Noted Kannada poet Prof. KS Nissar Ahmed. / The Hindu
Bhagavatharu has organised ‘Nityotsava Kavige’ on February 8 to mark the 80 birthday of Prof. K.S. Nissar Ahmed. The event will begin with ‘Nissar Ahmadara geethegalu’ at 10 a.m. and go on till 8 p.m at Nayana auditorium, Bangalore. Dr. Prabhushankar, writer, will preside over the inauguration ceremony.
The event will feature seminars on Nissar Ahmed’s writings, a book release, a musical performance and poetry reading. Nissar Ahmed will be felicitated at 6 p.m. ‘Bhavanubhava Samyoga’, authored by P.V.Narayana, will be released by Prof. Baragooru Ramachandrappa, culture critic.
source: http: //www.thehindu.com / The Hindu / Home> Features> Friday Review / February 05th, 2015
Ghata artiste Giridhar Udupa from Bangalore who bagged the Best Upa-pakkavadya Award from the Music Academy in the 2014 Music Season is just back from a whirlwind tour of concerts across Europe. “I am happy to dedicate this prestigious award to Karnataka as I owe everything to my State where I received lessons,” said the young percussionist who is a regular at the senior slots of the Academy. Udupa is indeed a unique artiste who is at equal ease with Carnatic, Hindustani and global music. Giridhar has been tapping on this Indian clay pot since he was a four-year-old when his father mridanga vidwan Ullur Nagendra Udupa set him on the ‘beat.’ He later honed his skills with Sukanya Ramgopal and V. Suresh. Today, as a 34-year-old, Giridhar has visited 40 countries and has been part of global collaborations on world platforms. “I can’t forget my accompaniment to R.K. Srikantan and Umayalapuram Sivaraman in 2007 at the Music Academy,” recalls Giridhar. “That was a phenomenal accompaniment on the ghata,” Ustad Amjad Ali Khan had commented after a concert, and Giridhar’s adaptation has impressed stalwarts such as Shiv Kumar Sharma, Pt. Jasraj, Vishwamohan Bhat and Sultan Khan in the innovative amalgams.
“I love to be exploratory in my approaches and my travel helps me get familiarised with wide-ranging global beats,” says Giridhar, who heads three European bands dealing with Spanish Flemenco, Polish-based jazz and Irish western music. “I am trying to internalise every rhythm of the world into my ghata and konnakkol, hoping to set in motion innovative ideas…,” says Giridhar.
source: http://www.thehindu.com / The Hindu / Home> Features> Friday Review / by Ranjani Govind / February 05th, 2015
Veena Hegde (48), founder member of the city’s Samatha Adhyayana Kendra, passed away in Bengaluru on Tuesday.
She leaves behind her husband and two children.
An employee of the Forest Department, Veena Hegde was promoted and transferred to Bengaluru two years ago.
Actively associated with Samatha Adhyayana Kendra, she strived to bring together all organisations fighting for the cause of women.
Samatha Adhyayana Kendra has convened a condolence meeting at the residence of the Kendra President M.N. Sumana at Krishnamurthypuram in city at 5 pm on Feb. 7 (Saturday). For more details, contact 94494-89895.
source: http://www.starofmysore.com / Star of Mysore / Home> General News / Thursday, February 05th, 2015
This interior designer’s expansive home includes a cosy and homely family den where they like to spend most of their time. By Shivani Kagti
Gudi Lamba (69) Interior designer and owner, Design — In Total
The horse painting above the writing desk was made by Lamba after they moved into the house. Their home is filled with oil paintings made by the interior designer. “I picked it up from my mother who was a skilled artist and could also embroider beautifully,” says Lamba, who has been painting since the age of eight.
A walnut writing desk from Srinagar graces Lamba’s corner of the den. “We bought it about 35 years ago when my husband was posted in Ludhiana,” she adds. With chinar leaf carvings on the wood, the handcrafted desk is typical of Kashmiri handcrafts. The leather armchair and footstool, a place for her husband to sit and read, is from Amar Collections on Old Airport Road. In the centre of the family den is a 10×10 sq ft cutout or central void that connects the upstairs space with the living room downstairs. Above this void, is a skylight. “We wanted a central skylight so that there would be ample natural light through the day,” Lamba says. “Also, sitting up here, we can easily see what’s happening downstairs or call the help if required.”
