Five generations and still going on...

Kamsale Kumaraswamy, 60, son of renowned artiste Kamsale Mahadevaiah, has been performing Kamsale for over 40 years and like his father, has created a niche of his own winning several accolades and awards of which Kamsale Kanteerava, Kamsale Kalashree, Kamsale Janapada Kalashree are the prominent ones. Kumaraswamy is the Director of Mysore Kamsale Mahadevaiah Folk Arts Centre in Vidyaranya Puram. Here are the excerpts from an informal talk SOM had with him.

Star of Mysore (SOM): What was it that attracted you to Kamsale? Did you take it up merely because it was a family tradition?

Kamsale Kumaraswamy (KK): I belong to the fifth generation of Kamsale family. Everyone learnt from their fore-fathers just as my father, Kamsale Mahadevaiah, learnt this from his father, Varkudu Nanjaiah. But my initiation into this field was solely because of the blessings of Lord Mahadeshwara, as my father strictly opposed me to follow the tradition and become a folklore artiste. Instead he wanted me to study well. It was my father’s beloved student, also named Mahadeva, who was instrumental in helping me to learn this art. It was during 1968-69 when my father was invited to participate in a programme that was held in Delhi, another of my father’s student who was jealous of him, tried unsuccessfully to stop him. But Mahadeva noticed it and he decided to take me in his place.

SOM interrupts… How old were you at that time? Did your father oblige and what about your practice?

KK: I was only 16 years old then. My father came to know that I was coming to Delhi only when I boarded the train. Mahadeva prevented me from informing him earlier as he knew he wouldn’t give permission. Seeing me in the train my father started scolding, “You haven’t got any practice and it is a national level event. It’s a prestige issue”. But Mahadeva consoled me and assured me not to worry.

Interestingly without my father’s knowledge I had been practicing Kamsale right from my school days. I learnt it merely by observing my father while he practiced it daily behind my school in Nanjumalige. I in turn practiced at home when no one was around. I had learnt it so quickly that I also gave a couple of performances at some school functions.

Again SOM interrupts: Was that practice enough for you to perform on stage at Delhi?

KK: Two days before the event took off, my father asked me to perform and I did a few steps. He seemed happy. I practiced the whole night and there was a rehearsal the next day. Seeing my performance my father was satisfied. It was my first stage performance in public, where I performed Kamsale in front of Prime Minister Lal Bahadur Shastry accompanied by other dignitaries like Indira Gandhi, Devaraj Urs, Zakir Hussain and several others. I received a big applause making my father feel very proud of me.

SOM: Can you say something about the origins of Ka-msale and it’s various forms?

KK: The origin of Kamsale is indeed very interesting. In ancient days pilgrims had to walk in the midst of thick forests and climb seven hills to reach temple of Lord Mahadeshwara atop the last hill. Walking through dense forests they were constantly scared of the attack from wild animals. In order to keep their fears at bay and also frighten the wild animals they took two soap stones and struck one against the other making a sound while singing songs in their own style praising Lord Mahadeshwara. Thus began the Kamsale tradition when the stones were gradually replaced with convex shaped bronze plates.

Kamsale is performed in three different styles. One is Beesu Kamsale where performers dance and swing around acrobatically in the air, striking the bronze plates in hand. One artiste swings the lid with his right hand and slams it in the bowl in the hands of the adjacent artiste and in turn receives the other’s lid . It is usually performed by a troupe of 6 members. It is also swung on the head with circular or semi-circular movements, behind the back and between the legs. The other is the Margala Kamsale where the performer does Kamsale by tying long wooden poles to his legs. Finally there is the Kamsale Mela where the troupe comprises of exactly five members all singing and dancing in praise of Lord Mahadeshwara.

SOM: Traditionally Kamsale was restricted to performing during fairs and jathras at Male Mahedeshwara Hills. Do you have any plans to popularize it and teach it to the present generation so that it doesn’t get lost like so many other art forms?

KK: I along with my students are already into teaching Kamsale in about 30 schools all over the State. While training we give due importance for adherence of wearing the traditional costumes and teaching them without altering the basic dance form, though we may change the style of presentation to make the learning easier.

SOM: Your father, Kamsale Mahadevaiah was so popular that his name has become synonymous with this art form. What was so unique in his performance that made him so popular?

KK: His complete involvement in it. Even at the age of 80 he performed Kamsale. But his recitation of hymns, the dancing style and movements were so perfectly choreographed, it was appreciated by everyone.

SOM: With around 40 years of talented performances and having won numerous awards how do you feel about the response of today’s society towards this art form? Is the Government doing enough for the artistes or is something more to be done?

KK: Giving an award means encouraging that person but in a way this also puts a responsibility on him. I feel I am doing good job, that’s why they have awarded me. But what I have contributed so far is not enough and a lot more is needed to be done to bring Kamsale to international levels. Government should recognize the art and encourage it further instead of merely providing an opportunity to perform during cultural events.

SOM: Have you given any performances abroad? Have any foreigners approached you to teach them?

KK: Certainly. I have performed in Malta, Cyprus, Tunisia, Istambul, Rome and several other places. I performed at the international folk arts meet held in Rome in 1989 where my father was invited as the Chief Guest. Though I received numerous offers from several foreign countries to teach them, I could not take it up mainly due to the problem of language, as I can’t speak English. If I found any Janapada Vidwan, I am ready to teach at abroad also.



SOM: Can this be taught in Universities? If so are there any attempts made?

KK: I am already teaching about the significance of our traditional cultures for students of MA, Folklore. But I am ever willing to teach Kamsale for University students if I am asked to.

SOM: Why have women not taken up Kamsale performances? Is there any restriction for them to play?

KK: There are no restrictions for women to perform. Good physical fitness, disciplined life, dedication and a keen interest to learn are all that is required to learn Kamsale. It is very exhausting and the dancer must be very agile and unerring in every step and every swing of his Kamsale.

SOM: Though Kamsale is being revived with the State Government encouraging it, why is this rigidity being maintained in that this art form is confined to only festivals or as a part of some tableau?

KK: There is a stadium inside the Manasa Gangotri campus where they have constructed a podium called Ranga Vedike. The Vedike should be used to hold different cultural programmes regularly, so that the present generation will get to know about our culture. Kamsale will definitely gain popularity if it is held regularly, say once in a week, with assistance from Mysore University.

SOM: You have featured in films also…

KK: In Janumada Jodi I have only recorded a song giving a modern touch for the traditional folklore and in Vamsha Vruksha I have performed as a co-artiste. Apart from that I have acted in several films but all in small roles. I have also participated in the Common Wealth Games held recently. Our team was one among the five that was selected to represent Karnataka at the Games. I have also played in Aidaralu of Lingadevaru Halemane which bagged a State Award. I have also written scripts for various Government advertisement promos like creating awareness about AIDS, Saksharatha, Women Empowerment and others.

SOM: Can you make a living out of folk arts?

KK: No. It is indeed very difficult to survive only performing Kamsale.

SOM: Your life style and family

KK: My day begins at 5.30am with walking and a visit to the temple, as I am a staunch believer of God. Then begins my day’s routine, which ends with attending programmes in the evenings. Not breaking the ancient tradition, on every Monday & Friday, I visit a couple of houses collecting alms with a bag (jolige). I have four children and two grand children who too have learnt Kamsale performing at small functions.

Kamsale Mahadevaiah

The name Mahadevaiah has become so synonymous with Kamsale, that a mere mention of the name ‘Kamsale Mahadeva’ strikes a chord in everyone who knows Kamsale without exception. He continued to give public performances till his last days, even though he was 90 years old. While performing Kamsale on stage, he could easily recite several devotional hymns praising Lord Mahadeshwara from his memory which if written could run more into thousand pages. When late Indira Gandhi was the Prime Minister of India she popularized folk arts during Republic Day celebrations. It was then Mahadevaiah gave performances in Delhi as well as traveling all over India.

He participated in an international folk art conference held in 1974. He was bestowed with numerous awards, the prominent ones being the Sangeetha Nataka Akademi award in 1968, Janapada Akademi Yakshagana Award in 1982, Indira Gandhi Fellowship Award in 1988 and Kannada Rajyotsava Award in 1990. He was posthumously awarded the ‘Janapada Shree’ by the Karnataka Government in 1995. The circle near Chamundipuram as named as Kamsale Mahadevaiah Circle.

