Former Rajya Sabha member and Congress leader Faiz Mohammed Khan (82), popularly known as F.M. Khan, who was residing at Balayatrie Estate in Kodagu, passed away yesterday after a brief illness.
He leaves behind his wife and three daughters.
According to family sources, Khan’s last rites were held at Rasulpur in Guddehosur in Kodagu this morning.
Khan entered politics during 1960s along with his friend former Chief Minister R. Gundu Rao and joined the Indian National Congress led by former Prime Minister Indira Gandhi.
He became the General Secretary of State Youth Congress before becoming a member of the Legislative Council in 1974.
Khan was a two-time RS MP, elected in 1976 and1982. He was also a former Vice-President of Indian Olympic Association (IOA). He had been away from politics for more than two decades.
Khan was famous for his annual flower show at his Balayatrie Estate in Kodagu.
source: http://www.starofmysore.com / Star of Mysore / Home> General News / July 22nd, 2016
Not everyone knows that Luthfudeen Basha, son of veteran actor Nasser, studied music composition and sound design in Malaysia before Saivam (2014) happened. Excited about his upcoming flick Parandhu Sella Vaa, directed by Dhanapal Padmanabhan, he says, “This rom-com, shot entirely in Singapore, is about the lives of today’s youth, capturing the positive aspects of life.”
The actor adds he plays a naive guy from Chennai, who goes to Singapore and falls in love with everyone. “The story is about how he adapts to a new environment and what he eventually faces,” he says.
Luthfudeen adds that he’s a director’s actor. Maybe, that’s why he didn’t have any apprehensions about shooting a couple of lip-lock scenes for the film. “I don’t know why everyone makes such a huge fuss about the whole thing. It’s just a film! Besides Aishwarya Rajesh, who’s the female lead (an urban architect), there’s this Chinese actor Narelle Kheng, who plays an important role. The script demanded that we do it. I initially asked the director if there was an alternative, but he went for the take! However, we finished everything in a single shot. She was comfortable with it and so was I,” he says.
He quickly adds that he doesn’t want to be typical hero material. “I want to do roles like what appa (Nasser) did in his early days. Like Thevar Magan (1992) — I want to do a powerful villain role like that!”
Filmmaker Dhanapal Padmanabhan is confident that the movie will strike a chord with the audience, especially the student community. “I visit Singapore often and every time I go there, I’m bowled by its culture and beauty. It’s a romantic city. I see a lot of youngsters from small towns there travel all over the world and excel in all they do. So I thought, ‘Why not do a ‘clean’ film set in Singapore?’ I’ve shown my sensibilities about love and relationships,” he smiles.
Dhanapal says that not many Tamil films have successfully captured the youth’s light-hearted take on life. “Parandhu… will focus on the transition of a carefree youth into a man in a sensible way. A lot of thought has gone into making the film. It has a mix of artistes and technicians from India and Singapore. The stunts have been done by Sunny Pang, who has done Chinese and Indonesian films. To win over the audience, breathtaking visuals aren’t enough, we need a good story too. Santhosh Vijayakumar Prabhakaran has done a wonderful job with the cinematography. The team opted for Luthfudeen because he fits the bill perfectly. We wanted someone who’s really young,” he smiles.
The director is all praise for his Chinese actor Narelle as well. “She wrote the Tamil dialogues in English and emoted quite effortlessly,” he laughs. He adds that for the first time, the comedians Karunakaran, RJ Balaji and Sathish have been brought on board for the film. “The audience will burst out laughing. But, they will keep you occupied throughout, though their combination scenes are few,” says Dhanapal.
Ask what’s next, and he says, “I want to do something different with every film. My first venture Krishnaveni Panjaalai (2012) was about cotton mill workers near Coimbatore. It was offbeat; Parandhu… is a breezy entertainer,” he says.
source: http://www.newindianexpress.com / The New Indian Express / Home> Entertainment> Tamil / by S Subhakeerthana / July 25t, 2016
In this September 12, 2013 photo, S.H. Raza works on a “bindu” as his disciple Manish Pushkale looks on at the former’s studio in New Delhi. / The Hindu
“Bindu is a source of energy, source of life. Life begins here, attains infinity here”.
