GOLDSMITHS: A VANISHING TRIBE

A visit to any temple in India reveals a wealth of sculptures with intricately carved jewellery. It is evident from these sculptures that Indians have been fond of gold jewellery since thousands of years. The intricacies of the designs even on stone figurines show the craftsmanship of not only the sculptor but also that of the goldsmiths of that era from whose jewellery the sculptors may have derived inspiration. Not just sculptures, but ancient seals and paintings too reveal a wealth of ornate jewellery designs of those times. The craftsmen were proficient not just in creating gold jewellery but also in setting precious stones, ivory, pearls in gold.
Mysore has its own niche of artisans who have spent their lifetime creating gold ornaments. This Weekend Star Supplement takes a walk through the bylanes of Kurubarageri which has been home to hundreds of goldsmiths since ages.

A walk along goldsmith lane

A jewellery is worn as an adornment, a symbol of societal status and also as a talisman on any part of the body. And while admiring the beauty of the yellow metal and the designs etched on it, most of us never stop to give a thought to the hands behind the beautiful and delicate designs.
Traditionally, people in the country have invested at least a portion of their savings in jewellery as both investment and for their womenfolk. Gold has been, and will remain, the main criteria for both beauty and wealth and Indian artisans are skilled in making exquisite jewellery pieces.
Sleepy cities like Mysore in which people mostly went to small gold artisans (or akkasaligas in Kannada) for getting jewellery made as per their choice, have now begun looking towards glittering jewellery showrooms and well-known brands.
A walk through the bylanes of Ashoka Road in city brings this reality to the fore. The once-busy roads are now forlorn, with most shops of goldsmiths closed down permanently and the new generation unwilling to take up the work, moving on to other jobs.
Many goldsmiths of the area whose families have been engaged in jewellery making since many years, say that nowadays they get orders for jewellery making mostly from jewellery shops. The habit of people visiting their workshops for ordering their custom-made jewellery has lessened and only those who have been coming since many years continue to do so.
Explaining the procedure they follow in making jewellery, Dhananjaya, whose family is in the business since 60 years, said the steps include filing, soldering, forging (beating and hammering into desired shape), casting and polishing the finished product.
They get flattened pieces of gold which they put into moulds or design with hand, painstakingly carving required designs into the malleable gold which has been hardened by adding copper. It is to their credit that the goldsmiths, after years of working, attain a skill much better than the precision machinery, and that too with just their hands and eyes.
Well into his ripe age, Janardhan, who has been making gold jewellery since he was about 14 years of age, said though the advent of machinery has affected their livelihood, it is insignificant as most machines are expensive and many jewellery shops, except the big companies, couldn't afford them. Such shops depend on the goldsmiths to fulfill their orders.
When asked if youngsters are learning the trade, he said that goldsmithing is a skill which is best learnt when young.
It takes about six to seven years to learn the basics of the delicate art and many more years to acquire expertise. Earlier, young boys would come to learn the trade and now, after the Child Labour (Prohibition) Act came into effect, the goldsmiths cannot employ young-sters at their shops. Hence nowadays, no youngsters are showing up to learn the art, he says adding that it is not an art which could be learnt by adults, who normally lack the patience much needed for the work.
Expressing doubts about the future of goldsmithing, Janardhan said the dwindling interest to learn the trade is a natural process, though it is regrettable that this is already resulting in the vanishing of the art.
When asked about the jewellery making courses offered by the colleges, he said though many youngsters are joining the course which is quite modern with the use of machines, it will never come on par with the traditional art learnt under goldsmiths. This is because the colleges teach only a part of the trade in the course.
The graduates who come out of the colleges cannot take up the business of making jewellery independently as they would lack the skill required for other processes. They would either have to join a big company or workshop or will have to collaborate with other artisans, he added.
Parthiv, another artisan who employs six men for show work or embedding precious stones into jewellery after it is cast and designed, says though gold jewellery can be made even with the help of machines, the next step, that is fastening stones into jewellery, has to be done by hand.
Allam, an artisan who gives a final and glittering touch to gold ornaments by polishing them, seems busy with his work giving gold glitter to a silver anklet (gejje) through electroplating. About 15 years of polishing ornaments has not managed to wipe off the smile from his face as he explains polishing procedure using nitric acid and cyanide.
The goldsmithing art may be vanishing, but there is still hope in the hearts of the artisans who toil night and day to make ends meet. Their efforts and fine skills are however, rendered unackn-owledged by the people as glitt-ering showrooms of more fam-ous jewellery brands mask the humble workshops of artisans.

'Singing is my passion': Lakshmi Nataraj

A bird doesn't sing because it has an answer, it sings because it has a song, said poetess and actress Maya Angelou describing the happiness found in singing. Many singers sing just for the joy it brings to them, as opposed to some to whom singing is just a profession as another. The young and versatile singer Lakshmi Nataraj, to whom Mysore is the mother-town, is one among the former class of vocalists who discovered that music was her passion and a part of life.

Lakshmi receiving the Best Female Upcoming Singer (2010) award from film actress Nidhi Subbaiah and other guests during the Mirchi Music Awards ceremony in Chennai recently.

Those who have watched ETV's noted music programme Ede Thumbi Haaduvenu would remember hearing the musical voice of two sisters who made both the judges and the connoi-sseurs sit up and take notice — Lakshmi and Indu Nagaraj — in 2005. But then, many did not know that the sisters would not only win the contest but also go on to make their indelible mark in the hearts of music-lovers. The older among the two, Lakshmi, was recently honoured with the State award in Best Playback Singer category for the song 'Omkara' in the film Aptharakshaka.
Lakshmi is the daughter of city's renowned vocalist and flau-tist Vidwan C.A. Nagaraj. Growing up surrounded by music, she and her sister Indu started learning music when they were as young as three years of age. Lakshmi and Indu, also known as Chilkunda Sisters after their birthplace Chilkunda in Mysore district, had their initial training in music from their grandmother late Vidushi C.S. Satyalakshmi, who was a vocalist, violinist and a flautist and later under their father Vid. Nagaraj, who is serving as a lecturer in English Department at Maharani's PU College. Their mother H.S. Radha is also a vocalist.
Now married to Nataraj and residing in Bangalore, Lakshmi, who is a graduate in B.Sc. (Microbiology), gave her first concert in 1995 in Gundlupet when she was 7 years of age along with Indu who was 5 years.
She has since traversed long distances in music by giving more than 300 concerts in the State, apart from places outside Karnataka like Delhi, Cochin, Madhurai, Kerala etc. Lakshmi has captured the imaginations of audiences at Doordarshan, Suvarna TV, Udaya TV, Akashavani also. Back home, she has enthralled the Mysore Dasara audience on the inaugural day at the Durbar Hall of Mysore Palace, apart from performing at the Bangalore Habba. Presently, Lakshmi is a 'B' High Grade artiste for All India Radio.
Apart from the State award and Ede Thumbi Haaduvenu prize, Lakshmi has been honoured with the MSIL Gaayaki Award in 2002 Nityotsava competitions telecast in Bangalore DD; natio-nal-level Youth Music Fest from AIR; State-level Kishora Prathibhe Award in Karnatak classical music from Govt. of Karnataka.
She bagged first prize and gold medal in two consecutive years (2002 & 2003) in State-level Karnatak music contest held in Kundapura by Sangeetha Bharati Trust. She has also won the first prize in All India Inter-University Music Contest held at Kolhapur, Maharashtra.
She came into limelight once again when she emerged as the winner of Confident Star Singer contest organised by Suvarna Channel in 2009, for which she received an apartment worth Rs.40 lakh in Bangalore as prize.
The same year, she was honoured with Aryabhata national award for her achievements in Karnatak music field.
Lakshmi's laurels do not end here. Being a canorous singer, Lakshmi has performed with stalwarts like L.R. Eshwari, P.B. Srinivas, Dr. S.P. Balasubramanyam, C. Ashwath, Ratnamala Prakash and B.R. Chaya.
With her voice and singing prowess enrapturing not just the public but also music directors of Kannada film industry, Lakshmi entered the glamorous world of silver screen, though staying behind the screen, and has sung under the music direction of Hamsaleka, Guru Kiran, Mano Murthy for films 'Meera Madhava Raghava,' Tata Birla, Goutham, Manasare, Aptharakshaka etc.
When SOM asked Lakshmi about the encouragement she received from the veteran singers on and off stage, she said that singing with old-timers was an entirely different experience. She could not forget the praise she received from P.B. Srinivas, she added with a smile.
On her ambitions in the Sandalwood, Lakshmi steadfastly said her passion was singing and she would stick to playback singing and stay away from acting, though the industry offered a lot of encouragement.
Expecting a set answer given by all Kannada singers that Kannada film industry was importing more singers from Bollywood and other States for singing Kannada songs thus discouraging local talents, it was a pleasant surprise to hear from Lakshmi that Kannada singers were not being put on a back-burner but were instead getting good opportunities in Sandalwood.

