Dakshina Kannada’s Vilas Nayak is a name that probably the whole world is familiar with.
Shabari Ganiga
Now meet Shabari Ganiga, Karavali’s sole female fast painter, who like Vilas is steadily carving a niche for herself in the region. “Painting has been a passion since I was a five-year-old. It is what I looked forward to doing soon after coming back from school,” says Shabari.
The fondness for the art grew and it was five years ago that she decided to take up another dimension – fast painting. “It all began when I started attending events to participate in cultural programmes. I’m also a singer, so whenever I finished my turn and had to wait for my team mates to perform, I’d end up getting bored. So, I decided to start painting when my team performed on stage. I gradually started doing live paintings on stage based on the dance/song that was being performed. Initially, I’d sketch and then paint it.
But that drew taunts from my team members as they felt it was no big deal to do something like that. I took it up as a challenge to start painting straight off and soon I was doing 6/4 feet paintings in less than five minutes,” adds Shabari.
The 23-year-old MCA student loves painting portraits and has already done many live fast paintings. “My dream is to go international and show Dakshina Kannada’s inherent and rich culture on a big platform. I also want to paint Dr Veerendra Heggade, a personality I look up to,” she tells us. Shabari has one grouse though. “There are not many female artists in our country and that is something I’d like to turn around,” the artist sums up.
source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Mangalore News / by Madhu Daithota / February 25th, 2017
Shivaji spent some of his childhood here, but details of the period are limited and sketchy.
Historical records say that Shivaji came to Bengaluru as a 12-year-old with his mother Jijabai to meet his father Shahaji Raje, who then ruled Bengaluru.
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Bengaluru :
On 10th January, 1666, French explorer and linguist Jean de Thevenot landed in Surat, after embarking from the port of Basra on the ship Hopewell. De Thevenot spent several months in Mughal India , and then made his way further south, to what are present-day Andhra, Telengana and Karnataka. During his travels through the Deccan, he met with a rising local ruler. He recorded his impressions of the meeting in his journal, with the words, “The Rajah is small and tawny with quick eyes which indicate abundance of spirit.” Later on, the chaplain of Bombay, John L’Escaliot, would describe this remarkable man as “of an excellent proportion, active in exercise, and whenever he speaks, he seems to smile; (with) a quick and piercing eye”.
The man with the “quick eyes” was none other than Shivaji, then lord of the Bhonsle warrior clan, the man who would go on to become the founder of the mighty Maratha empire. Today, of course, is his birth anniversary (his 387th, if we go by the generally accepted date – there are other accounts where his year of birth has been given as 1627), and there will be great celebrations of the Maratha icon in Mumbai and other parts of Maharashtra, the core of his empire.
But Shivaji had a significant connection to Bengaluru as well. He spent some of his childhood here, but details of the period are limited and sketchy.Historical records say that he came to Bengaluru as a 12-year-old with his mother Jijabai to meet his father Shahaji Raje, who then ruled Bengaluru. According to city historian and author Maya Jayapal, Shahaji summoned Jijabai and their second son to Bengaluru. “Shivaji lived in Bengaluru for some time between 1640 and 1642 and took a liking to the city,” she says.
“Shivaji stayed in Bengaluru for a few years and his wedding took place in between. He liked the place and wanted to stay on for longer,” says city historian Suresh Moona, citing recordings from the Bengaluru Darshana, a city chronicle.
In 1973, well-known historian Sir Jadunath Sircar wrote a book titled Shivaji and his Times. In it, he records Jijabai’s letter to her husband Shahaji, where she tells him that the 12-year-old Shivaji, has gone long past marriageable age for a Maratha nobleman. The letter may have been the trigger for Shahaji asking Jijabai to Bengaluru, bringing their son with her. Shivaji duly arrived in Bengaluru around 1640, accompanied by Jijabai and Dadaji Konddeo, the head of Kondana fort and Shivaji’s guardian.They came to Shahaji’s Bengaluru palace, where he was residing with his second wife Tuka Bai and son Vyankoji (aka Ekoji), writes Sircar.
