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    February 28th, 2015adminBusiness & Economy
    Success story: Musthafa believes it was team work all the way that helped.

    Success story: Musthafa believes it was team work all the way that helped.

    Musthafa P.C, a school dropout who went on to study at IIMB, quit his software job to start an enterprise that sold idly-dosa batter. His is a success story that has trickled down to his 600 –odd rural employees too

    A young techie who could just about make himself daal, rice and papad in his bachelor days now runs a company with a 70 crore turnover that provides almost five lakh idlis a day to hungry Bengalureans. Most young working people in the city in a rush, simply fish out the now-famous “iD Fresh” readymade idly/dosa batter from their refrigerator for their quick breakfast fix.

    While Bengaluru is where all this began for techie-turned-entrepreneur Musthafa P.C, his idlis and dosas find a place on the breakfast tables in households in Mysuru, Mangaluru, Hyderabad, Mumbai, Pune, Chennai, and even Dubai! And it’s not limited to idlys and dosas anymore. Their oeuvre now includes parotas, chapattis and chutneys too, all made without chemicals and preservatives, Musthafa is quick to add.

    It started in a small corner of the city’s Thippasandra locality where Musthafa’s cousins ran a grocery store. “This was eight years ago, and a local supplier would sell idly/dosa batter in an unbranded plain plastic bag tied up with a rubberband, on weekends. There was a great demand, but they couldn’t keep up the quality. That’s when I felt there was a gap in the market,” says the 42-year-old Musthafa, CEO of iD Fresh Food, one of the new-age food startups in the city.

    And then, one can conclude, the Malayali business instinct kicked in!

    The enterprising cousins set up a 50 square foot kitchen — “our so-called factory” laughs Musthafa, and started a trial in 10 stores in and around Indiranagar. “In a year’s time we were selling 100 packets of batter a day.” During that time, Musthafa had quit his plum job to study his MBA at the Indian Institute of Management-Bangalore (IIM-B). “I did a proper survey and found that Bangalore then had a production requirement of 5,000 kg of batter a day.” The sales and the survey gave them the confidence to set up a 600 square foot kitchen in Kaggadasapura, where Musthafa pumped in six lakh from his savings. They were still using regular household grinders to make the batter. “I had a high-profile job in Dubai. I had worked with Motorola, Citibank, had lived in the U.K., and then later even worked with Intel. But I wanted to come back to India to pursue higher studies, spend time with my parents, and give something back to society,” says Musthafa of making the proverbial switch.

    It is with this intent that Musthafa is very particular that they identify “smart guys from rural areas who are unemployed” and provide them opportunities in their company. Today they employ 650 such people from the eight regions they work in across India. “I come from a life of poverty in Wayanad (Kerala) where my dad was a coolie, and breakfast was a luxury. I was a school dropout after I failed my sixth standard. The teacher persuaded me to repeat the class and continue my studies.”

    No one supported his decision to quit the IT industry; it was a job that had brought stability to the family, helped him build a home and marry off siblings. Even his wife’s family was upset that he was becoming a “rice merchant”.

    But by 2008, his company had expanded into a proper factory in Hoskote, with the help of the Karnataka State Industrial Development Council (KSIDC). Custom-made grinders were brought in from America. “With Indian grinders, cleaning is the most difficult task. Moreover the small grinders would take an hour to grind a kilo of dal. So we had to import these large, modified grinders that self-sterilise at the touch of a button.” Musthafa swears the actual batter making process is “the same that your mom uses at home, starting with the soaking”. “We are only professional assistants to the homemaker. Our products will always be ready to cook, not ready to eat. So they don’t reach the dining table; they first go into the kitchen. If the idli is good, the homemaker gets the credit; if the idli turns out bad, iD takes the credit!” All the products, he says, are first tested on his children aged 12, nine, and five.

    Business is of course growing phenomenally with venture capital (VC) firms wanting to invest in them; 60 companies evinced interest in pumping money; mostly American. Finally Helion Venture invested Rs. 35 crore in their expansion plans. “We are targeting expansion to 10 Middle-Eastern cities over the next five years. As well as expanding into north India, especially Delhi.” While initially a friend named it iD for “idly-dosa”, Musthafa says it now stands for their “identity”.

    Every employee in the company is an entrepeneur like he is, believes Musthafa.

    Every employee in the company is an entrepeneur like he is, believes Musthafa.

    Musthafa makes it a point to stress on the fact that it has been team work all along the way; first his cousins came on board, then his engineering classmates and then family friends, to start the operation in various cities. “We don’t work on an employment basis; there is no fixed pay. Every employee is a micro-entrepreneur. For example, each area sales team is given a vehicle and “they have to maintain their own profit and loss account,” explains Musthafa. Whitefield, Jayanagar, Indiranagar and Koramangala is where they do their best business, he says. They have a SAP-based backend platform so that they have a zero inventory model – 90 per cent of the products are sold on the same day; a mobile app keeps track of sales patterns in each store.