Mélange of tribal art

Pics by M.S. Apuurva

Ethnic groups or indigenous peoples of each region around the world, be it the tribals of Western Ghats or that of Amazon forests, have deep-rooted cultures quite distinct from each other and from the urbanites. Similar to their customs, their intangible culture which includes songs, music and handicrafts, dresses and gods too differ. Their expressions, devotions and beliefs are manifest in their art works each of which tell a unique story by itself.
India is host to hundreds of tribes. Though most tribals have been rehabilitated and live in cities forgetting their native culture and adopting the urban one, there are some tribes who refuse to move out of their habitats and continue to nurture their traditions by teaching them to the younger generations and by strictly following them.
Many NGOs and the government departments are trying to protect these traditions and giving them an exposure by conducting workshops, exhibitions etc. Indira Gandhi Rashtriya Manav Sangrahalaya (IGRMS) or the Museum of Mankind, under the Union Ministry of Culture, is one such institution which is striving to bring tribal talents to mainstream society.
The Southern Regional Centre of the IGRMS at Wellington House on Irwin Road in Mysore, is doing its part since about 12 years in bringing the tribal artisans and providing them a platform.

As part of this year's International Day of World's Indigenous Peoples (Aug.9), one such workshop has begun in Wellington House since Aug.2 with the participation of about 16 artistes from 10 different States. The workshop will end on Aug.11. The theme of the Day, "Indigenous designs: Celebrating stories and cultures, crafting our own future," is being celebrated through this Anantha Yatre-2. The workshop on traditional knowledge systems will also include a three-day cultural programme by tribals from Karnataka, Tamil Nadu, Madhya Pradesh, Chattisgarh, Andhra, Kerala, Nagaland, tripura, Uttarkhand, Gujarat, Assam etc. on Aug.9, 10 and 11 from 4 pm onwards.
When we visited the venue, artisans were bent over their paintings, riveted to the art to bring perfection.
Tribal paintings
Mandana painting: Paintings by tribals differ in every aspect including the choice of colour, designs and stories. Rajasthan's Omprakash Meena, belonging to Meena tribe, one of the oldest tribal communities, is at Wellington House to create a beautiful Mandana painting. A type of rangoli, the drawing is mainly done by people Malwa, Nimar and Tanwarghar regions on walls and floors of their huts. It is now being done on canvases. To form the base, they smear a paste of red clay and cow dung. The drawings done in white colour in chalk depict images of animals, plants, birds, decorative designs with dots and dashes etc. One of their favourite inspiration is the peacock painted in a variety of styles and shapes. All women of Meena tribe learn this art to beautify their homes.

Lacquerware

Pithora: One of the earliest cave paintings of India dating back to thousands of years, Pithora paintings are prevalent in Rathwa community who live in Gujarat borders and Madhya Pradesh. The Bhils and Bhilala tribes paint the pictures of the lifestyle of the tribals with horses, camels and cattle dominating the pictures. Hunting, ploughing, cooking, drawing water from the well and other acts of domestic life are depicted with bright red, green, yellow colours. The 57-year-old artist Mansingh Thanji from Gujarat's Baroda district says every house in his Malaja village has this traditional wall painting. In the workshop, he has painted gods and stories of animals. One of the paintings of another artist Ramesh Bharia depicts a mongoose, after fighting with a snake, eating a herb for its injuries.
Apart from story-telling, one meaning attached to Pithora is an idea of a map drawn to show the difficult and dangerous terrain of their area and guide the traders. These paintings are also considered sacred and are painted on the walls of the main hall of homes after consulting with local tantriks. The painters are called Lakhadas and completion of a painting is accompanied by singing and dancing. The name is said to have derived from Pithora Baba, the reigning deity of the region.
Colours used in traditional wall painting are derived by mixing plant pigments with milk or liquor obtained from mahua tree. The base is a mixture of cow dung, mud and chalk powder.
The art of Chumbeni Kikon from Nagaland has brought alive the Naga warriors with their typical
Naga painting: Chumbeni Kikon from Nagaland's Kyong tribe has brought alive Naga warriors with their typical attire including dao (sword used both for head-hunting and cutting crops), spear, hornbill feather as embellishment on head gear made of boar's hair etc. She says the tribals never kill a hornbill as they believe that if a male hornbill is killed, the female and their young ones will die of hunger as the male is the food provider for them, indicating the love for wildlife and enivorment concern among the indigenous people. Chumbeni also says in earlier days when head-hunting was prevalent, the hairs of the women who were killed were worn by the hunters from behind as a matter of prestige. She claims there are 17 different Naga warrior tribes including Kyong Naga, Ao, Sumi and Konyak.
Korieng: Rangsel Rongneisong from Manipur's Koireng tribe, who is a skilled Korieng artist, says his art work depicts the day-to-day activities of the tribals including dancing, playing musical instruments, cooking like drums and an indigenous bagpipe, hunting deer etc., apart from preparing a drink by fermenting rice.
Kabui: The art work of Kabui tribe in Manipur includes traditional motifs picturing Kabui rituals during festivals, sun, moon, stars, rainbow etc. A half-drawn art of Gaisingduan Gangmei indicated a moonlight romance between a girl and a boy of the tribe in the midst of nature, showing the approval of natural elements.
The tribal art, mostly in still-life, had a balance and symmetry yet seemingly unsymmetrical which appeals to the creative eye at a second glance with the immense creative imagination of a people who live in forests and are largely uneducated, and thus unswayed by outer world.

Other tribal art work: A walk on the lawn of the Wellington House in pattering rain brought us to artisans engaged in wood work, clay models, embroidery and pottery.
It was a delight to see two aged women from Andhra Pradesh engaged in creating lacquerware delicately on glowing coal. K. Ammalu and K. Sundaramma are adept in melting lacquer, the sealing wax obtained from certain trees, and coating them on wood artifact, creating a variety of designs with thin strips of lacquer directly melting them over the artifact and then delicately forming designs with the help of pin and comb etc.
Dongcha Kom from Manipur is here to demonstrate their style of handloom weaving. Dongcha, who belongs to Kom tribe, says it requires more than a week to weave a three-metre long cloth and the embroidery is very difficult as each line has to be measured before stitching.
R. Chikkasiddaiah from Kollegal, who is creating bamboo artifacts, says he was left in the lurch after the sugar factory he was working in closed down in 2006. With no other option, he took to his ancestral art after receiving training in bamboo art work at the 'Bidiru Siri' workshop and was encouraged by the then Hunsur DCF Vijaykumar. Then he started making various artifacts using bamboo. Today, this 55-year-old artisan from Medar tribe is good at making pen stand, puja basket, flower vase, lamp shades, bouquets, pen holders, hair clips etc.



Other artisans at the workshop include Ram Kumar Shyam and Santhosh Parasathe from Madhya Pradesh engaged in wood work, Rajeshwari and Babyamma from Ooty creating terracotta artifacts, Bujjiamma and Mangamma who do Lambadi art on clothes etc.
IGRMS Southern Regional Centre In-charge Officer J. Vijay Mohan says all the works of the tribals participating in the workshop will be displayed at Wellington House on August 9. The public can also visit the workshop from 10.30 am to 5.30 pm.
The melange of art work and artifacts leave the visitor enchanted in a world of colours and nativeness which bring to mind the value of indigenous culture and tradition and the necessity of protecting it.

