The Mahatma Gandhi statue at the Veera Soudha in Belagavi.
Veera Soudha commemorates the 34th Congress Session of 1924
The 150th birth anniversary of Mahatma Gandhi will be celebrated in Belagavi on Wednesday at the Vijay Nagar Veera Soudha, a monument built to commemorate the 34th Congress Session in Belagavi in 1924.
The monument that encompasses a park, a well and a hall, has been cleaned and decorated. Ministers Lakshman Savadi and Shashikala Jolle will speak during the celebrations scheduled at the monument on Congress Road in Tilakwadi here on Wednesday morning.
The monument that encompasses a park, a well and a hall, has been cleaned and decorated. Ministers Lakshman Savadi and Shashikala Jolle will speak during the celebrations scheduled at the monument on Congress Road in Tilakwadi here on Wednesday morning.
The park stands at the venue of the 1924 Congress Session. The venue was named Vijay Nagar by the organisers of the conference, including Gangadhar Rao Deshpande and N.S. Hardikar. A temporary railway station was built at the venue to help delegates alight. A well was built through Shramdan to provide water for those attending the conference. The well still yields sweet, cool, potable water that is supplied to residents in the surrounding areas.
The park contains fruit and flower trees and has statues of deer and other animals. The main building has a series of photographs of the Session and Gandhiji’s interactions with the leaders of the Independence movement. He is seen with Mohammad Ali Jouhar, president of the 33th Session, and other leaders.
Gandhiji visited Belagavi (erstwhile Belgaum) three times. He attended the Bombay provincial conference of the Home Rule League in 1916, chaired the Congress Session in 1924 and spent 10 days in the Khadi and Village Industries Centre in Hudali village in 1937.
There are several monuments to the Father of the Nation in the district. The City Railway Station has a Charka installed atop its roof and a stone plaque. A pillar is erected in Shivaji Park near Kapileshwar Temple in the city apart from the Veera Soudha building. Gandhiji’s ashes are interred in Mugut Khan Hubballi, while the Khadi centre in Hudali is a living monument that celebrates the proponent of village industries.
source: http://www.thehindu.com / The Hindu / Home> News> States> Karnataka / by Rishikesh Bahadur Desai / Belagavi – October 02nd, 2019
The place which hosts Mahatma Gandhi’s ashes at Kudligi in Ballari | Express
Kudligi :
The tiny town of Kudligi is taking big steps to remind people about the Gandhian way of life, with the memorial holding the ashes (Chitha Bhasma) of the Father of the Nation set to get a facelift after 60 years.
It started as a dream to educate people about Gandhism — his ideology and Spartan way of life — by local teacher and freedom fighter Bindu Madhav. It is now taking shape with the help of the district administration, which earmarked a budget of Rs 2 crore from the district mining fund. Considered South India’s only such mortal remains of Mahatma Gandhi, the story of Chitha Bhasma in Ballari district’s Kudligi town began in the cells of Vellore jail in the early 1940s.
“Bindu Madhav wanted to keep Gandhian values eternal so that young minds were inspired by them, and wanted to do something about this. Being a freedom fighter, he was imprisoned in Vellore jail along with Tekur Subramanya, who became the first Member of Parliament from then Bellary, former President of India R Venkataraman and another freedom fighter, Vaddi Venkob Rao. However, he could fulfil his dream only after the death of the Mahatma,” said T Govind Vittal, secretary, Gandhi Bhavan, Ballari.
After the country attained freedom, Bindu Madhav was released from jail and appointed physical education teacher. He was posted to Kottur and then Kudligi. It was then that Gandhiji was assassinated. Madhav began his efforts to make Gandhian values immortal.
“Kudligi being the most backward place in Ballari district, he intended to make it a Wardha — Gandhiji’s second ashram for his Chitha Bhasma,” said Vittal.
Precious package reaches Kudligi
How the ashes reached Kudligi is an interesting story. Madhav spoke about his plan to Tekur Subramanya, who was then Congress parliamentary secretary. Tekur was also interested and ensured that the ashes were collected and brought to Chennai through Omandur Ramaswamy Reddy, the then treasurer of the Congress
Legislative Party
From there, the ashes were sent through Diggavi Ranganathachar, chief engineer in the Maratha and Southern Madras (MSM) Railways, now called Southern Railways. Bindu Madhav organised locals like G Venkob Rao, a landlord, to gain access to the land to host the remains. He named the high school ground Mahadeva Mailara Kreedangana, and had the Chitha Bhasma placed here.
