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PARADISE IS YOURS AT ROBINSON

A haven of dazzling coral reefs, white sands and endless blue sky. On the turquoise waters of Gaafu Alif Atoll, 20 minutes from Kaadedhoo Airport, on Funamadua Island, awaits your own piece of paradise at Robinson Club Maldives.

Splendour is for the taking by the shoreline or over water, with palatial villas, bungalows, and suites, set to the backdrop of magnifi cent vistas bursting with colour. Steps away from perfect white sands, nature at your doorstep, or your own living aquarium beneath your feet. Robinson accommodation fulfi ls – and exceeds – every expectation.

A playground of fun, adventure and relaxation, Robinson Club Maldives offers a range of diversions for every taste. Explore the incredible underwater world with Robinson Dive Centre, or catch the waves on a water-ski. Learn how to surf, sail or paraglide, or take a more leisurely adventure into the nearby islets and lagoons on our glass-bottomed kayaks.

For the ultimate relaxation experience, rejuvenate your body and soul at the Duniye Wellfi t Spa, sunbathe by the pool, or watch the sunset on your outdoor day bed, the warm ocean breeze grazing your sun-kissed cheeks.

In the evening, eat scrumptious cuisines and sip on tropical cocktails as you soak up the 360-degree panoramas, before taking to the sands for a live reggae show.

A sanctuary of contemporary luxury, relaxation, and adventure, all rolled into one: there’s always more to see and always more to discover at Robinson Club Maldives.

Robinson Club MaldivesFor more information, contact us at Tel: +960 300 9095 Email: maldives@robinson.de

Island Dreams Come True

Vistas of jewelled blue blending with the shimmering sky as far as the eyes can see. Soothing white sands cushioning your feet. Washing away your cares in crystal-clear lagoons. All while being surrounded by one of the most breathtaking house reefs in the Maldives. At Robinson Club Maldives, your dream beach escape in the serene waters of the Gaafu Alif Atoll comes to life.

visit www.robinson-maldives.com

110915 RBS Maldivian Inflight Magazine.indd 1-2 9/16/11 7:00 PM

PARADISE IS YOURS AT ROBINSON

A haven of dazzling coral reefs, white sands and endless blue sky. On the turquoise waters of Gaafu Alif Atoll, 20 minutes from Kaadedhoo Airport, on Funamadua Island, awaits your own piece of paradise at Robinson Club Maldives.

Splendour is for the taking by the shoreline or over water, with palatial villas, bungalows, and suites, set to the backdrop of magnifi cent vistas bursting with colour. Steps away from perfect white sands, nature at your doorstep, or your own living aquarium beneath your feet. Robinson accommodation fulfi ls – and exceeds – every expectation.

A playground of fun, adventure and relaxation, Robinson Club Maldives offers a range of diversions for every taste. Explore the incredible underwater world with Robinson Dive Centre, or catch the waves on a water-ski. Learn how to surf, sail or paraglide, or take a more leisurely adventure into the nearby islets and lagoons on our glass-bottomed kayaks.

For the ultimate relaxation experience, rejuvenate your body and soul at the Duniye Wellfi t Spa, sunbathe by the pool, or watch the sunset on your outdoor day bed, the warm ocean breeze grazing your sun-kissed cheeks.

In the evening, eat scrumptious cuisines and sip on tropical cocktails as you soak up the 360-degree panoramas, before taking to the sands for a live reggae show.

A sanctuary of contemporary luxury, relaxation, and adventure, all rolled into one: there’s always more to see and always more to discover at Robinson Club Maldives.

Robinson Club MaldivesFor more information, contact us at Tel: +960 300 9095 Email: maldives@robinson.de

Island Dreams Come True

Vistas of jewelled blue blending with the shimmering sky as far as the eyes can see. Soothing white sands cushioning your feet. Washing away your cares in crystal-clear lagoons. All while being surrounded by one of the most breathtaking house reefs in the Maldives. At Robinson Club Maldives, your dream beach escape in the serene waters of the Gaafu Alif Atoll comes to life.

visit www.robinson-maldives.com

110915 RBS Maldivian Inflight Magazine.indd 1-2 9/16/11 7:00 PM

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MALDIVES NIGHT FISHING

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MYSORE: A CITY OF STUNNING SITESFrom colourful markets to glittering palaces, mysore is a treasure trove of interesting sites. Aishath Shazra explores the city, which attracts thousands of visitors each year. .

One Maldivian resort is working hard to bring tourists and locals together, before it’s too late.

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JUMEIRAH DHEVANAFUSHIOn a visit to the Maldives, Royston Ellis discovers a new word meaning “unique island.” It’s Dhevanafushi, the name of the first resort of the dubai-based Jumeirah group to open in the islands.

A YEAR IN PARADISE

12FIVE WAYS TO SPEND YOUR DAYAT SHANGRI-LA’S VILLINGILI RESORT& SPA

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SDM: PIONEER OF THE MALDIVES SOUVENIR

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FROM THRONE TO JUNGLE64

HARUBEE: REVIVING TRADITIONALMUSIC

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78MALDIVES ON THE WORLD WIDE WEB

BUY MALDIVIAN

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HOW IT BEGAN AND WHERE ITS GOINGAdrian Neville charts the journey of Maldivian tourism industry from its inception to present day

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SWIMMING WITHSHARKS

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Adrian Neville Aishath ShazraHilath RasheedJohn Lancelot Kaneeru Abdul RaheemMamduh Waheed Nick WaltonRoyston Ellis Thomas Pickard

Ahmed AnsamAhmed ZahidAishath ShazraGuy StevensHarubeeIsmail Moosa FikryJumeirah DhevanafushiNats SantivipanonNaushad WaheedNick WaltonOfficial Residence of the President, Male’ Sarudhaaru Dhon ManikShaahina AliShangri-La’s Villingili Resort & Spa, MaldivesThomas PickardTraders Hotel Male, Maldives

VARA is published twice a year by Beyond Hospitality Pvt Ltd for Island Aviation Services Pvt Ltd. No part of this magazine may be reproduced without the prior written permission of the publisher. Although every effort is made to ensure information is correct at press time, Beyond Hospitality Pvt Ltd and Island Aviation Services Pvt Ltd do not represent or endorse the accuracy or reliability of any of the information, content or advertisements contained in this magazine, nor the quality of any products, information or other materials displayed, purchased, or obtained by you as a result of an advertisement or any other information or offer in or in connection with this magazine and expressly disclaim liability for errors and omissions in any and all contents.

WRITERS

PHOTOGRAPHY &PAINTINGS

PUBLISHER

MANAGING EDITOR

DISCLAIMER

ADVERTISING

DESIGN & LAYOUT

PRINT

Beyond Hospitality Pvt Ltd(for Island Aviation Services Pvt Ltd)M. BageechaaKeneree MaguMale’ 20191Republic of Maldivesvara@bynd.co.uk

David Kotthoff

Hassan Hisham

Hawwa Sithna Ahmed Ansam

Novelty Printers & Publishers Pvt Ltd

TRANSLATIONSHilath Rasheed

An underwater encounter with a shark is one of the most electrifying and unforgettable experiences you can have in the Maldives says John Lancelot.

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NIGHTFISHING

ONE MALDIVIAN RESORT IS WORKING HARD TO BRING TOURISTS AND LOCALS TOGETHER, BEFORE IT’S TOO LATE.

It’s dusk, that magical transition time between blue sky and black night and I’m about to do something few tourists ever get to experience. With a rumbling gurgle from the engine and a bellow from the helmsman, a traditional dhoni pauses where I stand at the

end of a chipped concrete jetty just long enough for me to leap aboard and join its crew of ten weather beaten fi shermen for a night’s catch. It’s an ancient scene, one which plays out every night of the year, here in the middle of the Indian Ocean.

This is the Maldives, the Indian Ocean’s poster boy, a nation of idyllic islands and atolls cast like so many marbles across satin seas. It’s a country famed for its luxury resorts and turquoise lagoons; and one where tourism competes with fi shing as the bread winning industry. But traditionally, culture, policy and geography have kept the people of the Maldives and the thousands of tourists who visit each year at arm’s length. The mostly-Muslim population of the Maldives live in the bustling island capital of Malé or on village islands fringed by coconut palms and coral reefs, and the closest most visitors get to a real Maldivian is the odd waiter or resort bell boy.

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It’s a fairly simple operation. The boat, with its traditional fl aring stern, dips and bobs as waves pass beneath only to fl ing themselves across the reefs of the local island of Kudarikilu. The crew, their tarnished leather faces and square jaws testament to the Maldives’ Arabic merchant roots, slip on gardening gloves and dish out lines while a man tasked with handing out bait dips a small net into a central tank fi lled with what looks like glistening gold fi sh. The live fi sh are unceremoniously

skewered on hooks and the weighted lines are cast overboard.

One of the most green forward nations in the world, only sustainable fi shing methods are allowed in the Maldives. For me this gives instant street cred to the crew of the tuna boats, their catches sometimes weighing over 100kg. But I quickly learn that my weathered crew and I are at no disadvantage as lines run taunt and the sea harvest begins with calls and cries in

Now with rising seas and the threat of global warming, the Maldives need travellers to not only visit but to also understand their plight and their vulnerability. Resorts like the lavish new Anantara Kihavah, the newest luxury hideaway to open in the northern Maldives, are trying to bridge the gap between tourist and local, and authentic night fi shing experiences like this – with nary a chilled hand towel or pina colada in sight – are an important part of that effort.

THEIR GAUGE ON THE WORLD AROUND THEM IS IN THE SIZE OF TUNA WHEN THEIR FINS TURN CANARY YELLOW, HOW MANY MANTA RAYS THEY SPY IN THE SHALLOWS OF DESERTED LAGOONS, AND HOW OFTEN THE FUEL BARGE VISITS THEIR ISOLATED FISHING ISLAND. IGNORANCE, IT SEEMS, IS BLISSFUL.

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the sing-song Maldivian dialect. Fish after fish is pulled, twisting and dancing from the lapping seas, all varieties, from vibrant reef fish through to tuna and snapper.The tone changes distinctly every time

someone nets a barracuda; with its rows of sharp teeth, these glistening dobermans of the sea are treated with a little more respect by the wizened anglers.

After 30 minutes we draw in the lines again and the helmsman points us away from the islands and further out to sea. All eyes on the boat look to the horizon; towering columns of clouds are forming in the distance and I can tell the crew are judging how long they have until a tropical squall reaches the lagoon. Darkness continues to descend across the Indian Ocean like a veil but from the activity on the boat I can tell we’re just getting started.

We slow and the men call “gurang” to the Overseer of Gold Fish and are rewarded with flapping, wriggling bait. Handfuls of the bait fish are also flung into the air, the tiny fish flying a wide arc before landing in the water. I’m told this is to attract more fish from the ocean’s depths and it works because no sooner have I dropped a line overboard and left the weight to free fall through the darkening water, than I get a tug.

It’s slow yet frantic work; the thin line in my hand is getting harder and harder to see so I’m doing my ‘fishing’ by touch, pulling in the line as another crew member winds it again in neat coils at our bare feet. I can see a silvery shimmer dancing in the depths below as I pull the line in, while behind me a growing number of fat fresh fish swim in a tank of sea water, evidence of the sea’s bounty.

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Nick Walton is an experienced travel journalist who has run travel and lifestyle magazines in Asia, New Zealand and Australia for over ten years, including a two-year stint as Travel Editor for the South China Morning Post. He loves to travel throughout Asia and beyond, but also loves coming back to his adopted home of Hong Kong.

Photos by: Nick Walton, Ahmed Zahid

Many fishermen in the Maldives still use the moon and stars to navigate; there is no GPS on our boat. In fact the only thing electrical seems to be a red-stained bulb and a small radio which quietly plays Southern Indian pop. Little has changed from the days when these men’s grandfathers fished the same reefs and gazed upon the same stars. They know little of rising seas and global warming; their gauge on the world around them is in the size of tuna when their fins turn canary yellow, how many manta rays they spy in the shallows of deserted lagoons, and how often the fuel barge visits their isolated fishing island. Ignorance, it seems, is blissful.

Finally my fish and I meet and he breaks the surface, twisting and wriggling in the air as I guide the line to the deck. Ibrahim, the crewman helping me, beams with a mix of wonder and curiosity – it seems

this foreigner is luckier than most. The crew laugh as they draw in their lines, fresh catch splashing in the tanks below. With a flash of Ibrahim’s dark calloused hands the hook is out, my fish joins the others in the tank and as darkness takes over the sky and our time at sea drawing to a close, another live gold fish is sent to the depths below. It’s an ancient scene, and one I hope that never changes.

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TO SPEND YOUR DAY AT SHANGRI-LA’S VILLINGILI RESORT AND SPA, MALDIVES

FIVEWAYS

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LOCATED ON A THREE KILOMETER LONG UNSPOILED ISLAND WITH SIX KILOMETERS OF PICTURESQUE COASTLINE, 12 HECTARE OF LUSH VEGETATION, THREE NATURAL LAGOONS AND NEARLY TWO KILOMETERS OF WHITE SANDY BEACH, THERE IS PLENTY OF WAYS TO SPEND YOUR DAY AT SHANGRI-LA’ S VILLINGILI RESORT AND SPA. FROM A DAY PACKED WITH ADVENTURES TO A MOST RELAXING DAY, YOU DECIDE!

Clearly no trip to Shangri-La’s Villingili Resort and Spa would be complete without venturing out into the heavenly waters surrounding the resort. An early morning big game fi shing trip or an afternoon spent exploring the underwater treasure trove

surrounding is quite simply not to be missed, while a dolphin cruise or a private dinner on the resort’s 21-metre yacht – featuring your catch of the morning – would be a sublime end to a day spent on and in water.

A SEAFARING DAY

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a hammock beneath a shady palm and get lost in the pages of a favourite novel before taking a cool, soothing dip in the sea. Book yourself in at CHI, The Spa for a signature Kandu Boli Experience and surrender to an invigorating Mother of Pearl body polish followed by a warm soak in an ocean bath

and a Cowrie Shell Massage. Finish with a facial and delight in the sensations of a head massage with warm coconut oil drizzled through your hair. If you have any energy left, take a sunset cocktail cruise for the mellowest ending to the laziest of days.

A RELAXING DAYThis is the ultimate option in pampering, unwinding and regeneration. After a long lie in, wake up to a mouth-watering breakfast served on your villa’s terrace, to the accompaniment of serene ocean views and the gentle serenade of tropical fauna and gently lapping waves. Laze in

EXPERIENCE AND SURRENDER TO AN INVIGORATING MOTHER OF PEARL BODY POLISH FOLLOWED BY A WARM SOAK IN AN OCEAN BATH AND A COWRIE SHELL MASSAGE

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Get on board a speed boat with one of our local guides and head for the neighbouring islands for a day discovering the local beauty spots, cafés and craft shops. Historical sites dating to British presence on the island during World War II add a fascinating

dimension to this idyllic tropical paradise, while sleepy villages will provide a taste of daily life on Addu Atoll. The fl at roads make Gan and numerous adjacent islands ideally suited for exploration by bike for those of you looking for a slightly more

AN ADVENTUROUS DAY

energetic way to familiarize yourselves with Maldivian culture. Clearly, an exotic safari-themed dinner in the heart of the resort’s lush jungle is the only proper way to conclude a day fi lled with discovery and adventure!

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At Shangri-La’s Villingili Resort and Spa romance fills the air; whatever the excuse or the occasion the couples among you can spend a day dedicated to pure indulgence. Have a peaceful stroll along the nature trails to witness the extraordinary birdlife and fauna that inhabit Villingili. An extravagant afternoon could be spent at CHI, The Spa in an intimate spa villa

A ROMANTIC DAY

for two, to emerge totally relaxed and renewed. As dusk falls, the mood is set by candles illuminating your villa garden, lanterns swaying in the breeze and a dazzling candle-lit dinner served in the comfort of your villa terrace, in the balmy evening air. The perfect prelude to a night alone together.

AT SHANGRI-LA’S VILLINGILI RESORT AND SPA ROMANCE FILLS THE AIR; WHATEVER THE EXCUSE OR THE OCCASION, THE COUPLES AMONG YOU CAN SPEND A DAY DEDICATED TO PURE INDULGENCE.

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Photos by: Shangri-La’s Villingili Resort & Spa, Maldives

AN EXHILARATING DAY

Shangri-La’s Villingili Resort and Spa provides the ideal backdrop for those thrill-seekers looking for an adrenaline rush. After a hearty breakfast, try something completely new like a class in kite surfing or water skiing before taking to the skies and parasailing along the stunning shores of the resort. Whiling away an afternoon sailing a catamaran or kayaking is sure to

appeal, though these energetic types may be forgiven for succumbing to a relaxing massage in the afternoon to ease those sore muscles after so much exertion. A well-deserved, refreshing evening cocktail under a tent lavishly laid out on the beachfront of Manzaru Bar concludes the rigours of the day.

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A poor family once lived in Dhiyamigili Island in Kolhumadhulu atoll. Their cottage was one of the worst in the village. When it rained, Thoshali Kalo, his wife and their two children had to huddle in corners to avoid drips from their leaking roof.

Most of the time even after a hard day’s work, they would barely have anything to sate their hunger at night. They were dependent on the production of thoshali (thatch) for their meager livelihood.

FROM JUNGLE TO THRONE

KANEERU ABDUL RAHEEM RECOUNTS THE FOLKTALE OF THOSHALI KALO, WHOSE FAMILY ROSE FROM OF THOSHALI KALO, WHOSE FAMILY ROSE FROM POVERTY TO BECOME RULERS OF THE ROYAL PALACE.