YAKSHAGANA BRINGS MYTHOLOGY ALIVE

Jayaram Bhat

Long ago, before the invention of silver screen and small screen, the townsfolk derived entertainment from dramas staged by artistes on stage. The lives of villagers were filled with work from morning till evening and at nights, they listened to gamaka vachanas, recitals of Mahabharatha and Ramayana and various folk art forms.
Yakshagana ruled the summer nights where the whole village — young, old and womenfolk — squatted on the ground through the night to watch yakshagana, being performed mostly by amateurs of the village and sometimes by professionals. Yakshagana is still the most favourite art form and pastime for the coastal people, with many families arranging yakshagana bayalatas during family functions for the entertainment of the relatives and as vows, which has become a tradition.
Forms of yakshagana
Yakshagana forms vary in different regions across the State. There is the Moodalapaya staged in some areas of Hassan, Mandya, Mysore, Tumkur, Chitradurga and Uttara Kannada and the Paduvalapaya staged in western and northern parts of Kerala, Dakshina Kannada, Kasargod, Udupi and also in Uttara Kannada. Paduvalapaya yakshagana has the well-known Tenkuthittu and Badaguthittu apart from Uttara Kannadathittu.
Once considered a common man's art form by the scholars, yakshagana has now enraptured people from all walks of life. It is the only art form which has retained its traditionality in the matter of dresses and story-line. Apart from a few experiments, it has also clung to mythological stories and epics, depicting them through the navarasa expressions including anger, serenity, courage, romance, terror, comedy etc.
Temples have been the cultural and religious centres of the land and thus, most yaksha-gana troupes have been patronised and carry the name of famous temples. The 400-year-old yakshagana art, which was earlier limited to Karnataka and was staged in Kannada and Tulu, has now spread its wings beyond the State and country with the art being staged even in America.
The Karavali Yakshagana Kendra of Mysore, which was started by yakshagana enthusiasts Dha-nanjay and Purushotham Gowda in 2008, has been doing yeoman service to yakshagana field by teaching the two most evolved forms of the art — Tenkuthittu and Badaguthittu. At present, about 30 persons are learning the art under the aegis of the Kendra at Vishwamanava Vidyaniketana in Ramakrishnanagar in city. Asked about the difference between the Paduvalapaya and Moodalapaya forms, Dhananjay said the latter was still in its unevolved folk state whereas the former has seen many experimentations.
The Kendra had organised a blend of Moodalapaya and Tenkuthittu yakshagana shows on Aug.21 at Veene Seshanna Bhavan in Kuvempunagar as part of Sri Krishna Janmashtami. It was sponsored by Late GTN and Late Shikaripura Harihareshwara Samsmarana Samithi, Bhasange Balaga and the family of GTN. Artistes of Sri Hemambika Yakshagana Kala Sangha, Hosa Hemmige, T. Narasipur taluk and Sri Mahaganapathi Yakshagana Mandali of Nidle, DK district, staged three shows — Sri Krishna Tulabhara, Airavatha and Raktaratri on the day.
S. Ramakrishnaiah Siribaagilu was the Bhagavatha for Sri Krishna Tulabhara. Ambemoole Govinda Bhat is the poet. Renowned yakshagana artiste Kumble Sridhar Rao (Sri Krishna), Ambaprasad (Satyabhama), Vasanthagowda (Devendra), Balakrishna Maniyani (Narada), Gangadhara Puttur (Rukmini) and others formed the cast. The story tells of the pride of Krishna's wife Satyabhama and the humility of Rukmini.
The story of King of Gods Indra's elephant Airavatha (Poet: Dr.P.K. Rajashekar) was presented by the artistes later. H.C. Chowdaiah was the Bhagavatha. Artistes Boraiah (Dharmaraya), Maneya (Bhima), Chikkachowdanayaka (Arjuna), Rama Shetty (Kunti) and others were in the lead.
The last show was the story Raktaratri (Poet: Balipa Narayana Bhagavatha). S. Ramakrishna Mayya Siribagilu. Kumble Sridhar Rao as Sri Krishna, Vasantha Gowda as Arjuna and Nidle Govinda Bhat as Bheema captivated the audience.
Costumes
Costume in yakshagana is rich in colour and includes heavy make-up. Each character's costume depends on the story or prasanga. It also depends on yakshagana style or thittu.
Badaguthittu ornaments are made out of light wood, mirror work, coloured stones. Lighter materials like thermocol are used nowadays.
Typical yakshagana costumes consist of a head-gear (Kirita or Pagade), Kavacha that decorates chest, Bhuja Keerthi (armlets) that decorate shoulders, and belts (Dabu) all made up of light wood and covered with golden foil.
Mirror works on these ornaments help to reflect light during show and adds more color to costumes. These armaments are worn on a vest and cover upper half of the body. Lower half is covered with Kachche that comes in a unique combination of red, yellow and orange checks. Bulky pads (cloth) are used under Kachche.
Bannada Vesha that involves detailed facial makeup is used to depict monsters. It may take 3 to 4 hours to complete make-up for certain character. Sthreevesha differs in the use of saree and other decorative ornaments.
Earlier, women's roles in drama and yakshagana were mostly played by men. Though this trend decreased in dramas and women themselves started donning the role of women characters, it is still prevalent in yakshagana as can be seen by the portrayal of Rukmini and Draupadi by Gangadhar Puttur, Kunti by Rama Shetty etc.
Unlike many folk and traditional art forms which are waning with the onslaught of modern forms of entertainment, Yakshagana is being increasingly patronised by the public for its uniqueness and strong artistry.

AN EVENTFUL MUSICAL JOURNEY

It is said that music is meditation. And meditation needs perseverance. Such perseverance in the field of the lesser-known music therapy has taken Dr. Padma Murthy, senior disciple of great composer Padma Bhushan Mysore K. Vasudevachar, on to a long and eventful musical journey.
Hailing from a music family, Padma Murthy was born in 1932 to Jayalakshmi and T.S. Rajagopal Iyengar, freedom fighter, educationist, Supreme Court advocate and art patron of Mysore. Popularly known as Mysore R. Padma, she gave her first concert at the age of eight in 1940 in Mysore with the great maestro T. Chowdaiah on violin and was hailed as a 'child prodigy.'
Padma was guided in research by Dr. H.N. Murthy, HoD of Clinical Psychology, NIMHANS and Prof. Dr. A.V. Shanmugam, HoD of Communication, Indian Institute of Management, Bangalore. She was the first person to get a Ph.D in Psychology in Music. She was also the first musician to popularise Kannada Devaranamas in 1945-46 through Columbia Gramophone records. An artiste of Akashavani and Doordarshan, she has trained thousands of students both in classical and light music.
Dr. Padma also has a Doctoral Degree in Musicology from the US and Doctor of Education from Belgium. She was trained in Hindustani Music by Palace Vidushi Nagamma and in Veena by Vid. R.S. Keshavamurthy.
A Member of the Expert Committee of Madras Music Academy, Padma has been associated with more than 35 Universities, guided doctoral research work, written numerous articles and 10 books on music including text books for the University and Vidwat exams, brought out music albums including playing Veena in Bharathiya Vidya Bhavan-Bangalore. She made a guest appearance as a music teacher in film Malaya Marutha.
Well-travelled, she has represented India in seven International Music Therapy Conferences held at USA (Chicago, Atlanta, California and Dallas), Italy, Germany and Netherlands. Accompanied on violin by her Defense Officer (Retd.) husband Wing Commander Vidwan T.S. Murthy, she has given music concerts at London, Switzerland, Australia and USA.
At present, she is continuing music therapy research at Sri Ganapati Sachchidananda Ashram. Here Dr. Padma Murthy travels on a short journey of her life in music:
Shwetha: Can you recount your doctoral journey in music ?
Dr. Padma: In 1972, I was in Kanpur with my husband who was serving in Air Force. There was no South Indian music in North India then. So I had to give up music for about 30 years. Then somebody suggested me to take up psychology and my husband brought me books. At first I thought it was quite difficult but then decided to take it up as a challenge. At that time, I never thought I would combine Psychology and Music.
Prof. Nikam, who was the VC at the University then, gave permission to take up Psychology. But the timings were difficult and I had to study hard apart from looking after my husband and children. I passed the first year. At that time, military personnel were transferred every two to three months and it was difficult to keep up. A Professor from Aligarh University who had come to supervise the exams, called me after the practical exams and said I had good capacity to learn and should meet Dr. Parameshwaran in Hyderabad. When I went to Hyderabad, Dr. Parameshwaran straight away offered me a lecturer's post. I refused saying I just wanted to study. But this attempt too failed as my husband was transferred again.
Then I decided to return to Karnataka and here, I met Dr. R.M. Varma, the then Director of NIMHANS. To conduct research in music therapy, I myself had to set up the lab and establish all facilities as it was a new area. I got a Fellowship from the Govt. of India to do a Doctorate in Psychology and Music therapy for eight years. Rallapalli Anantha Krishna Sharma was my guide. I became the first person to get a doctorate in Psychology in Music from Bangalore University.
When I got the doctorate, many people mocked at me saying that I should have remained just a musician. They said there was no use of doing research in music and nothing useful comes out of music. It was at that time that BVK Shastri (renowned music critic) encouraged me.
Earlier, the University did not register Psychology in Music as a Ph.D subject and the students taking it up would be made to run from Psychology Department to Music Department and vice-versa. A similar incident happened to another girl who had taken up 'Reincarnation' which came under Philosophy. Then we changed the terminology to 'Karnatak music in a scientific approach.'

