Hindustani vocalist Venkatesh Kumar will be conferred the Sri Puttaraj Gawai Award and and Hindustani vocalist from Shivamogga R.B. Sangameshwar Gawai the Gaanayogi Panchakshari Award in recognition of their contribution to the field of music.
The awards for 2017, instituted by Ballari-based Sri Puttaraj Kavi Gawaigala Seva Sangha, will be presented at the Dr. Joladarashi Doddanagouda Rangamandir here on Thursday at 6 p.m. to commemorate the 150th birth anniversary of Hangal Kumarswamyji, the 125th birth anniversary of Panchakshari Gawai and the 103 birth anniversary of Puttaraj Gawai. Briefing presspersons here on Monday, Mrutyunjaya Bandral, president of the sangha, said that the awards comprises a purse of ₹ 25,000 and ₹ 11,000, citations, shawls, respectively. The cash awards are sponsored by N. Suryanarayan Reddy, granite exporter and Congress leader, and Allum Vinayak.
A host of swamijis of various religious mutts, including Chandrashekar Shivacharya Bhagwatpada of Kashi Peetha, Varanasi, one of the pancha peetas, will grace the occasion.
Allum Doddappa, former president of Veerashaiva Vidyavardhak Sangha, will preside over the function. Venkatesh Kumar will perform after the function.
source: http://www.thehindu.com / The Hindu / Home> News> States> Karnataka / by Special Correspondent / Ballari – March 21st, 2017
Shamitha and Renita thought outside the box during 1995 and established Mother Teresa Memorial Education Trust
A school started with just 12 students on an open stage by these two young women two decades back, has grown from strength to strength and now imparts knowledge to around 1,167 students – that too exclusively from rural areas.
This wouldn’t have been possible if Shamitha Rao and Renita Lobo, educated in Mangaluru city, had not set their priorities right – to educate the rural children.
Being women, they thought outside the box during 1995 and in spite of struggles and humiliation, the duo were successful in establishing Mother Teresa Memorial Education Trust in Shankarnarayana, Udupi district. The education institution , which is 110 kms away from Mangaluru, empowers rural children with education.
“It all began during 1995, after our graduation we were sent to a village named Siddapur in Kundapur Taluk to serve in a private school which had just started. That was for the first time we were exposed to rural environment – Rural school, rural people, and hardly any access to quality education. Being born and brought up in Mangaluru city, it was very hard for us to accept that life where little ones were so much deprived of basic quality education. We served in that school for two years after which our parents wanted us to come back to Mangaluru. One evening when we were packing up all our belongings, some parents came to us with gratitude and said they did not want us to go. Meanwhile, our house owner suggested us to open our own school. We both looked at each other’s face. That night we knelt and prayed to God and decided firmly to open a school which could be afforded by any section of the society. We wanted to educate the children of the uneducated parents unlike other schools who wanted to teach only the educated parents’ children,” recall Shamita and Renita.
Shamitha and Renita, 40, graduated from St Agnes College, Mangaluru and pursued MA through distance education from University of Mysuru.
Shankarnarayana amidst forest area is economically backward and nearby village areas are affected by Naxalites. “We were looking for a place which is small and backward. There was a call from within to start the school here as this was a very small village with small population of not more than 10,000 people. We started everything from scratch. We were very young to make a great plan with a big budget. We knew only thing that we wanted to teach the small children in the best way possible. This small beginning has a great ending.
In 1998, we hired an open stage from village Panchayat on a nominal rent. In the hall we accommodated two classes (LKG & UKG) for 12 students. For the other expenses we used our little savings of two years. Today institution has grown till PUC II with good results,” said the duo sharing their tale.
The institution is known to be one of the best in Udupi district. Every year more than 75% of the students come out with distinction. This year in district, the school is in the top most positions by QPI (quality Progressive Innings) in SSLC result. Even in PUC out of 5 years’ results, thrice they have secured cent percent.