The Memorial
A memorial was also constructed and inaugurated by Ramanand Teertha, who, incidentally, was proclaimed the guru of former Prime Minister PV Narasimha Rao.
Every known personality, right from Col Manjappa to former Prime Minister Indira Gandhi, former Chief Minister of Karnataka Kengal Hanumanthiah, MS Sukadia and others have visited the place, which has acquired historic significance.
The dilapidated building was demolished in 2018 to build a new structure. The new memorial hall coming up at the place will host a beautiful garden with lawns, a gallery with pictures of Mahatma Gandhi, which include sepia frames from his childhood to the making of the Mahatma — his struggle for Indian Independence. An audio-visual centre is also part of the project. Work is on in full swing.
source: http://www.newindianexpress.com / The New Indian Express / Home> States> Karnataka / by Subhash Chandra N S / Express News Service / September 29th, 2019
50 Vintage beauties will start from Raj Bhavan tomorrow; will be in city till Oct. 2
Mysuru:
A two-litre 1937 Sunbeam Talbot, the only car in India previously owned by Lord Mountbatten, the last Viceroy of India, will be displayed during the Vintage Car Rally organised as part of Dasara celebrations.
The car is currently owned by Sabena Prakash and the Vintage beauty will be brought from Bengaluru on Sept. 29 (tomorrow). Along with Lord Mountbatten’s car, 49 other vintage beauties will take a tour of the city for three days.
Mysureans will have an opportunity to see these classic cars in the event organised by Federation of Historic Vehicles of India (FHVI) from Sept. 29 to Oct. 2. The Federation will bring over 50 vintage and classic cars and motorcycles and the rally will be flagged off from Raj Bhavan in Bengaluru by Governor Vajubhai Vala at 9 am tomorrow.
A rare picture of the last Governor General of India, Earl Mountbatten with his wife and Pandit Nehru, near Kufri (Himachal Pradesh) heading to Narkanda in the 1940s.
The rally will arrive in the city and pass through Mysuru’s historic monuments tomorrow evening, after which the vehicles will be parked in front of the Mysore Palace. Prominent personalities from royal families and well-known industrialists from business houses in India and Sri Lanka will be part of this rally.
It is FHVI’s second edition and it is the only all India Federation of Vintage and Classic Cars associated with the International body of Historic Vehicles FIVA, official partner of UNESCO. It has at present nearly 2,000 members and about 10,000 Vintage and Classic Cars, Bikes and Utilitarian Vehicles.
The FHVI has taken part in Dasara procession for several years and now it has made it an annual event from last year with the help of Government of Karnataka, Department of Tourism and Department of Forests.
Vintage cars from the 1920s to 1980s like Sunbeam, Mercedes, MG’s, Jaguars, Fords, Dodge-Brothers, Buicks, Chevrolet’s, Morris’s, Austin’s, Alfa Romeo’s, Triumph and Lincoln will be part of this vintage car rally. A Mercedes 170 V Tourer, owned by Bri Ponnambalan, Studebaker Commander Tourer owned by Clive, Buick Super 8 owned by Rohan Fernando, Mercedes Ponton 180 owned by Naresha Subramanyam and MG GT owned by Megara Alwsi are some of the cars being showcased.
Dr. Ravi Prakash, President of FHVI, said, “A total of 50 entrants are coming from overseas and across India and Karnataka. There would be 125 participants. This year the prominent car will be 1937 Sunbeam Talbot, 2-litre, the only car in India previously owned by Lord Mountbatten.”
Historic motorcycles will be in the lead. The vehicles have to move in the city between 30kmph and 40kmph and on the outskirts between 60kmph and 70kmph, he added.
Participants will stay at the Lalitha Mahal Palace Hotel and other private hotels in Mysuru till Oct. 2. On Monday, Sept. 30, participants will be driving to Chamundi Hills for the Darshan of Goddess Chamundeshwari and later will be visiting Bandipur Tiger Reserve. On Oct. 1, participants will have a ‘Pagal Gymkhana’ at the Lalitha Mahal Grounds after which they will be driving to the Krishna Raja Sagar Dam and return to Bengaluru in the evening.
source: http://www.starofmysore.com / Star of Mysore / Home> News / September 28th, 2019
The Grand Finale of Mrs.India Pride Of Nation Ravishing comprised finalists chosen from around 4,500 participants who appeared for auditions from various parts of the country.
