Noted theatre activist, writer, poet, and playwright S. Malathi, 66, passed away at a private hospital in Manipal. She was ailing for some time and breathed her last late on Sunday
An alumnus of the National School of Drama, Malathi was associated with Samudaya, the radical theatre movement in Karnataka that fought Emergency through cultural activism by performing street plays and participating in jathas.
Hailing from Sagar, Malathi went to Mysuru to pursue Masters in Kannada literature, after finishing her graduation in Commerce in Mangaluru. She debuted Samudaya through Taayi an adaptation of Maxim Gorky’s Mother.
According to Shashidhar Barighat, theatre activist, Malathi’s recent experiment was the theatre adaptation of Swapna Saraswata, a novel by Gopalakrishna Pai. Malathi was engaged in children’s theatre and even wrote plays for them.
Malathi also directed plays Kerege Hara, Siri Sampige, Yayathi, and Hayavadana. She wrote Dalithaloka, Bheemakathanaka, Sita Charita, and Mooru makkala natakagalu. Kshakinavallada kshanagalu, an anthology of poems, won the Pejawara Sadashiva Rao award instituted by Mumbai Kannada Sangha. Malathi had presided over the fifth taluk-level Kannada Sahitya Sammelana in Sagar.
The cremation was held in her native Sagar town on Monday evening. The theatre fraternity across the State paid tribute.
source: http://www.thehindu.com / The Hindu / Home> News> States> Karnataka / by Special Correspondent / Bengaluru – Shivamogga, April 01st, 2019
Right from childhood she has always been drawn to fashion, make-up and glamour and she landed up in modelling industry. The challenging part, however, is balancing both engineering and modelling which requires a lot of dedication, determination and discipline, which Nayana Vishva has in abundance.
In this pursuit of her passion, Nayana has the support of her life partner Nimish Pankaj Shah and banker parents H.R. Bhavani and R. Vishva Chaitanya. And she treads the hard path in the modelling world in the Silicon Valley, California, where she divides her time between her work and modelling assignments.
Nayana is trained in Bharatanatyam and is adept at western dance. She was creative even in her growing up years and was a part of her college (Ramaiah Institute of Technology, Bengaluru) Western Dance team called ‘Fire and Ice.’ She then left for United States and did her Master’s in Electrical Engineering from the University of Southern California and joined Intel Corp in San Jose.
What is the life of a model like? She had done promos for L’Oreal when she was in Bengaluru. “I have now given up dancing as it requires a lot of week-day time. Mine is a five-day week job but even after I come home, I sit with a laptop completing my tasks. I devote weekends and sometimes weekdays for modelling,” she said.
Initially she concentrated on her job. Alongside, she started blogging on Instagram where she would style up, make up and coordinate what kind of outfits suit and what is the style. She then uploaded her photographs on Instagram and she received accolades from her parents and friends. After two years she realised that she had to move to a different level and what she was really looking for was professional recognition in modelling.
She started modelling in April 2018. The first brand promotion was for ‘Sexy Hair’ in San Jose called the ‘Spring Hair Fest.’ “Rafe Hardy, the CEO of ‘Sexy Hair’ and his team chose me in the audition where there were 40 to 50 models and I was the only Indian. The shoot starts at 8 am and goes on till 7 pm. They style my hair, allow us to interact with customers and then the photo shoot begins and the visuals are used for brand promotion,” Nayana says.
“When I have to go for auditions I have to wear ‘Little Black Dress’ and in other auditions they ask us to wear track pant and black shirt or shorts. We need to have all these dresses with us,” she explains.
Brian Check, a Hollywood photographer, called her for theme ‘Pumpkin Patches’ and Nayana did her own outfit. Once such photo shoot is done, images are shared on Instagram and based on it a model’s network grows and she gets an opportunity to participate in more photo shoots.