One day the island’s Imam came over while Thoshali Kalo was weaving thatch. The island’s odi (traditional big sailing vessel) was about to leave to the capital; so Thoshali Kalo, his wife Fathuma and elder son Bodu Kalo were occupied in preparing thatch for the odi. The imam asked Thoshali Kalo: “Would you have the courage to carry out what I ask?” To which Thoshali Kalo replied: “I am ready to do anything -- other than that which may bring harm to my three beloved.” The imam asked him to go to Male’ on the odi; assuring Thoshali Kalo that he would take of the family until his return. And it is said that, then; the Imam whispered a secret in Thoshali Kalo’s ear.

Thoshali Kalo left to the capital Male’, that afternoon. Despite his efforts Thoshali

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Kalo failed to find any work in Male’ and lived a dreary existence. He lacked the means to even buy a gift for his family before returning home. It so happened that, the night before the odi was supposed to leave for the island it started raining. The result was that the trip was delayed waiting for the weather to clear up.

During one of the days while stuck in Male’, Thoshali Kalo went for a walk and ended up near the public court where the king settled matters of the state and delivered justice. Seeing the king conversing with ordinary members of the public, Thoshali Kalo thought of approaching the king directly, hoping for some sort of generosity. Summoning all his courage, Thoshali Kalo stepped forward and stood in front of the king. As per tradition the king first inquired about his well -being, and the state of the island. Next the King asked what brought Thoshali Kalo to the public court. Thoshali Kalo replied that he was stuck in Male’ due to bad weather and did not even have the means to buy gifts for his kids, so he was seeking the generosity of the king. The king gifted him some money and Thoshali Kalo happily bought some gifts and also a bundle of cotton for weaving nets.

Returning from the trip, he handed over the gifts he brought to Fathuma and the children and started work on weaving fishing net. Those days it was Fathuma and son Bodu Kalo that did the work of weaving thatch.

Upon completion of the fishing net, Thoshali Kalo went to see the imam to give the net for the Imam’s dhoni (traditional Maldivian boat). The imam asked Thoshali Kalo whether he could do something for him again. When Thoshali Kalo asked what the conditions were, the Imam replied with a set of questions. “On what day of the week and what time did Thoshali Kalo reach the sultan? On which side of the sultan Thoshali Kalo happened to stand when he was given whatever it was the Sultan gave him? What time Thoshali Kalo boarded the vessel when it left to Male’?” After clarifying these, the imam smiled and said “Kalo, don’t lose this opportunity! Go to Male’! Take along Fathuma and

your children. Believe my words! You will not be met with grief. Seems like the vessel from Haddhunmathi atoll will arrive sometime tomorrow evening. Be ready to depart.” Saying this, the imam once again whispered something in Thoshali Kalo’s ear and paid for the fishing net.

The Haddhunmathi odi arrived three days later. Thoshali Kalo’s family went to Male’ aboard the vessel. When they reached Male’ Thoshali Kalo asked a kind passerby whether they could be given lodging just for the night - the person took them to his house. The following day, Thoshali Kalo went to the king’s public court while it was in progress. This time he brought up the prospect of a land plot for a house. The king said that a land plot from the Dhungethi jungle in the eastern area of Male would be gifted to him. Thoshali Kalo also requested the king to facilitate the building of a home on the land plot. The king granted that request also.The next day Thoshali Kalo cleared up the land plot he got and found stakes to mark the perimeter of his land. After doing this, Bodu Kalo and his father Thoshali Kalo returned to the house they were lodged in. Just after dusk they went back and Bodu Kalo was made to dig the holes for the stakes. After sunrise at seven clocks the next morning the stakes were driven in. This was done as per the instructions given by the Imam.

All this while king’s soothsayer was observing the proceedings from a distance. The moment the stakes were driven into the ground, the soothsayer hurriedly made his way back to the king. After bowing, he said “ Dhiyamigili’s Thoshali Kalo, staking his claim as a Male’ citizen, has driven the stakes in at the right moment in order to build his house.” The soothsayer went on to confidently state, “if the house is allowed to be built, and the family moved in to live there, the king would loose his throne.” The king ordered his aides to go and remove every stake driven into the land plot and prohibit Thoshali Kalo from building the house. When the king gave these orders, Thoshali Kalo’s wife Faathuma was

listening nearby. She ran as fast her legs could carry, and gave the news to Thoshali Kalo.

The family went to the land plot and Bodu Kalo was made to dig around the perimeters of the main stake and cut it off halfway from the bottom and cover it up with sand again. The aides came shortly after and removed the stakes from the ground and prohibited the family from building a house there. Around six days later, the elder soothsayer died of a fever. Fifteen days later the king granted permission to Thoshali Kalo to build on the land plot. Upon receiving permission, Thoshali Kalo drove a stake right on top of the previous stump, and finished building the house. After that the family started living in that house, with the income that Thoshali Kalo and his son earned.

Four months later the king also passed away from an illness. As per the tradition of the time when a king dies, the aides and confidantes put an amulet (containing a Sorcery or magic spell written on paper) on the neck of a deer and started stalking it. It was believed that the deer would lie on its stomach and come to rest near the rightful prophesized king.

That day Bodu Kalo was staying home as he had a headache. While Bodu Kalo was asleep, the deer arrived at the home, by now rigorously tired from going in and out of homes. As the home was in utter silence with no one around, the deer jumped up and onto the cupboard next to the ashi (wooden bed) on which Bodu Kalo was sleeping and settled comfortably, belly down. Thereupon the aides came over, woke up Bodu Kalo and invited him to the throne. That is said to be he who is famed in Maldives’ history as the king Dhiyamigili Bodu Bandaarain.

Kaneeru Abdul Raheem is a well known Maldivian poet and a writer. Translated from Dhivehi into English by Hilath Rasheed

Photo by: Official Residence of the President , Male’(Painted by: Naushad Waheed)

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MALDIVES: A YEAR IN PARADISE

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WHERE EXACTLY?

It seemed too good to be true – a year in the Maldives. As a surfer the name conjured up images of waves reeling for hundreds of metres off tropical islands complete with swaying palm trees and deserted beaches. It was a place of the imagination and a place I thought I

would probably never get to. But as fate would have it, that was all about to change.

My wife Jane had been offered a position with the International Federation of Red Cross and Red Crescent Societies for a yearlong stint as a Water Sanitation Project Manager. It was the sort of offer that is hard to say no to. But before we said yes, we turned to Google for some answers.

It took a while to find an online photo of the nation’s capital, Male’ (it helps to know the nation’s capital to start with). The photo showed an island barely 2 square kilometres in size bulging at

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the seams with a mishmash of apartment buildings, most unfi nished. It looked…ugly. The fact that over 100,000 people called it home did not help matters. But it was not all bad news. There were plenty of islands – 1,192 to be exact, divided into 26 atolls and strung out in an 800 km long line running north to south. Leaving Google, we fi gured there would be plenty of opportunity for some weekend island hopping and we had always wanted to get into diving. Six weeks later, we boarded a plane bound for paradise.

YOUR TIME STARTS NOWNovember the 28th at just after 11.00pm we landed at Male’ International Airport, a thin long strip of tarmac surrounded by water. Stepping off the plane was like being wrapped in a warm, moist blanket. The humidity was awesome and it was hot even at this late hour. After going through Customs and Immigration we found our local contact and boarded a dhoni for the 15-minute ride to Male’. With the rain coming down, Jane and I peered through the water-streaked windows at the glowing skyline - our new home for the year. It felt daunting.

A NEEDLE IN A HAYSTACKOn our fi rst day, Jane went off to work – just like that. As if it was the most normal thing in the world to do. I was left with the job of fi nding an apartment for us to live in. Didn’t seem like too bad a job – after all, it was a small place and there were apartments everywhere. How hard could it be?

With no real estate agents, I decided that some fi rst day networking was needed. I went for a walk and met a friendly man near the President’s Jetty, a block away from the souvenir shops. I should have known better, but I was trying to keep an open-mind. As it so happened, my man could help me fi nd a place to live, for a mere $350 US dollars. Leaving the shop I fi gured he would be a last resort.

Luck was on our side. Within 4 weeks we moved into a colleague’s recently vacated two-bedroom apartment. It was secure, close to the surf break and overlooked an industrial tip.

DIVE, DIVE, DIVEAs we were living in one of the world’s most famous diving destinations, we signed up with a local diving outfi tter for our PADI Open Water certifi cation. We spent evenings learning about the effects

MALE’ IS HOME TO SOME 26,000 HONDA

SCOOTERS, THE MALDIVIAN STEED OF

CHOICE. THE ROAD RULES ARE FLUID WITH

SCOOTERS JOSTLING FOR POSITION ON

NARROW STREETS AND ZIPPING PAST CARS

WHEN THEY CAN.

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of pressure on the body and charting dive profiles. On the weekends, we donned scuba equipment and learnt to control our buoyancy in the tepid, tea coloured water of the local waterhole, with locals splashing all around us.

The day of our first open water dive was classic Maldives. Not a cloud in the sky, barely a ripple on the water and the sun was blazing. Underwater visibility was as good as it gets and the variety of marine life was overwhelming. With all the excitement, I sucked the air out of my tank in 30-minutes flat. We were hooked though and would go on to dive most weekends, completing 40 dives in quick succession. We had indeed found paradise.

THE WAY OF THE ROADMale’ is home to some 26,000 Honda scooters, the Maldivian steed of choice. The road rules are fluid with scooters jostling for position on narrow streets and zipping past cars when they can. Scooter drivers are known for cutting blind corners and not looking in their mirrors when pulling out. How there are not more accidents I will never know. Somehow, it all seems to work. Equilibrium exists - it is as if everyone keeps moving, albeit slowly, things will just sort themselves out.

As a pedestrian, you quickly learn two rules. One, no one will stop for you on a pedestrian crossing, unless a police officer is standing there and two, when you cross the road, never, ever stop. Stopping just confuses everyone. The expectation amongst all drivers is that you will keep moving in a direction and they will just weave their vehicle around you. So whatever you do, keep on truckin’!

HANGING WITH THE LOCALSThe first locals I really met were surfers at the local surf break. They were friendly, keen to find out where I came from, how long I was staying and what I was doing in the Maldives. They were generous too.

Surfing alone one day, I snapped my surfboard’s leg rope. Separated from

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my board, I watched as it headed for the concrete pylons and certain destruction – 500 dollars of fibreglass about to be pulped. A local surfer driving by on his scooter spotted me, and then my board. Screeching to a stop, he clambered over the slippery pylons and fully clothed leapt into the ocean to save my board from certain ruin. If alcohol were culturally permitted, I would have bought him a case of beer.

Not long afterwards, a colleague of Jane’s invited us to an evening of Maldivian drumming. The evening would turn out to be a once-in-a lifetime experience. Sitting on the floor, the drummers mesmerised us with their hypnotic sounds and beautiful words. Around us, friends danced and swayed in the amber light, celebrating the beauty of the Maldivian culture. It was a night to remember.

INTO THE DRAGON’S LAIRTeashops can be found all around the capital. They usually have non-descript facades and a steady flow of Maldivian men coming and going. Serving a mix of tasty short eats and long eats, teashops are an all male domain. According to our Lonely Planet Guide, foreign woman accompanied by a male, should be acceptable in such places.

Walking home one day, Jane and I decided to stop in at our local teahouse to pick up some hedhikaa (finger food snacks) and roshi (unleavened bread). As we entered the teahouse, the gentle hum of conversation and the clatter of plates and cutlery came to an abrupt stop. You could hear a pin drop. All eyes were firmly set on us. Acting as if it was the most normal thing in the world, we quietly went up to the counter and pointed out the snacks we would like. In the background, the gentle hum of conversation filled the air once again. Leaving the shop we sighed a collective sigh of relief and decided that next time, maybe Jane should stay outside.

BREAKING TABOOWith no other religion permitted in the Maldives, Maldivians are Muslims of the Sunni sect. Representing the fourth pillar of Islam, Ramazan occurs in the ninth month of the Islamic calendar and is a month of fasting, with eating and drinking during the day strictly taboo. All local eateries are closed until evening and normal shops seem to open and close on a whim. As a non-Muslim and a Westerner, Ramazan is not without its challenges.

Having just spent an hour picking up some groceries from the local supermarket, I decided to grab a cold drink for the hot walk home. Stepping out onto the main road that splits the island, I opened my drink and started drinking it as I made my way through the crowds, totally oblivious to what I was doing. Rounding a corner I received some very hard looks from a group of Maldivians and then it hit me. What was I thinking? Drinking in public during Ramazan. I hung my head in shame, embarrassed by my thoughtlessness.

Thomas Pickard is a writer and photographer who called Male’ home for two years. He returns annually for assignment work.

Photos by: Thomas Pickard, Nats Santivipanon, Ahmed Zahid

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LET’S STAY A LITTLE LONGERThe year passed quickly – too quickly in fact. Living in Male’ day-to-day became our normal life. During the week we both worked and on the weekends we visited resorts and went diving. In between, we squeezed trips into places like Sri Lanka and India. Each time we returned to Male’ it felt like we were returning home. It felt good. It felt like we belonged. With the end in sight, we baulked. Suddenly we did not want to leave our crowded city with expansive views over the Indian Ocean. Presented with the option to stay for another 12 months, we thought, why not?

This is paradise after all.

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MAGISCH, MÄRCHENHAFT, MALEDIVEN

Strände zum Träumen.Einmalige Tauchkreuzfahrten.Honeymoon im Paradies.Exklusive Hotels.Unvergessliche Segeltörns.Wellness wie noch nie.Familienglück für Gross und Klein.Faszinierendes Schnorcheln.Entdeckungsreisen für Gourmets.

Erleben Sie den Zauber der Malediven.

Informationen und Buchungen unter: Tel. +41 44 277 47 01maledivensrilanka@manta.ch · www.manta.ch

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MAGISCH, MÄRCHENHAFT, MALEDIVEN

Strände zum Träumen.Einmalige Tauchkreuzfahrten.Honeymoon im Paradies.Exklusive Hotels.Unvergessliche Segeltörns.Wellness wie noch nie.Familienglück für Gross und Klein.Faszinierendes Schnorcheln.Entdeckungsreisen für Gourmets.

Erleben Sie den Zauber der Malediven.

Informationen und Buchungen unter: Tel. +41 44 277 47 01maledivensrilanka@manta.ch · www.manta.ch

VARA 03

HARUBEE REVIVING

TRADITIONAL MUSICONE OF THE OLDEST FORMS OF MALDIVIAN MUSIC,

BODUBERU IS BACK IN VOGUE. VARA TAKES A LOOK AT MUSIC GROUP HARUBEE THAT IS BRINGING ABOUT THIS CHANGE.

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Boduberu is one of the oldest forms of Maldivian music. It is performed by up to fifteen men, which includes three drummers and a lead singer. The name of the music takes after the drums known as Boduberu (big drums), which is made of hollowed wood with the

ends covered with goat hide or, in the olden days, manta ray skin. The Boduberu drums are often played accompanied with an Onugandu: a small piece of bamboo with horizontal grooves, which makes a rasping sound when scraped.

The singer leads the song while the other performers join in the chorus, clapping to the beat. The tempo is slow at the start building into a crescendo. As the song evolves, dancers join the fray, going into frenzy as the beats get faster.

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The music and dance of Boduberu has an uncanny similarity to songs and dances found in Africa. It is likely that African sailors introduced Boduberu to the Maldivian shores. Some historians suggest that African slaves introduced Boduberu to the Maldives in the early 19th century. During the reign of King Mueenuddeen I these slaves were liberated and sent to Feridhoo Island in Ari Atoll. It is believed that Boduberu spread out from Feridhoo, becoming the country’s most popular form of entertainment.

Evidence of Boduberu’s African roots can also be seen in the fact that Boduberu is commonly known as Baburu Lava (Negroid song). The oldest known Boduberu songs have lyrics that are impossible to understand today, suggesting the words derive from foreign languages, possibly ancient African dialects. Boduberu had been a staple of Maldivian life in the bygone years. No event, be it a private gathering, the birth of a baby, or even the ceremonial walks of kings, was complete without the hypnotic beats.

However, in recent years this traditional music had retreated to the background, making appearances only in special festivities, circumcision parties, or as music during cultural nights in resorts. That is until the arrival on the scene of Boduberu group Harubee.

A PASSIONOne of the founding members of the group, Ahmed Shiham, says that it was purely circumstantial that Harubee was formed in late ‘90s.

“Mohamed Naushad, Mohamed Shamhan, Ibrahim Mamdhooh and me were just hanging around together, and one of the guys started to beat a tin pitcher and the rest of us joined in singing,” says Shiham.

From an informal jam session, they went on to perform in parties for free, to indulge in

their love of playing Boduberu. When they won the audition to perform at the 2006 Dubai Shopping Festival, they brought in new members and formalised the band.

Like their music, the name Harubee has connections to the past. “Harubee is the beat that was drummed out by drummers accompanying the King on his ceremonial walks. In those walks, everyone would maintain pace to the beat,” says Shiham.

Appearances in programmes about Maldives in the National Geographic Channel and the BBC followed, while the band’s fame was cemented when they won the Boduberu Challenge held by a local TV station in 2010.

“Ever since we won the competition, we have been getting non stop requests to play Boduberu. MNBC [the local TV station] has played a big part in bringing Boduberu to the forefront,” says Shamhan who took up the role of manager for the group. The group has 27 members and despite the demands for performances in places as varied as resorts, tourism fairs abroad and local parties, the band continues to treat its music more as a passion than a commercial venture.