Shwetha: How did legendary violin maestro T. Chowdaiah influence you?
Dr. Padma: I was familiar with Chowdaiah since childhood. I performed with him and T.M. Puttaswamaiah at the young age of 8. He encouraged me so much that he remained subdued during concerts and gave me a platform. His stature was great in music as well as humility. One day he just arrived at my home with a veena and gave it to me. His was such a simple heart. He never made me feel inexperienced and young while giving concerts with him.

Shwetha: Tell us about Music Therapy.
Dr. Padma: In music therapy, music is mainly used to get solace from pain and disease. The two parameters considered are anxiety and depression. NIMHANS conducted a study in this regard with Central Sangeeth Natak Academy — as to what type of music can be used for which type of depression.
We use sound in various combinations and swaras suitable for a person. He or she should be able to communicate with the psychiatrist. Apart from music, the therapists also use other methods like Siddi, Mani Nak-shatra, Horoscope etc. Not all musicians can conduct music therapy. Every cure should be credible and accepted by the scientific community and this will happen only when experimental results match. For example, when a music therapy experiment is conducted both in Germany and India, both results should match. There is a Music Therapy course in America just like a doctor's degree. They have to study Physiology, Anatomy, Psychiatry etc. apart from music and they are employed in hospitals. In Psychology, they have to know about a patient's mental status. They have to study if the patient can understand, communicate or respond and then decide which type of music can be used for therapy.

Shwetha: How do the therapists decide which type of music should be rendered to patients?
Dr. Padma: There are certain criteria to decide it. A patient comes to us only after their psychiatrist sends them. Before releasing medicines like Penicillin to the market, they conduct many experiments; but the same cannot be done in music. Each type of music and a person's reaction to it varies. For example, a person can listen to one kind of music at one time and undergo mental changes; for example, they may remember something suddenly. They conduct such a therapy in foreign countries.
In the Sangeeth Natak Academy, Bangalore, we took eight patients and selected Kalyani raga (in Hindustani, Yaman raga). We tried to evoke response from the patients — how do they react to the raga and if they do react like normal people, how do they communicate about it? If I ask how did you like a raga, you may give varied responses — it was pleasant or that you didn't like it or it was harsh etc.
But a mentally ill patient cannot communicate like that. They cannot tell what happens to them when they listen to it. So we prepare a questionnaire. What we found later is that Kalyani raga brings solace and the patients demanded it more.
Some NGOs like Asha Niketan in Bangalore bring slum kids to their institute, bathe them, change their dresses to uniforms and teach them. There we started teaching them music, beginning with National Anthem and Kannada songs. They learnt them enthusiastically and performed in some public platforms. As they were physically challenged, it was difficult to teach other physical activities like dancing, but anybody can learn music and this gave them confidence. Some of them can't communicate and feel bad because they can't; some are not accessible to psychiatrists as they go into stupor. Music helps such persons as when everybody sings in front of them, after some time they too come out of their stupor and start singing. Here the skill of a therapist is very important.
When I was in Tirupati, I saw a news item which stated that Ananda Bhairvai raga cures stomach-ache. An attendant who read this, came and asked me: "Madam, they say Ananda Bhairavi cures stomach-ache. Please give some of that raga." I asked him, "What do you want in that raga? Do you want the kruthi, varna, raga, scale, swaragathi?" To this he replied, "Madam, I don’t know what that is, just give me that raga." He had absolutely no idea that Ananda Bhairavi was a raga in music and not a medicine. Such is the knowledge of commoners and it is our duty to enlighten them.

Shwetha: What about your experiments in the field?
Dr. Padma: I have carried out many experiments on Psychology in Music. I did an experimental study on II BA girl students in the age group of 20-22 years in Maharani's College about their psychological changes and inclination towards music.
In 1984, I attended Music Therapy Conference in Delhi in which 3,000 delegates from 34 countries took part. They asked me to conduct a test on the subject. About 40 doctors, psychologists, musicologists and others took part. I am happy to say that I got 92% match in the results. The delegates were so happy that they carried the experiment and result to their country.

Shwetha: How did you meet Sri Ganapati Sachchidananda Swamiji?
Dr. Padma: During 1991, I met the Swamiji in Bangalore. His concert was arranged in Chowdaiah Memorial Hall and mine was in Saraswathi Gana Sabha on the same day. The Swamiji who heard about my programme, said, "Let her come and perform with me." Thus began my association with the Ashram and the Swamiji’s music therapy programmes.

Bamboo artifacts to beautify homes

 Every city has its own roadside vendors, be it fast food, earthen ware and decorative items, toys, idols of Gauri-Ganesha and other gods according to season or bamboo products ranging from vases, decorative items to chairs and other furniture. It is the cheapest way these artisans can sell their products as they do not have to pay for shop rent, tax or any other facility like electricity. It also facilitates direct artisan-customer relationship because of which the artisan does not lose money to middlemen.
Mysore's roadsides too have many such artisans setting up their shops selling the products they make in makeshift tents nearby. A walk through Valmiki Road near Vontikoppal takes one to a group of artisans who make their living by selling attractive bamboo products.
The eye-catching intricately-woven bamboo baskets, cases and vases line the roadside alongside thin raw bamboo strips strewn for drying in the sun.

A group of 40 members (which includes many families with women and kids) are engaged in this work since decades. One of the artisans Ramdas, who spoke to SOM, said the group originally hails from Nellore in Andhra Pradesh. They come here for four to five months and bring the bamboo along with them for making the artifacts.
They have been selling bamboo artifacts in city since 20 years. Now, the district administration is providing them houses on the outskirts of the city with all basic amenities.
The cost of each bamboo vase ranges from Rs.300 to Rs. 500, depending on the size and design. Their exhibit is worth a visit for those who crave to beautify their home with eco-friendly natural products.

