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."

Meet Mysore's own magician Raj Bhat

There was a time when magic shows were performed on streets with no props and stage arrangements, but right in front of people watching all around. Remember the famous 'Indian rope trick' where the magician throws a long rope in the air and it would seemingly stand erect on its own.

The magician would then climb the rope and disappear, only to reappear after sometime from the ground. The trick is even today considered to be the world's greatest illusion and could not be repeated by any of the modern day magicians. These tricks were always a great entertainment, attracting huge crowds of people to these street magicians. With the passage of time and with rapid advances in technology and gadgets, the 'street magic' gave way to the 'stage magic,' where nothing short of miracles were created.

Magic is a highly skilled art of keeping the audience mesmerised till the end of the show. Today's magicians perform such acts that appears to be impossible and sometimes even supernatural, like walking on water, levitating in the air to name a few. But the truth is, all such feats are mere illusions and not real. They are so carefully designed based on simple scientific techniques, that they trick our senses into believing that what we are seeing is really happening.

Like another art, magic too requires learning and mastering skills that has to be perfected by rigorous practice. But for Jadugar Raj Bhat, a native of Mysore, magic seems to have come quite naturally, as an inborn instinct. Raj says, "I was so impressed after watching a magic show performed in the school where I was studying, that I immediately decided that I will become a magician. I started collecting books written by great magicians and also began practicing some of their techniques."

Thus Raj began his magical journey and started performing on stage that left the audience spell-bound. That he won a State award when he was just 14 years old and a National award when he was 16 for conveying a social message, is a testimony for his magical skills. He has chosen magic as a full-time profession and has already performed several magic shows in various schools and colleges. Raj who holds a Master’s degree in Psychology from Mysore University is the son of late Kasturi and Gopalkrishna Bhat.

"My desire was to serve the society through magic. With the intention of reaching more number of people, I joined Rotaract Club in 2001. In 2006-07, I was elected as the President of the Club when it won the Best Club Award and 27 various other awards in the Zone. In 2008, I was elected as the Charter President of Lions Club-Jayalakshmipuram. In 2009, I joined international social service organisation JCI Mysore Brindavan, and am presently involved in various social activities."

"I am also involved with various government departments like the Dept. of Kannada and Culture and Karnataka State Pollution Control Board. With the help and support provided by these departments, I am performing magic shows not only in Karnataka but in various parts of the country creating awareness among people on various social issues like importance of education, women empowerment, AIDS, blood donation, rural development, dangers of smoking and drinking, saving the environment, on the importance of life insurance, e-employment and other such issues through my magic shows and lecture demos," says a beaming Raj.

SOM had a tête-à-tête with Mysore's own magician at K. Vasudevacharya Bhavan on JLB Road, where a magic and ventriloquism (the art of projecting your voice so that it seems to come from another source, as from a ventriloquist's dummy) show was organised by Bhasange Balaga recently.

SOM: Does magic as illusion, evoke feelings of mystery in man?

Raj: Yes, it does. Magic is a sense of perception.

SOM: The great ‘Indian Rope trick’ was considered to be one of the staple performances for any magician. Is it still being reformed?

Raj: Yes, it is being reformed. As technology is improving, they are using even more advanced methods to perform the trick, like the use of remote controls. Once in a while, all magicians get together and discuss how best they can improvise their techniques by adopting the latest advances in technology.

SOM: Why are not magicians playing an active role in exposing fake Godmen who still continue to fool people by pretending to materialise ash, Shivling, gold-rings and other objects?

Raj: It’s not completely true that magician are not doing anything. Many, including me, educate children in schools after performing a magic show about how these fake Godmen are hoodwinking people using the very same tricks which they just saw. Of course, we cannot perform it in a big scale as some of the ingredients like chemicals used for the show are quite expensive, which we can’t afford to buy. Only if the government or some organisation sponsors it, then we are ready do it in a big way reaching more number of people.

