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    December 14th, 2017adminEducation, Records, All

    Eleven students from Centre for Advanced Learning (CFAL), Mangaluru, have been selected in the Karnataka Regional Mathematics Olympiad 2017 to represent the State at the national-level Olympiad.

    A release from CFAL here stated they are among the 35 selected to represent Karnataka .

    The Mathematical Olympiad is one of the prestigious examinations conducted by the Union government. Those selected at the regional level qualify for Indian National Mathematical Olympiad leading to the International Mathematical Olympiad.

    A pre-regional level examination was held in August with 623 students from Karnataka qualifying for the regional level. At the regional level examination in October, 35 got selected, including the 11 from Mangaluru, all from CFAL.

    The Mathematics Olympiad Program in India is organised by the Homi Bhabha Centre for Science Education (HBCSE) on behalf of the National Board of Higher Mathematics (NBHM) of the Department of Atomic Energy (DAE).

    source: / The Hindu / Home> News> States> Karnataka / by Special Correspondent / Mangaluru – December 12th, 2017

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    December 13th, 2017adminArts, Culture & Entertainment, Records, All

    Thirty senior folk artistes, one from each district, and two folk experts will be presented the Karnataka Janapada Academy awards for 2017. While the artistes will get a purse of ₹25,000 and a citation, the folk experts will get ₹50,000 and a citation.

    Announcing the names of award winners here on Monday, academy chairman B. Takappa Kannuru said they had chosen these artistes at the general body meeting on October 30. The awards will be given to them at a two-day district folk convention to be held from December 28 at Sagar in Shivammoga district.

    The award winners are Ganganarasamma (Ramanagaram); G. Siddanagowda (Davangere); K.R. Hosalaiah (Tumakuru); H.K. Papanna (Bengaluru city); Akkayyamma (Bengaluru Rural); Maramma (Kolar); Shanthamma (Chickballapur); D. Thimmappa (Chitradurga); K. Vasudevappa (Shivamogga); Hanumavva Walikar (Koppal); Shivamma Burrakathe (Ballari); Shivappa Hebbala (Yadavagiri); Rukmavva (Raichur); Nagappa Kashampura (Bidar); Ismail Sab (Kalaburagi); Veerabhadrappa U. Mullura (Dharwad); Jakkavva Satyappa Madara (Bagalkot); Sabavva Annappa Koli (Belagavi); Jagadeva Golavva Madyala (Vijayapura); Maharudrappa Veerappa Itagi (Haveri); Ramappa Dyamappa Koravara (Gadag); Somayya Sannagonda (Uttara Kannada); Puttaswamy (Mysuru); S.G. Jayanna (Chikkamagaluru); Krishne Gowda (Mandya); Sannashetti (Chamarajanagar); Lakshmamma (Hassan); Leela Shedthi (Dakshina Kannada); Rani Machaiah (Kodagu); and Guruva Dolu (Udupi). The folk experts are N. Huchappa Mastara (Dr. Jee. Sham. Pa. Award) and Shalini Raghunatha (Dr. B.S. Gaddagimath Award).

    source: / The Hindu / Home> News> States> Karnataka / by Staff Reporter / Bengaluru – December 11th, 2017

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    December 12th, 2017adminArts, Culture & Entertainment


    National Gallery of Modern Art (NGMA), the expansive white structure located on Palace Road, exudes a certain kind of warmth that not many government-owned cultural spaces do. It extends an invitation to a passer-by to come and discover its treasure trove of modern art. Bengaluru’s artscape deserved an institution of this stature and it took some effort on the part of cultural fraternity to convince then Chief Minister JH Patel about it. What took longer was the selection of a building. But finally, the sprawling Manikyavelu Mansion was chosen for the task. Architect Naresh Narasmihan restored this colonial style 90 year-old structure, which once belonged to Raja Manikyavelu Mudaliar, a Mysuru royalty and also added a new gallery block in harmony with its existing aesthetics. NGMA Bengaluru opened its doors in 2009 with Sobha Nambisan as its first director.