DR. S.N. MOTHI: A Godfather to HIV+ kids

What seems to everyone to be a small humane gesture may mean a lot to a person who has lost all hopes of life and happiness. And such a tiny step taken towards the 'outcasts' of the society by a city doctor has now become a ray of hope for them, bringing smiles on the despondent faces of not only the men and women affected by AIDS but also on the innocent faces of children.
Dr.S.N. Mothi, city's well-known Paediatrician and Chairman of Asha Kirana, a voluntary Charitable Trust, has been a father figure to hundreds of children who have been caught in the quicksand of AIDS. His saga of founding the organisation is an interesting and painful one, compelled by his continuous association with HIV-affected kids as a paediatrician. When Star of Mysore spoke to him about his journey from the hospital corridors of Chennai to the portals of Asha Kirana, he relived his experiences thus:
Shwetha: How did your association with HIV-affected kids begin?
Dr. Mothi: It all began when Dr. Suniti Solomon, the Founder-Director of Y.R. Gaitonde Centre for AIDS Research and Education (YRG CARE), Chennai, asked me to visit the hospital where HIV-infected kids had no paediatrician to look after them. They had one block and had many HIV-affected children. I started visiting the hospital regularly. Over time, I trained the doctors there and then I had an opportunity to train in the US in 90s. I went to Chennai for 7 years. Looking at my involvement and passion where I had to travel close to 500 miles overnight only to look after the children, they did not want me to stop my visits.
It was a time when people scarcely believed that HIV-AIDS existed in India. So there was a need to create awareness in the public. Thus in Mysore, Asha Kirana took birth in 1997 — first as a counselling-cum-care clinic for the HIV-infected. It later emerged as a full-fledged hospital in 2004. At the beginning, Mahaveer Hospital gave us an upstairs portion. I used to work part-time there before coming to the clinic (Dr. Mothi runs a paediatric clinic in Yadavagiri).
Gradually we started conducting awareness programmes in schools and colleges, rural outreach programmes involving villagers. Many industrialists in the city helped us fund the cause. My wife too actively participated and we worked in four-five shifts round-the-clock. Then patients increased and we had to have our own hospital. Hence, Asha Kirana was shifted to its own sprawling campus in Hebbal Industrial Area.
Shwetha: You had thought of stopping your visits to Chennai after so many years. But you decided not to, why? What made you regress from your decision?
Dr. Mothi: As I told you, I gave a talk to the faculty about my experiences with the children and after 6 years, I thought the doctors there were quite equipped to handle the children. But when the time came, it became difficult to leave because I had seen those kids growing up and had become quite familiar to their parents, caretakers and grandparents. They all started telling me to come and visit them at least once in a while.
That was when I felt they needed an emotional support. I still remember there was a HIV-infected boy called Anand who is still alive. He was taken care of by his grandfather, a very caring and wonderful old man. Even after retirement, he continued working so that he could take care of his grandson.
One day, after I wrote the prescription, he asked me to write a message behind the prescription note. I asked why? He replied that it was Anand's birthday. I wrote: "Anand, I love you from the bottom of my heart and wish you many healthy years to come."
Then the grandpa said: "Last year too you had written the same message and Anand still reads it every Monday morning before going to school. May God bless you."
It was a small gesture. But then I realised there were different dimensions to loving and caring. This inspired me to continue visiting the kids in Chennai.
Shwetha: Any other incident that lingered in your mind?
Dr. Mothi: Yes. I still remember an old man whose daughter had a kidney failure. He also had to take care of his grand child and educate him. One day when he came to see me, I saw that one side of his spectacles was cracked. I asked him, 'you climb up the stairs to come here and what if you fall and hurt yourself? Shouldn't you buy new spectacles?' He said this year he had to pay the education fees of his grandkid and so would buy the specs next year.
I was moved by his commitment towards his grandkid. Later, I managed to secure a school seat for his grand child at low cost and it was a delight to see him looking so happy and proud wearing the new specs.
Shwetha: What is your most disturbing experience with HIV-affected kids in all these years?
Dr. Mothi: I would not consider it disturbing but it was quite moving. In 2004, I was asked to see a child in Mysore. The kid, who was in advanced AIDS condition, was suffering from repeated nose bleeding. His nose had bled so much that there was blood all over the floor of the hospital. His mother was screaming on seeing her son bleed. That year, we had lost two children to advanced HIV. It was very hard for me and then we decided to provide free ART (Anti-Retroviral Therapy) to HIV-infected kids. Asha Kirana became the first hospital to provide free ART roll-out in the entire State. At first the Trustees supported us, and later volunteers and donors joined in. Later in 2009, the government took initiative to provide free ART.
Asha Kirana is the only hospital in the State which serves children with immunity disorder, with ART medicine and hospital facilities, free of cost.
I would like to give one example of the grit of HIV-infected kids in facing life. Recently, I visited a HIV-infected girl who had developed excruciating discomfort and joint pain. She started crying when she saw me. When I asked her why, she answered that she missed the final exams due to the pain and a whole academic year was wasted. She was not afraid of the pain she was going through but was upset she missed her exams.
Shwetha: At what age do you begin counselling for the kids?
Dr. Mothi: Mostly, when a patient comes to know about the HIV-infection. To the kids, we start counselling as they grow older, at about 10 years or when they can comprehend the reality. We talk to the family members and the kids so that they become more responsible towards their health. We form support groups and conduct interactions. Interestingly, many kids come to me complaining that their parents forgot to give them medicine on time. Such is the way they carry out their responsibility.
Shwetha: How do the kids adapt to their living condition?
Dr. Mothi: They may feel inferior when they are kept away by others. But as kids grow older, they will learn to adapt to things.
Being a paediatrician and looking after the HIV-infected children is not just a job for me... it has become a journey... a passion... a way of life.

ORISSA: A place where time stands still

A train is a continuously moving potpourri of humanity with a great opportunity to observe people and their myriad behaviours — the families whose conversations and ample food fill the whole compartment, men who gape at girls, people who help utter strangers without hoping for any gains and the ever-changing sea of humanity at every station which seems faceless.
But I had no idea whatsoever when I climbed the Howrah Express on a Sunday night that I would also experience another thing — excruciating heat. The temperature in Andhra Pradesh, Tamil Nadu and Orissa, through which we passed to reach Bhu-baneshwar, the capital of Orissa State (now called as Odisha), was above 40 degrees Celsius. Sitting still on a seat for a few minutes scorched the skin, with sweat dripping down like rain drops. It was a relief to reach Bhubaneshwar after nearly 40 hours of train journey.
Any first-timer can easily discern their entry into Orissa from the arid Andhra; the deuls or uniquely built Indo-Aryan (Kalinga) style temples with gopuras-on-tier and small mandirs dotted in the midst of fertile farmlands. But people have paid their price for the beauty of nature through poverty. A land which has borne both the burden of history and richness of culture, Orissa or Kalinga as it was formerly known, is now reduced to penury. The Kalinga land, where time stands still, is home to a slow-moving, yet sharp people who are a far cry from the pizza-loving, hi-fi Bangaloreans.
Entering Bhubaneshwar, the State Capital, is like sitting on a time machine and suddenly being catapulted to about 50 years back. It is one of the most unassuming cities of India, leaning more towards rurality. At first glance, it looks tiny, not like a State Capital. But any visitor will gape with wonder at the fact that the 2,000-year-old city has nearly a thousand sprawling temples, well-maintained with beautiful gardens and pushkari-nis by the Archaeological Dept.
The city has some of famous pilgrimage centres including Lingaraja and Mukteshwara temples. Except for a few templ-es like the Lingaraja, most temp-les we visited were just tourist spots and the deities were not worshipped. God seems closer and accessible at some temples where pujas are performed, as it is not the priests but the visitors who go into the sanctum and worship the deity directly. At the 1,000-yr-old Lingaraja temple, there is a mini-shrine of exquisite carving everywhere we turn our eyes.
For us Southerners, finding good rapport with the food in Orissa is quite difficult as they love sweet and every dish they prepared was too sweet for our taste. They prepare many kinds of curries which are, once again, obviously sweet. Food from one Ananthapadmanabha temple is brought for many functions and is prepared in tiny earthen pots. About 7 pots of rice are kept one above the other and cooked simultaneously and this gives a unique flavour to the rice.

About 8-km from the city is Dhauli, the place steeped not only in history but also in bloodshed. The most famous Kalinga war which changed the course of Indian history and Buddhism, was fought by King Ashoka on the plains here in 261 BC. Now, river Daya flows silently snaking through empty farmlands as a mute witness to the killing of thousands of men on its banks, as if trying to wash away any grime that may have been left over.
It is said, sitting on the banks of Daya, King Ashoka contemplated on the bloodshed caused by the war and decided to embrace Bu-ddhism. He erected two main rock edicts in Kalinga, one in Dhauli and other in Jayagarh. The edicts are remarkably well-preserved, despite the fact that they date back to the 3rd century BC. A sculpted elephant, the universal symbol of Lord Buddha, tops the rock edicts and is the earliest Buddhist sculpture in Orissa.

The Vishwa Shanti Stupa (peace pagoda), built through Indo-Japanese collaboration, is on the opposite hill. The pure dazzling white stupa with splashes of yellow and grey in between is tranquil with sculptures of Buddha all around and scenes from Buddha's life etched on the stupa. The serene Buddha, looking at the Kalinga battlefield in front of him, seems to be contemplating on the horrors of war and beauty of peace.
Some one told me that there is a pair of hills with hundreds of caves about 8 kms from the city. I expected caves embedded in the mountains but not in the form of double-storeyed sprawling cave complex with separate rooms for monks. Most ornately carved caves in Udayagiri and Khandagiri were built for Jain monks — both Digambara and Shwethambara — as per their meditation systems; flat cave floors for Shwethambara monks and floors with a slight incline for Digambara monks who are said to meditate even on bed.