About Kamsale



Kamsale is a circular, bronze percussion instrument consisting of two halves. The one held in left hand is hollow like a small begging bowl while the other half is like the lid of the bowl which is held in the right hand. It is flat, but has a small depression at the centre with a hole in it. A piece of strong thread runs through the hole and is used for holding the plate. The other end of the thread is tied with a wild flower. The thread also has several ornamental silver rings decorated with flowers. When the two bronze plates are struck against each other they produce a melodious note and together with the noise made by the silver rings adding to the music, devotees dance and sing hymns praising Lord Mahadeshwara to the rhythmic beats of the Kamsale.

Kamsale was an invention by the devotees of Lord Male Mahadeshawara known as Devara Guddas. A Gudda is an ascetic who has dedicated his life worshipping the Lord. As a symbol of his devout life he wears a single beaded necklace, a makeshift bag slung around his shoulder and carries a snake rod called Nagabetha, the insignia of Lord Mahadeshwara. He goes from house to house begging and singing the glory of the Lord. Though there is no prescribed costume, they normally wear a white dhoti, a simple turban and smear their forehead with ash. But only recently wearing colourful costumes has become a norm. In Kamsale dancing is primary and singing is secondary. As dancers occupy the centre stage the singers are in the background.

RAJASTHAN ARTISANS BRING DESERT HERITAGE TO ROYAL CITY

Indian handicrafts have always been rich in variety owing to the great cultural diversity of our society. Every piece of handicraft product made from far flung regions of the country have a distinctive style of its own, reflecting the great historical traditions and artistry.

Absolutely astounding and unique in concept, colour and workmanship, the art and handicrafts of Rajasthan are beyond comparison.


Rajasthan is renowned for its famous handicrafts — the mesmerising lac jewellery, handmade home furnishings, traditional Rajasthani footwear, mojari, block printed textiles, tie & die items and many others. Each work of art creates an intense and irresistible appeal. Handmade Rajasthani miniature paintings, depicting the rich and colourful heritage of the desert State, are fast gaining popularity both in the inter-national as well as domestic markets.

The Sahara Art and Craft exhibition being held at the Scout and Guide Grounds in city near the DC office is showcasing the talents of the artisans from all over the State. It will be open till Oct. 31 from 10.30 am to 9.30 pm.

Lac articles

Artisan Rakesh Kumar hailing from Rajasthan has displayed his lac articles made using discarded lac bangles. Belonging to the traditional Manihaar family, he says "Over several decades, our forefathers have been in this occupation of making lac and other related products which were worn by the royal women."

"Lac is a resin like substance secreted by certain type of beetles on the bark of a tree. Wearing bangles made of lac has a special significance for Rajasthani women. We have been supplying lac bangles to various royal families across Rajasthan for the past 350 years. Similarly, beads made of lac also come in various colours and designs. They have a shiny lustre giving them an exotic appearance," says Rakesh.

"I make various kinds of beautiful artifacts out of lac, which truly have an appealing and artistic look. Articles like lac jewellery, lac bangles, lac mirrors, lac pen stand, lac hook hangers, lac photo frames, lac necklace, earing, lac boxes, gift articles, home decoration items. All our lac articles are greatly admired by people all over wherever we exhibit them. I feel happy to spread this art and exhibit it in front of the people," adds Rakesh.

Handmade lac beads are becoming popular as more people prefer wearing lac based jewelleries as these are non-allergic to skin when worn than wearing metal jewellery.

Metal Works

The art of metal work was known to Indians more than 5000 years ago. Traditionally, Indian craftsmen have been using different metals like iron, copper, silver and alloys like bronze, bell metal, white metal etc., to produce items such as pots, pans, utensils, photo frames, sculptures of deities, mythological figures and animals.

Handcrafted idols of Lakshmi and Ganesha and other metallic figures on display here are a brilliant example of this traditional art. The skill and craftsmanship of the artisan are revealed as he brilliantly transforms these bare metal pieces into astounding works of art.

Figurines of musicians are reflective of the intricate details that personify this metal piece. Even specific details like crown, jewellery and clothing are carefully engraved on these metal objects with great effort.

"Metal artifacts are in great demand as they can be crafted in various shapes including pots, boxes, candle stands, bowls, mirror frames and other forms all engraved with intricate designs. Figurines of traditional musicians are simply incomparable," says Pushpendra, who is exhibiting his metal works.

"The appearance gets even more appealing when tinted glass is used for decorating these white metal objects. Each item that we have here on display is the result of several days of tiring work of our skilled craftsmen, which is why they stand apart for their quality and craftsmanship. These artifacts, embellished with subtle engravings, can substitute any expensive antique piece in your interiors!" he added.

Senior citizens in changing world

Voices crying for a friendly word, nothing more



Taking care of parents in their old age is a part of Indian Culture. Sadly what was once an unquestioned part of one’s heritage is slowly coming apart with more senior citizens finding themselves in an old age home or one that is a parody of a senior citizen’s home.

In the past all important decisions and resolution of conflicts were resolved by the head of the family — the parents. In today’s world this is considered to be an anachronism especially when the world has become a cyber village and travel to a different country, a different life and an exposure to a different culture are common. The huge joint families are now reduced to nuclear families.
The changing economic scenario, life style have all contributed to the phenomena of putting elders in old age homes.

I contacted some of the old-age homes in the city and was surprised to learn that the number of people being admitted to old-age homes has been increasing drastically in recent years.
It made sense in the 60s or 70s even the 80s for all to stay together so that money could be pooled and so on, but finding a job abroad that offers lucrative salaries and perks is relatively easy today.
Couple find themselves being forced to settle at their places of work , either in some distant part or even abroad., making visiting India not an economically viable proposition. The result is that many urbanized couples find that the only option left is to admit their parents to old age homes, with the thought that there at least someone to look after them.

This has indeed led to a boom in the Elder’s Home business in metros like Bangalore which offer literally Five star comforts. It costs around Rs 13,000 per person at one such elder’s home. However parents do need the company of their children in the autumn of their lives.

The other major reason for the rise in the number of elderly being admitted to such old age homes is the growing intolerance and discontent among youth of the present generation, especially after they marry, as the couple find it extremely difficult to adjust to the traditional values and conventional style of living which the parents insist must be adhered to. This is the most commonly cited reason and the married children try to get away from their parents and start living separately.

Surviving old age becomes extremely painful, especially when one is terminally ill or bedridden and there is no one to take care of. Even performing simple tasks like making a cup of coffee or taking bath becomes painful. With children busy with their jobs and other social activities, attending to the aged parents at home, who sometimes need constant attention and care, becomes difficult. Even grandchildren prefer company of kids of their own age, making these elders feel even more lonely.
There are also aged parents are so fed up and deeply hurt with the neglect and insults meted out to them by their own wards, they simply allow them to leave the house and stay separately, in spite of having to survive on their own. The matter becomes more even complicated if they are not financially independent and have to depend on their children for sustenance. It hurts their pride to ask their children for money. They rather prefer to stay at old-age homes than go through the daily routine of tantrums and neglect.

How parents view this situation has to be seen from an economic perspective. The aged parent with a pension or some other financial security is in a more psychologically better situation, then parents who have to depend solely on their children. Some linger on in old age homes, others give psychologically.
A parent’s sacrifice, if that is the right word, cannot be measured by using some benchmark. In the Indian tradition or it would be more appropriate to call of the South Asian tradition, a child is cared for, educated and married off. It’s considered to be a parent’s duty. The flipside of this tradition is that the now grown-up man or woman is expected to care for the old parents.
The swiftly changing work ethos, the world itself becoming a global village, better life-styles which mean that both partners work, has created a situation, seen often enough, where this simply no time for aged parents. In this transition, even the old joint family houses have been replaced by housing unit.

As parents get old and become dependent, children should spend some time with them and care for them, instead of considering them as a burden. Isn’t it time we paid back for all that we have received from them and made us what we are today? Why can't we build a new world, staying with parents and loving, res-pecting and sheltering them? They don't need a luxurious life. All they expect is a few soothing words and a shoulder to lean upon, so that they don’t feel let down by their own children.