Sircar also provides details of Shiva ji’s wedding to Saibai Nimbalkar of Phaltan in Bengaluru, after which Shahaji bestowed him with powers to rule Pune.He sent the couple back in 1642 along with four handpicked administrators Shyamraj Nilkanth Ranjhekar as chancellor, Balkrishna Hanumante as accounts general, Sonaji Pant as secretary and Raghunath Ballal Korde as paymaster.
DV Kalauvkar, a retired school teacher who lives in Indira Nagar, has been researching the Maratha Empire since 1999. According to him, Shivaji’s first wedding to Saibai took place at Lal Mahal in Pune in the absence of his father. “Shahaji summoned the couple with Jijabai, and the wedding ceremony was conducted again in Bengaluru at Shahaji’s palace,” says the 72-year-old researcher.
The exact location of the palace where Shahaji lived and governed Bengaluru remains disputed with historical records providing little information. The Karnataka State Gazetteer of Bangalore District (Urban) edited by the late Karnataka historian Suryanath U Kamath speaks of a Gaurimahal Palace in the present-day Chickpet area where Shahaji is believed to have lived. This is also supposed to be the place where Shivaji and his elder brother Shambhaji spent some years of their childhood.
Historian M Fazlul Hasan in his famous book Bangalore Through The Centuries describes a Gowri Vilasa Hall in the city where Shahaji lived and conducted court. Hasan quotes a poem – a Sanskrit champu – called Radha Madhava Vilasa, which the poet, Jayarama Pandye, is said to have read to Shivaji and Shahaji at the Hall.
Hasan speculates that the Gowri Vilasa Hall was perhaps inside the old palace built by Kempe gowda, built at what is now the dilapidated Mohan buildings (built in 1909) and the defunct Vijayalakshmi theatre building in Chickpet stand.
Another link between the Marathas and Bengaluru is explored in Bengaluru to Bangalore by Annaswamy TV. According to Annaswamy, Shahaji repaired Kempegowda’s fort, reinforcing its four towers and nine gates. He too, places the fort in the Chickpet area.
SHIVAJI MEMORIAL IN SADASHIV NAGAR
In Sadashivnagar still stands the 14ft tall and six ft wide bronze statue of Chhatrapati Shivaji on a two-storey fortress like structure. Unveiled on January 10, 1993 by then Maharashtra Chief Minister Sharad Pawar alongside his Karnataka counterpart M Veerappa Moily, the statue was the subject of protests by linguistic groups and it took over a decade for the statue to be unveiled to the public after it was originally commissioned in 1983.
SHIVAJI THEATRE ON JC ROAD
A landmark cinema hall in the Garden City, the Shivaji theatre near the Town Hall was unveiled by Sir Mirza Ismail, then Diwan of Mysore, in 1940. Former Bangalore city mayor and Karnataka Film Chamber of Commerce President KM Naganna took the hall on lease from its Marathi owners and operated the place till the early 1980s. The theatre building with the statue of Shivaji displayed prominently on top was partly demolished in the late 80s and has been used as a warehouse ever since. But the statue still stands on the dilapidated structure and can be seen as you pass the busy JC Road.
source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Bangalore News / by Petlee Peter / TNN / February 19th, 2017
Theatre personality Jagdish Raja reminisces over days gone by as he takes a tour of Bengaluru
I have been in Bengaluru for over 44 years and the places I have been to are many, in many times and for many reasons. Prabhat Kalavidaru in Jain Temple Street for English recordings for radio commercials. I do believe that it was I who introduced them to the ‘All Okay’ thumbs up sign, before it was stolen by the soft drink of the same name. Incidentally, the lad behind the glass window was Jaganath and yes, Jagu, was the name we shared! Old Bengaluru. Narrow lanes. Dosai stalls at every corner.
Ravindra Kalakshetra and soon after, Chowdiah We were the first English language theatre to perform in Chowdiah. Rental was ₹ 3,000 a day or just under ₹ 3 per seat. With tickets at ₹ 5, 10 and 15 we were, as the saying goes, quids in! We go back occasionally and yes, some of the faces are still there!
Russell Market: We ran a poultry farm with 6,000 birds laying about 4,000 eggs per day, 30,000 in a week. Our wholesaler had a tiny shop in the street running north west off the main building. We would go in to collect…expectant. Overjoyed that we were getting ₹10 for a tray of 30 eggs. That is right 33 p per egg. In those days I would tip all my tipsters not in cash but in eggs! And yes…Thomas is still there.
