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Insights into Childhood
from a
Tamil Tradition
Selected Verses from Periazhwar Thiru Mozhi
Lakshmi Gopal
Edited by: Indu Balagopal
Illustrations: K. Muralidharan
Bala Mandir Research Foundation
culture
-1
Insights into Childhood
from a
Tamil Tradition
Selected Verses from Periazhwar Thiru Mozhi
Lakshmi Gopal
Edited by: Indu Balagopal
Illustrations: K. Muralidharan
Bala Mandir Research Foundation
culture
-1
Foreword
The author has travelled several centuries back in time to find this appealing Tamil
classic, which is a veritable paean to infancy and early childhood. It is the poet
Periazhwar’s visualisation of the divine child, Krishna. The song of devotion, Periazhiuar
Thiru Mozhi is a literary treasure chest, from which a few selected verses have been
presented here. The poems are steeped in religious fervour. Adoration forms the thread
of the entire text. When divinity comes in the form of a child, the poet becomes a
doting parent.
It is noteworthy that the early stages in the child’s life are depicted with a fine sense of
detail. The various stages of development and the child’s interactions in the community
have been observed and documented meticulously. The oil massage and the warm bath,
the feeding of the baby, as he is carried on the mother’s hip, the birds in the village as
companions to the growing child, the lullaby sung at nightfall and the stories of heroism
told to the child - all these are a part of the child’s experiences. Some of these practices
seem to have been handed down through the generations in an unbroken tradition, right
to the present.
The eminent scholar, poet and linguist A.K. Ramanujan once said that no one in India hears
the Ramayana for the first time! One could say the same about the stories of the mischief,
the feats and the miracles of Krishna, which are woven into music, dance and legend all
over the country. The episodes are not new, but the telling is different each time.
Bala Mandir Research Foundation is happy to launch the first of the “Culture Series” with
this compilation of Tamil religious poetry, by Lakshmi Gopal, who has shown an
admirable literary initiative in the selection and translation of the verses. Credit for the
designing of this book goes to Indu Balagopal. The preliminary suggestions for the
illustrations in this publication were made by Ghovi, a well known artist in Chennai.
Muralidharan took on the execution of the drawings and their exquisite colouring.
We are proud to present this work to a discerning public.
S. Anandalakshmy
President, Bala Mandir Research Foundation
Chennai - 2010
3
Periazhwar Thiru Mozhi
This study presents an eighth century work in Tamil known as Divya Prabandam, written by
Vishnu Chithan, also known as Periazhwar. This book refers to Periazhwar Thiru Mozhi,
which forms part of the larger work, Divya Prabandam.
In his intense devotion to Lord Krishna, Periazhwar imagined himself to be the caring
mother. In the nine forms of Bhakthi, Vatsalyam (parental feeling) is one, and this work
typifies that form of Bhakthi or devotion.
Nurturing was done with deep concern, care and love. The saint poet realised the importance
of the various stages of growth, and highlighted the inputs required at each stage of infancy,
to ensure a happy and healthy childhood. Periazhwar has divided the early childhood years
into different stages based on the developmental characteristics of each stage.
These stages were later elaborated by Tamil scholars and led to the development of the genre
of literature, known as Pillai Tamizh which is a rich cultural legacy of South India, dating
back to the 12th century. Vishnu Chithan was the forerunner of Pillai Thamizh. He was an
ardent devotee, who, with the vision of God, sang “Pallandu Pallandu”in ecstacy. Learned
Vaishnavites conferred the title of "Periazhwar "on him. He prayed that the grace of Lord
Vishnu should be with future generations for thousands of years.
In his own life, he was chosen for special grace by the Lord, when he found a baby girl in his
thulasi garden. He brought up the girl, as his daughter, called her Kothai, and she grew up as
an ardent devotee of Lord Ranganatha. Kothai, also known as Andal, composed the verses
known as Thiruppavai.