Prathima David (Left) and Esther Bernard
Bengaluru :
The Grand Finale of Mrs India Pride Of Nation Ravishing comprised finalists chosen from around 4,500 participants who appeared for auditions from various parts of the country. Presented by Glamour Gurgaon, the third edition saw Bengaluru girls Prathima David and Esther Bernard emerge victoriously. While Esther Bernard bagged the title of Mrs India Pride Of Nation 2019 – Face of South, Prathima David went on to secure the first runner-up spot in Mrs India Pride Of Nation Ravishing with cine stars Padmini Kolhapure and Nayani Dixit as part of the jury panel.
David (37), a yoga trainer by profession, was born in Kodagu and went on to quit her corporate job to complete her International Teachers Training course in Yoga, specialising in Hatha Yoga. Overcoming obstacles with a positive frame of mind, she went on to set-up her own yoga studio called Abhisarga where she continues to focus on improving health and quality of life for women practising yoga under her guidance. Bernard (37) is an International Skater and Founder President of Esther Roller Skating Club with 25 National Championships, 3 Asian and 1 World Championship in roller skating.
The third edition of the beauty pageant was aimed towards creating breast cancer awareness, Barkha Nangia – Director, Glamour Gurgaon further added, “Mrs India Pride Of Nation 2019 is a step towards acknowledging a married woman’s contribution to her family and society and maintaining good health at the same time. Through this platform, we also empower these women by imparting knowledge about various health and wellness issues. This title is not just about beauty and talent but of substance with style, wisdom, passion and intelligence. All the contestants not only take care of themselves but also show active support in helping lesser-blessed women rise in life.”
source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Express News Service / September 23rd, 2019
Indrajit with Richa Chadda on the sets of ‘Shakeela’
From being a scribe to a filmmaker, the ‘Shakeela’ director now embarks on his first Hollywood venture
Indrajit Lankesh needs no introduction. The son of popular journalist-filmmaker, the Late P Lankesh, Indrajit too started off as a journalist. He worked with his father in the famous Kannada weekly tabloid Lankesh Patrike and heads it now.
The brother of Gauri Lankesh (who was assassinated in 2017) and award-winning director Kavitha Lankesh, Indrajit started off his journey in films as director with Tuntata. The film was not only a commercial success, but also won Indrajit the V Shantaram Award as the Best Director.
Monalisa (he won the Karnataka State Award in the best director category), Huduga Hudugi and Luv U Alia are some of his other films.
That is not all, Indrajit is also the man who gave Deepika Padukone her first break in films. He cast her as the leading lady with Upendra in his block buster hit film Aishwarya. “The moment I saw her, I knew she had it in her to be a star. She is great looking and has a great personality. She is also passionate about films,” says the director, who won the Filmfare Award in Best Director-Kannada category for Aishwarya.
The man, who is a permanent judge on the television reality comedy show Maja Talkies, is set to share another exciting announcement. “Before that I want to tell you that my film Shakeela is almost ready for release. It is a Hindi film which will be dubbed in Kannada, Tamil, Telugu and Malayalam.”
Shakeela, he explains, is a biopic about the adult film star from Kerala. The film has award-winning actors Pankaj Tripathi and Richa Chadda in the lead roles.
Indrajt is all prasie for Richa and Pankaj. “They have given their best. Pankaj has a role, the like of which he has never played before. I am a big fan of his and am bowled over by his acting prowess. The film will hopefully hit screens by the end of this year. Also, Shakeela is my tenth film, and my eleventh will be in Hollywood… Yes, I have been asked to direct a Hollywood film now,” beams the director.
He will be the first director from the Kannada film industry to direct a Hollywood film. “I cannot share details as yet. But everything is finalised on paper. All I can say now is that I will off the coming week to Morocco to select the locations. The film is again about a woman, and an Oscar- nominated actress has accepted to play the protagonist. Soon, we will announce everything,” he smiles.
Then he shares the story of how this project came to be. “The producer of the Hollywood film saw the rushes of Shakeela, was impressed and approached me. I can’t express how thrilled I am. I like exploring new horizons and now it will be Hollywood,” says the man who now shuttles between running his father’s tabloid and filmmaking.
He says he ventured into films as he has “always been lured by the visual media and was influenced by my father” and the films he made. In fact, his father inspired him to tell stories. “Journalism runs in my veins. So I would like to say journalism is my profession and films my passion.” Will he ever make a film on a journalist? “I would love to! And it will be on my father His ideology, dedication and integrity need to be told as a story.”