What kind of competition is she facing especially in a country where the skin colour favours the white? “They do prefer white skin models. I had gone for an audition and several good models from California were rejected. Out of curiosity we went for the show later and we were shocked to see that some teenagers from Australia had been selected just to show that they had international models who looked more white than Californian models.”
Nayana is also into gymming and she works out for one hour daily after coming back from work. “Gymming helps me keep a toned body and retain the glow on my face,” she says.
Asked how her colleagues look at her interest in modelling, she says, “Looks like the society is more accepting. My colleagues and managers are typical Indian folks who have got married, have kids, and live as per Indian social norms. They say they wanted to pursue their passion but were discouraged and also they were scared. And they settled for a ‘socialising with relatives, friends on weekends’ kind of lifestyle and wasted a lot of their potential. But they encourage me and are truly happy for me. They tell me to not stop modelling.”
Asked how her husband Nimish Pankaj Shah, who also works in Intel, takes her passion for modelling? “I strongly believe that a life partner is the one who is an ‘enabler’ of both career growth and personal growth. Nimish encourages me to achieve my dreams and practically supports it. He is not a mere ‘permission granter’ but allows me to go out and achieve my dreams.”
“He drives me to shoot locations and while I am busy shooting, he reads books or explores shops, streets near the location. He cooks for the family on the day of the shoot and on other days, he cooks three days a week and I cook on other three days. He is my best critic and all his encouragements are through actions and not words,” she says.
On Women’s Day: Empowerment is not merely limited to choice of clothing or the choice of next outing. Empowerment is how you deal with troubled waters, how much are you willing to stand up for yourself against all judgements, how fearless are you to openly call out people in power that wronged you. It means more respect and more power to all women. More respect and love for those fathers, husbands, brothers and male friends, who stand by us during troubled times.
source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / by N. Niranjan Nikam
Jothi Viknesh, Anusha Viresh and Manohar Marappa | Photo Credit: By arrangement
Jothi Viknesh, Anusha Viresh and Manohar Marappa are travelling across the country to preserve a rich history and also eyeing a Guinness World Record
From documenting the Siddi Dhamal dance form practised by the Siddis of Gujarat to capturing the energetic Padayani folk dance and ritual art of Kerala — Jothi Viknesh, Anusha Veeresh and Manohar Marappa are on an unusual road journey to soak in the varied folk traditions of India. They are calling it the Indian Dance Trail that began in Bengaluru in January this year. Their aim is to cover 60, 000 kilometres by the end of the year and also see if it becomes a Guinness World Record for the longest drive in the same country by car. They have so far completed 18,000 kilometres covering Gujarat, Rajasthan, Kerala, Karnataka, Telangana and Andhra Pradesh. They hope to witness major festivals across the country and document the rich traditions of Indian dance forms.
Aiming for a record
The idea to go on an all-India journey came about when a video made by Jothi and Anusha on the Veeragase dance form of Karnataka received 2.5 million views on YouTube without much promotion. Based on Hindu mythology, this dance form involves very intense energy-sapping dance movements and is one of the dances demonstrated in the Dasara procession held in Mysuru. “We realised that there are many who are interested to know the history and traditions behind such ancient Indian dance forms. Documenting these would be an interesting way to preserve a rich history,” says Anusha.
Most of their travel routes are planned beforehand. “We do a research about the place and region’s dance forms before we reach. This is because a majority of these folk dance forms are specific to a particular time of the year. But there are chance discoveries too when we stumble upon something unique,” says Anusha, who has been training in traditional and contemporary dance forms from her childhood.
Jothi Viknesh, Anusha Viresh and Manohar Marappa | Photo Credit: By arrangement
On many occasions, they stayed with the dancers in their village, learning about their traditions and beliefs. Their journey also took them to places where they could document lesser known dance forms like the Jogati Nritya in the Bellari district of Karnataka. It is a ritual dance performed by a group of transgenders called Jogappas to appease Goddess Yellamma.
