Bhasha Mandakini

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Bhasha Mandakini

Bhasha Mandakini is CIIL’s flagship programme that aims to uphold the rich tradition and culture associated with Indian languages, literature, and diverse communities through audio-visual presentations in documentaries. Although the primary motto of the initiative is to facilitate the users with basic language learning methodologies, the videos of the Bhasha Mandakini Project take into consideration a holistic approach in the process by giving the learners an overall experience of not only how the language functions but also the associated history, socio-cultural perspectives, literary traditions and much more.

The idea of teaching modern Indian languages through television is one of its kind that promotes the diversity of the Indian linguistic landscape to the audience and encourages mother tongue education. These interesting videos are carefully curated to meet the needs of the learners, imbibe a sense of pride in one’s own language and promote the growth in usage of mother tongues in all levels of learning. Moreover, the documentaries result from well-researched works that showcase how infotainment can be integrated with language learning and education.

CIIL has produced around 1000 short films of half an hour duration in Bangla, Marathi, Kannada, and Tamil. The design of each language segment is modular and incremental, and they refer to the six major divisions under each language as decided by CIIL, namely, the following: 1) Space, 2) Time, 3) Society, 4) Culture, 5) Speech pattern and 6) Writing system. These (audio-visual contents) were aired in the Gyan-Darshan TV programme of IGNOU, New Delhi, under a MoU with CIIL. It was also proposed to telecast them on various regional and national news channels.

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Tribes of Tamilnadu The Soligas & The Uralis
The Soliga tribe has originated from the Biligiriranga Hills in the south-eastern corner of the Mysuru district, adjoining Tamil Nadu. Today, they reside in the hilly forested areas of Salem, Erode, Namakkal, and Nilgiri districts of Tamil Nadu. The word, ‘soliga’ is derived from the Tamil word, ‘solai’, which means thickets. Although some believe that their name was derived from ‘swamiga’, which refers to Mahadeswara Swamy, their most favoured deity. Their language, Soliga, is a Dravidian tribal language, which includes several Kannada words. The Soligas live in single-room huts, built of bamboo and mud. Their staple food is ragi, which they cultivate themselves. They celebrate the harvest of the new ragi in October and November in the festival ‘Hosa Ragi Habba’. The Soligas believe in coexisting with the environment and have indigenous ways of using nature to make unique utility products, such as the ‘jottai’, which is a cup made out of leaves. They use natural medicines made out of medicinal leaves and turmeric to fight diseases. Monday is the weekly village holiday, during which they take a bath, clean their house and visit their temples. The gods that are popularly worshipped are, Rangaswamy and Mahadeswara. They believe that all humans have two souls, big and small. They have a unique way of worshipping the dead, which is known as ‘Sethavanga Saami’. The Solagi tribe has a ‘Kula Panchaiti’ or ‘Jathikoota’, with a ‘Yejaman’ as an elected head. The tribe celebrates the onset of the puberty of girls where the maternal uncle constructs a puberty hut for his niece. The tribe recognizes marriage by force, elopement, service or arrangement. They have a simple marriage, which is performed by the village headman. They observe a ritual known as ‘allushastra’, which is the casting of castor seeds before any auspicious occasion. The Uralis are found in the Satyamangalam Taluk of the Periyar district of Tamil Nadu, in the tri-junction of the hills of Tamil Nadu, Kerala, and Karnataka. Uralis derive their name from two words, ‘Ur’ meaning ‘that locality’ and ‘Ali’ meaning ‘to rule’. They speak a mixed language of Tamil and Kannada. Their settlements are known as ‘podu’ which means ‘shifting cultivation. Generally, the Uralis have twelve clan divisions, and each village usually has members of only one clan. They live in huts called ‘kure’, which they build together out of grass, mud, and cow dung. They earn their livelihood by collecting forest products, or by working as agricultural laborers. The cash crop of their land is ‘kuchi kelangu’ or tapioca, which is also part of their staple diet. Similar to the Soliga tribe, the Uralis also favor ragi. Their folk dance forms include ‘kummi’, which is performed by women on important occasions, and ‘ponaruthattam’, which is accompanied by the music of traditional instruments, such as the ‘halage’- drum and ‘kombu’- brass trumpet. As it can be observed, both these tribes living in hilly areas share several similar traits in their lifestyle and culture.
Freedom Movement in Karnataka Part-2
The people of Karnataka whole-heartedly plunged into the freedom struggle of India. Persistence to obtain freedom from the British increasingly grew in those days among every Indian. Insurgency in Karnataka was turning pale at the time of 1858. Kannadigas showed great courage, ventures, sacrifices, and self-esteem in these rebels. In 1919, Hindus and Muslims celebrated Khilafath day by distributing Pamphlets. Habibullah Khan campaigned for the Khilaafath movement across the Kaarwaar district. Karnataka state congress committee was established in the year 1920. The annual session of the Indian national congress was held in 1924 in the Belagaun district under the chairmanship of Mahatma Gandhi. Huilgol Narayana Rao was a freedom fighter who composed the song ‘Udayavagali Namma Cheluva Kannada’ which awakens the spirit of Kannadigas. Ankola was the major center for Karnataka for salt satyagraha. Gowramma, Subbamma, Kaaveramma, Duggamma, Bhaageerathamma, and Lakshmamma participated in this. During that time flag hoisting was one of the symbols of protest. It was like showing the red cloth in front of Bull. The British thought that the flag hoisting is disdaining their regime. Brave Kannadigas started singing Vande Maatram on the streets with the tricolor. This attitude provoked the British. ‘Vidhuraashwattha’ is located in Gouribidanur in the Kolar district. Congress had taken the decision to campaign at the time of the livestock fair. Freedom fighters' meeting took place and they hoisted the national flag on April 23rd in 1938 under the leadership of T. Raamachaar, The president of the Kolar district of congress committee but there was a prohibition for the assembling of people. Around ten thousand workers participated in satyagraha. They distributed the pamphlets. Protestors provoked the police force by hoisting the flag again. Police started arresting protestors. They started Lathi Charge and fired 92 rounds. Around 35 people were killed. Many were injured. Gandhi ji called this tragedy the Jaaliya waala baagh Massaccre of Karnataka. It is also called the Vidhuraashwattha Tragedy. The first session of the Mysore Congress was held at shivpoora of Mandya district. Sahukaar Channayya was the welcome committee president. The sixty-feet tall flag mast was decorated with khaadi cloth. In the history of Mysore province, The Shivapore congress session is indeed a milestone. Independence horn had spread everywhere in India and Karnataka also contributed immensely to the great horn.
Hoysala Architecture Part-2
The Hoysala rulers extended great patronage to architecture and sculpture, which is unmatched by any other dynasty in Karnataka. One of the important characteristics of the Hoysala architecture are their artistic pillars. Although the Hoysala pillars are an imitation of the square cushioned pillars of the Dravidian style, they have their own distinctive features. Being influenced by the Chalukya style, the Hoysala sculptors began to use a lathe for their pillars. They roughly prepared a block of soapstone, which was then turned on a lathe, and then finally carved into various shapes and sizes using an iron chisel. The base of the pillar is square, the middle portion represents an inverted bell or lotus, and the upper portion is circular in shape. The designs on the pillar are circular in high and low reliefs. Sometimes the pillar has two wheels on top instead of one, with a lotus in between the two wheels. Above this, there are square shaped cushions of diverse ornate decorations and bracket stones, which connect the pillars to the ceilings. On the sloping bracket stones above the pillars of the navarangaor hall, and half pillars of the outer wall, are carved fine iamges of salabhanjikaandmadanikafigures. The tops of these pillars are covered with several captivating carvings. No two pillars have the same carvings and ornamentation. The four pillars of the navaranga are completely covered with ornamentation, and some surfaces are so well polished that they reflect light. The central area of some pillars do not have any carvings and are simply polished. These features can also be seen in temples of the Badami Chaluka dynasty in North Karanataka and some temples of the Himadri sect. Therefore, these features had not been originally created by the Hoysalas but were adapted and integrated by them in their architecture. Although they have given these feature a new shape through their artistic ingenuity. The uneven surfaces of the walls provided the sculptures with more space for ornamentation. They have thus, covered every inch in carvings of exquisite beauty.