    Musthafa’s personal favourite from his company is the wheat parota. “We eat our idli and dosa once a week at home, then three days of wheat parota,” he breaks into a boyish grin.

    source: / The Hindu / Home> Features> MetroPlus / by Bhumika .K / February 26th, 2015

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    February 28th, 2015adminSports


    Tennis is a global sport and Mysuru has been producing talented tennis players from time to time who have gone on to represent the country in different levels. One such player who has made her mark in the International level in the Junior Girls section is city’s Dhruthi T. Venugopal. She has represented India in the junior-level and is presently taking part in the women’s circuit. Dhruthi has been consistently performing well in the ITF tournaments. Recently taking part in the 25,000$ ITF Women’s Tennis Tourney in Delhi from Feb. 16 to 22, 2015, Dhruthi qualified for the tournament proper and lost in the pre-quarter-finals in the Women’s Singles and Doubles events. She has took part in the ITF Tourney in Eqypt in the previous month and performed well. She is our ‘Star This Week.’

    Dhruthi is the daughter of Venugopal and Vanamala of our city who encourage her to the maximum. Dhruthi trains in Pune and is coached by Sandeep Kirtane. Dhruthi, presently ranked No. 41 in the country and No.3 in the State in the women’s section, has been performing well in the ITF women’s circuit. Dhruthi has represented India in the Junior section and has also played in the Australian Open Junior Girls event. Dhruthi, taking part in the 25,000$ ITF Women’s Tennis Tournament in Delhi from Feb. 16 to 22, 2015, lost in the pre-quarter-finals in the women’s singles to Slovakia’s Tadeja Majevic 2-6, 4-6. In the first round, Dhruthi beat Katherina Lehnert (Phi) 3-6, 7-6 (5), 6-0.

    In the qualifying rounds, Dhruthi beat Abou Zekry of Egypt 6-3, 6-2 and entered the main draw. In the second round she beat Ching-wen Hsu (Tpe) 6-1, 4-6, 6-3 and in the first round got past China’s Yukun Zhang 6-1, 6-3.

    In the Women’s Doubles event, Dhruthi, partnering Snehadevi Reddy of India, went down to the Japanese pair of Miyu Kato and Riko Sawayanagi 1-6, 2-6. Dhruthi also took part in the three legs of the Sharam El Sheikh 10,000$ ITF Women’s Tournament held at Egypt and performed consistently and entered the main draw in two tournaments after playing the qualifying rounds.

    In the tournament held from Jan. 26 to Feb. 1 at Eqypt, Dhruthi lost finals in the qualifying round in the Women’s Singles going down to Federica Prati of Italy 6-3, 6-7 (10), 3-6. In the first round, Dhruthi beat Russia’s Ekaterina Lavvikova 7-6 (4), 7-6(4). Dhruthi was ranked No 4 in the country in the Junior Girls (U-18) section and is now taking part in the women’s circuit. Dhruthi is an attacking player with a double handed backhand and is quite consistent in her performances in the women’s ITF circuit representing the country.

    source: / Star of Mysore / Home> Sports News / Sunday – February 22nd, 2015

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    February 28th, 2015adminSports


    by S.N. Venkatnag Sobers

    Star of Mysore (SOM): How would you react on being picked up by Mumbai Indians for this year’s IPL?

    Suchith: I am very happy and excited to be part of Mumbai Indians team. Initially, I thought chances of me getting into the team were difficult, as Mumbai Indians had already picked Pragyan Ojha and Akshay Wakhare. But, with the team management deciding to pick me, I believe it is a golden opportunity for me to excel.

    SOM: What inspired you to play cricket?

    Suchith: At first, I started off with gymnastics at the University Sports Pavilion. After my gymnastics classes, I used to watch people play cricket and that is how I developed my interest towards the game. I joined MUCSC and later shifted to Mysore Gymkhana where I was trained by Sudhindra sir and Ravindra sir. I also got a lot of support from Club Secretary Subramaniam sir while I was playing for Mysore Gymkhana.

    SOM: How did your parents react on you being selected for Mumbai Indians?

    Suchith: In fact, it was my father who informed me about being selected for Mumbai Indians. I was travelling from Indore to Bengaluru after playing a match and that is when my father informed me. My parents are very happy on me being picked up by Mumbai Indians. K.V. Shantha, my mother, was glued to the television and was praying for me when the auction was going on. They have always supported me in all my endevours.

    SOM: What do you have say about KPL?

    Suchith: Karnataka Premier League (KPL) has been a launch pad for the budding cricketers. The tournament has definitely helped many youngsters to showcase their talent. It’s not only me, players like Shishir Bhavane and K.C. Cariapppa have been benefitted a lot from the tournament. I hope that more players would emerge in the future.

    SOM: Whom do you idolise as cricketer?

    Suchith: Daniel Vettori! He has been the most successful left-arm spinner in the modern era. He is very accurate and has set a landmark for the cricketers across the world.

    SOM: What do you expect being a part of Mumbai Indians team?