Bangalore Club: Where would we be without our old BC?! It was our second home. The boys, Gautam and Sumit, would stroll in after school and be served with a snack and a soft cold drink, without even asking for it. We knew all the bearers and they all knew us. Even today, there are a score or so who ask after us and about them – Gautam in Los Angeles, Sumit in Melbourne.
Bengaluru to us could be as far away as either of these two cities. We could make it to the Club in 20 minutes, top gear all the way, waving to people in cars as we passed. Today, it is a two-hour start-crawl-stop journey with pesky two wheelers oozing in left and right. But then what has Bengaluru got that Bangalore had not? Well, Bengaluru has sucked Whitefield in.
source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / February 23rd, 2017
Dr. Vageesh, musician-musicologist, traces his career with Akashvani
It was good to see Dr. K. Vageesh receive the Ganakala Bhushana Award at the 47th Karnataka Ganakala Parishath proceedings recently in Bengaluru. The 62-year-old musician-musicologist-composer committed to his task at the helm of Akashvani for 36 years came up with an informative lec-dem as he explained the nuances of the much-debated Abheri and Karnataka Devagandari.
“Only a musician, who is also a musicologist can demonstrate such finenuances,” said Dr. R.K. Padmanabha, president of the Ganakala Parishath after honouring Dr. Vageesh with the Ganakala Bhushana Award. “Vageesh, who is integral to the much-appreciated AIR auditions, has studied, sung, reflected and worked with the grammar of music for more than four decades. The Parishath is happy to recognise his lifetime achievements,” announced Mr. Padmanabha.
Dr. Krishna Vageesh, top-grade artist of AIR, now on an extension as the Deputy Director General (Music) Prasar Bharati, New Delhi, was born in 1954 in Mysore. Belonging to a family obsessed with classical melody for generations, he also boasts a lineage of love for Sanskrit, the Vedas and divinity attached to temple histories.
Music was deep-rooted with grandfather Srirangachar rubbing shoulders with M.D. Ramanathan as his classmate. Vageesh also took guidance from Tiger Varadachari. “M.D. Ramanathan visited us at Kathwadipura Agrahara in Mysore, a traditionally erudite neighbourhood where we were brought up. He once heard me sing the Kamalamba Navavarana kriti and had prophesied that I would make it big,” reminisces Vageesh.
Mysore has always been a vibrant cultural hub. “The echoes of naada and Veda in the Agrahara where I grew up still linger in my ears,” says Vageesh.
Three awards
Vageesh’s entry into Akashvani was just by chance. “I was a senior chemist with SKF and was frequently recording for Akashvani. Y.S.K. Rao, then Director, who listened to me on one such occasion, said, ‘Why don’t you apply for a job in Akashvani?’ Soon I was selected through UPSC as Programme Executive at New Delhi Akashvani in 1980. I was put in charge of Yuvavani,” recalls Dr. Vageesh. “I am grateful to stalwarts such as veena Doreswamy Iyengar and R.K. Srikantan, who encouraged me to be part of radio broadcasting. I bagged three annual awards for my musical productions, Navras, Silence in Music and Haathon Ka Tharaana,” he says.
Although his aunt H.S. Mahalakshmi of the Tiger Varadachari school was his formal guru, this gold medallist in M.A. (Music) expanded his horizon with guidance from faculty stalwarts such as Prof. Ramarathnam, Gowrie Kuppuswamy and R. Vishweshwaran. “They helped me reach where I am today,” says Vageesh. “I used to observe all the old-time greats too and that included their mannerisms. I loved imitating them and even adopted some of their techniques in my presentations,” he says. This analytical mind helped me pursue a doctorate in Dikshitar compositions.”
Vageesh was a winner all along, from music competitions in school and college, to State and reputed music organisations such as the Bangalore Gayana Samaja, Karnataka Ganakala Parishath and the Music Academy in Chennai. Winning the AIR competition earned him a B-grade status as a youth artist.