To better understand the feelings of the aged, I interviewed a couple of elderly residents. Here are there responses: "I am indeed quite fortunate to live with my children and grand children, in today’s world that is aping the West. When I play with my grandchildren, I completely forget myself. I am becoming younger day by day", says 67-year-old Rukmaniamma who is leading a wonderful life with her family members.
Rohini, a 30-year old said, "Misunderstanding among family members has resulted in creation of old age homes. It is our duty to look after our parents, instead of deserting them. It is they who have brought us to this position. With out them we would never have reached this level."

Did you know ?

Children are legally bound by law and it is their duty to take care of their aged parents.

'The Maintenance and Welfare of Parents and Senior Citizens Act, 2007' enacted by the Government of India stipulates that children as well as heirs to property of a parent/senior citizen are duty bound to provide for the maintenance of their parents and senior citizens. The Act clearly stipulates that senior citizens can claim for maintenance from their children or legal heirs of their property.

The Act further stipulates that the case has to be disposed off by the concerned Tribunal within 90 days from the date of service of the notice and that there is no need to hire a lawyer, making it easier for the elderly to get due justice.

Under the Act, transfer of property, by gift or otherwise, can be declared void if legal heirs to senior citizen’s property refuse to provide for maintenance of the senior citizen.

Bal Bhavan – a haven for local hoodlums

Increasing eve-teasing in the City

The problems bedeviling Bal Bhavan have been highlighted time and again. But there seems to be another more serious problem that needs to be nipped in the bud.

Every Sunday, Bal Bhavan which should be a haven for children becomes instead a haven for various gangs ranging from eve-teasing youth to groups who think that the sole purpose of Bal Bhavan is to provide a place to park their cars and settle down amidst the grass and drink till drunk.

Till recently a police Garuda used to parked to deter lumpen louts but it is conspicuous by its absence. This has encouraged local gangs to make it their base to gather and make merry while making the evenings of those women and children who come here miserable.

Speaking to a cross section of the few women who were pre-sent on Sept. 26, I found that most were not keen on complaining to the police for fear that they would be targeted

Said Fatima( name changed): if we remonstrate they just comment vulgarly and blow smoke in our face. They do not care.”

Young girls who accompany their parents are another target of these gangs as they make lewd comments within the hearing of the girls.

Rashmi (name altered) who was there with her children, said that there should be frequent police patrolling of the area and there should be strictly enforced 'No smoking' ban. This place is becoming dangerous to bring children."

Others also commented that they come here because there was space for their children to play but now this is changing. I found that there are no Bal Bhavan staff on duty, no toys or the usual playground jungle gyms etc. Even the toy train was resting with weeds growing between its wheels and all along the track. The whole place looks readymade for eve teasers..

Eve-teasing also seems to have become more rampant in other parts of the City especially the City bus stand as I discovered. The entrance to the City bus stand is infested with eve teasers among whom are many auto-drivers. They make filthy obscene comments on girls entering the bus stand. Inside the bus stand, groups of youth board buses to make lewd comments at girls and women and get off before the bus starts.

How to keep smiling always

"A smile starts on the lips, A grin spreads to the eyes, A chuckle comes from the belly; But a good laugh bursts forth from the soul, Overflows, and bubbles all around." - Carolyn Birmingham

It is said that smile is a curve that sets everything straight and you are never fully dressed without a smile! Truly, that small curve of the lips, called smile, gives such a beauty to the face that it instantly brings people and hearts closer together.

Smiling reduces the tension and makes others relaxed. Whatever be the circumstance, cultivate the attitude of being humourous every moment of your lives without losing the importance of the situation.

The story goes that once Goddess Kali appeared before poet Kalidasa. Seeing her, he suddenly started laughing. Surprised, she asked him, while every other human being was afraid of her appearance, what made him laugh. He replied that when it was so difficult for a person to keep wiping his single nose if he were to catch a cold, how was it possible then for her to wipe so many noses on her numerous faces ! Impressed by his humour, Goddess Kali is said to have gifted him with the poetic talent.

Here are some tips to cultivate humour:

• Be in the company of humorous people. There are a few gifted amongst us who can always crack a joke in the nick of time about the incidents happening in the surroundings or about the subject they are discussing at the moment. They always find something funny, whatever is the occasion.

• Smiling is the precursor of laughing. Like flu, it’s contagious, when you look at someone smiling; you too invariably start to smile.

• Spend time with fun, playful people. Share funny jokes and an-ecdotes as it gives the opportunity to laugh together.

• Watch comedy movies; Visit Laughter Clubs; Create opportunities to laugh.

• Discuss with others about the funniest things that happened in the day.

• Play with children; Do silly things.

• Make some time for fun activities (golfing, bowling, karaoke).

• Chuckle, chortle, cackle or crack up (all are stress relievers).

• There are several humour programmes aired on TV which have become quite popular and some channels are exclusively dedicated to it. Children's channels like Pogo, Cartoon Network, Nickelodeon and Disney are sure to make one laugh however serious his mood maybe.

Benefits of laughing

• Reduces stress and even weight (burning calories) by raising energy level.

• Strengthens immune system.

• Prevents heart disease.

• Relaxes muscles. • Lowers blood pressure.

• Improves blood circulation.

Aeromodelling calling young enthusiasts

Shreyas and Ananya holding a miniature plane they have built together before setting it on flight.

One of the most popular events organised regularly as part of Dasara every year is the Air Show at Bannimantap Parade Grounds which draws huge crowd. As the spectators keep waiting with baited breath, scanning the blue skies overhead for the big metal birds from the Indian Air Force to make their appearance, what keeps the crowd mesmerised for a few moments is a miniature remote controlled aircraft that darts all across the sky, performing loops and somersaults and sometimes even flying barely over their heads.

The curious among them, especially college and high school students, would have dreamt of building such miniature flying models on their own and watch it fly. They can now realise their dreams, thanks to two enterprising and budding engineers.

Though the city already has several amateur hobbyists as well as professionals building racing bicycles, bikes and designer cars on their own, there is no one who ventured to build miniature aircraft and also teach others, except maybe for K. Shreyas and Ananya Balasu-bramanya, Directors of International Academy of Mountaineering and Allied Sports (IAMAS).

"I had avid interest to take on to wings but couldn't fly due to optical constraints. So I thought why not fulfill our dreams by doing aeromodeling," says Ananya, an engineering student of NIE. After she met Shreyas of SJCE, both joined hands together to initiate the process of opening the miniature wings to the young enthusiasts of city.

Though both are students of two different Engineering Colleges in city, they have teamed together and taken the initiative to give wings to the flying aspirations of the youth.

Say the duo, "Aeromodelling is the art of designing and flying unmanned aircraft. The aircraft is usually a scaled down version of an actual aeroplane or one designed specially by the hobbyist. Ours is a joint initiative of Rotary Mysore Adventure Corps (RMAC), an undertaking of Rotary Mysore and IAMAS."

"Basically aeromodelling is of two types. It can be either a non-powered, uncontrolled, free-floating glider, or a multi engine, fue-lled, radio controlled aircraft having wingspans of six feet and more. Many people start off by building a free-floating glider readily available as a kit and progress to advanced models as they improve their skills," says M.M.P. Kumar, a retired NCC Associate Officer, who will be the guide for the youth who wish to give life to their designs.

Rtn. K.G. Venkatraman, President, Rotary Mysore, avers that this innovative hobby will imbibe self-confidence and stimulate interest among students to nurture and fulfill their aspirations while doing things differently.

Disclosing the details about the course, Shreyas informed that it is open for all students in the age group of 12 to 20 years and the class will be held twice a week, on Saturdays and Sundays at Rotary High School, KRS Road. Admission is restricted to only 20 students and registration will be done on a first- cum-first-serve basis.

For details, contact Shreyas on Mob: 96206-08102 /98451-16835 or Ananya on Mob: 96639-30777 between 5 pm and 9 pm. Those interested can register their names with Mahesh, Rotary Mysore Secretariat, Rotary Centre, JLB Road. Rtn. D.S.D. Solanki is the Advisor to RMAC.

LESS DEMAND FOR TRADITIONAL GANESHA IDOLS

With recent advances in technology making in-roads into every walk of our lives, the traditional way of doing things are slowly giving way to mass online products at factory outlets. One such victim is the traditional clay models of Ganesha idols, that were made by hand using raw clay (not baked), being replaced by glittering Plaster of Paris(PoP) Ganeshas produced using moulds & painted.