    With all its greenery, the three-and-a-half acre campus is nothing less than an oasis. After you are done with seeing the massive collection on display or an ongoing exhibition, you can sit under its myriad Ashokas, sandalwood, raintrees, banyan to catch a breath of fresh air. Soak in the beauty of the place sitting on stone benches near the mirror pool. For a visitor, there is so much to experience besides the art display.

    “I think, it is the best NGMA in the country. Its warm inviting appeal, the kind of events which happen here, make it a beautiful place,” says SG Vasudev, senior artist who was one of the few who rallied for NGMA’s counterparts in Bengaluru. The other two NGMAs are located in Delhi and Mumbai.

    NGMA houses a permanent collection of more than 500 art works. Raja Ravi Varma, Amrita Sher-Gil, Rabindranath Tagore, Jamini Roy and other seminal names comprise the collection charting the trajectory of modernism in Indian art.

    “I felt intimidated by art till I came here. I thought, I can never understand art and you need to have knowledge about it before you walk into a gallery. But here, it is different. You can get a glimpse of the evolution of Indian art,” feels Sumati R, a banker who lives in Vasanth Nagar. The art reference library, auditorium, cafeteria, sculpture garden and museum shop are other highlights of the structure.

    Its permanent collection aside, it regularly hosts exhibitions of the artists from the country and across the world. Walk throughs, workshops, panel discussions, retrospectives and major career surveys of artists are regularly held here. Transforming into a cultural hub, it also hosts film screenings, other performing and cultural arts festivals. One can hope to catch rare documentaries on Rembrandt, or a famous Iranian film by Majid Majidi or just walk into a celebration of any kind.

    NGMA is located at 49, Palace Road.

    Entry ticket – Rs. 20

    For more details visit

    source: / The Hindu / Home> Entertainment> Art / by Shailaja Tripathi / December 11th, 2017

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    December 11th, 2017adminArts, Culture & Entertainment


    The news that India’s YouTube superstars, pop-rock band SANAM recently performed at the re-launch of an old-time favourite hotspot in Bengaluru has been making the rounds over the past few days. But not many people know that the four-piece ensemble’s bass guitarist Venkat Subramaniyam (aka Venky) was a Josephite, who lived in Bengaluru from 2005-2014. In a casual conversation with Bangalore Times, brothers Sanam and Samar Puri, Keshav Dhanraj and Venky let us in on their momo-eating spree in the city, their favourite artsites from the 90s Indipop genre and the latest #SANAMorginal Itni Door . Excerpts:

    Momos in Bengaluru
    “We have a strong connect with Bengaluru, as Venky is from this city. It’s always nice to be back here. We have friends in the city, and no matter how much time we get to spend here, we know that it’s going to be a fun experience,” says lead vocalist Sanam. “I had brought Sanam and Samar to Bengaluru many years ago. Back then, we had some fun time taking part in karaoke competitions. The city always has a chilled-out vibe which is appealing,” says Venky, who has studied at St. Joseph’s College of Commerce.

    Cut to their latest trip to the city, the ‘foodie’ bandmates were busy sampling different varieties of momos here. “From pan-fried mushroom and corn momos to the ones with chocolate fillings, we tasted some very interesting options here this time,” says Sanam, who has recently turned a vegan. Meanwhile, lead guitarist Samar loved drinking coffee in the city.

    Renditions, not remixes
    The remix of an old song is often associated with electronic beats, which sometimes sound noisy. “The reason we call our music renditions of old numbers and not remixes is because we try to keep the soul of the song, which is the lyrics and melody, alive throughout. We just style it according to our sound set,” says Sanam. Adding to that, drummer Keshav says, “We work on the instrument paths all over again and recreate the entire song, without changing its original feel and essence.”