Not all of their experiences were pleasant. At the Chettikulangara Devi Temple in Alappuzha district of Kerala, they met some hostile resistance. “We saw a group of children surrounded by adults. They wouldn’t allow us to film anything and insisted we delete the few videos we had already filmed there,” says Anusha.“It was only later that we came to know that they were performing the banned ritual of ‘Chooral Muriyal’ a part of Kuthiyottam. As part of the ritual young boys are offered as sacrifice to the goddess Bhadrakali. While they are not actually sacrificed, their midriffs are pierced with a gold or silver string, that is later pulled out and offered up. “It is a symbolic representation of human sacrifice. Once the ritual is over, these boys are abandoned,” she adds.
Inspiring tales
On the more memorable side, they had some inspiring encounters. They met Sanjeeva Suvarna, principal of Guru Bannanje Yakshagana Kendra in Udipi, who is among the few surviving Yakshagana trainers left. “Our idea is to make a short documentary on each of these dance forms and release it in our YouTube channel Expertnomads by the end of the journey,” says Anusha.
Funding is a challenging part of their journey. “We make pit-stops at cities to conduct Afroworks fitness dance workshops at schools, colleges, dance studios and wellness centres. This is fun-filled dance fitness regime based on African dance and music. This way we get to also reach out to people and talk about Indian dance forms and our journey,” says Jothi, who held workshops at Starlite Wellness Centre and Pollocks School on their halt at Visakhapatnam. While they haven’t had the opportunity to document the folk dance forms of Andhra Pradesh and Telangana, they are hoping to be back in the Telugu States again in the next leg of their journey. The Indian Dance Trail is now heading to the North East where they plan to document Nagaland’s Mopin festival, before moving on to Assam.
To follow them, read their updates on the Facebook page Indian Dance Trail.
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Dance / by Nivedita Ganguly / March 27th, 2019
L.V. Sharada, 78, veteran actor of parallel cinema in Kannada, passed away on Thursday. She was suffering from cancer and breathed her last at Shankara Hospital in the city at 7.30 a.m., according to family sources.
Ms. Sharada is survived by her sister and brother. The final rites were held at the Banashankari crematorium in the evening.
She was best known for her titular role in the 1983 Phaniyamma, directed by Prema Karanth. The film, a sensitive portrayal of a young widow, was based on an eponymous novel by M.K. Indira published in 1977, which went on to win many awards.
Ms. Sharada’s debut film was Vamsha Vriksha, whichwon the national award. She shared screen space in the film with Girish Karnad, Vishnuvardhan, and Chandrashekar. The film, released in 1972, was directed by B.V. Karanth and Girish Karnad.
Through her characters in Bhootayyana Maga Ayyu, Vatsakta Patha, Kankana, Maithri, Hemavathi, Madhvacharya,Adi Shankaracharya, and Nakkala Rajakumari, she etched an indelible impression on the minds of the audience. She acted with Rajinikanth in Ondu Premada Kathe. Ms. Sharada had also directed a few documentary films.
Her passion for acting did not wane even when she was ailing.
Paying tributes, film-maker P. Sheshadri recounted how he had thought of Ms. Sharada for his Mookajjiya Kanasugalu. He spoke and took her photo and asked whether she could become his “Mookajji”. Citing her illness, Ms. Sharada told him that had he shot the film in Bengaluru, she would have accepted the offer.
source: http://www.thehindu.com / The Hindu / Home> News> States> Karnataka / by Special Correspondent / Bengaluru – March 22nd, 2019
The fifth edition of I Rise, an ongoing art show, showcases the works of 15 women artists that convey messages on the importance of education and empowerment of women to humans being irrelevant.
Art aficionados at the ongoing art exhibition featuring works of 15 artists
Bengaluru :
With an amalgamation of various media and styles, the fifth edition of I Rise, an ongoing art show, showcases the works of 15 women artists. From works that convey messages on the importance of education and empowerment of women, to humans being irrelevant in the grand scheme of things, the exhibition gives art-lovers some food for thought. City Express gives you a sneak peek into their works.