“This group is mostly made up of friends, and everyone works full time in different jobs such as the police, immigration department, airport and banks. Boduberu is

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something that we do for our enjoyment.”Harubee is largely credited with reviving this traditional art form, bringing young men into the fold and modernizing songs.“We have taken a lot of old Boduberu songs that were not so popular and rearranged them to make them more appealing,” explains Shamhan. As well as re-packaging old songs they also sing songs of latter-day Maldivian singers.

A TRENDNowadays, the sound of Boduberu is everywhere. TVs and radios have made it part of their daily play lists. Young teenagers have it on their I-pods. Harubee’s more popular songs, such as Ginakeriyaa Vaareygaa (In drizzle and rain) and Fanriyalugaa (thatched sail ), have received over 22,000 hits on YouTube. Meanwhile, MNBC’s Boduberu Challenge 2010 CDs continue to sell like hotcakes and can be heard blasting from radios in islands all over the Maldives.

Major music shows in Maldives are no longer complete without a Boduberu group. A fusion of Boduberu and other instruments have sprung up, with bass guitar and even saxophone providing fodder to the Boduberu beats. The tourism industry has sat up and taken notice. Resort performances, one of the most lucrative industries in Maldives, have grown in demand. Unlike most Maldivian bands, though, Harubee does not perform regularly. “Due to the demands of our jobs, we don’t do weekly performances anywhere,” says Shamhan.

At the moment, Harubee is preparing to play at the Berlin Tourism Fair. Harubee is also bringing out its own album. The group says their success proves that there is a place for traditional music in modern times.

Shamhan says: “The first sound of Maldivian culture is Boduberu. We want to go as far as our passion will take us.”

Aishath Shazra is a Maldivian freelance journalist. She writes

extensively on Arts, Culture, Tourism, Environment and Social

issues.

Photos by: Harubee

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& WHEREIT’S GOING

HOW IT BEGAN

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ADRIAN NEVILLE CHARTS THE JOURNEY OF MALDIVIAN TOURISM INDUSTRY FROM ITS INCEPTION TO PRESENT DAY

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In February 1972 the first tourists, a group of 22 Italians, arrived on a 44 seater Avro chartered from Air

Ceylon. At that time Air Ceylon was the only airline in the world that flew to the Maldives and it only did so twice a year, to collect and return Sri Lankan teachers on their Christmas holiday. In February 2010 77,065 tourists arrived from 66 countries on hundreds of chartered airplanes, scheduled airplanes and private jets. The rapid development of tourism and the country as a whole has gone hand in hand. It is a remarkable success story, and a new chapter is just beginning.

Those first 22 Italians were not actually the first tourists but a group of journalists, adventurers, underwater enthusiasts and photographers put together by the original pioneer, one George Corbin. Their task was to experience the Maldives, imagine the possibilities and then return home to promote the destination. They were put up in three houses in Male’ as there were not yet any guesthouses in the capital, let alone the rest of the country.

The food they shared was the finest Male’s best restaurant had to offer. At least it was for one meal. Adventurousness did not extend to cuisine, the spicy food was unpalatable to the Europeans and from then on their hosts had to take over the cooking themselves, with little idea and even less experience.

October 28th 1972 was when the first paying guests arrived in the Maldives.

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The intervening months were just time enough to build 30 rooms on nearby Vihamanaafushi, renamed Kurumba Village. The rooms were made in the time-honoured fashion of the country’s best houses, of coral stone hewn from local reefs. It is very tough work to extract the coral boulders and laborious to break them up and lay the walls. Coral extraction is also, of course, very bad for the reef, the fish and the islands, and consequently harmful to the very tourism it was intended to serve.

When environmental knowledge became widespread, many years later, this practise

was stopped. It is fair to say that the Maldives has been very good at learning lessons along the way. In matters of environmental consciousness and action, indeed, the Maldives is now a world leader.

On a more trivial level, a nonetheless important lesson was learnt while building the country’s second resort, Bandos. There were 32 rooms in total, six blocks of two rooms and two blocks of ten rooms. Those 20 rooms in two blocks were built facing inland. Not surprisingly nobody wanted these rooms. From then on every room built in the Maldives has faced outwards to the

beach and beyond. (Except those ‘garden rooms’ that a few resorts maintain).

The roofs of every room were made of coconut thatch and the beams were of coconut timber. Light was provided by oil lamps, the water was drawn from a well. Most of the floors throughout the resort were of earth or sand. It was a barefoot experience from the beginning and the best resorts today still attend to our wish to return to a simpler way of living.

Over the succeeding years the rooms became villas, the food became cuisine and the dhonis became gulf crafts but

essentially it was the same product as the original Kurumba and Bandos. The first brand new idea was probably the waterbungalow. When the first one got built it was a hit-your-forehead-with-the-palm-of-your-hand moment: “Of course! Why didn’t we think of that before?” And then came the spa which was another such moment. It was such a perfect fit that within a couple of years every resort had one and several put their spa complex on their water villa jetty.

Although the Maldives has taken the established idea of the over-water room to another level, in terms of location, privacy

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and style, what it did next was entirely new and innovative. Conrad on Rangali Island built the world’s first underwater restaurant, and in doing so pointed a way to the next great development for the country’s tourism.

Huvafen Fushi built the world’s first underwater spa. And although nothing else has yet been built underwater, there are rumoured plans that a few established resorts are seriously thinking of adding an underwater bar and disco. Certainly a young Maldivian marine specialist, who worked on the Conrad and Huvafen Fushi projects, is working towards building a number of rooms underwater, on a thila near to Bandos, appropriately.

The original concept of one island, one resort is no longer a hard and fast rule. As we move to an exciting tomorrow, there would seem to be no real need for an island at all. In January this year, the Maldives government signed an agreement with Dutch Docklands to lease five lagoons in North Male atoll. The artist’s impressions of the project show futuristic, star-shaped amphibious mini-cities, tiered with lush

green roof terraces surrounding artificial beaches and pools. One island is due to get a convention centre and a golf course. The Netherlands government is to assist in the project and the BBC is to film it from start to finish.

As a counter-balance to this science fiction vision, it is good to know that the future is also open to individual travellers moving from guesthouse to guesthouse across the atolls. It is the first time this has been possible since the government withdrew permits to guesthouses back in 1984. And the key thing is, in contrast to the early years, there is a network of ferries coming into place to facilitate the journeys. At one and the same time, the Maldives will be pioneering the future and returning to the past.

Photo 1: Accomodation facilities in the early years of the Maldivian tourism industry.Photo 2: Early resort bungalow with coconut thatch roofing.Photo 3: Overwater spas - Development of Maldivian tourism industry.Photo 4: Overwater bungalows are one of the most popular forms of accomodation found almost in every resort now adays

Adrian Neville lived in the Maldives and writes the definitive guide book: Resorts of Maldives, now inits third edition. Having tirelessly reviewed every single resort, he is now continually asked ‘whichis the best for me?’ Enter SevenHolidays.com – his comprehensive independent guide to Maldivesholidays and how to book them.

MALDIVES HAS TAKEN THE ESTABLISHED IDEA OF THE OVER-WATER ROOM TO ANOTHER LEVEL, IN TERMS OF LOCATION, PRIVACY AND STYLE, WHAT IT DID NEXT WAS ENTIRELY NEW AND INNOVATIVE. CONRAD ON RANGALI ISLAND BUILT THE WORLD’S FIRST UNDERWATER RESTAURANT, AND IN DOING SO POINTED A WAY TO THE NEXT GREAT DEVELOPMENT FOR THE COUNTRY’S TOURISM.

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Le Cute flagship Store . Le Cute Maafannu Store . Le Cute boutique at Hilton Maldives Iru Fushi Resort and SpaLe Cute boutique at Sun Island Resort and Spa . Le Cute Kulhudhuffushi Store

Le Cute Duty Free at Ibrahim Nasir International Airport . Le Cute Duty Free at Gan International Airport

Travel Retail . Retail . Resort Boutiques

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SDM: PIONEER

OF THE MALDIVES’ SOUVENIR

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Sarudhaaru Dhon Maniku, who often signs his paintings SDM, is considered the pioneer of ‘souvenir

art’ or art and craft produced with the primary purpose of selling it, or gifting it to a tourist. Also one of the fi rst Maldivians to scuba dive, SDM’s imagination is infused with the colors and rich and varied life forms of the underwater world. The son of a craftsman, SDM was initiated into the trade of craft making and art at an early age. Commissioned by various friends and others, SDM initially produced various gift and craft items. Later on, he was commissioned to produce portraits or copy printed images by the Indian (Bhora) traders who were stationed in Male’ from the late 1800s until mid 20th century.

SDM was fi rst noticed for his talent and skills during the 10 year period beginning from the end of the reign of Sultan Hassan Noordeen and the formation of the fi rst republic in 1953 with Mohamed Amin Didi as the fi rst president. SDM was then a teenager. He recalls President Amin Didi as a great patron of the arts and crafts and indeed it was him who organized a nationwide arts and crafts fair in the capital for the fi rst time in the history of the country. More generally, the short tenure of Amin Didi’s presidency is also regarded as a period of literary and cultural renaissance.

Even though SDM was noticed for his talents at an early age and in the 1940s and

HE SAYS IT WAS THE ADVENT OF TOURISM

IN THE EARLY1970S THAT REALLY HELPED HIM TO CARVE OUT A

PROFESSION IN WHICH HE COULD DEDICATE HIS

SKILLS AS AN ARTIST AND CRAFTSMAN FULLY

TO HIS PROFESSION.

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‘50s, he says it was the advent of tourism in the early1970s that really helped him to carve out a profession in which he could dedicate his skills as an artist and craftsman fully to his profession. The ‘tourist market’, as it became later known, proved to be a lucrative avenue for all aspiring craftsmen, artisans and hopeful artists in the country. And given the rich traditions in craft in the Maldives, this was a welcome development for the country at

Mamduh Waheed is a writer on Maldivian art and has written several reviews and essays for catalogs. From 2004 to 2009 he was the curator at the National Art Gallery, when he was appointed Deputy Minister for Tourism Arts and Culture by President Mohamed Nasheed

Paintings by Sarudhaaru Dhon Manik

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large. In the 1980’s more than 20 highly developed craft forms were documented.These ranged from coir rope making from coconut husk to weaving mats from a variety of dried grass and then coloring it with natural dyes to intricate and exquisite looking lacquerware to expensive jewellery made from gold and silver.

By coincidence, the year SDM was born was also the year the French Impressionist painter Monet died. And during the course of SDM’s life, Europe experienced the trends of Modernism, DADA, Surrealism, Abstract Expressionism, Pop and Post-Modernist art. And while it may be futile to interpret SDM’s works through the prisms of these aesthetic and stylistic trends, its interesting to note that SDM’s works exhibit many qualities of these very trends of which he may never have known much of at fi rst hand. And perhaps more importantly, SDM admits he always strived to make something that maybe of use; admiration of aesthetical beauty being one of these uses. Additionally, he also meticulously documented the shells and fi shes commonly found in the Maldivian reefs and lagoons. And one of the fi rst series of posters depicting shells and fi shes of the Maldives was illustrated by SDM, which is still in print and published by Novelty Printers and Publishers Maldives.

Apart from the sheer output of his work over a period of several decades (SDM is now in his later eighties), what is most apparent in SDM’s works are the different

media he has mastered over time. This includes the pencil, water, acrylic and oil colors as well as sculpting and carving. In addition to this, he has also consistently demonstrated a knack for invention, often experimenting with different materials and techniques, and continuing even today. Senior Maldives artist Ahmed Abbas has commented on SDM; “Dhonbe is a great artist, especially his underwater scenes have something special and great about them. He has applied color to great effect. Even when we were kids, Dhonbe was a renowned artist”.

In recognition of SDM’s contribution to Maldivian culture and to celebrate his achievements in the arts, the National Art Gallery (NAG) of the Maldives commissioned him in 2005 to produce a series of works for the permanent collection of the gallery. Some of these works are also now exhibited in the Maldivian Ministry of Foreign Affairs and others are displayed at the gallery in temporary exhibitions. The NAG also commissioned a book documenting the life of SDM which was published in 2009 in Dhivehi and an English translation is due to be published later in the year. SDM lives at his home in Male’ and continues to produce paintings, handcrafted objects and other items such as hand painted greeting cards and says he is very content with the life he has lived. He continues to be an inspiration to younger generations of artists and is one of the most prized individuals of the country.

WHAT IS MOST APPARENT IN SDM’S WORKS ARE THE DIFFERENT MEDIA HE HAS MASTERED

OVER TIME. THIS INCLUDES THE PENCIL, WATER, ACRYLIC AND OIL COLORS AS WELL AS

SCULPTING AND CARVING.

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A CITY OF STUNNINGSITES

MYSORE FROM COLOURFUL MARKETS TO GLITTERING PALACES, MYSORE IS A TREASURE TROVE OF INTERESTING SITES. AISHATH SHAZRA EXPLORES THE CITY, WHICH ATTRACTS THOUSANDS OF VISITORS EACH YEAR.

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A CITY OF STUNNINGSITES

MYSORE

Mysore-welcome to the heritage city.’ The board that greets you at the city entrance sums up why

Mysore is such an attraction to visitors. A city of palaces, museums, gardens, and of slow living: yoga and Ayurveda spas beckon visitors from far and wide. It is also home to dozens of Maldivian students who study everything from teaching to psychology in the 95 year-old Mysore University

Mysore is the second largest city of the state of Karnataka and is labelled the cultural capital of the state. The city is located 140 km from Bangalore, Karnataka’s capital. Mysore has its own domestic airport but international visitors must take a 2-hour train ride from Bangalore or, for the more adventurous, an 18-hour bus ride from Trivandrum in Kerala, to reach the city.

Mysore has retained its unique identity, despite an influx of tourists. In contrast to Bangalore, which seems to be bursting at the seams, Mysore’s 800,000 citizens fit easily into the city’s 50 square miles. The city boast broad shady avenues and the buildings are mostly low rise. It exudes a quiet charm that invites a slower pace of life.

Mysore’s temperature fluctuates between 19 and 30 degrees and can make for very cool months in December to February; March to June is the summer season followed by the monsoon season in July to November

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A CITY OF PALACESIf you throw a stone in Mysore, you are bound to hit a palace. The sheer number of palaces has led to some being converted into art galleries or hotels. The Chittaranjan Palace on Vinoba Road, once a retreat for the Wodeyar Princesses, is now the Green Hotel. A model of sustainable tourism, the rooms are light and airy with hot water supplied via solar panels. The hotel’s shaded pergolas in the immaculate lawns provide the perfect backdrop for afternoon tea.

The pride of place among all the palaces is given to the AmbaVilasa Palace, known as Mysore Palace. The seat of the Wodeyars that ruled Mysore from 1399 until India’s Independence, it was an English Architect Henry Irvin that was commissioned to design the palace in 1897, which took 15 years to complete.

Entrance to the interior of palace costs Rs 200. On Sundays, you can view the magnificent palace exterior for free, in a dazzling light display, in which 96,000 bulbs are lit, illuminating every nook and cranny.

Is it any less magnificent in the cold light of the day? Luckily not. The architectural style is Indo-Saracenic: a blend of Hindu, Muslim, Rajput and Gothic styles, as diverse as India itself.

One of the most visited places in India after the Taj Mahal, it is easy to see why the Mysore Palace holds such appeal with its granite floors, marble domes, a 145 ft tower and vast expense of gardens. Two statues of growling leopards guard the entrance to a garden of rose bushes.

Inside the palace, the grand public dharbar hall has balcony seating on either side, one for royal ladies the other for visiting dignitaries. The hall has an unimpeded view of the gardens. It is easy to imagine the king holding court-receiving members of the public, while his subjects look on from down below.

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The melange of different styles takes you by surprises. Paintings of Hindu goddesses adorn the walls, while Roman statues guard doorways. Light streams in through the ceiling’s stained glass windows, made in England and transported to India.

The palace is stripped bare of furniture but a special area showcases the royal throne and furniture including a collection of dolls that were gifted to the royal family over the years.

The display includes a golden howdah, the seat that the King was carried on

during the procession of Dasara, a festival Mysore is famous for. It weighs an impressive 750 kilos and is made mostly of gold. Nowadays during the festival of Dasara, the howdah is used to carry the idol of Goddess Chamundeshwari atop a decorated elephant.

The 10-day festival is celebrated each year with great pomp and ceremony during September and October. It is a celebration of the Hindu mythology, the victory of Goddess Chamundeshwari after slaying the demon Mahishasura, the triumph of good over evil.

DEVARAJA MARKET: RIGHTLY DESCRIBED AS ONE OF THE MOST COLORFUL MARKETS IN INDIA, IT IS A RIOT OF COLORS

SIGHTS AND SOUNDSLike most cities of India, street food is everywhere in Mysore. The whiff of baji fries, panipuris or the deliciously roasted corn on a cart, sprinkled with spices, can be found in almost all public areas. Young men offer to draw beautiful henna designs for a few rupees. In mango season, in every corner of the city, you can find mango sellers with neat little pyramids of mangoes. They sell more then 10 varieties of mangoes.

There is an art to the way fruits and vegetables are stacked, each atop another perfectly balanced. Even the garland sellers have their flower garlands coiled in a perfect round shape in their basket, not a flower out of place.

A quick visit to the Devaraja Market and it is not only the art of stacking that strikes you but the sheer variety of food on offer. Rightly described as one of the most colourful markets in India, it is a riot of colours: from the blues and reds of the vermillion to the multitude of fruits and vegetables.