    Choosing a good song
    “We never really discuss among ourselves or within our family that these are the old songs we listen to and that these can be recreated. Our first rendition Lag Ja Gale , for instance, was a song that somehow all of us had heard of, and we knew that it’s a famous and beautiful number. We then tried playing it and singing along, and realized that it’s working for us. It matches the kind of influences we have, the kind of music we listen to and the compositions we make. So, that’s the process. But again, we do filter a lot of songs before finalizing one,” says Sanam.

    “Also, most of the old songs are owned by music labels. There can be copyright issues, because we have a channel and things are monetized. There is a method of doing this. It is necessary to get the required permissions ahead of composing the rendition and making a music video with it,” explains Venky, adding, “A lot of thinking also goes into creating song sets while we are touring with our music. In South Africa, for example, people love the songs by Mohd Rafi, so we would add more of that.”

    Indipop inspirations
    “The songs of Kailasa by Kailash Kher had made a huge influence on me,” says Samar. Meanwhile, the band Junoon and Punjabi songs by Daler Mehndi were Venky’s favourite. The independent music scene of the 90s in India greatly influenced these self-taught artistes, as none of them have received any formal training in music. So, how difficult or easy is it for an artiste to make it big? “It depends on the individual, actually. For me, the level of curiosity and interest is always high when I am learning things on my own. It’s a bigger drive than what I would get sitting in a classroom,” says Samar.

    Making music for films

    “Currently, we are more focused on our YouTube channel, which has close to three million subscribers, and are not actively pursuing making music for films. A lot of people are following us, and we really want to give our best. The business model for musicians, especially the independent artistes, is changing due to the digital platform. It gives you the freedom to put out your ideas and craft for the audience directly,” says Keshav.

    “We had started off planning to make originals, but our focus shifted to renditions. With Itni Door just out, viewers are demanding more original tracks. We are currently working on a few, which are likely to be released next year,” Sanam sums up.

    source: / The Times of India / News> Cities> Bangalore / by Reema Gowalla /  TNN / December 11th, 2017

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    December 10th, 2017adminArts, Culture & Entertainment, Records, All
    Slice of history: The exhibition will be on till December 17 at Kodial Guthu West in Mangaluru.

    Slice of history: The exhibition will be on till December 17 at Kodial Guthu West in Mangaluru.

    It showcases the splendours of Indian architecture

    The Indian National Trust for Art and Cultural Heritage (INTACH) launched its Mangaluru chapter by hosting an exhibition on ‘splendours of Indian architecture’ at heritage structure Kodial Guthu West here on Saturday.

    The exhibition, which will be on till December 17, begins with a section of India’s achievement in the first millennium A.D. that includes a pre-historic city, ancient cave architecture, forts and abandoned cities.

    It then flows into the time of Islamic Encounters. Waves of Islamic forces invaded India from the 7th century onwards. Around the 10th century, Delhi came under Islamic rule. It was a violent encounter but a very fruitful one in the arts. The following centuries saw Islamic buildings in Delhi, Gujarat and the Deccan. Examples of such monuments are included exemplifying the syncretic elements.

    The visitor then is led to experience India’s European Encounter.

    The final section of the exhibition showcases the Encounter with Modernism. During the 1930s, the Art Deco Style from Europe became very popular in the city of Bombay, now Mumbai, and is apparent in residential buildings and cinema halls. A new style was introduced by Le Corbusier when he designed the city of Chandigarh, an INTACH release said.

    People can visit the exhibition between 4 p.m. and 8 p.m., the release added.

    source: / The Hindu / Home> News> States> Karnataka / by Special Correspondent / Mangaluru – December 09th, 2017

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    December 10th, 2017adminRecords, All
    ‘We will have to go back to basics, to understand water and the lives it sustains.’ | Photo Credit: Sudhakara Jain

    ‘We will have to go back to basics, to understand water and the lives it sustains.’ | Photo Credit: Sudhakara Jain

    She gave up a cushy corporate job to make a career of environmental writing

    The gated community in east Bengaluru is a picture of symmetry: one neat villa after another; identical palm trees grow in rows. In one such villa, with a cat on a window sill and another meowing by the door, sits Arati Kumar-Rao, environmental photojournalist and winner of the first ever Anupam Mishra Medal for her work on riverine ecology.