Vageesh considers his stint as the Assistant Station Director in charge of the music section at the Directorate a precious opportunity as he watched stalwarts such as M.S. Gopalakrishnan, Emani Sankara Sastry, Madirimangalam Ramachandran and T.K. Govinda Rao conduct their orchestral productions. The years as the Deputy Director, National Programmes and Sangeeth Sammelan later, was a huge learning curve as he discussed the orchestrated pieces with sitar maestro Ravishankar, Vijaya Raghava Rao and Anil Biswas.
Vageesh’s phase as a composer began 15 years ago, with a kriti in raga Ranjani. He has to his credit 100 compositions as varnams, kritis and tillanas. “I have a few CDs of my compositions too,” says Vageesh, who conducts Tyagaraja aradhana at his residence in Bengaluru every year.
source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / Ranjani Govind / February 23rd, 2017
A visual treat returns to Bengaluru after 16 years. Art aficionados will be able to relish 111 select works of artists at the National Gallery of Modern Art.
The 58th National Exhibition of Art, organised by the Lalit Kala Akademi, opens on Friday and will be on till March 19. The exhibition will comprise painting, drawing, sculpture, photography, installations, collage works, and printmaking in mixed media. The Akademi had earlier said it would shift the carnival out of Bengaluru because of NGMA’s reluctance to host it in the absence of approval from the Union Ministry of Culture. But the efforts of many artists, especially of Chi. Su. Krishna Setty, Administrator, Lalit Kala Akademi, who vociferously pitched to have the exhibition here, have finally paid off. “We will get to see the cream of talent. We had a special jury of 10 members who chose 111 works out of 6,000 applicants. Among them, 15 were further filtered for the prestigious National Academy Award that would be given away by Governor Vajubhai Rudabhai Vala on Friday. The awardees would be conferred ₹1 lakh cash and a citation,” Mr. Setty said.
“The award is a much-coveted one among artists as it earmarks the future potential of individual artists. We can trace the path of pioneers such as M.F. Husain and S.H. Raza, who were amongst the earlier Akademi awardees, who became icons of Indian art,” said Mr. Setty. While the Lalit Kala Akademi is spending nearly ₹1 crore for holding the event, the 111 artists would also take part in a special Art Conclave at the Chitrakala Parishath for nine days from February 25 to March 5.
“We have earmarked ₹80 lakh for the conclave where artists would create a new body of works where public is allowed to see and interact,” said Mr. Setty.
The art works selected for the exhibition reflect innovative use of mediums, diversity and relevance to subject matter in contemporary art, according to Mr. Setty. “Emerging trends and their influences are seen as paramount in the selected art works. Their style of rendition, creativity and new mode of expression in mixed media are a treat that people can get to see,” he said.
The awardees
Amongst the 111 chosen works, five are from Karnataka. “V.G. Venugopal’s painting in mixed media, painting of Suresh K. from Mysuru and the drawing work of Satish Multhalli from Haveri are a few ,” said Mr. Setty.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Ranjani Govind / Bengaluru – February 24th, 2017
Staqu is a brainchild of all tech-oriented co-founders. Since the beginning, we had all been super excited about Artificial Intelligence and the unique capabilities it possesses to solve the present-day conundrums. We had believed that the ground-breaking technology would be able to sell itself. Six months into the business, when we had hardly closed any sale, we realised it was time for some introspection and policy overhauls.
Instead of trying to sell the technology now, we disrupted that tunnelled vision of our own and started creating products instead, which explored the different facets of AI. The same led to the creation of our VGREP API, an AI empowered solution OEMs and e-commerce players could utilise to deliver a more intuitive and smart search experience to their users. Our first key collaboration with an OEM brand followed right after and that alone was the sign we needed to know we were on the right path.
These days, while unveiling the new features of this potent technology, we try to wrap it around a product and promote that solution, instead of the technology.
Atul Rai
(The author is the CEO and co-founder of Staqu, an Artificial Intelligence startup that allows users to search something by uploading its images)
source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Atul Rai / Express News Service / February 23rd, 2017
Masterpiece Students working on artist John Devaraj’s artwork at the Indian Agricultural Science Congress in Bengaluru on Tuesday. | Photo Credit: Sudhakara Jain
Titled tree of life, artist attempts to enter Guinness Book of World Records
The sprawling campus of the University of Agricultural Sciences-Bengaluru is set to have a 29-ft-tall terracotta tree, which is claimed to be the world’s tallest terracotta structure.