You enter the market through little lanes in between the shops of the busy SayyajiRao Road. Entering it makes you feel you have stepped into a parallel universe. An endless market stretches out in front of you: bananas, mangoes, beans, carrots, turnips, onions, and countless others. The banana area alone could be the length of an apartment block in Male’. The food is plentiful, spilling over from the baskets and onto the floor. In between the vegetables and fruit areas, is a flower market. Women sellers rule the roost here sitting in their colourful saris, besides flower baskets and garlands.

On the way out of the market, you encounter the bangle sellers. Glass, bronze gold bangles, of every colour and design, are sold for Rs.25 for a pack of twelve. And a dozen is the minimum you can buy; seemingly no one wants to buy leftover bangles.

NEARBY ATTRACTIONS The town of Srirangapatna, 19 km from Mysore, is well worth a visit for its historical sites. Tipu Sultan ruled the area around Mysore from Srirangapatna during the 18th Century. The Bangalore-Mysore highway passes through the city, and a day trip with a hired car costs around Rs.800.

It is worth making time for a stopover on the banks of river Kaveri, which borders Srirangapatna. Bollywood stars often descend here, to shoot songs in and around

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WHERE TO STAY? Lalitha Mahal Palace is counted among the most opulent hotels in India. A former 1920s palace, it has since been converted to a five star hotel.For a mid range hotel choose Nalapad Residency located on Dr Nelson Mandela Road is good value for money, costing Rs 1525 per night for a spacious deluxe room.

WHERE TO EAT? Indra Cafe’s Paras is an eatery on SayyajiRao Road across from the Devaraja market. The café serves delicious South and North Indian thalis along with popular Chaat and snacks.

For pizza’s head to Pizza Hut and Dominoes that has outlets on Temple Road. The youth hangout Cafe’ Coffee Day on Devaraj Urs Rd offers tempting snacks and pastries.

WHERE TO SHOP? The department store of Westside has a great collection of kurthas. FabIndia, the brand renowned for selling products made using traditional techniques, has a shop in Mysore that sells fabulous kurthas and clothes.

Aishath Shazra is a Maldivian freelance journalist. She writes extensively on Arts, Culture, Tourism, Environment and Social issues.

Photos by: Aishath Shazra

this beautiful serene river. You could also take a boat ride in a ‘tokra’: a woven basket with comes with its own peddler. For Rs.100 he will take you for a ride down the river.

Another place to visit is Dariya Daulat, the summer palace of Tipu Sultan, built in 1784. The palace is mostly made of teakwood and is done in the Indo-Sarcenic style. Built on a raised platform, you enter into open corridors, which go right round the palace. The walls are filled with murals depicting historical scenes of battles that Tipu Sultan and his father Hyder Ali won. The inner walls are decorated with elaborate floral patterns.

The mausoleum of Tipu Sultan is the other place of interest. Built in 1782, the Gumbaz is a jewel of Islamic architecture. The structure is located in the beautiful Lalbagh gardens and is crowned with a large dome. The doors made of carved ebony and inlaid with ivory are stunning. The inner chamber is decorated with lacquer Tiger stripes. Tipu Sultan was known as the Tiger of Mysore and it is said to have proclaimed: “In this world I would rather live two days like a tiger, than two hundred years like a sheep.”

On the way back to Mysore, a visit to the famous Brindavan gardens is a must. The garden of 150 hectares is one of the most beautiful laid out terrace gardens in India. At the entrance one can find all sorts of snack foods and drinks, further ahead is the beautifully laid out lawns, flower shrubs of different kinds and the dozens of fountains that make these gardens a marvel. It also boasts of a dancing fountain. Each evening at 7pm, the dancing fountain on the northern side comes to life. The fountain is often described as a water ballet; it dances to Indian songs played on large speakers, and colorful water jets are synchronized to the music.

From Palaces to dancing musical fountains, Mysore is a fascinating mix of the old and new. A beautiful city, which offers the discerning visitor lots to do and see.

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Ashoka Road is the ideal area to buy or ex-change gold jewellery. Rows of little jewellery shops fill the street and they will also mend and modify existing jewellery for a small price. On the busy SayyajiRao Road one can buy all sorts of things, from non-stick pans, to sandal-wood products and silk saris, the latter two be-ing the products Mysore is most famous for.

A host of other shops like the Big Bazaar and the little shopping arcade Loyal World sell ev-erything from household items to clothes. While Devraja Arsu Road, hosts shops that sell the lat-est branded fashion and accessories.

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Main Photo: Mysore Palace on a Sunday eveningPhoto1: Tokra ride on river Kaveri

Photo2: Mysore Palace with its garden of rose bushes Photo3: An onion seller in his stall in Devaraja

Market Photo4: The colorful Devaraja Market

Photo5: Brindavan GardenPhoto6: Gumbaz in Srirangapatna town

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IslandAviation_fullpage 210 mm x 297 mm.indd 1 10/18/2011 11:34:04 AM

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Island Hideaway, Spa Resort & Marina

Tel: +960 650 1515

Fax: +960 650 1616

reservations@island-hideaway.com

www.island-hideaway.com

A Member of Small Luxury Hotels of the WorldA Member of the Responsible Hotels of the World

Best Small Hotel Maldives 2011 - Awarded by International Hotels AwardCertificate of Excellence 2011 - Awarded by TripadvisorBest Spa in a Beach Resort 2010 - Awarded by Senses

Indian Ocean’s Leading Villa 2009 - Hideaway Palace - World Travel Awards

RESORT HOTELMALDIVES

Lily Beach Resort & Spa

Our Award winning

Hideaway Palace...The epitome of Refinement, Grandeur and Privacy...

1,420 Sqm, 3 bedroom Suite.

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A NEW DEFINITION OFCARING

PLEASURE& LUXURY

ON A VISIT TO THE MALDIVES, ROYSTON ELLIS DISCOVERS A NEW WORD MEANING “UNIQUE ISLAND.” IT’S DHEVANAFUSHI, THE NAME OF THE FIRST RESORT OF THE DUBAI-BASED JUMEIRAH GROUP TO OPEN IN THE ISLANDS.

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Having stayed at many of the top end resorts in the Maldives over three decades, I thought I had seen and

enjoyed the very best of holiday islands. What more could be done to improve on the quality, food, comfort and beauty of some of the best resorts in the world?

I was wondering how the experience of staying at the new Jumeirah property in the Maldives, known as Dhevanafushi, could be better than at other resorts. I began to understand that the accent was going to be on thoughtful and generous service, when I emerged from Male’s Ibrahim Nasir International airport, bleary eyed from an early morning flight.

Waiting to greet me by name was Dhevanafushi’s airport representative wearing a distinctive, flowing white kurta shirt with a colourful splash of orange and burgundy, featuring one of the resort’s stylistic symbols, a seahorse. He escorted me to the Moonima Lounge of Maldivian to await my flight, and he checked every 10 minutes to see that I was well looked after.

Jumeirah Dhevanafushi is located on the island of Meradhooin GaafuAlifu Atoll, 400km south of the capital city of Male’. The resort has an arrangement with Maldivian that enables its guests to be treated as “Jumeirah Class” passengers, seated at the front of the DASH prop-jet aircraft, curtained off from the rest of plane and with a snack service.

The flight of 55 minutes passed quickly because of the absorbing aerial view of contrasting deep blue ocean and luminous

azure lagoons with slashes of sun-kissed golden sand. At Kaadedhdhoo Airport another resort representative, this time a butler dedicated to attending to me for my entire stay, was on hand.

He introduced himself before escorting me to a waiting battery-operated buggy. I forgot about my luggage as he took care of it and we sped across the airport island to the jetty where a speedboat awaited.It took only 20 minutes for a breezy dash northwards by boat along the western side of the atoll to reach the resort.

Although Dhevanafushi only opened in April 2011, it has already established a custom of greeting all arrivals with drummers playing the traditional boduberu music of the islands, and department supervisors lined up to be introduced.

This sense of personal care and attention to detail, coupled with an engaging charm that quickly makes guests feel like old friends, gives character to the extraordinary architectural features of the resort’s pavilions and villas.

The first sight of the water village, 16 palm-thatched villas isolated 850m from the main island on a sandbank in the middle of the shallow sea, stirs the imagination. Known as the Ocean Pearls, this village is completely self-contained with a fine-dining restaurant, dedicated reception and library lounge, a dazzling infinity swimming pool, a spa with in-villa treatments,its own generator, water and sewage disposal plants, and obliging resident staff.Some guests staying in the 14 “Ocean

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Revive” villas or in the two superlative “Ocean Sanctuaries,” never bother to visit the main island. Each villa has its own swimming pool poised above the sea, private decks with daybeds, sun loungers and direct access to the sea for easy snorkelling.

Each has a separate living room and dining area, gorgeous bathroom with sea views, and around the clock butler service. The bed in each is called a Super Deluxe Kingsize, and measures 3m by 2m. Like the villas on the main island, each one as an Apple Media Centre with a Mac mini integrated to the television and Bose sound systems and to theiPod and iPhone systems.

On the main island, guests disembark at

a circular, glass pavilion at the end of a boardwalk jetty. This has become popular for guests who like to relax in hammocks strung out over the sea, watching fish swarm below.Since the resort has been created in virgin waters, 10km from the nearest island, the fish are untroubled by human presence, lending extra excitement to snorkelling and diving expeditions.

New arrivals are offered a welcome

coconut drink sipped through a straw from the shell, before being escorted along the jetty. The Khibar bar is close to the jetty and the focus of the public area, beside an infinity swimming pool that seems to float out over the sea.

A walkway over a water feature leads to Azara, the main restaurant, with open sides and tables set up on the beach or under whirling fans in a loggia. Alongside it a glass-fronted mansion houses the library and reception area, although guests complete the registration process in the privacy and convenience of their villas. In contrast to the vivid, honey-coloured

granite and white-washed walls of the contemporary-looking public buildings, the villas are typically Maldivian, in exterior design at least. They have palm-thatched roofs, high wooden ceilings, timber floors and veranda decks, and each is hidden from its neighbour by thick foliage.

Paths around the island (it is 44,000

square metres in area) are shaded by trees from the hot tropical sun, and defined by coconut husks planted along the edges. The main walkway is ideal for early morning jogging, or there is a state of the art gym with a personal trainer available for serious exercise. The gym is located on the same overwater complex as the Talise Spa. As well as some exciting massage and bathing rituals, the Spa offers a beautician and a hair dressing salon.

There are two kinds of villas on the main island. Eight of them are called “Island Revives” and have an interior of 306 square metres and breathtaking panoramic views. The 13 “Beach Revives” although smaller are still generously proportioned

with 206 square metres of living space hidden in shaded glades.

They have features that would be amazing in a private home, and are incredible to find in “standard” accommodation as part of an isolated resort. They have the same technical gadgetry of the higher priced accommodation and an enviable and spacious privacy.Access is by wooden door onto a decked

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TO STAY AT DHEVANAFUSHI IS TO DISCOVER A NEW, HIGHER AND DIFFERENT LEVEL OF HOLIDAY CARE, LUXURY AND

RELAXATION. THE RESORT WAS THE 101ST TO OPEN IN THE MALDIVES AND, EVEN THOUGH THERE ARE A HUNDRED OTHER RESORTS SCATTERED THROUGHOUT THE ATOLLS, IT MANAGES

TO BE IRRESISTIBLY UNIQUE.

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Royston Ellis is a British-born novelist and travel writer based in Sri Lanka who has been visiting the Maldives for over 25 years. He is the author of A Hero In Time, a novel based on the life of Mohamed Takurufaan, the 16th century national hero of the Maldives. He writes regularly for in-fl ight magazines and international pub-lications, and is the author of the Berlitz, Bradt and Insight guidebooks about the Maldives.

Photos by: Jumeirah Dhevanafushi

courtyard with a swimming pool at its centre. In a tropical glade close to the beach is a dais with a huge mattress and masses of cushions set up for day lazing. There is a day bed at the pool’s edge and yet another on one side of the veranda deck.

The bedroom itself is walled entirely in glass so, when the curtains are open, it is fl ooded with natural light. Its timber fl oor refl ects the elegance of its high-pitched wooden roof. The bed is a four poster with gossamer curtains, oodles of cushions and sumptuous down pillows.

The uniqueness of this exceptional accommodation is emphasised when a sliding door opens to reveal a study with a work station, another day bed, and a Maxi Bar, so called because it is equipped with an espresso machine, dedicated tea kettle, and refrigerator stocked with snacks and drinks of the guest’s choice.

Another sliding door opens onto a bathroom larger than most hotel suites with a smooth marble fl oor and several stand alone,full length mirrors. There is a dressing room and vanity table on one side, a central counter with twin washbasins, a rain shower behind a glass door, and a separate toilet, and the piece de resistance, a huge marble bathtub below a mosaic of granite tiles. A second rain shower is in an adjoining, secret garden.

The extraordinary spaciousness and luxury of the accommodation would mean little without the inspiring personality of the staff. When the resort was opening there were 4,700 applicants for restaurant and bar posts (the staff will eventually number 200) so the management had the pick of the best in the Maldives.

Sourcing the best ingredients is paramount too so that the splendour of the accommodation is matched by fi ne cuisine. It’s eclectic, catering for the many nationalities who have discovered the pleasure of a holiday at Dhevanafushi.

Breakfasts are American, Arabic, Chinese, English and Japanese, with champagne and caviar or low fat, healthy options.

The ala carte menus range from foiegras to sushi and sashimi with mains based on different grades of marbled Wagyu beef, a succulent lamb rack of seven cutlets, Asian specialities including Maldivian dishes, and even layered duck, and black tiger prawns. Icons indicate dishes that are diabetic- friendly or contain alcohol, pork or nuts. There is even gluten-free bread. The open-sided Khibar bar delights the cocktail explorer with some exotic combinations, or the die-hard drinker with vintage malt whiskies, vodkas and

cognacs. The wine list rewards careful study with some excellent choices not readily available, even in their countries of origin.

To stay at Dhevanafushi is to discover a new, higher and different level of holiday care, luxury and relaxation. The resort was the 101st to open in the Maldives and, even though there are a hundred other resorts scattered throughout the atolls, it manages

to be irresistibly unique.

The attention to guests doesn’t end when they leave the resort. My butler accompanied me to the local airport and there was another resort representative to greet me at the International Airport after the comfortable Maldivian fl ight. He took care of luggage and check in for my fl ight home, leaving me with happy memories - and a new defi nition of caring, pleasure and luxury: Dhevanafushi.

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SHARKS

AN UNDERWATER ENCOUNTER WITH A SHARK IS ONE OF THE MOST ELECTRIFYING AND UNFORGETTABLE EXPERIENCES YOU CAN HAVE IN THE MALDIVES SAYS JOHN LANCELOT.

Before I came to live in the Maldives, I knew as much about sharks as most people do. That is

to say, very little. As a boy, my impression of these giant, underwater predators – who have cruised the Earth’s oceans since the dinosaurs roamed its continents - was largely based on the Hollywood fi lm ‘Jaws’. As I grew up, my understanding of sharks was complemented by ‘Jaws II’, ‘Jaws III’ and topped off with ‘Jaws: the revenge.’

For me, sharks were evil, pre-meditated killing machines to be avoided at pain of death, or worse, some sort of horrendous bite injury. My fi rst encounter with a shark was therefore a trifl e unnerving. I was happily snorkelling off the house reef at Giraavaru resort, minding my own business, when a small shark around a metre in length swam out from the murky waters. In a great panic, with arms fl apping

and fl ippers fl opping, I made it to the shore unscathed. Exhausted, and a little angry that the resort could allow such as murderous beast to roam its waters without even a cursory warning for snorkelers, I explained my close encounter to the Italian lady who runs the dive school. “You are lucky,” I was told. “Rarely do we see sharks here.” Lucky indeed, I thought; lucky to be alive and with limbs intact.

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Two years on, and after dozens more shark sightings, I have come to realise how grossly misrepresented sharks are in the media and in Hollywood. You are twice as likely to be stuck by lightning than attacked by a shark; when sharks do attack humans they tend to bite surfers, not because they are partial to bony homo sapiens but because they sometimes mistake a surf board for a juicy seal; and only a few species of shark

– the Great White, Tiger and Bull sharks – are considered dangerous.

In the Maldives, there has never been a recorded shark attack on a tourist – ever. Despite tens of thousands of divers and snorkelers swimming in the Maldives every year, on reefs often teeming with sharks, there has never been an attack. The reef sharks of the Maldives don’t attack

humans. In fact, the only people who have ever been bitten are shark fishermen, who are sometimes nipped when they drag a shark onto their boats to be butchered – which is kind of fair enough, when you think about it from the shark’s point of view.

For many divers and snorkelers in the Maldives, an aquatic encounter with a shark is often one of the great thrills of their holiday. Sharks have inhabited the seas for over four hundred and fifty million and such a long evolutionary history has created the perfect underwater predator. As streamlined as a jet plane and as quick as a Ferrari, sharks truly rule the reef.

The Maldives is home to over 26 species of shark, from the common black tipped reef shark, which can be seen off almost every reef and whose juveniles can be spotted in most resort lagoons, to the grey reef or lemon sharks. The deep oceans of the Maldives are home to the tiger and bull sharks but these often dangerous and unpredictable sharks never come into shallower waters. The charismatic whale shark - the gentle giant of the sea - is also often spotted in Maldivian waters.