SOM: What kind of educational role can magicians play? Not merely performing tricks, but also explaining to the audience how a magician uses the various laws of Physics and Chemistry to create such extraordinary illusions.

Raj: Magicians can play a great role in educating children through their magic while entertaining them at the same time. Just as a child would refuse to swallow medicine if given directly and when the same is given with honey, they will take it because of the sweetness. In the same way I convey my message through entertainment which reaches them easily and it gets registered in their minds.

For example, while performimg magic shows in schools sponsored by the Karnataka State Pollution Control Board, I passed the message not to burst crackers. After the show, teachers informed me that in spite of them advising the kids in the matter several times they wouldn’t listen, but after watching my show, nearly 60% students stopped bursting crackers. That’s the power of magic.

SOM: How do you differentiate between magic and reality?

Raj: While performing magic on stage we create money, but if it happened in real life why should we be performing shows at all? We can sit at home and make money and give away to all the needy people. Magic is all illusion which doesn’t happen in reality.

SOM: Which is your most satisfying per-formance?

Raj: Rope trick.

SOM: While performing a show, on what do you concentrate more, effects or on the performance?

Raj: In magic we have to concentrate on both, effects as well as on performance, because only if both go in hand and hand the magic works.

SOM: How did you learn ventriloquism?

Raj: Once I watched it on TV and decided that I should try it on my own. I could finally learn it after two years of intense practice. My first performance received a good response. I am now performing with a stuffed toy chimpanzee and a boy. I want to better it further by adding a third one, but am still practicing. This is a very ancient art form where in the old days, people living in caves and forests used it as a voice from the God, but with passage of time they began misusing it. Now it is reduced merely as an entertainment. The famous magician Uday Jadugar was the first to perform it and I was inspired by him.

SOM: Is there anything else you’d like to tell us about?

Raj: I request the government and the public to support and encourage upcoming young magicians to do better work for the development of the society. Presently, I am also exploring Black Magic, I take this opportunity to start research in this field.

[Raj may be contacted on Mobile 93424-97776].

Is it a school or a grazing ground?

Both the State and Central Governments are implementing measures to ensure that all children compulsorily receive primary education and are educated at least upto matriculation. The recently introduced Right To Education Bill by the Centre is a step in this direction.

The State Government, on its behalf, has stepped up recruitment of Primary School teachers, providing amenities and other infrastructure facilities to the existing schools all over the districts. But just like any other Government initiative, their effective implementation is always saddled with corruption, lethargy and neglect. The endlosers are these little children who are deprived of their rightful education in their formative years.

Very recently, SOM carried an article on the deplorable ways in which food was being served to children at Nazarbad boys hostel run by the Social Welfare Department. The Government Primary School in Jayanagar, adjacent to ISKCON temple, is another example of apathy by the officials of Education Department in providing basic facilities.

With around 80 students attending this school, it doesn’t even have a proper toilet except for a dilapidated cement structure standing forlorn in a corner. The students are forced to attend nature’s call in the open field behind the school. Boys and girls take turn to quickly ease themselves and get back to class but the teachers go to the neighbouring ISKCON temple to attend nature’s call.



Weeds and wild bushes have grown in the entire courtyard in front of the school and in the surroundings. The school doesn’t have any compound wall. This makes it easy for the cattle and sheep to get inside for grazing and sometimes even straying inside class rooms. There were even instances of children witnessing snakes slithering in the area. Adding to the woes of these little children, there is no proper drinking water facility, except for a hand pump. There is also no power supply to this school.

About two years ago, nearly 20 Guntas of land was allotted for this school by the Government. But after that nobody bothered to take up any infrastructure work. Though it is compulsory that every school must have a playground, the children here are deprived of that opportunity. The authorities too have not bothered to issue the sports materials which must be provided to every school as per law.

