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Dear Readers,

 

Welcome to the second edition of our digital wallpaper, Tapri on Wheels. We are delighted to bring to you not just an experience, but an abode we collectively can call home. The hometowns of 37 students reside in these panels, waiting to be explored. Upon entering, instead of laddoos and snacks, we invite you to relish the soul food; filling your heart with a warm sense of nostalgia, reminiscence, reflections, and metaphorical chai that seeps way past into your bones, hugging you like a warm, soft blanket on a rainy day. 

 

This wallpaper features written works from across the country - taking you into an immersive journey where every one of us tells you the story of where we come from and how it's made us who we are. The chai tapris nascent to conversations, thoughts, and a quaint sense of belonging and love from across our hometowns will wheel in a memorable experience should you choose to pick up a matka, cup, or glass and sip from it wholeheartedly. 

 

Presenting to you the 2021 edition of Tapri On Wheels called 'Sheher-dar-Sheher: Hometowns' along with the very first Tapri On Wheels original soundtrack. Don't forget to press play before you start reading, let the music waft through your ears while our words waft through your heart.

 

To us, 'Hometowns' feels like the perfect theme for the second issue of the digital wallpaper - the first issue's theme being where we want to be and this one focusing on where we're from. This issue is all about where you're from and how it's made you, you. This issue is all about meeting new people on campus under the beautiful Lavale sky and talking about your journeys so far. This issue is for all of you, from all of us.

 

We would like to extend our heartfelt gratitude to Professor Mithunchandra Chaudhari for his support, guidance and belief in our ability to translate feelings into art - creating a community of not just those who write, but those who live too.

 

Warm Regards,

Aashay Inamdar, Gitanjali Tyagi, Trina Dutt

Editors - Tapri on Wheels

Thiruvananthapuram: A Rich & Underrated Heritage Of Cinema

J Saigopal Nair


My hometown is known for a few different things, however, I’m going to elaborate a bit on the part of my city’s culture that changed my direction in life towards being an aspiring storyteller in the field of audio-visual arts.


Thiruvananthapuram’s film culture is strong and prevalent in its history and among its people of various ages that are not afraid to proclaim themselves as ardent cinephiles. As the Malayalam film industry came to life, it had its initial roots in Chennai, and eventually came the shift for Mollywood to thrive in Trivandrum. The Kerala State Film Development Corporation was created in 1975 with the aim of promoting the Malayalam film industry and facilitating its growth, starting in the capital of the state. As a result, many studios and related industrial and business initiatives started to see growth in Trivandrum.


The first Malayalam movie, Vigathakumaran was filmed in Trivandrum by J.C. Daniel and the first Film Studio being The Travancore National Pictures built by the former himself. And today, is home to some of the finest studios and production houses and more.


Malayalam cinema embraced realism and shooting in real locations became the wildest thing. The capital city continues to remain a favourite location for filmmakers and authors to plot their stories in. The Secretariat which is a definitive seat(s) of political power in the state, be it in real as well as reel life, the large white columns and corridors of the Secretariat are seen in various quintessential Malayalam cinema. In movies such as Vasthavam, Thanmathra, Vakkalathu Narayanan Kutty and August 15 , the plot or a portion of it is centred around the 140-year-old expanse of a building at Statue junction.

Technopark was used as the set for various ‘foreign country’ scenes in certain movies as it has that silicon valley-esque neatness and aesthetic. A green haven in the middle of Thiruvananthapuram city, the vast location of Napier Museum and Zoo have been used as a backdrop for various songs and movie scenes. Kovalam beach has played a significant role as a beach location favored by filmmakers as it’s surrounded by lush coconut trees and hills and the tranquility of the space remains unique.


The International Film Festival of Kerala, which is conducted annually in December, is one of Asia's largest film festivals in terms of viewer participation.

In addition to various film festivals, the presence of a film certification body such the CBFC’'s regional office and many movie studios and production facilities set up shop such as the Uma Studio, Chitranjali Studio, Merryland Studio, Kinfra Film and Video Park and Vismayas Max.


The Kinfra Film and Video Park, located near Technopark, is one of the most advanced film and animation production facilities in India.


The city has more theatres than any other in Kerala, and they all exist within a 3km radius. Ariesplex sl cinema is the largest theatre in the state with a seating capacity more than 1300.


Kim Ki-Duk, the renowned filmmaker at IFFK 2013.