Bengaluru-based artist John Devaraj is trying to create the tree, titled ‘tree of life’, with the involvement of scientists and students of the university. Mr. Devaraj plans to seek entry for this structure into the Guinness Book of World Records.
The process of creating the tree of life has begun at the Indian Agricultural Science Congress, where nearly 2,000 scientists are deliberating on the theme ‘climate smart agriculture’. The creators of the tree are not only getting mud impressions of leaves from different species of trees on the university campus, but also the signatures of scientists on it. “It is like an endorsement from scientists and dignitaries that they would commit themselves to protecting farmers,” says B.N. Sathyanarayana, university Head of Horticulture Division, who is co-ordinating the artwork.
Mr. Devaraj said: “Our tree of life tries to send a message that the society will stand by farmers when the agriculture sector is going through crisis,” he says.
The artist has also come out with two paintings on either side of the entrance to the venue. While one depicts the bountifulness of nature, which was extracted by humans, the other represents a sorry state of affairs in which a farmer is being crucified to his plough.
source: http://www.thehindu.com / The Hindu / Home> News> States> Karnataka / by B S Satish Kumar / February 23rd, 2017
As many as 600 women artistes will present all major folk forms of the State for three days starting Tuesday. What makes the event special is that many of them are forms traditionally performed only by men.
Marali Janapadakke (back to folklore) on the premises of Ravindra Kalakshetra on Tuesday will have women performing not only Sobane (sung during auspicious occasions like weddings), but also performing Veeragaase and Karadi Majalu rarely performed by women.
According to Pichalli Srinivas, chairperson, Karnataka Janapada Academy, it is an attempt to attract young women to the rich folk art traditions, some of which are on the verge of extinction. All performers are trained by the academy and this will also empower women economically, he said, considering the demand for folk artistes in even events like IPL.
He said that ₹ 1.30 crore has been spent on this project. Folk experts, including Padma Shri award recipient Sukri Bomma Gowda have trained them. Workshops were conducted in five revenue divisions. “All artists will be given folk instruments and costumes to help them perform on their own in future,” Mr. Pichalli said.
“Young girls are now beating Tasharam Dolu, a drum women traditionally were not allowed to touch,” said Mr. Pichalli. Other forms to be displayed include Puravantike, Halakki Suggi, Veeramakkala Kunita, Koragara Dolu, Mulluhejje Kunita, Nandi Dhwaja Kunita, and others.
Chief Minister Siddaramaiah will inaugurate the three-day programme of the academy to re-invent dying folk art forms on the premises of Ravindra Kalakshetra on Tuesday. Apart from performances, experts in nine traditional folk arts will make a presentation on the richness of various traditions, including Manteswamy, Male Madeshwara, Mylaralinga, Biligiriranga, Halakki and so on.
Transgenders too perform
In what can be described as first attempt of the kind, transgenders have also been trained in folk forms. Over 40 selected transgender artistes in four groups have undergone rigorous training in Goravara Kunita, Veeragaase, and Dollu Kunita. “We hope that this will help the community earn through folk arts,” said Pichalli Srinivas, chairperson, Karnataka Janapada Academy.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Bengaluru / by Muralidhara Khajane / Bengaluru – February 21st, 2017
Bengaluru had its first date with an air show 106 years ago
In 1911, Jules Wyck and Belgian adventurer Baron Pierre De Caters were the two pilots who brought their aircraft to Bengaluru
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Bengaluru :
As the curtains were drawn on the 11th edition of Aero India on Saturday, thousands who thronged the Yelahanka Air Force Station need to know that they are not the first patrons of such a show. In fact, they are not even the first generation.
Bengaluru, India’s aviation capital, had its first date with an air show106 years ago. February 3, 1911. Cricket hadn’t become the religion it is today in India. The Chinnaswamy Stadium was a barren land, and parts of Bengaluru were still a functional cantonment.
While people from districts neighbouring Bengaluru had made their way back then to catch what the organizers had called a “miracle in the skies,” Bengaluru’s quest for the flying machines remained intact in 2017 with at least three lakh people reported to have visited the aero show.
