"Peruvemp" - the hallmark for musical instruments!

Peruvemp, just 10 km from Palakkad town, is famous for its traditional musical instruments, such as tabla, maddalam, chenda, edakka and so on. Instrumental musicians from different parts of the country and abroad come to this village to buy musical instruments. Half a dozen families here are engaged in making these wonder creations that produce music.
These master craftsmen follow a tradition, gifted by their ancestors. Kerala Kalamandalam and various music colleges in the State rely on this small village to get their musical instruments, which need high quality and perfection, a hallmark of Peruvemp.

A number of foreigners visit the village to learn about the making of these instruments and buy them. Most of the artistes and musicians who visit institutions such as Kalamandalam make it a point to visit Peruvemp.

But this tradition is facing a crisis because only a few people know about the craft. Only a few among them are coming forward to continue the vocation since it needs hard work and high perfection. The remuneration is not attractive to continue in the profession.

One of the master craftsmen of Peruvemp, Rajan, said that they were continuing the tradition despite much hardship because of the recognition they got from musicians from far and wide. They saw it as a gifted tradition, which brought joy not only to the musicians but also to listeners.
He said the cost of the jackfruit wood and hide of animals, such as cow, goat, and buffalo, used for making the instruments had gone up. Making these instruments needed hard labour and specialised skill. Thus, income-wise, it was not a lucrative vocation. But they did not want to leave this unique tradition.
The work is a family affair, handed down from generation to generation. Rajan, his brother and his two small children are engaged in making the instruments.
He said that he would be only too happy to teach his children this tradition. But the Government should provide some help to these craftsmen so that the tradition did not get extinct.
The artisans have no facility to dry the hide. Drying it in open place invited protest from local people.
Another craftsman of Peruvemp, Prasanth Babu, who has been in this profession for the last 18 years, said they wanted to continue the tradition of his forefathers. But the job required good health and it could be pursued only till the age of 50 years. Beyond that, this hard labour could not be continued. So the Government should extend some social security measures for the artisans engaged in this profession. He would not like his son to continue this traditional craft because it is difficult to get a decent income from this profession.
The craftsmen have no organisational mechanism or society set up to promote the products. They are not covered by any welfare schemes. Though the heritage value and the quality of the products are matchless, it has not been effectively promoted.

V. V. Suresh Kumar; Legacy of crafting `nettoor petti'
A land bestowed with backwaters, rivers, and pleasant seas... That's Kerala. But more than that V.V Suresh Kumar is living in Kerala! The jewellery boxes of an epical era, called Nettoor Petti (box) is still flying across the oceans scripting the name V.V. Suresh Kumar. He is none other than the living legend with a tradition in making this wonderful box. He makes these boxes with utmost perfection and scientific precision.

Suresh belongs to a family of craftsmen who have been practising the art of making the nettoor petti in its strictest tradition. There are few artisans in Kerala who still practise this traditional craft. Suresh is the fourth generation craftsman. He was trained by his father, G. Viswanathan Achari, a recipient of the State Award in 1987. Both father and son have given shape to innumerable such boxes that are used to store ornaments.

One of the variations of the nettoor petti, known as Kathakali petti or atta petti, is traditionally used to store Kathakali chamayam. The upper lid of the nettoor petti is shaped like a hut, while that of the Kathakali petti is round-shaped. But nobody knows the story behind the naming of 'Nettoor Box' to this jewellery box. There is no record however, the name probably owes its origin to the `Nettoor Madom' in Palakkad, as a belief.
These boxes made out of rosewood (veeti) and countrywood. After the boxes are made, they are embellished with metals. The design of the ornamentation work on the exterior of the nettoor petti is inspired by the temple architecture of Kerala. The usual  designs are adaptations of the tomb (gopurams) of the temples or the chithrapootu, which is also known as manichithrathazhu. The brightly coloured boxes also feature intricate patterns. Suresh and group draw upon the traditional art of Kerala.

Cheaper models of the nettoor petti have flooded the market, making things difficult for the artisans who adhere to the traditional manner of crafting these boxes. The peculiarity of Nettoor Petti made by Suresh is each and every accessory used for making of this box is handmade. The varieties includes jhoolas with figures of Radha and Krishna, aanakaal petti (`elephant leg bangle box') and utility items such as medicine chests.
Apart from this Suresh has designed the doors of the sanctum sanctorum (srikovil) of temples such as
Vazhvelikonam Devi Kshetram (Vamanapuram), SNDP Vishnu Kshetram (Pallichal) and Murugan Temple  (Chakka, that is his own  home land).

Buy handicrafts through e-shopping

Buy handicrafts through e-shopping
Don't go for any handicraft exhibition conducted by Himachal Pradesh Government! WHY? You can now buy them simply sitting in your garden with a mouse-click in your lap-top while zipping coffee or tea! As a promotional step government has announced a 20 percent discount on products purchased through e-shopping is another reason for your browsers turned on. A wonderful dispaly of more than 1000 products is the main feature of the site as part of the buyer-attraction measures of the Himachal government.

Craft crazy peoples can now purchase online hand-knitted woollens like shawls, stoles, mufflers, socks, gloves, pullovers and caps,
Kangra paintings and Chamba rumal (handkerchief), Chamba chappals (slippers) and jewellery items and many more items. The demanding need of the handicrafts made in the hilly state is now increasing and is quite popular among foreigners.
Now the Himachal Handicraft and Handloom Corporation is operating 15 sales outlets, including one each in Bangalore and Delhi.
The hill state is known for the art of embroidery on the Chamba rumal that originated and flourished in Chamba (now Chamba district) in the 16th and 17th centuries where the Chamba school of miniature paintings got royal patronage.
The state government has got the Chamba handkerchief, the Kullu shawl and Kangra tea registered under the Geographical Indications (GI) of Goods (Registration and Protection) Act, 1999, by the Chennai-based Geographical Indications Registry.