Periazhwar imagined the Lord to be a little child, to be adored and nurtured. He describes in
great detail, the various stages of the life of the child: listening to lullabies, crawling, clapping
hands, playing hide and seek, seeing the moon, being breast-fed and getting groomed. Its
relevance in our time has been hidden due to its treatment as a religious document of praise
and adoration to the Lord. However, a study of the Periazhwar Thiru Mozhi helps us to
understand its practical significance. We find many parallels between Periazhwar’s ideas
and current scientific material pertaining to stages in child development.
However, since the verses spring from faith and inspiration, the poet does not adhere to a
chronological tracing of the infant’s development.
Given below are the stages described by Periazhwar in his Thiru Mozhi.
Thala paruvam
Chenkeerai paruvam
Chappani
Thalarnadai
Achoparuvam
Ambuli paruvam
Puram pulgal
MulaiunnaAzhaithal
Listening to lullabies
Crawling
Clapping of hands
Walking
Pretend games
Seeing and calling the moon
Hugging from behind
Being called to feed at the breast
Periazhwar deals with the various aspects of growth and development of the child through
his beloved Lord Krishna. Child rearing was shared by the father, others in the family and the
community. The importance of the father’s role is seen in a number of verses. Everyone in the
community is depicted in participating in providing abundant love and warmth, and teaching
the child activities to enhance his physical and mental as well as psychosocial development.
Values are taught by elders. The verses are written as if they are spoken to Yashoda, the
foster mother of the Divine Child, thus bringing out the aspect of parenting by anyone in the
child’s environment.
In this study, the focus has been on the works of Periazhwar dealing with the growth of the
child in the early years. His age-wise delineation of childhood was centuries ahead of the
formal discipline of Child Development in the twentieth century. Given here are the stages
where Periazhwar portrays Yashoda enjoying the parenting of baby Krishna. We can see how
the play activities and the child's antics are depicted appropriately for each stage.
The parallels between modern day parenting with reference to the ‘Hincks-Dellcrest
Learning Through Play’ calendar, and traditional child rearing, have been drawn.
I am grateful to Prof. Jagannadhachariar, who gave of his valuable time to this study.
Lakshmi Gopal
Selected Verses
from
Periazhwar Thiru Mozhi
of
Periazhwar
The verses from the text “Periazhwar Thiru Moozhi” are known as “Pasurams”
Comparison of the present day scientific methods are given in a box for each stage
Protection - Kappu - Pasuram 1-12
Birth of Baby Krishna
The first stage is an invocation to safeguard and protect the baby.
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Periazhwar blesses Krishna that He should live for thousands of years. Such is the intensity
of his devotion towards the Lord. This deep affection resulted in creating a concern for the
baby's safety. Just as the mother is always worried about her child's safety, so also Azhwar is
afraid and prays for His safety. Yashodha and Nandagopa, the parents of Krishna wanted
the infant to have a secure and safe future and hence a prayer is offered to God to ward off any
harm that may come upon the infant.
On the eleventh day after the birth of the baby, the “Kappu "ceremony is celebrated. A bangle
made of gold, brass, copper and iron wire is put on the baby’s wrist. A black string is also tied
to the wrist of the baby to ward off evil, and a prayer is offered (It is interesting that the word
“Kappu "means both the jewel worn at the wrist and protection).
In all cultures and through the ages, to the present, the newborn’s safety and protection
are given prime attention. In the Heads Up stage of the LTP Calendar importance is
given to the safety and security of the baby through bonding with love and trust.
Celebrating the Birth - Kuzhandai Pirappai Kondadudal
Pasuram 13-17
Celebrating the birth of baby Krishna
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The birth of the baby brings bliss to the parents and much joy to the entire community. When
Lord Krishna was born, the people were overjoyed and celebrated with song and dance. They
sprayed colour powder, and squirted oil on each other. They ran to see the baby and even
slipped happily in the amalgam of powder and oil. They sang to the rhythmic beat of musical
instruments.