    I ask how it feels to return from her places of work — the mangroves of Sundarbans or the banks of the Ganga — to the perfectly-manicured landscape that makes up her residence. “I feel like I’m living in Dubai,” she says.

    Tech to tales

    Perhaps seven years ago, it would have been easier to connect the faux greenery of the gated community with Arati, who was then working with a multinational tech giant.

    Now though, her work revolves around rivers, forests and those dependent on them: people living in the interstices of mangrove forests, those searching for water in arid landscapes, communities caught in the middle of political fights over rivers, lakes and tanks.

    Soon, the biophysicist-turned-journalist-turned-market researcher finally decided to turn into a storyteller — about the environment, and in particular, of freshwater.

    Her love for forests emerged in bustling Mumbai. “Even though we were in Mumbai, we stayed in a colony close to the woods. We would go birdwatching or to forests nearby. Moreover, my father was an environmental activist and a part of the movements in Narmada River and Silent Valley. The environment books we had are ones I still refer to,” she says.

    By 2012, Arati had decided to give up her cushy corporate job — “not an easy thing” — and delve deep into environmental writing. It was longform, immersive journalism she preferred. “It came out of a frustration from travel pieces and spot reporting, where one zips in and out, and produces shallow journalism,” says Arati.

    Around the time she nurtured the idea of following one river from its source to end, Paul Salopek embarked on one of the most ambitious journalistic projects the world had seen.

    The seven-year Out of Eden project would see him walk the 32,600-km route taken by early humans in their migration out of Africa. “There were a bunch of people around the world independently coming up with the idea to immerse in stories. The time was right for this sort of thing.”

    It allows Arati to communicate the “slow violence” faced by those bearing the brunt of environmental change. “I think of myself as a chronicler of the land, and by nature it has to be slow as the land changes slowly,” she says pensively.

    In 2014, she visited the Sundarbans for her series on the Brahmaputra. “I saw oil tankers chugging along, and had two worries: what about the wildlife in the path of the ship sailing down the river; what if an oil tanker spills,” she says.

    By December that year, her fears came true when 3.5 lakh litres of oil spilled into the mangrove forests. While journalists parachuted in to report the spill, Arati was already there chronicling an incomplete clean-up, the suffering of the fishing community and a cover-up by authorities before a United Nations-led team arrived. Amid pictures of oil being cleaned and fisherfolk with hands and legs covered in sludge is a stark picture of a crocodile wading into the water while the surface and sand around are coated in black oil.

    Slow violence

    While chronicling the Ganga, she spent months in Bihar and West Bengal, which were affected by the Farakka Barrage. In 2015, she saw the rising water consume homes during the monsoon as the silt accumulation increased in tracts of the river leading to the barrage. A family, she reported, moved 17 times as the monsoon deluge followed them and washed away their home by the banks.

    The “slow violence” erupted in 2016 when floods consumed large parts of Bihar and displaced thousands — and the barrage finally came under the media lens.

    What she saw in the Sundarbans and in the backwaters of Farakka may well happen again when the ambitious National Waterways Act opens up the rivers to goods transportation.

    “There are marginal savings in transport costs, but what happens to biodiversity? Ganga and Brahmaputra are among the siltiest in the world. Can you keep dredging rivers? China has lost its river dolphins. Is that where we want to go,” she asks.

    But, then, the optimism returns, driven by her belief that environmental communication can make the difference. “We have to keep finding ways to communicate better and deeper,” says Arati. “ Engineering solutions cannot give us drinking water if our rivers are polluted. We will have to go back to basics, to understand water and the lives it sustains.”

