Summary:

The article published on June 8, 2025, critiques a Hindi general entertainment television serial that purportedly glorifies and normalizes cruelty against women under the guise of traditional values. The narrative follows a young woman who faces relentless humiliation regarding her weight, stemming from a pregnancy-related medication. Despite her kindness and talent, she is subjected to body shaming, psychological torment, and emotional abuse by her in-laws, portrayed as part of her duty to uphold family values.

Key elements of the narrative include the following issues:

• Weight and Body Shaming: The protagonist's weight issue is exacerbated by societal pressure and familial taunts.
• Portrayal of In-Laws: The groom, who is diabetic and loves another woman, avoids the protagonist while his family manipulates her into situations to frame her negatively. The narrative frames her submissive behavior as a woman's virtue, aligning with traditional gender roles.
• Physical and Emotional Abuse: The protagonist faces severe humiliation, including being forced to impersonate a servant, experiencing physical punishment, and enduring manipulation aimed at driving her away. Such actions are portrayed in a manner that trivializes their severity and impact.
• Absence of Justice: The narrative depicted in the series ends with public ridicule for the protagonist, without any repercussions for the abusive behavior she faces, implying a lack of accountability for such acts.
• Cultural Message: The article underscores the dangerous messages being conveyed to audiences, particularly young women, that acceptance and love come through suffering and endurance of familial cruelty. The show romanticizes toxic behavior and normalizes emotional abuse as a test of character.

The article calls for an urgent need for critique of such portrayals in mainstream media. It emphasizes the responsibility of viewers and citizens in protest against the acceptance of familial abuse as traditional and urges television channels to reconsider their programming strategies. The author advocates for content that empowers women and pushes against regressive portrayals, countering the dangerous implications of such narratives on societal perceptions of women and familial roles.

Important Points:

• The show exemplifies societal norms that engage in body shaming and psychological abuse under traditional pretenses.
• The portrayal of the protagonist's suffering is framed as virtuous, promoting submission over strength.
• The series normalizes abusive behavior by presenting it as character-building trials for women.
• Ending with public humiliation denies justice and perpetuates harmful stereotypes regarding women's roles within families.
• A resurgence of discourse surrounding media responsibilities is essential in combating these messages.
• Calls for protest against the normalization of familial abuse and a boycott of such programming to protect women's dignity and rights.

Summary of the Article on Kudiarasu

Kudiarasu, a Tamil weekly journal founded by Periyar E.V. Ramasamy, has played a significant role in advocating for social justice and rationalism in India, particularly in the context of caste oppression and colonialism.

• The concept of Kudiarasu was developed during Periyar's imprisonment in the early 1920s, where he and fellow activist Va. Mu. Thangaperumal Pillai concluded an urgent need for a platform that communicated “unflinching truths to power.”
• Periyar officially registered the name Kudiarasu on January 19, 1923.
• The first issue was published on May 2, 1925, with an aim to challenge societal norms and stigma associated with caste and religion.
• The inaugural launch was officiated by Sri-La-Sri Sivashanmuga Meignana Sivacharya Swamigal, who emphasized the need to eradicate superiority-inferiority mindsets.
• Kudiarasu was published from Erode and was jointly edited by Periyar and Thangaperumal Pillai, initially released every Sunday, and then shifted to Saturdays starting in 1943.
• Following his exit from the Indian National Congress in 1925, Kudiarasu became the official voice of the Self-Respect Movement spearheaded by Periyar, focusing on issues such as untouchability and caste reform.
• The journal's early editions featured a diverse range of visual content, including imagery of Bharat Mata and symbols from various religions, reflecting an inclusive narrative.
• Kudiarasu’s editorial stance initially celebrated socio-political figures and movements, such as supporting Mahatma Gandhi's Khadi movement despite Periyar’s departure from Congress.
• The journal also took an economic position, with prices fluctuating over time, initially starting at one 'anna' (1/16th of a rupee) and later being sold at half-price for women and marginalized communities until October 30, 1943.
• Notably, Kudiarasu was instrumental in introducing Tamil translations of key works by influential thinkers, including B.R. Ambedkar, Karl Marx, and Voltaire, advocating for the advancement of progressive ideas such as women's rights, socialism, and labor welfare.
• It showcased contributions from various literary figures, including prominent politicians and women activists, thus amplifying marginalized voices.
• Periyar also engaged in efforts to boost literacy through Kudiarasu, whose readership was crucial during a time when the literacy rate in Tamil Nadu was approximately 7%.
• The journal’s confrontational editorial tone resulted in clashes with authorities, including the arrest of Periyar for a particularly bold editorial titled “Indraya Aatchi Murai Yen Ozhiya Vendum” on December 30, 1933.
• Kudiarasu faced periodic suspensions, with Periyar launching alternative publications during these times, including Puratchi (Revolution) and Pagutharivu (Rationalism).
• The journal's run was further disrupted during World War II, halting from 1941 to 1942, and eventually ceased publication on November 5, 1949, after nearly 24 years of service.