About 35 potter families living in Kumbarageri, off Irwin Road in city, who have been traditionally making Lord Ganesha and Gowri idols every year during the festival using only raw clay are a worried lot as the demand for the idols this year has not reached their expected mark compared to previous years. Sculpting of idols usually begins several months in advance and is a time consuming job as each idol is moulded with bare hands.

Speaking to Star of Mysore, Revanna, a trader of these idols on K.T. Street, observed that the readymade idols brought from other States for sale here has affected the local artisans badly.

The Yuva Mandalis, who celebrated the festival on a grand scale by erecting Pandals and Shamiyanas near street corners, are also gradually dwindling.

They always placed orders for huge idols which in turn fetched higher profits for traders. With the number of such associations organising the event on the wane, the traders are forced to depend only on individual customers.

To add variety to the Mysore style of Ganesha idols, traders are catering to customers who insist on new designs. Based on demand, traders bring idols with various designs and styles made in Mumbai and Kolkata. In spite of local artisans from Kumbarageri catering to the bulk of the demand, many traders continue to get idols from outside. While the Mumbaistyle idols are sourced from Mumbai and Pune, traders sometimes source them from Tamil Nadu and Pondicherry. Idols are also brought from Tumkur and Bangalore. Some have even ventured selling Gok-arna-style idols. The characteristic feature of Gokarna Ganesha is that it does not sport a crown. According to legend, Ganesha's crown was struck down by Ravana at Gokarna for placing Shiva’s Athmalinga on the earth.

Revanna says though he is not interested in bulk sales, he still manages to sell some idols every year, in spite of being affected by the recession. He says the Mumbai idols have their own set of customers. He claims that he is the only dealer selling idols that conform to the norms set by Karnataka State Pollution Control Board (KSPCB). While the idols brought by others is made of PoP, his is made of clay. The sale of clay idols has not picked up despite being eco-friendly and having religious connotations. A small percentage of his customers do not immerse the idols after the festival. They keep the idols in their house for their sheer artistic and aesthetic values. This also prevents environmental pollution to some extent, he says.

To minimise lead poisoning, Mysore Paints and Varnish Ltd. (MPVL) along with the Mysore branch of KSPCB has persuaded artisans to use only lead-free paint on Ganesha and Gowri idols. Revanna said: "I paint my idols with lead-free paints supplied by MPVL. It is beneficial both for us as well as the environment. I even encourage other idol-makers to follow this."

In spite of all these odds, artisan in Kumbarageri are still continuing their tradition by bringing out new designs every year.

Trivia

• It was due to the efforts of freedom fighter and social reformer Lokamanya Balagangadahar Tilak that organising Ganesha festivals attained the status of a popular public event which brought the masses together from various backgrounds turning them into a force against the British rule.

• Ganesha idols made of clay is considered to be more auspicious as according to the Puranic references the first idol of the Lord was made out of grime and mud.

• Idols made of PoP or painted with synthetic paints when immersed in local water bodies, increases the salinity of the surface water resulting in skin diseases. These PoP idols float on water and are not dissolved. Drinking such water leads to indigestion in both humans and cattle.

• Pramod Vitthal Palav, a sculptor from Kankavali in Sindhudurg, has invented an idol manufacturing process by mixing clay with fig tree juice, paper and glue. The mixture dissolves in water in less than 15 minutes.

Puja at the press of a button!



As priests are in heavy demand on the day of Ganesha Chaturthi and with the pujas lasting a couple of hours, people find it difficult to get priests to visit their homes and perform pujas. It is the same technology that has once again come to the rescue — Pre-recorded audio cassettes are available on sale that details the procedures for performing the Puja along with the relevant mantras. One has to just press the button to play this cassette and proceed with the worship!

APPLIQUE WORKS AT CRAFT BAZAAR

India is renowned world wide for its art and crafts. Art and craft fairs are held throughout the year where artisans get a chance to showcase and sell their unique art works.

The Crafts Bazaar at JSS Urban Haat in Hebbal gives one such glimpse of India's rich cultural heritage. It concludes today at 9 pm.

Mural wall hangings

Matthew Sebastian from Ban-galore, who captures your imagination through murals on wood inlays, says, "Creating effective murals often incorporate many different techniques, painting, glazing, and perspective to name a few. First trace the lines with a pencil. Next, paint the mural using high quality acrylic paints. When the painting is completed, allow it to dry thoroughly while still stapled to the wall. Then apply two coats of clear acrylic glaze to the painting to seal in the paint and make it waterproof so the paint won't be disturbed during installation."

Applique Works

Art and crafts are deeply ingrained in the very culture and traditions of Orissa. Tours & travels, crafts, everything seems to revolve around the reigning deity Jagannath. Each area in Orissa specialises in different craft forms. For instance, the village of Pipli is famous for its applique work. Though applique work is not known in other parts of India, in Orissa, specially in Pipli, the craft has a living tradition continuing over centuries.

"Applique, a French term, is a technique by which decorative effect is obtained by superposing patches of coloured fabrics on a basic fabric, the edges of which are sewn in some form of stitchery. It is distinct from what is known as patchwork in which small pieces of cut fabrics are usually joined side by side to make a large piece of fabric or for repairing a damaged fabric. As per tradition, the colour scheme of the three covers is predetermined. The stitching process comes under six broad categories like bakhia, taropa, ganthi, chikana, button-hole and ruching," says Suresh Kumar Patnaik from Pipli. "In the initial stage we stitch roughly and later we give finishing. It takes four days to complete a single work," adds Patnaik who has bagged State Award for his excellent creations.

Horn Work


West Bengal owes its skill in architectural splendour to its excellent works originated in the heartland of Bengal, its villages.

The early pages of Indian civilisation are full of descriptions of ‘horn combs’ which adorned the tresses of women in ancient times. In shining black and translucent shades of greys, Bengal horn work is still a fascinating craft.

"I make buttons, belt buckles, fashion accessories, novelties etc. from horn. I also make articles of daily use such as combs, penstands and flower vases," says Radha Gobinda Maity who is exhibiting his unique horn works accompanied by his father Nirmal Rao.

The JSS Urban Haat received an overwhelming response from the citizens and made a record collection of Rs. 15 lakh during the 10-day craft bazaar.

KUMBLE SUNDAR RAO: YAKSHAGANA ARTISTE PAR EXCELLENCE

"Yakshagana is not meant only for certain category of people. It is everybody’s play. It is your elders property. Don’t vanish this art, pass it on for next generations too," says Kumble Sundar Rao

Renowned Yakshagana artiste-cum-politican, Kumble Sundar Rao, was in city recently to deliver a talk on the occasion of 72nd Chaturmasya Vratha being observed by Pejawar Swamiji at Krishnadhama. Having carved a niche in Yakshagana with his vivid portrayal of various characters and dialogue delivery in his own inimitable style, he is the recipient of numerous awards, the most recent being the Yaksha Nidhi award - 2010 by the New Delhi-based Academy Thenku Thittu Yakshagana. He has also been conferred with the title 'Yakshanugrahi' and is the President of Karnataka Yakshagana Bayalata Academy since 2008. Here is a brief write up of his journey in the world of Yakshagana.

Born into a weaver’s family in 1934 in Kerala, Kumble Sundar Rao like many unfortunate victims of circumstances was educated till seventh standard. Not interested in learning the traditional skills of weaving which was the source of livelihood for the family, it was again the same fate which made Sundar Rao take to Yakshagana.

Being a regular visitor to a hotel in his home town, one day a stranger approached him and asked him if he could render certain dialogues of a character in the Yakshagana play as the regular artiste suddenly took ill. That proved to be the turning point in Sundar Rao’s life. His first role of delivering dialogue (who is known as Bhagawata at the age of 19, was such an instant success that opportunities started pouring in and he never turned back again. Over the years he gradually gained mastery over all the other features of the play such as the Raga, Tala and Prasanga.

Kumble, as he is affectionately called by the Yakshagana lovers, stands out as a unique person for several reasons and not merely for his dialogue rendering skills. Though born into a Malayalam-speaking family, he mastered speaking Kannada so fluently that anyone listening to him would be bewildered to know that his mother-tongue is not Kannada.