    Suchith: I expect to gain a lot of experience, learn work ethics and ways to handle pressure. I would like to give my 100 per cent, both on and off the field, to improve my skills as a cricketer. Playing for Mumbai Indians will be exciting as I would be sharing the dressing room with some of the best cricketers in the world and also learn a lot from greats such as Sachin Tendulkar, Anil Kumble and Ricky Ponting.

    source: / Star of Mysore / Home> Feature Articles / Sunday – February 22nd, 2015

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    Amirbai’s tale is one of inspiration / by Special Arrangement

    Amirbai’s tale is one of inspiration / by Special Arrangement

    Amirbai Karnataki is one of the earliest Kannada singer-actress who made it big in Hindi cinema. She went to Bombay when women artistes were labelled ‘fallen’, but with grit and passion Amirbai became a star and sang 380 songs in 150 Kannada and Hindi films

    For someone who didn’t belong to the gramophone generation but the golden period of radio, Lata Mangeshkar, Asha Bhonsle, Mukesh, and Rafi ruled our hearts and constituted our imagination of a film song. The same AIR, during a light music programme, had played “Ninnane Neneyuta Ratriya Kalede”. This, was a carbon copy of Lata’s memorable “Saari Saari Raat Teri Yaad Sataye”, but the voice was starkly different. It had a heavy nasal tone, and the flawless rendition had a simplicity to it. The charming song left an indelible mark and I felt I had to recover her voice from pages that were unknown to me. Amirbai Karnataki was an unheard voice for the Seventies: she was long gone, and had faded into the archives of black and white era of early films. She was someone who lived on in personal memories of people who had known and heard her.

    Amirbai Karnataki (1912-65), who sang 380 songs in 150 films, was an early singer and actress of Hindi cinema. This singer who sang the unforgettable “Main to pavan chali hoon bole papiha” and “Bairan Nindiya Kyon Nahi Aaye”, was born in Bijapur in Karnataka. During the 1930s Amirbai was a prominent name along with stars like Suraiyya, Shamshad Begum, Noor Jahan and Zohrabai Ambalewali.

    When Lata Mangeshkar came on to the scene, many of these singers moved into the background and for the later generations they remained unknown.

    Born into a family of artistes, Amirbai’s parents Ameenabi and Husensaab worked for a theatre company and even ran one for many years. Growing up years for Amirbai and her five siblings was filled with music and theatre, what with many of her uncles and aunts being top musicians and actors in theatre. She lost her father early and her uncle, Hatel Saheb took care of all the children.

    During those years, Bijapur was part of Mumbai Presidency and the sangeet natak tradition in these parts was flourishing. The famous Balagandharva’s company and several other theatre companies camped at Bijapur; Amirbai and her sister Goharbai, trained as they were in classical music, impressed these companies with their singing and they began to not only sing for several of them, but also act.

    As Rahmat Tarikere writes in his biography of Amirbai Karnataki, Amirbai moved from Bijapur to Mumbai, from theatre to films. But the exact date and nature of these movements and transitions are hard to tell. The story of Amirbai is a sum total of several happenings in a historical period as there are few definitive documents to lead us to any accurate picture. Painstakingly put together by the biographer, Tarikere says that when Amirbai reached Mumbai (it was perhaps the year of Alam Ara’s release, 1931), women who worked in films, theatre and music were still seen as “fallen”.

    Women artistes were often ridiculed as “free women” and among the several women performers, Amirbai and her sister Goharbai too, tried to free women of this stigma. In fact, families not only disowned such women, but there were instances of women being killed for choosing the arts.

    In fact, Rahmat Tarikere says that the kind of fight these women put up with the social circumstances of those days is no less significant than the freedom struggle itself. If women artistes, in the later years, earned fame and reputation, it was because of the sacrifices these women made. Ironically, two very popular films “Basant” and “Kismet” in which Amirbai acted deals with the plight of actresses.

    Amirbai became a very reputed singer and actress of her times. She was highly paid, and even built a theatre Amir Talkies in Bijapur. She travelled the length and breadth of North Karnataka giving programmes related to theatre and cinema.

    A singer who sang some of the finest love songs, had a very unhappy love life though. Tarikere writes how her husband, a Parsi actor who played villain in those days, Himalayavala, abused her physically and emotionally. She had to suffer several assaults from him and even separation became a painful affair. Unable to recover from the trauma, she went into oblivion for several years, and later Badri Kanchawala, with his love and care brought back peace into her life.

    At the age of 55, Amirbai passed away; Karnataka had been unified by then and the rest of Karnataka hardly knew of her. Even the newspapers reported her death four days later. It was only later that people have slowly learnt of Amirbai’s greatness and how Gandhiji was immensely fond of her rendition of “Vaishnava Janato”.

    source: / The Hindu / Home> Features> MetroPlus / by Deepa Ganesh / February 27th, 2015

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    Belagavi :

    Examples of children of devadasis qualified with higher education are seen very rare following poor social and financial background of these families. In such conditions, Suvarna Shanta Madar, 36 year old devadasi daughter from Kokatnur village in Athani taluk has achieved doctorate degree fighting all odds came in her way.

    After completing B.Com from Karnataka University Dharwad with fifth rank in 2002, Suvarna completed her MA. She did not stop there by deciding to pursue PhD on devadasi system with which she suffered from. Karnataka State Women’s University, Vijayapur awarded her doctorate degree last year for doing PhD in the subject ‘An Economic Study of Rehabilitation Programme of Devadasis in Athani Taluk’.

    She did research on five government schemes for the eradication of devadasi system and the welfare of devadasis including the schemes for providing housing, pension, rehabilitation and make them self reliant. Professor S S Peerzade in Economics department in women’s university guided her to pursue PhD.