Akkamahadevi
Akkamahadevi is a mystic and poet par excellence in the spiritual history of India. Her life reads like a legend. All the ancient poets believe that her birthplace was the village, of Uduthadi in the Shivamogga district. Several references have been made to her in literature, in both oral and written traditions, such as Harihara’s Uduthadi Mahadeviyakkana Ragale in 1220 AD, Cennabasavaanka’s Mahadeeviyakkana Purana in 1550 AD, Raacakavi’s Mahadeeviyakkana Saangatya in 1600 AD and Paalkurike Soomanatha’s Panditaradhya Charitra in Telugu in 1250 AD contains some details about Akkamahadevi. Baalapaapaamba wrote a full-length poem titled, Mahadevi Boodhoollaasa. The four variants of Suunyasampaadane revised between the 15th and 17th centuries AD make casual references to the life of Akkamahadevi. Harihara was the first to write a poem on Akkamahadevi. He states that Shivabhakta and Shivabhakte are her parents, but according to Chamarasa her parents were Nirmala and Sumathi. Harihara’s portrayal is not completely realistic and historical. The details about her life differ in the work of each author. The account of her marriage happens to be the most controversial part of all the narrations. According to Harihara’s narration, she married King Kousika but soon snapped out of her marital relationship because it was uncongenial to her spiritual pursuits. This narration is approved by the author of the second Suunyasampaadane and by Cennabasavaanka in his Mahadeeviyakkana Purana. According to Chamarasa’s narration, Akkamahadevi went to the royal palace but did not accept Kousika’s marriage proposal and went on to become an ascetic. This narration is followed by other ancient poets such as Elanduuru Hariisvara, Viruupaaksha Pandita, Adrisyakavi, Raacakavi, Saantalingadeesika, Toontada Siddhalingadeesika and Guuluura Siddaviirannodeya. According to Harihara’s narration, Kousika was spellbound by Akkamahadevi’s beauty and wanted to marry her. She refused to marry a non-believer, but when he threatened her parents, she agreed on the terms that he should not come in between her worship. She also laid the condition that if he misbehaved with her more than three times she would sever conjugal ties with him. On his third act of misbehavior, she left her marital ties to become an ascetic. She goes to Kalyaana, the city of her dreams. On approaching Kalyaana she faces the queries of Kinnari Bommayya. She clears his doubts by demonstrating that she had won over the lust by transforming the mortal sensibilities into spiritual ones, by always dwelling upon the Supreme and being in the company of mystics. She then moved into the Anubhavamantapa in Kalyaana, which is a congregation where debates on spirituality and philosophy occur. The true essence of her personality is unraveled by Prabhudeva, who continuously praises her mystic stance and spiritual attainments. She stayed for a while at Kalyaana in the presence of other spiritual leaders and then moved on to Sriisaila, where she attained eternal bliss in Kadalivana. This account of her final attainment of spirituality is covered by most poets. All four versions of Sunyasampadane cover a touching account of Akkamahadevi’s journey from Kalyaana to Srigiri. Her statue occupies a prime place on the compound wall of Mallikarjuna temple at Sriisaila. She abandoned dressing formally which was considered a social norm. This along with her abandonment of marital ties is a revolutionary move for all ages. Akkamahadevi’s vachanas or free verse poems are highly regarded out of which 354 are available today. Her compositions are lyrical in nature and give expression to her miseries and joy. Her vachanas express how society looks at the woman form. Her vachanas also include her utter disregard for worldly males. When she was young, she dreamt of marrying Shiva, particularly, Chenna Mallikarjuna. Although wooing Chenna Mallikarjuna was not an easy task, many of her vachanas speak of her sorrow of the separation of the female devotee. Apart from vachanas, she has also written “yoganga trividhi”, “srishtiya vaccana”, and “svaravacana”. “Yoganga trividhi” imbibes her yogic attainment and poetic genius. “Srishtiya vaccana” gives an account of the secrets of creation. “Svaravacana”, which is written in a riddle-like style, expresses the relationship between God and life. Akkamahadevi can be regarded as one of the earliest feminists because her life is in accordance with the basic feminist ideologies that a woman must strive to lead a lifestyle of her choice and the recognition for her own self. The feminist ideologies in Akka’s vachanas are relevant even today.
Channapattana Toys
Kenchaiah, a renowned craftsman who makes some of the most eye-catching toys and dolls of Chanapattana. His nimble fingers reveal his over fifty years of experience in the craft. His eyes shine with pride when he says that he has trained over 400 craftsman in laquerware technique. The channapattana lacquerware which catches the fancy of children and elders alike is one of the most popular crafts of Karnataka with its bright look, dazzling colors, and lowly craftsmanship. It leaves an indelible expression on one’s mind. Channapattana, the cradle of this beautiful craft is located at 60kms of Bengaluru in the Bengaluru-Mysore highway. This place is a busy commercial hub and a taluk in the Raamnagara district. In Channapattana and some of the villages like Tattekere, Manglawara Pete, Kariyappana Doddi, Harisandra, Neelasandra, Sunghatta, Lalaghatta, Honganahalli, Bannikuppe, and Sannahalli. Thousands of families depend on this traditional craft for their livelihood. In most of the houses in these villages, you can see artisans engrossed in making various kinds of Lacquerware. This craft practiced in Karnataka has a history of more than two centuries. It is said that Tipu Sultaan had brought the artisans from Persia to train the Toymakers. Baba Saheb Miyan Saheb, popularly known as Bawasmiyan, is a local artist known as the originator of the craft in Channapattana nearly areas. Basawmia’s grandfather was a classmate of the Mysore Maharaja. When the Britishers asked the Maharaja whom to send to Japan for learning the machine work. Bawasmia’s name was suggested. After the training, He came back to channapattana and set up the machines. As time passed, Many others developed expertise in the craft. But Bawasmia, who taught this technology to all is the true founder of machine Lathe technology. The exclusive Halewood is used for making Lacquerware. It constitutes a cheap raw material and it is close-grained and moderately hard. Now, the health-conscious international market demands the use of natural colors. For this reason, some exporters make colors from Turmeric, Rathan Joth leaf, Katta, Annato, Angeria, Kumkum, Alale Kaayi flower, manjiish ta, and skin of the pomegranate fruit. The Channapattana lacquerware toys, dolls, and other articles with their competent prices and attractive finesse have excellent market demand. Only when the lacquerwares of Channapattana get their due recognition in the world and domestic market then the lives of those who depend on this traditional industry for livelihood will be reformed.
Folk Mahabharath Part-2
The folk Mahabharath has its own uniqueness. A folk poet sustains his imagination through the tale. He connected the lines one by one. He did not woven the whole tale in one go. The epic stretches over lines and truly deserves to be called Mahakavya. One man has sung all these lines and Dr.PK Rajshekhar has taken it all down making the audio recording simultaneously. It is an amazing feat in Kannada. No one had given the reason why Bhism had to lie on the bed of arrows. The folk Mahabharatha has filled the gap through the Chameleons episode. How chameleons cursed Bhim and on the battlefield, he got the bed of arrows. It is an indication of folk belief that even the animals must be respected. Compassion for all creatures is imperative according to the folk poet. Communal harmony is the idea of the poet singer. Poet narrates the situation when Dushyasana pealed Draupadi’s robe and that sweem into Bhima’s ken. Poet described an Abimanyu as a half-a-leaf. The folk poet said that all become one in paradise.
