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    An inn set up by Gubbi Thotadappa, the legendary philanthropist, continues to host tourists and students

    If any one expects a favour free of charge, ‘Is it a Gubbi Thotadappa Choultry? would be the instant colloquial reaction. Gubbi Thotadappa choultry, close to Bangalore City Railway station and Kempegowda Bus Terminal, is perhaps the oldest non-governmental organisation in the city.

    Bangalore has several free hostels belonging to particular communities, but running a dhramashala — a free choultry (inn) for the visitors or tourists, and continues to do the same even after a century is a remarkable feat.

    This noble act is the brainchild of Gubbi Thotadappa, who was born in 1838 into a Lingayat-Veerashaiva family at Gubbi in Tumakuru dist. Later, his family moved to Bangalore and he started his business in Mamulpet in the city. In his house, he started offering shelter to students who were coming to Bangalore for studies. Similarly, he opened doors to traders coming from faraway places. When this number increased, he decided to use all his property to the benefit of such traders and students. He bought land from Railways in 1897 and built a choultry which had 10 rooms for students to stay. On February 11, 1903, Krishna Raja Wadiyar IV officially opened dharmashala for visitors coming to city and free hostel to students belonging to Lingayat-Veerashaiva Community.

    As he had no children, he donated all his property and founded a trust called Rao Bahadur Gubbi Thotadappa Charity in 1910, and appointed K P Puttanna Chetty as its first president. Since then subsequent office-bearers are carrying out the work as per the wishes of the founder. During Dasara celebration in 1905, he was awarded the title Dharmapravrta, a royal recognition given by the Maharaja of Mysore. In 1910, he was honoured with a title Rao Bahaddur by the British Government. On 21 February, 1910, he died at the age of 72.

    The choultry he built was very helpful then for traders arriving in the city to buy or sell things. Minister for Horticulture Shyamanur Shivashankarappa still remembers the days when he would come here by night train from Davanagere and the choultry was very helpful for people like him to take shelter here for a day or two. Even today, the lodging facility offers accommodation at a nominal rate and it is open to all irrespective of region or religion, caste or creed, position or property. It was 25 paise per day. Over a period of time it was raised to Rs 10 and now it Rs 35. The money collected is spent on maintenance of the choultry. At any given time of the day, at least 50 to 60 visitors stay here. It is much-sought-after shelter to countless number of visitors coming even from other places as its name is spread far and wide. Similarly, the free hostel has been a boon to economically poor students .

    The trust awards scholarships for academic achievers of the community every year. They maintain hostels at 16 different towns in the state. The hostel facility is given for both boys and girls of the students of Lingayat-Veerashaiva community. Revered Dr Shivakumara Mahaswamiji of Siddhaganga Math Tumkuru was a student in this hostel during 1927 to 1930. S Nijalingappa , one of the chief ministers of Karnataka, was an inmate between 1921 and 1924. Likewise, education minister Sri DH Chandrashekaraiah, accountant general Sri DH Veeraiah, Karnataka state police chief H Veerabhadraiah, and many more such illustrious personalities were benefited by this hostel. While unveiling the statue of Gubbi Thotadappa in 2005, Nijalingappa said: “If this noble person had not started the hostel, economically poor students like me would have spent rest of my life working as labourers in cultivating fields”

    In Mamulpet, the old residential building of Gubbi Thotadappa was removed and a shopping complex has been constructed.

    During centenary year, the trust built Bell Hotel as a source of income to spend on all its charitable projects. There is also an aesthetically built conventional hall in this building. Every year on the death anniversary day of the founder, in Mythic Society, on Nrupathunga Road, the trust arranges an endowment lecture from eminent scholars on various subjects.

    Hostel inmates are given training in personality development by experts. The original Dharmashala building still retains its original form. The century-old building represents the tradition of hospitality for which our city is known.

    Whereas the centenary building built with modern architectural style represents modern Bengaluru. There are many lodges in the vicinity of railway station and bus stand. They may have tall buildings, but Gubbi Thotadappa Choultry stands tall as a symbol of humanity.

