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Kerala-made mechanical elephants are making their way into temples in South India

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Kerala-made mechanical elephants are making their way into temples in South India


For the fifth edition of the Dubai Pooram at the Etisalat Academy Ground in Dubai on December 2, 2024, four elephants were paraded in all their festive regalia. Gently swaying, shaking their heads, flapping their ears and swishing their tails, these jumbos were a sight to watch. One thing, though, these mechanical elephants were made by two Kerala-based companies.   

Parading elephants in religious processions is a matter of pride for organisers and participants in Kerala. These parades are usually eventless, but of late, attacks by captive elephants, (especially in the first two months of 2025), have caused five deaths in Kerala. Despite protests, elephants are being used in such high stress events, which have noise of fireworks and loudspeakers, milling crowds of people and the mistreatment, which often trigger these attacks. 

Workers engaged in making of mechanical elephants at Four He Arts Creations in Chalakudy.
| Photo Credit:
THULASI KAKKAT

A few temples in Kerala have voluntarily moved to mechanical elephants possibly because rules for parading an elephant in a temple have become strict as a result of the attacks. 

Chalakudy-based Four He Arts Creations is one of the first companies in Kerala to make these mechanical elephants. The three elephants at the Dubai Pooram were made by them.

The four childhood friends — Prashant Prakasan, Santo Jose, Jinesh KM and Robin MR — made their first elephant, Kuttappayi, around 15 years ago. Built over six months, Kuttappayi was six-and-a-half feet tall. By the time Kuttappayi, with his bobbing head and swaying trunk, a swinging tail and flapping ears was ready, it was Santo’s sister’s wedding. Just for a lark, the friends decided to place Kuttappayi on a stage at the venue.

“He became the main attraction of the wedding! People then wanted to rent Kuttappayi for their functions, exhibitions, shop inaugurations etc in and around Chalakudy,” says Prashant. After that the four friends made motorised dinosaurs, The Jungle Book and The Hulk-themed sculptures, which they do even today.  

Workers engaged in making of machanical elephants at Four He Arts Creations in Chalakudy.

Workers engaged in making of machanical elephants at Four He Arts Creations in Chalakudy.
| Photo Credit:
THULASI KAKKAT

Cut to the present. The rudimentary Kuttappayi is a thing of the past. The friends have graduated to making mechanical elephants to be paraded in temples, be put on show at resorts and other commercial places. So far they have made 46-odd elephants, not only for clients in India, but also Dubai, Singapore, Kenya and the United States. Four of their jumbos are part of a circus in Spain. Not only are these cruelty-free, they are low maintenance and can be rented out. 

Donated by PETA

Prashant and his friends were recently in the news as People for Ethical Treatment of Animals (PETA), in association with sitarist Anoushka Shankar, donated the mechanical elephant Kombara Kannan made by Four He Arts Creations, to the Kombara Sreekrishna Swami temple near Irinjalakuda, in Thrissur.

Prasant Prakasan, Santo Jose, Jinesh KM and Robin MR with Kombara Kannan

Prasant Prakasan, Santo Jose, Jinesh KM and Robin MR with Kombara Kannan
| Photo Credit:
THULASI KAKKAT

So far they have made three elephants for PETA, which the organisation has donated to temples in Kerala. 

From the road, the semi open-air production unit looks small. But a peek inside reveals a space large enough for a few ‘elephants’.

A ‘mould’ is being readied, while a technician works on the head of an elephant. Its trunk is a series of metal pieces being fine tuned to give it flexibility and a couple of other workers are painting details on a headless ‘elephant’. “There are no ready elephants right now. So far we have made elephants for six-odd temples in Kerala itself!” When they started it was just the four of them, now they have more than a dozen workers.  

