Category Archives: Arts, Culture & Entertainment

Presentation of Vanamali Seva and Dr.Mathoor Krishnamurthy Award to Prof. Settar and Surendra Koulagi

Prof. S. Settar and Koulagi
Prof. S. Settar and Koulagi

Mysuru  :

Shree Vanamali Charitable Trust, Vijayanagar 2nd Stage, has organised a function on Dec. 8 at 5 pm at Vivekananda Hall of Mahajana College in Jayalakshmipuram here to present Vanamali Seva award and Dr. Mathoor Krishnamurti memorial award.

Prof. S. Settar, Historian and Senior Researcher will be conferred with Vanamali Seva award for the year 2014. He will receive a prize money of Rs. 25,000, an idol of Vanamali and a citation while Surendra Koulagi, Senior Sarvodaya worker, Melkote, will receive Dr. Mathoor Krishnamurti Memorial award for the year 2014.

Dr. H. S. Gopala Rao, Senior Researcher, Bengaluru and Dr. Boregowda Chikkamarali, Lecturer, Vijaya First Grade College, Pandavapura will speak about the awardees. Suttur Seer Shivarathri Deshikendra Swamiji will grace the occasion.

Profile: Prof. S. Settar was born in Hampasagara in 1935. He had his education in Mysuru, Dharwad and Cambridge Universities. He started his career as a Lecturer in Dharwad University. By his sheer hardwork and erudition, he soon became the Director of Indian Council of Historical Research and occupied the position of Director of Indira Gandhi National Art Centre of Southern Division. He has also served as the Chairman of Indian Council of Historical Research and at present he is serving as a Professor Emeritus in the Dr. S. Radhakrishnan Chair at the National Institute of Advanced Studies in Bengaluru. Prof. Settar has 27 works to his credit in the fields of Archaeology, Anthropology, Art, History, Philosophy and Epigraphy.

Surendra Koulagi: Surendra Koulagi was born in Dharwad district in 1934. From his childhood he was very much influenced by the freedom struggle. In 1954, he came in close contact of great Socialist leader Jayaprakash Narayan in Bombay and later Koulagi became his personal secretary.

After few days, Koulagi along with likeminded friends, started a voluntary organisation – ‘Janapada Seva Trust’ in Melkote. Through this Trust he undertook many constructive programmes on Gandhian lines. He worked extensively for the welfare of the physically impaired by polio and for the upliftment of women.

A writer, well versed in Kannada, English and Hindi, Koulagi played a key role in organising the 29th All India Sarvodaya Conference in 1990 at Melkote.

source: http://www.starofmysore.com / Star of Mysore / Home> General News  /  Friday , December 05th, 2014

Why Deepika Padukone went back to her school?

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Deepika Padukone will be making a special  visit to her school for a fund raiser event. Deepika was born and bought up in Bangalore and went to Sophia High School.The ace actor got approached by her school a month ago and the faculty requested her to be part of the event.

She had a brief conversation with the faculty where they shared details of the event. The school has organized a big scale event for fund raising which will go towards building a new wing in the school. The school will also be expanding and providing better facilities and amenities to students.

Deepika immediately confirmed her presence and requested her team to ensure her dates can be worked out as she was very keen to make time and visit her school. She has been in the middle of a busy schedule as she is shooting for Piku but she accommodated this on priority basis.

source: http://www.dnaindia.com / DNA / Home> Entertainment / Agency: DNA Webdesk  / Wednesday, December 10th, 2014

The heart of the natter

Chatterers both, these siblings are each other’s sounding boards, critics and best friends. The energy is infectious, we find

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Relative Value with Danish (26) and Kubra Sait (31)

A riot. That’s what this brother-sister duo is. What was meant to be an hour-long interview steamrolls at full speed into nearly three, before plodding to a reluctant halt. They laugh a lot. They also tease, crack abundant jokes, high five each other repeatedly, make casual conversation with onlookers and fans, and are generally high on life. Exhaustingly so, especially to reticent people not given to much exuberance. Danish and sister Kubra, well known in Bangalore as anchors, emcees, TV hosts and him, the voice of prankster Nagaraj on the radio (or Chacko, Azhgar…take your pick), make no effort dispel the notion that they are talkers. Fun ones, at that.

Older sister Kubra will repeatedly deny that she is a bully — and Danish will say she used to be one — but it is apparent that she is very involved in her little brother’s life. Case in point — the T-shirt, shoes and socks she has carried with him to change into photographs for this interview, which Danish obligingly accedes to without a thought or a look at her choices. He trusts her implicitly, it’s clear. “This is my world — my mom and sister. We are each other’s best friends,” he says earnestly, and she nods.

They get along like a house on fire, and it’s almost impossible to catch them out of tune. Danish starts a sentence, Kubra completes it. Kubra teases a train of thought, Danish responds with perfectly-timed laughs. They put their synergy down to having grown up in a broken home, where their parents were constantly at odds. Through it all, Kubra, a self-proclaimed “warrior”, remained fiercely protective of her brother. “He was so cute! Not that he isn’t now,” she says, looking at him fondly. ‘Didi’ (older sister) as Danish endearingly calls her even as we are surrounded by starry-eyed autograph-hunters, is the proverbial older sibling — pampering, indulgent, and sometimes domineering.