NACHIARKOIL; LAND OF LAMP MAKERS

The largest and the biggest bronze oil lamp in the world is the one at the Koothattukulam Town Church (St Jude’s Shrine) in Kerala. It has the features; 6640 kg weight, nine tier, 24.5 foot height. And this 1001 wicks bronze lamp has been manufactured in Tamil Nadu! There is no wonder. The neighbouring state of Kerala is gifted with wonderful and unique lamp makers.

The most important centre for artisans practicing this one thousand-year-old craft is Nachiarkoil, a historic town in Thanjavur district. This is an unusual village where the occupation of an overwhelming majority of inhabitants is lamp making. Here, gleaming lamps strung together weave arcs of swinging gold as they are carried from workshops to house. Nearly 200 craftsmen from 50 families are engaged in the craft. But, the lamp makers are in peril. Caught in the grip of middlemen, they find it difficult to keep afloat financially.

The artisans here produce lamps of various shapes, sizes and designs. Enormous lamps dwarfing the craftsmen with their golden magnificence to tiny ones with just one wick face are made bringing a touch of the divine into the most humble home.

The Vastu Sastra has an entire chapter devoted to the features, classification and production of temple lamps. The Agamas (scriptures) describe the objects necessary for puja. Details can be obtained in them about the different types of lamps for different types of worship, and how the most important endowments of a devotee to the temple was a lamp. Much of the spirit of worship for the devotee is defined by the ambience created by these traditional lamps.

In the one thousand-year-old Brihadeeswara temple in Thanjavur can be found details of the endowments by the 10th century A D Chola emperors for the maintenance of the temple lamps. Strictly specified number of cattle had to be endowed along with the lamp to keep it burning. This was usually in the form of 32 cows, 96 sheep, 16 buffaloes or three gold sovereigns. Local shepherds were entrusted with the task of maintaining the cattle and to supply ghee to keep the lamps going.

The artisans here produce lamps of various shapes, sizes and designs. Enormous lamps dwarfing the craftsmen with their golden magnificence to tiny ones with just one wick face are made bringing a touch of the divine into the most humble home.
The Tamil Nadu handicrafts development corporation ‘Poompuhar’ has a brass and bell metal production centre which imparts training to artisans from Nachiarkoil and many of whom have moved on to set up their own private units. The superintendent of the centre, points out that the sand from the river bed around Nachiarkoil has a special quality that lends itself ideally to the craft.

As in the case of bronze icons, the cire perdue or lost wax process, which is a traditional method of casting, is also followed during the production of these lamps. Till three decades ago, only one lamp could be made in the traditional method using a single mould. The introduction of the box type mould has facilitated an increase in production.
A wooden box made up of two equal halves is filled with river sand and the impression of the lamp is obtained. Molten bell metal is poured in the space created. The metal is cooled and a rough cast is obtained. The four or five separate parts, which when fitted together make up the lamp, are got by repeating the same process. The rough projections are eliminated by cutting and filling and the product is put through a lathe. The measurements are thus corrected and the excess metal shed. After the part is removed from the lathe, it is shaped and burnished. Finally with delicate taps of the chisel, the artisan ornaments the work with his own creative touches in the form of engraved designs of flowers and creepers.

But art connoisseurs feel that the use of the box mould has diluted the quality of the lamps and that the lamps made by the craftsman of olden days had more finesse. The figure to crown the lamp whether of the swan or the image of a deity (Ganesha, Lakshmi or Devi) are made separately using the lost wax process.A very popular design is the multi branched one with innumerable parrots on perches holding lamps in their beaks. Lamps crowned with the figure of Velankanni or the cross are also sought after.

CRAFTMEN WITH GOD'S HANDS

God created the beautiful Kerala as well as the talented craftsmen basically from Viswakarma (literally means Lord Brahma, the creator of all) community. Though making handicrafts is the parentage of Viswakarama community, people from other communities also play their role in this unique field.

Kerala's traditional handicrafts varieties are a class of its own. The artisans of Kerala carves in wood, design in jewellery and makes idols in metal. The gifted artisans makes beautiful idols of Lord Krishna with his beloved Radha in a loving mood, Ganesh, Goddess Saraswathi, Lakshmi etc. in sandal wood ,elephants in rose wood and other art works in varieties of other woods.

The life size models of Kathakali and the models depicting boat race of Kerala are Kerala's own master pieces. The idols of Lord Nataraja in dancing pose and the various lamps (vilakku) which are very essential for every ceremonies of malayalees.

Aranmula kannadi is another traditional art work in bell metal. The artisans of Kerala are at their best in making screwpine woven articles, beautiful lamp shades and other articles from bamboo reeds.

A variety of products ranging from buttons to flower vase out of coconut shell. Kora mats are very popular and is used for prayer and sleep. Articles made out of buffalo horn and kathakali masks, straw pictures etcare some of the popular items of Kerala. Handicrafts based on various kinds of wood, coconut, palm etc. are major attractions.

The State agencies for the development of handicrafts industry include Handicrafts Co-operative Apex Society (SURABHI), Artisans Development Corporation, Bamboo Corporation and Handicrafts Development Corporation.

Handicrafts Heritage Kerala, handicrafts celebration week, is being conducted every year from December 7 to 15.