A few years ago, aged 89, S.H. Raza was game to talk to children almost like one, maybe just a couple of years older. Then, at the Jaipur Literature Festival he allowed the youngsters, who had surrounded him, a little peek into his life. Back in India after spending 60 years in France, his life seemed to have come a full circle. Not ready to confer retrospective dignity to his early years, Raza candidly admitted: “I was not fond of school. I was a bad student scoring low marks. Arithmetic did not interest me. My interest lay in drawing and painting. Fortunately, I found the right gurus. It is imperative parents as well as teachers understand a child’s qualities.” Raza himself was lucky. A restless soul that he was, his primary schoolteacher once asked him to continuously look at a dot on the wall inside the classroom to calm his mind. It was a little exercise that was to change the meaning of life for Raza, who turned the simplebindu into a work of art before raising it to the status of life itself.
Incidentally, Raza often judged as a France-based artist, grew up in a Madhya Pradesh village and went on to study at the Sir JJ School of Art. Around the time that the nation was hoisting the tricolour for the first time as an independent country in 1947, he founded the Bombay Progressive Artists’ Group. The group challenged the existing art establishment and Raza’s image as a rebel was probably etched with it.
His long journey in the world of arts started thus. Raza started as a landscape painter, a colourist. Soon the bindu occupied his mind and he turned to metaphysical ideas. This relentless search for the infinite got him plenty of laurels and lots of money. Though he refused to quantify art in terms of money, none could deny the steep price tags that accompanied many of his works. For instance, Saurashtra went for Rs. 15.9 crore. His La Terre attracted a whopping Rs. 18.8 crores.
(A combination of S.H. Raza’s works. “Bindu is a source of energy, source of life. Life begins here, attains infinity here,” he had said)
After linking all the dots in the universe of art, Raza, aged 94, passed away quietly in an intensive care unit of a hospital in New Delhi.
There was not a note that was not dignified, not a colour in the palette that was left unexplored. Often short of breath, hard of hearing with fading vision, Raza with his frail frame looked very much his age to a layman. To a lover of art, he remained a genius, transcending the inevitable frailties of age with determination. Where his eyes failed him, his fingers did not. He continued to whip up magic till the end. Even when the man who was a master at giving a new meaning to colours needed the help of an assistant to mix his colours, his magic did not elude him. Fittingly, one of his last exhibitions was titledNirantar (Relentless). With that single term he lived up to the words of noted Hindi author Ashok Vajpeyi who often said that Raza did not paint to live, he lived to paint. The exhibition itself contained some of the works he had done after coming back to India, between 2011 and 2016.
If in that interaction with youngsters in Jaipur, Raza stated that “Bindu is a source of energy, source of life. Life begins here, attains infinity here”, a few years later in New Delhi he showed other shades to his personality as he talked gently, if, one may say so, almost relentlessly, of Modernism. Yet he did not fail to talk of specifics, happy once again to talk of the bindu, how it provides focus in life, indeed, life itself. Happy he was to talk of early red, the later blues and yellows. And equally at ease talking of the marriage of art and artist, how initially man creates art, how then art forms him. Little wonder, the distinction between Raza and his art gradually disappeared over the years. His art could never conceal the artist, in the final years, it spoke on behalf of the artist. Little wonder, fellow artist Krishen Khanna once said that his friend lived his art! And Raza found profound meaning into something as innocuous as juxtaposing two colours. According to him, the two colours could be in conciliation and harmony or conflict and unending struggle, almost like a man-woman relationship. Raza brought to his canvas the quintessential Indian spirituality and tradition by concentrating his energies on colours, purush-prakriti and nari in his trademark geometric abstract works. And to think, he introduced the French to our artworld and set up studios there!
A contemporary of M.F. Husain, F.N. Souza, Khanna and Tyeb Mehta, Raza carved out his own niche on his own terms. He played with colours like none else and was wise enough to understand that art lovers abroad loved Indian art not jut for its spirituality but its constant soaking in of colours. Of course, like the longest of journeys begins with a single step, for Raza any art too began with a dot. An art work was never the sum of its parts, rather each part, each stage was art itself. Slowly, this centreing of the universe around the dot consumed the mind, and life, itself of Raza. What it gave him in return was priceless art that seeks to confer immortality on the artist.
As he celebrated the bindu in conversations, he occasionally recalled the primary school teacher too. As the Padma Vibhushan awardee fought one last battle one cannot help recall Ashok Vajpeyi’s words that Raza lived to paint. And when he could no longer paint, life lost its meaning… Life indeed had come a full circle. Yes, the bindu is the most important thing of all.
source: http://www.thehindu.com / The Hindu / Home> Features> Friday Review> Art / by Ziya Us Salam / July 23rd, 2016
Jamiat Ulema-e-Mysore, the Mysore unit of Jamiath Ulema-e-Hind headed by Hazrath Moulana Asad Madni Saheb, had organised Eid Milan on Sunday at Hotel Grand Mercure near Moulana Abul Kalam Azad Circle (Highway Circle) here.