People, family mocked us:
It was not a cake-walk for Shamita and Renita during their initial days. “People mocked us saying that we will close the institution after three or four years. Meanwhile, our families too did not support our ideas. Even government officials during school documentation works kept on pestering and harassing us because we were two young women with no prior experience. But the constant support from donors, especially Bishop of Mangalore Most Rev Aloysius Paul D’Souza kept us going to reach our goal,” they said.
source: http://www.timesofindia.indiatimes.com / The Times of India / News> City> Bangalore / by Kevin Mendonsa / TNN / March 07th, 2017
‘Pothole Raja’ claims to have filled over 200 potholes in less than a year. | Photo Credit: E mail
His special powers enable him to reduce a pothole to just a bad memory in less than five days
If you spot a pothole and dread its impact on motorists using that road, what do you do?
One option is to click a picture, ‘WhatsApp’ it to 814POTHOLE (the letters correspond with the numbers 7684653) and wait for ‘Pothole Raja’ to come to your rescue.
The special powers of this new superhero are to make the pothole a thing of the past in less than five days.
The initiative by Prathaap Bhimasena Rao has already drawn customers, including IT parks, large hospitals and some resident welfare associations (RWAs) who got tired of the multiple deadlines announced by the Bruhat Bengaluru Mahanagara Palike (BBMP) to rid the city of the menace.
‘Pothole Raja’ claims to have filled over 200 potholes in less than a year.
The brain behind the project, Mr. Rao, is a former pilot who shifted to corporate life after a crash. He started his ‘social enterprise’ after a stint as the global vice-president of a multinational.
Loss of lives
“Close friends and relatives have been impacted directly due to potholes. A friend, who was a doctor, died on her way to Vellore from Bengaluru on the highway two years ago. A team member of mine lost his limbs, while riding his Bullet, in a pothole-related accident,” he said, recalling the trigger for ‘Pothole Raja.’
He pointed out that Bengaluru’s poor road conditions and traffic issues were the topics of discussion everywhere he travelled. “The road infrastructure technology we use is at least 70 years old. I consulted engineering professors and did my own research to see what is being done in other countries. The hot asphalt that we are using is not cost effective for patchwork; it can be used only to lay roads,” he said.
This is when ‘Pothole Raja’ teamed up with a Bengaluru-based company to produce cold asphalt. According to Mr. Rao, the cold asphalt requires a person to fill the hole and run a car over it twice. “A 50 kg bag of this mix can be stored for 10 months,” he said.
The cost: about ₹2,500 for filling one sq.mt. up to 50 mm depth.
“In some cases, we put in our own money to fill potholes,” Mr. Rao said. He has no plans to work with the civic body.
But some of the people who have tried the new technology are unconvinced.
The member of an association of an IT park said, “Potholes are not a big problem within our campus, as we asphalt the roads every two years. We usually fill concrete if it is a small pothole. If it is a big one, we remove the concrete and asphalt the space. But we are not sure if the cold asphalt will take the wear and tear.”
BBMP’s pothole app
Even as private players have started pitching in to fill potholes, the BBMP is yet to open its pothole app to the public. BBMP Commissioner N. Manjunath Prasad said the app has been used by officials for a month.
“A lot of civil works have already started and filling up of potholes is also in the works. Work orders for relaying roads have been given for almost the full city. We will review the progress after 15 days,” he said.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Deepika K.C. / March 01st, 2017
Mowgli’s jungle, where his friends and enemies walked and prowled, was largely created on a few computer screens in Bengaluru.
It was on a few computer screens in Bengaluru that a blue screen at Hollywood was transformed into a rich canvas of dense forests that hosted the tense drama of Disney’s The Jungle Book.
A significant part of the film, which took home the award for Best Visual Effects during the 89th Academy Awards on Sunday night, was done in Bengaluru, where nearly 300 engineers — out of nearly 800 spread across LA and London — built and provided the finishing touches to a jungle world where Mowgli, his friends and enemies walked and prowled.
“The film was extremely challenging and would be a huge benchmark for visual effects. We had childhood attachments too, for ‘Jungle Book’ is an Indian story. We always hope for the best, but an Oscar is the icing on the cake,” says Amit Sharma, head of compositing at MPC Studio Bengaluru, which was the lead VFX studio for the film.