Durga Puja
The goddess is worshipped as a representative of shakti(power or energy)or Adi Shakti(the primordial power or energy) in the Indian subcontinent and parts of South Asia. Shakti worship has taken the form of Durga Puja, a ten-day festival celebrated in Sharad (autumn months of September and October) in the eastern parts of India, primarily West Bengal, Assam, Bihar, Odisha as well as in Bangladesh. In India, Durga Puja coincides with Navratri, primarily celebrated in the northern parts of the country. The final day of Durga Puja known as Dashami which marks the victory of good over evil happens on the same day as Dusshera (celebrated across India as the day Rama killed Ravana and is a marker of the fact that good will always destroy evil) or Dashain (celebrated in North Bengal and Nepal). Primarily, Durga Puja celebrates the victory of goddess Durga after a ten-day battle over Mahishasurawho after a boon from Brahma that no man can ever kill him, had started to torment the gods and other natives of Swarga (heaven). It also celebrates goddess Parvati’s (an avatar of goddess Durga) annual visit to her paternal home and “serves as a thanksgiving for a good harvest” (Malakar 2021). Modern-day Durga Puja marks a shift from the time it was first introduced by King Suratha. The Markandeya Purana states that King Suratha worshipped the goddess, Durga or Chandi in the spring season(also referred to as Basanta Kaal) as she was considered the goddess of fertility. However, according to the Ramayana, it was Rama who in order to get Devi Durga’s blessings fought Ravana worshipped goddess Durga for the first time in Autumn or what is known as the Ashwin month. This worship referred to as AkaalBodhonor ‘untimely worship’ is regarded as the precursor of the present-day Durga Puja. While Navaratri is a ten-day festival with the last day culminating in Dusshera, the main Durga Puja events happen for five days, starting with the fifth day of Navaratri which Bengalis refer to as Panchami. Panchami is followed by Shasti(sixth day), Saptami (seventh day), Ashtami (eighth day), Navami (ninth day), and Dashami.“Durga Puja was first organized in 1610 CE by the Sabarna Roy Chowdhury family at their ancestral home at Barisha” (Malakar 2021), now in Kolkata. Other records show that the first-ever Durga Puja was “celebrated in Krishnanagar by its royal family and dates back to 1606” (Sen 2019). Since the past century, Durga Puja celebrations are categorized into bonedibaripuja-s (house/family pujas, known for their traditions, rituals, and grandeur) or barowaripuja-s (community/public pujas, also referred to as sarbojaninwhich means ‘for all men and women, marked by their innovative pandals, idols, decor, and lighting). Mahalayafalls on a new moon day a week prior to Durga Puja and marks the end of Pitripakshaand the beginning of Devipakshaor the day on which Goddess Parvati starts her journey from her husband Shiva’s home in Kailash to her parents’ home. She is usually accompanied by her vahana (lion) and her four children, Saraswati, Lakshmi, Ganesh, and Kartik along with their vahanas (swan, owl, mouse, and peacock respectively). Durga Puja is incomplete without Mahalayaas this is the day that officially sets the mood for the days that follow.Mahalayais are marked by many important rituals as it is only on this day that the eyes of the goddess are drawn (referred to as ChakshuDaanor the giving of eyes) as the final step in the creation of the idol. People also come to take a dip in the Ganges on Mahalaya to pray for the departed souls of their ancestors (referred to as Tarpan). Even though Durga Puja officially begins with Panchami, this day does not witness any major rituals. However, the idol is brought from the idol maker’s or potter’s place to the respective homes or pandals on this day. The worship of goddess Durga officially begins on Shasti which is marked by the Kalparambharites and the Mahasnan (great bath) ritual which is performed before the start of the puja. The commencement rituals are performed under a bael(wood apple tree) and Mahashakti who is worshipped on this day is summoned to the bael tree. Other rituals that are performed on this day include a special Shasti puja along with rituals that are done in order to welcome goddess Durgasuch asAmantran, Adhibas, Bodhan, and Baran. On Saptami, the idol of goddess Durga is given life through a ritual referred to as Prana Dana. This day also witnesses the worship of a banana stalk(referred to as Kola Bou)along with the Navapatrika (eight other sacred crops)to thank the goddess of fertility. Together, these nine plants represent the nine forms of the goddess Durga. Ashtamicelebrates the Mahishasurmardiniavatar(the destroyer of Mahishasura)of the goddess. Devotees normally fast until the Pushpanjali ritual during which mantras are chanted and flowers are offered to the goddess. The juncture between Ashtami and the second last day, Navami is marked by a ritual referred to as Sadhipuja which celebrates and worships the Chamunda or Chamundiniavatar of the goddess (the form that killed the two asuras named Chanda and Manda).Navamirecalls Rama’s worship of goddess Durga as a result of which 108 lamps are lit and 108 lotuses are offered to Devi Durga along with clothes, jewelry, hibiscus garlands, and baelleaves. The day also witnesses a lot of important rituals including Hom, Kumari Puja, Balidan, and Maha Aarti. On the final day, Dashami goddess Durga is sent back to her husband, Lord Shiva in Kailash with pomp and glory. A symbolic ritual referred to as Visarjana(immersion) marks her farewell. Before Visarjana, SindoorKhela(playing with vermillion), a ritual observed by married women takes place. After Visarjana, people wish each other and elders bijoya(‘The Auspicious Victory’). This bijoyais considered subhoor auspicious and is believed to bring one good health and prosperity.
Agriculture in Karnataka Part-2
Khushki land crops are called “devamatruka” which means, “gift of God”. Irrigated land crops are called “nadimatruka” which means “gift of water from a flowing river”. The main irrigation crop is “batta” or paddy. Although during the rainy season, paddy is cultivated in khushki land. Paddy is grown mainly thrown transplantation. The crops take about three to four months to grow. They perform “koylu puja” before harvesting the crops. After cutting the crops, they leave them on the fields for a few days before transporting it to the “kana” or threshing yard. Once they have separated the grains from the straw, they use winnowing to separate the chaff. They then fill the grains into gunny bags and transport them to their homes via bullock carts, where they sun-dry the paddy for a few days, and then store it. “Kabbu” or sugarcane is another cash crop of irrigated land. The land for sugarcane is prepared by plowing the land, two to three times. The farmers sow good and healthy sugarcane having a minimum of three nodes in furrows, which assists in the process of irrigation. After about fifteen days of sowing, sprouts emerge from the nodal points. After one field of sugarcane has grown successfully, the farmers adopt intercultural operations such as earth, which is known as “sannamuri” which means, “small ridges”. Due to this process, the seedlings grow in clumps. Once the sugarcane has grown to a height of three to four feet, the farmers add ten to fifteen bullock carts filled with compost and manure to the soil. After this stage, farmers make ridges on both sides of the sugarcane row. They are called “doddamuri”, which means “bigger ridges”. Flowers usually begin to emerge in sugarcane crops after a year. Its flowers are called juulangi or suulangi. Crops are usually ready to be harvested after eleven to twelve months. For harvesting purposes, farmers use a sickle called “capagodli”. They remove the leaves, which are called “raved", and branched tips, which are called “sonde”. They leave this trash in the field, which they later burn. This acts as a manure for the next crop, which is sugarcane ratoon. New shoots of sugarcane ratoon emerge out of the basal parts that have been left behind from the sugarcane crops. Usually, ratoon crops are not grown until after two to three years. Although Dr. D. R. Prafullachandra, an eminent farmer from the Shivamoga district has changed the sugarcane scene in Karnataka. From 1970 to 2008, he has produced a record number of sugarcane crops in his fields. He has also several farmers follow in his footsteps of not burning waste in his fields and using the leftovers from his crops as manure. After harvesting, sugarcanes are transported to sugar factories for the manufacturing of sugar. Some factories also sell their sugarcane crops to jaggery making houses known as “aalemane”. The juice from crushed sugarcane, which is known as “aalekuuni” is collected in barrels. The leftover sugarcane after crushing is used in jaggery houses as fuel. The collected juice is boiled in broad metallic structures called “kopparige”. The making of jaggery is a skilled process that is conducted by “hadagaararu” or jaggery cooks. Once the juice begins to boil, all the dirt comes to the top, which is collected in circular metallic instruments called “maddikukke”. Later, the boiled jaggery is transferred into a wooden pit. After the jaggery has cooled, it is prepared into round or square pellets. Unlike dry land and irrigation crops, plantation crops need more attention and things like suitable soil, specific land, water supply, labor requirements, and availability should be kept in mind. The important plantation crops in Karnataka are banana, coconut, areca nut, and betel vine. “Baalehannu” or banana is a very popular fruit during all seasons in Karnataka. A good irrigation system is very essential for this crop. Before planting bananas, the lands should be plowed and made plain. The suckers are planted in pits that are five feet wide and deep and are filled with organic manure. It is irrigated once a week. After about a month, the suckers sprout. After about ten to twelve months, the crops would have grown to a height of ten feet. Bananas are very susceptible to diseases such as fungus disease and leaf curl disease. The majority of the diseases can be prevented if the tubers are treated with chemicals such as passy fluoride, listen, and radon granules.