In summary, Kudiarasu not only served as a revolutionary publication reflecting the political and social challenges of its time, but also acted as an academic repository and a platform for rational discourse, significantly contributing to the social reform movements in Tamil Nadu and beyond.

Key Points:

• Kudiarasu was established by Periyar E.V. Ramasamy in 1925 to challenge caste and colonial oppression.
• Officially registered on January 19, 1923, and published its first issue on May 2, 1925.
• Became a voice for the Self-Respect Movement post-1925.
• Featured diverse imagery and themes in its early editions.
• Offered half-price subscriptions for women and marginalized communities until October 30, 1943.
• Published key translations of influential works supporting progressive social themes.
• Experienced confrontations with authorities leading to suspensions; ceased publication on November 5, 1949.

The article provides an in-depth account of a 'malai koothu', a traditional form of Tamil street theater, being performed during a temple festival at the Kadavu Nachiamman Temple in Nilavur, situated in the Yelagiri Hills of Tamil Nadu. The narrative captures the cultural essence and societal significance of 'malai koothu', its practitioners, and the challenges they face.

Summary:

• Event Description: The temple festival features a performance of 'malai koothu' on Haribalan-Sivabalan Sandai, with participants arriving from regions as far as Jolarpet. The performance lasts into the early hours of the following day, showcasing the cultural fervor of the community.

• Performance Elements: The show includes various interactions, involving humor and crowd engagement, indicative of the lively atmosphere associated with traditional art forms. The narrative encompasses mythological themes, character portrayals including those of Maradhanda Asuran and Sillingi, and the significance of community participation as audience members contribute during the performance.

• Cultural Relevance: 'Malai koothu' is deeply embedded in the traditions of the Malaiyali tribes from the Yelagiri and surrounding hills. It serves not only as entertainment during temple festivals but also plays a vital role in social cohesion among the local populace. K. Govindasamy, a veteran 'koothu' artist, emphasizes the preservation of the art form against modernization, particularly the influence of popular cinema.

• Artistic Distinction: An informative distinction is made between 'malai koothu' and 'therukoothu', with both forms presenting mythological storytelling. The narrative underlines the performance styles prevalent in different regions of Tamil Nadu, notably the southern and northern styles, demonstrating the diversity within this traditional performance art.

• Educational Impact: Artists like Siriran illustrate how involvement in 'koothu' has had transformative effects on their lives, leading to literacy and self-empowerment, aligning with the broader themes of art and education.

• Costume and Performance: The financial aspect related to the purchase and maintenance of costumes, which can cost around ₹15,000 and last several years, is highlighted. This underscores the commitment of artists to their craft and the aesthetic tradition proffered in performances.

• Economic Challenges: The article notes the precarious employment situation for artists, especially during the monsoon when performances wane. The reliance on local festivals for income is a critical element, as many artists are compelled to seek alternative work in urban areas during lean times.

• Art Form Significance: While 'malai koothu' serves as a source of income, it is also regarded as a sacred practice by its practitioners, distinguishing their artistry from mere commercial endeavors. The struggle persists in maintaining audience engagement while balancing economic survival.

• Technological Evolution: The article reflects on how the means of performance have evolved, transitioning from rudimentary lighting methods to more contemporary adaptations, yet the fundamental essence of the art form remains intact.

Important Sentences:

• A 'malai koothu' performance showcases traditional Tamil storytelling and engages local communities during temple festivals.
• The art form serves as a medium for social cohesion among the Malaiyali tribes of Yelagiri Hills.
• Veteran artists like K. Govindasamy highlight the importance of preserving the integrity of 'koothu' against the influence of contemporary entertainment forms.
• Economic challenges persist for artists, whose income heavily depends on festival performances, particularly vulnerable during the monsoon.
• The educational benefits of involvement in 'koothu', illustrated by artists like Siriran, emphasize its role in fostering literacy and community engagement.
• 'Malai koothu' is recognized as a sacred practice, allowing its practitioners to maintain dignity and cultural pride despite economic difficulties.

Summary of the News Article on Rangaswami Pillar and Peak

The article focuses on the Rangaswami Pillar and Peak, revered by the Irula tribe in Kil Kotagiri, Nilgiris, Tamil Nadu. This site is notable for its cultural significance and the annual harvest festival celebrated by the Irula community.

