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The Ramanathaswamy Temple in Rameswaram

This temple, spread over an area of 15 acres , has lofty gopurams, massive walls and a collossal Nandi. Rameswaram also boasts of a 4000 feet long pillared corridor with over 4000 pillars, supposedly the longest in the world. The carved granite pillars are mounted on a raised platform. What is unique about this corridor is that the rock is not indigenous to the island and it was brought in from elsewhere in Tamilnadu across the sea. The eastern Rajagopuram towers to a height of 126 feet and it has nine levels. The Western Rajagopuram, though impressive is not as tall as the Eastern one. The stuccoed image of Nandi is about 18 feet tall and 22 feet in lengthIt is believed that the ancient shrine was housed in a thatched hut until the 12th century and that the 1st ever masonry structure was built by Parakrama Bahu of Sri Lanka. The Setupathy rulers of Ramanathapuram completed the rest of the temple. Some of the temple vimaanams resemble the Vimaanams of the Pallava period. Much of the additions were carried out between the 12th and the 16th centuries. The long corridor (3rd prakaram) dates back only to the 18th century. The Gandhamadhana Parvatam (hill) provides a good view of the temple. This temple has received royal patronage from several kingdoms such as Travancore, Ramanathapuram, Mysore and Pudukkottai

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List of Tamils conferred Arjuna Award

Athletics
R. Gyanasekaran, (1979-1980).

Ball Badminton
J. Srinivasan, (1972).
D. Rajaraman, (1984).

Basketball
T. Vijayaraghawan, (1977-1978). Boxing G. Manoharan, Boxer, (1981).
V. Devarajan, Boxer, (1995).
Carrom
A. Maria Irudayam, (1996).

Chess
Vishwanathan Anand, (1985).
S. Vijayalakshmi, (2000).
Krishnan Sasikiran, (2002).

Cricket
S. Venkataraghavan (1971).

Hockey
Krishnamurthy P, (1971).
Vasudevan Baskaran, (1979-1980).
Dhanraj Pillay, (1995).
Mohammed Riaz, (1998).

Kabaddi
Subbiah Rajarathinam, (1994).

Powerlifting
E.S. Bhaskaran, (1994).

Swimming
V. Kutraleeshwaran, (1996).

Table Tennis
U. Sundararaj, (1966).
G. Jagannath, (1970).
V. Chandrasekhar, (1982).
S. Raman, (1998).

Tennis
Ramanathan Krishnan, (1961).
Vijay Amritraj, (1974).
Ramesh Krishnan, (1980-1981).
Anand Amritraj, (1985).
Mahesh Bhupathi, (1995).

Volleyball
A. Palaniswamy, (1961).
G. E. Sridharan, (1982).

Weightlifting
S. Vellaiswamy, (1974).
K. Balamuruganandam, (1976).
M. T. Selvan, (1977-1978).
E. Karaunakaran, (1978-1979).
M.C. Bhasker, (1985).
Thandava Murthy Muthu, (2002).

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tallest bridge in asia

The Mathur Hanging Trough is the tallest as well as the longest trough bridge in Asia, having a height of 115 feet and a length of one kilometre. Constructed in 1966, this bridge has become a place of tourist importance and hundreds of tourists visit this place. This is situated in Mathur, hamlet of Aruvikkarai revenue village in Thiruvattar Panchayat Union.

The bridge has been constructed at Mathur across the river Parazhiyar at a cost of Rs. 12.90/- lakhs and the trough canal (Pattanamkal canal) on the bridge carries water for irrigation from one side of a hill to the other side of a hill. The trough has a height of seven feet with a width of seven feet six inches.

The canal is being shouldered by 28 huge pillars. By the unrelented efforts of late Thiru. K. Kamaraj, the former Chief Minister of Tamil Nadu, this canal was constructed as a drought relief measure and for the development of agriculture in Vilavancode and Kalkulam Taluks. The District Administration has recently put up a staircase from top to the bottom of the bridge and also built a children's park and bathing platforms over here. its the tallest and longest bridge in asia..

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Tirparappu Water Falls

Tirparappu Water Falls
The water fall at Tirparappu is about 13 km. from Pechiparai dam. The river bed is rocky and about 300 feet in length. The water falls from a height of nearly 50 feet and the water flows for about seven months in a year. On the left bank of the river in between the water falls and the weir, there is a temple dedicated to Lord Siva enclosed by strong fortification. The District Administration has recently constructed a swimming pool here which is very popular among the children

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Udayagiri Fort

Udayagiri Fort is a worth visiting site in Kanyakumari owing to its magnificent structure and quite surrounding atmosphere.