She recalls growing up with an “adorable” kid, who ate up all his chocolates and asked her to share as per mom’s strict instructions. “He didn’t even have his own clothes!” she says with a giggle. “He was so fair that if you gave him a tiny slap on the cheek, he would start bawling and turn beetroot red,” she says, gesturing animatedly. “So my mum would put him in my red frilly frock, which had layers and layers going right down to the floor, and give him a small smack on the cheek, and then click a picture while he would cry.” That is all she can complete before collapsing into laughter while a mortified Danish yells into the microphone — “We were poor! POOR! Put that down as the reason please.”

Mother and daughter would “torture” the littlest member of the family, but also made him the centre of their universe. Kubra has drawn his biology diagrams for him, driven him to boarding school and even sat with his head on her lap as they bawled when it was time to leave him there. “Of course we miss each other — first when she went to Dubai and now that she is in Mumbai,” says Danish, restlessly swirling chopsticks in the air before Kubra promptly puts them away. “Some of my best childhood memories are of the family going to the movies — she and mom on one bike and me and dad on another — and all I’d want to do is sit with Didi because she was the cool one.” Kubra also dropped him to school — a ride on a black, kickstart TVS bike filled with chatter and games where they would follow the fastest person ahead of them on the road.

Danish too weighs in on his sister’s relationships, work choices, and even plays mediator when she fights with their mother, who he says, “runs their lives.” “And when we quarrel with mom, one will stand up for her saying ‘you can’t talk like that about her!’ before becoming one unit and telling mom to leave the other alone. But while I’ll listen and resolve things, this one will go add more fuel to the fire — bloody!” he says, gesturing at his sister who is convulsing in laughter before saying guiltily, “Yes he’s right, I do that!”

Danish’s sister is his first critic — pulling him up for everything from calling an old man a ‘rascal’ in humour during a prank call to critiquing his clothes — “Look at what he’s wearing!” She recalls how as a child, he fought with her and went to Lalbagh, dressed in a casual t-shirt and his school tie, “and then clicked photos with all the Mickey Mouse dustbins.” He’s also honest with her. In fact, a week before they co-anchored the Pro Kabaddi League for TV, Kubra says she was on edge, unconvinced that it would work. “He was sure — and look how well it did!” They go on to talk about how much they love Shah Rukh Khan, who they met during Temptations 2004 in Bangalore and then during the Pro Kabaddi league. Once again, it’s hard to pries them apart.

Kubra says it “melts her heart” when “no matter where we are or with who we are, he’ll turn around and say, ‘Didi, can we go? Didi, can we do this?’ He’s taller than me, super independent and so, good at what he does, but still accords me that respect and fondness.” On stage, therefore, the first time he referred to her as Kubra, it gave her a jolt. “I also find it very weird ya, to call her Kubra. So I just say ‘HEY’!” he says loudly, with his trademark energy. And just when it seems like it’s all sibling love, he pulls her leg. “After a point when we’re hosting, I’ll call her Didi and she’ll call me Dan. But this one toh goes into a trance! We were doing a show where we’re giving the 1,000 ranked person an award and she goes ‘you are the lonely lamp in this darkness…’. I’m thinking, God, stop it already!”

Being in the same profession, they say, was a happy accident. “He was doing really well in theatrics school, while I was in Dubai, working for Microsoft and also anchoring events for the company before realising I wanted to do it for myself. Somehow, we both found our way into this profession. We took separate paths, but landed up in the same place,” Kubra says.

Ever since, there has been no looking back. Today, the two try and work together when possible, and make it a point to solicit feedback from the other “and mom, of course” no matter where they are. Work is central to both their lives, especially Danish’s, who admits that he doesn’t have too many friends. “In the last two-three years, people have gotten to know me. But for old Bengalurians, I’m still Kubra’s brother. In fact, we sometimes whet events like that. If I introduce myself as Kubra’s brother and they don’t know who she is, I know what kind of work they’ll give me,” he says. She nods, adding, “And now Danish is doing so well that people recognise me through him. It’s a weird twisted heirloom.”