In 1911, Jules Wyck and Belgian adventurer Baron Pierre De Caters were the two pilots who brought their aircraft to Bengaluru, for a show that garnered a huge response. “But police had been prepared to handle the crowd here, after things had gotten slightly out of hand in Kolkata,” historian Vemagal Somashekar said.
If the elaborate preparations of the organizers a century ago are any indication then it only shows that a lacklustre event, like the 2017 edition of Aero India — just 53 aircraft on display and four aerobatic display teams — may fail to garner similar response in the coming years.
(The poster in Urdu, issued by merchants and businessmen from the Baidwadi (present day Shivajinagar) area. Photo Credit: fly.historicwings.com)
The fact that organizers did not reveal the right number of aircraft at Aero India 2017 is an indication that even they know it. When TOI enquired about the details of the show and the preparations in the run-up to the show, Mayaskar Deo Singh, director, Defence Exhibition Organisation, the nodal government agency organizing the show said: “An official release with final numbers on participation and other details will be issued so that there is no confusion.”
The official release days before the show had claimed that the number of aircraft participating would be 72, as many as the 2015 show, rated much better, had seen. Answering a specific question, defence minister Manohar Parrikar, however, had said on February 14: “There are 53 aircraft participating…”
Also, there are ways to watch the show for free, hundreds of citizens who stood with their cameras on terraces, the highway, some even got hospitality at villages around the air base.
But organizers in 1911 had figured out a plan for such free viewers. A poster in Urdu, issued by merchants and businessmen from the Baidwadi (present day Shivajinagar) area, reveals that the organizers, who had learnt that people would not buy tickets as they thought planes could be spotted even otherwise, had organized the show in such a way that only those with tickets (worth 25 paise each) had a one-hour exclusive.
“…Between 3.30pm and 4.30pm the planes will fly at a height of just 30 metre which only the ticket holders can see. For a few minutes after 4.30pm, the planes will fly a little higher,” reads a translation of the poster documented by the state archives department.
Mustafa Khan (mandi merchants, Ibrahim Sahib Street); Abdul Razak (businessman, Modi Road); Ibrahim Sahib (Meenakshi Kovil Street), Abdul Razak Sahib (steel merchant, Narayan Pillai Street) and Mastan Khan from Baidwadi (present day Shivajinagar) were the men who had signed off on the poster —they are an indication of how Bengaluru had a good trade set-up.
While TOI got a look at the poster, permission to take a photograph was denied. The poster, which has been sourced from fly.historicwings.com, further reveals as Somashekar had pointed out.
Police had been ordered to patrol major roads leading to the venue such as South Parade Road (now MG Road), Brigade Road and Church Street and even in Cubbon Park.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> News> City News> Bangalore News / Chethan Kumar, TNN / February 20th, 2017
The Sustainable Development Forum and the Pune-based Kirloskar Vasundara Institution are jointly organizing a two-day international environment film festival — Kirloskar Vasundhara International Film Festival — that begins today at the Srujana Rangamandira in Dharwad .
The aim of the film festival, which is being held in Dharwad for the first time, is to create awareness and concern for the environment. A film show, lectures and debate by the scholars will all be held at the film festival.
Social and environmental worker, Shivaji Kaganikar, from Belagavi, will inaugurate the film festival, at which he will be presented the Vasundhara Award. The Vasundara Mitra will be presented to the Pampayya Malesamath of Hampi.
In the run-up to the fest, several competition, with the environment as a theme, were held in the schools and colleges of Hubballi and Dharwad. FILMS TO BE SCREENED AT THE FILM FEST
February 18
India’s Western Ghats
Nagarhole
Varasa
Miracle Water Village
Orange Pennant
Dholera Sir
Don’t Buy Trouble
Story of Bottled Water
Not in my Backyard
All is Well
Umed
North Eastern Diaries
Vedavati Rejuvenation
February 19
Kali River
Guppies Journey
Future Starts Today
Climate Solver Boond
Blocks of Green
Towards Sustainable Living
Tiger Queen
A Plea form Himalaya
I Matter
Together Possible
Crazy on the Rocks
Living with Change
The Bitter Truth
Crabs of Karwar
Pakke Paga
Khet Chhorab Nahi
Path to Resilience
Hamburg
— Manjunath Somaraddi
source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Hubli News / TNN / February 18th, 2017
