he emerges, resplendent in a bright pink, orange and green pant-suit (with sunny yellow socks and bejewelled black shoes) and a glowing piece of his signature mirrored jewellery at his neck. “You don’t need to worry about colour,” he says with a twinkle.

    That’s all right, then.

    An interview with Logan is a fascinating journey through four decades of fabulous art and fashion, and even more fabulous friends and parties. A distinctive figure in the world of British art, Logan has spent the time since he finished qualifying as an architect at Oxford in the 1960s being ‘determinedly alternative’.

    “In the U.K., there’s a system within the art world,” Logan says, adding wryly, “I’m not part of that system.”

    His objective from the beginning has been very simple – to infuse a little magic and happiness into people’s lives. “My work is about celebrating life and making people smile, if even for just a little while,” he says. “You’ll find very few artists doing that; it’s such as simple message, yet so little used.”

    So his quirky, one-of-a-kind jewellery pieces, for instance, are all bright colour and glittering pieces of mirror and glass, with, more often than not, a smiley face worked in. Even the vast art installation project he’s currently working on in Chennai for the new Hyatt hotel on Anna Salai is cheerfully, colourfully avant-garde, based on bees and flowers and the theme of interdependence.

    And his ‘Alternative Miss World’ event – which has been around since the 1970s and is the subject of a recent documentary film – is all about imagination, transformation and a lot of crazy, wonderful fun, where people (a colourful cast of characters over the years) turn out in outrageous costumes.

    “I call it a surreal art event for all-round family entertainment,” he smiles. “I carry on with it because it’s all in fun – there’s no huge money involved or sponsorship. People don’t enter to win; they just want to be part of the event. And I’ve always loved giving parties, ever since I was 10 years old!”

    That’s also the reason his museum – The Andrew Logan Museum of Sculpture– was opened in Wales, in 1991, making Logan the first living UK artist to have his own museum. “My sculptures are just there, to be looked after and to be enjoyed, without all the implications of exhibiting at a gallery,” says the artist, who grew up in the Cotswolds.

    While these otherworldly sculptures and installations reflect his love of the fantastic and the magical (the Cosmic Egg, displayed at the American Museum of Visionary Art, Baltimore, and his Pegasus series, for example), his larger-than-life abstract portraits of friends and family, the famous and the infamous reflect his love for people and their eccentricities (many are displayed in the National Portrait Gallery, London).

    And all his works reflect his obsession with mirrors – specifically broken mirrors. “People tell me, ‘Oh, you must have so much bad luck!’. I say, if you remake the broken mirrors into the most fabulous thing ever seen, how could it be bad luck?” says Logan with a grin. “I just love how broken mirrors fracture images – it’s like looking through a hole and seeing another world!”

    Over the years, he’s become a well-known figure in a number of worlds – fashion, fine arts and performing arts — though he is frequently accused of not being a ‘serious artist’. “They say, ‘You can’t possibly be an artist because you like to dress up and show off’,” he says casually.

    But fans of his work aren’t complaining – they’re just glad to be part of his ‘Worldwide Happy Club’. And Logan is clearly not troubled. He just lives in his – what else – fabulous glass house, with its sunshine yellow walls, along with his better half, Mike Davis in London. He conducts workshops at the Jaipur festival every year and spends every winter in a 250-year-old palace in the middle of a coconut grove in Goa.

    “February in London is dark, cold and just miserable, and I’ve had enough of those,” he says, smiling. “For the rest of my life, I’ve decided to spend it somewhere lovely and warm.”

    It’s all quite as magical as his art, really.

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    Book Launch: ‘Aftertaste’ by Namita Devidayal

    The Hindu

    It’s about food, family, money, mithai and manipulation… Namita Devidayal’s second novel, “Aftertaste”, the deliciously wicked saga of a Baniya family, is very different from her much-acclaimed debut novel “The Music Room”, set in the stately world of Hindustani classical music.

    And not everyone is happy about that.