Folk Performing Arts of Southern Karnataka Part-3
Pooja Kunita is a popular ritualistic folk dance to worship Goddess Shakti. It is practiced largely around rural backgrounds like the Mandya, Mysore, Kolar, and the Tumkur districts of Karnataka. It is extremely colorful and visually delightful. Today it becomes performing and entertaining troops. The worship of Shakti is found all over the world. Thattilu kunitha, Hai Kunitha, and Eduru Kunitha are also types of Poja Kunitha. He also performs aerobatics skills in pooja dance. Somana Kunitha dance of Soma, the soma dance belongs to the traditionally known Shakti dance. It is a dance in wearing of mask equally entertaining. To look attractive or majestic it is decorated with colorful clothes and its legs are decored with Anklet. The artist who wears the mask will use the big nostril the mask to visualize another artist. There are many folk arts in Karnataka. Among them, Somana Kunitha is one such art form. It is also a religious ritual performance. The tamate player also sings three-line lyrics to the Goddess of Shakti. The lyrics are sung in praise of the Goddess and seek her blessings. Thus they are used to spread the power of the Goddess. The co-artists join the main artist at the end and raise their voices together to create an atmosphere of enthralling devotion. Dollu Kunitha is the drum dance that is quite popular across Karanataka, Bijapur, Bellary, Belgaum, Tumkur, Chikmagalur, and Shimoga are known for popular Dollu Kunitha. It is a unique folk dance called a masculine art form. The drum is tied around the waist and is beaten with a round stick. Among the folk dances, the Dollu Kunitha is called Veera Kunitha (the courageous dance). Among the folk performative arts, Dollu Kunitha has its special place. A troupe consisting of ten to fifteen members performs a variety of dances as they beat the drum. There is another dance too in Dollu Kunitha that is stick dance, Saaru Kari Dance, Hucchellu dance, hand beats, etc.
Folk Performing Art of Southern Karnataka Part-2
This folk art which takes birth in several rural areas does not seem that gurus have taught them to learning centers that spread them. Performances are both worship and entertainment. Hence, the artist learns it at home or in the village at large. Later he unveils his talent during a fair, festival, or another event in the village. Veeragase, just like Nandi kolu Veeragase has pauranik Daksha yagna tale. When Dakshayini dies in the fire yagna of Daksha and then Veerbhadra took birth. If the Veera Bhadra dance gets importance during marriages, the Veeragase gets its prominence during village festivities. It gives the impression the impressions that the worriers are ready to enter into combat with the enemy. Thus this symbolizes physical valour. Therefore, the dance is always performed in groups. The troupe is led by the Veerabhadra. Thus, except in coastal Karnataka, we find the prevalence of this dance in Northern Karnataka, southern Karnataka, and the middle part of Karnataka. Among the professional folk and religious singers of southern Karnataka, the dewar Guddas/Monks are very famous. According to Keshi Raja, the word kamsale has come from the Sanskrit word kamsya that. Gudda tradition has been singing the prayer Mahadeswara and the miracle tales they compose. They are normally Herridatory singers or learn through guru shishya tradition system. In the tradition of these Dewara Guddas/monks except Brahmin, Lingayat, and okkaliga communities, others can become the Guddas. Kinsale is also known as kaisale , kausale, kaitale, Batlu etc. There are three to eight performers in komsale groups. In the story of Mahadeswara, there are fourteen parts. Each of them is called a Salu or a verse that tells a single story in a lengthy narration. Nagari Meela, the Nagaari a large kettle drum is the king of instruments made from cane. It begins with the primordial nature of Mahadeswara and ends with Maheswara’s return to Kalisa/heaven. Predominantly, during the worship of shakti or goddess-like Durgavva, these Nagaari instruments were used. Kahale, the kahale is a metal horn trumpet of a long tapering shape of horn-like shape. It is big and produces more melody. Ranakhale is used during battle, Hulikahale during hunts Javvakahale for keeping time, etc.
History of Carnatic Music and Vachana Literature
"Music is a universal language. It is the emblem of a culture. Indian music is believed to have been originated from two different sources, one is nature and the other is Vedas and mythology. Sounds produced by birds and animals, wind paasing through folly and through holes in bamboo made by insects, while rivers are flowing. All thses prompted the imagination of man and inspired it to create music. Cry of peacock, bellow of bull, bleat of sheep, call of heron, song of cuckoo, neighing of horse, trumpet of elephant are the corresponding sounds for all seven svaras. This Sanskrit verse found in Amar Koosa by Amar Simha and the revised kannada version of this is “Viveeka Cintaamani’’ by Nijaguna Sivayoogi in 16th century. Yajnavalkya Smriti says A person who is a musician can easily attain Mooksa.i.e.,Salvation. From Sound syllables are formed, from syllables words are formed, from words speech are formed. All mundane activities happen through speech.This shloka found in Sangita Ratnakara, 13th century treaties on music in Sanskrit describes that Phenominal world is controlled by naada. There are two types of Naada.i.e., Ahata and Anahata. Ahata is classified into six kinds. The sphere of Indian classic music includes Classical music, Folk music and Light Music. Indian classic music has developed into two main streams Carnatic and Hindustani. The predominant version practiced in southern states of India is known as Carnatic or Daakshinaatya. Hindusthaani or Auttareeya kind of music is practiced in rest of the country.While Carnatic music developed without any external influences. Folk music is composed in rural and spoken language.It contains subjects from all sphere of life. Light music denotes Bhavgeeta popular singing of poems not adhering to classical novels. Like this there are stage music, dance music,film, music and etc. In kannada Literature there are several references to music. Kannada poet Aadi Kavi Pampa of 10th century writes people who are abode to sacrifice, opulence, learning, conference, beauty, Pleasantness and singing are real human beings. Chandrasekhara, the poet of eight languages in his book Pampaasthaana Varanna mentions about 18 kinds of flute. Contributions of people of Karnataka to Carnatic music is unique. In kannada, Sivasarana’s Vachana literature of the 12th century is our earliest song. Sivasarana’s literature is identified as Vachana, SvaraVachana. In one of the popular Vacanna, Basavanna praised the god to convert his entire body into an instrument to play and sing the eulogy. Thus Vachana literature is a milestone in kannda literature and Carnatic music. "
History of the Kannada Cinema New Wave Films 1971-80
"The impact of Sanskara brought several well known Kannada stories, novels and plays to the screen in 1917. The success of Vamsha Vriksha in 1972 brought new hope for the new way. The Film was based on Dr.S.L. Byrappa’s novel. Vamsha Vriksha, the film was jointly directed by Girish karnad and B.V.Karnath. This film bagged the award for best direction and regional award. In 1973, Sankalpa was directed by P.V. Ananthanagarakatti Bindu jadev. Madi Madidavaja was based on well-known novelist Basavaraja kattimani, it won the state award for second best film and best cameraman award for the year. 1973-1974 The other picture of the year ‘Kaadu’ based on Alanahali Krishna novel. Triveni’s novel Kankanamade in the same name directed by N.B.N.Prasad bagged the state award for the best film. In 1975, B.N. Karnath directed the film based on the famous novelist Dr.Shivaram Karnath Choman Dudi. It is the story of a landless agricultural lady struggling to own path in life. It won the swarna kamal award for the best feature film and Vasudev rao’s acting as Chuma was strikingly natural and won the best actress award at the national level. In kakanakote, Tabbaliyu Neenade Magane and Kanneshwara Rama the emphasis was on reals Kakanakote based on Dr. Masthi Venkatesh Iyengar popular play commercial principle and new way films principle is mixed but commercial principle dominated. Kameshwara rama based on S.K. Nagdish novel was the first Kannada film Directed by M.S. Satyu is a well known director of Hindi Films. Thabbailiyu Neenade magane a novel by B.L. Byrappa depicts the clash of values in the life of a young man who returns to his village to a foreigner wife. Chand Marutha directed by Pattabhirama Reddy was about the emergency and the following political turmoil. It was released in 1977 after the emergency ended. Chitegu chinte was the second picture directed by M.S. Satyu, master of Satire and political ridicule. The sattarical style combined with fantasies was striking. Spandana, it presented the story of a beautiful woman married to a widow the deaf and dumb child and a journey undertake. Spandana secured several awards. "
H.L.Nagegowda