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by Shilpa Sebastian R / September 23rd, 2019
Despite a self-imposed limit on the Nadaprabhu Kempegowda Award 2019 to only 70 people, the BBMP announced 100 recipients of the same on Tuesday.
Senior Kannada writers Chandrashekhar Patil, Keshavareddy Handrala, Abdul Rasheed, Pratibha Nandakumar, actor-politician Mukhyamantri Chandru, singer Manjula Gururaj, educationist Gururaj Karjagi, Dalit activist Mavalli Shankar and senior advocate Ravi Verma Kumar are among the awardees. IPS officer M.N. Anucheth, the chief investigation officer in the Gauri Lankesh murder case, and six members of his team, have also been given the award for the successful probe that eventually led to breakthroughs in three other murder cases.
Another IPS officer D. Roopa is also on the list of awardees.
While 10 women, including social activist and JD(S) leader Leeladevi R. Prasad, have been awarded the Nadaprabhu Kempegowda Sose Mahatyagi Lakshmidevi award, five organisations including Bosco Mane, that helps children, have been awarded the Paramapoojya Dr. Shivakumara Swamiji award.
Chief Minister B.S. Yediyurappa will present the awards on Wednesday, observed as the 508th Nadaprabhu Kempegowda Jayanti.
source: http://www.thehindu.com / The Hindu / Home> News> States> Karnataka / by Staff Reporter / Bengaluru – September 04th, 2019
The contest was a initiative by Citizens for Sustainability (CiFoS), in association with the DULT and transport corporations. | Photo Credit: Handout E Mail
10 teams pitched their solutions at an event organised at Mount Carmel College on Saturday
More than a hundred citizens took part in the challenge to provide solutions to the problem of public transport in and around Hebbal, as part of a crowd-sourcing initiative by Citizens for Sustainability (CiFoS), in association with the DULT and transport corporations. Of the 109 registrations for the #ABetterHebbal Design Challenge, 10 shortlisted teams pitched their solutions at an event organised at Mount Carmel College on Saturday.
Hebbal was chosen for this pilot challenge as it is a fast-developing suburb with one of the worst traffic problems. A team comprising architects from Cresarc took the first place with their idea ‘Through the Park’. According to Naveen Mahantesh of Cresarc, their idea is a three-pronged approach to deal with traffic congestion: an underground route, an overhead route to dilute the traffic coming in from all sides and a park.
The park will be a space for the free movement of pedestrians. The team also pitched ideas to control traffic, increase the use of public transport and improve last-mile connectivity. “It’s a brilliant platform. You can present your ideas to people who can make a difference. As an initiative, we need such challenges for the city. We hope we can connect with the authorities to make this idea come to fruition,” said Mr. Mahantesh.
The runner-up was Suman Paul, an architect from DKP Architects, for his idea of connecting the bifurcated Hebbal lake and build a loop around it with four outlets to reduce commute time. The second runner-up was Priyanka R., an architecture student from M.S. Ramaiah College.
The jury panel included BBMP Commissioner Anil Kumar, Police Commissioner Bhaskar Rao, Directorate of Urban Land Transport (DULT) Commissioner Ponnuraj, BMRCL MD Ajay Seth and urban expert Ashwin Mahesh.
Public transport
At a panel discussion, the focus was on the involvement of the public in government decisions and the popularisation of public transport. Anil Kumar said, “Agencies need to reach out, as people are always willing to make suggestions. But government agencies need to act on the suggestions.”
On road congestion, Bhaskar Rao said, “Bengaluru doesn’t have a traffic problem; it has a transportation problem. We are all victims of our urban planning. I can only regulate traffic. I cannot come up with plans to make our mobility easier. There are 13,000km of roads in the city, 44,000 intersections, 800km of arterial roads, 600km of main roads. I have 4,000 policemen to manage these junctions. The city needs a planning body to make plans every year.”