One huge cave complex in Udayagiri is called Ranigumpha (Queen caves) and another is the famous Hathigumpha (Elephant caves) with inscriptions of King Kharavela. Khandagiri caves are mostly natural, embedded in the mountains. The steps, where monkeys await with a gnarl to snatch groundnut from the visitors, lead to the Jain temple of 24 Thirthankaras and Mahaveera.
Some 16 kms from Bhubaneshwar is India's most famous applique village, Pipili. Every family in the village is engaged in applique work. Applique, a French term, is a technique by which cut pieces of coloured fabrics are sewn to the surface of another foundation fabric forming colourful designs. Applique work of Pipili is also known in local language as 'Chandua.'
The shamiana (canopies) and chhatris (umbrellas) that bear applique designs of great artistic skills are manufactured at Pipili. Brightly coloured patches of fabric, cut into animal and flower shapes, are sewn onto bed covers, cushions, wall hangings etc. Any type of worship or sacrifice is incomplete without Pipili’s chandua. During chandan yatra of the world-famous Lord Jagannath Rath Yatra of Puri, the entire proce-ssion is taken out covering deities with applique chhatris. Another unique usage of the applique sha-miana that I noticed is in enshrouding the roof of temple sanctum so the bats in temples do not disturb the devotees [Here, the bats are not driven out — a classic example of human-animal peaceful co-existence.
A fork in the road after Pipili takes you to Konark, where the only temple in the world dedicated to Sun God, competes with Himself to get a place in the visitor's camera. The massive 13th century temple is a World Heritage Site built in weathered sandstone. The temple is built in the form of the chariot of Surya, drawn by seven horses on twelve pairs of beautiful wheels which have now become symbols of Konark.
It is a marvel of science and architecture that the spokes of wheels serve as sundials and the shadows cast by them give the exact time of the day. The Natya Mandir or high dance platform in front of the temple is embellished with sculptures of graceful dancing maidens. On this platform, it is said, the temple dancers performed in homage to Surya. The temple has carvings of celestial and human musicians, dancers, mythological creatures, intricate botanical and geo-metrical designs, myriad scenes of hunting, battles etc.
However, Konark is also famous for its erotic sculptures of humans, animals and mythical creatures. The main entrance to the temple is closed and the temple has collapsed at some places. The closed temple assumes a mysterious air with imaginations running high about what really may have happened that destroyed the temple, what happened to the deity inside and what exactly the interiors look like. It has been hundreds of years since it was closed and knowing the truth may change the course of Indian history.

Outside, it's just a small village with a street lined by the usual vendors offering replicas of the temple and sea shells and its carvings. The Policeman, who refused to allow our car inside the restricted area, later went away with a nonchalant wave of his hand after receiving Rs. 10 from our experienced driver. I guess, bribing opens up all doors, historical or otherwise.
Puri is another town on the sea shore. With waves lapping up the Golden Beach trying to pull unwary humans into its fold, the beach is lined with hundreds of resorts and hotels as Puri is one of the biggest pilgrim centres in the world. The place is uniquely placed so that both sunrise and sunset can be viewed from the beach. Trying to find a hotel was a struggle as all the beach hotels were full and rooms cost above Rs. 5,000 per night. The only temple where the Lord is worshiped not with spouses but with siblings, Puri is known for its wooden idols of Lord Jagannatha, Balarama and Subhadra and their unusual features. The Jagannath Yatra of Puri is witnessed by lakhs of people every year and it is believed that since many people got crushed under the massive chariot of the yatra, the word 'juggernaut' was coined. There are over 120 smaller shrines inside temple complex which is full of Pandas who accost you every step of the way, trying to tell the history of the place and guiding you to conduct pujas.
Impressed by the cleanliness I found in Bhubaneshwar, I was disappointed to see the omnipresent dirty surroundings of all temples even in Puri. We had to wa-de through a sea of humans, carts, cows, bulls, beggars, cycles and vendors, all at the same time without being hit by any of them or falling on our face into the dirt. The whole State of Orissa, nah Odisha, is a trip back to the previous century — a calm place where docile people lived peacefully even in the midst of poverty, or so I thought. But the day of our return saw some cops being abducted by Maoists and released.
The journey back to Karnataka was return not only to normalcy but also mundanity. Odisha, where myth comes alive, is a State worth visiting, if you wish to be gripped by a sense of aesthetic antiquity.

Charkha award

Friends, I received the Charakha award for Excellence in Development Journalism from the Governor On July 1 for an article in VK published last August. 

OF STATUES & CIRCLES...: A CHAMPION OF THE OPPRESSED CLASS

"In the progress of the country lies our progress; in its salvation our salvation and in its emancipation, our emancipation."
—Babu Jagjivan Ram

 It was around eleven years ago when S. Narayan, the then Mayor of Mysore, thought of installing the statue of Babu Jagjivan Ram in city as he too came from a backward community like the latter.
Highly inspired by the life and works of Babu Jagjivan Ram, who was a freedom fighter and a crusader of social justice, Narayan wished to immortalise the leader in Mysore. This became the foundation for the installation of a statue of Babuji, as he was endearingly called, in front of the City Railway Station in the year 2000.
The bronze statue of Babuji was sculpted by V.A. Deshpande, a renowned sculptor and the present Dean of Chamarajendra Academy of Visual Arts (CAVA). The imposing statue is 9 feet tall and cost around Rs. 8 lakh. Another Rs. 2 lakh was utilised for the construction of the platform.
Narayan, speaking to Star of Mysore, said that initially the statue was to be inaugurated by the then Chief Minister J.H. Patel who could not fulfill the same. Then it was scheduled to be inaugurated by the next Chief Minister S.M. Krishna. This too did not happen due to unavoidable circumstances. The statue was finally inaugurated by the present Opposition leader Siddharamaiah in the presence of Narayan, M.Shivanna, former Minister and others. The funds for the statue sculpting and installation came from Mysore City Corporation's 18% SC/ST reservation, said Narayan.
At present, a Babu Jagjivan Ram Bhavan is being built in the city at a cost of Rs. 4.5 crores.

Babuji was a popular political leader who devoted his entire life working for the welfare of his country. As a national leader, Parliamentarian, Union Minister and cha-mpion of oppressed classes, he played a long innings spanning half-a-century in Indian politics.
Hailing from a Backward Class family of Bihar, he was instrumental in founding the 'All-India Depressed Classes League', an organisation dedicated to attaining equality for untouchables, in 1935 and was elected to Bihar Legislative Assembly in 1937. He also organised the rural labour movement.
In 1946, he became the youngest Minister in Jawaharlal Nehru's provisional government, the First Union Cabinet of India as a Labour Minister, and also a member of Constituent Assembly of India. He went on to serve as a Minister with various portfolios for more than forty years as a member of Indian National Congress (INC).
Apart from this, he was also instrumental in enacting the Minimum Wages Act, 1946; Industrial Disputes Act, 1947 etc., also laying down the foundation of social security by passing the Employees State Insurance Act, 1948 and the Provident Fund Act, 1952.
Most importantly, he was the Defence Minister of India during the Indo-Pak war of 1971, which resulted in formation of Bangladesh. His contribution to the Green Revolution in India and modernising Indian agriculture, during his two tenures as Union Agriculture Minister, are still remembered, especially during 1974 drought when he was asked to hold the additional portfolio to tide over the food crisis. He later served as the Deputy Prime Minister of India (1977–1979), then in 1980, formed Congress (J).

CHARAKA: A DESI TOLSTOY FARM

Mahatma Gandhi had envisioned a utopic nation and tried to experiment with the implementation of his ideas to achieve the same by establishing a rural settlement in South Africa and naming it as Tolstoy Farm, as he was deeply inspired by Tolstoyan philosophy. The farm provided a chance at communal and agrarian living as well as self-reliance. A hundred years later, Gandhian and theatrist Prasanna has successfully led a rural revolution by creating a self-dependent village where women, instead of being dwarfed by poverty and exploitation in the hands of most of their menfolk, have managed to shrug off their meekness and stand up for themselves.

The Charaka organisation in Bheemanakone near Heggodu in Sagara taluk, Shimoga district beckons even the most unsure of all and inspires others to follow them.
Blend of Gandhian thoughts & self-reliance
Western Ghats is known for its serene ambience with unhurried villagers and encompassing forests which brings to mind The Lost World of Arthur Conan Doyle. One such village Bheemanakone, a step away from Heggodu in Sagara taluk in Shimoga district, has however, woken itself up from the dreamy state that is common to all Malenad villages. Instead of a life-long poverty and scraping to make ends meet, the girls and women of the village have taken upon themselves to work and earn money enough for their living, without being dependent on their menfolk. They may not be as self-assured and independent as urban working women, but they have contributed their mite to the native handloom industry, thus creating a weavers’ revolution.
Entering Bheemanakone, the visitor is greeted by a hillock on one side aesthetically terraced to house the different units of Charaka, the Women’s Co-operative Society. Charaka produces naturally dyed cotton handloom garments. The Society employs nearly 350 women and has a turnover of around Rs. 2 crore per annum. Each woman working at Charaka takes home more than Rs. 3,000 a month.
The story behind the birth of Charaka is interesting. In the year 1994, a Trust named “Kavi-Kavya” was formed for conducting literary and cultural activities in the village. A group of educated people, headed by playwright and former Rangayana Director Prasanna, were at the helm of the Trust and it was they who started Charaka.
Kavi-Kavya organised a training programme for the workers of Anganawadis in the villages of Shimoga District, in the use of locally available traditional resources for a year. The activists toured the villages to understand village lifestyle, languages, folklore, theater tradition, agricultural practices, the skills of artisans and so on. In the process, they also understood the problem facing the people of this hilly region — the villagers depended too much on agriculture and this damaged the eco-system.
Kavi-Kavya set up a weaving centre on an experimental basis, in order to prove that handloom weaving can be viable and profitable for the womenfolk. Traditionally, cotton cloth and woolen blankets were brought from the plains and sold here and there was no weaver community in the region. In September 1996, Kavi-Kavya Trust handed over the entire infrastructure thus developed, to the women workers (30 at that time) and Charaka Society was registered.
Charaka, which is engaged in producing naturally dyed cotton handloom garments, markets its products under the brand name ‘Desi.’ It is generally assumed that heavy subsidies are pumped into the maintenance of khadi units. Charaka, the production unit and the Desi chain of retail stores have registered a combined annual turnover of Rs. 6 crore and the grant they avail from govt. as part of rural development initiative is less than five per cent of the turnover. The success story of Charaka can qualify to be a case study for business schools.
Charaka is a self-sufficient Society. The advantage of being in the Western Ghats is the availability of forest resources that can be used to extract dyes. Areca is the main cash crop here. The byproduct of arecanut is used to obtain shades of brown with different mordants. Other dye materials used are Pomegranate, Jackwood, Madder root, to get shades of yellow and reds. After experiments, Charaka has mastered the natural indigo vat process and a regular production is done.