Welcoming the baby is of prime importance as this tender care has a long lasting effect
on the wellbeing of the infant. The baby feels wanted and secure in the knowledge that
he is special. The LTPC emphasises on communicating with the baby to comfort and
reassure him.
13
Massage and Bath - Neerattal - Pasuram 18
The birth of the baby Krishna brings bliss to the parents and much joy to the entire
community.
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The bath of the infant is described in this Pasuram. Massaging the baby’s body with fragrant
oil is the first stage of the bath. Yashoda, the loving mother gently massages Krishna
with ghee (clarified butter). Then she gently exercises the arms and legs, moving them up
and down. Water boiled with fragrant herbs and cooled is poured over him. She cleanses
his tongue gently with pure turmeric powder which is traditionally known for its
purifying qualities.
Experts today also advise that massaging the baby is beneficial for the baby's sense of well
being and health. In the “Birth-2 Months” of the LTP Calendar too we find that
massaging is recommended. This enables closeness and warmth between the caregiver
and the baby.
Naming Ceremony - Namakaranam - Pasuram 20
urrsirjib -
20
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On the twelfth day after the baby’s birth, the Namakarana, the naming ceremony is held. It is
also called Uthanam, which means, holding the baby in one’s arms.
The house is beautifully decorated. There are festooned pillars on all four sides of the cradle.
The entire community of cowherds is invited to meet the baby and share in the parents’joy.
The rejoicing community blesses the baby. People hold the baby, admiringly by turns. Eye
contact is established. They join in ecstatic singing and dancing. They spray oil and turmeric
powder playfully on each other.
Naming of the baby takes place as early as the 12th day and people start calling the baby by
his name.
The LTPC suggests that you need to hold the baby in your arms and that cuddling doesn't
necessarily spoil the baby. Babies need to be cuddled to feel happy, healthy and safe.
Slowly babies learn to recognise the faces of people who care for them. In the calendar we
find that by 2 - 5 months babies begin to understand that they are separate entities, and
calling them by their name from early infancy, helps them to develop a sense of self and
connect their names to themselves.
Description of the Baby - Kuzhandayin Anga Varnanai
Pasuram 23-43
unwjib -
23
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Around the time of 5-6 months, the infant is able to bend his leg and suck his big toe. He
discovers various parts of the body and the things he can do with them. He explores
everything through his mouth.
Periazhwar has devoted twenty verses describing the baby’s body parts.
Here Krishna’s mother is admiring the baby and reveling in his health and well being. She
invites other women in the neighbourhood to share her joy and appreciation. This reflects the
mother's observation of the infant and the participation of the community in child rearing.
Discovering and sucking the big toe by the baby is part of the exploration of the body and
the baby feels comforted. Babies learn by exploring themselves and their toys.
This spontaneous activity of the infant is a developmental milestone, which helps the
community to make sure that everything is normal. This has a parallel in the 5-8 months
stage in the LTPC.
19
Lullaby - Thalattu - Pasuram 44-53
In Tamil, thalattu is the word for cradle songs. ‘Thai’, meaning tongue, ‘attu’ to shake or
rotate the tongue. In Periazhwar’s Divya Prabandam, Yasoda sings to Krishna, describing
the cradle, made with gold and set with rubies and diamonds. Singing a lullaby to the baby
was an important activity that had emotional content in building a beautiful relationship
between mother and child, as well as language and cultural content.
The themes of the lullabies are a reiteration of the mother’s love and protection.
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Yashoda sings lullabies for Krishna describing the gifts he receives from relatives. Lord
Indira’s gift to the baby is the beautiful pair of anklets. This verse describes the beautiful
anklet with bells that sound melodious and every time the baby moves the bells are heard.
Baby's movement is watched by the mother.
Research suggests that when the caregiver sings and repeats rhymes, babies get familiar
with the words and sounds and this is the first step in communication. The themes of the
lullabies are a reiteration of the mother’s love and protection in the 8-13 months stage in
the LTPC.