    The long haul

    She is busy and has her hands full for a while. There is a book coming up, which will capture environmental degradation and the challenges to freshwater. Then there is a project to document shrinking urban commons in Bengaluru; a plan to chronicle the Cauvery River; and fundraising for the news portal Peepli, which specialises in longform journalism.

    All of this centres on outreach, which she is attempting to move beyond the filter bubble of social media and the laconic style of mainstream media. Her Instagram account, with photos from her fieldwork, has over 73,000 followers.

    In 2013, gradually eroding her savings for her first immersive story, she spent months in Thar desert, learning from farmer-shepherd Chhattar Singh who uses the ways of the land to manage water in an arid landscape. Waiting patiently in the summer, through sandstorms, she saw his system come to life on Independence Day that year — the only day it rained. The system fed on the 80 mm of rainfall, storing enough water to sustain villages for months.

    In her urban commons project, Arati will embark to remind Bengalureans of this. The city recently saw rainfall of the kind it has never seen before. But groundwater levels continue to remain unchanged and a water crisis looms large.

    In the Thar, she was deeply influenced by the works of Anupam Mishra, who passed away in 2016. “I’m not one for awards, but this one is very special to me. I started off in the desert reading his works, and it is an honour to be awarded in his name for my work.”

    source: / The Hindu / Home> 60 Minute Society / by Mohit M. Rao / December 09th, 2017

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    A Wadiyar heir after five decades, the infant is also the first royal born to a non-Ursu queen


    The two-day-old “royal” son of Yaduveer Krishnadatta Chamaraja Wadiyar has a few firsts. Though the erstwhile Mysore rulers have a strong connect with Bengaluru, Yaduveer’s son is the first royal heir to be born in this city. Not just this, the baby is also the first royal heir born to a non-Ursu queen — to a Rajput and a Suryavamshi.

    Born on Wednesday night, just four days before his grandfather Srikantadatta Wadiyar’s fourth death anniversary (December 10), the boy’s arrival has ended the infamous Alamelamma curse — Wadiyars saw a heir after more than five decades. The birth of the baby has brought much excitement to the family members.

    Yaduveer was anointed as custodian of Wadiyar family in May 2015 after he was legally adopted by late Srikantadatta Wadiyar’s wife Pramoda Devi. Formerly Yaduveer Gopal Raj Urs, he is from Bettada Kote family. He is the son of Tripurasundari Devi and grandson of Gayatri Devi who is the eldest daughter of 25th maharaja Jayachamaraja Wadiyar and Srikantadatta’s sister. The 27th head of Yadu dynasty, Yaduveer married Trishika in June 2016.

    Interestingly, in spite of the Wodeyars having strong roots in Bengaluru, contributing to the growth of institutions in the city and developing residential colonies and signature properties (including Bangalore Palace), none of the heirs were born here. Another interesting fact is that the infant is also the first royal heir born to a non-Ursu queen.

    A source close to the family said, “Nalvadi Krishnaraja Wodeyar was the first royal to marry a Rajput, Princess Pratapa Kumari, from a small princely family from Vana in Saurashtra. He was childless. Next, Jaya Chamarajendra Wodeyar married Sathya Prema Kumari, a Rajput princess from Jigni in Madhya Pradesh, and the couple did not have children. After six years, he married an Ursu, Tripura Sundari Ammani. She was the daughter of Bala Nanjaraja Urs, an officer in the Mysore government. Through her, Wodeyar had six children — five daughters and a son, Srikantadatta Narasimharaja Wadiyar. Born in 1953, Srikantadatta Narasimharaja Wadiyar succeeded Jaya Chamarajendra Wodeyar.”

    source: / Bangalore Mirror / Home> Bangalore> Others / by Kushala Satyanarayana, Bangalore Mirror Bureau / December 08th, 2017

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    Mayor Kavita Sanil addressing a press conference at the Mangaluru City Corporation on Tuesday.

    Mayor Kavita Sanil addressing a press conference at the Mangaluru City Corporation on Tuesday.