Apart from Four He Arts, Anamaker aka Sooraj Nambiatt, in North Paravur, 34 kilometres from Kochi, has also been making mechanical elephants. The day we meet, Sooraj is overseeing work on a 10 foot mechanical jumbo for a temple in Kottayam. Although he had been making sculptures of popular captive elephants since 2007, Sooraj’s foray into robotic jumbos is as recent as last year. He has made two elephants for PETA.

A worker puts together material that will go on to become a section of the head of a mechanical elephant

A worker puts together material that will go on to become a section of the head of a mechanical elephant
| Photo Credit:
THULASI KAKKAT

At Sooraj’s studio, the 10-footer headed for Kottayam, is getting ready.

The utsavam season is a hectic time for these elephant makers.  

Robotic elephants

While Prashant and friends make mechanical elephants without venturing into likenesses of captive elephants, Sooraj, a post graduate in Fine Arts from RLV College, Tripunithura, makes elephants in the likeness of captive elephants if the customers so demand. “Customers ask for the face of say Pampady Rajan, elephants have distinct characteristics which people want for these. But of course you can’t call these elephant by the name of a living one. We improvise… so we have Robotic Raman,” says Sooraj.

In 2024, this elephant was the fourth mechanical elephant at the Dubai Pooram, and he was fondly called Dubai Raman. He made a mechanical replica of an elephant which recently died, Arjuna, for a temple in Mysuru.

Prashant says,“We make generic elephants because people are superstitious about making sculptures of things/people who are still living.”

Four He Arts Creations got its first order for the Dubai Pooram in 2018 thanks to a video of Kuttappayi the organisers saw online. 

Although the Dubai Pooram order for three elephants was placed in 2018-19, the elephants were eventually ready in December 2020. The three elephants were paraded at the Pooram that year. The Dubai Pooram is the Dubai-version of the famed Thrissur Pooram.

“These electricity-powered elephants are made of fibre and are usually shipped internationally in containers. The elephant is ‘cut’ into four segments — the head, the body, front legs and hind legs. They are then assembled at the destination. For instance, we went to Dubai for the purpose, but could not go to either Tampa in the US or to Spain because we did not get our visas in time,” says Prashant. He did however go to Kenya to do a study on an African elephant for one they are making for a temple there.  

Sooraj Nambiatt of Aanamaker with one of his elephant  sculptures

Sooraj Nambiatt of Aanamaker with one of his elephant sculptures
| Photo Credit:
THULASI KAKKAT

While the eight foot elephants weigh under 300 kilograms, the 10-footers weigh under 500 kilograms. The prices for these range from ₹3.5 lakh to ₹5 lakh (at Four He Arts Creations and Anamaker). The rates are fixed depending on the movement of body parts — the head, the eyes, flapping of ears, the trunk (swaying/spraying water), tail, and limbs — these can be customised. A motorised elephant with all features is the most expensive. The detailing on the elephants, right down to the eyelashes and hair on the tail is stunning. These can bear the weight of up to four people sitting on them. These are mounted on wheelbases for ease of movement. 

Kombara Kannan’s journey about to start from the workshop to Kombara Sreekrishna Swami temple

Kombara Kannan’s journey about to start from the workshop to Kombara Sreekrishna Swami temple
| Photo Credit:
THULASI KAKKAT

“We can even build one entirely of rubber, but that would cost around ₹7 lakh. It would feel very natural!” says Santo. 

Making a jumbo

Made of fibre, mesh, rubber, foam and metal, it can take anywhere from a month to 45 days to build a motor-powered jumbo. Work first starts with making an elephant-shaped frame of steel square pipes and iron rods which is then covered with cement over which the fibre is poured and set. Once it sets, the mould is broken, the markings made on the body, smoothed and finished with the head being attached. 

“Since these elephants were not manufactured here, we have had to experiment with materials and processes. Most of what we use is now locally sourced except the electrical/mechanical components which are bought online,” says Santo. Even now they continue to experiment with material. While the body is made of fibre, the ears are made of ‘rubber fabric’ that resembles a hide. While Santo and Jinesh work at Apollo Tyres, Chalakudy, Prashant and Robin work full time at Four He Arts Creations. 