    “Pursuing the education was not a smooth task for me. I used to sell coconut, turmeric, oil, flowers and other things sitting in-front of goddess Renuka Yallamma temple in the village till the school time and after returning from school. It was the business providing us bread and butter. There are lot of hilarious experiences I have experienced in my childhood and adolescence being a daughter of devadasi. Poverty was our biggest enemy. As I had experienced the worries of devadasi system and being a daughter of devadasi I chose this subject”, Suvarna said speaking to the TOI.

    In 1993-94 state government conducted the survey of devadasis and after that mother of Suvarna began getting Rs 500 monthly pension. The pension amount gave lot of solace to their day today financial problems for survival. Suvarna has two sisters and one brother. One sister is a police constable while another is a staff nurse on contract bases. Brother is daily wage worker. Suvarna works as a guest lecturer at the local 1 stgrade college.

    Shanta Madar, mother of Suvarna is very happy with daughter’s achievement. Speaking to the TOI she said she wanted to look her daughter doing a permanent government job. Suvarna said “I have not married so far to achieve something. My first priority is getting a permanent job which is my mother’s dream too”, she said.

    Considering the achievement of Suvarna Madar, district officer on devadasi rehabilitation programme M K Kulkarni has wrote letter to the Women’s Development Corporation fortnight ago to bring a book of Suvarna Madar’s thesis submitted for PhD and print at least 1,000 its copies. He has also appealed to honour both mother and daughter on state level platform on Women’s Day. “It’s not a small achievement for any devadasi daughter and it is encouragement for others too”, Kulkarni said.

    source: / The Times of India / Home> City> Hubballi / by Ravindra Uppar, TNN / February 13th, 2015

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    by R. G. Singh

    This 24” x 30” miniature (image courtesy: Jayachamaraja Art Gallery, Mysore) has been painted by artist Venkatasubbu in 1869. The Mysore throne is at the centre of a decagonal platform . The young boy, King designate is sitting cross-legged, his royal seal (mohur) and the nazar (a gold or silver coin presented to the new king by his subjects) is placed in a pouch in front of him; he is wearing Royal signet ring. Seated on his right are Nanjaraja Urs and Aliya Lingaraje Urs. On the left are British Commissioner, Resident and few other Europeans. There is a pair of soldiers with unsheathed swords in British top-hat and uniform. A pair of attendants swirl colourful cloth (udees pavadai). Just behind them attendants announce king’s titles. Behind them are Halay Paiki personal attendant-guards of Mysore Maharajas, attendants behind them hold aloft the standards of royalty (Raja Lanchana).

    The coronation of the Kings after the abolishment of Privy purse is no longer a grand public event but a very private ceremony. The most glittering coronation was that of the last king of Mysore State, Major-General His Highness Sri Sir Jayachamaraja Wadiyar Bahadur, Maharaja of Mysore, GCB, GCSI, on 29 August 1940. To those of the citizens of the heritage city of Mysuru privileged to attend that event it was a spectacle that would never be forgotten. The coronation of the last Maharaja’s heir in 1974 was private and subdued.

    Anachronistic as it sounds in a country that through an act of the Parliament removed the very word of ‘Royalty’ from its lexicon and rendered the hundreds of kings, nawabs and other minor royalty bereft of all trappings of pomp and transformed them into plain Mr. and Mrs., the fascination for a bejeweled Maharaja being seated on a throne to the sonorous chants of arcane hymns, smoke of the incense reaching the chandeliers high above, the nobles and other invitees dressed in outfits, with swords, draws a concerted and collective in-drawn breath of awe. And for one brief moment in time, one is sucked into the vortex of past and imagined dormant memories of kingly rituals.

    The coronation of the new king of Mysuru slated to be held before the onset of the annual Dasara will be muted but just as grand for those privileged few. For here is an unbroken tradition of a Wadiyar ascending the throne of an erstwhile kingdom whose history goes back to several hundreds of years.

    Though the Mysuru kingdom can be traced to the establishment of a small principality by Yaduraya in 1399, it was only in 1578 that the kingdom was established by Raja Wadiyar (1578–1617). Between 1939 till the ‘reign’ of Jayachamaraja Wadiyar, there have been 25 kings of the Wadiyar lineage.

    It was Raja Wadiyar who first ascended the Golden Throne and proclaimed with his coronation, his rule over the kingdom of Mysuru at Srirangapatna. A word about the Golden Throne is necessary. Shrouded in mystery, this throne was claimed to have belonged to Yudhishthira, the eldest of the Pandava brothers.

    Golden Throne: he saint Vidyaranya, who is the head of the Sringeri Mutt in 1338, is supposed to have shown the hiding place of the throne to the Vijayanagar King, Harihara, who lived between 1336 and 1357. Harihara then removes it to his capital and the throne is used for the next two centuries as the royal throne of the Vijayanagar kings. The fall and annihilation of the Vijayanagar empire finds the throne being removed by one of the feudatory chieftains to Srirangapatna. In 1609, Tirumalaraya II gives it to Raja Wadiyar and goes to Malangi. A year later, Raja Wadiyar declares himself to be an independent ruler and ascends the Golden Throne and claiming to be the inheritor of Vijayanagar tradition, inaugurates the Navaratri and Vijayadashmi at Srirangapatna.