The fort was rebuilt in the reign of Marthandavarma, the Venad King, during 1741-44. In the early days, the fort was of strategic importance. Prisoners captured in the campaign against Tippu were confined in this fort for sometime.

Recently, the district administration has established Biodiversity Park here in collaboration with the forest department. Tourists can see deer, ducks, fountains, birds and over 100 varieties of trees inside the fort.The district administration has decided to give a facelift to the historically famous Udayagiri Fort in Kanyakumari district at a total estimated cost of Rs.7 lakhs to attract domestic and foreign tourists.

The fort is situated near the Padmanabhapuram Fort in the Thiruvananthapuram-Nagercoil National highway at Puliyoorkurichi, which is the most important military station of the erstwhile Travancore rulers, when they are having Padmanabhapuram as their capital.

It is built of massive granite blocks around an isolated hillock, 260 feet high enclosing an area of almost 90 acres. It is renovated about AD 1600. The fort is said to have been destroyed by the King Raja Raja Chola.

The fort is rebuilt during the reign of Marthanda Varma, Venad King during 1741-44. Under the supervision of De Lannoy, Belgium General, who has served as the Chief of the Travancore Army, East India Company's troops have been stationed there till the middle of the 19 Century.

The foundry for the manufacture of guns, mortars and cannon balls have been established within the fort under the supervision of the General.

In the early days, the fort is of strategic importance. Prisoners captured in the campaign against Tippu have been confined in the fort for sometime. In 1810, the East India Company's Army under Colonel St. Leger has marched into the Travancore State through the Aramboly Pass to quell a rebellion under the leadership of Velu Thambi Dalavai. De Lannoy, who has served Marthanda Varma loyally for 37 years and who is responsible for training his men in modern warfare, has lived in the fort with his family for several years and died on June 1, 1777 at the age of 62.

His body was buried within the fort and a chapel was built on the spot where his body was buried. De Lannoy's tomb in the fort is marked out by a stone cross planted at the top, with the inscription in both Tamil and Latin. His wife and son are also buried by his side.

The tourist spot has not been developed for many years owing to negligence. When the sorry state of the fort was brought to the notice of the Collector, Rajesh Lakhoni, he allotted Rs.5 lakhs immediately from the small saving's incentive fund to give the facelift to the fort as well as to set up a bio-diversity park within the fort.

An artificial fountain has also been established in the fort. Seven spotted deers have been brought here from Pechipparai to attract tourists. Rs. 2 lakhs has also been allotted under the Western Ghat programme to set up birdcages and renovate the entrance of the fort.

Recently, officials of the Department of Archaeology have found a tunnel (an underground passage) within the fort.

"Necessary steps will be taken to renovate the passage. Besides illuminating the entire fort and constructing a wall around the tomb of De Lannoy, a children's park will be set up to develop this fort as one of the famous tourist spots in the district

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Ancient Tamil Marriage Ceremony

In History of Tamils from the Earliest Times to 600 A.D."The ancient ceremony of marriage which obtained among the Tamils before it was altered by the Aryans is described in two odes of the anthology called the Agam. (aka n^AnURu) Thus it is said:

“There was a huge heap of rice cooked with pulse (even after many guests had been fed). On the floor of a pandal built on long rows of wooden columns was spread freshly brought sand. House lamps were lighted. The bride and the bridegroom were adorned with flower-garlands. In the beautiful morning of the day of the bent, bright moon, when the stars shed no evil influence, some women carrying pots on the head, others bearing new, broad bowls, handed them one after another while fair elderly dames were making much noise. Mothers of sons, with bellies marked with beauty-spots, wearing beautiful ornaments, poured water on the bride, so that her black hair shone bright with cool petals of flowers and rice-grains (which had been mixed with the water), and at the same time they blessed her, saying ‘do not swerve from the path of chastity, be serviceable in various ways to your husband who loves you and live with him as his wife’. On the night after the marriage ceremony was over, the neighbouring ladies assembled, (dressed the bride in new clothes) and sent her to the arms of her lover, to which she went with trepidation.”(1)

It will be noticed that in this ancient Tamil rite of marriage there is absolutely nothing Aryan, no lighting of fire, no circumambulation of fire, and no priest to receive daksina.

Another ode in the same anthology refers also to the wedding-rite.