A mechanical elephant waiting for the finishing touches

A mechanical elephant waiting for the finishing touches
| Photo Credit:
THULASI KAKKAT

Captive elephants in Kerala have a dedicated fan following. Elephant lovers or anapremis are a force to reckon with when it comes to the popularity of the elephants paraded in temples. Some of the popular ‘stars’ have run amok and attacked people during these festivals. Mechanical elephants are seen as diluting tradition; the makers have been getting a backlash. “We are not forcing temples to buy elephants from us. They are coming to us for these,” says Prashant. Interestingly Prashant and Sooraj have customers from outside Kerala, especially North India.

The Kombara temple has not used a live elephant for its temple procession since 2015 due to the cost and the suffering of captive elephants. Ravi Namboothiri, the temple president, says of accepting the mechanical elephant, “In honour of our decision to never hire or own an elephant for our rituals and festivals, we are absolutely thrilled to accept a mechanical elephant [from PETA]. All of God’s creations deserve love and respect!”  

Sooraj says, “Maybe it is time we moved on to mechanical elephants. The treatment meted out to them is not the best. Elephants may have plenty of fans, but they are not treated like pets. They might be fed on time and bathed, and taken care of but are these elephants treated well? I have seen the dark side of this.” Once upon a time, he adds, there were 1,000-odd captive elephants in Kerala, many of whom were paraded in temples, he adds, “but today there are barely 200 or so left, and most of these are more than 50 years old. How long can [real] elephants be paraded anyway?”    



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Watch: Is Andaz Apna Apna still relevant? | FOMO Fix

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Watch: Is Andaz Apna Apna still relevant? | FOMO Fix


Watch: Is Andaz Apna Apna still relevant? | FOMO Fix

Film critics and buddies Raja Sen and Sudhish Kamath take a nostalgic deep-dive into Andaz Apna Apna, the cult comedy classic re-releasing in cinemas this week.

From crime master Gogo’s chaos to Salman’s scene-stealing comic timing, they debate whether the film still works today — or if it’s just a rose-tinted time capsule. Slapstick, spoof, or satirical gem? The verdict’s in.

Also on this episode:

TV Gold — The Last of Us Season 2 brings grief, gore, and gut punches. Is this still escape, or just emotional masochism?

Heads Up — Logout on Zee5 proves a one-actor thriller can still scroll deep.

KHAUF — Real horror hits home in Smita Singh’s harrowing hostel haunting.

Rewatch Alert — Andaz Apna Apna is back on the big screen. Go for the nostalgia, stay for the oranges gag.

Hit play, subscribe for more recs, and remember:

Sometimes the only escape is watching someone else lose it.

Script and editing: Sudhish Kamath

Sound: Ivan Avakian



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How an erstwhile princess is on a mission to revive Kishangarh miniatures

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How an erstwhile princess is on a mission to revive Kishangarh miniatures


Almond-shaped eyes, aquiline features, elongated faces with defined chins and noses, earthy tones, panoramic landscapes and stylised clouds — these are some of the things that set apart Kishangarh paintings from the other miniature traditions of India.

Drenched in bhakti and sringara rasas, these miniatures originated somewhere around the 17th Century in Kishangarh in Ajmer, Rajasthan. Rulers such as Raj Singh and Sawant Singh set up court ateliers led by Bhavanidas and Nihal Chand and patronised this art form. However, diminished patronage over the years has seen miniatures and traditional visual art forms relegated to the realm of handicraft.

From Vaishnavi Kumari’s Kishangarh Studio
| Photo Credit:
Courtesy: Kishangarh Studio

Centuries later, Vaishnavi Kumari, who traces her lineage to the erstwhile royal family of Kishangarh, has taken upon herself the task of reinventing the art form to suit the contemporary milieu. In 2010, she set up Studio Kishangarh, where she works with artists to create paintings that merged traditional aesthetics and modern sensibilities.