The programme began with the reciting of verses from the Holy Quran by Moulana Mufthi Nizamuddin Saheb. Hazrath Moulana Mufthi Syed Tajuddin Saheb welcomed.
Speaking on the occasion Hazrath Moulana Shabbir Ahmed Saheb, President of Jamiath Ulema-e-Mysore, presented a brief history of pre-Independent India and said that thousands of Ulemas had sacrificed their life for freedom.
Swami Muktidanandaji of Sri Ramakrishna Ashram, who also graced the occasion, gave a clarion call to people to stop fighting in the name of religion and added that Eid Milan was an occasion for one and all to understand each other. The Swamiji, who said that no religion preached hatred, added that all religions preach love and communal harmony.
Dr. Syed Akheel Ahmed, former Vice-Chancellor, Yenepoya University, Mangalore and former Head of the Department of Chemistry, University of Mysore, started his speech with the couplets of Dr. Allama Iqbal and said that Muslim rulers, who ruled this country for more than 1000 years had failed to present the correct picture and principles of Islam. That is why still there is a lot of confusion in the minds of non-Muslim brethren regarding Islam. Presenting the brief history of India’s Independent Movement he said that during 1857, more than 2 lakh Indians including Ulemas were martyred.
Dr. B. Suresh, Vice-Chanceller, JSS University, Abdul Azeez Chand, Secretary, Darul Uloom Arabic College, legislators Vasu and M.K. Somashekar, ex-MLC Thontadarya and former MLA S.A. Ramdas also spoke on the occasion and lauded the organisers for hosting the get-together.
Moulana Hafiz Arshad Ahmed, General Secretary, Jamiath Ulemas-e-Mysore, compered. Noor Ulla Shariff, member of the Reception Committee, proposed vote of thanks.
Sir Khazi of Mysore Hazrath Moulana Mohamed Usman Shariff Saheb, Mayor B.L. Bhyrappa, KEA Chairman R. Murthy, SJCE Principal Dr. Syed Shakeeb-ur- Rahman, Ariff A. Mehkri, Chairman, Mysore District Wakf Advisory Committee, Corporators Suhail Baig, K.C. Shoukath Pasha, former Mayors Ayub Khan and Ariff Hussain, CADA Chairman C. Dasegowda, Abdul Khader Sait, President, MESCO and Managing Director, AANCO Industries, Javeed Ali, Joint Secretary, Darul Uloom Siddiqia, Mohamed Mumtaz Ahmed, Secretary, Mysore District Relief Committee and N. Anwar Pasha (Annu Bhai), MUDA Member and others were present on the occasion.
source: http://www.starofmysore.com / Star of Mysore / Home> General News / July 18th, 2016
F.M. Khan (82), former Rajya Sabha member, and a controversial politician hailing from Coorg, passed away on Thursday at his Balayatrie estate near Madikeri in Kodagu.
Fiaz Mohammed Khan, popularly known as F.M. Khan, was a close associate of former Karnataka chief minister, Gundu Rao who affectionately referred to his mentor as ‘Father Mother Khan’.
Khan was part of the Sanjay Gandhi brigade during the Emergency and was allegedly involved in several unsavoury incidents. But Gundu Rao always went to his rescue.
He was the general secretary of the state Youth Congress and was a member of the Legislative Council from 1974 to 1976. Khan was elected to the Rajya Sabha twice in 1976 and 1982. He was also associated with various organisations connected with sports. He was vice-president of the Indian Olympic Association.
The former Rajya Sabha member was known for his love for gardens and won accolades for maintaining the best garden in Delhi in his MP bungalow. Back in Kodagu after his controversial political innings, Khan had been nurturing his garden and has been holding annual private flower show since 1998.
Khan was married to a Kodavathi. He leaves behind his wife and three daughters. The funeral will be held at Rasulpur in Guddehosur in Kodagu on Friday.
source: http://www.coorgnews.in / CoorgNews.in / Home> General News / July 21st, 2016
Faiz Mohammed Khan, popularly known as F.M. Khan, former Rajya Sabha member and Congress leader, died in his Balayatrie Estate in Somwarpet taluk of Kodagu on Thursday.