"Janapada Loka is a place near Ramanagara on the Mysuru- Bengaluru highways. It is an outcome of a decade span work by Dr.H.L.Nagegowda of Folk vision. It is a world of sweet memories of the unique folk collection that can retain Nagegowda’s name forever. He had a passion for folk culture and life. The folk fest being conducted here finds no documents only alminag and the fest is pride of this culture. Folk songs and folklore are the essence of their very being of the rural life and the light of life. Nagegowda was a multifaceted genius and efficient officer of high integrity and a writer of books. The speciality in Nagegowda’s personality is his honest concern for rural artists. Helping them directly and demanding the government to sanction the pension of troubled artists shows his helping nature. If anyone writes the history of folklore, Nagegowda’s name stands in the front. Hereganahally of Naagamangala taluk in Mandya district is Nagegowda’s native place and there he was born as the son of Lingegowda and Hucchamma on 11th February 1915. Doddamane, a large house, the head of the family used to offer food to hungry people and console them with his words. Nagegowda’s father wants to make him an amaldaar. Amaldaar in those days were as respected as king. When he was in high school he took part in the freedom movement. After growing up he secured 25th rank in Mysore Civil services in the competitive exam to become a probationary revenue officer, as managing director of the cooperative sugar factory at Paandavapura. He completed the construction of this factory during this period. Nagegowda was virtually a folk sage. He began the Jaanapada trust in 1979. He travelled throughout the state hundreds of times, personally met thousands of artists and recorded folk songs, tales, puzzles, etc. Sri Nagegowda Hailing from a farmer’s family had affection and concern for the rural folk. He rose to a high government post after his education and earned a reputation. His passion was folk songs. Today, his audio record consists of one thousand five hundred hours in his collection and more than thousands of colour transparents on folk art, festivals, fairs, ceremonies etc. Here there is also a list behind video cassettes of about 800 hours. H. L.Nagegowda identified rural artists, recorded their songs, and shot dance forms and registering these all alone, he contributed a great deal to folklore. He opened a folk museum in Sivamoga. Dullu dance, Suggi dance, Koolata dances of goravaas troops of these dances also present in Jaanapada. Banglore university has recognized Jaanapada looka as a centre of research and it has begun folk diploma and certificate courses. Lookotsava, Dasara festival and kite fests are conducted regularly in February, October and July, respectively. JaanaPadalooka awards are given in recognition of folk artists thus encouraging the much-neglected folk work. Folk experts from all over the world have visited the place and appreciated Nagegowda’s interest in folk work. This Jaanapada looka is the best folk centre in the world. He started a periodical called Jaanapada Samaacaaraa. Daddame is the most famous and debated Novel. Nagegowda has an equal mastery over English too and has translated and edited eight huge volumes called Pravasi Kanda India, published by Mysore University. A few important awards of his life are Karanatak Sahitya academy honours by Jaanapada and Yakshagaana academy, the fellowship of Nataka academy, Naadoja award of Hampi Kannada University, the raajotsava award of Karnataka and Pampa Award. "
Temples of Tamilnadu
“Uruva Vazhipadu” or temples of worship have played a central role in Tamil society since ancient times. Villages and cities have been built around these temples. Today, there are thousands of temples in Tamil Nadu, most of which are ancient. These temples hold historical importance and stand testimony to ancient architecture and sculpture. Temples in Tamil Nadu have been the center of socialization. Vazhipadu- worship, vizhakal- festivals, kalai nigazhachigal- cultural programmes, thirumanangal- marriages, are usually held in the temples. Prior to the Sangam period, Tamilians worshipped trees as they believed spirits and gods lived in them. Temples began to emerge around these trees. On being influenced by the Vedas, people built idols and placed them under these trees. Temples built for village deities and minor deities are an important part of the temples of Tamil Nadu. These temples, unlike the bigger temples, differ from village to village. While in bigger temples, rituals are performed in Sanskrit, in temples of minor gods, rituals are performed in Tamil. Roofless temples depicted painted clay idols of village heroes with “kathi” or knife in their hands and sitting on “kuthirai” or horse. Vedic influence led to the making of idols and temple structures out of a paste made from “chunnambu”- lime, “mannal”- sand, “karumbucharu”- sugarcane juice, “vellacharu”- melted jaggery, “nellikkanicharu”- gooseberry juice, “maram”- wood and “chengal”- bricks. The Triplicane Parathasatahi idol is an example of such craftsmanship. Various articles are considered to have divine power and are worshipped. Some such articles are “val” or sword. “ther” or temple car, “kudai” or umbrella, “gopuram” or tower, “pallakku” or palanquin, “vel” or spear, and “soolam” or three-pronged spear. In ancient times, visiting the temple after the morning bath and circumambulations inside the temple were common practices. In deserts and drylands, places of worship were known as “iyai kottam” and “oornadu mandram”. In these areas, the places of worship consisted of “kal” or stone and “kinaru” or well. The worshipping was known as “proposal”, as it involved “poo” or flowers and “neer” or water. According to Nedunelvadai, ancient Tamil literature, people regularly mopped the floor, lighted lamps, offered flowers, and performed pujas in the evening. The literature from the Sangam period teaches several concepts related with worshipping of idols in Tamil Nadu, such as “samaya nambikkaigal”- religious beliefs, “samaya vazhakugal”- religious practices, and “vazhipattu muraigal”- methods of worship. The gods of the four lands are “Kurinjinila kadavul”- Seyone, “Mullainila kadavul”- Mayone, “Marudanila kadavul”- Vendan and “Neithalnila kadavul”- Varuna. The people of the Kurinji mountains worshipped Muruga as the primary deity. They referred to Muruga as Seyone. During the Sangam period, Muruga was worshipped as “Vetrikadavul” or the god of success, and as “Sevar kodiyone” or one with a cock flag. In ancient times people erected a pole with a cock flag in open spaces and offered worship. This worshipping was accompanied by “velattam”- dance with spears and “veriyattam”- fiery dances. The ancient belonging to the forest areas- “mullai” were generally “ayargals” or shepherds. They gained their livelihood through rearing cattle and sheep. They worshipped Thirumal and called him Mayone. In the plains, the people primarily worshipped Shivan, who Tolkappiyar referred to as Vendan. Shivan is the principal god of Dravidians. Sangam literature has referred to Shivan with several names such as “mukatselvan”, “senchadai kadavul”, “veliyan”, “allamarselvan”, “karaimiatrannal” and “kariyundi kadavul”. The most popular characteristics of Shivan are “netrikann” or the forehead eye also known as the third eye, “sadaiudaiyavan” or the long-haired in profound penance, “pirai” or cresecent, “udukkai” or drum, “mukkol” or spear and “pulithol” or tiger skin”. The ancient Tamils worshipped Shuvan in penance and in dancing forms. The temple is the most vital monument in Tamil art and architecture. The main deity is enshrined in the “moolasthanam”, which has a single entrance and is usually small in size. This area moves out into the “arthamandabam” which has two entrances. It is here that the priest stands and offers “deepa aradhana”. At the entrance of the “arthamandabam”, stand the “dwarabalakas”- entrance guards on either side of the door. This is followed by the “maha mandabam”, which is a big area from where devotees offer their prayers. During the worship, the ritual of “abhishekam” was performed, which included showers of various aromatic fluids, such as “paal” or milk and “chandanam” or sandalwood paste. The showering of holy water from “kumbam”- consecrated pond was usually the final step in the process of “abhishekam”. This is followed by “alangaram” or beautification and the offering of the best flowers and clothes to the deity. “Nandi” or bull is placed opposite to the Sivalingam. Vinayagar is enshrined towards the right of the “moolasthanam”. Whereas Subramaniyar is enshrined on the left. On the outer walls of the “grabhagramm” or the “moolasthanam”, Dhakshanamoorthy is enshrined in the south. Lingothbavar is placed on the backside of the “moolasthanam”, and Durgai is enshrined on the right side. While Sandeswarer is located opposite to Durgai. In the outer “praharam” or corridor, “kodi maram” or flag staff, “balipeedam” or sacrificial altar, and Nandi are located. Above the moolasthanam, “vimanam” or tower with “porkalasangal” or golden pots is constructed. The “gopuram” or entrance tower is decorated with several colourful idols which depicts the mythological story of the temple. The gopuram is generally very tall and is within the “thirusuttru madhil” which means compound wall. On the compound wall, there are idols of Nandi and Sivaganagal. “Thirukulam” or temple pond, is found both inside and outside the temple. “Thalavirksham” or temple tree is located inside the temple.