The 76-year-old Yakshagana veteran is very much remembered for his outstanding performances in his roles as Rama, Krishna, Bharata, Parikshita, Vishvamitra, and Ramacharvaka which he played with equal precision and variation over the years. Kumble is known for his intrinsic ability to relate with the audience, making them laugh, weep, dance and sing with him.

His journey into Yakshagana began in 1953 when he joined the Kudlu Gopalakrishna Yakshagana Mandali which went on to reach new peaks as he participated in drama fairs held at Ira Somanatheshwara, Surathkal, and Dharmasthala. At Dharmasthala, he gave performances for 25 consecutive years. He was even invited to countries like Abudhabi, Dubai, Bahrain and others to demonstrate his artistic prowess there.

What is remarkable about Kumble is his penchant for using alliterations. He weaves them spontaneously into his dialogues. In the process, he has created an inimitable style of his own. His dialogues are not in-depth as that of the late Sheni Gopala Krishna Bhat, another doyen of Yakshagana.

Sheni’s dialogues demand a very high level of understanding from the audience, whereas Kumble’s dialogues are more instantaneous, witty and appealing to the masses.

Though politics and Yakshagana make strange bedfellows, Kumble tried his luck in politics and has been quite successful too. He is the first professional Yaksha-gana artiste to be elected as MLA. His political career took off to a flying start, just like his entry to Yakshagana, when he was elected as MLA from the Surathkal constituency in 1994, representing the BJP. He is credited with yeomen services to the field of theatre and performing arts in his capacity as a Member of Legislative Assembly during his four year tenure at the office.

Once when he spoke in the Legislative Assembly, the then speaker Ramesh Kumar asked other MLAs to learn from Kumble the right way of speaking in Kannada. It was Kumble’s gift of the gab that earned him laurels both on stage while performing Yakshagana as well as in the political arena. In fact, impressed by his oratorical skills during the Ramajanmabhoomi campaign conducted by the BJP in the early 90s, it rewarded him with an MLA ticket to contest the Surathkal seat in 1994 Parliamentary elections. By winning the elections Kumble did what only cinema artistes had been known to do — graduating from the world of arts to what Bismarck had called ‘the art of possible.’

Like his performances onstage, he is equally at ease wielding the pen as well. His poems and odes appear regularly in the Kannada daily. Hosa Digantha His name would appear in the credit line of Udayavani wherein he writes about Narayana Guru’s memoirs. His autobiography 'Sundarakaanda' is a testimony to his writing skills as well.

For a man of such artistic calibre, awards and recognitions are bound to come by. He is credited with honours such as the Vishwa Kannada Sammelana Prashasthi, Karnataka Rajya Prashasthi, Rajyothsava Prashasthi by the Bahrain Karnataka Sangha, Polali Shankaranarayana Prashasthi, Muliya Timmappayya Prashasthi and several others. He is also a recipient of the Vijaya Vithala Prashasthi from Pejawar Vishwesha Theertha Swamiji.

Though Kathakali, the traditional dance form of Kerala and Yakshagana were treated at par with each other about 50 years ago, today Kathakali has achieved the status of classical art and has made name at the international level. Art forms can receive patronage both from the Centre and UNESCO if it gains classical art status. It is time that Yakshagana is accorded that status. In this context Kumble has undertaken many awareness campaigns about the art by releasing books, CDs, holding Kammatagalu – Chanda Madhale, Hadugarike and extending support to Yakshagana training centers.

Kumble Sundar Rao resides with his wife Sushila at mangalore. He has three daughters and two sons.

SAHARA CRAFT BAZAR TO CONCLUDE 'MORROW

Rajasthan is a land of glorious historical traditions and culture and it is also one among the richest States in the country as far as in the field of arts and crafts are concerned. Stone, clay, leather, wood, ivory, lac, glass, brass, silver, gold and textiles are given the most brilliant forms here.

The hides of dead animals have never been put to better use than in Rajasthan whether as juthees, the embroidered footwear the people wear, or as saddles, bags and pouches. It is even used as backs for chairs after it has been embroidered with woollen motifs. Jaipur and Jodhpur are the traditional centres for juthees. The exotic spectrum of Rajasthan's handicraft heritage is a dazzling kaleidoscope of colours and textures.

SOM caught up with some artisans who are showcasing their talent at Sahara Art and Craft Bazar on Scout and Guides Ground, behind DC Office. The expo will conclude on Aug. 22 at 9.30 pm. Excerpts:

Rajasthani Wall Hanging

"This wall hanging has been made of concentrically placed fine jute ropes, stuck on cloth. This is a handcrafted traditional Rajasthani work on wall hangings. These can be used at homes to enliven its beauty. We stitch in various attractive and bright designs and colours. The traditional patchwork is coupled with zaridar thread work and mirrors. Green, turquoise and blue harmonise in the elaborately detailed embroidery of this cotton wall hanging. Traditional Rajasthani designs include tiny mirrors woven into the fabric. We offer various designs in a great variety of colors. These designs are inspired from the traditional Rajasthani designs and add to the beauty of the product thereon," says Asha R. Lohia, who is engaged in this work for the past 23 years.

Silver filigree

Silver filigree is the most unique and finest handicrafts of Orissa which is locally called as tarakasi. This is an ancient art of metal work practiced in the traditional way. The artifacts are made of alloy which contains over 90% of silver and to compete with the changing times new methods are being used.

"The silver is extracted through a series of consecutive smaller holes to produce fine strings of silver threads. The string is the speciality in the filigree jewellery. Brooches, ladies bags, pendants, earrings and hairpins and other utility items like trays, plates, cups, candle stands bowls, ashtrays, incense containers, animals, birds, flowers, peacock and many more are crafted," says Sambhu Dutta.

Bead work

Bead work is a Gujarati speciality from Khambhat and Sauras-htra. Motifs and patterns are dictated by the technique of putting two and three beads together. Beadwork objects are used in wall decorations, potholders, etc. The best beadwork is produced by the 'kathis' (tribals). Worked mostly on a white background, they use colours that are vibrant with very distinct patterns. Beadwork 'torans' are usually placed across the doorways. Satya Narayan has exhibited this artistic work.

Gesso work

It is one of the finest crafts to emerge from Bikaner where the inner hide of the camel is used for the purpose. The hide is scraped till it is paper thin and translucent. It is then moulded into various forms of lamp shades, hip flasks, perfume phials or vases. It is then painted over with fine gesso work using gold to lend richness to the otherwise bright reds and greens used in the work. Vijay Solanki has exhibited this talent.

Pottery and Terracotta

As the driest region of India, the pottery works of Rajasthan are very famous especially the small mouths of the water pots which are made in such a way that helps to circulate the air and keep the water cool.

The most famous pottery of Rajasthan is the water bottle among others like Pokran and painted pottery of Bikaner. They are exhibited at the bazar by Pinto, hailing from Kolkata.

Sarees tell the tale at Urban Haat

When we talk about Indian fashion, invariably it's about wearing the traditional evergreen saree and the salwar-kameez. Sarees are an inevitable part in the wardrobe of any Indian bride. The saree has travelled a long way since the ancient times but in recent times we have witnessed the change in the look of the saree.

Sequences, embroidery, patch work etc., are all an eternal part of Indian attire which enhances the beauty of the dress. Embroidery is often regarded as the best form of art which is highly demanded by men and women. Embroidery work is flawless for adding beauty to any dull fabric.

Hence to introduce the tradition of saree, JSS Urban Haat in Hebbal has organised a saree mela which is on till August 22 and is open from 10 am to 9 pm. In all, 40 craftsmen and weavers from various States are taking part in this Mela. SOM had a tête-à-tête with some craftsmen at the Mela. Excerpts:

West Bengal is known for its colourful and vibrant culture. Artisan Chandana Aich from this city is showcasing her Batik and Kantha Stitch. Batik means 'wax writing', an art of decorating cloth using molten wax. This work is believed to have originated during the 12th century.

To create a design, we use a wooden stick fashioned into a pen with cotton thread wound around it. The hot wax is applied on this 'pen' and the designs are drawn on the cloth. Then, the design is separated according to the colours to be used for the dyes. Colouring usually starts with the white sections and progresses to the darker shades. Later on, the cloth is dipped in boiling water to remove the wax. The areas covered in wax retain their original colour and the pattern is made by the plain and dyed parts. Vegetable dyes are used for colouring.