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Nived Uthaiah P / August 31st, 2019
Acclaimed artiste Ravi Kashi says he responds to his times with imagery that is poetic and suggestive, he does not believe in being direct
Order and chaos meet here. Pragmatism and innovation walk parallel to each other. Ideas are researched, moulded, shaped, changed and rethought. At times, concepts work and at others, they remain unresolved. It is for a good reason that Ravi Kashi calls his studio a working lab. It is a space where he invites students and young artists generously for sharing of knowledge and to even try their hand at paper-making. A rented three room house in Nagarbhavi that functions as his studio, has a mini pulp-beater, ready paper pulp in several containers, a variety of handcrafted papers, his books, book objects, catalogues, colours, brushes, and all other paraphernalia needed by an artist. And of course, paintings, what he trained to be in the 90s, after pursuing BFA and MFA from Chitrakala Parishath in Bengaluru and MS University Baroda, respectively.
We enter his studio to find a painting in progress along with a few paper sculptures that have been put to dry. It is almost after a decade that Ravi has come back to paintings. All this while, the paper kept him preoccupied. “My paintings had become predictable. Now when I have my show of paintings, most probably next year, they will be different,” says Ravi.
For someone who is acutely conscious of stagnation and repetition, Ravi has always strived to push the frontiers so much so that he chose a niche medium like paper. The lure to sell and pander to the market was way less stronger than the urge to “enjoy the process”. Even with the medium of paper, Ravi didn’t stop at any one thing. Over the years, he has experimented with art books, book objects, and photo-books. His studio is filled with papers made with an array of fibres – Abaca, Daphne, Montbretia, Arecanut, Banana, Daphne bark, Hanji paper of Korea and tea-stained paper.
The tactility of paper fills him with joy him but more than that it is the challenge of working with what seems like a flat surface. “I make sculptural forms, objects, and installations out of it. Paper seems like a flat surface, but it is not. Paper is so versatile. I keep discovering different aspects to it,” the artist expresses.
The call of art For Ravi Kashi, the lure to sell and pander to the market was way less stronger than the urge to enjoy the process Photos cover and centre spread: Sampath Kumar G.P. | Photo Credit: G_P_Sampath Kumar
Invitation to an artist’s studio is exclusive and even more special is the opportunity to try your hand at an artistic process. Ravi encourages me to make sheets and discover the joys of paper-making for myself.
In large rectangular containers floats the paper-pulp. A window-screen attached to a wooden frame is dunked into the container and lifted out. This frame is usually referred to as mould and deckle. On a table is spread a fine white cloth. After detaching the wooden frame, the window screen is pressed against the cloth. The sheet transfers on to it. Another white cloth is kept over it and water is drained out with the help of sponge wipes. The paper is most malleable at this stage so you can create impressions and textures with the help of different objects. Ravi hands me colourful tassels and threads which I cut and sprinkle over the wet sheet. A roller is moved embedding them all.
Learning the ropes
Ravi first came across paper-making at Visvesvaraya Industrial and Technological Museum in Bengaluru as a 12-year-old, and found himself drawn to it. Later, at Kanoria Centre for Arts in Baroda, he saw a paper-making workshop in progress. Back home in Bengaluru, Ravi discovered ‘Vishwaneedam’, a Khadi handmade paper making unit near his house. He would buy ready pulp from there and use it in his work. “Around 1997-98 I started using this recycled pulp for casting various objects/forms. One such work called ‘Encounter’ got me the National Academy award.”
Ravi considers his visit to Glasgow School of Art on a Charles Wallace Grant, a turning point in his career. “My teacher Jacki Parry, a printmaker, and fibre artist was a faculty member in Printmaking Department and the paper-making unit was attached to the sculpture department, which was far away. So, every week we would fix a time when she could come and teach me the intricacies of the medium. At the end of the term, I had a show in the faculty. After returning, I continued using the medium and had several shows of paper-based works.”
That wasn’t enough. After discovering the Hanji Paper during the Korean International Art Fair, Ravi decided to learn the technique. After much research, he zeroed in on a practitioner, Seang Woo residing in a small remote village Jang Ji Bang, located on the border of North Korea. Ravi lived there for a month learning not just to make Hanji but also Washi, the Japanese paper. “Hanji is a special paper out of Mulberry bark and it’s made organically. The sheet making is very different. Like here, I took out the sheet in one go but in Korean technique, you make six different and very thin layers. That becomes one part of the sheet. There are 12 layers in one Hanji sheet. It was quite strange for people there that someone from that far has come to learn papermaking. TV channels came to interview me,” recalls the artist.