In spite of the school being located along the main road, there are neither any proper traffic sign-boards nor a road hump. With heavy vehicles plying on the road, teachers help students to cross the road in the evening after the classes. When such is the state of affairs, how can the student strength be increased ? Very soon this school also may lack students like the century-old Lakshmipuram School.

In the midst of all these, a woman clandestinely residing there has fenced a small patch of land to grow vegetables and prevent straying cattle. The present school building has four blocks which was constructed in association with the Mysore Round Table-21. The area Corporator and authorities seem to have turned a blind eye to this school.

Saptamatruka temple first of its kind in city

Karnataka is the abode or penance, land of enlightened men, sages, yogis, acharyas and the place of truthfulness, righteousness and renunciation. It is the good fortune of all the Kannadigas to be in the dwelling place of music, literature, art and architecture.

The worship of the goddess of sakti is going on uninterruptedly from time immemorial. When man comes to know of his limitations, he discovered the unique divine power, thinking that power to be mother earth, he began to worship it with faith and devotion. Giving up the feelings of the rich and the poor, he regarded her as the tutelary deity of a village, or a state or of a nation. She transcended the boundaries of time, place and community, and established as a supreme power in the minds of people.

In the beginning, she was given a form in mud, wood, metal, stone etc. She manifested from within to without. Thus, the primordial Sakti, on account of her abilities of creation, maintenance and destruction, she became the goddess of dharma (righteousness); from a single form, she assumed many formed Saptamatruka. By filling all the desires of the devotees, she came to be called istartha pratayini and the goddess with unlimited powers born in the minds of people of various places, languages, religious is here in all resplendence.

The characteristics of this temple

Saptamatruka temple is the first of its kind in Mysore, is situated in the northwest, and built in accordance with agamasastras, excellence of place. The place is of istanya dikplava nairuti elevation, surabhigandhayukta and supadma character. While building this temple, dikparicheda, ursabhayani, vastumandala, amnayajapaya, devanisa etc., all these factors have been taken into consideration. The adhisthana has all the six kinds of khuras.

The head Posture, weapons and vehicles of the saptamatrkas in the sanctum sanctorum are all sculpted according to the agamasastras. Another specialty is that there is sri chakra chidamba meru prastara in one monolithic stone just in front of the devis in the sanctum sanctorum. In front of it, on the right side is Sri Mahaganapati, and on the lefl is Bhyravamurthy and in the north is sukhaduhkha devis.

Specialty of Deviparchayatana

In the portico, towards the northeast of the devis there is Dakshinamurthy deity racing South; in the southeast Satyanarayana deity is installed facing north, in accordance with the saying Sivaya Visnurupaya Sivarupaya visnave; in the south-west vinayaka deity is installed; and Surya in northwest. The fillet of the sanctum sanctorum is decorated with gaialakshmi, posts and leaves, alligator-banner.

In the ceiling other portico there are three fully blown lotuses. At the front gate there ale lions on either side, and doorkeeper’s viz., dhater and vidhatr are sculpted. In front of them there is a flagstaff measuring 3 I feet made of stone and a balipitha. There is one Mahadwara in front of it. This is a centre for religious, cultural and arts. The deities inside the prakara. On the upper side of the southern wall of the sanctum sanctorum, Brahma, Saraswati, narmada and tumburu are sculpted. Facing them are Jagadguru Adisankara, along with his four disciples; below that are nine durgas sculpted in accordance with the agamas.

On the western wall of the sanctum sanctorum are sculptured Kalpaurksha and Kamadhenu on the left are Sivaloka, Siva and Parvati., Kumaraswamy and Ganapati; on the right are the figures of Ganga and Yamuna rivers flowing from Kailasa; animals and birds devoid of their rivalry, living together in a rivers of penance. At the bottom is the picture of sixteen matricas. The famous idols or devi temples of India are installed here. On the northern wall Mahavisnu and Mahalakshmi are sitting on the Adisesa the couch and canopy of Visnu. On one side of them is Garuda, and on the other side is viswaksena. At the bottom Ashtalaksmis are sculpted.