The mandate given to them was to render a photo-real world, where 224 unique animals would be “captured in their surroundings” as if they were roped in for the film.
Two teams scoured through six forests of south and central India, through three seasons, covering nearly 18,000 km. The result was 20 TB of information and four lakh photographs rendering a landscape, from the rocks to the waterfalls, ferns to pebbles.
“The ‘man-village’ inspiration came from rural Rajasthan, the wolf caves from Badami caves, Banyan trees from Goa, and elephants from those seen at Periyar… these were the references, but everything was created from scratch,” said Mr. Sharma.
From LA to Bengaluru
From Los Angeles, the Oscar statue is expected to come straight to Bengaluru, where the engineers will be given a chance to party with it, said Biren Ghose, executive director of MPC Bengaluru. Engineers in the city had previously played a role in the Oscar-winning Life of Pi in 2012, apart from rendering the graphics for at least six other films nominated for the Academy Awards over the years.
“The complexity, technology and technique used was far beyond Life of Pi because of the scale we were looking at — an entire world that was a crossover of animation and visual effects. All of which was created to an extent that the line between reality and computer-generated characters became blurred… at one point, even Mowgli was computer-generated, and the audience did not know it,” said Mr. Ghose.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Staff Reporter / Bengaluru – February 28th, 2017
Of late, Bengaluru has been playing host to a number of initiatives that primarily focus on a cultural exchange between India and Japan.
Cut to the latest, the city witnessed the second chapter of the All Women World Arts Festival.
Presented by International Arts and Culture Foundation, the event aimed at women empowerment and promote arts and culture. During the cultural evening, audiences were treated to a host of music and dance performances.
source: http://www.timesofindia.indiatimes.com / The Times of India / News> Entertainment> Events> Bangalore / TNN / February 27th, 2017
Dakshina Kannada’s Vilas Nayak is a name that probably the whole world is familiar with.
Now meet Shabari Ganiga, Karavali’s sole female fast painter, who like Vilas is steadily carving a niche for herself in the region. “Painting has been a passion since I was a five-year-old. It is what I looked forward to doing soon after coming back from school,” says Shabari.
The fondness for the art grew and it was five years ago that she decided to take up another dimension – fast painting. “It all began when I started attending events to participate in cultural programmes. I’m also a singer, so whenever I finished my turn and had to wait for my team mates to perform, I’d end up getting bored. So, I decided to start painting when my team performed on stage. I gradually started doing live paintings on stage based on the dance/song that was being performed. Initially, I’d sketch and then paint it.
But that drew taunts from my team members as they felt it was no big deal to do something like that. I took it up as a challenge to start painting straight off and soon I was doing 6/4 feet paintings in less than five minutes,” adds Shabari.
The 23-year-old MCA student loves painting portraits and has already done many live fast paintings. “My dream is to go international and show Dakshina Kannada’s inherent and rich culture on a big platform. I also want to paint Dr Veerendra Heggade, a personality I look up to,” she tells us. Shabari has one grouse though. “There are not many female artists in our country and that is something I’d like to turn around,” the artist sums up.
source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Mangalore News / by Madhu Daithota / February 25th, 2017
Shivaji spent some of his childhood here, but details of the period are limited and sketchy.
The man with the “quick eyes” was none other than Shivaji, then lord of the Bhonsle warrior clan, the man who would go on to become the founder of the mighty Maratha empire. Today, of course, is his birth anniversary (his 387th, if we go by the generally accepted date – there are other accounts where his year of birth has been given as 1627), and there will be great celebrations of the Maratha icon in Mumbai and other parts of Maharashtra, the core of his empire.
But Shivaji had a significant connection to Bengaluru as well. He spent some of his childhood here, but details of the period are limited and sketchy.Historical records say that he came to Bengaluru as a 12-year-old with his mother Jijabai to meet his father Shahaji Raje, who then ruled Bengaluru. According to city historian and author Maya Jayapal, Shahaji summoned Jijabai and their second son to Bengaluru. “Shivaji lived in Bengaluru for some time between 1640 and 1642 and took a liking to the city,” she says.