‘Art teaches you not fear making mistakes’
Chandana Kankaria has presented six works from the series she’s been working on for the last two years. She creates different textures and strokes using acrylics, different palette knives and brushes to create some bold strokes, dark shades and figuratives. “I have created these tiny figures to get viewers to reflect on how tiny we are in front of nature,” she said, adding one cannot conceal the mistakes one makes when he uses watercolours. “And as an artist, we shouldn’t fear making mistakes,” she said.
‘Girls would be happier to carry load of books’
Emphasising the importance of education for women, Runa Biswas said, “Three of my works portray how opportunities can help women grow.” In her untitled paintings done with watercolours with gold watercolour wash and free flow ink on archival papers, Biswas portrays a girl child carrying bricks with the name of subjects against the backdrop of bricks used for construction. It shows how girls would be happier to carry the load of their books than bricks,” she said.
‘Art does not discriminate’
Sujata Harish looks for life in inanimate objects and how everyone is connected to nature and cosmic energy in her work. Her works include etching of lotus, a symbol of purity trying to portray a cosmic connection; a mother as an animal figure portraying the bond she shares with her child; and Shivshakti with power to give birth and destroy the world. “Art provides freedom to do what you want but women just need support, which we lack,” she said.
Integrated qualities of womanhood
Devipriya loves to explore different medium – wood, bronze and fibre cast – to express herself. “This work on fibre cast conveys the modern woman with her integrated qualities of womanhood and her individual streaks of feminism. The red in the background symbolises passion, kindness, concern, strength and love. The lines within her show her intricacies today in an urban set up. They try to convey her thought process and emotions,” she said.
Art as a utility
Jyoti Gupta surrounds herself with vibrant colours, eclectic crafting materials and inspirational thoughts. For this show, she has exhibited art in the form of a box resembling a book made with wood and paper with portraits of women on its cover. The inside includes paintings with quotes from artists. There are covers of women such as Mona Lisa by Leonardo da Vinci. The idea behind creating such pieces with mixed media is to explore art as a utility.
source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Akhila Damodaran / Express News Service / March 27th, 2019
Hidden Lily tells the story of Gajendragad’s weavers as part of crafts project, Social Weavers
I walk through the dark entrance of the Government College of Fine Arts on a quiet Saturday evening. From outlines and vague shadows, I figure out that a motley group of people has gathered before the magnificent white-coloured main building of the college. It’s no secret that the building is one of the most beautiful heritage structures in the city. Soon, the very building would transform into a screen on to which a documentary film will be projected. When the clock strikes seven, to the background of the rumbling of a distant train and the howling of street dogs in a fight, the building starts narrating the story of handloom weavers in Gajendragad. The projection takes the shape of the building, replete with parallel scenes that run on either aisles, apart from the central frame. A performance in the form of spoken poetry too, happens in front of the structure.
Hidden Lily, a documentary film, is part of Bengaluru-based 3rd Space Lab Collective’s long-term collaborative project, Social Weavers, in association with the handloom weaving societies of Gujarat, Odisha, Andhra Pradesh and Karnataka and textile artists Shatrughan Thakur and Priyanka Kumari. The goal of Social Weavers is to develop a series of 300 hand-woven saris that interpret landscape as a metaphor, which will culminate in an exhibition. The documentary was developed in collaboration with artist and projection mapping specialist G Craig Hobbs.