    “It’s a problem in our country with slotting — either you’re a ‘serious writer’ writing about classical music, or you’re a ‘light writer’ in the mould of Chetan Bhagat,” she said at the launch of “Aftertaste” in Landmark recently. “Now people expect me to write another book on the classical arts, but I just wanted to have fun with this book, and wanted readers to have fun as well.”

    “Aftertaste” takes you into the fascinating world of the Marwari business community, where money is king. “This is a unique world one has no access to, a world where the currency of all emotion and exchange is money,” said Namita, a Mumbai-based journalist. “To me it’s as amazing as the world of Indian classical music.”

    It tells the story of the dysfunctional Todarmal family, owners of a successful mithai shop in Mumbai’s Kalbadevi district, its formidable matriarch Mummyji, her emasculated sons, conniving daughters and their resentful spouses.

    “Mummyji is based on a lot of grandmothers in the community, semi-destructive towards her own children without meaning to be,” she said, in conversation with Ranvir Shah. “One of the themes I wanted to explore is how Indian families can be both nurturing and destructive, and yet, they’re the place of last resort, where we turn to for support.”

    Unlike “The Music Room”, which was semi-autobiographical, “Aftertaste” is all fiction, though Namita did get some help from family and others in the community. “I’ve drawn on anecdotes from many extended Baniya uncles,” she said, “And I went around tasting a lot of the mithai!”

    You can almost smell the ghee and taste the sweets as you read the book; they’re virtually like characters in the novel, colourful, seductive and powerful. “The mithai is a metaphor. Food is a very big part of Indian families and for Mummyji, it’s a means of control over her family,” she said.

    Naturally, the conversation at the launch turned toward what her third book is likely to be about. “I’m fascinated with the subject of marriage, but I don’t know what form the book will take,” she said.

    One thing’s for sure; we can’t predict what it’ll be like from her first two novels. “I’m proud to be a multi-faceted person and I’d like to explore those different facets,” she said. “The third book will be as different as this one is from the first.”

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    Book launch: ‘The Pleasure Seekers’ by Tishani Doshi

    Photo: S.S. Kumar

    This might have been the toughest book launch event Tishani Doshi has had to attend.

    “It’s very unnerving to be in a position where I know so many people in the audience,” she said with a laugh during the launch of her debut novel,The Pleasure Seekers at Taj Connemara. “I feel you already know so much about me — it’s almost better to have anonymity to start with and have the audience get to know you!”

    It was a little unnerving for a couple of other people in the audience as well — her parents, since the book for the most part is inspired by their Gujarati-Welsh marriage and the ‘hybrid’ family that resulted.

    “My parents are here and I know they’re squirming in their seats,” she said with a smile. “But it’s an amazing story — I know I’ve never met any other Welsh-Gujaratis!”

    Launched earlier in the U.K. to considerable acclaim, The Pleasure Seekers tells the story of Babo, a Gujarati boy who leaves his traditional family behind in Madras to study in London only to fall completely and irrevocably in love with Sian, a Welsh girl from an equally traditional family. How Sian comes all the way to Madras to make her life with him (and his family), and how they create their own little world with their daughters Mayuri and Bean in the “house of orange and black gates” forms the rest of this warm and heartfelt novel.

    “This is not a memoir — it’s a re-inventing of their story,” said Tishani, in conversation with musician Susheela Raman. “I took the bits I found interesting and layered and added to it until, over time, the real people faded away and I was left with the characters of my own making.”

    The book has been nearly a decade in the making, during which time Tishani has, of course, done a number of other things, including journalism, dancing with the iconic Chandralekha and writing poetry. Naturally, some influences from these other experiences have seeped into the novel — particularly, it appears, in the central character of Ba, Babo’s grandmother, a wise and almost mystical figure in the book.

    “I’ve always maintained that Chandralekha was the biggest influence in my life,” she said. “Ba isn’t a portrait of Chandralekha, but does have elements of her. Her house, especially, was my inspiration for Ba’s home in Ganga Bazaar — a place to discover stuff, to heal.”