The aircraft propeller is a souvenir from Ajit Lamba’s flying days. The IAF officer was teaching an aspiring pilot to fly when their aircraft lost the propeller and they had to force land in HSR Layout. The propeller landed in a marble yard there and he decided to keep it as a souvenir. Later, Lamba installed a clock in it.
A wall of mementoes and photos showcasing the air marshal’s years in service. There are also pictures of their son who is a commercial pilot. The den overlooks a verandah lined with colourful geraniums, perhaps the most beautiful feature here. The original plan didn’t have the outside space; a fact Lamba’s husband bemoaned. When he took off for a 15-day trip to Paris, she had the walls broken down to incorporate the verandah space and made French windows to enjoy the outdoors. Needless, to say he was happily surprised on his return,Lamba recalls.
When Gudi Lamba and her husband Air Vice Marshal (retd) Ajit Lamba built their sprawling bungalow in Horamavu 14 years ago, it was literally in the boondocks; theirs was the only house for miles. Now, of course, their scenic getaway home is in the midst of several upcoming high-rise projects. Nonetheless, the house is still charming. When the gates open, a beautiful rock garden carved out of a huge boulder, which was part of the original property, comes into view. Indoors as well as outdoors, one gets a sense of the wide expanse given that the two-storied house is spread over half an acre.
Lamba’s sensibility inclines towards semi-classical design — evident in her selection of furniture, mainly understated antique-style pieces, interspersed with plenty of blue pottery and bells of many sizes and materials. On the first floor is the family den where the Lambas spend most of their time. More homely than sophisticated, this central space was planned by the Lambas keeping their varied interests in mind. So, one half of the 30×30 sq ft space is taken up by a mini golf putting set, model airplanes and books belonging to the retired air marshal, while the rest includes a writing desk, settee and easel where Lamba practices her art and does her work. “The idea was to fill the space with mementoes and personal items; for instance, there’s a collage made by our children which has all our family photographs. It’s more about preserving memories and having a comfortable homely space than anything else,” Lamba says
source: http://www.bangaloremirror.com / Bangalore Mirror / Home> Columns> You / by Shivani Kagdi , Bangalore Mirror Bureau / Februrary 03rd, 2015
The city was subsumed by a riot of colours. The much-touted Konkani Holi, or Okkuli, as it is popularly called here, drew vast numbers of people to paint the town red, blue, green and more.
The Monday’s devout ‘Kodial Theru’ crowd on Car Street was replaced by colour-splashing youth on Tuesday.
The SVT Mat Friends dished out filmy numbers on a makeshift stage on the left of Sri Venkataramana Temple, and another band of motley crew struck all the right chords, making the crowd sway to their music.
Friends sneaking on friends with their hands full of bright, fluorescent colours, and the latter trying to flee only added to the festive fun. This year, for a change, girls were not reticent when it came to dishing it back to boys for daubing them in colours.
Doting mothers watched their children, when they were running about playing with everyone on the street. Tankers spraying water on the revelers saw Car Street awash with multiple colours. Youth made a dash for sachets of wafers and other snacks which were thrown around from the tankers.
Both young and old merrily participated in the colour-splashing battle. Even the jolly old men in their sixties broke a leg when they dance to the hit number ‘Premanathe Pass Aathe,’ which featured Bollywood’s comedy king Johnny Lever from the Tulu movie Rang.
The countless moments of joy and laughter were visibly evident as the residents took part in the festive fun and frolic.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Mangaluru / TNN / January 28th, 2015
SHARING DIVERSE EXPERIENCES The core team of the India Theatre Forum.