The batik craft gives more prominence to figures of humans and animals than other traditional art forms where flowers, landscapes and such take top place.
Another interesting fact is that both sides of the cloth look the same. There is no right or wrong side because the hot wax seeps into the other side of the cloth as well, making both sides look identical.

About Kantha stitch

Kantha is a type of embroidery popular in West Bengal which is practised by rural women. The traditional form of Kantha embroidery was done with soft dhotis and saris, with a simple running stitch along the edges. The entire cloth is covered with running stitches, employing beautiful motifs of flowers, animals, birds and geometrical shapes, as well as themes from everyday activities. Originally it was used to join layers of old saris, to make quilts. The existence of Kantha dates back to early 1800s, embroidered with blue, black and red threads that were unraveled from saree borders.

Tussar Silk

Artisans Kalim Ansori and Md. Wali Ahmad are displaying Tussar Silk, Matka Silk, Noil Raw Silk etc. Speaking to SOM about Tussar Silk they narrated thus:
Tussar silk is also known as Kosa silk, produced mainly in Jharkhand. Tussar is valued for its texture and natural gold colour, which is unusually rich and deep.
Tussar is a type of wild silk obtained from silk worms that are not bred on mulberry trees but whose cocoons are collected from the local trees like Sal, Arjun and Saja. It is less expensive than cultivated silk and not as durable. Some Tussar silk today made is called non-violent silk, or Ahimsa Silk, which is extracted from the cocoon after the silkworm larva has left it.
Chikan work
The chikan work of Lucknow is one of the most popular embroidery works in India. It has a certain grace and elegance and never goes out of style. The word chikan literally means embroidery. It is said to have been originally introduced by Nur Jahan, the beautiful wife of the Mughal emperor Jahangir. It has since evolved and attained its glory and perfection in Lucknow, says artisan Sanjay from Lucknow.
The designs depend on its effect on the variety of stitches used and different grades of threads used to form the patterns which include the lace like jali, the op-aque fillings and the delicacy or boldness of outline and details.
A variation of the chikan work is the bakhia or shadow work. Here the work is done from the back, the stitches completely covering the design in herringbone style. The shadow of the thread is seen through the cloth on the right side.

Kundan work

Kundan work by artisan Mahfooz Alam is a method of gem setting, consisting of inserting gold foil between the stones and its mount. This task requires a great deal of dedication as it has intricate work to be done with great precision. The Kundan work consists of precious gems like diamonds, rubies and emeralds. The various designs done in the Kundan work sarees are a sure shot eye-catcher.
The speciality of the Kundan work sarees is that the precious gems give it an even more beautiful look, making the saree glitter and add glamour to one's beauty. It is learnt, Kundan works are a favourite of Mughals.

Apart from this, there are a wide range of collections from Tamil Nadu, Maharashtra, Andhra Pradesh, Kerala, Madhya Pradesh, Maharashtra, Delhi, Jammu-Kashmir and many other places. This beautiful hand-crafted works created by the artisans have a low environmental impact and are produced in a community-friendly way.

CINEMATOGRAPHY IS BOTH SCIENCE AND ART: V.K. MURTHY

V.K. Murthy is the first Cinematographer to be chosen for the prestigious Dada Saheb Phalke Award-2008 on Jan. 19, 2010. Born in Mysore in the year 1923, he obtained his Diploma in Cinematography from Sri Jayachamarajendra Polytechnic, Bangalore, in 1946. Having spent nearly five decades in Mumbai, the ace cinematographer was the cameraman for all of Guru Dutt’s movies and is now settled in Bangalore.

Star of Mysore caught up with the octogenarian (Venkataramana Pandit Krishna Murthy) on Saturday when he visited his Alma Mater, Sarada Vilas College in city to participate in the Independence Day celebrations.

"I am neither a politician nor a good speaker, I don’t know to speak well....." said the 87-year-old Murthy going back to his student days and the freedom struggle movement.

SOM: What made you join freedom struggle?

V.K. Murthy (VKM): Among the fondest of my childhood memories was the inspiration I derived from Mahatma Gandhi. India was fighting for its freedom and Gandhiji was a constant source of inspiration for many youths like me. I still vividly remember being arrested and sent to jail. In fact I remember that day so well as if the canvas has been just there in front of me.

SOM: ... and you found yourself in jail! How did it happen?

VKM: In my student days I was very enthusiastic. I was ready to do anything for the nation. During 1942 Quit India Movement, Tulasidas Dasappa and H.Y. Sharada Prasad were arrested one day. The next day sheepishly I along with a group of some 65 students on a cycle went in front of the Police Chowki (jail) shouting, 'Mahatma Gandhi Ki Jai, Bharath Matha Ki Jai.'

The guard standing near the jail entrance stopped and told us to meet the Jail Superintendent. I replied that we are not his slaves and instead asked him to come and meet us. The Jail Superintendent came out and requested, 'Please come inside.' The anti-climax was that when I turned to seek my supporters, there were only thirteen left ! And we entered the jail. I was thinking they would release us by evening, but we were kept inside prison for three months. The Jail Superintendent, an Indian named Sheshu Iyer, was a kind-hearted person who often got us eatables and coffee. He even took us to Indra Bhavan on our way to the Court where we were taken once in 15 days. By the time I was released I had put on 5 pounds weight.

SOM: What was your childhood like...?

VKM: Life was an uphill task, almost freedom struggle for me. My father was a retired Ayruveda Doctor getting a pension of Rs.30. I lost my parents quite early in life. I was lucky to have caring relatives and friends who supported me till I began earning on my own. The going wasn’t that easy. My hobby was to play violin and I was so good at it that I scored 175 out of 200 in the examination. I started teaching students. I took classes for 216 students at a time, for which I got a mere Rs. 9. I spent this money for my studies. I later did a course in cinematography, which benefited me a lot in the industry.

SOM : When did you first go to Bombay?

VKM: I went to Bombay in 1943 when the Quit India Movement was at its peak. I didn’t exactly know where my life was heading. In initial days I played violin for movies. During my third year of Cinematography course, the Institute where I was studying offered us the chance of visiting either Madras or Bombay Studios. I preferred to go to Bombay. I was sent to Prakash Studios which had produced several movies based on mythology, the prominent being Ram Rajya, a popular movie during those times. I used to watch a lot of English movies in 1946-1982.

SOM: So how did you finally become a cinematographer?

VKM: I didn't exactly know where my life was heading, when in 1946 I got a break in Jayant Desai's Maharana Pratap where I assisted cinematographer Dronacharya. Then one day I saw Amrapali and was amazed by Fali Mistry's photography which was as good as English films. Here is where my luck helped me. I had played the violin for some music directors too, and when I went inside the studio to collect my money, I was told that Fali Saab was looking for me. I worked with him for about 5 years.

SOM: Your life took a turn after you met Guru Dutt. Right?

VKM: Meeting Guru Dutt was a radical change in my life. How I met him itself was a chance happening. I first met Guru Dutt while working for Famous Studios as an assistant cameraman. Dev Anand's Navketan Films had hired the studio to make Baazi. I suggested a difficult shot, which Guru Dutt said his cameraman would not be able to execute. I requested him to give me a chance to take the shot and I could do it. After the day’s pack up, he asked me if we could work together.

SOM: What was it like working with Guru Dutt?

VKM: Working with him was a terrific experience. He worked on serious subjects, the intellectual kind of work. He was hesitant to face the camera as an actor, but he did so at my insistence. I was sure because he understood the roles so well. I remember once while we were scouting for locations in Baroda for Chaudhvin Ka Chand, he quoted a line from Pyaasa: Agar yeh duniya mujhe mil bhi jaye to kya hai. I asked him why he said that suddenly and he said, 'Mujhe waise he lag raha hai. Dekho na, mujhe Director banna tha, Director ban gaya; actor banna tha, actor ban gaya; picture achcha banane tha, ache bane. Paisa hai, sab kuch hai, par kuch bhi nahi raha…’

SOM: His death must have been a terrible loss for you?

VKM: Yes, after Guru Dutt’s death in 1964, I worked with several other Directors but working with Dutt Saab will always be a special experience. My last film was with a Kannada director after which I quit rather than wait to be thrown out.

SOM: Kagaz Ke Phool failed in box-office yet it won accolades for its cinematography.