    The canons of the Manasara, a 600 CE treatise on architecture and sculpture, which contains an entire chapter on thrones, mentions several kinds of thrones. Thrones are symbolic seats of authority and symbolise divinity and power, both cosmic and earthly. There is mention of the Padmasana Throne, which is the ‘Seat of the Gods,’ the Bhadrasana or auspicious throne and the Lion or Simhasana throne which only those kings who had all the royal attributes could ascend. Scriptural canons say that the Bhadrasana throne is used for coronations and the Simhasana Throne for royal festivals like the Dasara. The Wadiyar kings follow this custom to this day. Thus the heir-designate will ascend the silver throne on the day of his coronation. Devatanama Kusuma Manjari-Simhasana: Incidentally, the Devatanama Kusumamanjari, a Sanskrit work written during the reign of Mummadi Krishnaraja Wadiyar in 1859 in verse form is laudatory and there is mention of the various attributes of the throne. The verses about the throne also mention the mystical and magical powers that exude an aura around the throne. These powers prevent one who is not worthy from ascending the throne. A legend from the ancient past is evocative enough to be recounted here. The steps of the Golden Throne are embellished by figures of 32 divine maidens. The King Bhoja has discovered the throne under an earthen mound and has it restored in his Palace. With all ceremonies and rituals befitting a king, Bhojaraja ascends the throne only to be thwarted by an invisible force emanating from the divine maidens which prevent from taking another step. Then damsels then take turns narrating a story that enumerates the virtues of an ideal king who alone is worthy of being crowned on t

    The throne. The king then through good deeds goes about acquiring the virtues of a Godly king and then is able to ascend the throne. Shades of Arthur’s Excalibur! The Royal Robes…

    Come Feb.23, the Wadiyars will get a new heir in the form of Yaduveer Gopalraj Urs who will be renamed as Yaduveer Krishna Datta Chamaraja Wadiyar after being formally adopted by Pramoda Devi Wadiyar, wife of late Srikanta Datta Narasimharaja Wadiyar at a grand ceremony to be held at the Mysore Palace premises.

    No Royal Ceremony is complete without royal and grand attire and this time, Yaduveer will be dressed in the Mysore Royal Family’s traditional attire — the Long Coat stitched with Kalabati Zari material. Yaduveer’s clothing will be stitched at two places. While the coat is being personally hand stitched at Heavenly Tailors located on Dhanvantri Road, a Sherwani is being readied in the cellars of a prominent textile house in city.

    M.N. Padmaraj, Proprietor, Heavenly Tailors, who is known as the Royal Tailor, has been stitching the Royal attires for the Mysore Royal family from the past four decades. He has stitched two long traditional coats for Yaduveer for the special occasion. One is a normal white long coat and the other is the grand zari coat.

    Having mastered the art of stitching Royal attires, Padmaraj has stitched 14 traditional long coats from the past one-and-a-half months. Some of the royal customers of his include late Sardar K.B. Ramachandra Raje Urs, Chaduranga Kantharaje Urs, late Srikanta Datta Narasimaraja Wadiyar among others.

    A couple of kilometres away from Dhanvantri Road, 45-year-old Ramesh N. Lalige is stitching the Royal Sherwani in his cellar-shop inside the Vishveshwaraya building at K.R. Circle. The material is pure silk. The shade is royal pink with gold and silver leaf motifs arranged like a triangle. There are two swaddles of cotton-silk cloth for the trousers — one is furbished gold in its colour with a honey-comb pattern while the other has a light purple tinge.

    “The royal family could have gone to any tailor in the country or in the world for that matter. It’s a matter of great pride and pleasure for me, my family and my shop that they have chosen me to stitch the Sherwani,” says Ramesh. A resident of Indiranagar, Mysuru, Ramesh, along with the help of Mahendra and Pundalik Rao, is modeling the new Sherwani based on a sample provided by the royal family. Ramesh was called to the Palace by Pramoda Devi Wadiyar and was given the Sherwani outfit worn by Yaduveer for measurement with the only advice: “He is slimmer now but, hopefully it should suffice.”

    Ramesh got four meters for the top and two pieces of two-and-a-half meters cloth for the trousers and was asked to finish the outfit by Saturday (Feb. 21). “Yaduveer would be arriving from US on Saturday morning and would be here in Mysuru by afternoon. The outfit would be ready for fitting. And if there are any alterations, we will take it back, mend it further and will hand it over to the Palace on Sunday evening,” says Ramesh who has an experience of 25 years as a tailor.

    With the adoption ceremony only days away, the Emperor’s new clothes are getting ready not in some posh foreign designer emporium but in the heart of our city. Only time can tell us how the heir-designate would look in his new outfit — designed and stitched in the heritage city.

    There are pictorial records apart from royal murals that show the king being seated on the Golden Throne which is a part of the coronation rituals marking the first Durbar of the newly coronated king.

    The photograph of the painting shows the coronation of boy King Mummadi Krishnaraja Wadiyar in 1799 at the Kote Venkatramana Temple. In the painting, Dewan Purnaiah is seen on the right side of the king who is seated on the throne. To the left of king, Lt.Col. Wellesley is seen seated. The throne itself seems flush to the level of the raised platform.

    Coming back to coronation, one discovers that from surviving records of the 1940s that the Wadiyar kings were first installed on the Silver Bhadrasana and then there is the Durbar on the Golden Throne afterwards it is only during the Dasara festivities that the king ascends the Golden Throne. Photographs from the 1940 show the Maharaja Jayachamaraja Wadiyar being installed on the Silver Bhadrasana while a 1974 photograph shows His Late Highness Srikanta Datta Narasimharaja Wadiyar coronated on the Silver Throne.