Calling the Moon - Ambuliparuvam - Pasuram 54-63
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While carrying baby Krishna in her arms Yashoda pleads with the moon to come, saying that
the baby is showing the moon with his little hands and calling out. Yashoda is questioning
the moon whether it is serious about playing with the little baby. If so then it should not hide
behind the clouds but come out and play happily with baby Krishna immediately. She wants
to satisfy the child’s need to look at the moon and play. She responds by coaxing the moon to
make an appearance for the sake of the loving baby.
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In Periazhwar’s depiction, Yasoda beckons to the moon to come down to earth to make an
early appearance lest the child tires of calling out and waving to the moon. The child
associates the moon with bedtime. In Ambuliparuvam the author has used various tactics
(methods used to train a child) to cajole the moon to appear.
Seeing the moon is an activity for the child at this stage. The silver moon is an atti active
object in the black sky. Across the length and breadth of India, there are lullabies about
the moon as playmate and friend to the young child. Distant vision, following moving
objects and eye hand coordination develop at this stage.
This applies to the 8-13 months stage in the LTPC.
Calling the Moon - Ambuliparuvam -Pasuram 54-63
urr^rjib - 58
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Here Periazhwar refers to the baby’s gurgling and cooing. He refers to it as LOLperoeo (tprororr
®6rr^AffrT6b, a stage where baby cannot speak but baby's gurgling or prattle is beautiful to
hear. This is the stage when the baby starts calling out to the moon by making various
sounds. This is music to Yashodha's ears. Baby Krishna, with saliva drooling from his mouth,
is making cooing sounds. One whole verse is used to describe the mother’s joy in listening to
the prattle of her baby. Every act and every movement of the baby is watched and enjoyed by
the parents.
Parenting, to be effective, has to be an enjoyable experience for both parents and children.
Babies can communicate even without words, through looks, sounds and body language.
The child is now able to show gestures by waving and learn the meaning of words as
objects are named over and over again.
This stage emphasizes the importance of communication.
25
Crawling - Chenkeerai Paruvam-Pasuram 64-74
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Here the young girls of the neighbourhood whisk the baby away on their hips to
their homes and play with the baby. In this stanza Periazhwar exclaims that the
endearing moments of a crawling infant should inspire learned men to compose
songs on babies. Perhaps this comment made by Periazhwar was the inspiration for
the origin of Pillai Tamizh.
urTSrrjib -
72
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This verse translates as - ‘When baby Krishna crawls, the air around smells sweet because
of the sandal paste and the petals of the Chenbaga flower that are applied on his body.
In addition to this the baby smells of milk and curds. When he smiles, his tiny teeth
also sparkle.”
Every child growing up in a village has the privilege of multiple mothering and multiple
parenting in a joint family, or in a close-knit community depicted throughout the LTPC.
27
Clapping - Chappani - Pasuram 75-85
These ten verses deal with the baby’s skill of clapping. The baby has learnt to bring both
palms together and clap. He feels happy that he has mastered this skill. The mother feels
happy and wants to share her joy with others. Yasoda and the father Nandagopa watch as
baby Krishna claps his hands.
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Both the mother and father participate in the child's play and they enjoy every moment of it.
With the melodious sound of the bells in the waist belts and the beautiful pearl white teeth
glistening the baby makes a perfect picture. Clapping hands comes naturally to a child which
he does with love - Pent- and enthusiasm.
The mother coaxes her baby to clap his hands because she wants the baby to enjoy doing this.
Hence the word Peni - doing it with love.
Clapping of hands is a joyous activity and is a developmental stage. Achieving this
coordination makes the baby feel confident and happy. There is lively participation
of parents.