We’ve hurtled from early evening to night, and it is time to wrap up. They banter about how she went from being a tomboy who wore Danish’s WWE t-shirts to college to one “glam” chick because of the “double poverty” they were in, he says with a guffaw. Loud laughter, again. The hilarity, we realise, is just one of the many reasons these two are as tight as thieves.

source: http://www.bangaloremirror.com / Bangalore Mirror / Home> Columns> Sunday Read / by Sowmya Rajaram , Bangalore Mirror Bureau / November 15th, 2014

The lawn ranger

In place of paddy and vegetables, this farmer in the interiors of Varthur is cultivating four acres of different varieties of grass to meet the city’s growing demand for lawn turf

Muniraj, who has leased four acres of land for Rs 30,000 per year, is growing different types of grass
Muniraj, who has leased four acres of land for Rs 30,000 per year, is growing different types of grass

If you enjoy a hot cuppa every morning in the balcony overlooking a green patch of grass below, you should be counting yourself as lucky. Plus, you would have probably paid extra for that view given the escalating real estate prices. Not surprisingly, a big chunk of demand for lawns comes from apartment buildings and office complexes. And while some of us might assume that nurseries on Outer Ring Road, Marathahalli and Whitefield will be stocking acres of lawn turfs, the reality is different. Most of these nurseries source lawn turf from elsewhere. After a bit of digging, we found the place of origin a few kilometres into Varthur.

As one negotiates the narrow, bustling Varthur Road, crowded with local market goers, the landmark to look out for is the Police Station. Past the station is a blink-and-you-will-miss-it road on the right. The Balagere Road widens up and runs past government schools, small shops and temples. At one such roadside temple is a dirt road. If you haven’t got lost yet, this is the place to turn right and brace for a short, bumpy ride. On the left and right are fields growing vegetables and grains. The vast acres are dotted with coconut trees.

Hardly 200 metres down the road is the home of Krishna Reddy (85). He is the owner of 12 acres of land that has been in the family for more than 100 years. His four sons are not prepared to be farmers. They have jobs in Bengaluru, a city which is fast approaching their fields. The robust and friendly Reddy shows off his land dotted with coconut trees. But more than the land, he speaks of the new home that his sons are building nearby which is bigger and better than his current modest dwelling. There is no one to take care of the land, he says, but he will live off it and not depend on anyone till he dies. Mid-reverie, Reddy shakes off his thoughts and looks around for Muniraj in the distance.

He is the man Reddy has rented out his fields to. Where there were once vegetables are patches of green grass which can easily be mistaken for paddy by the untrained urban eye. We have finally reached the place where the lawns are grown.

The four acres of land is a veritable supermarket for lawns. “Thirty thousand for a year’s lease,” Muniraj says as he shows us around the patches of grass growing randomly in different areas.

Bermuda, Mexican, Shade, Pondicherry, Elephant, Buffalo… Muniraj rattles off, sounding like a Darshini waiter. These are the varieties available at his ‘lawn store’. We walk to a patch of Bermuda grass that is being tended by his wife Manjula. He informs us that there are 25 people who work for him but have now gone to their native place, Bellary, for a festival. “Bellary has no water or jobs,” he adds.

However, water for his grass fields is aplenty. The Varthur Kere (lake) is their saviour. Relying on its acid waters, Muniraj has only kind words for the much-polluted lake. Yes, the water is acidic. Yes, it froths vile white foam. But without its water, “we might as well shut shop”, he goes on to say.

His shop has been running for 20 years now. There are few more like him, but not many, he adds. Lawn grass from here has travelled to Chennai and Coimbatore too.

A sack of Bermuda grass sells at Rs 200, while a sack of Shade grass is marked at Rs 300 (it would approximately cover a 10×10 feet lawn). Mexican grass is dearer at Rs 15 per square feet. In a day, he needs to make at least Rs 20,000 to keep even. With a weekly expenditure of Rs 25,000 in terms of salary, manure and pesticides, Muniraj relies on the year-long demand.
Walking around, we see an empty field with just a square metre of Bermuda grass. That field is almost sold, Muniraj says, and he is waiting to plant the land once again after the remaining patch is gone. Bermuda grass, the most popular of the lot, is a four-times-a-year crop. Mexican grass has twice-a-year harvest. What he has to check is that the grass blades are sharp and uniform. “Bermuda grass is the best,” he says. He should also ensure that the grass does not flower before being sold. “Look at this,” he points to Pondicherry grass with delicate white flowers. “People don’t want flowers in the lawn.”

But people do want lawns. It is hard to make profits every month. In business, there is never saying what happens, Muniraj offers as a way of explanation. He looks at the distant buildings, many of them apartment complexes. That is where his fortunes are. He banks on the pleasure its residents have in looking at a green patch of grass while drinking their morning cuppa.

Green trivia Sun loving grasses like Bermuda and Mexican grass are available as mats making them popular with urban gardeners. While Mexican tends to clump if neglected, Bemuda, although slower to grow, is easy to maintain. Shade grass, Elephant and Buffalo grass need dappled sunshine for at least two-three hours. With wider, almost nati-looking (local) blades, these varieties of grasses are not popular in ‘posh’ areas.

source: http://www.bangaloremirror.com / Bangalore Mirror / Home> Columns> Sunday Read / by Jayanthi Madhukar, Bangalore Mirror Bureau / November 15th, 2014

636 Ancient Gold Coins recovered

Chamarajanagar :

Ramasamudra Police have recovered 636 ancient gold coins from labourers who dug the soak pit near the house belonging to one Sadiq at Haradanahalli village. The pit was being dug behind Sri Venugopalaswamy Temple. The Department of Archeology and Museums had recovered 93 gold coins on Monday.