Weaving: Charaka employs 150 people in the weaving units for different processes like warping, winding and weaving on the frame looms. Totally there are 53 looms and 14,000 meters of fabric is produced every month. The rest of the weaving is outsourced from other weaver groups and Societies.
Sarees, dupattas and stoles have been some of the new off-loom products that have been designed and woven at Charaka.
Block Printing: Wood block printing with pigment dyes is done through wood blocks specially designed for Charaka.
Embroidery: Embroidery is the art of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate other materials such as metal strips, pearls, quills and sequins. At Charaka, women's clothing range and even men's range like Sherwani are hand embroidered.
Tailoring: Charaka produces ready-made garments from fabric that is naturally dyed and woven there itself. Charaka's tailors and designers are all from villages.
There is also a tapestry unit that makes blankets, a bag-making unit and also one that uses the local 'hase' folk painting to produce stationery with intricate designs. Paintings that varyingly have a mandala and stereogram-effect is also tried out on glass, but the locals paint them on their walls.
De-Centralisation: In an effort to provide job opportunities to more people, Charaka has decentralised its processes. People get trained in Charaka on various processes and then set up their own units in the comfort of their homes. The weavers, dyers or tailors need not travel too far to earn livelihood. Also, most of these workers being women, can balance work and household.
The Society is growing at a phenomenal rate of 25 per cent per year. The workers give themselves a small bonus every year, eat subsidised food, have health insurance and take home loans. They also have a library and a cultural troupe. Charaka is not sustained through donations, either foreign or Indian. As Desi products have become a popular brand in Karnataka, sometimes it gets hard to meet the demand.
The success of Charaka is in the fact that many educated youth who want a change from the monotony of city life are eager to associate themselves with Charaka now.
Charaka Utsava: Every year during January, Kavi-Kavya Trust conducts a cultural festival called Charaka Utsava, wherein artists from all over India participate. This festival goes on for three days. During the festival, "Kayaka" awards are given to employees on the basis of individual and group performance, disposition, attendance, productivity and quality. Charaka Utsava is purely a rural cultural festival and is conducted in several parts of Sagar taluk at a time. Folk teams are invited to perform in different villages.
Dasimayya Awards: Desi National Award, renamed as 'Dasimayya National Award,' has been one of the most prestigious awards for handloom weaving in India. It is given to organisations and individuals who have made remarkable achievements in handloom weaving.
Prasanna - the brain behind Charaka
Prasanna (born 1951), is a theatre director and playwright. He is one of the pioneers of modern Kannada theatre. He graduated from National School of Drama (NSD) and founded Samudaya Theatre Group. He served as the Director of Rangayana. He has directed Girish Karnad's Tughlaq, Gandhi, Life of Galileo, Thayi (Brecht's Mother Courage and Her Children), Acharya Tartuf, Shakuntalam, Fujiyama, Kadadida Neeru, Hamlet, etc. Some of his dramas are: Uli, Seema Paar, Dangeya Munchina Dinagalu, Ondu Lokada Kathe, Haddu Meerida Haadi, Jangamada Baduku. He has also directed documentary films. He has been awarded the B.V. Karanth award, Sangeet Natak Akademi Award.
Prasanna went on a fast in 2007 demanding national theatre status for all the 18 scheduled language theatres and inclusion of theatre training in the school curriculum.
'Desi,’ redefining fashion
Desi, meaning both native and Developing Ecologically Sustainable Industry, is the marketing wing of Charaka organisation. Though the influx of western lifestyle and garments had cloaked the usage of native handloom products, Desi has created a craze among the urbanites about khadi and handloom products with its indigenous designs including Hase, thus redefining fashion. The Desi outlets sell not only handloom and naturally dyed sarees, kurtas, chudidhar materials, stoles etc., but also bed linen and other fabrics.
“Kambli,” the classic handloom woollen blanket, will also see a revival under the Desi brand. It also has a unit that makes bags, cus-hion covers and other accessories. The quality handloom products bear the “Handloom Mark,” guaranteeing that the article is hand-wo-ven. The response from people for Desi goods has been tremen-dous and the organisation registered a turnover of Rs. 2.5 crore last year.
With a view to support the weavers and artisans, Desi has opened a chain of outlets in various parts of Karnataka:
At Bangalore: Desi Office at No.54, 3rd Cross, SBM Colony, BSK 1st Stage; No.27, Patalamma Temple Street, near South End Circle, Basavanagudi; No.93, 'Kavitha', Seetha Circle, BSK 1st Stage; Desi - Saree Shop, No.264/25-1, 1st Floor, 16th Main, BSK 1st Stage, 2nd Block, Srinivasanagar; No.60/1, 5th Main, Malleswaram.
At Dharwad: 'Sanagamitra', Yelakki Shettar Colony,1st Main, Hubli Road.
At Shimoga: 1st Floor, Meenakshi Bhavan, B.H. Road.
At Mysore: Near Shanthi Sagar Complex, Panchamantra Road, Kuvempunagar.
Land of Neenasam
Heggodu is a village in the Western Ghat region near Sagara in Shimoga district. It is a step away from Bheemanakone, the birth place of Charaka. It is renowned around the world for its Ninasam (Sri Neelakanteshwara Natya Sangha), a theater school started by celebrated dramatist K.V. Subbanna in the year 1949.
Kuntagodu Vibhuthi Subbanna (1932 - 2005) was an acclaimed dramatist and writer in Kannada. In 1991, he was awarded Ramon Magsaysay award for Journalism, Literature and Creative Communication Arts. He was also awarded Padma Shri during 2004-2005. Ninasam is currently headed by playwright and dramatist K.V. Akshara, son of Subbanna.
Hase Chittara
Hase is a traditional folk art of Malenadu. This art is not common to all communities; it is traditionally drawn by Edigas. This art is usually drawn on walls of houses during festivals, mainly marriages and on a particular full moon night during the month of October (or a fortnight before Deepavali). This full moon night is known as Bhumi Hunnime. For colours, Hase artists use rice flour, turmeric, different coloured mud and other natural ingredients.
At Charaka, for files and letter pouches, these Hase drawings are being used, as also for glass paintings. By training rural women in brochures printing, making greeting cards, screen printing and Hase drawings, Charaka has ensured that this folk art gets carried over to the next generation as well.