Booked for life
Ravi wasn’t aware of the format of artist’s books until he saw it abroad. Today, he participates in artists’ book fairs and triennials across the world and a few of his works have been acquired by important collectors, foundations and museums. He makes his books using his own handmade paper. The books are either sheets bound together or cast in the shape of a book. “In my books, images and text are sometimes drawn; many times a relief image is created in clay and later converted into pulp, casting from a prepared mould and occasionally transferred from a photocopy. In some of my books like ‘Banana and the sword’, I have tried to reinterpret the palm leaf manuscripts format from ancient India. In other works like ‘This is the way the world ends’ I have adopted the accordion format along with a few unconventional approaches to bookmaking, but most of my artists’ books retain the form of a book.”
In a book done in the watermark technique, he shows two people arguing. Sometimes, they become a victim and at other times, aggressor as they play the game of blaming and defending. His minimalistic artistic books often draw from more intimate aspects of life like human relations. Even Ravi’s book objects, photo-books, relief work arouse philosophical concerns that borrow from punch cards used in the earliest computers; grids, unfocused photos in terms of imagery.
Reclaiming to find newer meanings
There is also a penchant for words. They first appeared diligently in his paintings and remain an integral part of his paper works too. The reason for this is rooted in Ravi’s fondness for literature. The artist makes use of words, phrases, sentences and alters them to find new meanings just like the images he would reclaim from popular culture, particularly in his earlier paintings.
Small glass cabinet, boat, and several other found objects go through the same ritual. The references are made cleverly with metaphors and personal and universal are ensconced in layers. A take on power and aggression is portrayed by painting an array of loudspeakers, big and small, suspended from a ceiling.
“Even if there is political content, it is suggestive. I am not an activist artist in that sense. I respond to my times but the imagery is poetic and suggestive and it is not so direct that the minute the event is over, my work will be irrelevant. Any artwork has to first succeed as an artwork because they have to survive longer cycles.”
Teaching and writing
After art making comes the other two loves of his life teaching and writing. According to the versatile artist, the strands connect to complete the narrative.
After completing his MFA from Baroda, Ravi pursued Masters in English from Mysore University. He is probably the only visual artist to have got a Sahitya Kala Akademi award for his writing. His two books written in Kannada, Anuktaand Kannele were seminal writings on Indian art that won him acclaim. Kannele got fetched him the Karnataka Sahitya Kala Akademi Award in 2015.
His third book “Flexing Muscles”, published by Reliable Copy, is an observation of the culture of flex banners in the city through an essay in Kannada/English and images. It will be released in September.
He has been a visiting faculty at RV College of Architecture where he teaches visual design, and visual creativity. In 2015, he also taught one semester open course in Art Appreciation at Azim Premji university.
Teaching helps him in several ways – firstly, keeping in touch with the younger generation keeps him updated and also supplements his income. “The kind of work I do doesn’t sell much, but I need resources in order to practise. Teaching also helps because when you have to tell someone else you need to be doubly sure. It enriches my art too. Something, I am trying in my studio will go to the classroom and vice-versa.”
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Art / by Shailaja Tripathi / August 29th, 2019
Paul’s lovely sketches of Bengaluru’s Swinging Seventies have been chosen by the Department of Posts for postcards and a special cover
A cartoonist, illustrator or an artist equipped with a brush for story telling? As one walks into Paul Fernandes’ studio and gallery, aPaulogy in Richards Town, one comes across several examples of his talent.
The outer walls has a series tracing Bengaluru’s transition from a pensioner’s paradise to the garden city and then the overcrowding thanks to the IT boom. In another corner his art is tucked into old window frames picked up from a junk yard in Shivajinagar. Inside the gallery, one is overwhelmed with the range of Paul’s works displayed on walls, racks and tables. Doors, mugs, coasters and bags sporting prints of his cartoons and illustrations are aesthetically showcased.
A resident of Bengaluru since 1948 when he was born, Paul highlights the city and its life in his works. The artist uses colours to enhance his story telling.
Beyond black and white
“I don’t keep my illustrations in black and white. I use colour and words to strengthen and communicate. My style is an extension of not only art that I studied at the Faculty of Fine Art Baroda but also sensibilities I absorbed from my mentor Peter Colaco, a musician and writer, who chronicled Bengaluru in his book,” says Paul as he takes you through his drawings.
For 71-year-old Paul, showcasing the city through art was more about highlighting the lives of the people who make up Bengaluru. “I work towards a style that can adapt, grow and be refreshing. It is a process where a cartoon looks like a painting. One has to look at the painting longer to enjoy their perspective. This bridging of space makes the cartoon a story-telling exercise,” says Paul whose illustrations are known for their descriptive clarity.