Yarn that narrates
The quest started in 2016 for this collective of artists, whose projects are on collaborating cultures. The collective was started in 2012, by Shalini Agrawal and Trena Noval from California and Lalitha Shankar and Shamala Nandesh from Bengaluru. “Shamala and I were on the San Francisco Golden Gate Bridge and were looking at the tourist maps and guides. Then, we came to know that the cable used in the bridge goes around half the Equator in terms of distance,” artist Lalita Shankar says, about the inception of the project. This led Lalitha and Shamala, also an artist, to look at the rich culture of handloom in Bengaluru. “Then the idea of using yarn to cover the distance between San Francisco and Bengaluru came up. But we were sure of using organic cotton and natural dyes to make saris that would cover the distance,” she continues, adding that the geographical landscape, then becomes a metaphor. The distance they were trying to bridge was that of two completely different cultures. And the number of saris required for this, would be 323. “Thirty-five kilometres of yarn will be used to make one sari (warp and weft included)”.
These saris will, in turn, act as canvases. Art from different locations and specific to different communities, will feature on them. And of the 323 saris, 25 have been woven as of now. Lalita hopes that in the next two years, the collective would be able to finish all the 323 works of art. “We have looked at Bhuj, Andhra Pradesh, Gajendragad and Odisha now.” Their next stop is Narayanpet in Telangana. “The design is very specific to the environment it is in. The loom and the way they weave adds to the end product,” she explains, adding that the collaboration with artisans from different locations, was an eye-opener for them. However, she also says that it is not always easy to gain the weavers’ trust. “It is difficult to build trust in them. There is something that pulls them back when it comes to projects like these,” she concludes.
The video mapping (projecting a film on to a building) was done in connection with the Chennai Photo Biennale, on March 22 and 23.
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by Gowri S / March 25th, 2019
Monika Zin, KHK Visiting Research Fellow 2015 and Associate Professor, Indian Art History in the Department of Asian Studies, Institute of Indology and Tibetology at Ludwigs-Maximilian Unversitat Munchen in Munich in Germany, delivering a lecture at the Central University of Karnataka at Kadaganchi in Aland taluk on Tuesday.— PHOTO: ARUN KULKARNI
‘They, based on the Jataka Tales, claimed that the Buddha was originally a Christian’
Research Fellow and an authority on Buddhist art and architecture Monika Zin has traced the root of a beautiful, early third century Buddhist relief found during excavations in the Amaravathi sites to the Jataka Tales in the Panchatantra and how the Christian Missionaries, who used the translated version of the Panchatantra from Persian, Arabic and other languages, converted a large number of Japanese to Christianity with the claim that the Buddha was originally a Christian.
Delivering a lecture at the Central University of Karnataka at Kadaganchi in Aland taluk in Kalaburagi district, Prof. Zin, who is a KHK Visiting Research Fellow 2015 and Associate Professor, Indian Art History in the Department of Asian Studies, Institute of Indology and Tibetology at Ludwigs-Maximilian Unversitat Munchen in Munich in Germany, said that the relief found at the Nagarjunakonda Museum in Telangana has striking similarities in the figures shown in the Panchatantra translated into Pahlavi language and later into Arabic and other languages.
The beautiful relief
Prof. Zin said that the beautiful relief, which is still intact, shows an unidentified king, initially looking angry, being prevented by a couple of women from attacking a sage and later, paying obeisance to the sage. It has an interesting scene of a man hanging over a well holding onto two branches of a tree over which are a tumbling elephant and a white and black mice. In the well below, there are four figures of serpents creeping up and another with its fangs open.
She said that this picture of a man hanging from two branches of a tree over a well and all the other details is found in all translations of the Panchatantra in other languages. The Panchatantra tales were first translated for the Persian royals in Pahlavi language in the sixth century and later, into Arabic in the eighth century. In both these translations, the sequence of this relief is brought out in a pictorial form with all the details. It was the translation of the Panchatantra first to Pahlavi language and later to Arabic language that led to the translation of the tales into other languages.
However, the translation of the Jataka Tales by John of Gapna in the 13th century to Latin language was significant as it also carried the details of the relief in pictorial form.