“We do acrylic on canvas, work on wasli (handmade) paper and take up landscape themes. We might take inspiration from a Pichwai painting and interpret it in our own way, using gold and silver embellishment. We recently had a show ‘Ishq Chaman’ based on the poetry of Raja Sawant Singh. The poem talks about devotion and we created allegorical paintings on love and devotion for god,” says Vaishnavi Kumari, the curator and founder of Studio Kishangarh.

Vaishnavi graduated from NIFT and pursued her Master’s in art history from SOAS University, London. “Middlemen buy unique haathi-ghoda paintings at very low prices from artists. These are sold as souvenirs. That set me thinking. In museums and auctions, you see work that is highly valued, and I wondered why we were not producing that kind of quality. Traditionally, a patron influenced the kind of work done in karkhanas (workshops). For example, you see hunting scenes in Kota paintings, because the ruler wanted those depictions. Nainsukh (1710-1778) painted most of his works for the local ruler Raja Balwant Singh of Jasrota in Himachal Pradesh. That encouraged me to set up an atelier and offer contemporary patronage,” says Vaishnavi.

A Kishangarh miniature

A Kishangarh miniature
| Photo Credit:
Courtesy: Kishangarh Studio

A couple’s rendezvous in a lush green garden against the picturesque backdrop of mountains, dense flora and fauna and a distinct blue sky is an aesthetic marvel, and a typical Kishangarh miniature. This style is also synonymous with Bani Thani — known as the Indian Mona Lisa, a combination of grace and beauty, supposedly painted by Nihal Chand, as instructed by then ruler Raja Sawant Singh. It is said that the Raja and Bani Thani were lovers, and they are the nayak and nayika in several paintings.

Among the most famous of Kishangarh paintings, ‘Boat of Love’, is on display at the National Museum, Delhi. Inspired by Raja Sawant Singh’s poem, the painting depicts three scenes featuring Radha and Krishna — atop a hill, crossing the river seated on a boat accompanied by attendants, and amid dense foliage.

Through her work in the atelier with her artists, Vaishnavi wants to educate people about the art tradition. “What you see is just the first layer which is the aesthetic — the women are beautiful, the figures so lyrical… but there is a deeper meaning. Bani Thani wasn’t just a beautiful woman. She was an accomplished poet and an amazing musician. Sufism and Haveli Sangeet were major influences at the time and we want the viewers to discover all these facets to these paintings. Raja Sawant Singh was a Bhakti poet and wrote in Rekhta, a precursor to the Hindustani dialect, among other languages, under the pen name of Nagari Das. A pushtimargi, belonging to the Vallabhacharya sect, he wrote devotional poetry for Krishna and Bani Thani,” she adds.

Kishangarh miniature

Kishangarh miniature
| Photo Credit:
Special Arrangement

Once Vaishnavi returned from London, she discovered many families that had been painting for generations. She brought together a few of them for two reasons — better livelihood opportunities and the chance to develop a unique aesthetic.

“We have a core group but we also work with other artists. When we started, we were doing handicrafts — we painted apparel. I explore a lot of media. Even though I give ideas, the exploration is by the artists. Also, each painting is the collective work of two or three artists — one does the basic drawing, the other adds the flora and fauna elements, the third might add an iconic element like the Kamadhenu. They enjoy working on a new visual vocabulary,” says Vaishnavi, who is trying to strike a balance between the old and the new.

Vaishnavi Kumari, who traces her lineage to the erstwhile royal family of Kishangarh, has taken upon herself the task of reinventing the art form to suit the contemporary milieu



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‘Firefly’ movie review: Vamshi’s debut is a visually experimental character study of a man fighting grief

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‘Firefly’ movie review: Vamshi’s debut is a visually experimental character study of a man fighting grief


Vamshi in ‘Firefly’.
| Photo Credit: Anand Audio/YouTube

How long does it take for us to overcome grief? The most sensible answer, perhaps, is that grief isn’t the same for everyone. For Vicky (Vamshi), in Firefly, the tragedy of losing his loved ones puts him through phases of denial, anger, depression, and acceptance.