    (The author is a historian)

    source: http://www.bangaloremirror.indiatimes.com / Bangalore Mirror / Home> Bangalore> Others / by Suresh Moona / Bangalore Mirror Bureau / September 26th, 2017

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    New Delhi :

    Union minister of state for civil aviation Jayant Sinha inaugurated Boeing’s additional new facility at the Boeing India Engineering and Technology Center (BIETC) in Bengaluru on Friday. This facility will enable Boeing to focus on state-of-the-art technology areas such as data analytics, internet-of-things, avionics, aerospace design, manufacturing, testing and research, to support Boeing products and systems. The centre also includes laboratories for research to support next-gen innovations in aerospace.

    “Boeing’s commitment to growth of capability and capacity in the Indian aerospace sector is commendable. I congratulate the team on this brand new addition to the Boeing India Engineering and Technology Centre and am proud that Boeing is leveraging India’s engineering talent and its expertise for some of the most advanced aerospace products in the world, and developing complex solutions for the world,” said Jayant Sinha.

    This expansion comes soon after Boeing opened its engineering centre in January 2017. “As a source for innovative and cutting-edge engineering, India offers us tremendous growth potential. This is a winning formula for India and our own global growth strategy for improved productivity, enhanced engineering efficiency and cost advantage, while focusing on quality,” said Pratyush Kumar, president of Boeing India.

    Recently Boeing announced a partnership with aviation ministry and Air India Engineering Services Ltd (AIESL) to develop an aircraft maintenance engineers accelerated apprenticeship program. The key objective of the program is to improve the employability of AMEs through training and hands-on experience with actual aircraft.

    source: http://www.timesofindia.indiatimes.com / The Times of India / News> India News / by Saurabh Sinha / TNN / September 22nd, 2017

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    September 21st, 2017adminArts, Culture & Entertainment, Records, All

    Historians say the discovery refers to Alupa ruler Kulashekara and his liegeman

    Rajarajeshwari Temple at Potali

    Rajarajeshwari Temple at Potali

    A 900-year-old inscription was discovered at Polali Rajarajeshwari temple located on the outskirts of Mangaluru.

    It was found during the ongoing renovation works of the temple. Moodabidri-based historian Dr Pundikai Ganapayya Bhat, who examined the inscription, said: “It is a 900-year-old Kannada inscription that was found on the left of the sanctum sanctorum of the temple. It was used as a pedestal for the Nityabhisheka (daily worship) of the idol. It has a mention about Alupa ruler Kulashekara and his liegeman Biliveya Nambi.”

    The inscription, 38 inches tall and 24 inch wide, has 20 lines of writing. Sculptures of two lions and a man along with a lady sitting between these lions are seen on the lower part of the inscription. A few scriptures in between have been damaged. It dates back to 1117 AD. Ganapayya said that the 14th line mentions Pandya Pattiga Deva which could be the title of the ruler — Kulashekara.

    It has a mention of Alvakheda 6000, which means that the region was ruled by the Alupas. Three Veeragallus were also found. Dr B Rajashekarappa, a researcher from Chitradurga, has helped in understanding the inscription. The Alupas are a royal dynasty that ruled Tulunadu from 4th to 15th century. Kulashekaradeva was one of the prominent rulers of Alupa dynasty.

    The Inscription which was found at the temple

    The Inscription which was found at the temple

    A brief history of Alupas

    The Alupa of Tuluva race was a royal dynasty which ruled their native land, Tulunadu, which is now in coastal Karnataka. They independently ruled their kingdom, known as Alvakheda, since the beginning of the common era. Later, with the dominance of Kadambas from Banavasi, they became feudatory to them. With the changing political scenario, soon they became the vassals of the Chalukyas, Rashtrakutas, Hoysalas and Vijayanagara Rayas.

    source: http://www.bangaloremirror.indiatimes.com / Bangalore Mirror / Home> News> State / Bangalore Mirror Bureau / September 20th, 2017

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    September 20th, 2017adminArts, Culture & Entertainment, Records, All
    Bengalureans can take rain-affected artwork to the experts at CKP

    Bengalureans can take rain-affected artwork to the experts at CKP

    Experts at Intach-CKP help treat artwork affected by the high humidity in air

    For automobile mechanics, plumbers and doctors, monsoon is a busy time. In the city, however, there is a set of other specialists too, who get busy during this time in particular – working away at rain damage control for pieces of art.