Sadiq had also lodged a complaint with the Ramasamudra Police suspecting more coins could have been found by the labourers. Sub-Inspectors P.P. Somegowda and M. Mahadevaswamy, who were investigating the case, took Kumara, Suresh, Nanjunda and Sundar into custody for interrogation during which all the four accused confessed to have found more coins while they were digging the pit.

Ramasamudra Police recovered 106 gold coins from Kumara, 168 gold coins from Suresh, 183 gold coins from Sundar and 183 gold coins from Nanjunda. The Police said that the gold coins were of different shapes and sizes. The four were arrested and later released on bail. Department of Archeology and Museums officials who visited the spot had ordered to filter the mud using a sieve during which they found 560 gold coins. The Police have recovered a total of 797 ancient gold coins so far.

The officials said that ancient gold coins were around 200 years old and suspected it to be of Hyder Ali and Tanjavur Maratha period.

Chamarajanagar SP S. Rangaswamy, Additional SP M. Mutturaj, DySP Mahantesh E. Muppinamutt, Inspector M.M. Mahadevappa, Sub-Inspectors P.P. Somegowda and M. Mahadevaswamy and staff C.K. Mahesh, Shantharaju, N. Mallikarjun were a part of the investigation.

source: http://www.starofmysore.com / Star of Mysore / Home> General News  /  Thursday , December 04th, 2014

Karanji Park gets Orchidarium

Wildlife photo expo inaugurated; Great Indian Rhinos released for public viewing at Zoo

Mysuru :

Adding to the existing attractions at Karanji Lake Nature Park, an Orchidarium with 98 Orchid plants of various varieties was inaugurated by Rehana Banu, Chairperson, Zoo Authority of Karnataka (ZAK), at the Park premises on Lalitha Mahal Road in city this morning.

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Orchidarium is an indoor enclosure for keeping and cultivating plants and observing them under natural conditions, especially for the cultivation of various types of Orchids.

Orchidarium is an area that provides the desired environmental conditions for different varieties of Orchids grown abundantly for cultivation and conservation of Orchids both endangered and otherwise.

It is provided with optimum lighting conditions for the plants while protecting them from direct and harsh sunlight. The structure is covered with mesh with a roof to protect the plants from direct sunlight.

Prior to the inauguration of the Orchidarium, the Wildlife Photography exhibition was inaugurated at the Zoo Library by MLA M.K. Somashekar.

The expo, which is being held in two categories like Zoo Animals and Wildlife Photography has a total of 220 pictures clicked by both amateur and professional photographers.

In the Zoo Animals category, pictures of Hippo and its baby, playful bear cubs, tiger and its cubs playing and other pictures of Zoo animals are on display.

In the Wildlife Photography category, prize winning photos of World Wildlife Day contest clicked by photographers S.R. Madhusudhan, G.S. Ravishankar, M.K. Sapthagirish and others has been put on display.

A pair of Great Indian Rhinos, three-year-old Virat and one-year-old Bablee, brought to Mysuru Zoo from Patna’s Sanjay Gandhi Biological Park about two months ago, were released for public viewing by Mayor R. Lingappa and MLA M.K. Somashekar at an enclosure made for them at the Zoo premises.

Zoo Executive Director B.P. Ravi, Manager Shivanna, Zoo Veterinarian Dr. Suresh, RFO Girish and others were present.

source: http://www.starofmysore.com / Star of Mysore / Home> General News  /  Thursday , December 04th, 2014

Dr.Sri Shivarathri Rajendra Swamiji Memorial : 21st Music Conference begins in City

Vid. P. Shivakumar (Tumkur) - vocal, Vid. Hosahalli K. Venkataraman - violin, Vid. G.S. Siddagangachar Chitradurga - veena, Vid. Sampagodu D.S. Suryanarayana Bhat - vocal and K.S.N. Prasad (Mysuru) - music patron, who were felicitated during the inaugural of the Dr. Sri Shivarathri Rajendra Swamiji Memorial 21st Music Conference in city yesterday, are seen with Conference President Vidwan H.K. Narasimhamurthy, City Police Commissioner Dr. M.A. Saleem, Industrialist and connoisseur of art K.V. Murthy, Star of Mysore Editor-in-Chief K.B. Ganapathy, art promoter C.R. Himamshu and others.
Vid. P. Shivakumar (Tumkur) – vocal, Vid. Hosahalli K. Venkataraman – violin, Vid. G.S. Siddagangachar Chitradurga – veena, Vid. Sampagodu D.S. Suryanarayana Bhat – vocal and K.S.N. Prasad (Mysuru) – music patron, who were felicitated during the inaugural of the Dr. Sri Shivarathri Rajendra Swamiji Memorial 21st Music Conference in city yesterday, are seen with Conference President Vidwan H.K. Narasimhamurthy, City Police Commissioner Dr. M.A. Saleem, Industrialist and connoisseur of art K.V. Murthy, Star of Mysore Editor-in-Chief K.B. Ganapathy, art promoter C.R. Himamshu and others.