    Be that as it may. There are two abiding reasons why the coronation of the new king is of importance. First this year 2015, marks the 75th anniversary of the coronation of Jayachamaraja Wadiyar. It is also the 40th anniversary of the coronation of Srikanta Datta Narasimharaja Wadiyar.

    Second, the history of Mysuru and its people are remarkably entwined with the Kings of the Wadiyar dynasty. From reign of Yaduraya (1399–1423) to Hiriya Bettada Chamaraja Wadiyar I (1423–1459) and on to Thimmaraja Wadiyar (1459–1478); from the reign of Hiriya Chamaraja Wadiyar II (1478–1513), Hiriya Bettada Chamaraja III Wadiyar (1513–1553), Thimmaraja Wadiyar II (1553–1572), Bola Chamaraja Wadiyar IV (1572–1576), Bettada Chamaraja Wadiyar V (1576–1578), Raja Wadiyar I (1578–1617), Chamaraja Wadiyar VI (1617–1637) and Raja Wadiyar II (1637–1638) and then onwards to various other kings culminating through Khasa Chamaraja Wadiyar IX (1766–1796), Krishnaraja Wadiyar III (1799–1868), Chamarajendra Wadiyar X (1868–1894) and during the regency of Vani Vilas Sannidhana, queen of Chamarajendra Wadiyar X from 1894 to 1902 and then thence to the reign Krishnaraja Wadiyar IV (1894–1940) and Jayachamaraja Wadiyar (1940–1950) and lastly Srikanta Datta Narasimharaja Wadiyar (1953-2013), ascended the throne in 1974. Once again the dynasty continues unbroken.

    We go back in time to the coronation of Mummadi Krishnaraja Wadiyar III. His ascendancy is significant because he was the first Wadiyar king to resume the rule of Mysore by the Wadiyar lineage after a gap of 36 years. It was only the courage, patience and sacrifice of the Queen Lakshmammani that kept the Wadiyar dynasty alive. On June 30th 1799, the five-year-old Krishnaraja Wadiyar III was crowned the king of Mysore in a traditional coronation ceremony that took place in a special pavilion constructed near the Lakshmiramana Swamy temple in Mysore Palace. Reports say that the young boy was led by the Duke of Wellington to the throne. The 23rd Maharaja of the Wadiyar dynasty was selected from the Bettada-Kote Ursu clan who was christened as Chamarajendra Wadiyar X and he was ritually coronated on 22 & 23 Sep. 1865 when Mysore State was under British rendition which ended in 1881.

    A booklet, “ Proceedings of the Installation of His Highness, The Maharaja Chamarajendra Wadiyar Bahadur in the Government of the Territories of Mysore” dated, March 25, 1881, states among other things: “On March 23rd 1881, the Governor of Madras, Major-General Sir Thomas Munro and his staff along with the J. D Gordon, Chief Commissioner of Mysore and the Provisional Commander-in-Chief ‘enter’ Mysore. They are met at the entrance to the town by officers of the Station, the relatives of the Maharaja and officers of the Palace household.”

    The publication then goes on to say that: “The Governor announces that he has been empowered by the Viceroy and Governor General and calls on the Chief Secretary to read out the proclamation …” which announces to the chiefs and people of Mysore that His Highness Maharaja Chamarajendra Wadiyar is hereby placed in possession of the territories of Mysore and invested with the administration of the Mysore State…” .

    Addresses are presented by various organisations and one in particular is fascinating. The address from the Coorg Planters’ Association says among other things that, “Although we are not part of the Mysore Raj, still Your Highness cannot but be aware of the ties which do and must ever exist between Mysore and Coorg.”

    The Wesleyan and London Missionary Societies representing the churches and educational and medical missions are next in the protocol presenting their addresses.

    Interestingly, the congratulatory address by the Catholic Church is in Latin and is reproduced here. “Serenissimo Principi Ac Domini,/Domino Chamarajendra Wadiyar Bahadur, Mayssurensium Regi,/Vicarius Apostolicus Mayssurensium and goes on thus: In hac auspicatissima die qua primo regni scetpra tenes, ac imperii habenae tuia juvenilibus manibus committuntur, quum laeto animo haec tuorum subditorum densa corona sua offcia et vota tibi offerunt, et nos Catholicae Religionis asseclae, neque numero, nec certe fida erga tuum Majestatem devotiene infini, te Regem ac ducem nostrum venerabundi salutus.”

    (“On this most auspicious day when for the first time Your Highness holds the sceptre of your Kingdom, and the reins of Government are entrusted to the guidance of your youthful hands, with how glad a heart does this dense throng of your subjects present to Your Highness an offering of their duty and their loyal congratulations. We also, the followers of the Catholic Religion, neither small in number nor certainly the last in devotion to Your Highness, respectfully welcome our Prince and Ruler.”)

    Like time-travelers, we go to the coronation of “Maharaja Sri Sir Nalwadi Krishnaraja Wadiyar”, who was coronated under unusually sad and untimely demise of his father. The ritual coronation was performed under the regency of his mother H.H. Vanivilas Sannidhana on February 1, 1895.