Vicky returns to Mysuru from abroad for his cousin’s wedding, only to land up in a coma after a devastating incident that leaves him without a family. Post-recovery, he is hit by insomnia, which forces him to adopt many methods, ranging from sensible to outrageous, to find a solution.

ALSO READ:‘Yuddhakaanda Chapter 2’ movie review: Ajai Rao’s courtroom drama is a smartly made crowd pleaser

From binge eating to self-infliction of pain to trying to find reasons to smile, Vicky’s life becomes a series of coping mechanisms. Vamshi, who has also directed the film, opts for an unconventional manner to present his protagonist’s world. As a line from the trailer says, “When reality feels unbearable, the quest for peace becomes surreal.” 

Firefly (Kannada)

Director: Vamshi

Cast: Vamshi, Rachana Inder, Achyuth Kumar, Sudharani

Runtime: 135 minutes

Storyline: A melancholic, surreal journey of Vicky as he deals with life’s challenges and seeks the purpose of his life through bizarre adventures

The obvious Wes Anderson-esque mood of Firefly is one of its biggest strengths. Serious and emotional scenes have comforting and warm colours, the contrasting palettes you see in Anderson’s movies. Like in Anderson’s films, characters in Firefly are framed symmetrically in several scenes, creating a visual balance. The quirky set design is another hat tip to the The Grand Budapest Hotel filmmaker. 

Firefly is a character study of Vicky, and the 4:3 aspect ratio of the movie attempts to provide an intimate view of the protagonist’s journey. The film tries to create a vibe in every scene and tells its audience to overlook the logic of those moments. Cinematographer Abhilash Kalathi does well in making each frame appear interesting, a rare attempt in Kannada cinema in recent times. However, as with first-time filmmakers, Firefly is undone by the director’s indulgence. 

Firefly is luminous with creative shots, but this template had to be matched with memorable characters. In Rajkumar Hirani’s Munna Bhai MBBS, characters such as a terminally-ill patient (essayed by Jimmy Shergill) and a person in a paralysed state (called Anand bhai) tames Munna (Sanjay Dutt), a gangster who then begins to look at life with compassion. 

Vamshi in ‘Firefly’.

Vamshi in ‘Firefly’.
| Photo Credit:
Anand Audio/YouTube

In Firefly, when Vicky joins a self-help group, I expected the arrival of similarly moving characters who could change his outlook to life. Instead, the film opts for a low-hanging fruit. Vicky takes his first step towards change when he comes across the perseverance of small-town people handling economic hardships, an overworked trope in commercial films. The ultra-serious nature of this portion doesn’t fit well with the self-deprecating tone of the movie.

ALSO READ:‘Veera Chandrahasa’ movie review: Ravi Basrur’s film is a sincere ode to Yakshagana, but lacks cinematic zing

Firefly could have benefited from good humour and engaging conversations. The film has tepid drama thanks to Vicky’s flat conversations with his parents (Achyuth Kumar and Sudharani) and the girl he falls in love with at first sight (Rachana Inder). Even as Firefly breaks conventional visual grammar, supported by Charan Raj’s appealing music, I wished the film focused on small and beautiful moments, like the one where Vicky gets a photo frame of his parents and the scene in which the girl he loves asks him to live in the moment.

Vicky reminds you of Sid, who wakes up to love and life in Ayaan Mukerji’s 2009 Hindi film. Both struggle hard to become a man of purpose. In fact, Firefly is yet another coming-of-age tale at its core. The attempt to tell this tale of self-discovery in an unorthodox manner is commendableConsistent writing could have added depth to the film’s highly relatable core.

Firefly is currently running in theatres



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