“White rice, well cooked and with plenty of ghi, was served to the elders with stintless generosity. The omens shown by the birds were propitious. The broad sky shone bright. The moon was in faultless conjunction with the Rohini asterism. The marriage-house was decked. They worshipped God. The big drums resounded with wedding tunes. Excited women were peeping winklessly with their flower-like eyes at the bride who had been bathed (and decorated). The image (to be worshipped) of big flower-petals, clear like a gem that has been well washed, was placed on the soft vãgai flower with the double leaf whose back-side is bright, and the arugai grass which grows in low land when the roaring clouds pour the first rain and which is eaten by calves. It was decked with cool, sweet flower buds and white thread, clothed with holy cloth, so as to look grand. The bride (was seated) under a pandal, on the floor of which sand was strewn, looking as if rain-drops had fallen. She was perspiring with her load of ornaments. (They fanned her) to dry the wet. Then her relatives gave her away”.

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Folk Dances Of Tamil Nadu

Tamilnadu had developed the art of entertainment to its pristine heights at early age. The three modes of entertainment to its pristine heights at a very early age. The three modes of entertainment classified as Iyal (Literature), Isai (Music) and Nadagam (Drama) had their roots in the rural folk theatre like Therukoothu. Many forms of group and individual dances with the classical forms for popularity and sheer entertainment value. Majority of these dances are still thriving in Tamil Nadu today.

The more celebrated forms of village folk dances are :

Karagaattam

Karagam is a folk dance with musical accompaniment, performed balancing a pot on the head. Traditionally, this dance was performed by the villagers in praise of the rain goddess Mari Amman and river goddess, Gangai Amman, performed with literature with water pots balanced on their heads. In Sangam literature, it is mentioned as 'Kudakoothu'. This dance has two divisions - one, Aatta Karagam and the other 'Sakthi Karagam'. More often it is danced with decorated pots on the head and is known as 'Aatta Karagam' and symbolises joy and merriment. The former is performed only in temples, while the latter is mainly entertainment in nature. This is one of the more popular rural dances today. Earlier it was performed only with accompliment of the Naiyandi Melam but now it includes songs also.

Karagams were once performed for mulaipari ceremony when the dancer carried a pot of sprouted grains on his/her head and danced, balancing it through intricate steps and body/arm movements. Today, the pots have transformed from mud pots to bronzeware and even stainless steel in modern times. The pots are decorated with a cone of flower arragements, topped by a paper parrot. The parrot rotates as the dancer swings along. This dance is very popular all over Tamilnadu, though its birth place is said to be Thanjavur. Most artistes hail from Thanjavur, Pudukottai, Ramanathapuram, Madurai, Tirunelveli, Pattukottai and Salem. This dance is danced by an individual or two persons. Both male and female performers participate in this. Acrobatics similar to circus are included - such as dancing on a rolling block of wood, up and down a ladder, threading a needle while bending backwards and so on.

Kummi
Kummi is one of the most important and ancient forms of village dances of Tamilnadu. It originated when there were no musical instruments, with the participants clapping their hands to keep time. This is performed by women; many varieties of Kummi, such as, Poonthatti Kummi, Deepa Kummi, Kulavai Kummi, Kadir Kummi, Mulaipari Kummi etc are known. The women stand in a circle and dance clapping their hands rhythamically tolifting songs. This dance is usually performed during temple festivals, Pongal, the harvest festival, family functions like the one to celebrate the coming of age (onset of puberty) of the girl-child etc. The first line of the song is sung by the leading lady, which the others repeat.
Mayil Attam
This is done by girls dressed as peacocks, resplendent with peacock feathers and a glittering head-dress complete with a beak. This beak can be opened and closed with the help of a thread tied to it, and manipulated from within dress.
Other similar dances are, Kaalai Attam (dressed as a bull), Karadi Attam (dressed as a bear) and Aali Aattam (dressed as a demon) which are performed in the villages during village get-togethers. Vedala Aattam is performed wearing a mask depicting demons.

Kolaattam

Kolaattam is an ancient village art. This is mentioned in Kanchipuram as 'Cheivaikiyar Kolattam', which proves its antiquity. This is performed by women only, with two sticks held in each hand, beaten to make a rhythmic noise. Pinnal Kolaattam is danced with ropes which the women hold in their hands, the other of which are tied to a tall pole. With planned steps, the women skip over each other, which forms intricate lace-like patterns in the ropes. As coloured ropes are used, this lace looks extremely attractive. Again, they unravel this lace reversing the dance steps. This is performed for ten days, starting with the Amavasi or Newmoon night after Deepavali.