A close associate of the former Chief Minister R. Gundu Rao, Mr. Khan (82) leaves behind his wife and three daughters.
Family sources said Mr. Khan passed away around 11.30 a.m. on Thursday.
The funeral will be held on Friday at 10 a.m. at Rasulpur in Guddehosur in Kodagu, according his niece Gazala Khan.
Mr. Khan was involved in the anti-Hindi agitation and later joined the Congress. He became the general secretary of State Youth Congress before becoming a member of the Legislative Council in 1974.
Mr. Khan was elected to the Rajya Sabha first in 1976 and for the second time in 1982. Mr. Khan was also a former vice-president of the Indian Olympic Association. Having been away from politics for more than two decades, Mr. Khan used to hold an annual flower show at his estate.
source: http://www.thehindu.com / The Hindu / Home> Karnataka / by Special Correspondent / Mysuru – July 22nd, 2016
Former Rajya Sabha member and Congress leader Faiz Mohammed Khan, popularly known as F.M. Khan, died in his Balayatrie estate in Kodagu on Thursday. A close associate of former Chief Minister R. Gundu Rao, he leaves behind his wife and three daughters.
Family sources said Mr. Khan (82) died at around 11.30 a.m. on Thursday. The funeral will be held at 10 a.m. at Rasulpur in Guddehosur in Kodagu on Friday, according his niece, Gazala Khan.
Mr. Khan entered politics in the mid-Sixties during the anti-Hindi agitation, and then joined the Congress led by former Prime Minister Indira Gandhi. He became the General Secretary of State Youth Congress before becoming a member of the Legislative Council in 1974. Mr. Khan was a two-time Rajya Sabha MP, elected in 1976 and in 1982. He was also a former Vice-President of Indian Olympic Association (IOA).
He had been away from politics for more than two decades. He was holding an annual flower show at his Balayatri estate in Somwarpet taluk.
source: http://www.thehindu.com / The Hindu / Home> National> Karnataka / Special Correspondent / Mysuru – June 21st, 2016
The city of etiquette -Bada Imambara complex of Lucknow / Photo: Rajeev Bhatt
“The Other Lucknow” captures the syncretic traditions of the city
Guru Dutt’s immensely popular film Chaudhvin Ka Chand opens with a Shakeel Budayuni song sung by Mohammad Rafi and composed by Ravi. The song Ye Lakhnau Ki Sarzameen sums up Lucknow and the essence of its famed cultural heritage. Perhaps, no other city in the sprawling Hindi-speaking region evokes such nostalgia, romance, devotion and attachment as Banaras and Lucknow do.
So far, for nearly a century, we used to go back to Abdul Halim Sharar’s classic “Guzishta Lakhnau” that vividly describes the city’s cultural and social life, customs, traditions and history in great detail. This was serialised in the form of articles between 1913 and 1920 in Urdu literary journal “Dilgudaz” that Sharar had launched in 1887. Later, the articles were brought out as a book with a rather longish title “Hindustan mein mashriqi tamaddun ka akhiri namoona: Lakhnau” (Lucknow: The last example of Oriental culture in India). However, the world knows it simply as “Guzishta Lakhnau” (The Lucknow of the Old). National Book Trust published a Hindi translation in 1971 titled “Purana Lakhnau” (The Old Lucknow) with a scholarly introduction written by eminent Urdu critic Mohammad Hasan.
Born in 1860, Abdul Halim went to Matiaburz when he was nine years old. Matiaburz was the place near Calcutta (now Kolkata) where the deposed Nawab of Lucknow, Wajid Ali Shah, had shifted in 1856. How close his family was with the Nawab can be gauged from the fact that his maternal grandfather had gone to London to present Wajid Ali Shah’s case before Queen Victoria.
When still in his teens, Abdul Halim started writing and adopted the nom de plume ‘Sharar’ (spark). His book is a treasure trove of information about the history and culture of Lucknow which was a truly unique city representing the famed Ganga-Jamuni culture.
Wajid Ali Shah, the last Nawab, was an accomplished poet, musician, dancer, actor and dramatist. Urdu drama owes its beginning to him and dance-dramas like “Inder Sabha”, which he commissioned, where Indra, the king of Hindu gods, would sit on a throne wearing a dress that resembled that of the Nawab himself and fairies would sing thumris in Braj bhasha while conversing in chaste Urdu. What better picture of a syncretic culture can we find elsewhere?