“Shivaji stayed in Bengaluru for a few years and his wedding took place in between. He liked the place and wanted to stay on for longer,” says city historian Suresh Moona, citing recordings from the Bengaluru Darshana, a city chronicle.
In 1973, well-known historian Sir Jadunath Sircar wrote a book titled Shivaji and his Times. In it, he records Jijabai’s letter to her husband Shahaji, where she tells him that the 12-year-old Shivaji, has gone long past marriageable age for a Maratha nobleman. The letter may have been the trigger for Shahaji asking Jijabai to Bengaluru, bringing their son with her. Shivaji duly arrived in Bengaluru around 1640, accompanied by Jijabai and Dadaji Konddeo, the head of Kondana fort and Shivaji’s guardian.They came to Shahaji’s Bengaluru palace, where he was residing with his second wife Tuka Bai and son Vyankoji (aka Ekoji), writes Sircar.
Sircar also provides details of Shiva ji’s wedding to Saibai Nimbalkar of Phaltan in Bengaluru, after which Shahaji bestowed him with powers to rule Pune.He sent the couple back in 1642 along with four handpicked administrators Shyamraj Nilkanth Ranjhekar as chancellor, Balkrishna Hanumante as accounts general, Sonaji Pant as secretary and Raghunath Ballal Korde as paymaster.
DV Kalauvkar, a retired school teacher who lives in Indira Nagar, has been researching the Maratha Empire since 1999. According to him, Shivaji’s first wedding to Saibai took place at Lal Mahal in Pune in the absence of his father. “Shahaji summoned the couple with Jijabai, and the wedding ceremony was conducted again in Bengaluru at Shahaji’s palace,” says the 72-year-old researcher.
The exact location of the palace where Shahaji lived and governed Bengaluru remains disputed with historical records providing little information. The Karnataka State Gazetteer of Bangalore District (Urban) edited by the late Karnataka historian Suryanath U Kamath speaks of a Gaurimahal Palace in the present-day Chickpet area where Shahaji is believed to have lived. This is also supposed to be the place where Shivaji and his elder brother Shambhaji spent some years of their childhood.
Historian M Fazlul Hasan in his famous book Bangalore Through The Centuries describes a Gowri Vilasa Hall in the city where Shahaji lived and conducted court. Hasan quotes a poem – a Sanskrit champu – called Radha Madhava Vilasa, which the poet, Jayarama Pandye, is said to have read to Shivaji and Shahaji at the Hall.
Hasan speculates that the Gowri Vilasa Hall was perhaps inside the old palace built by Kempe gowda, built at what is now the dilapidated Mohan buildings (built in 1909) and the defunct Vijayalakshmi theatre building in Chickpet stand.
Another link between the Marathas and Bengaluru is explored in Bengaluru to Bangalore by Annaswamy TV. According to Annaswamy, Shahaji repaired Kempegowda’s fort, reinforcing its four towers and nine gates. He too, places the fort in the Chickpet area.
SHIVAJI MEMORIAL IN SADASHIV NAGAR
In Sadashivnagar still stands the 14ft tall and six ft wide bronze statue of Chhatrapati Shivaji on a two-storey fortress like structure. Unveiled on January 10, 1993 by then Maharashtra Chief Minister Sharad Pawar alongside his Karnataka counterpart M Veerappa Moily, the statue was the subject of protests by linguistic groups and it took over a decade for the statue to be unveiled to the public after it was originally commissioned in 1983.
SHIVAJI THEATRE ON JC ROAD
A landmark cinema hall in the Garden City, the Shivaji theatre near the Town Hall was unveiled by Sir Mirza Ismail, then Diwan of Mysore, in 1940. Former Bangalore city mayor and Karnataka Film Chamber of Commerce President KM Naganna took the hall on lease from its Marathi owners and operated the place till the early 1980s. The theatre building with the statue of Shivaji displayed prominently on top was partly demolished in the late 80s and has been used as a warehouse ever since. But the statue still stands on the dilapidated structure and can be seen as you pass the busy JC Road.
source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Bangalore News / by Petlee Peter / TNN / February 19th, 2017
Theatre personality Jagdish Raja reminisces over days gone by as he takes a tour of Bengaluru
I have been in Bengaluru for over 44 years and the places I have been to are many, in many times and for many reasons. Prabhat Kalavidaru in Jain Temple Street for English recordings for radio commercials. I do believe that it was I who introduced them to the ‘All Okay’ thumbs up sign, before it was stolen by the soft drink of the same name. Incidentally, the lad behind the glass window was Jaganath and yes, Jagu, was the name we shared! Old Bengaluru. Narrow lanes. Dosai stalls at every corner.