Mysuru :

The 21st Music Conference in memory of Dr. Sri Shivarathri Rajendra Mahaswamiji took off with pomp by extending a ceremonious Nadaswara welcome to the President of the Conference Vidwan H.K. Narasimhamurthy in a procession escorted by many musicians and the office-bearers of JSS Sangitha Sabha. The programme was inaugurated yesterday at JSS Women’s College in Saraswathipuram by Dr. M.A. Saleem, City Police Commissioner. K.V. Murthy, connoisseur of art presided. K.B. Ganapathy, Editor-in-Chief, Star of Mysore, released the souvenir — ‘Nada Namana.’

Five persons, who have served in the music field were also felicitated. Vid. P. Shivakumar (Tumkur) – vocal, Vid. Hosahalli K. Venkataraman – violin, Vid. G.S. Siddagangachar Chitradurga – veena, Vid. Sampagodu D.S. Suryanarayana Bhat – vocal and K.S.N. Prasad (Mysuru) – music patron were the ones who were felicitated.

As per the custom, the inaugural concert was given by the conference president. H.K. Narasimhamurthy (HKN), being a violinist, presented not one but a violin trio along with H.M. Sindhu and H.M. Smitha. They were accompanied by Neyveli Venkatesh (mridanga) and G.S. Ramanujam (ghata). In a short time, HKN did manage to present an impressive concert. The trio took off with a fine Varna (Dwijavanthi), composed by Pacchamirai Krishna Ayyar in a fast pace and in perfect unison. He accommodated compositions of each Muthuswami Dixitar, Tyagaraja and Purandaradasa. Dixitar’s ‘Gajaananayutam’ (Chakravaka) and ‘Hiranmayeem Lakshmeem’ (Lalitha), Tyagaraja’s ‘Ethavunnara’ (Kalyani) and Purandaradasa’s ‘Venkatachalanilayam’ (Sindhubhairavi) were presented very neatly.

A string of crisp kalpanaswaras by the trio added beauty to ‘Gajaananayutham.’ A pleasant sketch of Raga Lalitha by Sindhu Suchethan was followed by ‘Hiranmayeem Lakshmeem.’ Narasimhamurthy, in his typical cool manner, took up raga Kalyani for elaboration. The systematic development of the raga highlighted the phrases omitting Panchama. That added pep to his alapa. Some of the phrases reminded of his Guru M.S. Gopalakrishnan (MSG). HKN is undoubtedly spreading MSG baani in Mysuru through his innumerable disciples. ‘Ethavunnara’ was pleasing to ears. The perfect understanding between the trio is noteworthy. Every kruti they played exhibited this harmony that is very much required while playing with more than one artistes. The young Sindhu and Smitha can capture melody instantaneously. They are in perfect tune with each other.

The taniaavartahana by Neyveli Venkatesh and G.S. Ramanujam was filled with lively combination of Jathis. The duo too managed to steal the show in a short span of time. A brief alapa of Sindhubhairavi by HKN was filled with raga bhava that flowed easily through his bow. The popular Sanskrit composition of Puranadaradasa ‘Venkatachalanilayam’ and ‘Bhagyada Lakshmi Baramma’ brought the curtains down for the first day of the music conference.

The five-day conference includes morning sessions by scholars presenting papers and lecture-demonstrations, while the evenings are reserved for concerts.

source: http://www.starofmysore.com / Star of Mysore / Home> General News  /  Wednesday , December 03rd, 2014

Karnataka citizens can now access over 4,000 services on their smartphones

President Pranab Mukharjee, Chief Minister of Karnataka Siddaramaiah and Governor of Karnataka Vajbhai R. Vala at the launch of the Unified Mobile Governance Platform for citizens "Karnataka MobileOne" in Bengaluru on Monday. Photo: G.R.N. Somashekar.
President Pranab Mukharjee, Chief Minister of Karnataka Siddaramaiah and Governor of Karnataka Vajbhai R. Vala at the launch of the Unified Mobile Governance Platform for citizens “Karnataka MobileOne” in Bengaluru on Monday. Photo: G.R.N. Somashekar.

The country’s and the world’s largest multi-mode mobile governance platform – Mobile One – will offer 4,000 services. A unified mobile platform will enable services to citizens from both the government and private sector.

President Pranab Mukherjee will launch the initiative at BIEC in the presence of Chief Minister Siddaramaiah and Governor Vajubhai Vala.

These anytime, anywhere, anyhow services will be available round the clock throughout the year at any location in the state on any mobile device.

Through this initiative citizens can now pay utility bills, property tax, book bus and railway tickets, file income tax returns, m-passport, driving licenses and many other activities with their smartphones. Over 4000 services including G2C, B2C and G2B services can be availed through this mobile governance initiative.

Citizens can even take a simple picture of road potholes or street lights and send it automatically to the concerned officials for redressal.

This initiative named as “ICARE”, is one of a kind government-citizen engagement model.