    After attaining majority, Krishnaraja Wadiyar IV was formally installed on the throne on August 8, 1902 and the venue was a specially erected pavilion erected in the Jaganmohan Palace since the old wooden Palace was partially gutted in an accidental fire and the present Palace was under construction.

    One takes recourse to the India Office records which reveals: “The road to the approach to the installation pavilion was lined on either side by the Infantry and the Cavalry of the Maharaja’s army. The Guard of Honour was by the Royal Warwickshires, a battle-scarred elite regiment of the British army and the Band and Colours ( Imperial cavalry guards) were stationed at the entrance of the Durbar hall. The Viceroy Curzon who is to install the new king is met at the Government House by a deputation consisting of the Dewan and the principal officers of the Mysore State.”

    A further excerpt extricated from India Office archives: “…the Viceroy Curzon was accompanied by Mr. Wood, Under Secretary (Foreign Department), Lt. Col. E. Barring, Military Secretary, Mr. Carnduff and His Excellency’s Personal Staff. Also present was J.A. Bourdillon, the Chief Commissioner.” The report mentions that there on the dais were two Silver Thrones, one of which was subsequently used as a Masnad to which the Maharaja was formally conducted by the Viceroy after being installed.

    The coronation of the last Maharaja Jayachamaraja Wadiyar is evocative as it reflects the love of the people for their sovereign. A manifesto published in 1942 titled ‘Ananda Chandrika‘ by Ramakrishna Sastri, an Hindi Pandit describes the Pattabhisheka (the installation) of Jayachamaraja Wadiyar. The author says that Palace astrologers have after consultations chosen the date of the Installation and that invitations have been distributed to all the important citizens. There are buntings and flags festooning the city. Several bullock-carts laden with sugar are sent around the city and sugar-candy was distributed to all the citizens and visitors to the city. On the day of the installation all prisoners are pardoned and released. The King-to-be is dressed in white and bedecked with jewels. He is escorted to the Lakshmi-Vilasa of the Palace where the installation is to be held. The king then performs Kalasha Pooja, sacrificial rituals to Agni and other Gods. The State elephants, horse and oxen are in a as Palace musicians play compositions some of which have been composed by the Maharaja Jayachamaraja Wadiyar himself. The king is then installed on the Silver throne!

    The scion Srikanta Datta Narasimharaja Wadiyar was coronated on the silver throne in what was a very private ceremony. No chronicler seems to have recorded the proceedings or the arcane rituals that preceded his ascension to the throne. Similar will be the ascension of the heir–designate, Yaduveer Krishnadatta Chamaraja Wadiyar who will continue the legacy of the Wadiyar dynasty. The heir designate will be formally adopted on February 23, 2015 and much before the onset of the Dasara festivities will ascend the silver throne in the Palace within whose premises so much of history has taken place and will continue to do so in the future.

    Incidentally, Yaduveer Gopal Raj Urs traces his lineage to Chamaraja Wadiyar. His great great grandmother Jayalakshmammani was the eldest daughter of Chamaraja Wadiyar and Vani Vilasa Sannidhana. Further his mother, Tripurasundari Devi, is the grand-daughter of the last Maharaja, Jayachamaraja Wadiyar who was the only son of Kantiravanarsaraja Wadiyar, the second son of Chamaraja Wadiyar and Vani Vilasa Sannidhana.

    The Heir-designate is to assume the name “Yaduveer Krishnadatta Chamaraja Wadiyar” on his coronation, and will be given the official royal signet ring, the royal seal (Mohur) and the State sword.

    source: / Star of Mysore / Home> Feature Articles / February 21st, 2015

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    Ahalya Saraswathi Bhat

    Ahalya Saraswathi Bhat

    Ahalya Saraswathi Bhat J, a class nine student of Vittal Jaycees English Medium School, has developed a working model for preparing medicinal charcoals used in Ayurveda by slow pyrolysis using Masi Maker technology.

    Speaking to Bangalore Mirror, she said medicinal charcoals known as Masi Kalpana in Ayurveda, is prepared by partial burning of medicinal herbs and has greater use in preparing medicinal oils, ointments and pastes. They exhibit wound-healing, anti-poison properties apart from working as adsorbents in clinical terms.

    Ahalya developed a new working model named as “Masi Maker” using the principle of slow pyrolysis using stainless steel. Pyrolysis is a thermo-chemical decomposition of organic material at elevated temperatures in the absence of oxygen. It involves the simultaneous change of chemical composition and physical phase, and is irreversible. The working model “Masi Maker” consists of three chambers – the heating chamber for creating heat, charring chamber for charring medicinal herbs and the bio-oil outlet, to express any bio-oils produced.

    Ahalya’s project that was demonstrated at the regional fair at Belagavi, secured the gold medal. The event was organised by the Science Society of India. At the national-level fair held at Chennai on January 10, 2015, the project secured the silver medal. Five students from the State have been selected to attend the International Environment & Sustainability Project Olympiad (INESPO) in the Netherlands from May 31 to June 4. Ahalya is the daughter of Dr Ganapathi Bhat Jeddu and Dr Manorama B Bhat who are both Ayurveda practitioners.

    source: / Bangalore Mirror / Home> News> State / by Deepthi Sanjiv, Bangalore Mirror Bureau / February 08th, 2015

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    The Oriental Archive Research Centre would be would be organising a one-day workshop on conservation of palm leaf manuscripts here from March 1.