    Three more chosen in Yakshagana, Education, Sports categories

    A committee of the Mangaluru City Corporation has chosen well-known saxophonist Kadri Gopalnath for the corporation’s first Ullal Srinivas Mallya Memorial Honorary Lifetime Achievement Award.

    The award carries a purse of ₹ 1 lakh, a memento and a citation. The award will be presented during the Mangaluru City Corporation Day at the Town Hall here on December 8.

    In addition, the committee has chosen three persons for the Ullal Srinivas Mallya Memorial Award for Yakshagana, Education and Sports.

    They are Agari Raghurama Bhagavatha (Yakshagana); K.A. Rohini (Education) and M.R. Poovamma (Sports). Each one of them would be given away a purse of ₹ 50,000, a memento and a citation.

    Announcing the awards here on Tuesday, Mayor Kavita Sanil said that the corporation has instituted the awards for the first time to recognise the contribution of those who have brought laurels to Mangaluru.

    The selection committee comprised B.A. Vivek Rai, former Vice-Chancellor of Kannada University and also Karnataka State Open University; B.A. Abdul Rahman, former Vice-Chancellor, Kannur and Calicut universities, K.N. Tingalaya, former Chairman of Syndicate Bank, Rita Noronha, a social worker, and Manohar Prasad, a journalist. The Mayor is the ex-officio chairperson of the committee.

    She said that the corporation would conduct a drawing competition for primary and high school students within the jurisdiction of the corporation in the forenoon on December 8. The topics would be Mangaluru International Airport; New Mangaluru Port; National Institute of Technology, Surathkal; National Highway 66 and Mangaluru-Hassan railway line.

    The topics have been selected on the basis of contribution of late Mallya for their development. The venue would be the mini Town Hall. There will be three awards each in primary and high school categories. Students will have to register their names either by sending a message on WhatsApp to 9964160249 or 9113995063 before December 6.

    She said that the programmes of the City Corporation Day would be conducted from 2.30 p.m. to 9.30 p.m. The awards would be presented at 6.30 p.m. There would be cultural programmes before and after the award presentation. D. Veerendra Heggade, Dharmadhikari of Shree Kshetra Dharmasthala, would present the awards.

    The Mayor would present a karate demonstration after the award presentation.

    source: / The Hindu / Home> News> Cities> Mangaluru / by Special Correspondent / Mangaluru – Decemberj06th, 2017

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    December 6th, 2017adminAgriculture, Business & Economy
    The unique jackfruit variety has coppery red flakes.   | Photo Credit: Special Arrangement

    The unique jackfruit variety has coppery red flakes. | Photo Credit: Special Arrangement

    A single jackfruit tree will fetch ₹10 lakh for a farmer in Karnataka

    Forty-year-old S.S. Paramesha of Chelur village in Karnataka’s Tumakuru district is proud that his jackfruit tree “has made it big.” Planted 35 years ago by his father S.K. Siddappa, it produces a unique variety of jackfruit, with deep, coppery red flakes that are not only tasty but also have high nutritive value. Now it turns out it also has a high market value.

    “All of us knew that it was a unique variety as there was a great demand for the fruits from this tree from all our friends and relatives. But we always gave them away as gifts. We never sold a single one,” recalls Paramesha. But now the farmer is set earn ₹10 lakh from this tree over the next one year.

    Since Paramesha does not have the wherewithal to multiply this variety, the Indian Institute of Horticultural Research (IIHR) has signed a Memorandum of Understanding with him under which its scientists will multiply it through grafting. IIHR will not only sell these saplings under its banner but will also provide 75% of the proceeds to the farmer. It has also nominated Paramesha as “the custodian of genetic diversity” for this particular variety, and named it ‘Siddu’ after his father.