    The book is also an exploration of Tishani’s own experiences of growing up as a ‘hybrid’. “It came out of my own need to answer the question — where do I come from?” she said. “Now, being from many places is much more accepted, but growing up, I was quite perplexed by it.”

    Unsurprisingly, the question and answer session that followed focussed quite a bit on the blurring of lines between fact and fiction.

    “As a writer, you’re interested in telling stories, and real life has great stories,” said Tishani. “You’re a magpie, stealing all these memories, yours and other people’s, for your nest… the blurring happens quite organically.”

    So what’s next for the writer, dancer and poet? More multi-tasking, it appears. “I find wearing multiple hats liberating,” she laughed. “Writing a novel can feel like you’re teetering on the edge of despair, so I’m happy to be writing poetry again, and to be doing a dance performance at the end of the year!”

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    Movie Review: Grown Ups

    Here’s the thing about ‘Grown Ups.’ Yes, it’s poorly crafted — hardly any plot to speak of — and is quite silly and gross in parts (as expected, several done-to-death gags on various bodily functions, plus a running joke on breast-feeding). But it’s just so good-natured and its leads are just having so much fun together that it’s impossible to actively dislike it.

    It’s really not worth going into the story (such as it is). Suffice to say that five friends reunite after 30 years at their high school basketball coach’s funeral and spend the weekend of July 4 at a lake house with their families. None of the rest matters. Because this flick is just about putting together the ex-Saturday Night Live gang of Adam Sandler, Chris Rock, Rob Schneider and David Spade — with the addition of the loveably goofy Kevin James — and letting them have a ball.

    The camaraderie between the guys is obvious. From the moment the five meet up on screen, they basically pick on each other mercilessly. The jokes are sometimes mean, sometimes lame, sometimes laugh-out-loud funny, and most often seem like they were ad-libbed on the spot or are in-jokes among the guys. You can just see they’re enjoying themselves, and that’s infectious.

    It also has some genuinely hilarious bits — Rock as a tantrum-throwing house husband, and Schneider as a super-sensitive new age sop with a flapping toupee are just inspired choices. And like most Sandler comedies, the movie has at its core a sweet message. This time it’s about those good old-fashioned childhood pastimes — playing out there in the sun and splashing about in a lake — that are being forgotten in our world of video games and designer clothes for 12 year olds.

    Amazingly, the ladies aren’t completely forgotten in this boys’ reunion — they do tend to take second place and disappear off screen for long bits, but we actually get to see them having fun together. Sandler’s super-successful fashion designer wife, played by Salma Hayek, is possibly the most real character in the movie. Hayek brings depth to her role (not to mention oomph); she almost seems too good to be part of this crew.

    Of course, all the ‘issues’ in each family (never particularly well-explored except in Hayek and Sandler’s case) are simplistically resolved in a single scene. And then the movie limps to its good-natured end. But with its beautiful backdrop of Maine and its essential harmlessness, it’s hard to be mad at this breezy summer flick.

    Genre: Comedy
    Director: Dennis Dugan
    Cast: Adam Sandler, Kevin James, Chris Rock, Rob Schneider, David Spade and Salma Hayek.
    Storyline: Five friends reunite for the 4th of July weekend after their high school coach passes away.
    Bottomline: A feel-good flick that’s good for a few laughs.

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    Article: Memories of Maria

    A photograph published in MetroPlus results in the coming together of nine surviving students of Italian educationist Maria Montessori for a unique reunion after seven decades.

    Photo: N. Sridharan

    It’s a hot, sunny afternoon, and a group of elderly gentlemen and women sits patiently under the trees at Kalakshetra Foundation, waiting for the event to begin.

    It seems like any ordinary meeting, except it’s not — it’s a reunion of a most remarkable sort.

    These nine men and women are the surviving students of the great Italian educationist Maria Montessori herself, and they’ve come together for a reunion — for the first time — nearly 70 years after they were classmates in her schoolroom.