Ravindra Kalakshetra and soon after, Chowdiah We were the first English language theatre to perform in Chowdiah. Rental was ₹ 3,000 a day or just under ₹ 3 per seat. With tickets at ₹ 5, 10 and 15 we were, as the saying goes, quids in! We go back occasionally and yes, some of the faces are still there!
Russell Market: We ran a poultry farm with 6,000 birds laying about 4,000 eggs per day, 30,000 in a week. Our wholesaler had a tiny shop in the street running north west off the main building. We would go in to collect…expectant. Overjoyed that we were getting ₹10 for a tray of 30 eggs. That is right 33 p per egg. In those days I would tip all my tipsters not in cash but in eggs! And yes…Thomas is still there.
Bangalore Club: Where would we be without our old BC?! It was our second home. The boys, Gautam and Sumit, would stroll in after school and be served with a snack and a soft cold drink, without even asking for it. We knew all the bearers and they all knew us. Even today, there are a score or so who ask after us and about them – Gautam in Los Angeles, Sumit in Melbourne.
Bengaluru to us could be as far away as either of these two cities. We could make it to the Club in 20 minutes, top gear all the way, waving to people in cars as we passed. Today, it is a two-hour start-crawl-stop journey with pesky two wheelers oozing in left and right. But then what has Bengaluru got that Bangalore had not? Well, Bengaluru has sucked Whitefield in.
source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / February 23rd, 2017
Dr. Vageesh, musician-musicologist, traces his career with Akashvani
It was good to see Dr. K. Vageesh receive the Ganakala Bhushana Award at the 47th Karnataka Ganakala Parishath proceedings recently in Bengaluru. The 62-year-old musician-musicologist-composer committed to his task at the helm of Akashvani for 36 years came up with an informative lec-dem as he explained the nuances of the much-debated Abheri and Karnataka Devagandari.
“Only a musician, who is also a musicologist can demonstrate such finenuances,” said Dr. R.K. Padmanabha, president of the Ganakala Parishath after honouring Dr. Vageesh with the Ganakala Bhushana Award. “Vageesh, who is integral to the much-appreciated AIR auditions, has studied, sung, reflected and worked with the grammar of music for more than four decades. The Parishath is happy to recognise his lifetime achievements,” announced Mr. Padmanabha.
Dr. Krishna Vageesh, top-grade artist of AIR, now on an extension as the Deputy Director General (Music) Prasar Bharati, New Delhi, was born in 1954 in Mysore. Belonging to a family obsessed with classical melody for generations, he also boasts a lineage of love for Sanskrit, the Vedas and divinity attached to temple histories.
Music was deep-rooted with grandfather Srirangachar rubbing shoulders with M.D. Ramanathan as his classmate. Vageesh also took guidance from Tiger Varadachari. “M.D. Ramanathan visited us at Kathwadipura Agrahara in Mysore, a traditionally erudite neighbourhood where we were brought up. He once heard me sing the Kamalamba Navavarana kriti and had prophesied that I would make it big,” reminisces Vageesh.
Mysore has always been a vibrant cultural hub. “The echoes of naada and Veda in the Agrahara where I grew up still linger in my ears,” says Vageesh.
Vageesh’s entry into Akashvani was just by chance. “I was a senior chemist with SKF and was frequently recording for Akashvani. Y.S.K. Rao, then Director, who listened to me on one such occasion, said, ‘Why don’t you apply for a job in Akashvani?’ Soon I was selected through UPSC as Programme Executive at New Delhi Akashvani in 1980. I was put in charge of Yuvavani,” recalls Dr. Vageesh. “I am grateful to stalwarts such as veena Doreswamy Iyengar and R.K. Srikantan, who encouraged me to be part of radio broadcasting. I bagged three annual awards for my musical productions, Navras, Silence in Music and Haathon Ka Tharaana,” he says.