    When there is moisture in the air, fungus crops up in old paintings, murals, heirloom clothes and antique furniture. Art experts at Intach- Chitrakala Parishath Art Conservation Centre (ICKPAC) in Bengaluru are busy this time of the year with conservation and restoration work.

    The centre with a small team of around 10, housed in Chitrakala Parishath premises, has its hands full with rain treatment as a good chunk of Bengalureans are art connoisseurs and possess a variety of heritage and heirloom articles, most of which could have been handed down over generations.

    The little-known centre had earlier handled prestigious restoration projects, including the Velankani Church, Vidhana Soudha paintings and art pieces at Puttaparthi Sai Baba ashram. “Bengaluru’s weather is such that a lot of moisture is in the air during monsoon. This allows growth of fungus in paintings, furniture, clothes and art objects, which need to be treated. Treating is not a permanent solution but we can call it remedial conservation or preventive conservation. We have a team that has specialised in art conservation and we take up such work. It is highly niche work. People come to us with their old paintings, clothes, wooden work, murals and different kinds of art pieces, which we treat for fungus,’’ Madhu Rani, director of Intach Chitrakala Parishath Art Conservation Centre, told Bangalore Mirror.

    The centre has done work not just in the state, but it also takes up work commissioned by other parts of South India. Their earlier work of restoring 300-year-old murals in Thiagarajaswamy temple, Tiruvarur, was a landmark project. These paintings go back to the Nayaka period and are on the ceiling of the thousand-pillared hall in Thiagarajaswami Temple premises. Conservation of mural paintings in Nalaknadu Palace, Kodaganadu, restoration of Mother Mary altar at Velankani church, are also noteworthy. The centre is carrying out restoration of the collections in Puttaparthi Sai Baba ashram — old European paintings gifted by Maharajas of Jamnagar.

    “We are documenting all wall painting sites in Karnataka at palaces, temples or old houses. We have the inventory of such sites and are documenting the status of the paintings,’’ Rani said.

    OPEN FOR ALL

    On Saturday morning, a Parichay will be organised to introduce people to ICKPAC’s works — conservation of paintings, documents, temple murals and oil paintings. This will be led by Madhu Rani and her team. Rani will talk about how you can preserve your great-grandmother’s photograph, or that treasured letter written by your grandfather. Or may be a book that has been handed down generations. The Parichay will be held at Chitrakala Parishath and will be for about two hours. Those interested can mail intach.blr@gmail.com and the event comes with a nominal fee.

    source: http://www.bangaloremirror.indiatimes.com / Bangaloremirror.com / Home> Bangalore> Others / by Kushala Satyanarayana / Bangalore Mirror Bureau / September 20th, 2017

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    With every Yakshagana performance, multiple versions of Ramayana are created on the stage. | Photo Credit: File Photo.

    With every Yakshagana performance, multiple versions of Ramayana are created on the stage. | Photo Credit: File Photo.

    Scholars discuss versions of the epic and their influence on India and Southeast Asian countries

    In a Kathakali performance staged in 1780 by Kallaikulangara Raghava Pisharoty, Ravana from the epic Ramayana takes centre stage. Set 10,000 years before Rama’s birth, the dance-drama depicts the story of Ravana’s ancestors, the downfall of the kingdom of the rakshasas, the birth of Ravana, his love for his mother and his great tapasya (austerity) to regain the lost glory of his clan.

    The performance portrays Ravana, the villain of Valmiki’s Ramayana, in the most sympathetic light, bringing out the qualities of courage, resolution and strength of character. Rama is nowhere in the picture.