VKM: Not everybody can become a photographer. I was the cinematographer for the first 75mm cinemascope movie, Kagaz Ke Phool which also happened to be the debut directorial venture of Guru Dutt. I tried this as Guru Dutt was encouraging me to do something new. Around that time, 20th Century Fox of US was visiting India and had accidentally left behind two cinemascope lenses, better known as Anamorphic lens.

I tried those lenses on a camera and took the pictures of Geeta Dutt (wife of Guru Dutt). I found some noticeable difference. It was then we decided to do the movie in Cinemascope and completed it successfully. Unfortunately when the film was released, the response was poor, but surprisingly today this movie is a subject for those who learn Cinematography.

SOM: What do you have to say to the aspiring cinematographers?

VKM: It is a very tough job. Cinematography is both an art and science. Keep watching movies, but at the same time also observe the facial expressions of the actors and the locales where the film is shot. Try to understand the kind of lighting and visual depth they are using.

Tribal Lei Motifs come alive

The carved and inlaid wood carvings are an integral form of Indian handicrafts. This tradition is passed on by master craftsmen through generations. Gods, goddess, devils, demons, animals from nature and mythology all find a place in the wood carvers repertoire.

One interesting aspect that needs to probed further is the wood used. The trees native to the region from where the craftsmen originate are most often used. There are several species of balsa wood, jack wood, matchwood , teaks like honge and mathi apart from rosewood and sandalwood. It is mentioned somewhere in one of the esoteric Vedas that the sculptor, the wood-carver and the potter are usually known as the Creator.

SOM caught up with some wood craftsmen who are participating in Anantha Yatre - a Meet on Tribal and Analogous Cultures at Indira Gandhi Rashtriya Manav Sangrahalaya (IGRMS) at its premises in Wellington House. It will conclude on Aug. 12.

Wood Carving

Artist Lakshman Dugga is a Muria tribal from Bastar region of Chattisgarh. The Muria, a su-bsect of the Gonds, are a forest community. Lakshman Dugga’s work reflects his heritage. You have bamboo and reed flutes, wooden axes and swords as well as animistic representative sculptures. Laskhman has taken part in several demonstration workshops.

Artist Premkumar Dhiman Kangra is from Himachal Pradesh. Kangra Valley in the mountainous Himachal is known in the world of art for its Kangra and Pahari miniature paintings. But there is more to Kangra than daubs of bright colour. There is also a fine tradition of wood carving. Premkumar Dhiman is a renowned wood carver from Tikkar village in Kangra district. The wood he uses is usually pine and walnut and the skeins of veins that run through the wood are used to highlight the features of the sculptures. Premkumar Dhiman’s works in wood are displayed at the Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal. Premkumar uses the lei motif of mythic figures like Baba Pahadiya in all his carvings.

Artist Gowrishankar and Girish Kumar are wood carvers from Barakote village in Almora district of Uttarkhand. They are what the legendary Jim Corbett called 'Hill Folk' with a history replete in sacred, secular and profane images. The wood used is mainly deodar, pine, teak and walnut and the light toned wood which is burnished into a gentle brown and makes good for strong door frames and windows.

They also carve vases, chillums to smoke rough cigarette, inc-ense holders and wall plaques. They prepare images of the characters from tribal folk myth and beliefs. Other than this they also exhibit their excellence of wood carving skill on doors, door frames and various other household fixtures and objects.

Bamboo Work

Artist Shankar is also a Muria Gond from Bastar ( Chhatisgarh). Shankar specialises in making bamboo flutes and wooden artifacts like axes, swords, plaques.

The Gonds of MP and Chattisgarh form the largest tribal group in the country. They are the true hunter-gatherers who lead a semi-nomadic pastoral life. It is but natural their artistic expressions reflect their lives. Shankar, who is an inspired craftsmen, had taken part in many demonstration workshops across the country.

Artist C.P. Antony from Kerala uses fine slivers of spliced bamboo to create lamp shades, hanging lamp shade and wall clock. Materials used are bamboo and reed.

Traditional Muria Painting

Artist Belugur Mandavi is a Muria from Dindori region of Chattisgarh. The walls of a Muria ghotul and the houses are decorated with vegetable dye paintings of rudimentary animals and men, of hunting scenes and nature motifs. There is a blend of mythology though from a later period. Belugur has participated in many artist camps in Bhopal and other places and his works have been displayed in many exhibitions. His Ghotul series depicts a traditional dormitory with boys and girls (Cheliks and Motiyars respectively) singing while some are playing on musical instruments.

Traditional Bhil Painting


Chowki Work

Artist Ramesh Katara is a Bhil painter from Madhya Pradesh. Like the Gonds, the Bhils too are hunter-pastoral tribes who are spread all over Madhya Pradesh. There is an inborn tendency to paint and the walls of a Bhil hut is always colourful with earth shades of geometric figures and patterns. Ramesh is a self-taught painter who uses his commu-nity’s deep-seated belief in the world of the Gods and demons to create his works of art. Ramesh has painted a sacred hill, Kokkida, which to them is a spiritual centre, much like the various mountains in South India which are supposed to be representative of the various Gods. Ramesh has not been taught painting but his inherent sense of form and colour enable him to compositions whose focal point is the sacred hill to whom at any auspicious ceremony are sacrificed goats and chicken, offered fruits and coconuts.

Madhubani Painting

The playful god Krishna, the heavy dewlaps of cows, gopikas and the blossoming Kadamba are the lei motif of Madhubani paintings. Alka Devi from Mithila (Bihar) uses these motifs to advantage as she shows off her finesse in recreating the mythology and the legend of Madhuban and Vrindaban. Alka narrates the tale of the laughing God Krishna perched on a branch of the Kadamba as the Gopikas stand in the pools, pleading with him to return their clothes. Alka’s son Kanhaiya Kumar helps her in her workshops and thus a tradition is kept alive from generation to generation.

State-awardee Kishore, a traditional wood carver from Shimoga, makes low round tables with their surface top painted in brilliant colours. These are handcrafted tables and the carving seems to be more embossed. Kishore learnt the art by observing and copying his father Narayanappa Chitragar, a well known Chowki artist. But Kishore has now gone beyond the confines of tradition and carves wooden door frames, deities and other objet d'art.

AN ENIGMA OF METALS

India is an epicentre of gold, silver and metal crafts in the world. Thousands of articles are made out of one or more pieces of metal and the Indian craftspersons have excelled in this art. Hence, metal ornaments have been a rave in all ages and times. The attractive contrasts in colors and textures of metals has led to the evolution of metal ornamentation through techniques like inlay, overlay, appliqué, fixing of colours etc.

SOM met some of the metal craftsmen, who have come all their way from various parts of the country to exhibit their talent at Anantha Yatre, a meet on tribal and analogous cultures, organised by Indira Gandhi Rashtriya Manav Sangrahalaya at Wellington House on Irwin Road. The meet will conclude on Aug. 12. Excerpts:

Iron Art Work

Hailing from Chattisgarh, Nand Lal Vishwakarma, a member of Lohar community and State awardee, specialises in large wrought iron sculptures of animals and tribal deities. Though it looks very simple, it requires huge skill to shape flat metal into intricate designs. The figurine is heated from time to time to make the metal more malleable. Apart from articles of rural requirement like plough, spade, sickle, etc, Nand Lal skillfully creates iron lamps in various sizes & shapes, figurines of horse, deer, peacock, decorative gates for government institutional buildings and masks for foreign clients.

Another artist Hanuman Lohar Tonk from Rajasthan started making tools and artistic items out of iron at the age of 16 under the guidance of his father. His work shows evidence of acute observation of nature. Different designs of artistic items are moulded and after that they are given shape by hand-chiseling & polishing. Hanuman has received State Award in Iron Art work.

Kosuru Brahmaji Bobbili from Andhra Pradesh is a traditional metal craft artist of brass and bronze works. He learnt the craft work from his father. Their main works are related to temples like lamps, bells, ritual images and different kinds of statues.

Dhokra craft

Dhokra is lost wax technique to cast non-ferrous metals. A group of artisans from Chattisgarh are modeling exquisite figurines and motifs in bell wax. The themes are generally drawn from folk and tribal culture.