This aquatic bounty has become big business for the Maldives. Ten percent of the Maldives’ 750,000 yearly tourists visit the country to dive, creating a diving industry worth tens of millions of dollars. Last year, the government imposed a total ban on shark hunting in the Maldives, in recognition of their value to the economy and the important role they play in keeping reef ecosystems healthy. The ban was introduced following a calamitous drop in shark numbers, caused by shark fishing

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fuelled by Chinese demand for shark’s fins, which are used in sharks fin soup, a Chinese delicacy. A recent study suggests that the Maldives could make well over $10 million per year from shark related dive tourism after the introduction of the shark hunting ban. In short, sharks are worth far more to the Maldives swimming in the sea than floating in people’s soup. The Maldives has hundreds of dive and snorkel sites that are frequented by sharks. For snorkelers, one of the best sites is Bandos Island Resort & Spa’s house reef, which is teeming with black tip reef sharks and even includes its own ‘shark breeding point’. You can expect to see at least ten shark sightings in any given snorkel. I have also spotted eagle rays and even a school of dolphins while swimming off this splendid reef. Banyan Tree Vabbinfaru resort also houses a beautiful reef, home to many large black tips reef sharks; Kuramathi Island Resort is also a great place to see grey reef sharks and black tips. Many dive schools offer trips to shark points, where grey reef sharks and white tip reef sharks are common sights; you can even go on a special dive, 30 meters down in the middle of the sea, to see hammerheads.

Two years living in the Maldives has shattered my previous illusions about sharks. I now consider them to be objects of magnificent beauty not fearful killers. They are predators - and wild creatures - and must be treated with caution and respect. But for an electrifying, heart-thumping underwater experience, there is little more thrilling than swimming alongside these ancient, graceful kings of the seas.

John Lancelot has lived and worked in the Maldives for the past three years.

Main Photo: Whale SharkPhoto 1: Black-tip Reef SharkPhoto 2: White-tip Reef Shark

Photo 3: Grey Reef Shark

Photos by: Guy Stevens

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FOR MANY DIVERS AND SNORKELERS IN THE MALDIVES, AN AQUATIC ENCOUNTER WITH A SHARK IS OFTEN ONE OF THE GREAT THRILLS OF THEIR HOLIDAY. SHARKS HAVE INHABITED THE SEAS FOR OVER FOUR HUNDRED AND FIFTY MILLION AND SUCH A LONG EVOLUTIONARY HISTORY HAS CREATED THE PERFECT UNDERWATER PREDATOR.

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TRADERS HOTEL MALE, MALDIVES

THE IDEAL STOPOVER

IN MALÉ

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It is just a one-minute walk from Male’ harbor to the 117-room Traders Hotel, Malé, Maldives. Offering quality

and value-for-money accommodation, restaurants and services, the hotel is an ideal stop-over to explore the city before heading to your island getaway. Within walking distance, visit the bustling Fish Market, the fl ower-fi lled Sultan Park, the national museum and the slender minaret of the Old Friday Mosque. Centrally located in the administrative district, the hotel also offers a great setting for any business event – with effi cient service, fl exible fl oor plans and state-of-the-art equipment.

Back at the hotel, unwind by the rooftop infi nity pool and take in the panoramic views of the Indian Ocean beyond. A fi tness centre with cardio vascular and strength training equipment completes the recreational facilities.

THE HOTEL OFFERS A GREAT SETTING

FOR ANY BUSINESS EVENT, WITH

EFFICIENT SERVICE, FLEXIBLE FLOOR

PLANS AND STATE-OF-ART EQUIPMENT.

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Photos by: Traders Hotel Male, Maldives

Offering three restaurants and lounge as well as 24-hour room service, the sensory pleasures of eating are well catered for at the hotel.

Lime – the all-day dining restaurant - features a daily buffet breakfast with live cooking stations, and offers a journey of Asian cuisines for lunch and dinner. Enjoy spicy Thai salads, traditional Chinese soups, Indian fish Tikka or try the chicken Adobo wrap around – signature recipe of the Executive Chef, a native from Philippines. On Fridays, treat the whole family with a sumptuous buffet dinner of international and Maldivian cuisines.

If you are looking for a meal with a view then choose to dine in Azur – the rooftop restaurant and lounge. The menu features a selection of juicy premium meats served sizzling from the

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barbecue; the Angus Beef Tenderloin steak literally melts in the mouth. Azur also offers a selection of Japanese influenced specialties – from a fresh platter of sushi and sashimi to a traditional chicken teriyaki. For a perfect end to your meal, mingle with friends around a flavoured sheesha in the adjacent outdoor lounge.

If you don’t have time for a full meal, then stop at 24-hour Panini Café for a cup of coffee and a home made pastry.

Main Photo: Lime, the all-day dining restaurant Photo 1: Hotel LobbyPhoto 2: Hotel view at sunsetPhoto 3: Angus Beef Tenderloin served on the rooftop.Photo 4: Deluxe Ocean View RoomPhoto 5: view from Azur at sunset -Restaurant, lounge and swimming pool

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WORLDWIDEWEB

The World Wide Web, more commonly known as The Web, made its debut as a publicly available service on the Internet in 1991, as part of a project developed by a Briton, (now Sir) Tim Berners-Lee. Its aim was “to allow all links to be made to any information

anywhere.”

Three years later, the “web crawler” was introduced, enabling users to search for any word on any web page. With the advent of the Google Search Engine in the year 2000, information about anything and anywhere became easily available to anyone with access to the Internet.

So the Maldives entered the cyber age with sites devoted to the islands that anyone could fi nd simply by accessing a search engine like Google and typing in the word “Maldives”. It is impossible to verify what was the fi rst website devoted to the Maldives; it was probably a travel

MALDIVES ON THE

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THERE ARE OVER 280 MILLION REFERENCES TO THE MALDIVES ON THE WORLD WIDE WEB. ROYSTON ELLIS INVESTIGATES SOME OF THEM, WITH SOME SURPRISING RESULTS.

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agency based in Male’ offering holidays. Now, however, not all the 280,000,000 entries about the Maldives on the web are there to sell holidays or promote individual resorts. Some provide basic information, especially the government-sponsored sites. Others are niche sites with information on a specific topic (such as bashi which I’ll look at later). And there are sites that refer to another, parallel Maldives.

The foremost site is www.visitmaldives.com, the site of the government-sponsored Maldives Marketing & Public Relations Corporation (MMPRC). Billed as “The Official Travel Guide of the Maldives” it gives comprehensive coverage of all things Maldivian with sections devoted to a Tourism Directory, Quick Facts, Photos & Videos, News, Brochures, and links to

resorts and services.

Users of the site can download a Visitors Guide and subscribe to a monthly newsletter. It even features The Maldives Song; this provides a stimulating musical background that plays while you browse. Somehow the music conveys not just the serenity of the Maldives but also the excitement, especially when it breaks into Caribbean style rhythms.

Another site full of information, news and independent reviews of resorts, etc., is www.maldivestraveller.mv. This site, with the “mv” suffix, is registered in

the Maldives. It is managed by Tropical Paradise Pvt Ltd, a privately owned publishing firm that helps promote the tourism industry of the Maldives around the globe.

The site includes daily updated travel and tourism features that are of interest to visitors. There are also sections giving advice about climate conditions and rainfall, customs regulations, shopping ideas and insights about the Maldivian people.

Some sites use key words, such as Maldives recipes, to draw readers but really these sites are set up to sell travel agents’ holidays at different resorts. There are Maldivian recipes, however, on www.recipes.mymaldives.com and www.

dhivehirecipes.blogspot.com, including recipes for such exotic Maldivian delicacies as mashuni and barabo dishes. You’ll have to check the sites to find out what they are!

Many websites about the Maldives are official ones with vital information for visitors and those interested in the islands. For visa information, www.immigration.gov.mv is packed with details, including news items, FAQs, and even forms for obtaining visas to work in the Maldives. For customs regulations, there is the official site of the Customs Service, www.

customs.gov.mv, which reviews the rules relating to imports and also features news and even a daily exchange rate for the Maldives currency, the rufiyaa.

It is not surprising that, if you like the Maldives so much, you find yourself becoming interested in investing in the country. In that case Invest Maldives, the government agency entrusted with promoting, regulating and licensing foreign investments, is the first port of call for all foreigners keen to invest. The website www.investmaldives.org has all the information, including the cost of doing business, available at the click of a mouse.

In 2007 the Maldives became the first country in the world to open a Virtual Embassy in cyberspace. You’ll find out

all about it on http://maldivesmission.ch/index.php?id=10. The Maldives Virtual Embassy is a parallel place in Second Life (http://slurl.com/secondlife/Diplomacy%20Island/160/147/26) where visitors can find out about political, social or economic developments in the Maldives and meet virtual Maldivian diplomats and ask questions on subjects such as visa requirements, where they can access information about holidays in the Maldives and trade and investment opportunities, where they can take a virtual tour around a real Maldives holiday resort or where they can simply relax, listen to Maldivian music

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Royston Ellis is a British-born novelist and travel writer based in Sri Lanka who has been visiting the Maldives for over 25 years. He is the author of AHero In Time, a novel based on the life of Mohamed Takurufaan, the 16th century national hero of the Maldives. He writes regularly for in-flight magazines and international publications, and is the author of the Berlitz, Bradt and Insight guidebooks about the Maldives.

Photo1: Screenshot of webpage www.visitmaldives.comPhoto2: Screenshot of webpage www.investmaldives.orgPhoto3: Screenshot of webpage www.maldivesmission.ch

and meet friends. The Office of the President of the Maldives runs a lively website with the latest news about the President and lots of photographs on www.presidencymaldives.gov.mv/. Another official website is one that has grown out of the country’s oldest weekly newspaper, The News Bulletin, on http://www.maldivesinfo.gov.mv/home/files/bulletinx.php. Published by the Department of Information of the Ministry of Tourism, Arts and Culture, it contains news releases about government activities.

The website known as http://www.maldivesroyalfamily.com/ originating in New Zealand features lots of old photographs of the Maldives and details of sultans of the past, as well as notes on the culture and history of the islands. There

is even more culture as well as historical photos and insights including a Dhivehi-English dictionary in the 208 page unofficial website www.maldivesculture.com

For unvarnished facts and figures about the Maldives, from a foreign viewpoint, try the US Government website, www.state.gov/r/pa/ei/bgn/5476.htm. Or there is the British government one on www.fco.gov.uk/en/travel-and-living-abroad/travel-advice-by-country/asia-oceania/maldives. For the Maldives Foreign Office’s own view, visit www.foreign.gov.mv which has lots of news about the Maldives in relation

to the rest of the world.The site of Maldives Post on www.maldivespost.com is especially interesting as it details the history of the postal service in the Maldives. It includes listings of issues of stamps over the years, with illustrations, such as stamps of butterflies of the Maldives as well as of Marilyn Monroe and mushrooms of the world.

For currency information the website of the Maldives Monetary Authority, www.mma.gov.mv, has a details about currency operations, and also a form to download for people who have a complaint about a Maldivian financial institution.

To keep up with all things Maldivian, even when you go home, an easy way is to register with Google for a Google Alert.

You simply go to http://www.google.com/alerts and enter the word “Maldives” then every day, delivered to your email address, you will receive an overview of the day’s news stories about the Maldives.

However, if you go to www.themaldivesmusic.com be prepared for a surprise. You won’t hear Maldivian music or see island musicians but instead you can learn about a rock band of nine shaggy-looking musicians from Seattle who have chosen to call themselves The Maldives. For real Maldivian music, www.maldivesmusic.com promises extracts of “the all time favourite music of the

Maldives, boduberu.”Those niche sites? Try www.maldivesoccer.net, a lively review of the game of soccer in the Maldives revealing that the Maldives team ranked 4th in South Asia, but 160th in the world in July 2011. And for information about that niche sport of Bashi, traditionally played only by women in the Maldives? It doesn’t actually have its own website yet, but surely soon will. In the meantime, there’s a view of Bashi as another enjoyable aspect of the Maldives on http://www.youtube.com/watch?v=MwGYNSMy8L4

What about flying to or from the Maldives? There is a daily summary of flights on the long-named website http://www.flightstats.com/go/Airport/airportDetails.do?airportCode=MLE. The website of the Civil Aviation Department (www.aviainfo.gov.mv) is, as you would expect, rather technical in detail. In contrast, “Flying made simple” is not only the motto of Maldivian but also of this airline’s website, www.maldivian.aero. It features news alerts, details of the day’s weather and temperature as well as an offer of 10 percent discount on bookings made online through the website. And if you click on the “Inflight Magazine” bar you can see this copy of “Vara” and read this article.

Visiting some of these websites, it becomes easy to explore the Maldives without leaving your desk. But that’s a shame. Better to use these sites to help you learn more about the Maldives and to plan a return visit to the islands soon.

Yes, isn’t the Internet incredible!

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LACQUER WARE Lacquer work is one of the Maldives’ oldest traditions. For centuries, the distinct red, black, yellow and green colours have adorned the inside of mosques, decorated trays used to serve food in Maldivian royal courts and been used as gifts for visiting dignitaries. The smaller boxes of lacquer work are used to hold household items as varied as jewellery to areca nuts.

To make lacquer ware, wood is sourced from the local tree funa (Alexandrian laurel), it is then hollowed and shaped. Each piece is lacquered in different colours, band by band with an abstract design curved into the black strand. The lacquer work is not purely for decorative purposes it also works as a protective coating for the wood.

BUY MALDIVIAN

THE SOUVENIR MARKET IN MALDIVES IS FLOODED WITH FOREIGN ITEMS ALONGSIDE OBJECTS MADE IN MALDIVES. HERE IS A SHORT GUIDE FOR THOSE LOOKING TO BUY SOMETHING UNIQUELY MALDIVIAN.

The design is unique to Maldives and the island most famous for lacquer ware is Thulhadhoo in Baa Atoll, where knowledge of the craft is passed down from generation to generation. The variety of lacquer work available in shops - pill boxes, containers, vases and ornamental objects in all shapes and sizes - ensures that one can easily fi nd a piece that fi ts into their budget and luggage. The prices start from around Mrf 50 (US$ 3) upwards to a couple of hundred dollars depending on the size of the object.

THUNDU KUNAAThe rolled up mats that you fi nd in souvenir shops comes in a variety of sizes from small 1x1foot mats to 5x2 foot mats with prices that vary from Mrf 500 (US$ 32) to Mrf 7000 (US $ 453). The mats used to be an indispensable item in Maldivian

households in the past; it was used on swings, on chairs, as coverings on beds and even as prayer mats.

The craft is specifi c to women, who weave the mats with nimble fi ngers. The most famous thundu kuna comes from the island of Gadhoo in Gaafu Dhaalu Atoll. It is said the mats from this island were presented by the then Sultan as gifts to the Dutch and British governors of Ceylon.

The thundu kunaa is made using sun dried reeds. The colours, which vary from light shades of fawn to black and yellow, are created using natural dyes. Each mat has a distinct pattern as the design is left purely up to the imagination of the weaver.

In recent years the mats have taken the role of decorative items, adorning the walls and tables of many a Maldivian and foreign

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homes. The long lasting colours and the intricate design make this an esthetically pleasing addition to any home.

FATTARUFattaru - the Maldivian belly chain - is a rare item to find in shops nowadays, however if you do find one be prepared to shell out a couple of hundred dollars. The prices go upwards from around Mrf 2500 (US$ 163) depending on its size. It is not unusual for the fattaru to be around 9 foot long, enough to encircle the waist numerous times.

In the past almost every Maldivian woman wore this alluring piece of jewellery underneath their clothes, or used it functionally to hold their kandiki (black sarong) in place. It also helped Maldivian women maintain their figure, as it was believed wearing it helped keep the tummy flat.

Most fattarus used today have been passed down by grandmothers. Pieces of fattaru are also used to make anklets and bracelets. Maldivian silversmiths still make fattarus in the island of Rinbindhoo of Dhaalu Atoll. Despite the influx of the Indian equivalents in recent years, Maldivian fattarus can be distinguished by their unique designs. The two most popular designs are ‘Goh fattaru:’ silver beads interwoven together, and ‘Naru fattaru’: silver threads interwoven together.

Aishath Shazra is a Maldivian freelance journalist. She writes extensively on Arts, Culture, Tourism, Environment and Social issues.

Photo 1: Lacquer WarePhoto 2: Thundu Kunaa Photo 3: FattaruPhoto 4: Miniature DhoniPhoto 5: Tuna Cans

Photos by : Ahmed Ansam, Aishath Shazra, Ahmed Zahid

MINIATURE DHONIThis is the quintessential Maldivian gift. The miniature dhoni has been presented to Presidents, prime ministers, visiting dignitaries and even Hollywood and Bollywood celebrities.

The dhoni with its graceful bow and elegant curving prow plays an integral part in transporting people and goods in a country that is 99% water. It is also a testimony to the skill of the Maldivian boat builders who build them from memory, without the use of blueprints.

The miniature dhoni fashioned out of a piece of wood is also a labour of love, painstakingly carved by expert hands using a knife.

The finished product is either coated with a lacquer spray, which gives it a polished look or left at its rustic best. The miniature dhoni comes in different sizes and prices can range from Mrf 200 (US$ 13) to Mrf 1000 (US$ 65

TUNA CANSMany a fish connoisseur has rated Maldivian tuna among the best tasting fish in the world.

Tuna is the Maldives’ biggest export after tourism. Maldivian tuna is lauded by Greenpeace, as being among the

world’s most sustainably caught fish. All Maldivian tuna are caught one by one, using pole and line. This method ensures only a small percentage of each tuna shoal is caught at any one time and prevents dolphins, turtles, sea birds and sharks from being harmed. One of the few foods produced in Maldives, tuna is the staple in all Maldivian homes. Locals will always take a stock of tuna cans with them on travels abroad.

