Arctic skua: To spot a transequatorial kleptoparasitic migrant

Earlier this month on a bright Sunday morning this blogger had the good fortune to be part of a full day Pelagic Bird Survey organized by Cochin Natural History Society and KeralaBirder. We were a motley group of twenty odd people, after exchanging mandatory pleasantries and short inaugural speeches we were cruising along the historical coast of Arabian Sea. By noon we had ventured about 20 nautical miles. It was probably first of its kind experience for many in the group, sighting some of these never seen before pelagic birds added to the excitement (unfortunately for me I had taken anti vomiting tablet that left me drowsy, and quite disoriented…but to my credit I did stay awake and took some credible pictures). Taking pictures on wobbling boat of never-will-be-still birds was quite challenging, adding to the fact that I was carrying 70-300 manual lens!!

Back in the comfort of my shack I studied the pictures and to my surprise found Arctic skua (the lower pic i am not able to confirm clearly). Though a common bird, Arctic Skua is a rare sighting in this part of the world. A transequatorial migrant that breeds in the north of Eurasia and North America, and winters in south America through Africa and the coasts of Australia and new Zealand.  Also called Parasitic Jaeger, Arctic skua has a well-earned reputation as avian pirates, stealing much of their food from other birds. "Kleptoparasitism" is the term used for stealing food from other species, while "jaeger" is derived from the German "hunter." These are aggressive agile birds that attack in midair forcing their victims to drop their kills in flight, they are relentless in their pursuit sometimes even working as a team. Arctic skuas are true pelagic birds and live most of their lives at sea, and come ashore only to breed in the Arctic summer.

       

Palleyan tribes of Periyar wildlife sanctuary

Palleyan are the tribes that used to inhibit the deep forest that is now classified as Periyar wildlife sanctuary. They are honey hunters who also indulged in shifting cultivation. They speak a language that is almost Tamil. The story goes that during the construction of Mullaperiyar dam, in the noise and commotion that suddenly invaded their peaceful world the Palleyan saw signs of calamity befalling their clan, so they migrated en masse to deeper part while a section who came in contact with the outside world found work in the construction site (some converted to Christianity). This is the segment that settled in Kumily. As years passed, an accidental meeting in the forest of these fragmented community led to reunion. There are now about 2000 Palleyans and most are found around Kumily. I was in Kumily sometime back so visited the hamlet (kudi), quite coincidently Palleyan dance program was arranged.

I met the Kannikaran (named Mr. Aravi) who is supposed to head the clan. The Kannikaran is helped by Thalayari and Thandakaran. Aravi, a middle-aged man, also acts as the temple priest. The religious tradition seems to be very much influenced by Hinduism (even the bad references like mistreatment of widows). The main deity is Palleyankudi devi. The goddess is believed to have thousand eyes “ayiram kannu da aliu”. She also is “elaithu pallichi”-seven river goddess. The song says…

Elaithu pallichi

Elairum vilkar

Elnathi vanthu vanthar tharakame varai

Elnathi ootadathu chirumalayi varai

 (rough translation)

Seven river goddess

equivalent to seven thousand warrior

Seven river goddess forbearer of sacred hymns

Seven river goddess fountain of mountain life  

 

There is also a legend of woman who was abandoned by her brothers with a child. As the woman starved the child seem to have walked faraway (towards Tamil Nadu). The woman later converts to goddess with the child (the picture herein). Even now during festivals a Palleyan member is invited to adjacent Tamil Nadu village and treated as esteemed guest and bathed in turmeric water.   

 Aruvi happened to be the man who had partial record of vanishing oral tradition. He also uses his talent (he calls it god’s gift, I caught a shade of ego in his bearings or was it pride on his cultural inheritance?) and experience to add new lines. I took the picture of writings that is handed over orally for centuries, Aruvi has written it down. Some he sang, the one in the video here is a dirge (uploaded at http://www.youtube.com/watch?v=zXPBDReAV_c&feature=youtu.be). He did mention that after death, the connection is cut with the living these lines are quite significant.

Nee thee ayi maari

Njan palluayi maari

Innikum ninakum

Oru bandham illa   

You have become fire

I have become milk

You and I

Have no connection

This translation of the song contained in the picture herein…it’s a song about couple going to market and the husband trying his best to convince his wife against buying!!!  

The land we are going to

The land we are going to

Esdanakankani Esdanakankani

Where the cloths are sold

Esdanakankani Esdanakankani

The land we are going to

The land we are going to

Esdanakankani Esdanakankani

Where the anklets are sold

Esdanakankani Esdanakankani

The land we are going to

The land we are going to

Esdanakankani Esdanakankani

lame are you what use for you

Why buy these

Let’s go let’s go

The land we are going to

The land we are going to

Esdanakankani Esdanakankani

Head of five villages is not my father

Rich woman is not my mother

Let’s go let’s go

The land we are going to

The land we are going to

Esdanakankani Esdanakankani

Villisundaram, Vellasundaram

Villikabbi, Sellaakaari

are all not my relatives

that youngster is not even my brother

Let’s go let’s go

Pick up your bag

let’s go from the market 
   

from my scribble pad...

Sunrise

The uncomprehending eyes

can but see the moments

that spill colours.

The mountain, the clouds, the trees

and i here

become one in the canvas

that spreads and spreads.

Blessing

A damselfly’s connection with infinite 

is difficult to hide

endowed with subtlest blessing

disclosed in hasty presences.