• Geographical and Cultural Significance: The Rangaswami Pillar rises over 400 feet and is worshipped as a deity by the Irula tribe, considered one of the most sacred sites for this indigenous community. The adjacent Rangaswami Peak is the locus of annual harvest festivities, celebrated in May and June, attended by both Irulas and a growing number of non-adivasi individuals.

• Annual Harvest Festival: The festival lasts five weeks and concludes with special pujas conducted by the Irula community, aimed at ensuring good harvests and rainfall. The cultural narratives surrounding the site describe its historical significance and the origins of the worship, including legends of a head of cattle that led to the site being venerated over millennia.

• Anthropological Insights: Paul Hockings, an anthropologist, describes Rangaswami Peak as the “holiest mountain” for the Irulas, with traditions reflecting a blend of Vaishnava and Saiva religious practices. He notes the historical ties between the Irulas and another local community, the Kotas, according to legends involving shared worship interrupted by disputes.

• Historical Tragedy: The Rangaswami Pillar is also marked by historical events, including a tragic air crash in 1950 that resulted in the deaths of noted statistician Abraham Wald and 19 others, which contributed to the mystical reputation of the pillar.

• Cultural Preservation Efforts: The state’s Tribal Research Center is actively documenting the culture and traditions of the Nilgiris’ adivasi communities, including the Irulas, aiming at preservation of their customs and their sacred locations.

• Concerns Over Temple Tourism: With the increasing interest from non-adivasi visitors in adivasi temples, including those of the Irulas and Kurumbas, activists express concerns about the dilution of indigenous culture and potential environmental damage due to temple tourism. The Forest Department has reported that paths to the temple are only open during the festival and are subject to strict regulations to minimize environmental disturbance.

• Government and Societal Response: The rising popularity of the Rangaswami sites has led to calls for careful consideration regarding the sustainability of tourism in these culturally significant areas.

Key Points:

• Location and Reverence: Rangaswami Pillar and Peak are sacred to the Irula tribe in Nilgiris, Tamil Nadu.
• Annual Festival: The harvest festival is celebrated for five weeks every May and June, emphasizing cultural practices and traditions.
• Cultural Narratives: Rich folklore elucidates the significance of the site, including a famous tale involving cattle and early worship practices.
• Research and Documentation: The Tamil Nadu government's Tribal Research Center is systematically documenting adivasi culture to ensure preservation.
• Tourism Concerns: Increasing non-adivasi interest poses risks to indigenous customs, and there are heightened environmental concerns regarding tourism impacts.
• Legislative and Ethical Considerations: Societal discussion emphasizes the need for balancing cultural preservation with tourism, as well as the enforcement of regulations to protect local wildlife and habitats.

The article highlights a recent interaction with Banu Mushtaq, an acclaimed author and winner of the International Booker Prize, which took place at the Press Club in Bengaluru on June 5, 2025. Mushtaq, noted for her book "Heart Lamp," discusses various themes related to her writing, societal biases, and the significance of her literary contributions.

Key Points:

• Personal Reflection: Banu Mushtaq asserts the transparency of her life, stating, “My life is like an open book.” She emphasizes the merging of her life experiences and her writing, indicating her intention to include personal anecdotes, particularly regarding societal prejudices.

• Societal Biases: During her discourse, she reflected on the societal biases she faced as a woman from a Muslim background. She recounted an incident where a police officer questioned her marital status by asking for the use of "Miss" or "Mrs" in an invitation, and a separate encounter where an audience member erroneously assumed she was divorced. Mushtaq clarified that she has been happily married for 50 years, indicating how preconceived notions impact individuals.

• Recognition: Mushtaq's book "Heart Lamp" has made history as the first collection of short stories to win the International Booker Prize. She noted that the selection committee prioritized the emotional impact of her work on readers, adding that her stories resonate deeply.

• Literary Journey: Mushtaq described her evolution from journalism to authorship and law, highlighting her belief that writing transcends linguistic boundaries. She shared her experience of receiving her education in Kannada and advocating for the importance of content over language in literature.

• Translation Insights: Deepa Bhasthi, the translator of "Heart Lamp," spoke on the translation process, noting her intention to maintain the authenticity of the original text, which resulted in enriching the English language. She expressed that she did not feel compelled to cater specifically to Western audiences.

• Event Significance: The interaction was part of a larger initiative organized by the Karnataka Media Academy, indicating a commitment to fostering literary discussions and celebrating local authors.

The event brought together various individuals from the literary community, including Ayesha Khanum, chairperson of the Karnataka Media Academy, and journalist Dinesh Amin Mattu, showcasing a collaborative environment for literary appreciation in Karnataka.

In summary, Banu Mushtaq's remarks reflect her personal journey as a writer against societal challenges, her achievements in literature, and the collaborative nature of translation, emphasizing the universal value of stories that resonate across cultures and languages.