First they make a model in fine clay to main mitti. Then thin fine clay is filtered through fine cloth for a smooth texture and later it is packed carefully. This mould of fine clay is then coated in a mixture of laal mitti and bhoosa (husk) and then left to dry in sun. Openings are left in the mould for the bee wax to subsequently drain out. After the metal is glowed in a stone crucible the mou-lds are baked in a nearby furnace till the bee wax flows out of the mould completely leaving behind a cavity and later the molten metal will be poured into the mould from the opening and the moulds are left to cool and they become harder.

Artist Udai Ram Jhara, a member of Jhara community (Chattisgarh), is engaged in metal casting by ‘lost wax process’. He is an expert in this technique. He has participated in many camps in India and bagged Rashtrapathi award.

Another artist Meera is a renowned Gharwa artisan from Bastar region of Chattisgarh. She has also exhibited her bell metal craft work (Dhokra craft).

Brass Work

Artist Ram Swaroop Soni, a member of the Soni community in Bundelkhand region of Madhya Pradesh, is engaged in metal casting by ‘lost wax process’. He is an expert in this technique and has participated in many camps in India. His work includes small bells, lamps, decorative figures of gods and goddeses, animals and household articles.

ANANTHA YATRE: A STUDY ON TRIBAL CULTURE AT IGRMS

Tribal art, whether Warli or Madhubani wall paintings, the brass wire-work animals of the Gods or leather embossing, the variety is bewildering. Indira Gandhi Rashtriya Manav Sangrahalaya (IGRMS), in association with the Anthropological Survey of India (ASI) has brought to the Royal City a fascinating exhibition-cum-workshop on indigenous art forms of the country's tribal and rural people. The exhibition ‘Tribal and Analogous Cultures’ is currently going on at the Wellington House and will conclude on August 12.

Some 50 different tribal and indigenous art and craft, commemorating the International Day of World’s Indigenous People, are on display here. The exhibition has a scholarly research component and a demonstration workshop (Anantha Yatre) that tells the visitor that tribal art is as sophisticated as modern ones. The expo will be open from 10 am to 6 pm.

To the cloistered urbanite, this exhibition makes a good introduction to indigenous people's cultures. To know more about the tribal art, SOM spent some time with some of the artisans. Here are the excerpts of the artisan-speak:

Golden embossing nakkashi work


Gold-embossed Nakkashi work is popularly known as 'Usta Art' and originates in Bikaner, Rajasthan. This unique fine miniature painting work is mainly done on camel hide. Thus you have camel hide bolsters, coffee tables, decorative dressing table mirror etc, including slippers. This work is also done on marble, wood and glass. It is said, this work was being done in ancient Iran. But similar works can also be seen in Multan (Pakistan) as well as north western India. This work is being kept alive in Bikaner by some 15 families.

Ayub Ali Usta received his training at Usta Camel Hide Training Centre, a unit of Rajsico, Bikaner. Nakkashi work is done on a variety of items — photo & mirror frames, jewellery box, glass bottles and table tops etc. They use gold foils and viscous oil colours like green, red, blue. Outlines are drawn in pencil and embossing and embellishing is done late. The fascination with leather as a medium started during the British rule when there was a demand for highly ornate saddles.

Traditional Gond Painting
Artist: Ajay Kumar Urveti, Dindori, Madhya Pradesh


Ajai Kumar Urveti is a Gond from Mandla district in Madhya Pradesh. Ajai's paintings are greatly influenced by the mythologies of his community. He has been participating in many artist camps in Bhopal and other places. His works have been displayed in museums and exhibitions. At the workshop, he painted the "traditional Bagesh," a marriage mantap among Gond tribes. According to Ajai, this painting is confined to 'Kushram clan' marriages. Gond paintings are the living expressions of tribals. They paint on grounds and walls with limestone or charcoal.

Surapur style of Painting
Artist: Jagannath Bellad, Gulbarga


Jagannath is a young painter who has made the 17th century Surapur traditional style of painting of North Karnataka. He graduated in fine arts from Gulbarga University and has held his solo and group exhibitions in a number of art galleries and has bagged many national and international awards including the Gold Star Award in Thailand.

Jagannath's paintings of gods and goddesses seem to float on the surface of the canvas unfettered by the colourful background. Tones of light and shades used on parts of the body add depth to the paintings.

Traditional Ornamental Design
Artist: Raghusurya Rao, Bobbili, Andhra Pradesh


Raghusurya Rao is a traditional metal worker from Bobbili, Andhra Pradesh, who makes embossed images of mythical characters, animals, famous personalities etc., along with charms and locket pendants. He has created more than 6,000 designs till now. He uses sheets of brass or gold on which images are embossed with iron-dyes.

Artist: Simhadri Kameswara Rao

Kameswara Rao is a traditional ornamental artist of AP who makes gold, silver, copper and brass metal ornaments. Basically it is an iron-dye work. He makes traditional jewellery meant for various occasions particularly birthdays, marriages, temple festivals and other social and religious purposes. Some of the common and most important ornaments in Andhra region are Mangalasutram, ear ornaments (Makara Kundanamulu), Simhakankanamlu, Kumkum Karinulu (Vermillion boxes), Jadagartalu and Vaddanamulu.

Kameswara Rao is the father of Raghusurya Rao and Prakash. The entire family follows this tradition.

In fact, in most of the cases, tribal art is a family occupation. Tribal society, as any other society, is as rigidly divided into several linear layers as modern societies. In a way, this has been the salvation of these ancient indigenous arts and crafts.

72, STILL ENTHUSIASTIC!

'Media plays a major role in propagating art among youth,' says Neelamma

Neelamma is a sprightly young 72, who has an unbounded zest for learning new things that will light up another person’s home and hearth.

SOM caught up with Neelamma to find out if she had that secret elixir to a happy life. Neelamma, who lost her husband a few years ago, has three children and also talented grandchildren. You would expect her, if she had been like so many others, to be sitting in the outer sanctum of a temple or the nearest park, chatting with her friends or watching that long running soap on TV.

Neelamma does not do any of those things. Maybe she secretly watches TV soap opera, but she spends greater part of her waking hours, full of enthusiasm for arts and crafts.

In the last seven decades she has mastered over a hundred traditional art forms that includes Mysore style painting, Rajasthani miniatures, Tanjore painting, rangoli, knitting, artificial flower-making and several others. Having learnt and mastered all these, she is still interested in learning modern art , from Cubism to abstracts.

Impressed by the magic she spins, weaves from her fingers, more than 50 institutions have held training camps all over India and invited her to teach her art to youngsters. The camps were held in far-flung places like Belgaum, Tirupathi, Raja-mundhry, Vijayawada, Vishaka-patnam, Hassan, Bangalore and other cities. She even went to Australia on an invitation to teach her handicraft skills.

She has participated in all the training camps conducted by the Handicrafts Board, Govt. of India, held at various places in the country like Bangalore, Mysore, Delhi, Chennai, Indore, Gwalior, Pune and Hyderabad. She has won several awards for her art during the Dasara festivals held every year in Mysore. She has lost count of the number of prizes won and awards received so far. She has been honoured by the Rotary, Lions, JCI and various private organisations including some Departments of the State Government like the Department of Horticulture and others. She received International Woman of the Year Award in 1995.

Neelamma started learning a variety of skills at home when she was just 10 years from her elder sister and mother. But this learning continues even after 60 years. Though she has been widowed, with all that pain and anguish that comes with widowhood, she has got over it and continues in her pursuit of acquiring and perfecting her artistic skills. She works non-stop for eight hours daily and is never tired. She lives for six months in Mysore (No. 216, 10th Main, 1st cross, Saraswathipuram) and the remaining six months at her son’s place in Bangalore. She is not dependent on any of them. She lives by the money she earns by selling her works. She also specialises in ‘Patch Work’ on fabric and quilting for which she has obtained orders from foreign countries.

Amidst all these she keeps herself fit by walking regularly and busy by writing down all the Rangoli designs that comes to her mind in a book.

Her message to the youth of present generation, "I don’t watch TV even for just half-an- hour. It robs you of the opportunity to learn new skills. All our ancient traditional art and skills are slowly dying out because it is not being learnt by today's youth as they waste time by watching TV shows and soap operas. The media plays a great role in promoting a variety of art and keeping the interest alive in these youngsters. They can spend their spare time learning and teaching these arts to others. This gives deep joy and immense satisfaction."