Folk Performances in Bengal Part-1
The folk theatre in Bengal evolved out of the community spirit which has been existent in rural Bengal since before the sixteenth century. Genres such as the Panchaligaan(oral narrative or ballad songs) and the Kathakata(narrative) are considered predecessors of the present-day folk theatre in Bengal. Both the Panchaligaanand the Kathakatafocus primarily on religious themes and mythological stories even though with the passage of time, other socially and culturally relevant themes and subjects have also come into focus. The primary aim of these folk forms apart from the entertainment and education of the masses was to simplify and subsequently instruct through religious texts. Songs have been a dominant trait of the folk theatre in Bengal and whatever be the subject and the story of a particular performance, it is borne and carried forward by songs as well as crisp and dramatic dialogue and enunciation. Folk theatre performances are usually held during religious festivals to pay homage to gods and goddesses. In such performances, usually, there is a single narrator, and this narrator tends to represent multiple characters and as a result, multiple voices and points of view (similar in spirit to the modern-day one-man show). With the use of songs and music, these village performers have the ability to raise their narration to the level of drama. There are numerous folk theatre forms in Bengal and many of those are relevant to this day. Gambhira(also, Gambhira-gaanor naach)is a well-known form of Bengali folk theatre extremely popular in the Malda district of West Bengal. Gambhira spreads out as far as the Dinajpur and Murshidabad districts, located to the north and the south of the Malda districts respectively. It is directly linked to the Hindu festivals of Gajanand Charakwhich celebrate Lord Shiva. These festivals are generally held on the last day of Chaitra (in Aprilprior to the Bengali New Year or PoilaBoishak). Gambhiraperformances usually have two performers – one of who usually portrays the role of the village or the community Elder. The performance progresses with a dialogue between the two usually through song (and through dance in the case of Gambhiranaach). Gambhira performers not only dress up on their own but also do their own makeup. The Gambhiraperformance usually begins with a concert in which many musical instruments are played followed by an introduction known as Mukhopadwhere the performers and characters introduce themselves. The Mukhopadis followed by what is known as the Bandana or the salutation where Lord Shiva or Mahadev makes an entry (as a tribute to the Gajanand Charakfestivals). Mahadev is referred to as “nana” and he is a representative of the feudal lord (in the past) and of the government (at present). The other performers, representative of the poverty-stricken common masses are usually in soiled dhoti-s and shreds of cloth. Duets performed by a man and a woman (usually played by another man) or Charyari(an act with four characters) follow the Bandana. The most skilled actor is usually the symbol and the voice of the common masses or the underprivileged. The Gambhirausually ends with a Report which is a summation of all the significant events that have taken place in a particular year. These are usually events that are of national importance. The language of the Gambhira-gaan is a combination of various languages of West Bengal and nearby states including Bengali, Maithili, Hindi, Rajbanshi, Palia as well as dialects from the Barind tract (néeVarendra). Gambhirais truly the reflection of the zeitgeist – of the stark truth (under the guise of laughter) that dictates the lives of the ordinary toiling people of Bengal. The Gambhira-gaan of today is secular and can be held at any time of the year and has no relation to the four-day Gambhira festival which was held for four days during the Gajanand Charakfestivals. Domni or Domni-gaan is a folk theatre form popular in the West Bengal-Bihar border area, especially in Diara, Ratua, and Manikchak areas of the Malda district. Like many other Bengali folk theatre genres, Domni sees men (referred to as chakra-s orsokra-s) portray the role of female characters. Domni performances are replete with music, dance, and dialogue. However, owing to the language, which is the conversational language of the area, and incomprehensible to people outside of the community, Domni has remained restricted within the Diara area and is on the verge of extinction. The Diara area witnesses a New Year festival (also called the Sirua festival). This is the time the Domni performance groups visit affluent houses and collect fees in order to prepare for open-air Domni performances. Most Domni plays begin with the Bandanawhich first pays homage to the gods and then to the hosts. The chokra-s in the guise of women dance a Lacharior a Nachari. After the Bandana, the main body of the play starts. Serious subjects such as social oppression, injustice, marginalization, etc., all of which are of immediate social importance to the area are depicted through the means of Domniperformances. The audience of these performances is mostly the locals of the area, most of who are farmers or daily wage laborers. The Uttar and Dakshin Dinajpur areas of West Bengal are a conglomeration of various communities and classes. Together they have given rise to the folk theatre form called Khanor Khangaan (derived from the word ‘khanda’ or ‘fragments’) which is organized post-harvest. Tales of love, replete with problems are portrayed through Khan's performances. Khan's performances are unique in the sense that most of the dialogues are improvised as the performanceprogresses. Further, the pace of the dances included in these performances is usually slow. Every year, Khanperformances witness the rise of new stories based on socially relevant issues. The toiling people and the common masses of the area portray their simple lifestyle and focus on their own problems and their efforts to solve these problems through the means of Khan performances. Some of these performances see the presence of elements from religious rituals referred to as Bo-Khela amongst which HaluaHaluani (from the word ‘hal’or ‘plough’) is very popular. Dhaamor Dhaamgaan is an important folk theatre form of the Jalpaiguri district. These performances see the coming together of women dancers (also sokra), singers (locally known as gidal and Dohari), and instrumentalists. With the course of time, Dhaamperformances have taken up socially relevant themes and contemporary events and are now known as Palatia.Palatiais of three types depending on the importance of the subject: Khashpanchal, Rangpanchal, and Manpanchal. In the Cooch Behar district of North Bengal, Kushan and Dotra plays are important forms of folk theatre. Both these use the traditional Bhawaiya tune. Dotra plays usually depict popular legends or public scandals and contain themes that are secular. The burden of the play is carried by the Geedal or theMool(lead singer) whose songs are accompanied by the music of the dotara. Young girls dance to this tune. The Geedal usually wears a dhoti and a shawl and does not have any special costume. Dotra plays have a comic character called the Duaari (the local equivalent of the jester) whose role is to provide comic relief. The Duaari throughout the play regards the Geedal as his guru. Kushan plays (from the name Kush, the second son of Rama and Sita) are very popular among the Rajbanshi community of North Bengal. Kushan plays can be performed at any time of the year and are not linked to a particular festival or season.Sokra-s sing and dance to the tune of the senior bana, a bamboo instrument while the Geedal narrates the story through the medium of songduring a Kushanperformance. Some Kushan performances such as “Bishahara”(trans., “The Removal of Poison” which depicts the popular myth of the snake-goddess Manasa and Chand Sadagar, a merchant who refused to worship her, performed mostly in winter during a marriage ceremony) also sees the use of the mukhamashe, a folk flute. Kushanperformancestell the story of Rama as it is said to have been told at the court of Sri Rama in Ayodhya. Apart from this, tales from the Ramayana and the Mahabharata are portrayed in these plays. Sometimes in order to break the monotony of the play and provide dramatic relief, contemporary events (called that or khosha or phash) are brought in which have no direct link with the main play. ManasaPalapopular in South Bengal is similar in spirit to “Bishahara”. However, it is directly related to ManasaPuja, a festival celebrating the Snake goddess, Manasa, and is held during the monsoon season in the months from July to September. Manasa Pala is held at local fairs during Manasa Puja and is open to anyone who wants to attend. The Bengali folk theatre despite being a secular space does not go into deep philosophy or theory. It is a representative of the lives, thoughts, and problems of the common people of rural Bengal. Most of these folk theatre forms and the festivals which are associated with them are participated in, viewed, and celebrated by Hindus and Muslims alike without any kind of communal or religious bias.
Honouring in Kannada Culture
In the annals of history, the opulence of Kannada culture is a matter of great pride reflecting a plethora of degrees, rewards, titles, donations and gifts, bestowed upon various soaring wars to the heroic and noteworthy beat of sacrifice. The reverence bestowed upon those who work for the state's security and welfare is telltale of the people. Scripture reveals that during the olden times the king not only donated to charity but also rewarded the helping people generously. The awards presented were noteworthy, nanjanguuDu taayuuru indicates that the king confers a part of his own made as a gesture of respect, as a gift I am giving you a part of my made and you son, shall be called by my name and I will have my name as Tirumala rajnayak. Those who received his name alongside there considered it to be the pinnacle of respect. Various prefixes of kings and emperors were used as titles next to their names. A claimed king, Srii Krishnadeevaraayaa of Tudulinage, had the title yavanaraajyasamsthapanaacaarya and in order to earn it, the king of Vijaymagara on certain occasions allowed his feet to be kissed. This was considered a great honour for the person who get this opportunity. Those who battle for victory in war by giving their own life would be conferred with a title and reward in memory of the dead warrior. Stone memorials would be erected to represent them as permanent as the sun and the moon. For the welfare of the brave warrior, the family land was reserved as a benefaction, such reserved land was called inettarugoDege baalgaLcu. Art was also greatly encouraged in the bygone era. The titles and honours bestowed to artists and sculptures indicate the kind of importance and the various form of art enjoyed. The spectator's record mention that in the entire span of Jambhudviipa, there had been no architect as skilled as Narasobba and also, that there would be no one like him in the future. Another sculpture of repute by the beholder is GunDa, who constructed the Lokeshwara temple for Lookamahadevi the queen of King Vikramaditya, SatyaaSraya bestowed him with the title tribhuvanaacaari and took him on a procession three times as a mark of honour. Dance and Music were a popular forms of art in society. People used to get titles in honour of their work. Pampa, a writer of literature got the title of Gunarnava. Some of the very famous writers were Pampa, Ranna and Ponna, today they are referred to as ‘The three poetic gems”. Jottitaayamma and Dr K.venkatlakshamma had extraordinary accomplishments in the field of dance. In politics, administration or in the field of art, drama and music, it was customary to appoint a head and the appointed was known as the court head. Only those artists chosen by the court head would receive the honour. “Varshavardanthi” was a festival as prominent as Navaratri. On that day a felicitation would be organized at the ceremonial hall of the Mysore palace, which later on was at Ambavilas Durbar hall. The Diwans used to get the titles of “Rajasevabhushana” and “Rajakaaryaa Praveena” which were for “Diwan cader”. The artists such as musicians, painters and social workers would sit with Diwans in the “Bandrasana’, then, on a silver plate, called “paraabh”, they would place a gold chain, medal and a gondaberunda pendant, with the Mysore’s king’s emblem. A person would bring the chain and a robe and carry the plate to the king, then the king would just touch the plate and after this formality, the Huzur’s secretary, or the Durbar “Bakshi”, would put the jewel on the persons’ neck with the pendant and there robe his shoulder. Najar-Najaraana is a word derived from Urdu which means offering. Kanike, is another such word, which means offering given to God, king or elders in respectful manners. Another word associated with the culture is Parakuu. Karnataka Kalatilaka and Santa Sisunalaa are awarded for the field of Music. Naadooja award is for literature, Santalaa award for dance, Ekalavya award for achievers in sports, and Karnataka Ratna is the award for lifetime achievement in the field of art. Raajyootsava award is another such award which gives recognition to these various such activities, today. While universities give doctorates to great achievers who accomplish extraordinarily in their respective fields, organization and monasteries offer honour in their own ways by giving titles and shields. To people who have highly contributed to the regional language, the Indian government honoured them with Padmabhushana and Padmashrii awards.