The first phase of SMART, India’s first theatre management programme, was held at Fireflies, near Bengaluru. The residential course had some of the best theatre groups gather to learn the nuts and bolts of purposeful planning
Passion alone sustains theatre practitioners in India. Despite lack of government funding and inadequate infrastructure, there is plenty of theatre happening all around us, in big cities and small towns, alike. In an endeavour to propel the art form forward, India Theatre Forum, a theatre network run by and for people in theatre, conceptualised and implemented, with support from Mumbai-based Junoon and India Foundation for the Arts (IFA), India’s first theatre management programme.
The initiative, Strategic Management in the Art of Theatre (SMART) is divided into three phases, which takes theatre groups from across the country through a practical roadmap or a strategic plan to make them more sustainable, effective and financially viable. The first phase of SMART was held at Fireflies near Bengaluru, where 17 theatre groups from across the country, participated in a 10-day residential workshop. Sanjna Kapoor and Sameera Iyengar of Junoon, Sudhanva Deshpande of Jana Natya Mancha and Studio Safdar, Delhi and Arundhati Ghosh, executive director, IFA, at a press conference held in the city, spoke of their experiences at Fireflies and of the road ahead for SMART.
Sanjna said the time for capacity building within the theatre community had finally arrived. “It seemed necessary to try and cultivate theatre management,” Sanjna said. Sameera added: “Theatre is an informal sector. In India, theatre survives and thrives despite everything. Theatre practitioners are often the managers. We felt we needed to look at what it means in the Indian context. We put together a fairly detailed survey. We sent it out to our database. We got 72 responses. We were very clear that SMART would be for theatre groups. We wanted theatre groups to send two people who are key decision makers in the group.” Sudhanva said the quality of groups who responded were outstanding. “It wasn’t just new groups that had responded, but older, more well-established groups who have been in the field for 20 to 30 years. Each one of the groups is first rate theatre groups, who do different kinds of theatre.”
Sanjna added, “We got participants not just from the metros, like Delhi, Mumbai and Bengaluru, but also from small towns such as Allahabad, Nasik, Pondicherry.”
Professor Milena Dragicevic Sesic, UNESCO chair in Cultural Policy and Management and professor at the University of the Arts, Belgrade, Serbia was the course mentor. She said the conclusion of the first phase signalled the “end of one process and the beginning of another process— a long journey of theatre development.”
The residency at Fireflies, Arundhati said, was magical. “We had something in the evening which we called adda. We had researchers and practitioners from the international community, including Ruth Bereson, an arts manager and teacher, Alessandra Gariboldi, Milena and the Freedom Theatre group that have worked in Palestine, share their diverse experiences.”
Apart from Sanjna, Sameera, Sudhanva and Arundhati, the other facilitators were Sunil Shanbag, theatre director, Arpana, Mumbai, and Swati Apte, director, Junoon.
Every group has been given one mentor, and in the next phase, theywill work with them over their respective mentors over six months.
“Among the mentors are Pravin K.P., Rajiv Krishnan and Menaka Rodriguez. They will be facilitators and will act as a bridge. The groups will come back this year again to discuss a strategic plan for the next three years,” said Arundhati. She added that they will announce SMART’s next year’s programme, in August.
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / by Sravasti Datta / February 01st, 2015
They will also create 5,000 Kannada Wiki pages based on these books
Hyderabad-based Osmania University Digital Library has 2,133 digitised Kannada books, but they are not easy to access because their titles are not listed in the Kannada script.
Three young techies from Karnataka — Om Shivaprakash H.L., Pavithra Hanchagaiah and Devaraj K. — are now setting right this anomaly by not only transliterating the titles and names of authors and publishers into the Kannada script, but also embarking on creating 5,000 Kannada Wiki pages related to these books. The trio has created a crowd-sourcing platform called ‘Samooha Sanchaya’ (http://samooha.sanchaya.net) to get help from people to transliterate, so that the work can be completed faster.
In the next phase, the team is planning to take up a similar project with 3,335 Kannada books in the Digital Library of India, a total of 7,19,327 pages.