Oyil Kummi

This is an ancient folk dance form popular in Trichi, Salem, Dharmapuri, Coimbatore and Periyar Districts. No other musical instruments are used in this dance except the ankle-bells. This dance is performed by men only, during temple festivals. Stories and episodes centering around Murugan and Valli are depicted in the songs. As one of the rare folk art forms of ancient Tamil nadu, this is being practised now by the Telugu speaking people of the northern districts.

Kavadi Aattam

The ancient Tamils when they went on pilgrimage, carried the offerings to the gods tied on the either end of the long stick, which was balanced on the shoulders. In order to lessen the boredom of the long travel they used to sing and dance about the gods. Kavadi Aattam has its origin in this practice. Special songs were created to be sung while carrying the Kavadi Sindhu. This dance is performed only by men. It is done by balancing a pole with pots fixed on either end, filled with milk or cocunut water.
The poles are made from Purasai or Teak wood. On top, bamboo strips are bent like a half-moon, covered with saffron cloth and further decorated on the sides with peacock feathers. This is mainly a religious dance, performed in worship of Lord Murugan, the second son of Siva. The dance is accompanied by Pambai and Naiyandi Melam.

Poikkal Kudirai Aattam

This is the Dummy Horse Dance where the dancer bears the dummi figure of a horse's body on his/her hips. This is made of light-weighted materials and the cloth at the sides swings to and fro covering the legs of the dancer. The dancer dons wooden legs which sound like the hooves of the horse. The dancer brandishes either a sword or a whip. This folk dance needs much training and skill. This dance is accompanied by Naiyandi melam or Band music. This is connected to the worship of Ayyanar, prevails manily around Thanjavur.

Kai Silambu Attam
This dance is performed in temples during Amman festivals or Navaratri festival. The dancers wear ankle-bells and hold anklets or silambu in their hands, which make noise when shaken. They perform various stepping styles jumps. The dance is in praise of all female deities, the most preferred being the powerful angry goddess - Kali or Durga.

Silambattam

Kol silambam or fighting with a long stick and even with swords is a martial art from the days of Tamil Kings. Fights were characterised by moves of self defence, practise of skillful methods of approaching the opponent, overpowering and subduing him, and finally teaching him a lesson, all to put an end to violence. A violent fighting art has metamorphosed into a non-violent form of folk dance, adding stepping styles following the measure of time. It also teaches the performer the methods of the self defence in modern day world.

Chakkai Attam

Teak woodenpieces size of 7 X 3/4 inch are held between the fingers which make the noise. Eight to ten dancers stand in a circle or parallel lines. The accompanying songs are generally about gods and goddesses.

Kazhai Kothu

Kazhai Kothu is a performance of gymnastic specialised by Aryans. This is very similar to modern day circus. They travel in a group from place to place, entertaining the local people and thus earning a living.

Thappaattam


Thappu is the name of a rhythamic beat instrument and Thappattam is practiced among the suppressed classes of the people of the Tamil Nadu. The subtle form of dance accompanied by captivating music, is an ancient rural folk art which is even now popular in urban slum areas in villages.

Bommalattam or Puppet Show

Puppet shows are held in every village during festivals and fairs. Many different kinds of puppets are used for this show - cloth, wood, leather, etc. They are manipulated through strings or wires. The persons stand behind a screen and the puppets are held in front. The stories enacted in the puppet shows are from puranas, epics and folklore. These shows are very entertaining and hold both adults and childrens entralled for many hours.

Bagavatha Nadanam

This dance is performed inside a temple, around a lamp. The purpose is to worship Lord Krishna, and celebrate his frolics with the gopikas. This is performed during Ramanavami and Gokulashtami.

Theru Koothu

Normally conducted during village festivals, during the months of Panguni and Aadi. This is performed where three or four streets meet; in open air, the place being lit by gas lights. A wooden bench is set up to seat the singers and the musical troupe. Here, make-up and costumes are considered of prime importance. Only men take part; the female roles also played by them. The performance consists of stoy-telling, dialogue-rendering, songs and dance, all performed by the artistes. Thus the ariste should have a very good performing ability, being an all-rounder. The stories are taken from Puranas, epics such as Ramayana and Mahabharata, and also local folklore. The play starts in the late evening and gets over only during the small hours of the nights. The performance is so captivating that the audience are spell-bound unaware of the longs hours. Theru Koothu is more popular in the northern districts of Tamilnadu. The Koothu can be categorised as Nattu Koothu, including Vali Koothu, Kuravai Koothu etc. Samaya Koothu dealing with religious topics, Pei Koothu including Thunangai Koothu and Porkala Koothu dealing with martial events.