    The Malaysian shadow play Wayang Kulit Kelantan draws influence from the oral folk versions of the Ramayana, which travelled beyond the shores of India. The role of Gods and saints is reduced drastically. Wayang Kulit portrays different versions of Ravana’s origin, including the one in which he is born in the heavens and banished to Earth. There he meets Adam and they divide the world among themselves.

    These and many other versions of Ramayana and their influence on art, culture and social landscape of India and Southeast Asian countries were revisited by scholars at the two-day international conference on Connecting Cultures: Ramayana Retelling in South India and South East Asia, which was held at REVA University on September 14-15.

    Stating that the manifestations of core themes of the Ramayana are complex and in need of detailed research, Dr. Ghulam-Sarwar Yousof from the University of Malaya, Kuala Lumpur, said, “A lot of Malaysian, Thai and Indonesian versions of the Ramayana can be traced back to Krittivasi Ramayan, composed in 15th century Bengal.”

    Malini Saran, independent scholar, presented a paper about the discourse on governance and ethics initiated in the first known Ramayana in Java called the Old Javanese Ramayana. “An emphasis on the spiritual and ethical rather than devotional values of Rama’s story in this version allowed imaginative interpretations, with its content and characters used as an allegory for contemporary situations.”

    Cheryl Thiruchelvam, a PhD scholar from Universiti Tunku Abdul Rahman, Malaysia, spoke about the emerging art forms, artistic practices, architecture in Malaysia that have origins from versions of the Ramayana. Citing examples of painters Nik Zainal Abidin, Syed Thajudeen and Loo Foh Sang, she discussed how they drew inspiration from Wayang Kulit (traditional puppet-shadow play in Indonesian culture) for their paintings.

    Sessions were also held on retelling of Ramayana within the canon of Kannada literature and its multiple interpretations in the Yakshagana of coastal Karnataka.

    Dr. Purushottama Bilimale spoke about the 60 episodes of Ramayana created by around 40 authors for Yakshagana performances. “All of these episodes are flexible depending on the time of performance, community and the artistes’ talent. Also versions differ in terms of music, poems and dance. With every Yakshagana performance, multiple versions of Ramayana are created on the stage,” he said.

    The conference also deliberated on Ramayana narratives from the Hoysala to Vijayanagar empires, the influence of the epic on sculpture in medieval India such as Pallava and Pandya archaeology and artistic representations throughout India and Southeast Asia.

    Before the conference began, participants observed silence for one minute in memory of journalist and activist Gauri Lankesh.

    source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Staff Reporter Bengaluru / September 17th, 2017

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    Music director and singer L.N. Shastry. | Photo Credit: Special Arrangement

    Music director and singer L.N. Shastry. | Photo Credit: Special Arrangement

    L.N. Shastry (46), noted playback singer and music director of Kannada cinema, breathed his last on Wednesday noon. He is survived by his wife Suma Shastry, a noted singer. Shastry was suffering from cancer.

    Shastry has sung for over 25 films and his “Kolumande Jangama Deva” for the film Janumada Jodi directed by T.S. Nagabharana brought him name and fame. This song also got him Karnataka State Film Award as Best Male Playback Singer. “Karunaade KaiChachide Node” for the film Malla starring Ravichandran was another of his hit songs.

    He was disciple of music directors Hamsalekha and V. Manohar, before he became an independent composer for the film Kanasalu Neene Manasalu NeeneMelody was the last film he composed music for. He has last sung for a song for the film Love in Mandya.

    Political leaders and members of the film fraternity condoled the death of the musician, who enriched Kannada cinema through his music.

    source: http://www.thehindu.com / The  Hindu / Home> News> Cities> Bengaluru / by Special Correspondent / Bengaluru – August 30th, 2017

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    The aim is to create a cultural documentation of the sari.

    The aim is to create a cultural documentation of the sari.

    The Nivi drape, or the one where the pallu of a sari is worn on the left shoulder, is the most common type of sari drape in the country and the world over. But India has hundreds of such drapes, specific to region and culture, that have been forgotten over the years. To document these drapes and create a digital archive, Border&Fall, a city-based digital platform promoting the garment, textile and craft community of India, is making 80 short films as part of its project ‘The Sari Series: An Anthology of Drape’.