“We hope to enhance the reachability of digitised books and also add value to Kannada Wikipedia by contributing Wiki pages,” says Mr. Shivaprakash, who heads the team. Along with this, the team is also launching its own book site ‘Pustaka Sanchaya’ (http://pustaka.sanchaya.net) in a few days which hopes to provide exhaustive bibliographic information.
Mr. Shivaprakash says that access is a problem across languages in digitised libraries. “In all existing digitised projects, they have not taken care of the accessibility of regional language books. They should have got the book names indexed in the respective languages,” he says. “We can help people do the same exercise in other languages if they need help in making books easier to search and find.”
The same team has put together Vachana literature of the 12th Century and Dasa literature on an online platform designed to help researchers.
source: http://www.thehindu.com / The Hindu / Home> News> National> Karnataka / by Bageshree S / Bengaluru – February 01st, 2015
A three-day National Workshop on ‘Reviving the Indian Intellectual Tradition’ has been organised by Samkriti Foundation at Rama Mandira Hall in Krishnamurthypuram from Jan. 26 to 28.
Bharatiya Vidya Bhavan Bengaluru Chairman N. Ramanuja will inaugurate the Seminar on Jan. 26 at 6.30 pm. Researcher Chittaranjan Naik will be the chief guest and Samkriti Foundation President Prof. M.A. Lakshmithathachar will preside over the inaugural.
Academic Sessions on Jan. 27 will feature paper presentation by Vid. Gangadhar V. Bhat, James Boag, Dr. K.S. Kannan and Dr. Chittaranjan Naik, Dr. M.A. Narasimhan, Dr. N.S. Govindarajan, Dr. H.L. Chandrashekhar and Prof. M.A. Lakshmithathachar. Prof. S.K. Kiran Kumar and Prof. Chittaranjan Naik will chair the sessions.
On Jan. 28, Academic Sessions will feature paper presentation from Vid. Umakant Bhat, Vid. H.V. Nagaraja Rao, Dr. S.K. Kiran Kumar, Retd. Prof. of Psychology, Dr. Mukundan Cadambi, Chennai, V. Lakshminarayanan, Director, Vishvakshema Trust, Mysore and Dr. M.A. Alwar, Asst. Professor, Maharaja Sanskrit College, Mysuru. The session will be chaired by Prof. M.A. Lakshmithathachar.
Panel Discussion and Valedictory Session will be held at 4.30 pm on Jan. 28, according to a press release.
source: http://www.starofmysore.com / Star of Mysore / Home> General News / January 25th, 2015
Veteran Yakshagana artiste Arate Manjunatha passed away at his house in Gavali village after prolonged illness near Kundapur on Friday. He was 73. He is survived by his wife, a son and two daughters.
Majunatha was regarded as one of the finest artistes donning the roles of women characters in both Tenku and Badagu thittu schools of Yakshagana. He was a natural at these roles. Besides a good voice, he was a graceful dancer, known for his acting prowess and powerful dialogue delivery.
Born in Gulvady village of Kundapur taluk in 1942, his formal education ended at class four. He was attracted to Yakshagana at a young age of 13 years and learnt its basics under the tutelage of Matapady Srinivas Nayak and Veerabhadra Nayak.
In a career spanning five and a half decades, he worked in various Yakshagana melas including Saligrama, Mandarti, Maranakatte, Kamalashile, Keremane, Rajarajeshwari, Surathkal, Mulki, Kollur, Pollali and Kundavu melas.
He had deep knowledge of women characters coming in the Puranas and epics. He donned the roles of women characters such as Ambe, Damayanti, Shashiprabhe, Dakshayini, Chandramati, Subhadra, Sita, Meenakshi, Mohini, Prabhavati, Sridevi with aplomb. He also donned the role of male characters including Krishna and Ashwathama.
As founder of Ganesha Pravasi Yakshagana Samsthe, he recognised the services of senior Yakshagana artistes and provided guidance to junior Yakshagana artistes.