Though it is quite a common gift for expatriates nostalgic about Maldives, it somehow slips under the radar of newcomers’ choice of gifts. The tuna cans have diversified in recent years from the more traditional tuna in oil and tuna in brine cans to tuna in tomato sauce, curry and other flavours. A can of tuna costs around Mrf 18 (US$1.16). It even comes in gift packs, perfect for those open to culinary adventures and looking for a taste of the Maldives.

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KERALA, THE LAND OF ‘GREEN MAGIC’, IS A FERTILE COASTAL STRIP SANDWICHED BETWEEN THE MOUNTAINOUS WESTERN GHATS AND THE ARABIAN SEA. ITS BEAUTIFUL BEACHES, TRANQUIL LAGOONS, LUSH HILL STATIONS AND EXOTIC WILDLIFE LURE VISITORS FROM ALL OVER THE WORLD.

The Maldives fi rst contemporary jazz album was launched with much fanfare in July with a special music show in Male’. Aptly titled ‘Feshun’ (beginning), the album is the debut

album of Shameem Mohamed ‘Shambe,’ a young Maldivian musician.

Shambe, who majored in composition and contemporary jazz at the Malaysian International College of Music, has teamed up with fellow Maldivian Mariyam Rifga Rasheed, the vocalist of the album, and fi ve Malaysian musician students to create a

fusion of different styles of jazz. The album is produced by Alex Tan and Shambe and has been released by Starmount and Universal Music Publications. It is available in stores in

Maldives.

Vara catches up with the raising musician Shambe who has taken the local music scene in a completely new direction.

OF MALDIVES’ Interview with Shambe:

THE RISING STARCONTEMPORARY

JAZZ MUSIC

VARA: A Maldivian jazz album has never been done before, what made you do one?SHAMBE: I wanted to create something new and unique to the Maldivian music industry. To infuse a variety contemporary jazz contexts in different styles and put Dhivehi, my mother tongue on top of it.

VARA: Was it challenging having Dhivehi lyrics over jazz?SHAMBE: It was a challenge. We had to stretch the words longer then they actually sound in order to create a more laid back feel. In fact our lyricist Naufal Naeem had a tough time writing lyrics for the song ‘10

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THE RISING STAR OF THE MALDIVIAN MUSIC SCENE AND CREATOR OF THE FIRST MALDIVIAN

CONTEMPORARY JAZZ ALBUM, SHAMBE TALKS TO VARA ABOUT PRODUCING THE ALBUM AND

WHERE HE IS GOING NEXT.

VARA 03

aharuge’(10 years) as it has a bossa nova feel. However he has come through with fl ying colours and done a superb job.

VARA: How did your collaboration with Universal music publication come about?SHAMBE: After doing the recording at Starmount, our record company, the director Alex Tan got us the chance to collaborate with Universal Music Publication.

VARA: Who are your musical infl uences?SHAMBE: Joe Satriani, Beethoven, the jazz guitarist Lee Ritenour, and for this album a US band called Cosmos Squad. This band had the idea of changing styles within one song. They might have two different styles in the verse and chorus; we have borrowed that idea from them. For example if section A features Funk, section C might have a Latin style, but the transition in between would be very smooth.

VARA: Tell us a bit about the musicians on the album?SHAMBE: I have to say I got the best line up; the chemistry in the group had been very strong and fun. Jimmy the drummer and percussionist is my right hand mate from college and plays in a traditional Chinese band. Joan is the backing vocalist, who has sung well in a language she doesn’t know. Wei Zhong is an excellent. Imran is one of the best saxophonists around and Feri has done a superb job with bass. Rifga, the vocalist is someone I worked with in the past on a project for Dhiraagu, I saw her potential then and had wanted to work with her.

VARA: Would you continue working with the same group? Any upcoming tours?SHAMBE: Of course, we will work together and we are going on a tour in Asia from November. We might even come to Maldives next year. The Managing Director of Lintel, Maajid, owner of Time Zone, Shiyam, and the CEO of Badhige, Bassam, have been giving us a lot of support here in the Maldives.

VARA: How can one get the music from this album?SHAMBE: You could get Feshun music online from iTunes, Nokia Tunes, Amazon and Rhapsody. Tower Records and musical stores in Malaysia and Maldives will also stock it.

VARA: How did you decide on the tunes to record?SHAMBE: We did a brainstorming session and decided fi rst on the number of songs and the kind of music to feature in it. After that we experimented to see what goes with what, whether funk goes with swing, or bossa nova, and then depending on how good it sounded we created the tunes.

VARA: Do you think the country is ready for music albums of different genres?SHAMBE: I think this is the right time, for different genres of music to be introduced to the Maldivian music scene. In fact this should have happened years ago. Even now if I do pure jazz it might not appeal to most people, hence I have done a very modern contemporary album to appeal to a broader spectrum.

VARA: What next?SHAMBE: Hopefully something bigger than this, maybe I’ll release a second album in two years time with something completely new.

SHAMBE

O/P : STARMOUNT RECORDS SDN BHD (MALAYSIA)

PUBLISHED BY:

S/P: UNIVERSAL PUBLISHING SDN BHD (MALAYSIA)

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mifWDuverikwmuge aituruncvesc devwrWjW mWrukETwSc ziyWrwtc

koScfinwmw hwairWnckoSclWne aiturukwmwkI libenchuncnw

kWbOtwketIge bWvwtctwac ginwkwmeve. ginw fwturuverincge

swmWlukwnc mitwnwSc dwmwaigencfwaivwnI vesc mi

swbwbwScTwkwaeve. aincDiyWge aencme "kulwgwdw" mWrukETu

gotugwai devwrWjW MWrkeTc fWhwgwvegenc goscfwaivwnI

aetwnugwai viackW bWvwtctwSc ginwkwmWai twfWtukwmunc twfWtu

kulwtwSc mWrukETugwai jehifwaivWtIaeve. aeaI kulwtwkuge

mwaidWneac kwmwScvesc bunevidWneaeve. vWrmiliawnunc

feSigenc mEvWaWai twrukWrIge bWvwtctwkunc, nulunc feSigenc

rwtW hisWbwSc, aetwac kulwtwkeac aetwnuncfenigenc

dWneaeve.

mimWrukETwSc vwdevEnI kWrUbWrU boDu swacyWjI rWaO mwguge

defwrWtugwai huncnw aetwac fihWrwtwkeacge kwairinclWfwai

hwnigOLitwkeacge tereaincneve. aetwnwSc vwdevumWai

aekuhenc aihcsWsc kurevigenc dWnI aehenc kwaunwkwSc

devunuhencneve. kurimwtinc fencnWnI nimumeacnetc boDu

mWrukETekeve. donckeyo, awnbu, toLi, kereTc, TWrnipc, fiyW

awdi gunW awdwdu nukurevE aetwac bWvwtctwkwkunc furWlWfwai

vwnikoSeve. donckeyo viackW swrwhwacdu aekwnivesc mWlE

ge aepWrTcmencTc bclokeac vwruvWneaeve. kWbOtwketIge

bWvwtctwac ginwkwmunc aetwketi huncnWnI bWsckeTctwkunc

furigenc bincmwacCwScvesc fwaibWfwaeve. twrukWrI aWai

86

4

VARA 03

aeaI bwhWru mUsumeve. awdi aeawSc fwhu jehigenc awncnw

julwainc feSigenc novemcbwrwkI tetckoSc aoncnw mwncsUncge

KwrIfu mUsumeve.

gwnDuvwrutwkuge swhwru

mwaisOrgwai hurefwai durwSc hilwkoLeac aeaclWaifinwmw

koncmevesc gwnDuvwreacgwai nujehi aehilwkoLu swlWmwteac

nuvWneaeve! mi swhwrugwai gwnDuvwrutwac aehWvesc

ginwaeve. gwnDuvwrutwac ginwkwmunc aEge tereainc bwaeac

twnctwnc mihWruvwnI aWrTc gelerItwkWai mehemWnunc tibenc

hoTelctwkwSc bwdwlukoScfwaeve. vinObW mwgugwai huncnw

CiTwrwncjwnc gwnDuvwru aeaI kurinc vodeyWruge vwlIawhudunc

CuacTI hEdwkurwacvW gwnDuvwreac nwmwvesc, mihWru aetwnc

aeaI mwxchUru gcrInc hoTelcaeve. demeheacTenivi TUrizwmcge

lWmwsIlu misWleac kwmwSc belevE mi hoTwlwkI sOlwr

penwlcge zwrIaWainc airuge hwkwtw bEnunckoScgencnenc

koTwritwkwSc fenc fOrukoScdI, awdi vwrwSc boDwSc gudurwtI

vwyWai awli vwncnw gotwSc fwrumW kurevifwaivW hoTelcaekeve.

hwvIru finIgwai hUnu swaitwScTwkWaeku awrWmukoSc airuaoacsE

mwnczwru bwlwailumwSc aehoTwluge rIti vinw bimugwaivW

hiyWkwmWai finikwnc liacbwaidE pWrgOlWtwac veaeve.

hurihW gwnDuvwrutwkuge tereainc vesc aencme fwhuruveri

mwgWmeac hOdwaifwaivwnI awmcbwvilWsw gwnDuvwreve. mitwnwSc

mwaisOr pelwsc nuvwtw mwaisOr gwnDuvwruvesc kiywaeve.

mitwnwkI mIlWdInc 9931 ainc feSigenc aincDiyWawSc 02

vwnw gwrunugwai minivwnckwnc libencdenc mwaisOrgwai

verikwnc kuri vodeyWru hWncdWnuge twhcteve. gwnDuvwru

fwrumW kureacvI aingirEsi aWrukWTIaeac kwmwScvW hencrI

awrvinc aeve. aeaI mIlWdInc 7981 gwaeve. awdi mikwmwSc

muLiaeku 51 awhwru negiaeve.

gwnDuvwruge aencme aetereawSc vwncnwnc TUriscTuncge

awtunc 002 aincDiyW rupIscge fIaeac nwgwaeve. koncme

aWdIactw duvwhwku awtunc aeacvesc hwrwdu kurumeac neti

gwnDuvwruge twnwvwsc bEru bwlwailumuge furuswtu veaeve.

gwnDuvwruge koncme bitwkWai fWreac 000,69 bokiawlIgwai

diaclWlwaifwai huncnw mwnczwrwkI aWdwyW hilWfu hitcgwaimu

mwnczwrekeve.

suvWlwkI duvWluge awlIgwai aetwnuge rItikwnc vwki kuDw

heacyeve? nUnekeve. aetwnc fwrumWkurevifwaivwnI aincDO-

swrwsinikc scTwailwSeve. hincdUncnWai musclimuncnWai

rWjcputuncnWai awdi gotikc scTwailctwac mwschunikoScgenc

fwrumWkurevifwaivW twnekeve. aehenckwmunc aincDiyWge hurihW

swgWfI kulwaeac aeactwneacgwai jehifwaivWtwnwkwSc mitwnc

veaeve.

87

1

2

3

VARA 03

swhwrwSc vwncnwairu mwruhwbW kiyW bOrDugwai bunW

fwdwainc mwaisOrwSc mehemWnunc xwauguverivW swbwbutwac

furwtwmwainc vesc hWmwvegencdeaeve. mwaisOrwkI

gwnDuvwrutwkWai bwgICWtwkWai mwDu duvelIge diriauLumeac

fenigencdW swhwrekeve. yOgWaWai aiyurcvedcyW scpWtwac

aedigovwnI duniyEge aekikwnckoLutwkuge mehemWnuncge

siachwtwSeve. awdi miswhwrwkI, nwfusWnI ailcmunc

feSigenc kiywvwaidinumuge dWairWaW behE mwtI twaulImu

hWsilukurwmunc awncnw, aumurunc 59 awhwruvefwaivW

musckuLi awdi tWrIKI mwaisOr yunivwrsiTIgwai

kiywvwmuncdW aetwacaetwac divehi kiywvWkudincnWai aekudincge

aWailWtwkuge devwnw vwzwnwSeve.

mwaisOrwkI kwrcnwTwkW scTETcge devwnwawSc aencme boDu

siTIaeve. awdi miaI mi scTETcge swgWfI verirwSc

kwmwSc fWhwgwkoScfwaiveaeve. miswhwru aoncnwnI kwrcnwTwkWge

verirwSc bencgwlUrW 041 kilOmITwru kwairIgwaeve.

mwaisOrgwai awmiaclw swrwhwacdI vwaige bwndwreac

veaeve. nwmwvesc aehenihenc gwaumutwkunc ziyWrwtckurW

dwturuverincnwSc jehEnI bencgwlUrunc 2 gwDiairugwai rElu

dwtureackoSc mwaisOrW hwmwawSc fOrWSeve. nUncnwmw, tiywaI

vwrwSc awauTcDOr aeDcvencCwrawSc lObikurW fwrWteacnwmw,

kerelW scTETcge TcrivencDcrwmc swhwrunc 81 gwDiairuge

dwtureac kurumwScfwhuvesc mwaisOrwSc aWdevidWneaeve.

mwaisOrwSc dwturukurW fwturuverincge awdwdu aituruvwmunc

awainwmwvesc, mwaisOrge awmiaclwvwnctw xwhusc

demeheacTumugwai miswhwru vwrwSc kWmiyWbeve. bencgwlUru

fwdw bWruboDu swrwhwacdutwkW KilWfwSc, mwaisOrge

000,008 rwScvehinc, boDuminugwai 05 awkwmElu huri

miswhwrugwai nuhwnu fwsEhwkwmWaeku diriauLemuncdeaeve.

miswhwrwkI gwscgwhWgehinc furifwaivW fehikwnc gwdw

swhwrekeve. awdi fWhwgw kurevE awneackwmwkI aimWrWtc

kurumugwai ausc aimWrWtctwac hedumwSc mIhunc hitcvwru

nudEkwmeve. mihencve miaI vwrwSc "tiri" swhwrekeve. awdi

mikwmuge swbwbunc mwDu duvelIge hitcgwaimu diriauLumeac

auLenc hitcvwru libeaeve.

mwaisOrge hUnuminc auLenI 91 awdi 03 DigcrI

selcsiawscaW demedugwaeve. awdi Disemcbwrunc feSigenc

febcruawrI demedwkI vwrwSc hitcgwaimu finikwmeac huncnw

mwsctwkekeve. mWrCc mwhunc feSigenc jUnc mwhW hwmwawSc

88

VARA 03

mwaisOr

twrikwaige swhwwrwSc mwruhwbW

89

VARA 03

VARA 03

VARA 03

duvwsctwkwSc bEnuncvWne KWacsw kWDutwac vesc dwnI

hudu aEnWge awtunc kurwhwai, fwrumWkurwmuncneve. doncbe

bunI aEnWge hwyWtc aEnWawSc vEtukurevifwaivW gotWaimedu

vwrwSc hitchwmwjehE kwmwSeve. swrudWru doncbeawkI

miawduvesc awduge zuvWnc jIluge kurehuncterincge rUhu

diruvwaidinumugwai awrWhuri awdi demihuri fwncnWnekeve.

awdi migwaumuge aencme awguboDu aeac rwauscmWlWai aencme

awguhuri aeac divehi dwriaeve.

mwmcdUhu vwhIdwkI divehi kurehunctwkW behEgotunc fWDukiyuacvW liyuncteriaekeve. aEnW vwnI aetwac aWrTc keTwlogc fotctwkwkwSc kurehuncterikwmWai kurehumWbehE riviyutwkWai mwzumUnutwac liyuacvWfwaeve. 4002 ainc

9002 awSc aEnW huncnevI nexwnwlc aWrTc gelwrIgwai aetWngwai huri twrikwtwac rwackWkoSc diruvumuge aencme aisc rOlugwai kiaurETwrge mwgWmugwaeve. aemwgWmugwai huncnwvwnikoSc rwaIsulcjumchUriacyW muhwacmwdu

nwxIdu vwnI miniscTcrI aofc TUrizwmc, aWrTcsc aencDc kwlcCwrge DepiauTI miniscTwrge mwgWmwSc mwmcdUhu awacywnckurwacvWfwaeve.

aingirEsibwhunc divehibwhwSc twrujwmWkoScdeacvI hiaclwtu rwxIdeve.

kurehunc : swrudWru doncmwniku

92

VARA 03

mwswackwtW guLE aeki fwncnutwac kuriaeruvumugwai aencme

aisc rOleac awdWkureacvi aeac fwrWtwkI muhwacmwdu

awmIneve. awdi migotunc divehi rWacjEge tWrIhugwaivesc

furwtwmw fwhwrwSc kurehuncterikwmWai awtcteri mwswackwtuge

mwaurwzeac mWlEgwai ainctizWmc kurwacvwai bEacvevI vesc

muhwacmwdu awmIneve. aemwnikufWnuge verikwnc mWginw duvwhu

deminetwsc, belevE gotugwai aemwnikufWnuge duvwscvwrwkI

awdwbI awdi swgWfI gotunc divehincnwSc boDukuriaerumeac

libigencdiyw rwnczwmWneac kwmwSc beleveaeve.

swrudWru doncbege TelencTctwac furwtwmw fWhwgw kurevigenc

diywaI 0491 aWai 0591 geawhwrutwkugwai kwmwSc viywsc,

doncbe bunW gotugwai pcrofexwnwlckoSc ae mwswackwtckoSc

aekwmunc aWmcdwnIaeac libumwSc mwgufwhivegenc diywaI

hwgIgwtugwai 0791ge awhwrutwkuge terEgwai rWacjeawSc

fwturuverikwnc twaWrwfuvumW guLigencneve. TUrizwmcge

swbwbunc doncbege hunwrutwac furihwmw kurumwSWai

awdi pcrofexwnwlckoSc aemwswackwtctwac kuriaeruvumwSc

boDu furuswtwkwSc vegencdiyw kwmwSc doncbe buneaeve.