Spire (Vimana) of the temple

In the temple of Saptamatrkas, Aksara devataas are represented from Akara to Ksakara. This is a unique feature in India-Each of the Aksara devataas have been depicted according to the dhyanasloka of the Agamas. Below the Mahanasika Alpanasika, towards the East is Ganapati, towards the South is Saraswati, towards the West Sri Chowdeshwari and towards the North Mahalakshmi idols are situated. Pranava ksara devataas are there next to Ganapati, and the idols or Mahakarikamba in the northeast, Sri Gayatridevi in the southeast, Sri Savithridevi in the southwest, Sri Saraswathidevi in the northwest, and the conventional vimana deities are also sculpted.

Devakosthakas on the ceiling of the portico: on the east are Ganapati, Saptamatrkas and Virabhadra, on the South are Parvati, Parameswara, Sanmukha, Nandishwara, and on the south are Lakshminarayana, Garud and Anjaneya.

At the four corners of the portico are sculpted Karnakutas, crore bhutas etc. Chejjas called Chadyas are built around the area enclosed round the temple. The temple is truly a heaven on earth. Subbarao Kallesh Bhaskar of Mysore, prepared the blue print of the temple and executed all the engineering works with extreme devotion. Prof. N. Nanjundaswamy, Archaeological Survey of India, Epigraphist has designed the temple in accordance with silpasastra and executed the work excellently.

"We prefer to starve than eat mess food", say inmates of Govt. Boys Hostel

The Government Boys Hostel in Nazarbad, despite being located in the heart of the city, is as pathetic any other such hostel in a remote rural region.

The hostel was started by the then Maharaja of Mysore with the noble intention of providing accommodation to the children of rural regions who come to the city to pursue education.

However, in the present condition, students are facing a harrowing experience due to unhygienic food and lack of basic facilities. The mess at the hostel, which comes under the Social Welfare Department, is literally in a messy state.

About 258 students, mostly belonging to middle class and poor families, hailing from villages in and around Mysore, are facing severe hardship at the hostel.

On learning about the problem, Mayor Sandesh Swamy, along with Health Officer Dr. T.S. Nagaraj, JD(S) leader Praveen Kumar and Corporation Zone-7 Assistant Engineer Somashekarappa inspected the hostel yesterday morning. The Mayor was surprised to see the staff serving rice very limitedly and a watery curry to the students.

On inspection by the officials, corruption was found to be rampant in the hostel. Food items were allegedly misappropriated by the mess authorities.

For a hostel with 258 student strength, the amount of milk purchased daily was a mere of 5 litres, and the diluted milk is served for the children.

Students complain


This is what the students had to say about the food served in the hostel mess: "The sambar, a regular feature on the mess menu, will hardly have any vegetables. Whatever the vegetables purchased, they are either rotten or cheaply bought discarded ones."

Even the rice and pulses are half-cooked — causing gastro-problems to many. Left-over sambar is mixed with rice the next day and served as Bisibelebath!

Neighbours suspect

All the groceries purchased for the mess out of government funds are clandestinely sold to nearby shops. Some items get pilfered too. "We have seen bags of groceries (especially rice, flour, cooking oil, condiments etc.) being sneaked out at frequent intervals," confided some neighbours.

Allegations

• It is alleged that the staff prepare special dishes for themselves and feast at a time when the students are in school.

• Though students are allowed to watch TV with no extra cost, it is said that the staff play movie CDs and collect Rs. 3 per student.

• Though the government has supplied 10 books per student, many have received only 4 to 5 books.

• There are 12-15 members in a single room and they are given worn-out carpet without bedspreads to sleep on. Uniforms, soap and other toilet items are not yet issued to some students.

• Most of the toilets are out of order and lack basic health requirements. There are short-ages in the number of cleaning workers.