Clapping - Chappani - Pasuram 75-85
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In this verse she coaxes the baby to crawl from her lap and sit on his father's lap (Man Arai
Mel) and then clap his hands as it will be a pleasure to watch the baby sitting in his father's
lap. Moreover she can have a better view of her baby. This is a tender situation where there is
absolute participation by the father and mother. We find that the father and the mother enjoy
every moment of the baby's play.
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Now once again Yasoda wants the baby to come and sit on her lap and clap his hands so that
baby's father can enjoy looking at the baby.
The people in the community enjoy watching the child play. To please the father, the baby is
asked to clap his hands and is coaxed to crawl between the father and mother. Everybody
appreciates the baby’s actions.
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When the baby crawls he is covered with dirt and he passes this dirt and grime on to the
mother when he sits on her lap.
This is characteristic of this stage where the child wants to touch everything and feel the
different textures, unmindful of hygiene. Babies learn by exploring objects in their home,
elaborated in the Doer Stage, 18-24 months in the LTPC.
\ i
31
Walking - Thalar Nadai - Pasuram 86-87
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The mother enjoys her child's first steps, and admires and encourages the child. Here the
description is given beautifully by Periazhwar. When the baby starts taking those tentative
steps his walk is compared to that of an elephant, with the clangour of chains and the chime
of hanging bells. Yasoda is beseeching the baby to come forward.
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urarjib - 87
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Nakkacenthuvarvai
The baby is smiling (nakka) showing pearly white teeth and pink lips, and is coaxed to take
the first steps. Pulling of the toy chariot is a traditional activity.
In the present day the caregivers are asked to be supportive and encourage the babies to
take those first steps. Babies are made to try again and again to complete the task to give
them a sense of achievement. Children who start to walk are given “push and pull” toys
depicted in 8-24 months in the LTPC.
Kissing - Mutham - Pasuram 89
The picture here is that of a happy baby, full of laughter, reaching the mother after a few steps
and planting a kiss on his mother’s cheeks.
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89
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The baby comes forward laughing loudly with the spittle flowing from his mouth and happily
plants a kiss on his mother’s cheeks. The mother is very happy at this gesture, and feels that
she is blessed to have such a child who brings joy in her life.
Every developmental activity performed by the baby and the way the baby responds with
happiness and laughter to encouragement from her, brings joy to the mother.
At this stage babies become expressive and are able to show their emotions of joy,
appropriately expressed in the LTPC.
Exclamation - Acchoparuvam -Pasuram 97-107
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97
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Acho’ means “Come and hug me” The other interpretation is that ‘Acho’is an exclamation of
happiness. When the child walks, reaches the mother and gives her a hug, she feels happy
and proud.
Wearing beautiful anklets and other bright gold ornaments Krishna comes running to hug
his mother wanting to climb on to her hips. This scene reminds one of the clouds rushing in
along with the lightening. This whole act is exhilarating to the mother when she pictures it.
The parent-child interaction is endearing to watch. At every stage we find Yashoda is doing
things which make the child happy and enthusiastic. The baby exhibits his affection by
coming forward to hug the caregiver.
When there is closeness and connection between the caregiver and the baby, bonding
develops automatically. Loving response from the caregiver helps the baby to feel
protected and confident.
Imitating adults helps children begin to understand relationships. Well depicted in the
LTPC relationship domains.
Hugging from Behind - Puram Pulgal - Pasuram 108-117
109
urradjib -
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Baby Krishna is wearing beautiful jewels. Krishna walks behind Yashoda stealthily without
her knowledge and hugs her from behind.
Yashoda is overwhelmed with the child’s expression of affection.
unsHjib -
114
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Krishna climbs on to an old mortar by overturning it and reaches on to the hanging pots of
sweet milk and butter and relishes the butter and milk. After this escapade Krishna comes
and quietly hugs Yashodha. We can see that Krishna’s mischief is indulged.
The child at this stage takes the initiative to do everything by himself and feels a sense of
achievement after completing an activity. The child is able to perfect his balancing
abilities, clearly expressed at age 3 in the LTPC.