"TUriscTu mWrkeTc" nuvwtw fwturuverincge mWrkeTcge

swbwbunc awtcterikwmuge mwswackwtugwai auLunu mIhuncnWai

kurehuncterincnWai awdi mifwdw fwncnutwkwSc xwauguverikwnc

huri awdi ae dWairWtwkunc kuriawSc dWncbEnuncvi aetwac

divehincnwSc rwnuge furuswtwkwSc vegenc diywaeve.

awdi rWacjEgwai aeairuvesc awtcterikwmuge muacswndi

swgWfwteac aotumuge swbwbunc TUrizwmc vegenc diywaI muLi

gwaumuge sinWaI kuriaerumwSc vesc koSunu mwgwkwSeve.

aegotunc 0891ge awhwrutwkuge terEgwai rWacjEgwai

twfWtu 02 bWvwtuge, vwrwSc boDwSc twrwacgIvefwaivW

fwncnuverikwmuge mwswackwtctwac fWhwgw vegencdiywaeve. aEge

terEgwai kWSIge bonbinc rOnu viyumWai vinw hiackwaigenc

kunW viyumWai gudurwtI vwsIlwtctwkunc kulw aufwacdwaigenc

rIti gotcgotwSc aetwketIgwai kulw jeacsumunc feSigenc

liyelW jehi twkeacCWai rwnWai rihinc gwhwnW hedunc

himeneaeve.

doncbe aufwncvI awhwrwkI kwncdimWkurigotunc fwrwncsEsi

mwxchUru kurehuncteriyW monE awvwhWrwvI awhwreve. monEawkI

mizwmWnuge "aimcpcrwxwniscTc" kurehuncterikwmugwai

mwxchUru fwrWtekeve. awdi doncbege hwyWtugwai

yUrwpcgwai vwnI "moDwrnizwmc", "DWDW", "swriawlizwmc",

"aebcscTcrekcTc aekcscpcrexwnizwmc", "popc" awdi

"pOscTc moDwrniscTc"ge kurehuncterikwmuge bWvwtctwac

twaWrwfuvefwaeve. mikurehuncterikwmuge scTwailctwac

aeaI doncbege lolunc dekefwai nuvW aeacCehi kwmwSc

viywsc, doncbege kurehunctwkwSc nwzwreac hincgWlumunc

miscTwailctwac vesc fencnWtI aeaIvesc hwairWncvWfwdw

kwmekeve. nwmwvesc kwncmihenc aotwsc, miscTwailctwkuge

awlIgwai doncbege kurehunctwkunc dEhwvW mWnwtwac "twrujwmW"

kurumwkI hwmwjehE kwmwkwSc nuvedWneaeve. aeawScvure

muhincmI, doncbevesc bunWgotugwai, aEnW hwdW koncme

aeacCwkI vesc koncmevesc bEnumeac aeainc hifEne aeacCeac

kwmWai mibEnunctwkuge terEgwai rItikwmunc hitwSc fitwSc

finikwnc genescdinunc himenE kwmeve. aegotunc divehincge

ginw bwywkwSc kwnDuawDiawSc gosc hwmw lolunc fenumuge

furuswtu nulibifwaivW aetwac mwhwkWai bolIge bWvwtctwac,

sckUbW DwaivckoScgenc doncbeawSc fenifwaivW gotuge awsclW

aeacgotwSc aEnWge kurehunctwkunc vwrwSc fwruvWterikwmWai

kwvikwmWaeku DokiaumencTckoSc rwackWkurevifwaiveaeve.

nwtIjWawkwScvI rWacjEge boacyWai mwscmwhWmehIge furwtwmwawSc

nerunu pOscTwrutwkuge terEgwai doncbege kurehunctwac

himenE pOscTwrutwac himenigencdiaumeve. mi pOscTwrutwac

novelcTI pcrincTwrsc aencDc pwbclixwrsc

mOlcDivcscainc awdiawdwSc dWncdencvesc CWpckoScgenc

nereaeve.

doncbege aumurunc mihWru auLenI 08 ainc mwtIgwaeve.

mivEtuvediyw digu muacdwtugwai doncbege mwswackwtc

gunW awdwdu nukurevEairu fWhwgw kurevE awneac kwmwkI

aemwswackwtugwai vEtukuri ginw awhwrutwkuge swbwbunc

twfWtu vwsIlwtctwac bEnunc kurumuge hunwruvesc doncbe

furihwmwkoScfwaivW kwmeve. mIge terEgwai fwncsurWai

fenc kulwaWai aekcrilikc kulwaWai aoailc nuvwtw teyokulw

bEnunckurumWai lwkuDi mwSwaigencnWai gW gWnwaigenc

twfWtu aeacCehi hedunc himeneaeve. mIge aiturunc

doncbe vwrwSc boDwSc fWhwgw kurevifwaivW aeackwmwkI ae

zwmWnugwai libenchuri vwsIlwtctwac mwdu kwmunc doncbe

bEnuncvW mwswackwtctwac kurumwSc aeacCehi aIjWdu kurW

diveacseacge gotugwaeve. aegotunc aEnWvwnI aetwac

mwaudwneac bEnunckoScgenc twhulIlukoSc aetwac aukuLeac

bEnunckoScfwaeve. awdi miawduvesc aegotugwai aebw

demihuacTeve. swrudWru doncbeaW behEgotunc rWacjEge

mwxchUru duvwscvI kurehuncteriaeac kwmwScvW awhumwdu

awacbWsc vidWLuvI mihencneve. "doncbeawkI awrWhuri

kurehuncteriaeac. hWacsw goteacgwai aEnW kurwhWfwaivW

rWacjEge kwnDuawDIge mwnczwrutwkugwai hWacsw awdi moLu

goteac hurE. aEnw kulw bEnunckoScfwaivwnI awjwaibuvWhW vesc

fwncnuverikwmWaekugwai. awhwremenc vwrwSc tuactuairuvesc

doncbeawkI vwrwSc gwdwrukurevigencvW kurehuncteriaeac."

divehi rWacjEge swgWfwtwSc hiacsWkurW swrudWru doncbege

awgu nukurevEne mwswackwtctwac fWhwgw kurumwSWai awdi

kurehumWai awtcteri mwswackwtuge fwncnuverikwmunc aEnW

hOdWfwaivW ginwgunw kWmiyWbItwac hwndWnc kurumuge 5002

vwnw awhwru nexwnwlc aWrTc gelwrIaincvwnI aegelwrIge

dWaimI kwlekcxwnwSc doncbeawSc awgu deacvwvwaigenc

ginw kurehunctwkeac kurwhWfwaeve. mIge tereainc bwaeac

kurehunctwkunc divehi rWacjEge KWrijiacyW, miniscTcrI

aofc forinc aefeaWzcge fWrutwac mihWruvesc zInwtcteri

kurevifwaiveaeve. awdi aehenc bwaeac kurehunctwac

nexwnwlc aWrTc gelwrIainc bWacvW vwgutI mwaurwzutwkugwai

vesc dwackWleveaeve. swrudWru doncbege bwyOgcrwfI

nuvwtw hwyWtW behE gotunc foteac liyumwSc nexwnwlc

aWrTc gelwrInc vwnI awgudIgenc 9002gwai aEge divehi

fotc nerefwaeve. awdi mifotuge aingirEsibwhunc nerE

kopI miawhwru fwhukoLu vwnI nerumwSc hwmwjehifwaeve. doncbe

mihWruvesc diriauLenI mWlEgwai huri aEnWge gEgwaeve.

awdi twfWtu kurehunctwkWai peaincTinctwac mihWruvesc

kurwhwmunc aWdeaeve. aEgw aiturunc awtcteri mwswackwtWai

awdi aufwncduvwhWai kwaivencNWai mifwdw munWswbwtu

93

VARA 03

swrudWru doncmwniku, nuvwtw aEnWge kurehunctwkugwai

"aesc.DI.aemc"ge awkurutwkunc soaikoScfwaivW, aWacmuncge

terEgwai swrudWru doncbege nwmunc mwxchUruvefwaivW

fwncnWnwkI, suveniawr kurehunctwkWai twfWtu aehenc

bWvwtctwkuge awtcteri mwswackwtuge suveniawr,

TUriscTuncnwSc viackumwSc nuvwtw hwdiyW kurumwSc

pcrofexwnwlckoSc mwswackwtcfeSi furwtwmw divehi

kurehuncteriyW kwmwSc beleveaeve. fuLi awLwaigenc zwmWnI

gotwSc furwtwmw fwhwrwSc sckUbW Dwaivckuri divehincge

terEgwaivesc himenE doncbege sikunDiaWai viscnunc

furigencvwnI divehi rWacjEge kwnDuawDIge twfWtu

dirunctwkWai muacswndikwmWai kulwtwkuncneve. awtcteri

mwswackwtuge divehi dwriawkwSc aufwnc doncbevesc

mifwdw fwncnutwkuge tereawScvwnI vwrwSc kuDwairuaeve.

aWailWge mIhuncnWai aetwac gWtc rwhumwtcterincge hitcvwrW

fwaisWge aehIterikwmWaeku doncbe furwtwmw fwSwaigwtI

hwdiyWge gotugwai viackW awtcteri mwswackwtuge twketi

aufeacdumwSeve. fwhunc doncbeawSc fwaisWlibEgotwScvwnI

aekiaeki xwhusiacywtutwkuge sUrw nuvwtw pOrTcreaiTc

kurehunctwac vesc kwmixwnckoScfwaeve. mWlEgwai 0081ge

fwhu awhwrutwkunc feSigenc 02 vwnw gwrunuge medW hwmwawSc

auLunu aincDiyWge vOrW viywfWriverinc awgu dIgenc kuruvi

mimwswackwtugwai CWpukoScfwai huncnw mwnczwrutwacvesc

kopIkoScgenc aEge awsclW aeacgotwSc awlunc kurehumwSc

doncbeawSc viywfWri ausUlunc hwvWlu kuriaeve.

doncbege hunwrWai fwncnu divehincnwSc furwtwmw

fWhwgw kurevenc feSI hwswnc nUrwacdIncge rwsckwnc

nimi, 3591 gwai furwtwmw jumchUriacyW rWacjEgwai

gWaimu kurumW demeduvI 01 awhwru duvwhuge terEgwaeve.

furwtwmw jumchUriacyWge rwaIsckwmwSc muhwacmwdu awmInc

vwDwaigencnevi airu doncbeawkI furWvwru aumuruge

zuvWnekeve. doncbe hwndWncvW gotugwai rWacjEgwai aWrTc

nuvwtw kurehuncterikwmWai hEncDikcrWfcTc nuvwtw awtcteri

swrudWru doncmwniku

divehi suveniawr

sinWawtuge bWnI

doncbe bunW gotugwai pcrofexwnwlckoSc

ae mwswackwtckoSc aekwmunc aWmcdwnIaeac

libumwSc mwgufwhivegenc diywaI hwgIgwtugwai

0791ge awhwrutwkuge terEgwai rWacjeawSc

fwturuverikwnc twaWrwfuvumW guLigencneve.

TUrizwmcge swbwbunc doncbege hunwrutwac

furihwmw kurumwSWai awdi pcrofexwnwlckoSc

aemwswackwtctwac kuriaeruvumwSc boDu

furuswtwkwSc vegencdiyw kwmwSc doncbe

buneaeve.

94

VARA 03

swrudWru doncmwniku

divehi suveniawr

sinWawtuge bWnI

95

VARA 03

toSwlikwlOge

boDukwlOt.diywmigilI vwlunc divehi rwsckwmwSc

bwnde nincmWlwaigenc diawaI mudincbe gWtwSeve. mudincgOti

dOnIgwai aedwau bWacvWSeve. mudincbe bunI awneackWvesc

aEnwbunW kwmeac kurumwSeve. konckwmeactO aehImW furwtwmw

kurI suvWlutwkekeve. rwduncawrihwSc devunI hwfutWge

konc duvwhwku kihWairwkutOaWai rwdunc aedeacvi aeacCeac

deacvI rwduncge koncfwrWteacgwai huacTWtO aehiaeve. awdi

mWleainc furwnc aoDiawSc aekwlO aerI kihWairwkutOvesc

suvWlukuriaeve. hurihW kwmeac aoLuncfiluvWfwai hIlWfwai

buncNeve. "kwlO furuswtu nwgWnulW! mWledE! dWnI

fWtumwaWai dekudincvesc govwaigenc. mwgEbwsc gwbUlukurE!

kwlOawkwSc derwgoteacnuvWne. hwacduncmwtI aoDi mWdwmWrE

hisWbu awncnWnehenc hIvwnI. twacyWru vehurE furwnc."

mihencbunefwai awneackWvesc aekwlOge kwncfwtcdoSugwai

mudincbe aeacCekE bunefwai dwau bWacvWfwai aeawSc

awgudinIaeve.

hwacduncmwtI aoDiawaI aEge tincduvwsc fwhuncneve.

toSwlikwlO aWailW aeaoDinc mWleawaIaeve. fwaibwaigenc

aiawairu dimWvi vwrwSc hitcheyomIhwku gWtu toSwlikwlO

aerE tibelWne bOhiywleac libidWnetO aehumunc vwrwSc

fwsEhwainc aegeawSc gencdiawaeve. awneacduvwhu toSwlikwlO,

rwdunc dwrubWrukurwacvWtwnwSc diawaeve. mifwhwru dencnevI

gOacCeacge vWhwkwaeve. mWlEge airumwtIkoLugwai gwsctwac

hedifwaivW hisWbugwai dungetigwsctwac hedifwaivW

dungetivwlunc gOacCeac dIfImE vidWLuvumunc geaeLEne

goteac hwacdwvWdeacvwnc aeduneve. rwdunc aekwncvesc

koScdeacviaeve.

awneacduvwhu dungetivwlunc geawLwnc binc sWfukoScfwai

jwhWnemuDiaWai hurihW aeacCeac hOdwaifiaeve. aemwswackwtc

koScfwai boDukwlOaWai debwfwainc awaI geawSeve. rEgwnDu

airWkoLu gosc airuvwru muDijwhWne vwLukonuvI boDukwlO

lwacvwaeve. awdi aevwLwSc muDijehI awneac duvwhu hendunu

airuawrW hwtcgwDIgwaeve. mudincbe bunigwDiawkI aeaeve. aEru

rwscgefWnuge dwrubWruge aisc kwncveriyW ) fwncDitwhedumWai

airuvwrubwlwai nwkwtcrWhibwlW mIhW( twnckoLeac durugwai

bwlwnc huacTeve. toSwlikwlO geawLwncjehi furwtwmw

muDijehumWaeku hwrugwncnwvWfwai aEnwdiawaI rwscgefWnuge

dwrubWrwSeve. vwde kurunIsc koScfwai dencneviaeve.

diywmigilI toSwlikwlO mWle bwnDudwSulwaigencawrW

airuvwrunc geawLwnc muDimeaclw jwhwaifiaeve. aeawLWgotwSc

aege awLwai aegEgwai diriauLencfwSwaifIviacyW rwsckwnc

rwscgefWnu awtunc bIvWne kwmugwai kwncveriyW ywgInckwmWaeku

dencneviaeve. rwdunc kudibEkwluncnwSc awmurukureacvI

gosc aegEgwai mihWrujwhWfwaihuri hurihW muDitwacluacsWlW

toSwlikwlOawSc geaeLunc aihwScmwnW kurumwSeve. rwdunc

miawmuru kureacviairu toSwlikwlOge awnbifWtumw aetW

awDuawhwnchuacTeve. awLWaitikoSc defwaikuriawSc bWrulWfwai

duveawaisc aevWhwkw toSwlikwlO gWtu bunefiaeve. boDukwlO

hwmwaevwgutu aeackwlw airuvwrumuDIge buDukwairinc konelWfwai

awDinc aemuDi burikoSclWfwai fwsclIaeve. kudibEkwlunc

awaisc rwduncge vidWLubwscfuLW aeacgotwSc hurihW muDitwac

aufurWlWfwai geaeLunc mwnWkoScfwai hingwacjeaeve.

aEge hwaeackwduvwsc fwhunc aisckwncveriyW humeacawaiscfwai

niyWvIaeve. toSwlikwlO awSc geaeLumuge huacdw rwdunc deacvI

foaiduvwsc )51 duvwsc( fwhuncneve. huacdwlibunImW

aeackwlw muDiburIge mwacCwSc aemuDiburiaWai guLuvwaigenc

muDimeaclwjwhwaigenc geawLWnincmWlIaeve. aeawScfwhu

toSwlikwlOge aWailW aegEgwai auLunI debwfwainc kurW

mwswackwtunclibE aeacCwkuncneve. nwsIbu rwngwLukwmunc

aedebwfwaincnwSc awbwduvesc kurWne mwswackwtctwac awaI

libemuncneve.

tincmwsc fWaituve hwtwruvwnwmwhu rwduncvesc

aWlWsckwncfuLeacgwai awvwhWrwvIaeve. aEru rwsckwlwku

awvwhWrwvegenc rwsckwlwku aisckurwncveacjiacyW aoncnw

aWdwaigemwtinc rwncmwncfuaclWaeacge kwrugwai twvIdu

awacsWfwai dUkoSclumwScfwhu aesoru bwnDujwhW vwgutu

aencme gWtugwai huncnwnI kWkutO bwlwnc rwsckwmuge hurihW

kudibEkwluncnWai awrihubEkwlunc aefuaclW dWnudW twnctwnc

bwlwmunc gencdiywaeve. aeduvwhu toSwlikwlOge boDukwlO

aotI bolugwriacsWtIaE kiaWfwai gEgwaeve. boDukwlOawSc

nidifwai aoacvW aeackwlw rwncmwncfuaclW aekitwnctwnwSc

vwncnwmunc nukuncnwmunc gosc toSwlikwlOgeawSc

vwncairu aesoruaotI vwrubwlive mWnEvWvesc levifwaeve.