    According to IIHR Director M.R. Dinesh, the institute has already received an order for 10,000 saplings, and the formal sales will commence in two months. Paramesha stands to earn over ₹10 lakh from the sales of these 10,000 saplings. According to Karunakaran, head of IIHR’s Tumakuru-based Central Horticultural Experimental Station (CHES) and the scientist who identified this unique tree, the biggest advantage of this variety is that it yields very small fruits with an average weight of 2.44 kg, as against the 10-20 kg of normal varieties. “The main problem with normal jackfruit varieties is that the fruit is difficult to carry owing to its weight. But it is easy to carry ‘Siddu’ as it is lighter,” he says.

    While the health benefits of ‘Siddu’ jackfruit are still being analysed, the bio-chemical analysis has revealed that it has high lycopin content of 2 mg per 100 gm of pulp, as against 0.2 mg in normal varieties. It is also rich in anti-oxidants, the scientist points out.

    source: / The Hindu / Home> News> Cities> Bengaluru / by B.S. Satish Kumar / Bengaluru – December 04th, 2017

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    December 5th, 2017adminBusiness & Economy, Records, All
    Once electric services between Bengaluru and Mysuru are introduced, the entire journey on the Mysuru-Chennai section will be by electric locomotive hauled trains.

    Once electric services between Bengaluru and Mysuru are introduced, the entire journey on the Mysuru-Chennai section will be by electric locomotive hauled trains.

    Track electrification complete; inspection by Commissioner of Railway Safety today

    The electrification of the double track between Mysuru and Bengaluru has been completed. The Commissioner of Railway Safety (Southern Circle) will inspect the work on Tuesday before according his clearance which will pave the way for the introduction of electric train services between the two cities.

    A historic development from the point of view of transport infrastructure linking the two cities, the electrification of tracks between Mysuru and Bengaluru was part of the recently completed track doubling work and was taken up concurrently. Once the electric services between the two cities are introduced, the entire journey on the Mysuru-Chennai section will be by electric locomotive hauled trains.

    The electrification project was taken up by the Central Organisation for Railway Electrification (CORE), Allahabad, which completed the installation of poles in the first phase and drew overhead cables along the different stretches. The sub-stations at Bidadi and Yeliyur will feed power to the locomotive through the overhead catenary or cables.

    K.A. Manohar, CRS, will conduct the statutory inspection of electrification besides the speed trial of AC electric loco hauled service on the broad gauge double line section between Yeliyur and Mysuru on Tuesday. Vijaya, Chief Public Relations Officer, South Western Railway, said the inspection will start from Yeliyur and continue till Mysuru.

    “During the inspection, the traction sub-station at Yeliyur will also be inspected. After the inspection at enroute stations and yards including Level Crossings Gates, return speed trial between Mysuru-Yeliyur will also be conducted. Works related to the electrification of the double line between Yeliyur and Mysuru have been completed recently and once the Commissioner of Railway Safety accords authorisation, electric trains between Mysuru Bengaluru will become a reality,” she added.

    Bidadi substation

    It was only in March that the Karnataka Power Transmission Corporation (KPTCL) powered the Bidadi railway substation which facilitated the railways to operate electric locomotives till Mandya.

    Until recently, the Electric Multiple Units (EMU) services operated on the Bengaluru-Ramanagaram section which was powered by the electric substation at Whitefield. The completion of the Bidadi and Yeliyuru substations were major turning points that paved the way for operationalising electric locomotive hauled trains on the Bengaluru-Mysuru section.

    Reduced time

    With improved traction, the running time of some of the express services are expected to be reduced. Further, it will obviate the need of a few trains like Chennai-Mysuru-Chennai Shatabdi Express to change to diesel engine for its journey on the Bengaluru-Mysuru leg and from diesel to electric on the return journey.

    In all, 24 pairs of trains (including the non-daily services) operate on the highly-saturated Mysuru and Bengaluru lines. With the completion of track electrification, regular suburban services between the two cities will be introduced, reducing commuting time and enhancing connectivity.

    source: / The Hindu / Home> News> States> Karnataka / by Special Correspondent / Mysuru – December 05th, 2017

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