Although his aunt H.S. Mahalakshmi of the Tiger Varadachari school was his formal guru, this gold medallist in M.A. (Music) expanded his horizon with guidance from faculty stalwarts such as Prof. Ramarathnam, Gowrie Kuppuswamy and R. Vishweshwaran. “They helped me reach where I am today,” says Vageesh. “I used to observe all the old-time greats too and that included their mannerisms. I loved imitating them and even adopted some of their techniques in my presentations,” he says. This analytical mind helped me pursue a doctorate in Dikshitar compositions.”
Vageesh was a winner all along, from music competitions in school and college, to State and reputed music organisations such as the Bangalore Gayana Samaja, Karnataka Ganakala Parishath and the Music Academy in Chennai. Winning the AIR competition earned him a B-grade status as a youth artist.
Vageesh considers his stint as the Assistant Station Director in charge of the music section at the Directorate a precious opportunity as he watched stalwarts such as M.S. Gopalakrishnan, Emani Sankara Sastry, Madirimangalam Ramachandran and T.K. Govinda Rao conduct their orchestral productions. The years as the Deputy Director, National Programmes and Sangeeth Sammelan later, was a huge learning curve as he discussed the orchestrated pieces with sitar maestro Ravishankar, Vijaya Raghava Rao and Anil Biswas.
Vageesh’s phase as a composer began 15 years ago, with a kriti in raga Ranjani. He has to his credit 100 compositions as varnams, kritis and tillanas. “I have a few CDs of my compositions too,” says Vageesh, who conducts Tyagaraja aradhana at his residence in Bengaluru every year.
source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / Ranjani Govind / February 23rd, 2017
A visual treat returns to Bengaluru after 16 years. Art aficionados will be able to relish 111 select works of artists at the National Gallery of Modern Art.
The 58th National Exhibition of Art, organised by the Lalit Kala Akademi, opens on Friday and will be on till March 19. The exhibition will comprise painting, drawing, sculpture, photography, installations, collage works, and printmaking in mixed media. The Akademi had earlier said it would shift the carnival out of Bengaluru because of NGMA’s reluctance to host it in the absence of approval from the Union Ministry of Culture. But the efforts of many artists, especially of Chi. Su. Krishna Setty, Administrator, Lalit Kala Akademi, who vociferously pitched to have the exhibition here, have finally paid off. “We will get to see the cream of talent. We had a special jury of 10 members who chose 111 works out of 6,000 applicants. Among them, 15 were further filtered for the prestigious National Academy Award that would be given away by Governor Vajubhai Rudabhai Vala on Friday. The awardees would be conferred ₹1 lakh cash and a citation,” Mr. Setty said.
“The award is a much-coveted one among artists as it earmarks the future potential of individual artists. We can trace the path of pioneers such as M.F. Husain and S.H. Raza, who were amongst the earlier Akademi awardees, who became icons of Indian art,” said Mr. Setty. While the Lalit Kala Akademi is spending nearly ₹1 crore for holding the event, the 111 artists would also take part in a special Art Conclave at the Chitrakala Parishath for nine days from February 25 to March 5.
“We have earmarked ₹80 lakh for the conclave where artists would create a new body of works where public is allowed to see and interact,” said Mr. Setty.
The art works selected for the exhibition reflect innovative use of mediums, diversity and relevance to subject matter in contemporary art, according to Mr. Setty. “Emerging trends and their influences are seen as paramount in the selected art works. Their style of rendition, creativity and new mode of expression in mixed media are a treat that people can get to see,” he said.
Amongst the 111 chosen works, five are from Karnataka. “V.G. Venugopal’s painting in mixed media, painting of Suresh K. from Mysuru and the drawing work of Satish Multhalli from Haveri are a few ,” said Mr. Setty.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Ranjani Govind / Bengaluru – February 24th, 2017