When SOM tried to contact the Hostel Warden Savithri over phone, she was not available.

What the students say:

Some of the students told the following to SOM:

"Almost all the dishes are prepared without adding cooking oil, are uncooked and taste bland. We prefer to starve than go through the ordeal of chewing on the raw food. Even though it is mandatory that eggs should be provided on all Fridays and special dishes served on Sundays, it is never done."

"The Menu Board displaying the list of dishes to be served to the hostel inmates is a mere formality. However, enough funds are drawn from the hostel’s mess account for the same."

If any student questions, the warden shouts using abusive language and some times they beat us also asking, "Yeno? Ninna appa tandu kottidara?"

"Many of our room-mates complain of stomach problems because of the half-boiled rice served. We have been quite used to getting stomach problems because of food. We cannot stop eating at the hostels because we are compelled to eat whatever is offered by the mess. We have no option at all."

Mayor’s view


After inspecting the hostel and hearing the complaints from the children, Mayor Sandesh Swamy assured of speaking to the Warden and solve the problem within a week.

"If the problem persists, I will take the matter to the department concerned," he said and also assured of visiting all the government hostels in the city in the days to come and take strict action if found guilty.

He instructed the Health Officer to make regular health check-up for children and to keep a vigil on the hostel activities and also instructed the City Corporation officials to provide sports items for children immediately.

Health Officer speaks

"First I will call the warden and question her. Then I will bring the matter to the notice of the Social Welfare Department. I will ensure that all basic facilities for the students are provided," said Health Officer Nagaraj.

Published on SOM dated 13, July 2010

...and they did it!

Orphan youths successfully climb Kuari Pass


Like the famous one-liner of an international sports goods company that says, “Just do it!’ …. a small group of 15 orphaned boys and girls from Mysore, Pune and Tamil Nadu did precisely that. The orphans, joined by a supporting team of trekkers, trekked to Kuari Pass summit in Uttar-khand’s section of Himalayas. Kuari Pass trek is popular for the Himalayan peaks of Nanda Devi, Kamet, Mana, Trisul, Dunagiri, Bethartoli and others. The trek began on April 25 and concluded on May 14.

It may be recalled that SOM had published an article (SOM dated March 24) about the proposal to take orphaned boys and girls on a trek to foot of the Himalayan range. The trek for these orphans was organised by the City based, International Academy of Mountaineering and Allied Sports (IAMAS), and Society for Trekking and Environmental Preservation (STEP), New Delhi.

The happy trekkers are K.D. Devendra and Mahadeva Swamy from JSS, Suttur, Siddarth Bapu from Grace School, Kumbarakoppal, Anitha, Kavya and Shruthi from Bapuji Children’s Home, Savitha, Divya and Reshma from Govt. Girls Home, Siddharthanagar, Sakthi Kumar from Govt. Home for Boys, JP Nagar, Mallikarjuna, Juvenile Home (all from Mysore), and Suhas Dilip Bodake and Bhupesh Chadrakant Indulkar from Radhabai Hardikar Pranjit Mangal Sanstha of Pune. The trekkers were led by N. Shankara Subramanaya, supported by Pankaj Mallick, Shrisha Bhat, M. Mohan Kumar, Dr. Rashmi, M.S. Lakshman Raju, Somnath Pal Ashok Banka and Pradeep Bist.

The cost of the trek which was around Rs. 4,10,662, was borne by Australian Martin Gregory and his friends from Australia, who played the Good Samaritans. When a simple outing like a visit to the zoo for instance seems often impossible, a trek to the Himalayan range was like a dream that they wouldn’t dared to have dreamt. Aptly enough the trek was called, DREAMS -2010.

“Dreams-2010” is the first ever trekking expedition held exclusively for the orphan youths of Karnataka, Maharashtra and Tamil Nadu. The expedition is the brain child of D.S.D.Solanki, Program Director of IAMAS.

