Showing posts with label History. Show all posts
Showing posts with label History. Show all posts

Saturday, 26 September 2026

Unveiling Keralam’s Forgotten Maritime Vocabulary - Article Summary - The Hindu - e-paper


A Portuguese-era manuscript preserved in Portugal contains 122 Malayalam words recorded around the late 15th or early 16th century. The vocabulary, discussed by Professor Gonçalo Fernandes, offers a rare glimpse into the everyday Malayalam spoken by ordinary people in coastal Keralam, rather than the formal language found in court records, inscriptions and literary texts.

 

Words such as kadal (sea), kappal (ship), thandu (oar/pole), chukkan (steering) and everyday verbs such as parayunnu (speaking), thinnunnu (eating), nadakkunnu (walking), kudikkunnu (drinking), po (go) and va (come) reveal the language and experiences of working-class coastal communities. The vocabulary suggests that Keralam already possessed a rich maritime culture and knowledge system before the arrival of the Portuguese.

 

The article argues that maritime history should not focus only on spices, ports and international trade. It should also recover the largely invisible contributions of fishers, fish vendors, boat builders, port workers, cargo handlers and others who sustained coastal life and enabled interactions with foreign sailors. The manuscript also opens possibilities for studying maritime linguistics, labour history, gender and sexuality, and indigenous knowledge.

 

The author connects this forgotten linguistic archive with contemporary concerns about Keralam’s blue economy, ocean governance, coastal erosion and climate justice. As Keralam develops policies around the ocean, the article calls for greater attention to the oral histories, traditional knowledge, cultural practices and resilience of coastal communities.

 

https://www.thehindu.com/news/national/kerala/unveiling-keralams-forgotten-maritime-vocabulary/article71500146.ece

Wednesday, 6 May 2026

LitRadar - May 6, 2026 - Remembering Komagata Maru

                            

Popular singer-songwriter Diljit Dosanjh recently brought renewed attention to the Komagata Maru incident during his 2026 Aura World Tour in Vancouver and on The Tonight Show Starring Jimmy Fallon, highlighting how historical memory continues to resonate in contemporary cultural spaces.

The Komagata Maru incident of 1914, in which 376 passengers—mostly Punjabis from British India—were denied entry into Canada under the discriminatory “continuous journey” regulation, is not only a historical episode but also a powerful case for Memory Studies. After being forced to remain in Vancouver harbour for two months under severe hardship, the passengers were deported, and upon their return near Calcutta, a violent confrontation with British authorities led to the death of 20 individuals and the imprisonment of many others. From a memory studies perspective, this event represents a form of collective trauma that has been preserved within South Asian diasporic communities as a shared cultural memory of exclusion and resistance. For many years, the incident remained marginal in official histories, highlighting how certain pasts are silenced or erased—an important concern within memory studies. At the same time, the Komagata Maru narrative functions as a counter-memory, challenging colonial and state narratives that justified exclusionary policies. It has also played a significant role in shaping diasporic identity, particularly among Punjabi communities in Canada, where it continues to inform discussions of belonging, migration, and racial injustice. The delayed formal apology by Canada in 2016 further illustrates the politics of memory, showing how states selectively acknowledge historical wrongs. Over time, the incident has moved beyond archival history into folklore and oral traditions, demonstrating how memory is continually reshaped, transmitted, and reinterpreted across generations.

References:

https://www.indiatoday.in/movies/celebrities/story/diljit-dosanjh-invokes-komagata-maru-after-55000-indians-pack-vancouver-concert-2902981-2026-04-29

https://www.thehindu.com/news/international/what-happened-to-komagata-maru-passengers-in-1914/article70924857.ece

Monday, 2 September 2013

Francis Itty Cora and Art of Historical Fiction…

To read Historical fiction in my own mother tongue was something unique. I am not a stranger to this genre. My first tryst with this type of writing was some years back when I stumbled upon the novel - Vishakanyaka by S.K Pottakadu. The novel chronicles the life of immigrants from Travancore who got resettled in the western ghats i.e Wayanad. S.K cleverly creates a world of tryst between nature and man. The arrival of missionaries and how the locals treated them with a certain amount of skepticism and xenophobia. The portrayal of Vishakanyaka (poisonous virgin) as the spirit of the western ghat and Joseph as the innocent boy from the south who gets entrapped in the animalistic instincts of nature is portrayed in all its ferocity.

It was during my stay in Chennai that I was introduced to the African American writer named Alex Haley. He was a master of faction mixing fiction and facts. The seminal work of Alex Haley titled Roots traces his ancestry to a village in Kenya. Even though the novel was dubbed as a work of faction, i didn't see much of that genre. It was only when I read The City of Joy that I really felt the historic elements in the world of imagination.

Dominique Lapierre enthralled me again with his novel It was five past midnight in Bhopal. I was quite excited about these works because they genre of faction or historical fiction really appealed to my senses.

My reading pathway then took me to the novels of Elizabeth Kosotova. The novel The Historian narrated the story of Count Dracula. I purchased the second book titled 'The Swan Thieves' but could't read because of its sheer volume. I am searching for the ebook version of the same.

Dan Brown's The Da Vinci Code became the next book that took me to the world of historical fiction. It is a masterpiece and the book traversed through precarious literary, religious, and historical terrains. It was an instant hit and i remember travelling to Bangalore to watch the movie version since it was banned in Chennai.

It was Bobby uncle who mentioned about the novel by T.D Ramakrishnan tiled Francis Itty Cora. I was completely blown away by the sheer amount of information that the book carried. Seated in a rural town of Kerala, the author has managed to bring in the whole world in front of our eyes. The novel moves from Kunnamkulam to Florence in Italy and then to Lima in Peru. The story is narrated through letters and old manuscripts. There are several instances where the main characters are interacting with history and historical figures like Hypatia, Vasco De Gama, Roman generals and even artists of the Florentine school of painting.

The novel fascinated me because of the local flavour that it encapsulated. The Kunnamkulam lingo,cultural and religious ambiance is depicted in an authentic way. The story is centred in this town and its past. The titular hero used to live there and he was fondly known as Kora pappan. He was a patriarch and was also a business magnet. He had numerous ships and he used to conduct business with far off lands like Egypt, Abu Gharib Prsion, Iraq, and Italy. In one of his travels he never returned. He was enthralled by the spirit of Renaissance that he witnessed in Florence. In spite of his stay in Florence he was able to keep contacts with his hometown. It was in Florence that he heard about the Hypatian school of mathematics. He was deeply influenced by the concept of symmetry in nature. He found some co-relation between the Hypatian and the Kerala school of Mathematics. Two story threads which i found a bit unusual is the reference to cannibalism and the 'love school' that functioned in cochin. The author seems to have included them to garner more readership from the so called masses. The ritualistic act of offering grown up girl to Korapappan also takes the novel to the realms of black magic and occult.

The novel is interspersed with mathematical equations, sanskrit verses and quotes from ancient manuscripts and palmyra leaves. All these clearly shows the hardships that the author underwent to bring the story to its complete shape. Three words that guide this novel throughout are - Research, Research and Research.

I admire the craft of writing a novel and the pain behind the act of creation. It is a time consuming and time bound activity. Ihave been toying with an idea for the past one year and still is struggling to get that idea into a proper and decent shape