Works of Paul Fernandes | Photo Credit: SAMPATH KUMAR GP
His art works cover the coast of Mangalore and parts of Kerala and Goa too.
There are thousands of illustrations in watercolour that depict not just a languid, sleepy Bengaluru but hangouts in a gentle city – essentially the swinging 70s, unpolluted, dreamy in its outlook, with tree lined roads.
“I want to provoke a happy, heady conversation amongst people. I hope people come up with their own stories after they see my art,” says Paul.
Paul owns a studio in Mumbai too as people’s response to art he says is equally forthcoming there.
“I travelled from Mangalore to Kerala by scooter to observe people in the outskirts. The chemistry in Bengaluru, Mumbai or Goa has its own flavour. Looking to bringing them all out is what makes my illustrations different,” he says.
Paul’s illustration of the old BRV Theatre or the Bangalore Rifle Volunteers Canteen on Cubbon Road has multiple images that collectively bring out the mood of the era. “Ideas have to be drawn into compositional poetry,” he says. In the 1970s Paul found Ulsoor Lake and Vidhana Soudha giving him the required peace and quiet to work. “When you draw Vidhana Soudha, it is good, but when you add ‘built in 1956,’ it gets friendlier.”
Other memorable illustrations include those of MG Road with Chit Chat ice cream parlour and the photo studio, EGK & Sons, a horse-drawn tonga at on South Parade, the bustling Koshy’s of 1952, Plaza Theatre and Victoria Hotel.
“Be it Chor Bazaar in Mumbai or Airlines Hotel in Bengaluru, every space has its ambience. Sometimes I prescribe myself ‘people-less’ days to reflect, recharge and focus,” says Paul.
What defines his art? “Humour that I see in every situation, even in dry buildings,” says Paul explaining that this mood helped him zero-in on the name aPaulogy for his gallery.
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Art / by Ranjani Govind / August 28th, 2019
Founded in Bengaluru in 1919 by A N Subba Rao, Kalamandir pioneered art education in Karnataka, produced distinguished artists, and encouraged experimentation.
Kalamandir School of Arts is now located in Hanumantha Nagar.
Kalamandir, Karnataka’s first fine arts school, was founded in Bengaluru in 1919. It entered its centenary year on August 12, and marked it with a two-day cultural festival at Ravindra Kalashetra.
Founded by A N Subba Rao, a farmer’s son who developed sophisticated artistic skills, Kalamandir is now run by his grandchildren A M Prakash and Gowri Dattu. Many generations of the family are immersed in the arts, with Subba Rao’s great granddaughter M D Pallavi being a well-known singer and actor.
The school has evolved into a premier institution offering art, literature and drama courses.
Prakash heads the art section while Gowri takes care of Abhinaya Taranga, the school’s theatre wing.
For art and people
Gowri remembers Subba Rao’s ceaseless energy. “I had never seen him sitting idle at home,” is the first thing she says when Metrolife asks her what she remembers of his days.
Distinguished people, such as writer Masti Venkatesha Iyengar, used to visit the school and discuss ideas with him.
“Masti used to bring along chocolates, while grandfather had chakli and kodbale with him. They used to give it to us,” she says.
Founder A N Subba Rao
Subba Rao was inspired by Gandhian ideals, and on one occasion, helped a prostitute marry. Back in the day, the police used to shave off the heads of prostitutes they had caught.
“My grandfather helped one such woman. He gave her a place to stay and found her a groom and got her married. He helped many people and artists this way; he was a people’s man,” she recalls.
But he could also be short-tempered. “That was probably because he used to add so much salt to his food,” Gowri says, laughing.
School’s philosophy
In 1918, Subba Rao was a drawing teacher at Bishop Cotton School. He didn’t like the syllabus. On the advice of legendary engineer M Visvesvaraya, he resigned and started Kalamandir.
Kalamandir was founded at a time when art wasn’t seen as an academic discipline.
Gandhi’s Swadeshi movement was everywhere, and job opportunities were few and far between.
The thought of helping people turn art into a profession occurred to Subba Rao, and he began his school with just four students.
Start with Signboards
Since painting wasn’t popular as a profession, he started off by teaching students to paint signboards in an artistic way.
“Painting signboards was a source of income since every shop needed one back then. He used to teach art through that,” says Prakash.
Subba Rao believed art had to be pursued as a livelihood and not just for art’s sake. “The concept of earn while you learn is picking up now, but my grandfather pioneered it in the 1920s,” he says.