Forests of Karnataka Part-1
Forest plays a vital role in the socio-cultural, historical, economical and industrial development of any country. It also maintains an ecological balance. They are the source for the sustainment of its population and also the storehouse of biodiversity. Agriculture and animal husbandry are dependent on the use of forest lands. Forest not only maintains moisture and provides clean air but it also produces humus to maintain soil fertility. Karnataka’s forests are highly valuable with magnificent trees and it is appreciated for its unique ecosystem in the world. Different forest types are there in Karnataka - Scrub forests mainly occur in the eastern part of the state. In the plains of Vidar, Gulberga, Beejapur, Bagalcoat, Raichoor, Dharwad, Gadak, Haveri, Ballari, Dawangeri, ChitraDu-rga, Tumkur and Kolara. Dry Deciduous Forest is mainly found in Chikmagalur, Hassan, Mandya, Mysore and Bangalore. The moist Deciduous Forest in this region occurs in Veear Hills, Chamrajnagara, in the Malnad area of Samoga, Chikmanglore, Ananad Coastal district of Udupi, Dakshin Kannada and Uttar Kannada. Semi-Evergreen forests are spread in western ghats in Uttar Kannada, Paschim Kannada, Udupi, Chikmagalur, Hassan, Shimoga, and Chamrajnagara. The Shola and Grasslands, also form a part of this belt and are visible in Bababurugiri, Brahmagiri, Kadchadri, Kudraimo and Gopal Swamy hills. Mangroves lie in the coastal belt of Dakshin Kannada, Udupi and Uttar Kannada districts. This type of forest depends on where it is in the Uttar Kannada district and where the rain falls in the state. The Shola and Grasslands of various parts in the western ghat are also part of this evergreen variety. The Sholas are thick evergreen trees that occur in the upper valleys of cloves, they are surrounded by grasslands. The moist Deciduous Forest occurs at a higher altitude and the rainfall is about 2500 millimeters. These forests are rich in herb trees and are commercially viable climbers. Dry Deciduous Forest occurs in less rainfall areas with about 1500mm of rainfall. These forests have an open canopy and dry leafless trees in dry months. In some trees, flowering happens before the fresh leaves stump. Plantation and commercial trees are common in these areas. Scrub forests or thorny forests, have stranded trees out in the plain, these types of forests are mainly visible in low rainfall areas. Karnataka is also the best place for unique mangrove forests which protects and links the land and sea and has a rivers and sea ecosystem. Here, the mangroves are salt tolerant in forest ecosystems and such forests are found mainly in the interior region of the world. There are valuable species in the forest like teak, rosewood and sandalwood, numerous other hardwood species make it a unique biological hotspot. These forests are also an abode for much interesting flora and fauna. The local species like- Nerele, Toopura, Gowje, Bettathavare, Kaachu, Urulu, Dindalu, Banni, Shivani, Bidaru, Matthi, Honne, Booruga, and Nandi are found in abundance in such parts. These rich forests also include very precious medicinal plants and have vital ingredients for traditional health care. Some of this precious wealth is available in Hunse, Nallikai, Doopa, Basavanapaada Madhunashini, Sagadheberu, Aadusoge, Malhannu, Andle, Kavalu, Chigare, Antwala, Bettadanalli and they are endemic to this region. It is very interesting to see the biodiversity map of Karnataka and its Rivers Basins. Rivers of Karnataka are Godavari, Krishna, Cauvery, North Pennar, South Pennar, Polar Basin and the West Flowing rivers. West flowing rivers include Kali, Gangavalli, Aghanashini, Sharavathi, Kollur, Chakra, Sitanandi, Nethravathi, and Gurupur. East flowing Rivers are Krishna, Bhima, Tungabhadra, Ghataprabha, Malaprabha, Kabini, and Cauvery. Worship of the tree Kunabis is the conservation practice followed by the local people for protecting several ecosystems and threatening species, this speaks volumes about the connections between cultural and biological diversity. Western life is one of the twelve mega biodiversity hotspots of the world. Even today, when the western ghat has sensitive biodiversity and is rich in Culture and ecology. Wildlife population (2007) reports 395 tigers, 6185 elephants, 817 Panther, 2324 bears, 15760 wild bears, 25850 deer, 8484 Bison, 4998 Sambar, 957 Foxes and other wild animals in Karnataka. Forest Network of Karnataka has five national parks- Anshi national park, Bandipur, Bannerghatta, Kudremukh, and Nagarahole. The state has 21 wildlife sanctuaries which include peacock sanctuaries, bird sanctuaries and other wildlife sanctuaries. Karnataka has two tiger reserves- Bandipur and Bhadra, and one Biosphere Reserve-Nilgiri Biosphere Reserve.