The Greek translation in the 10th century of the Panchatantra titled “Barlaam and Josephat” was used by the missionaries working in Japan to claim that the Josephat in the tale was the original Buddha and that he was a Christian, leading to conversion of a large number Japanese to Christianity.
source: http://www.thehindu.com / The Hindu /Home> News> States> Karnataka / by Special Correspondent / Kalaburagi – January 13th, 2016
Silk lovers in the city can walk into any of the nine silk testing centres opened in the main retail hubs of the city, to check the purity of their product.
The test will take 5-10 minutes to ascertain the product’s purity.
Bengaluru :
Silk lovers in the city can walk into any of the nine silk testing centres opened in the main retail hubs of the city, to check the purity of their product. Last week, the Silk Mark Organisation of India established nine consumer testing centres to help customers conduct purity tests with the help of personnel trained by Central Silk Board.
“The staff will take a strand from the material without damaging it and put it through two checks – under the microscope and flame tests. Much like how customers are cheated when it comes to buying gold, we found during our national expos that several people were cheated with impure silk,” said T Sivakumar, assistant director of Central Silk Board. Within five to 10 minutes, the test which costs `20, will ascertain the product’s purity.
“Several retailers mix polyster, cotton, nylon, viscose with silk and sell it at a cheaper price. For example, a pure silk saree would cost `2,000 but retailers who mix it with other materials, sell it for anywhere between `500 and `1,000. When we conducted free testing at expos, customers were shocked to know they had been cheated. This will affect the overall business of silk itself,” Sivakumar said, adding that based on the response to these centres, they plan to set up 100 more across the country.
The centres were inaugurated on March 8 by K M Hanumantharayappa, Chairman of Central Silk Board and Silk Mark Organisation of India and other officers. The centres are in BTM layout, Chickpet, Cubbonpet, Tank road, Jayanagar, Gandhi Nagar, M G Road, Okalipuram and R V Road.
source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Express News Service / March 12th, 2019
A still from Nathicharami. | Photo Credit: Supplied Pic
Popular entertainment films in the reckoning include KGF
For the first time, the 66th National Film Awards competition will have over 40 Kannada films in various categories. This is at least 10 films more than in the last year.
According to sources, Mookajjiya Kanasugalu of P. Sheshadri, Nathicharami of Manjunatha Somakeshava Reddy (Mansore), Kanoorayana of T.S. Nagabharana are among the films in the competition.
Besides these three, Ammachi Yemba Nenapu by Champa Shetty, Aa Karala Rathri of Dayal Padmanabhan, Neeru of Eshwar, Ondalla Eradalla of Satyaprakash, Savithri Bai Phule of Vishal Raj, Vishwamanava of M.S. Muttu Raj, Ramana Savari of K. Shivarudraiah, Attayya V/S Handikayolu of Lokendra, Samanateya Kadege of Anantharayappa are also in the race under various categories.
Popular entertainment films in the race include KGF of Prashanth Neel, Sarkari Hiriya Prathamika ShaleKasaragodu, Koduge Ramanna Rai by Rishab Shetty and Kurukshetra by Naganna.
Film-makers, whose films are in competition, are happy with the increase in the number of films competing for the National Awards.
“An increase in the number of films competing for National Awards is proportional to the number of films released. In 2018, the number of films released crossed the 240 mark. Over 40 entering the competition is not a surprise for me,” said P. Sheshadri.
Sources in the film industry said that though 240 films were released, as many as 370 films got censored as on December 31, 2018.
“This is a welcome development. If it translates to awards, there is definitely good times ahead for Kannada cinema,” said Mansore.
Last year saw Hebbet Ramakka winning the honours for Best Feature Film. Paddayi, a Tulu film, got the Best Feature Film Award for films made in languages other than those specified in Schedule VIII of the Constitution.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Muralidhara Khajane / March 11th, 2019
Patients don’t get tired of talking about how he distributes, for free, medicines that he gets as samples from pharma companies, or recommends free tests for the poor at his diagnostics centre.
Dr Siddalingappa Murugeppa Yeli.