    Each film will be two minutes long and will show how to drape a sari in a particular style. The archive, expected to be released this fall, can be accessed online for free .

    “This project has been an idea for years, but we began proactively working towards it in early 2016. The aim is to create a cultural documentation of the sari through short films, which will give people access to various drapes, and to showcase the diversity and versatility of sari as a garment,” said Malika Verma Kashyap, founder of Border&Fall.

    However, Ms. Kashyap said this was not an attempt to “revive” the garment. “The sari is not a forgotten tradition, it is worn my millions of women every day. But many are unaware of the different ways it can be worn. The Boggli-Possi drape from Andhra Pradesh for example is great to behold,” she said.

    Some of the other styles to be documented are the Coorg drape, the Kalna Sari drape from West Bengal, Kuchipudi men’s sari drape from Andhra Pradesh, Yakshagana Kase from Karnataka, Purnia drape from Bihar, Warli drape from Maharashtra, and Ranchi Saiko drape from Jharkhand.

    Apart from the 80 films, three independent films directed by Qaushiq Mukherjee, Bon Duke and Pooja Kaul will explore the sari’s past, present and future.

    Some of the images of the drapes are part of the #WeWearCulture project by Google Arts & Culture.

    source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Sarumathi K / Bengaluru – July 28th, 2017

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    Bengaluru Karnataka 25/07/2017 Old Windows on Avenue Road Bengaluru . Photo: Sampath Kumar G P | Photo Credit: G_P_Sampath Kumar

    Bengaluru Karnataka 25/07/2017 Old Windows on Avenue Road Bengaluru .
    Photo: Sampath Kumar G P | Photo Credit: G_P_Sampath Kumar

    INTACH’s heritage walk on Avenue Road today marks 10 years of ‘Parichay’ project

    The cacophony that dominates Avenue Road is something that every Bengalurean knows only too well. The busy road is home to hundreds of shops and buildings. However, it also boasts small islands of period architecture, which are a rich source of knowledge about the city’s heritage.

    This year, the historic road will host the 115th ‘Parichay’ Heritage Walk conducted by the Indian National Trust for Art and Cultural Heritage (INTACH – Bangalore Chapter) on Sunday. The walk will also mark 10 years of the Parichay project.

    INTACH plans to conduct an ‘architecture walk’ that will give a historical perspective to the dime-a-dozen brick and mortar structures that pack the road. “To have people understand this through the eyes of an architect, we will have Vijay Narnapatti take people to heritage buildings,” said Meera Iyer, co-convener, INTACH.

    “The walk will begin at Mysore Bank Circle and end at the Anjaneya temple. On the itinerary are the Rice Memorial Church (named after Benjamin Holt Rice, a missionary of the London Missionary Society), and Manik Mastan Saheb Dargah. The syncretic culture that has thrived for hundreds of years, much before the time of Hyder Ali, continues to flourish on this historic road,” said Mr. Narnapatti.

    The thriving marketplace will remain a constant companion during the walk. The area was called Dodda Pete before being renamed Avenue Road.

    “Possibly, owing the avenue of trees. We still have British colonial-style buildings here. If the government declares it a heritage road, it would be befitting its history,” said Mr. Narnapatti.

    Avenue Road houses some of the best carved facades. Stone was used in most of the buildings, including Raja Market, and in the temple, church, and the dargah. “While stone was used as both a building material and for cladding and flooring, the colonial influences are seen in the windows with small columns on either side, arched windows, and pointed wooden shutters,” he said.

    The markers on each of the side streets in stone can be seen even today. “There are remnants of the stone seats installed beneath a cluster of trees that are tucked away in the side lanes that had cobbled stones for a walk path, not visible from the main road,” said Mr. Narnapatti. But in the midst of all this beauty grew a monstrous market that erased most of its architectural heritage, he added.

    source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / Ranjani Govind / July 30th, 2017

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    July 28th, 2017adminBusiness & Economy, Records, All

    KIAbf28jul2017

    The Kempegowda International Airport (KIA) now has its own patrolling bikes.