He also served as the member of Karnataka Janapada and Yakshagana Academy. Several awards came in search of this versatile artiste including Karnataka Rajya Prashasti, Karnataka Sahitya Parishath Prashasti, B.V. Acharya Award, Bhojappa Suvarna Award and Ramavittala Award.
Vinay Kumar Sorake, Urban Development Minister, and the Yakshagana Kalaranga organisation, have condoled the death of Manjunatha.
source: http://www.thehindu.com / The Hindu / Home> News> National> Karnataka / by Ganesh Prabhu / Udupi – January 30th, 2015
With a space to exhibit their works. Photo: Sampath Kumar. G. P / The Hindu
Her passion for art led Bindu P.V. to quit the IT industry and start an art gallery on her terrace
Bindu P.V. is an artist. But, that’s not how she started.
Her whole family was into the IT industry and she too mindlessly followed that trail till she realised that she wanted to do something different.
Her passion for the canvas, oils and paints led her to take up a crash course in painting. She started with three traditional arts forms — Mysore paintings, Tanjore paintings and traditional mural art from Kerala.
“Once I started with the traditional arts I met a girl who was into abstract paintings. I realised that in traditional art you tend to copy a set pattern, even when it comes to designs and themes. Everyone keeps doing the same thing. With her I learnt to explore more about abstract art,” says Bindu, who then adds that she went on to complete her MFA.
“I learnt that I work better with single or double tones. I seem to have a difficulty with more colours. Though I have quit the IT industry, it does not seem to leave me as most of my themes are IT-related,” she laughs and adds that it was during this time that she came in contact with many other artists.
“One common thing that I found was that most of them struggled for gallery space, or to sell their art. I also met a physically challenged girl, struggling to sell her works. I tried to help her and realised how difficult it was to sell her works, especially when one can not afford either to exhibit in a gallery or even have access to social networking sites. Then we both tried to sell her work at Chitra Sante and found that art works are sold for a meagre Rs. 100. That was shocking and heartbreaking to see as some artists work anywhere from three hours to a month on each work. This struggle is what triggered off the birth of my art gallery — White Sanctum Art Gallery in Dodda Anekundi.”
She has built this gallery on the terrace of her home with ample space for art shows and to conduct workshops.
“It’s a platform to help popularise art by conducting workshops and introducing the common man to various kinds of arts, and to host exhibitions of artists who have absolutely no backing.”
The gallery offers a 1,200 sq. ft. area of exhibition space. “It’s a very simple gallery, which aims to provide an equal platform for any artist. The paintings here are priced at Rs. 4,000 and go up to over a lakh. We have works of budding artists and Academy Award winners too.”
Right from oil paintings to water colours, Bindu promises you’ll get something that will suit your style and budget.
“The art is priced like this so that even the middle class can afford it.” White Sanctum Art gallery was inaugurated on January 18.
“We have enquiries for workshops, especially from people from working in the IT sector. So we plan to start with water-colour workshops and then take one step at a time.”
Bindu, who has had several solo shows in Baroda, Delhi, and Kerala, now plans to exhibit her works here too.
She has also done a thesis on Ravi Varma’s life and an analysis on his work and its effect on social change, specially in Kerala.
“His works have brought a silent change in society — be it in the caste system, or in education. His works speak volumes about changes one should expect in a society. Like he would decpict a boy reading a newspaper and so spread the idea of literacy in Kerala. Artists were not allowed to sign their works and he started signing his works. My thesis focussed on the effect of his works on the minds of ordinary people,” she adds.
She talks of upsetting it is, the way society still look at artists.
“Films depict them as drug addicts or dressed shabbily. Stop treating artists as good-for-nothing kind of people. We are not prodigals who have lost our way. We too have opportunities now with animation and art shows and can generate revenue and support ourselves through our works. Artists are ordinary people who just think extraordinarily.”
White Sanctum currently has a group show, which will be on till February 15 from 11 a.m. to 8 p.m.
For details call 65687209 or email bindu.vee@gmail.com
source: http://www.thehindu.com / The Hindu / Home> Features> Friday Review> Art / by Shilpa Sebastian R / January 28th, 2015