Sharar divided the book into three parts and devoted the first two parts to the history of Awadh and Lucknow and that of the nawabs of Awadh. The third and the last part is the one that introduces us to the way people of Lucknow dressed, talked, ate, sang and danced, set new standards of cultured behaviour and etiquette, gathered to celebrate religious and social festivals at fairs, and offered an example of harmonious communal living. It was also a great centre of the Shias.
Now, Vani Prakashan, which is essentially a publishing house of Hindi books, has come out with a book on Lucknow in English in collaboration with the Ayodhya Research Institute, an autonomous organisation of the Uttar Pradesh government. Titled “The Other Lucknow: An Ethnographic Portrait of a City of Undying Memories and Nostalgia”, it is the outcome of a research project headed by social anthropologist Professor Nadeem Hasnain, who has put the book together.
The book appropriately opens with a poem that the Jnanpith award winning poet Kunwar Narain, who spent most of his creative life in the city, has written on Lucknow. It has been reproduced in Hindi which lends a special flavour to the book as the rest of it is a collection of articles, reports and analysis written in English. It is a sort of counterfoil to Sharar’s book as it brings the story of Lucknow in its fullness up to the present times.
“The Other Lucknow” is in a class of its own as it can equally serve a tourist as a guide book and an intellectual who wants to know and understand the history, culture, politics, arts and crafts, business and trade, literature, music and dance, architecture and religion – both past and present.
The book opens with a scholarly article “A Short Cultural History” by noted scholar Sandria Freitag followed by an excellent survey of the city’s social fabric underling its diversity. The survey is based on field research and informs us that Kashmiri Pandits, Bengalis, Punjabis, Sindhis, Malayalis, Oriyas, Maharashtrians and Assamese have also become an integral part of Lucknow’s population. It also offers a detailed description of the religious and caste communities residing in the city. In addition to paying close attention to the mohallas, mandis, bastis, landmarks, arts and craft, music and dance, religious places, Ram Leela, qawwalis and danstangoi, the book brings out the city’s Bollywood connection.
It concludes with an article on Dalit imaginations, laying bare the story of the mega monuments and parks created by former Chief Minister Mayawati to commemorate Dalit icons.
One is not surprised to read, as quoted by Nadeem Hasnain to begin his introduction, what William Russel, correspondent of The Times, London wrote in 1858 about Lucknow: “Not Rome, not Athens, nor Constantinople, not any city I have ever seen appears to me so striking and so beautiful as this.”
The writer is a senior literary critic
Corrections & Clarifications:
This article has been edited for a factual error.
source: http://www.thehindu.com / The Hindu / Home> Metroplus / by Kuldeep Kumar / July 09th, 2016
Shujaat Husain Khan. Photo: Shaju John / The Hindu
Chennai:
The sitar exponent gave lessons on music and life at a students’ workshop recently.
It is a long winding road from Chennai to Cheyyur. Suddenly in the middle of wilderness you spot a well-designed concrete patch — the Swarnabhoomi Academy of Music. As you drive past the main gate to reach the campus, shaped like a grand piano, bright morning rays light up the clear, vast skyline.
Walking past two huge murals at the entrance, you enter a darkened hall with the spotlight on Shujaat Khan, his fingers gliding over the gleaming sitar strings. Gentle notes, rich with classicism, cut through the silence. The young audience sits enthralled. After a brief sketch of a raag, the Grammy-nominated sitarist talks endearingly, in flawless English, about his experience, experiments and the trials and triumphs of being a musician.
The session, part of a two-day camp on Indian music is no sombre class. Shujaat, son of maestro Ustad Vilayat Khan, is at his wittiest best interacting with the youngsters. He encourages them to ask questions, express their opinion and even invites two of them to join him on stage.
“I was born into a family of musicians. If I didn’t do this there wouldn’t have been any option because I was bad at everything else. I loved driving but I thought I couldn’t make a living out of it. The only thing I was slightly good at was music,” he says sipping coffee. “But it’s not easy to make a career in music since there are few people who can judge between ordinary and outstanding.”