The planning for the trip led to intense bon-ding among trekkers, with a lot of laughter and some tears (of joy).

Here is what these young trekkers say:


“I can smell those fresh flowers, the dew, the bustle of the breeze caressing our bodies and it was truly a climb up to face the creator himself.”

“Walking up to Ramni from Chepna. On Day 1, we had a breathtaking view of the Chaukambha mountain ranges. Day 2 saw us heading to Jhenji. The peak emerged and what a way to experience pleasure on Day 3 when we reached the villages Jhenjhi and Pana.”

“With our back-packs up, toeing in line, heads held high and with our gazes fixed at the distant hazy mountains, we set out on Day 4 from Pana to Santoli on a terrain which was more even surfaced and not so treacherous. Perhaps we were now getting used to the climb and were slowly inching towards conquering the mountains that made us take the hills in our stride. We camped there for the pre-summit camp to acclimatize ourselves before we attempted the next leap of our final climb. With a day’s break and making preparations — physical and mental — we left on Day 5 to Khulara from Santoli, when finally the moment of Eureka! Came—the KUARI Pass Summit — We had made it.”

“On Day 6 we took a break at Khulara where we had fun playing games, reliving the moments of physical struggle and mental resolve we endured. On the next day, Day 7, we walked down to TAPOVAN. The entire trek was so planned, it evoked the completeness of our lives and our connection with nature, both within ourselves and with each other.”

“The camp fires, the discussions, the small talks, the laughter, the songs, the splendid views of Nanda Devi, Neel Khant, Nanda Ghunti, Chaukhamba, Kamet, Mana, Hathi Parvat, Trishul, and a host of other celestial spots will be etched in our memories forever. This is how our planet earth was intended to be and we, young boys and girls, have a tremendous responsibility ahead of us to ensure that we slowly but surely ascertain that nature always remained in her pristine glory.” “We slept inside tents in our sleeping bags on the mou-ntain top, surrounded on all sides by glaciers, in the lap of Mo-ther Nature. ”

“Having lost my parents when I was very young, thinking of a trekking expedition in Himalayan Ranges was a distant dream and it was simply a DREAM COME TRUE”, says Devendra Kanakappa Dasara, a student of JSS and a native of Gadag.

“It was all possible because of IAMAS’s noble gesture of taking us to Himalayan ranges,” says Sharada, Salundi, Govt Girls Home, Mysore.

The youths scaled the famous Kauri Pass on May 8, 2010, which is at an altitude of 4,268 meters, in the Garhwal, Himalayas. At Kuari Pass, tears rolled down as trekkers, hugged each other and said, “We have done it Sir!”

Before ascending the Kuari Pass the team camped at various places like Ghat, Ramni, Jhenji, Pana, Santoli and Khulara, finally culminating at Tapovan. On the way the trekkers had a refreshing bath at the hot springs in Badrinath.

But this was not the only treat for these youngsters. They were also taken to Parliament House, Badrinath and Wagh Border (India’s border crossing with Pakistan) and this segment was co-ordinated by B.D. Sharma, Laxman Singh Negi and K.L. Sharma of STEP.

En route the team also visited Agra to see the Taj Mahal and Agra Fort, the Parliament House in Delhi and Red Fort, Golden Temple in Amritsar, Jallianwallah Bagh, Indian Military Academy, Forest Research Institute (Dehradun), Haridwar and Rishikesh. They even had a white water rafting expedition in Ganges organised by Ravers Expedition, Rishikesh.

This expedition was dedicated to the legendary mountaineer late Govindaraju of Deccan Mountaineering League, Mysore.

The last word goes to Ananya Deepanjali Kodandera of St. Joseph’s Central School, who accompanied the orphan trekkers, “Having trekked in various places in eastern Ghats, western Ghats and in Himalayan Ranges with IAMAS this expedition was really a dream come true, once in a life time experience for me.”