    When a group of adorable current-day Montessori students joins us the for the prayer song, the mood is truly set, and we rewind to the time when these septuagenarians were four or five years old themselves — memories of Maria and her adopted son Mario, of Easter eggs and biscuits, and all those things one tends to treasure as a child.

    “I still remember the party Maria gave soon after the school was inaugurated — there were cakes, sweets, candles and gifts to be given to us kids,” says K.V.S. Krishna, who was instrumental in putting together the event after the idea was sparked off by a photograph that appeared in The Hindu (see box). “I was always hungry, and I grabbed as much as I could!”

    The year was 1939, and Maria had fled to India with Mario, after being exiled by Mussolini during the Second World War. Invited to Madras by G.S. Arundale, she arrived that November, and set up her school at the beautiful old Olcott Garden bungalow on the Theosophical Society grounds.

    “Our classes would be held in the ground floor of the bungalow, and we’d have a session of biscuits afterwards,” recalls A.Y. Nithiananda. “I remember, Madam Montessori would be wearing a kunguma pottu just like I am now.”

    Some of the memories that surface at the reunion are poignant, such as P.K. Prabhakar’s recollection of the only time he ever saw Madam Maria cry — when she went to see Mario at Pallavaram, where he was interned as a prisoner of war.

    When Maria wept

    “By the good graces of Mr. Arundale, she could go visit him twice a year, and one of those times, Mario asked her to bring me along — he used to be very fond of me and would call me ‘Paiyya’,” says Prabhakar, the senior-most at the reunion. “When I saw Mario, I rushed to him, and extended my hand, and the sergeant in charge hit me with a baton. And, Maria started crying, saying: ‘No one should hit a child’.”

    When they returned to the bungalow, Prabhakar says, she gave him chocolate and made him a promise — she would ensure no one hurt him like that again. “She taught me that one’s love for others is more important than all the education in the world,” he says.

    Other anecdotes are in a lighter vein, such as R. Sivakami’s, at being asked to garland Maria on her birthday (“I was so proud to be chosen out of the 22!” she laughs), and a touching email from Sivakami’s brother S. Padmanabhan in Germany, whose aptitude for engineering Maria predicted back then (he ended up becoming one of the earliest staff members of the IIT Madras mechanical engineering department).

    Plenty of chocolates

    “She would always ruffle my hair and call me ‘bambino’,” writes Padmanabhan. “And, around Easter, there were always plenty of chocolate eggs!”

    The picture that emerges is one of a remarkably warm woman who loved children and loved being with them. Sivakami remembers how Maria would often just sit and watch them at work: “Some days she would be on a dais, watching what we were doing, and some days, she would come and sit right by us and observe us.”

    As the afternoon wears on, it also becomes obvious that there’s a strong sense of kinship amongst the people present. They’re more than just old classmates — they all seem to know each other’s relatives and friends, and they tease each other and squabble as if they’re family. Which is what they are, says Prabhakar. “Most of us come from a Theosophical Society background, so we, virtually, are all one family,” he laughs.

    The sultry afternoon turns into a rain-splattered evening, and the remarkable reunion is at an end. The group disperses and slowly shuffles away, but Maria’s legacy remains, in the hearts and memories of her former students, the ones who could make it to the meet and the ones who couldn’t.

    Box: How it all happened

    It all began with a photograph. In the MetroPlus column Memories of Madras of September 9, 2009, titled ‘A Bridge with a View’ we carried a black-and-white picture of six students with Maria Montessori at Olcott bungalow.

    When Gabriele Binder, executive director of the Montessori Society, Baden Württemberg, Germany, who has been studying Maria’s days in India for the last six years saw the picture, she immediately contacted K.V.S. Krishna, a former student of Maria’s whom she was told could help her.

    “I was already in touch with 12 or 13 of the former students who were in Chennai,” says Krishna. “After Gabriele contacted me, we traced 16 of them, and then 19 all over India and abroad. Best of all, we’ve now identified four of the six children in the picture!”

    Soon, plans were made for the grand reunion. Naturally, Binder was present, recording the interviews of the students. She had just one thing left to say at the end: “I’m glad you published that article!”

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