    Addressing presspersons here on Thursday, S.A. Krishnaiah, Director of the Centre, said that there was a need to train youth in the techniques of conserving palm leaf manuscripts, stone inscriptions and ancient paper documents having historical value.

    If these items were not protected, a slice of history would be lost forever. Many palm leaf manuscripts in Udupi and Dakshina Kannada districts were in Tulu. The participants would also be exposed to all subjects connected to preservation of manuscripts.

    The Centre aimed at giving hands on training to 25 persons in the first stage. In the subsequent workshops, it intends to increase the number of participants to about 100. Students who had studied history and literature had been selected in the first phase. Those interested in this work could email:

    The resource persons for the workshop are Jayasimha from Mythic Society, Bengaluru, T. Murugeshi, Professor of Ancient Indian History and Archaeology, MSRS College, Shirva, Venkatesh Jois, inscription expert from Keladi, Radhakrishna Bellur, Vighnaraj S.R. and M.J. Thomas, experts.

    The one-day workshop would be of an intensive nature. There would be follow workshops in the coming days for the team trained.

    Dr. Jayasimha would deliver the keynote address at the inaugural function. Manohar Shetty, social worker and Dr. Jayasimha would be felicitated on the occasion, Prof. Krishnaiah said.

    Nagaraj G.S., Yadav V.K., lecturers, Ramanji from Namma Bhoomi, were present.

    source: / The Hindu / Home> News> National> Karnataka / by Ganesh Prabhu / Udupi – February 26th, 2015

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    February 26th, 2015adminArts, Culture & Entertainment, Nature, Travel
    Doodhsagar falls.

    Doodhsagar falls.

    Belagavi :

    Castlerock railway station located amid dense forest of Western Ghats and just 15kms away from famous Doodhsagar waterfalls has become the darling of movie makers since the actor Shah Rukh Khan starrer bollywood blockbuster Chennai Express and Kannada movie ‘Maina’ released an year ago.

    Scenes of the historical railway station and surrounding attractive sites in both movies have made this area popular and caused for increase in the number of travellers, especially adventure lovers. Castlerock is a hamlet with just around 2,000 population located in North-Kannada district. It’s located just 75 kms away from Belagavi and within 2kms from Goa border.

    Before independence, this rail line was the link between British held India and Portuguese held Goa. Said to be that, British government had laid railway tracks up to Londa in Karnataka border. However, on the request of Portuguese, the meter gauge link was extended up to Vasco-da-Gama in Goa around at the ending years of 19th Century. This link was using for transportation of goods.

    There was a check-post at the Castlerock railway station where one couldn’t cross the border without passport. Said to be that, restriction of passport had relaxed for some years in between but it was again imposed with the Goa Liberation Movement intensified. Despite Castlerock railway station was under British ruled area, it built and managed by the Portuguese government. The roofing of the station has turbulence structure. Roofing structures of Kulem, Sanverdum, Madgaon, Vasco-da-Gama and Mormugao railway stations in Goa are also same which built by the Portuguese. This meter gauge was developed into broad gauge in 1990s.

    There are over 800-railway employees serve at Castlerock railway station in different departments like- operating, engineering, signal, inspecting of works (IOW) and electrical. This station is meant for transportation of goods. Manganese and iron ore from Hospeth is transported to Mormugao port. At present around 40 goods trains pass through this station while hardly two or three passenger trains. The number of goods trains have been reduced after imposing ban on lifting iron ore in Ballary district. Speaking to the TOI, station superintendent D Revanasiddappa said there is demand for more passenger trains especially during rainy season, when travelers make rush to see Doodhsagar waterfalls.

    In this small hamlet, there is a railway institute, railway English medium convent school, railway health unit etc., for railway employees. According to senior railway manager R K Sinha, rainy season is continued for five months- May to September in this area. These days are very boring, as children can’t play out of home besides fungus captures buildings and even cloths due to constant moisture. Leeches are the big problem during raining which the load shedding is common, he said.

    Apart from Doodhsagar waterfalls, there are also popular waterfalls in Kuveshi and Aveda, just 6-7kms distance from Castlerock. Train passes through Desur, Khanapur, Gunji, Londa and Tinaye Ghat railway stations to reach Belagavi to Castlerock.

    source: / The Times of India / Home> City> Bengaluru / by Ravindra Uppar, TNN / February 25th, 2015

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    February 25th, 2015adminLeaders


    Gandhian and senior Congress leader A.B. Javarappa died in a private hospital in Mysuru on Wednesday due to age-related problems.

    Eminent Gandhian and senior Congress leader, A.B. Javarappa, 84, died in a private hospital in Mysuru on Wednesday due to age-related problems.

    Mr. Javarappa had served as president of the Primary Land Development (PLD) bank, Agriculture Produce Marketing Committee (APMC) and Agricultural Producers’ Cooperative Marketing Society (TAPCMS) in K.R. Pet.

    The last rites will be performed at his native village Akkihebbal in K.R. Pet taluk of the district on Thursday, his family sources said.

    source:  / The Hindu / Home> News> National> Karnataka / by Staff Correspondent / Mandya – February 25th, 2015

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