The app is available for download on android and iOS platforms and all major mobile service providers such as Airtel, BSNL, Vodafone, Aircel, Idea, Reliance among others. Citizens can access services through this platform by dialling unique 3-digit number 161.

The Karnataka ‘Mobile One’ will integrate digital media and advertising going forward to enable it to be a self-sustaining model for some select services via advertising revenue, user fees and subscription models. Payments through a variety of modes including debit, credit cards, online wallet, PayGov are enabled.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Nagesh Prabhu / Bengaluru – December 08th, 2014

Thank you for the dance, Maya didi

Vikram Sampath pays tribute to Maya Rao, iconic dancer and choreographer who brought Kathak to south India

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 Today, in the twilight of my life, my heart and body are a storehouse of my experiences.” These are the opening lines of iconic dancer, choreographer and teacher Dr Maya Rao’s recently released autobiography ‘Maya Rao: a lifetime in choreography’. And now with the sudden demise of this colossus in the early hours of Monday, what we have lost is an entire archive of Indian dance in general and Kathak in particular, which was her life-breath. Thankfully, the untiring efforts of her daughter and dancer Madhu Nataraj have captured slices of this story for posterity through this autobiography.

Born on 2nd May 1928 in a Konkani Saraswat Brahmin household, young Maya’s creative spirit yearned for the arts. A performance by the celebrated Uday Shankar in Bangalore catalysed a strong desire for dance, though in the 1930s girls from respected homes were discouraged from taking up the art. Finally after extracting a promise from her that she would never perform in public, her father put 14 year old Maya under the tutelage of Sohan Lal, a Kathak exponent from Jaipur. Ironically the same forbidden art became the source of livelihood for her when her father passed away when she was just 17. In one early choreographic performance at the city’s Town Hall, in 1947, she met music composer, flautist and a dealer of rare art books, M S Nataraj of Saraswathi Orchestra. A courtship of 18 long years eventually resulted in their marriage in 1964!

Maya left Bangalore in 1951 to pursue her Kathak training in Jaipur. Having completed her Honours degree in English it was easy to secure a job at the Maharani Gayatri Devi Girls’ School. Briefly she moved to Ceylon to learn the Kandyan dance from the legendary Chitrasena. Maya’s life changed when she became the first Government of India scholarship-holder in 1955 to learn under renowned Kathak maestro Shambhu Maharaj of the Lucknow Gharana, at the Bharatiya Kala Kendra, New Delhi. After a rigorous taleem under him and Sunderprasad of the Jaipur gharana, the young danseuse was all set to soar in the skies.

Maya did a three year course in Moscow in choreography which was her passion. She is the only Indian with a PG Certificate in Choreography from the former USSR. The splendour of the Russian ballet that she learnt in Moscow added new dimensions to her creative spirit. Several Indian productions like ‘Shakuntala’ that she pioneered there won great appreciation.

On her return to India, she set up the Natya Institute of Choreography in Delhion 12 August, 1964, with the support of Kamaladevi Chattopadhyay. This was a path-breaking effort in the world of Indian ballets and the country’s only degree college of choreography. She then shifted to Bangalore in 1986 with her daughter Madhu at the invitation of then Karnataka chief minister Ramakrishna Hegde.

Hegde made her in-charge of the SAARC Festival being held in Bangalore. She soon established a school for dance and choreography in Bangalore and also did a lot of research on dance. It was Maya’s efforts that brought Kathak to south India and she propagated it through training, concerts, festivals and designing a pedagogical structure for it. She has served on several government bodies like Karnataka SangeethaNrutya Academy (1987-1990) during which period she initiated festivals at Heritage monuments like Somanathapura, Pattadakkal and Halebid. Several productions by her like Amir Khusrau, Ramayana Darshanam (with Kuvempu), HoysalaVaibhava, Surdas, Krishnaleela and others are milestones in the annals of Indian dance.

Maya didi, as she is fondly remembered, has trained over 3,000 students in a lifetime dedicated to dance. She is the recipient of several awards including the National Award for Choreography from the Sangeet Natak Akademi, Rajyotsava Award and Shantala Award.

It is a deep sense of personal loss for me as I was fortunate to have been the beneficiary of a lot of affection from Maya didi. It was my book on Gauhar Jaan that caught her attention and she invited me home for dinner. The connection was almost instantaneous. Thereafter, despite her failing health, she ensured that she graced each and every special occasion in my life to bless me-be it my book launches or the exhibition of the Archive of Indian Music or IGNCA events. She in fact readily consented to be a part of the IGNCA Advisory Board only to lend support to my efforts. Ever generous in showering her appreciation and affection, it was just 10 days back that she agreed to chair an IGNCA lecture I had organised. Seeing her off that rainy evening at the Bangalore International Centre, I could never have imagined that this would be the final adieu. Even as I was gearing up to welcome her home this week, the midnight message from Madhu, announcing her sudden demise, left me totally numbed and shocked. For me, Maya didi’s zest for life, subtle sense of humour and disarming smile will remain etched forever. While her loss is irreplaceable, her colossal contributions to the dance world, her memory and her legacy live on.