Devaraattam

Devarattam is a pure folk dance still preserved by the descendents of Veerapandiya Kattabomman dynasty at Kodangipatti of Madurai District. It was actually performed once a year near the temple and that too restricted to that community alone. Folklore research scholars have found that Devarattam is a combination of ancient 'muntherkuruvai' and 'pintherkuruvai' of the ancient Tamil Kings. It was performed in front of and at the chariot on the victorious return of the King and his army from battle field. Sometimes even the king and his marshalls would dance on the chariot deck. The soldiers and female dancers would form in lines and dance behind the chariot.

Today, this dance does not have any songs but only danced to the beat of Urumi Melam, Thappu Melam and sometimes, a long flute. The dancers hold a kerchief in each hand and swing them as they dance. The person leading the dance wears false beard and a mask decorated with shells to look like teeth. He dances the first step, which others follow.

Oyilattam

Oyil means beauty. This dance is hence the dance of beauty. Traditionally, it is danced only by men. Ten years ago women also began to participate. This dance is prevalent in the south districts and Kongu Nadu in particular. First a few people will stand in a row and start dancing with rhythmic steps with musical accompaniment. Intricate steps are used in martial arts, such as Silambattam. Then gradually the row will become longer as the new comers and guests all join and dance along as they like. The dancers wear ankle-bells. Normally, the dance is performed with the accomplishment of musical instruments and songs. It is performed near the temples or public places in the morning and evening hours, at times even till midnight. Styles of Oyilattam differ from place to place.


Snake Dance

Yet another typical speciality of the southern region is the snake-dance which arises from the popularity of the snake as a protective divinity, safeguarding the health and happiness of the rural folk.

Usually danced by young girls dressed in a tight-fighting costume designed like the snake-skin. The dancer simulates the movements of the snake, writhing and creeping, at times making quick biting movements with head and hands. The raised hands held together look like the hood of a snake.

Urummi Attam

The whirring sound of 'urumi' providing the melody and the beat of the Thappu providing the rhythm, accompany the dance sequence in this kind of temple art form. This is performed especially in Amman temples during the month of Adi. Nowadays, this art form is found only in selected villages in a few districts.

Ottan Koothu

Ottas, a small group of tribals, perform this form of ritual dance on festive occassions to depict episodes from epics and other ancient stories. The women folk also participate in the dance.


Kamandi or Kaman Pandigai

This is celebrated to commemorate the puranic event when Manmada the God of Love was burnt to ashes by Siva in anger. The villagers separate themselves into two parties as Erintha katchi and Eriyatha katchi and a heated debate ensues. Kaman and Rathi, his consort, are main characters.

Puli Attam

Puli Attam is performed by young men with painted bodies in colours yellow and black, complete with fangs, head gear with ears, paws with claws and long tail, simulating the prancing, ouncing tiger in every ferocious move. Wildly beating drums add frenzy to the performance.
Sometimes, a goat is tied and brought along with the dancers, who pretend to pounce on it and kill it. This dance is regularly performed during temple festivals, drawing large crowds.

Kali Attam

Kali means joy or fun and games. This is also known as Koladi, Kolkali, Kambadi Kali and Kolaattam. Sticks one foot length are held in each hand and beaten to make a sharp, rasping sound as the dance proceeds with unique steps, twisting and turning. It is danced by both men and women, during festivals, auspicious days and weddings. The special qualities fo the dance are quickness, alertness, while being careful no to hurt the other dancers by the swinging 'kol'. Earlier, the 'kols' were brightly painted and decorated with brass rings, bells etc. The dancers used to wear ankle-bells. However, no special dress or make up was used for this dance.

Sevai Attam

This form of art is devoted to 'Thirumal' (Maha Vishnu) and is performed by village folk belonging especially to Nataka community. In this dance the performers forming a group, with one of them acting the buffoon, dance to the music of percussion instrument like 'urumi'. The classical songs and the measured steps with graceful movements are the special features of Sevai Attam. In Sangam works this had been known as 'Pinther Kuruvai'. In those days this was performed at the rear of a chariot procession either of a king or a deity.

Villu Pattu

The main singer here is accompanied by a chorus, musical instruments and a main instrument, the Villu or Bow, fixed with bells . The villu is struck rhythmically when the bells jingle in tune. The main singer relates a tale, interspersed with lively songs.

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