A.P.J. Abdul Kalam - Part -1
A Kite woke up a little boy named “Abdul Kalam’’ who became an internationally acclaimed scientist and former President of India. He was born in the island town of Rameshwaram, which is near the eastern tip of Tamilnadu. His mother AshiAmma and father Jainuladin were ideal couples and building boats was their main profession. Kalam started his education in a municipal primary school and met teachers like MutthuAyyar and SubhramaniyamAyyar. One day, He was scientifically teaching how the bird flies but on that day he also injected a dream into Kalam’s life. That led him to go for Physics then Aeronautical Engineering and then became a Rocket Engineer. That is why Kalamused to say that a good teacher gives an action or a goal in the life of students. In his childhood, He was rendering all kinds of help to his family. He was also helping his cousin Mr. Shamsuddin by way of working for him as a newspaper delivery boy. Rameshwaram is a town located on an island separated from mainland India by the Pamban channel and is less than 40km from the Zafnapeninsula. This town is significant for the Hindus as a pilgrimage center. The presiding deity here is in the form of Linga with the name of Sri Ramnath Swami. It also happens to be one of the tweleveJyotirlingaa.Interestingly, The high priest of Rameshwaram temple named “PakshiLakshmanShastri’’ was a close friend of Abdul Kalam’s father. The two men in their traditional attire would often sit together and discuss spiritual matters. Lakshmanshastri used to teach Kalam about the lessons of ‘The Bhagavad-Gita’. This made Kalam firmly believe that there was a superpower that guides a man and provides relief from sufferings, difficulties, and failures. These teachings had a strong influence on the small boy and made him totally secular in his attitude. Kalam was about six years old when his father embarked on a project of building wooden sail boat to take the pilgrims from Rameshwaram to Dhanushkodi. Then one day A cyclone bringing the winds of over the 100miles/hour carried away the boat. The Pambanbridge collapsed with the train full of Passenger in it. Kalam had until then seen only the beauty of the sea. Now the uncontrollable energy of nature brought a revolution in him. This episode had a strong influence all through his childhood and carried through to his life. Kalam always believed that A leader should have at least these six traits which are given below:- 1. A leader must have ambition. 2. A leader must be able to travel into an unexplored path. 3. A leader must know how to manage success! 4. A leader must have the courage to take decisions. 5. A leader should have nobility in management. 6. A leader should work and succeed with integrity. At the age of 15, Kalam joined Schwartz Higher Secondary School in Ramanathapuram. Here,Ayyadurai Solomon was a great teacher who raised the self esteem of Kalam. His science teacher ShivShubramanyamAyyar had also a great influence on him. Tirucuchirappali situated on the banks of river Kaveri is the fourth largest city in Tamilnadu. In 1950, Kalam joined ST. Joseph’s College of Trichi for his intermediate exam. The reverent father used to give lectures on personalities such as Lord Buddha, Confuscious, St. Augustine, Khalifa Omar, Mahatma Gandhi, Einstein, and so many great people. According to Dr. R. Rajarathinam (Principal of that college) ‘India has got a new outlook on all the lines after his presidentshipspecially in the field of science and technology. Whenever he comes here, The very first question he asks me is, ‘How is father Chinnadurai’? Chinnaduraitaught him Physics. So, he enquired about the well-being of our staff. He has a soft corner towards his Alma Mater. Kalam stayed for four years at St. Joseph’s Campus. After finishing his B.Sc degree in Physics, Kalam realized that Physics was not his subject and he wanted to study Engineering. In 1949, ChinnaswamiRajam gave The Madras Institute of Technology of The Anna University to the newly Independent India. He made MIT for a course like Aeronautical Engineering, Automobile Engineering, and Electronics Engineering. According to Retd. Prof. S. Narasimhan(Head of dept. of Aerospace)MIT, “He used to take great interest in a subject like design where one has to use one’s own initiative and bring out some innovative ideas about it.’’ Dr. A. Joseph Stanley, The principal of MIT Chennai also says that Dr. Kalam joined this institute in the department of Aerospace engineering and studied up to 1957. During his study period, Prof Rappandin a German Prof. was the head of the department and senior Professors like K.V.Panda and Prof S.V Narsimhan were there. At that time, There were no computers, no calculators. So, Most of the project work was experimental work. When he was a student the department of Aerospace Engineering designed a glider named Rohini under the guidance of Prof. RatanDev and this was taken to Minambaka airport and flown. At that time, It was considered to be a very great successful project. Later he joined ISRO and grew up to Project Director of the first satellite launch in India. He was a very motivating factor for all the students of MIT and MIT students feel pride that they are studying in an institute where Dr. Kalam had studied. Dr. Kalam’sjourney from a village boy to ‘Missile Man’, itself is a great reason to inspire others, and once he said that “I will not be Presumptuous enough to say that my life can be a role model for anybody, but some underprivileged child living in an obscure social setting may find some solace in the way my destiny has been shaped.’’
Handloom Industry in Karnataka - Part-1
"Clothes are as inevitable to man as food itself and so, garments are his constant companion. Weaving and rolling thread has a tendency to produce a variety of forms, colors and the glory to embellish the human body with even fresh glow. The design of dress and color changed according to personality and lifestyle and even culture and tradition are interwoven with these. Years of experience declare the textiles and the material they weave to have changed in the heat of the climate, environment, region and even religion. Since the very beginning the process of weaving clothes has been modified over time. The handloom cot has changed the source of livelihood for thousands of families and has supported them as their backbone for growth and development. Handlooms are believed to have been discovered by Westerners around 8000 years ago, but still no concrete evidence is there for when and where handlooms actually began. The family belonging to communities like Deevanga, Thogataveera, Pancamassali, Settigaar, Kuruhina Setty in Karnataka had mastered the art of weaving and even other weaving communities are encouraged to weave everyday. There is another handloom weaving community known as “Sokkula Sali.” Specific families carry out this responsibility and families who have made weaving a profession work can be seen in all the villages in Karnataka. More than half a crore people depend on weaving in Karnataka. Handloom cloth production grew significantly from Chamarajanagarto to Bidar. Handlooms are solely dependent on human labor, from the weaving on the loom, coloring the thread, and preparation of the dress, all are drawn from sweat. The whole process of hand weaving is as complex as the weaving industry. The making of handloom clothing involves two stages: the preparation of the cotton for weaving in three rooms and the work that follows in a post room The process of cleaning cotton is called count, high count is used in the production of saree. The most significant phase in coloring of the thread and almost all weavers chose synthetic colors today. Tie and dye coloring method requires waste rubber tube tied to the thread and different colors are applied to the thread after washing one after another color in water and up to four times, a variety of methods like triloom, vertical frame room, land room, tribal room, blanket room are used to weave. Old types of handlooms are called “Lion” and “vertical looms''. Lion types are specialized for weaving ladies wear. Vertical looms are used to weave carpets, mats etc. Now we have fly shuttles and frame looms which are widely in use everywhere. Further they are modified as “Dobbin'', ''barrel” and ''Latis dobbin”. Earlier looms were equipped with ‘tapit’ which had a lax and was similar to a chain to create designs and the designs were very limited. After the introduction of ‘Jacquard’ looms, a vast variety of designs could be formed and now many looms are equipped with Jacquard looms and are also able to create ‘tapit’. Further ‘jacquard’ has been modified in 120, 240 and 480 Jacquard. Using 480 Jacquard it is possible to create more and more designs”. Earlier artists were hired for creating designs now as the 'card punching’ system has been introduced, now they do not use any such old looms.” At Least 1000-2000 cards are needed in making saree. In Karnataka, Chintamani has uniqueness for its collection of Saris and is called “Chintamani Silk Saris.” In Ilkal it is called ‘Ilkal saree’. In Molakalmuru it is called as ‘Molakalmuru Saris’, In Bangalore, there are specific areas which produce saris according to the existing trend and also try to keep pace with the changing trends.” "
Geological Wonders of Karnataka - Part - 2
The South Indian peninsula, submerged in the sea, has risen due to tectonic disturbance and has formed a mountain range with rare geological sites. The different rocks found in Karnataka is three thousand million year old and stands testimony to the early pages of the earth’s history. This range of the Rocky Mountains, which have spread between Shimoga and Goa, is named the Dharwar Schist belt. Pillow Lavas of Maradihalli:- In Chitradurga town in Karnataka, lies the tiny hamlet of Maradihalli. It is of the structure of Pillow lavas. These are formed within the ocean due to the sudden cooling of Lava. Here they round an ellipsodical-shaped pillow lavas have been welded to me another. Due to the sudden cooling of lavas, volcanic glass rinse is formed. It is clear that these pillow lavas are two thousand five hundred million years old; hence, this site has been protected as National Geological Monument. Limestone Pinnacles of Yanna:- If we travel on Sirsi-kumta road, turn right towards Gokarna after a few kilometres, turn left and proceed in the dense forest of Yanna. It is known for the unusual crust rock formations. It is located in the Sahyadri mountain range of the western ghats. The two unique rock outcrops near the village are a tourist attraction and easily approachable by a small trek through 0.5 kilometres of thick forests from the nearest road head. It is famous for these two massive rock outcrops, the Bhairaveshwara Shikhara and the Mohini Shikhara. The huge rocks are composed of solid black, Crystalline karst limestone. The legend says that Lord Vishnu transformed himself into an attractive woman and slewed the demon Bramhasura at this place. Caves of Ulavi:- Another wonder of the North-Kannada district is the cave of Ullavi, fifty-seven km away from Dandeli town and spreading over 10sq km around Ulavi are these caves which are astounding creations of nature. These caves were shelters for the men of early human civilisation. These caves are also formed due to the water action and weathering. Slices and big holes are included in the granite. The Ullaavi caves are directly related to the Vachanakaras of the 12th century. When we enter Aakala cave through a narrow tunnel, we find clusters hanging from the top resembling the other cattle. Kavala Caves:- One of the most popular places to visit in Dandeli, Kavala makes for an exciting visit. These caves are believed to be as old as prehistoric times and made of volcanic origins. We can find these caves in the Dandeli wildlife sanctuary. Stromatolites of Kalaadagi:- The tiny hamlet of Kalaadagi in the Bangalkur district is a vital administration centre of the British raj. The distinct and best examples of Kalaadagi group rocks are at the outskirts of Bangalkur town and Kajjidoni, Lookapura and at Jambagi. The peninsular genesis of Lalbagh:- The southern peninsula was formed with primitive rock formation, which belongs to the early years of the earth’s evolution. Unlike the granites, which formed the higher resistance of the hill. The huge rock is three thousand years old. When this rock took place, there was neither Western Ghats nor the Himalayas existed. Hence Geographical survey of India declared it a National Geographical Monument.

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