The author is a Bangalore-based author/historian and Executive Director of the Indira Gandhi National Centre for the Arts (IGNCA).
THEY REMEMBER

It was the summer of 1984. Veteran critic BVK Shastry had invited Maya Rao to conduct a choreography workshop in Bangalore. I joined and was fortunate to receive training from the doyenne herself. She chose me to essay the role of Queen Shantala in her production Vijayanagara Vaibhava. She brought Kathak and the concept of choreography to Bangalore way back in the 80s. Maya aunty’s shifting to Bangalore then changed the dance scene. She brought in group choreography, professionalism, technology, and aesthetics into a field that had only soloists, whose occasional flashes of excellence carried the performance. Chief Minister Ramakrishna Hegde, a man of the arts, helped Maya aunty move to Bangalore and gave a generous government funding to start the Institute of Choreography. Hundreds of dancers trained in the Institute and came out as ‘finished dancers’, whatever be the style. It is a great loss to the arts scene. May her soul always be at peace.Prathibha Prahlad, Dancer

Dr Maya Rao has a special place in Rangoli Metro Art Centre. This July, we had curated her show and she was in her rare wit and humour. “Conversation with Maya Rao” was specially held at the Art Centre to honour her. It was a pleasure to hear this cultural activist who set a benchmark on how much a person can do in a lifetime. Vasanth Rao General Manager (finance), Bangalore Metro Rail Corporation

I got the news Monday morning just when I left town. It came as a shocker, but at least, she didn’t have to go through the ordeal of being sick. That is particularly difficult for an artiste who has always been on her feet. I remember travelling with her and her husband once to Mysore, where we were guests for a programme. It was an enjoyable trip, where we chatted about dance. I’ve also spent some quiet evenings with Maya didi at her place. This year has been particularly special and she must have been satisfied the way things panned out. Vani Ganapathy, Dancer
Maya Rao took her final bow last night. Oh what a year it has been for her: her darling daughter found a life partner, her autobiography was released and a fantastic new show ‘Kathak Through the Ages’ had its premier. I read out these lines from Maya Rao’s book at its launch recently: “Even in the winter of my life there are many aspirations and dreams I look forward to. God willing and energy permitting, I hope that my zest for life and dance will continue.” It will continue in Madhu Nataraj Kiran, their students, and all of us whose lives Maya di touched. She was not just any octogenarian.Sandhya Mendonca Managing Director & Editor in Chief,Raintree Media Pvt Ltd

source: http://www.bangaloremirror.com / Bangalore Mirror /  Home> Bangalore> Other / by Bangalore Mirror Bureau / September 02nd, 2014

Maya Rao’s Whirlwind World

Bangalore :

Entering the Realm of Dance

My father Hattangady Sanjeeva Rao, a reputed architect, was so bowled over by Uday Shankar’s performance that he wanted to encourage learning dance in our house too. However, this excitement of his was unfortunately not for me. As mentioned earlier, like all young girls, I too was taught music, Hindustani vocal and the dilruba, but dance was strictly taboo!

MayaRaoBF06dec2014

My music guru, Rama Rao, introduced Sohan Lal to our family. Sohan Lal was a Kathak exponent from Jaipur who was then working in Bangalore for Ram Gopal. Ram Gopal, a renowned dancer, had a studio in Benson Town in which experts from various styles of dance taught as well as performed. Sohan Lal was in charge of the Kathak Section.

Sohan Lal was requested by my parents to teach my younger sisters Uma and Chitra, who were then six years and four years respectively. I was twelve years old, considered too old and so not allowed to learn dance. My brother Ramesh was allowed to dance and was even part of Sohan Lal’s troupe. I was totally smitten and it took me two years to persuade my father to let me dance as well.

Two years later, I was allowed to learn dance with a promise that I would not dance professionally or perform on stage, a promise that I fortunately did not keep! I enjoyed studying dance immensely and requested Guru Sohan Lal to teach me some unique items, as I was not satisfied with the popular dance sequences that he taught others like Kite Dance, Radha Krishna and Snake Charmer. Sohan Lal taught me The Birth of Music using the shadow technique and Usha, an abstract piece in nritta on the theme of dawn. The Birth of Music had a complicated set up. My resourceful mother, Subhadra Bai, sewed twelve bedsheets together to create a screen large enough for the show! I practised assiduously behind the screen, being careful not to distort my shadow image. Sohan Lal adapted linear movements and paid great attention to spacing. After labouring for six months, we presented it just once, that too solely for a Saraswat Samaj community occasion at the Town Hall in 1944.

But these performances were important. They were my first brush with choreography. My mother supported my passion for dance despite societal resistance. She had great aesthetic sensibility and encouraged me by stitching costumes, hosting the rehearsals, tolerating the nakhras of the musicians and all this alongside her household chores. I wonder how she managed it, despite being educated only till middle school; she was popular in our community for her profound wisdom.