Like most celebrity children, who struggle to forge an identity of their own, it was an emotional quest for Shujaat to reach out to his famous father and try to live up to the Imdadkhani gharana legacy. “Even today it is difficult to step out of the shadow of greatness. Being the son of a legend is more pain than pleasure. The pleasure part is only music. People are not ready to forget whose son you are. The comparisons are heart-breaking. I did not come into music because I was Ustad Vilayat Khan’s son. It was because I enjoyed it. Today I have nothing to complain about though. The world has given me everything, more than what I deserve,” he says recalling the rocky road to acceptance.
Does he emulate the way his father traversed the depths of a raag, a student is keen to know. “I have no illusions of being a genius like him. But the purpose of pursuing music is the same — to feel the intensity. You should allow the different emotions to come through the swars. Every journey is difficult. I am not the kind of person who likes to focus only on the unhappy moments. It wasn’t easy to get a nod of approval from my father yet I mustered the courage to go my way.”
“Your father was a purist but at the same time rebellious. Do you see those traits in yourself,” is the next query. “The apple doesn’t fall far,” laughs Shujaat. “In fact most of you are rebels. Your parents might have wished that you become engineers, doctors or chartered accountants. But you have decided to follow your heart. If that is being a rebel, so be it. I have always let my son and daughter make their decision and take responsibility for it. If I had become a clone of Vilayat Khan nobody would have respected me. I have the genes, but I also have my own musicality.”
He says he is unaffected when people misunderstand his idiosyncrasies and outspokenness. “For instance, I am not ready to treat artists as gods. I do not want the next generation to think of me as more than human. I am not. I want them to know they too can achieve what I have. If you take away the sitar from me, I am nobody,” he smiles and then looking at the photographer clicking away, says, “Listen bhaisaab, I am not Madhuri Dixit…” Continuing the conversation, he says, “You know some musicians keep complaining about the reign of Bollywood music. Classical music is not for the mass. It is chamber music. You cannot expect every youngster to listen to it. Let us encourage those who show interest. There is nothing to be pessimistic about the future of classical arts. It will continue to thrive the way it has for centuries.”
A participant then asks him, how should one collaborate without diluting musical values? “Diluting is not the right word,” he points out. “What you need to do is to step out of your comfort zone and find a meeting point.”
Introducing the students to raag Khem, the honeyed tone of Shujaat’s sitar brings out the inherent flavours of Hamsadhwani and Yaman in it. “Never rush through a performance. Very often you hear musicians trying to create excitement right at the beginning by indulging in something dramatic. Build up the tempo slowly,” he advises.
When he is not performing, Shujaat takes off to the mountains. He loves to observe the changing hues of Nature. “My tryst with taal and raag is at a very personal level. Beyond that nothing else matters. Not even awards or titles. Love of the audience is enough. ‘Jo tammanna bur na aaye umra bhar, umra bhar uski tammanna kijiye’ (you spend the life chasing that one desire that is not fulfilled).”
source: http://www.thehindu.com / The Hindu / Home> Features> Friday Review > Music / by Chitra Swaminathan / July 14th, 2016
Proud moment:The winners of the essay writing competition, jointly organised by Indian Oil Corporation Limited and The Hindu in School , with P.S. Mony, General Manager, IOCL; V. Gopalakrishnan, Deputy General Manager (Retails Sales); and R. Suresh, Chief Divisional Retail Sales Manager, IOCL,in the city on Tuesday.– Photo: Thulasi Kakkat
Girls walked away with top honours in the essay writing competition organised by Indian Oil Corporation Limited in association with The Hindu in School here on Tuesday.
The event, which was organised as part of the Swachh Bharat Pakhwada of the IOCL, witnessed active participation of students from Class 6 to Class 8.
Hamina Fathima, Class 8 student from MET Public School, was adjudged the winner of the competition while Anagha P.S. of Class 7 at St. Teresa’s School, Ernakulam, and Monal Ruble V of Class 8 from Chinmaya Vidyalaya, Vaduthala, were the first and second runners-up respectively.
P.S. Mony, General Manager, IOCL, presented the prizes to the winners at a function held at the IOCL office in the city. He said the goal of cleanliness could achieve greater heights by involving children. “They can take the message of keeping our premises clean to the nook and corner of the country,” he said.
Nearly 22 entries won consolation prizes. The students who won the consolation prizes will receive certificates and gift hampers from Indian Oil Corporation and The Hindu .
The winners were selected from over 600 entries received from 23 schools. V. Gopalakrishnan, Deputy General Manager (Retails Sales) and R. Suresh, Chief Divisional Retail Sales Manager, attended.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Kochi / by Special Correspondent / Kochi – July 13th, 2016