Davangere :
It’s around 2.30 pm when Dr Siddalingappa Murugeppa Yeli walks in. The faces of his patients, who have been waiting for him at his clinic, light up as they catch sight of his entry. The 80-year-old general physician has just returned to his clinic at MCC B Block in Davanagere after conducting rounds at the JJM Medical College Hospital. The patients flock around their favourite doctor. Yeli patiently hears their complaints before prescribing medicines.
While some offer him Rs 10, Rs 20 or Rs 30 as consultation fee, a few don’t pay anything. Those who pay more than Rs 30 are returned the excess amount, with Yeli telling them, “Keep it with you. This is more than enough.”
As patients wait for their turn, they don’t get tired of praising him, talking about how he distributes, for free, medicines that he gets as samples from pharma companies, or recommends free tests for the poor at his diagnostics centre, or even gives bus fare to those in need. Reasons enough for local people to call him ‘The Walking God of Davanagere’.
People outside the clinic | Express
“While Dr Shivakumara Swamiji of Siddaganga Mutt, who offered free education, food and shelter, was a Walking God, our Dr Yeli is the Walking God of Davanagere,” says K M Kuberayya, a resident of Shagle, who has been consulting the doctor for 25 years. He adds that Yeli has solved his nerve weakness problem successfully.
Laxmi, who has been consulting Yeli for 15 years, says, “He has charged me a maximum of Rs 20 or sometimes nothing at all.” Dr Yeli has been serving the poor in Davanagere for 50 years. Patients say he also conducts free medical camp at Shivayogi Mandira once a year. “It is my duty to serve the society as I have benefited from it greatly. There is nothing special in this,” the doctor says in the midst of examining his patients. “I am honestly doing my duty. I decided about this long ago,” he adds.
When asked about his low consultation fee, he explains, “Many people cannot afford medical services. We should not burden patients who are already suffering from diseases that incur expensive treatments. We must give them mental support.”
Dr Yeli, who lives next to the clinic, begins his daily duty at 8 am. He attends to his patients at the clinic till 11 am, after which he goes to JJM Medical College Hospital to check the in-patients there. He returns to his clinic around 1.30 pm, and examines patients till 5 pm.
He again goes to the hospital at 5.30pm for rounds and returns to his clinic at 7.30pm, seeing patients till 11 pm. He makes two rounds a day at JJM Hospital, taking only Rs50 per round. Even if he makes an additional trip if required, he charges for only two rounds.
The diagnostic centre, owned by Yeli’s son, also conducts free tests for the poor patients referred by him. It, however, collects a fee from other patients. Dr Yeli also urges budding doctors to serve everyone without expecting much in return. He welcomes the one-year compulsory medical service in rural areas for medical students. “When they can take help from the government, they must render service for at least one year at government hospitals,” he says.
HIS JOURNEY
Dr Yeli was born in 1939 in a poor family at Hamsabhavi in Dharwad district. He completed his school education at Hamsabhavi and intermediate science education at Karnataka College Dharwad. He pursued MBBS at Karnataka Medical College in Hubballi in 1962 and earned his MD (General Medicine) from Topiwala National Medical College in Mumbai in 1968.
He joined JJM Medical College as a lecturer, and worked at the institute as professor and head of the department. He retired in 2005 but continues to visit the hospital for rounds. Yeli has two sons — Dr Vinay Yeli and Dr Suman Yeli — who are also doctors. He treats nearly 100 patients at his clinic every day. He has a Maruti Zen car which he bought 15 years ago.
FOR THE POOR
Dr Yeli’s compassion for the poor was there for everyone to see when he was conferred the honorary doctorate by Davangere University this year. The function got over at 1.30pm, and all the dignitaries were requested to have lunch. However, Yeli politely refused, saying his patients were waiting for him at the clinic. He then rushed to the clinic to examine them.
source: http://www.newindianexpress.com / The New Indian Express / Home> States> Karnataka / by Arpitha I / Express News Service / March 10th, 2019