    Introduced for the first time in any airport in the country, the custom-made motorcycles were launched on Monday.

    Two bikes have been introduced now for ground traffic control duties within the airport premises. An airport spokesperson said these bikes will help in quicker and seamless movement of personnel through the network of roads and pathways inside the campus.

    More such two-wheelers are expected to be introduced soon.

    source: http://www.deccanherald.com / Deccan Herald / Home> City / DH News Service, Bengaluru / July 28th, 2017

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    Shashwati01BF27jul2017

    We have a rare women’s museum in the city. Read on to find out the interesting story behind its birth and its even more intriguing collection

    The city nurtures in its womb, little known spaces and unknown treasures an inhabitant can only discover if suitably armed with time and curiosity. Shashwati Women’s Museum is one such gem which needs to be discovered. Its location — nestled inside NMKRV Degree College for women in Jayanagar — makes it even more rare. Shashwati is a word derived from the Sanskrit word Shashwat which means eternal and Chi.Na. Mangala, educationist, journalist, author, visionary wanted to create something for posterity. The founder-principal of NMKRV Degree College for Women in 1973, with her colleagues undertook a padayatra in Bengaluru and Mysuru collecting women-related artefacts. That is how Shashwati Women’s Museum was born.

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    Dioramas, grinding stones, wooden troughs, vessels, radios, typewriters, old gramophones, wooden cradles, objects handcrafted from plastic, paddy, fabric, crochet, jute, photographs, paintings, sculptures in copper, brass and stone make up this museum. “All the items that you see were made and used by women and that is what makes it so rare,” says Vani M.N, one of the oldest serving teachers in the college.

    The museum can introduce one to Nanjanagudu Thirumalamba, Karnataka’s first woman writer, journalist and publisher. As soon as visitors enter, they can find a display section dedicated to the iconic personality with her handwritten articles, letters and a few of her personal belongings. “Mangala once wrote an article for a magazine claiming that Thirumalamba was dead. But she later found out that Thirumalamba was alive. Mangala took it upon herself to find her. She eventually found her living in a small house in a village in Chennai. Chi.Na.Mangala felt she had committed a sin and to atone for it, she needed to build something for eternity. She went door to door collecting these items,” reveals the senior teacher.

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    Vani picks a wooden sieve, nut crackers,and dioramas depicting saint-poet Basavanna’s life as well as a 100 year-old paddy tray and a 120 year-old saree with gold threads worn by Mangala’s mother on her wedding, as highlights of the museum.

    The nut crackers are truly a delight, especially the ones styled as a Yaksha-Yakshi, or a fish. The dioramas lined at the fag-end of the museum, depicting important episodes from Basavanna’s life, are also significant. With each object clearly stating the name of the donor and creator, the collection becomes credible.

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    If the display and curation were better, the museum could have transformed into an extraordinary space. But the fact is that it is dealing with practical challenges of space.

    “The collection hasn’t stopped growing so we have to figure out how to accomodate it. There is a museum committee which has been formed and we have to take certain important decisions regarding these issues, soon it will be a better place. When it comes to a curator, we need someone who will be there with us for a long time. We need a committed person; what we do now is train and pass on the information to a present staff member,” explains Vani, who heads the Department of Journalism and Mass Communication.

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    The museum is not like other museums where visitors can just walk in. One needs permission from the college to visit the space. “It is inside the college and that’s why one needs to be a little cautious but whoever wants to come can call us and see it.

    The museum is particularly relevant to the students of the Department of Women’s studies and outsiders undertaking research on gender or anthropology,” adds Vani. The museum is currently closed to visitors due to some construction work.

    Shashwati Women’s Museum,NMKRV Degree College of Women,3rd block, Jaya Nagar East, Near Uphara Darshini, Banashankari

    Call: 080 2663 7042

    source: http://www.thehindu.com / The Hindu / Home> Entertainment> Arts / by Shailaja Tripathi / July 26th, 2017

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