The International Film Festival of Kerala(abbreviated as IFFK) is a film festival held annually in Thiruvananthapuram, which started in 1996 and is hosted by the Kerala State Chalachitra Academy. The festival is held in November or December every year and is acknowledged as one of the leading cultural events in India.Various national and international films have had their premieres at the IFFK and the competition section is limited to 14 selected films produced in Asia, Africa or Latin America. The festival also has a section devoted to Malayalam cinema.


The Kerala State Chalachitra Academy which was founded in 1998 for the promotion of Cinema as a means of cultural expression, is situated in Thiruvananthapuram. They organize the International Documentary and Short Film Festival of Kerala.

Two Faced Home

Jakkamputi Jhansi Rani


I sit on the terrace and gaze

At all the things around.

To left, lushly green crop of maize

Dancing to the hum of birds and wind.


Women facing their backs to the sky in field

Expressing their sorrow and joy as a hymn

Men with their bullock carts wheeled

Drawing beautiful patterns by ploughing


I sit on the terrace and gaze

At all the things around me.

To right, children on streets

Competing with a European in a bicycle race.


Women eye on every passer-by

Rapping the prices of her wares

Men with their cars and bikes

Honking rapidly as they line up in traffic.


I sit on the terrace and gaze

At all the things around me.

In front, Nalini Bhua distributes sweets

Door to door, celebrating the birth of a calf.


Zamindar stops her vehicle

To herd of sheep crossing the road.

Raju mama stops on his way from work

Only to help villagers to unload their wagon


I sit on the terrace and gaze

At the sun reaching its horizon.

Like the two-faced home,

Residing together in harmony.


Bonded As Humans, Divided By Society

Jonty Minz


At Quarter past five with a safety helmet in hand, a TataSteel worker came to near chai Tapri at N Road Bistupur and ordered two chai and two Bakery biskut. He puts his helmet on this cycle carrier and grabs both the chai cup with one hand and the biskut with another. Moreover, he handed the homeless man the chai and the biskut and comfortably sat next to the homeless fellow whom 4 Brown Street dogs surround.


They started talking seemed like they knew each other after seeing this scene. It made me curious to hear the conversation with a Kulhad chai in hand. I sat next to the dogs and started patting one of the dogs.


Furthermore, I started overhearing their conversation. The homeless asked how everybody at home is?


Ramu replied, "sab theek hai."


I knew his name because all workers at tata steel used to write their names on safety helmets.


Then ramu asked “Kuchh khaya Subah Se”?


The homeless man replied, "Kuch Khas Nahin 1 Samosa khaya tha."


Ramu was like ruko "Mere tiffin Mein Do Roti Aur thoda sabji Hoga usko kha lo"!

With an abnormal glimpse in his eye, he replied, "Sach mein"?


Ramu replied ruko nikalta hu. He stands up and walks to his black cycle; on the cycle's handle, a dark green cotton bag "Jhola" with a black Grease spot on it was hanging.


Take out his Four storey Steel tiffin and give it to the homeless person.

He opened the tiffin, prayed before eating, and started eating the Rotis and simultaneously sipping his chai.


Ramu seems lost while sipping his chai.


The homeless person asked, "kya Hua"?


Ramu hesitantly replied “beti ke school wale is month ka fees Mang rahe hai bolate Hain unke teachers ka payment Nahin Ho Pa raha hai!


The homeless person replied, "Haa unko bhi jarurat Hoga."


Ramu replied "Mere ko Unki bhi Majboori samajh aa rahe hai lekin meri bhi to Majboori hai Pahle smartphone le kar diya ab yeh!


Nodded his head and sipped his tea in disappointment.

While sitting there, their conversation hits Me like a storm. The working- class is the most affected one by the covid situation.


The homeless man patted his back and said, "koi baat nahin theek ho jaega Sab Kuchh" with a smile.


Ramu replied, "Haa Ji," with a smile and drank the rest of the chai in one go.

Ramu stands up to take both the cups, puts them on the counter, pays the amount, and comes back to the homeless person where he hands him the tiffin. While he is putting the tiffin in the back in the "Jhola"


Ramu says, "Kal Milte Fir."


Lady standing near the counter hears their conversation and gives a very unpleasant look like how he can sit and drink with a homeless person.


Not paying attention to anything, Ramu puts on his mask and, with the handheld high, says "Milte hai" and peddles away.


By that time I crossed the road to look at them from a distance, I realized they were sitting on the steps of the closed shop, and the shop's name was Standard tailors.


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