Playing Games - Apoochi Kattudal -Pasuram 118-126
This verse describes the game. Apoochi - a kind of “Peek-a-boo” played between the child and
parent. Krishna covering his face with his long hair playacts to frighten Yashodha and the
mother in turn responds by pretending to be frightened. He feels a sense of victory.
urarjw -
124
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This is an interesting verse where Periazh war is wondering whether the baby is really
Yashodh’s, as Krishna, the baby is like a brave lion among the cowherd folk who are proud of
him and his antics.
Krishna playfully frightens others by Apoochi ie peek-a-boo. This is an interesting verse
where “Chiththamanaiyal” Yashodha brings up the baby knowing his likes and dislikes.
This game, of Peek-a-boo/hide and seek continues to be played even today. Babies learn
that things are still there though they cannot see them. Playing this game helps babies
understand the concept of “object permanence”. This is a simple yet exciting game
which children enjoy from 5-8 months as shown in the LTPC and continue to enjoy as
older children.
41
Breastfeeding - Mulai Unnal - Pasuram 128-138
The mother asks the baby to come and have breast milk. Here Yashodha continues to breast
feed the baby over a much longer period than is common today. Ten verses are devoted to the
mother’s beseeching the baby to come and have breastmilk.
urr^rjib - 132
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The poet Periazhwar states that mother’s words must always be heeded. The mother is
pleading with the baby not to go out and play but to come to her and have breast milk as it is
already delayed.
urarjib - 133
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The people around have high praise for Yasoda as a wonderful mother of Krishna. The baby
has earned the admiration of the neighbours, and the mother is rightfully proud. The
mother’s talk makes the others feel that she is most fortunate in having such a lovely child.
The mother talks to the baby while breastfeeding. This enhances bonding. Breast milk is
essential for babies as it provides immunity, and contains all the essential nutrients
needed for normal growth. Exclusive breastfeeding for 6 months is recommended today
and parents are encouraged to continue breastfeeding as long as possible.
Combing - Kuzhal Varal - Pasuram 162-171
UrTSHJLD - 169
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The crow is called to distract the baby.
Yashoda has just given an oil massage to the baby from head to foot and given him a bath.
She is ready with an ivory comb to comb his hair and remove the knots. Krishna needs to
be distracted.
Noticing birds and animals in the immediate environment was part of the play with young
children. Distracting children with patience is necessary when they need to be groomed,
as this is an activity that they do not enjoy.
A healthy relationship between mother and child in bringing up a
child was known as early as 8th century by Periazhwar when aspects
of good parenting were highlighted in Periazhwar Thiru Mozhi.
Various play activities, interactions, encouragements and
experiences that were enjoyed by the child were mirrored in the
versus of Periazhwar. The Hincks-Dellcrest ‘"Learning through Play
Calendar” likewise emphasises the importance of age-appropriate
activities, parent child interactions, involvement of father and the
other care givers in the family.
One strong emotion that is expressed by Periazhwar in every verse is
the unconditional love for the child. This is relevant even today, and
cannot be over emphasised.
Delving into traditional Tamil text, Lakshmi Gopal
discovers that the 8th century saint poet Periazhwar, had
made detailed observations of infancy and early
childhood. He was a devotee of Krishna, and visualised
the various activities of the Divine Child through myth
and metaphor. It is interesting to see how his depictions
correspond to contemporary views of child development.
Lakshmi Gopal is a volunteer in Bala Mandir, and is an
active member of the Bala Mandir Research Foundation.
She is a versatile writer whose poems and songs have
enriched the messages on parenting, and have added to
the value of the resource material in Bala Mandir.
X Bala Mandir Research Foundation
Bala Mandir Research Foundation
Admin. Office: 31, Prakasam Street, T. Nagar, Chennai - 600 017.
Ph: 044 2834 0652 Fax: 044 2834 5441 Email: balamandir@vsnl.net
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