aegEterEgwai mIhwkuvescneti himEncvefwai aotumWaiaeku

boDukwlO nidWfwaiaotc awScTWjehigenc hurikoSWru mwacCwSc

funcmwaigencawrW hwmwjehilWfwai bwnDujwhwfiaeve. aeaWaiaeku

kudibEkwlunc awaisc boDukwlOawSc govwai rwsckwmwSc

vwDwaigwtumwSc dencnevIaeve. aeaI rWacjEge tWrIKugwai

mwxchUru diywmigilI boDubwncDWrwaincnE buneveaeve.

aezwmWnugwai koLumwDulu diywmigilIgwai vwrwSc fwgIru

demwfiriywku auLuneve. aedemwfirincge jifuTiawkI muLi

aerwSugwaivesc huri aeacme derw aeacjifuTi kwmugwaiveaeve.

vWrEvehEnwmw demwfirincnWai dekudincnwSc tibencjehenI aeki

kwnckwnugwai guLwvegencneve. bwnDufurWnw muactikurumwScTwkW

duvWluhwtwrudwmu kurW mwswackwtunc bwaeacduvwhu aerE

kWlWnefwdwvesc nulibeaeve. toSwliviyegenc aeainclibE

aeacCwkunc aedemwfirinc auLemunc gencdiywaI hitcdwtikwmWai

nikwmetikwmuge duniyeaeacgwaeve.

aeacduvwhwku aerwSu mudincbe toSwlikwlO toSwliviywnc

aincdW aetwnwSc awaeve. aEru mWleaoDi dwturu hwdwnIaeve.

toSwlikwlOge demwfirincnWai doSIdwri boDukwlO awvwdineti

auLunI aoDiawSc toSwli viyumugeaeve. mudincbe aetWhurefwai

toSwlikwlO gWtu buncNeve. "kwlO mwbunWkwmeac kurwnc

kerEne" heacyeve. aekwlObunI "mwgE aetibi tincfurWnwawSc

geaclumeacnuvW koncmekwmeac mwkurwnc twacyWru" kwmwSeve.

mudincbe bunI aoDinc mWledWncvI kwmugwaeve. awncnwnc

denc aetincmIhuncnwSc awLWlWne kwmugwaeve. awdi aeawScfwhu

toSwlikwlO kwncfwtcdoSugwai mudincbe siacrusiacruncvesc

aeacCekE bunikwmwSc veaeve.

mWle diaw aoDinc toSwlikwlO mWlediywaeve. mwswackwteac

libEtO auLevesc nulibumunc mWlEgwaivesc aekwlO hurI

vwrwSc hWlugwaeve. rwSwScfurWairu gencdwnc aeacCeac

gwnelevEne hwmw aeacvescfwdwaeacneti bikwvefwaeve.

kwncdimWvigotunc aoDifurwnc aotcduvwhuge kurIrE

viacsWrwhedIaeve. nwtIjWawkwScvI nufurifwai tibenc

jehumeve. mihenctibi duvwsctwkuge terEnc aeacduvwhwku

toSwlikwlO hingwmunc hingwmuncgosc devunI rwdunc

dwrubWru kurwacvW twnwSeve. aekimIhuncnWai bwacdwlukurwacvW

vWhwkwfuLu dwackwvW hwacdwvWtwnc fenumunc mikwlO hitwScaerI

rwduncawrihugwai dwncnwvwaigenc fwhwreacgwai rwngwLu

goteac vedWne kwmwSeve. hitcvwrukoScfwai mikwlOvesc

kuriawSc awrwai gosc rwduncge awriawhwSc huacTuneve.

hWluawhuvWlu awacswvWfwai rwSuge kwnctwac hurinetcgotcvesc

aoLuncfiluacviaeve. tiaw awaI koncbEnumwkutO aeacsevImW

mikwlO dencnevI viacsWrwve nufuri tibenc jehumunc

rwSwScdWairu kudincnwSc gencdwnc aeacCeac gwnelevEne

goteacvesc netImW aekwmWhure dwncnwvWlwnc awaI kwmugwaeve.

hitcpuLuheyokwmWai aeku rwdunc fwaisWkoLeac deacvumunc

mikwlO aeawSc bwaeac twketigwnegenc awdi dwau bwncnw auai

gwTwriaeac )bwncDeacyeac( vesc gwtIaeve.

aedwtwuru toSwlikwlO rwSwSc awaisc awnbi fWtumwawSWai

dekudincnwSc genwai aetikoLu dIfwai dwau bwnumuge

mwswackwtc feSiaeve. aeduvwscvwru toSwliviyumuge

mwswackwtckurI boDukwlOaWai fWtumeaeve. toSwlikwlO dwau

mivWhwkwawkI tWrIhI veSivWhwkwtwkuge terEgwai himenEgotunc

vwrwSc kuriacsure diywmigilI bwncDWrwaincnWai guLuvwaigenc

kiyemunc awncnw vWhwkwaekeve. rWacjEge aeki hisWbugwai

mivWhwkw aekigotcgotwSc kiywaeve. miaI gd.awtoLugwai

mivWhwkw kiyemuncdW goteackwmugwai kwnIru vidWLuveaeve.

kwnIru awbcduacrwhImuawkI mwxchUru divehi liyuncteriaeac

awdi Lencveriaekeve.

foTO: rwaIsulcjumchUriacyWge rwscmI ge, mWle.

)kurehunc : nwauxWdu vwhIdu(

96

97

VARA 03

toSwlikwlOge

boDukwlOt.diywmigilI vwlunc divehi rwsckwmwSc

bwnde nincmWlwaigenc diawaI mudincbe gWtwSeve. mudincgOti

dOnIgwai aedwau bWacvWSeve. mudincbe bunI awneackWvesc

aEnwbunW kwmeac kurumwSeve. konckwmeactO aehImW furwtwmw

kurI suvWlutwkekeve. rwduncawrihwSc devunI hwfutWge

konc duvwhwku kihWairwkutOaWai rwdunc aedeacvi aeacCeac

deacvI rwduncge koncfwrWteacgwai huacTWtO aehiaeve. awdi

mWleainc furwnc aoDiawSc aekwlO aerI kihWairwkutOvesc

suvWlukuriaeve. hurihW kwmeac aoLuncfiluvWfwai hIlWfwai

buncNeve. "kwlO furuswtu nwgWnulW! mWledE! dWnI

fWtumwaWai dekudincvesc govwaigenc. mwgEbwsc gwbUlukurE!

kwlOawkwSc derwgoteacnuvWne. hwacduncmwtI aoDi mWdwmWrE

hisWbu awncnWnehenc hIvwnI. twacyWru vehurE furwnc."

mihencbunefwai awneackWvesc aekwlOge kwncfwtcdoSugwai

mudincbe aeacCekE bunefwai dwau bWacvWfwai aeawSc

awgudinIaeve.

hwacduncmwtI aoDiawaI aEge tincduvwsc fwhuncneve.

toSwlikwlO aWailW aeaoDinc mWleawaIaeve. fwaibwaigenc

aiawairu dimWvi vwrwSc hitcheyomIhwku gWtu toSwlikwlO

aerE tibelWne bOhiywleac libidWnetO aehumunc vwrwSc

fwsEhwainc aegeawSc gencdiawaeve. awneacduvwhu toSwlikwlO,

rwdunc dwrubWrukurwacvWtwnwSc diawaeve. mifwhwru dencnevI

gOacCeacge vWhwkwaeve. mWlEge airumwtIkoLugwai gwsctwac

hedifwaivW hisWbugwai dungetigwsctwac hedifwaivW

dungetivwlunc gOacCeac dIfImE vidWLuvumunc geaeLEne

goteac hwacdwvWdeacvwnc aeduneve. rwdunc aekwncvesc

koScdeacviaeve.

awneacduvwhu dungetivwlunc geawLwnc binc sWfukoScfwai

jwhWnemuDiaWai hurihW aeacCeac hOdwaifiaeve. aemwswackwtc

koScfwai boDukwlOaWai debwfwainc awaI geawSeve. rEgwnDu

airWkoLu gosc airuvwru muDijwhWne vwLukonuvI boDukwlO

lwacvwaeve. awdi aevwLwSc muDijehI awneac duvwhu hendunu

airuawrW hwtcgwDIgwaeve. mudincbe bunigwDiawkI aeaeve. aEru

rwscgefWnuge dwrubWruge aisc kwncveriyW ) fwncDitwhedumWai

airuvwrubwlwai nwkwtcrWhibwlW mIhW( twnckoLeac durugwai

bwlwnc huacTeve. toSwlikwlO geawLwncjehi furwtwmw

muDijehumWaeku hwrugwncnwvWfwai aEnwdiawaI rwscgefWnuge

dwrubWrwSeve. vwde kurunIsc koScfwai dencneviaeve.

diywmigilI toSwlikwlO mWle bwnDudwSulwaigencawrW

airuvwrunc geawLwnc muDimeaclw jwhwaifiaeve. aeawLWgotwSc

aege awLwai aegEgwai diriauLencfwSwaifIviacyW rwsckwnc

rwscgefWnu awtunc bIvWne kwmugwai kwncveriyW ywgInckwmWaeku

dencneviaeve. rwdunc kudibEkwluncnwSc awmurukureacvI

gosc aegEgwai mihWrujwhWfwaihuri hurihW muDitwacluacsWlW

toSwlikwlOawSc geaeLunc aihwScmwnW kurumwSeve. rwdunc

miawmuru kureacviairu toSwlikwlOge awnbifWtumw aetW

awDuawhwnchuacTeve. awLWaitikoSc defwaikuriawSc bWrulWfwai

duveawaisc aevWhwkw toSwlikwlO gWtu bunefiaeve. boDukwlO

hwmwaevwgutu aeackwlw airuvwrumuDIge buDukwairinc konelWfwai

awDinc aemuDi burikoSclWfwai fwsclIaeve. kudibEkwlunc

awaisc rwduncge vidWLubwscfuLW aeacgotwSc hurihW muDitwac

aufurWlWfwai geaeLunc mwnWkoScfwai hingwacjeaeve.

aEge hwaeackwduvwsc fwhunc aisckwncveriyW humeacawaiscfwai

niyWvIaeve. toSwlikwlO awSc geaeLumuge huacdw rwdunc deacvI

foaiduvwsc )51 duvwsc( fwhuncneve. huacdwlibunImW

aeackwlw muDiburIge mwacCwSc aemuDiburiaWai guLuvwaigenc

muDimeaclwjwhwaigenc geawLWnincmWlIaeve. aeawScfwhu

toSwlikwlOge aWailW aegEgwai auLunI debwfwainc kurW

mwswackwtunclibE aeacCwkuncneve. nwsIbu rwngwLukwmunc

aedebwfwaincnwSc awbwduvesc kurWne mwswackwtctwac awaI

libemuncneve.

tincmwsc fWaituve hwtwruvwnwmwhu rwduncvesc

aWlWsckwncfuLeacgwai awvwhWrwvIaeve. aEru rwsckwlwku

awvwhWrwvegenc rwsckwlwku aisckurwncveacjiacyW aoncnw

aWdwaigemwtinc rwncmwncfuaclWaeacge kwrugwai twvIdu

awacsWfwai dUkoSclumwScfwhu aesoru bwnDujwhW vwgutu

aencme gWtugwai huncnwnI kWkutO bwlwnc rwsckwmuge hurihW

kudibEkwluncnWai awrihubEkwlunc aefuaclW dWnudW twnctwnc

bwlwmunc gencdiywaeve. aeduvwhu toSwlikwlOge boDukwlO

aotI bolugwriacsWtIaE kiaWfwai gEgwaeve. boDukwlOawSc

nidifwai aoacvW aeackwlw rwncmwncfuaclW aekitwnctwnwSc

vwncnwmunc nukuncnwmunc gosc toSwlikwlOgeawSc

vwncairu aesoruaotI vwrubwlive mWnEvWvesc levifwaeve.

aegEterEgwai mIhwkuvescneti himEncvefwai aotumWaiaeku

boDukwlO nidWfwaiaotc awScTWjehigenc hurikoSWru mwacCwSc

funcmwaigencawrW hwmwjehilWfwai bwnDujwhwfiaeve. aeaWaiaeku

kudibEkwlunc awaisc boDukwlOawSc govwai rwsckwmwSc

vwDwaigwtumwSc dencnevIaeve. aeaI rWacjEge tWrIKugwai

mwxchUru diywmigilI boDubwncDWrwaincnE buneveaeve.

aezwmWnugwai koLumwDulu diywmigilIgwai vwrwSc fwgIru

demwfiriywku auLuneve. aedemwfirincge jifuTiawkI muLi

aerwSugwaivesc huri aeacme derw aeacjifuTi kwmugwaiveaeve.

vWrEvehEnwmw demwfirincnWai dekudincnwSc tibencjehenI aeki

kwnckwnugwai guLwvegencneve. bwnDufurWnw muactikurumwScTwkW

duvWluhwtwrudwmu kurW mwswackwtunc bwaeacduvwhu aerE

kWlWnefwdwvesc nulibeaeve. toSwliviyegenc aeainclibE

aeacCwkunc aedemwfirinc auLemunc gencdiywaI hitcdwtikwmWai

nikwmetikwmuge duniyeaeacgwaeve.

aeacduvwhwku aerwSu mudincbe toSwlikwlO toSwliviywnc

aincdW aetwnwSc awaeve. aEru mWleaoDi dwturu hwdwnIaeve.

toSwlikwlOge demwfirincnWai doSIdwri boDukwlO awvwdineti

auLunI aoDiawSc toSwli viyumugeaeve. mudincbe aetWhurefwai

toSwlikwlO gWtu buncNeve. "kwlO mwbunWkwmeac kurwnc

kerEne" heacyeve. aekwlObunI "mwgE aetibi tincfurWnwawSc

geaclumeacnuvW koncmekwmeac mwkurwnc twacyWru" kwmwSeve.

mudincbe bunI aoDinc mWledWncvI kwmugwaeve. awncnwnc

denc aetincmIhuncnwSc awLWlWne kwmugwaeve. awdi aeawScfwhu

toSwlikwlO kwncfwtcdoSugwai mudincbe siacrusiacruncvesc

aeacCekE bunikwmwSc veaeve.

mWle diaw aoDinc toSwlikwlO mWlediywaeve. mwswackwteac

libEtO auLevesc nulibumunc mWlEgwaivesc aekwlO hurI

vwrwSc hWlugwaeve. rwSwScfurWairu gencdwnc aeacCeac

gwnelevEne hwmw aeacvescfwdwaeacneti bikwvefwaeve.

kwncdimWvigotunc aoDifurwnc aotcduvwhuge kurIrE

viacsWrwhedIaeve. nwtIjWawkwScvI nufurifwai tibenc

jehumeve. mihenctibi duvwsctwkuge terEnc aeacduvwhwku

toSwlikwlO hingwmunc hingwmuncgosc devunI rwdunc

dwrubWru kurwacvW twnwSeve. aekimIhuncnWai bwacdwlukurwacvW

vWhwkwfuLu dwackwvW hwacdwvWtwnc fenumunc mikwlO hitwScaerI

rwduncawrihugwai dwncnwvwaigenc fwhwreacgwai rwngwLu

goteac vedWne kwmwSeve. hitcvwrukoScfwai mikwlOvesc

kuriawSc awrwai gosc rwduncge awriawhwSc huacTuneve.

hWluawhuvWlu awacswvWfwai rwSuge kwnctwac hurinetcgotcvesc

aoLuncfiluacviaeve. tiaw awaI koncbEnumwkutO aeacsevImW

mikwlO dencnevI viacsWrwve nufuri tibenc jehumunc

rwSwScdWairu kudincnwSc gencdwnc aeacCeac gwnelevEne

goteacvesc netImW aekwmWhure dwncnwvWlwnc awaI kwmugwaeve.

hitcpuLuheyokwmWai aeku rwdunc fwaisWkoLeac deacvumunc

mikwlO aeawSc bwaeac twketigwnegenc awdi dwau bwncnw auai

gwTwriaeac )bwncDeacyeac( vesc gwtIaeve.

aedwtwuru toSwlikwlO rwSwSc awaisc awnbi fWtumwawSWai

dekudincnwSc genwai aetikoLu dIfwai dwau bwnumuge

mwswackwtc feSiaeve. aeduvwscvwru toSwliviyumuge

mwswackwtckurI boDukwlOaWai fWtumeaeve. toSwlikwlO dwau

mivWhwkwawkI tWrIhI veSivWhwkwtwkuge terEgwai himenEgotunc

vwrwSc kuriacsure diywmigilI bwncDWrwaincnWai guLuvwaigenc

kiyemunc awncnw vWhwkwaekeve. rWacjEge aeki hisWbugwai

mivWhwkw aekigotcgotwSc kiywaeve. miaI gd.awtoLugwai

mivWhwkw kiyemuncdW goteackwmugwai kwnIru vidWLuveaeve.

kwnIru awbcduacrwhImuawkI mwxchUru divehi liyuncteriaeac

awdi Lencveriaekeve.

foTO: rwaIsulcjumchUriacyWge rwscmI ge, mWle.

)kurehunc : nwauxWdu vwhIdu(

96

97

VARA 03

VARA 03

VARA 03