In 1946, we lost my father. He was cheated by his business partners and incurred massive financial loss. This affected his health, which rapidly deteriorated and he passed away. Our palatial family home, Sanjeev Villa, was auctioned in a year and we became tenants of a one-room house. At that juncture, my bother, Manohar and I took charge of sustaining the household. The same dance that was once forbidden turned out to be our source of livelihood, I started teaching dance and I was all of seventeen.

Choreographic Netramilan

While in Maharani’s College, some of us interested in dance formed a club where we would present modest dance-dramas. We created a college fund for students who came from economically challenged backgrounds for which we organised cultural programs to raise funds. For one such event, we wanted to perform “Sita Haran” where our only guides were Max Muller’s translation of the Ramayana and Bharata’s Natyashastra. I would sit for hours and study mudras to compose the dance-drama.

Sita Haran was to be premiered in Town Hall but the musicians did not show up. We were all completely distraught. Our Principal felt sorry for us as we were sitting helplessly, all dressed up and in tears! As luck would have it at that moment, M S Natarajan breezed in with his Saraswathi Orchestra in tow, wafting the fragrance of expensive cologne. Tall, handsome with an imposing personality, he was playing for one of our friends, Sundara Malaradhya, who sand movie songs. Our Principal requested Natarajan to help us, and he magnanimously agreed. We had a rushed half hour rehearsal in the green room after which we presented the programme on the stage. To our surprise, it was a huge success.

This is how Nataraj and I came to meet one another. You can call it a “choreographic netramilan”! Both Nataraj and I had the same position for the arts and were on the same wavelength. He was eight years older than me and already a reputed music director who worked with the likes of Ram Gopal, U S Krishna Rao, Chandrabagha and Mrinalini Swaminathan (now Sarabhai). Nataraj’s Saraswathi Orchestra was South India’s first and largest oprchestra and it was created by him by bringing together all young vidwans of that time.

Natya Meets Saraswathi

Around 1947, Nataraj and I set up the Natya Saraswathi Dance and Music Centre. We chose the Natya Saraswathi figurine from the ancient temples of Belur as our logo. Dance was till not too popular with the respectable families and they would not readily send their daughters to learn the art. Even the tuition fee was small, parents were reluctant to let their children learn this art form. We managed to get a small space at the Canara Union where a lot of children from the Saraswat families joined the class. I was not interested in just teaching the regular ta thai thei tat combined with just the technique of Kathak; I was keen on understanding what would interest children. I therefore selected fairy tales to render them as ballets. Some of these were Charu Chanda based on the fairy tale of Hansel and Gretel and The Song of the Colours  based on Taj Mohammad’s Persian poem of the same title.

Nataraj knew many renowned writers and musicians. He introduced T R Subbarao to us, known popularly as Ta. Ra. Su. who wrote the lyrics for our ballet. And another famous musician, Vidwan Mysore Subba Rao, scored the music. Back in mid-1949, we were all into small productions. We even presented children’s productions in Victory Hall (Bal Bhavan). Those days were hectic as I was simultaneously experimenting with choreography as well as studying.

Dancing with Maharaj

I must mention my debut with Maharajji, which was quite eventful. This was in 1955, at the National Film Seminar, with Devika Rani as the convener. It was attended by luminaries of Indian cinema like Raj Kapoor, Nargis and others. Shambu Maharajji was asked to perform for a twenty-minute slot. Nirmalaji thought if he danced alone he would take a lot of stage time, as his practice was to take the entire evening for a routine performance. Even when he won the Akademi award, all the awardees were given half hour slots to perform and a cautionary red light would blink five minutes before the finale but Maharajji ignored it completely and continued! Nirmalaji suggested that he perform a duet, Niratat Dhang, a composition by Maharaj Bindadin in which the salient features of Kathak are visualised in Krishna’s dance with the gopis. Maharajji very graciously offered to have me as his dance partner. I barely had two months of training!

I was excited and nervous at the same time because our accompanying artists were all stalwarts in their own fields like the Dagar Brothers singing, Ustad Ishtiaq Ahmed Khan Saab plating the sarod, Ustad Ghulam Sabir the sarangi, Shanta Prasadji and Prem Vallabhji on the tabla and pakhawaj respectively. You can imagine my condition amidst all these big names! It was a wonderful opportunity but I was so scared. Maharajji said, “Tum ham ko dekho, ham tumko dekhenge, bhagwan ham donon ko dekhenge.” In this programme, we were performing a gat bhav on  Indra Kop, a famous tale from Krishna Lila repertoire. We were portraying the story in gat bhav, where each of us was representing more than one character. Maharajji as Krishna was so involved in this that at one point when he started his tatkar, everyone from the audience cheered him saying “Wah! Wah!” So he promptly forgot his character and started performing virtuoso Kathak instead and would not stop! I did not know what to do. I took two paltas, exited and waited in the wings.

(Excerpted with permission from ‘Maya Rao – A Lifetime in Choreography’. Call 2334-8645 for details.)

source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bangalore / by Maya Rao / September 02nd, 2014