Subba Rao encouraged many young women to take up art. One of them, Kanaka Murthy, is now a world-renowned sculptor.
“He felt they shouldn’t just be in the kitchen, and this was 1919,” Prakash says.
Subba Rao was also firm on teaching the basics to help students develop an aesthetic sense. “You could say the foundation for visual arts as an academic subject were laid by him,” Prakash says.
Subba Rao came to Bengaluru on a cycle and built Karnataka’s first fine arts school. He fought for the inclusion of art in primary education.
“He never bribed the government for the school’s smooth functioning. All the funds came from his friends and art enthusiasts. Now, we just follow his footsteps to promote art,” Prakash told Metrolife.
Subba Rao (extreme right) with his students.
About the school
Kalamandir is affiliated to Kannada University, Hampi.
The school offers a four-year bachelor’s degree course in visual arts that covers drawing, painting, life study, sculpting, graphic design and digital art.
Kalamandir School of Arts is located on A N Subba Rao Road, 5th Cross, Hanumantha Nagar. Phone 080 2660 6861; email kalamandirschool@gmail.com
Alumni
Rumale Channabasavaiah, Venkatachalapathi, B K S Varma, S S Kukke, S R Swamy, Venkatachalapathi, Rajeev Taranath, Kanaka Murhty, and M S Murthy are among the many distinguished students of Kalamandir.
At the event
Kalamandir hosted a two-day event to mark the 100th year milestone last weekend. Artists and art students thronged to the Ravindra Kalakshetra to catch the celebrations. Panel discussions and plays were presented. The lobby had an exhibition on the life and times of Subba Rao and Kalamandir.
First arts magazine
Between 1930 and 1934, Subba Roa published ‘Kala’, the first-ever magazine in Kannada to cover art, music, painting, dance and theatre.
School locations
– Sugreeva temple, Balepet, in 1919
– Moved to Sharada talkies in 1938
– DVG Road in Gandhi Bazaar in 1944
– Hanumatha Nagar 1978-present
First to host all-India art shows
For the first time in Karnataka’s history, Subba Rao organised the All India Exhibition of Art, Photography and Handicrafts, featuring the works of students and artists from all over the country. He organised it thrice—in 1921, 1927 and 1932.
“He was the first around here to consider photography a visual art form,” says Prakash.
Sir Mirza Ismail, dewan of the erstwhile Mysore state, inaugurated the first exhibition. The second and third editions were inaugurated by Raja Jai Bahadur Singh of Nepal and Durrusehvar Sultan of Hyderabad respectively.
The current generation is still amused by how Subba Rao got in touch with royalty and high officials to invite them to the school’s events. “His invite was a simple handwritten postcard. His handwriting was beautiful. Dewan Mirza Ismail was impressed by his handwriting and attended the event. He also made a speech and granted Rs 50 to the school,” he says.
Gandhi Bazaar of the 1970s
For many decades, Kalamandir functioned from the first floor of a building on DVG Road in Gandhi Bazaar. The school was a cultural hub.
“Girish Karnad read his first play there. P Lankesh’s plays were practised here. Kalamandir was a rehearsal space for them,” says Gowri Dattu, granddaughter of founder Subba Rao.
Kalamandir was a space for healthy discussions on art and literature. “We grew up in a culturally rich environment, even though we didn’t understand everything they were talking about,” she says.
Gandhi’s visit
Also a promoter of khadi, Subba Rao taught block printing on khadi, along with his fine arts courses.
When Gandhi was visiting Bengaluru, the well-known Kannada writer Gorur Ramaswamy Iyengar and Subba Rao wanted him to visit Kalamandir.
Subba Rao painted a piece on khadi woven by Gandhi with his own hands. He displayed it at a khadi art exhibition.
Annie Besant, a leader of the freedom struggle, inaugurated the exhibition. On her insistence, Gandhi visited Kalamandir, which was in the Majestic area then.
“This is how he showed the power of art. It wasn’t a fancy school, but he made big names come to this simple school,” says Prakash.
Challenges
Finance and space are the constraints the school faces today. “It is not a commercial institution. We try to provide our students with everything. If the government takes note of our history and helps us, it would be great,” says Prakash, who now helms Kalamandir.
source: http://www.deccanherald.com / Deccan Herald / Home> Metrolife / by Malini Raghu, DH News Service, Bengaluru / August 27th, 2019