OF STATUES & CIRCLES...: BASAVESHWARA STATUE COMPLETES ONE YEAR

Basaveshwara Circle in Mysore. Pic by Hampa Nagaraj

It is a year since Chief Minister B.S. Yeddyurappa inaugurated the statue of Saint Basavanna, built at a total cost of Rs. 64 lakh at the Gun House Circle in city. To coincide with the Basava Jayanthi celebrations tomorrow, here we publish a brief history about how the project that was started a decade ago took shape and now the great saint with a serene carriage beckons the theists and atheists alike to embrace the philosophy of Vachanas.
About 10 years ago, the followers of Basavanna under the guidance of Suttur Seer Sri Shivarathri Deshikendra Swamiji, with an ambition to spread the ideals of Basavanna among the uninitiated in the mainstream society, decided to install a statue of the saint in city.
To oversee the work of building a dome and installing the Basaveshwara statue, the Seer constituted a Committee. But the project did not take off for nine years due to various reasons. Later, when former Mayor Dakshinamurthy was elected as the President of the Federation of Basava Balagas, he took interest in breathing life to the dormant project. Thus the work on the statue began earnestly.
Dakshinamurthy, speaking to SOM about the project, said earlier they had approached Siddharamaiah, who was then the Deputy Chief Minister, for the necessary funds to construct the mantapa, dome and statue. However, his promise to release Rs. 20 lakh was not met with, he said and added that they had also approached late M.P. Prakash when he was the Dy.CM, who too had promised Rs.20 lakh, which in turn did not see fruition.
Later, when Nandi Infrastructure Corridor Enterprises (NICE) Managing Director Ashok Kheny was approached for the funds, he said he would not only sponsor the construction of the mantapa, dome and statue but also would take up the responsibility to see that the work was completed in an efficient manner. At the end, the statue and its mantapa along with the dome was built at a cost of around Rs. 52 lakh. Again Kheny spent another Rs. 12 lakh for specially illuminating the mantapa.
Dakshinamurthy says that Suttur Seer was very specific about the nature and form of the statue. As most statues of Basavanna were warrior-like in nature and seen riding on a horse adorned with a sword, the Seer directed the Committee to sculpt a statue which portrayed the peaceful nature of the saint, with a manuscript of Vachanas in his hand, preaching the true Sharana philosophy.
As per the Seer's wish, the statue was sculpted by Jagannath, a sculptor from Bidadi near Bangalore and the dome and mantapa were constructed by Annahalli Ramesh. The construction work was completed in 2010.
The imposing statue of Sri Basaveshwara, installed in front of JSS Mahavidyapeetha in the heart of the city, was unveiled on the occasion of Basava Jayanthi celebrations last year by Chief Minister B.S. Yeddyurappa in the presence of then District-in- Charge Minister Suresh Kumar, Ashok Kheny and others.
Mysore is the only district among the surrounding districts of Chamarajanagar, Kodagu, Mandya, Hassan and Chikkamagalur to have the saint's statue. Basaveshwara was a great social reformer and philosopher.

ಕ್ರಿಕೆಟ್‌ಗೋಸ್ಕರ ಬೀದಿಗಿಳಿಯುವ ಜನ, ಭ್ರಷ್ಟಾಚಾರದ ವಿರುದ್ದ ಇಳಿಯಲಾರರೇ?

"ನಾನು ಹೊಸ ಪಾಸ್‌ಪೋರ್ಟ್‌ಗೆ ಅರ್ಜಿ ಹಾಕಿದ್ದೆ. ನನ್ನನ್ನು ಏನೇನೋ ಕಾರಣ ಹೇಳಿ ಹನ್ನೊಂದು ಸಲ ತಿರುಗಿಸಿದರು. ಆಮೇಲೆ ಲಂಚ ಕೇಳಿದರು. ಕೊಡದಿದ್ದರೆ ಕೆಲಸ ಆಗುತ್ತಿರಲಿಲ್ಲ, ಹಾಗಾಗಿ ಕೊಡಲೇಬೇಕಾಯಿತು;" "ನಾನು ರಸ್ತೆಯಲ್ಲಿ ಬೈಕ್ ಓಡಿಸಿಕೊಂಡು ಹೋಗುತ್ತಿರುವಾಗ ಮೂವರು ಪೋಲಿಸರು ಅಡ್ಡಗಟ್ಟಿ ಬೈಕ್‌ಗೆ ಸಂಬಂಧಪಟ್ಟ   ಕಾಗದಪತ್ರಗಳನ್ನು ಕೇಳಿದರು. ನನ್ನ ಗೆಳೆಯನ ಬೈಕ್ ಆದ್ದರಿಂದ ಅವನ ಹೆಸರಿನಲ್ಲಿ ಎಲ್ಲಾ ಕಾಗದಪತ್ರಗಳಿದ್ದವು. ಈಗಲೇ ಕೇಸ್ ಹಾಕುತ್ತೇವೆ, ಎರಡು ಸಾವಿರ ರೂ. ದಂಡ ತೆರಬೇಕಾಗುತ್ತದೆ ಎಂದು ಹೆದರಿಸಿದರು. ಆಮೇಲೆ ತಪ್ಪಿಸಿಕೊಳ್ಳಬೇಕಾದರೆ, ಐನೂರು ರೂ. ಕೊಡು ಎಂದರು. ಇನ್ನೇನು ಮಾಡಲಿ? ಗಡಿಬಿಡಿಯಲ್ಲಿದ್ದ ನನಗೆ ದುಡ್ಡು ಕೊಡದೆ ವಿಧಿಯಿರಲಿಲ್ಲ. ರಸ್ತೆಯಲ್ಲಿ ದರೋಡೆ ಮಾಡುವವರನ್ನು ಹೊಡೆಯಬಹುದು, ಆದರೆ ಪೋಲಿಸರನ್ನು ಹೊಡೆಯಲು ಆಗುವುದಿಲ್ಲವಲ್ಲ?" ಎಂದು ಜೋಧ್‌ಪುರ ಹಾಗೂ ಕಲ್ಕತ್ತಾದ ಜನ ಅಸಹಾಯಕತೆ ವ್ಯಕ್ತಪಡಿಸುತ್ತಾರೆ.
ಇನ್ನು ನಮ್ಮ ಬೆಂಗಳೂರಿನಿಂದ ಒಬ್ಬರು, "ಅಂತರರಾಷ್ಟ್ರೀಯ ಡ್ರೈವಿಂಗ್ ಲೈಸನ್ಸ್‌ಗೆ ಅರ್ಜಿ ಹಾಕಲು ಹೋದರೆ ಅಲ್ಲಿನ ಅಧಿಕಾರಿಯೊಬ್ಬರು 2,500 ರೂ. ಲಂಚ ಕೇಳಿದರು. ನನಗೆ ನಿಧಾನವಾಗಿ ಲೈಸೆನ್ಸ್‌ ಸಿಕ್ಕಿದರೆ ಸಾಕು, ದುಡ್ಡು ಕೊಡುವುದಿಲ್ಲ ಅಂದಿದ್ದಕ್ಕೆ ನಿಮ್ಮ ಡ್ರೈವಿಂಗ್ ಟೆಸ್ಟ್‌ನಲ್ಲಿ ಫೇಲ್ ಆಗಬಹುದು, ದುಡ್ಡು ಕೊಟ್ಟುಬಿಡಿ ಎಂದರು. ಆಮೇಲೆ ಸಾವಿರದ ಐನೂರು ರೂ. ಕೊಡಲೇ ಬೇಕಾಯಿತು" ಅಂದರೆ ಇನ್ನೊಬ್ಬರು, "ಕರ್ನಾಟಕ ಸರಕಾರದಲ್ಲಿ ಉದ್ಯೋಗಿಯಾಗಿದ್ದ ನನ್ನ ತಂದೆ ತೀರಿಹೋದ ಆರು ತಿಂಗಳಾದ ಮೇಲೂ ಅವರ ಬಾಕಿ ಪೆನ್ಶನ್ ಹಣವನ್ನು ಕೊಟ್ಟಿಲ್ಲ. ಸಂಬಂಧಪಟ್ಟ ಅಧಿಕಾರಿಯ ಹತ್ತಿರ ಅಲೆದೂ ಅಲೆದೂ ಸಾಕಾಯಿತು. ಕೇಳಿದರೆ ನಾನು ಸಹಾಯ ಮಾಡುತ್ತೇನೆ, ಆದರೆ ಲಂಚ ಕೊಡಬೇಕೆನ್ನುತ್ತಾರೆ. ನಮ್ಮಂತಹ ಸಾಮಾನ್ಯ ಜನ ಅವರು ಹೇಳಿದ ಹಾಗೆ ಕೇಳದೆ ಇನ್ನೇನು ಮಾಡಲು ಸಾಧ್ಯ?" ಎಂದು ತಮ್ಮ ಅಳಲು ತೋಡಿಕೊಳ್ಳುತ್ತಾರೆ.
ಮೇಲೆ ಕೊಟ್ಟಂತಹ ನಿದರ್ಶನಗಳ ತರಹದ ಅನುಭವಗಳು ಎಲ್ಲರಿಗೂ ಒಂದಲ್ಲ ಒಂದು ಹಂತದಲ್ಲಿ ಆಗಿರುತ್ತವೆ. ಭ್ರಷ್ಟಾಚಾರದ ಕಥೆಗಳು ಸಣ್ಣ ಪ್ರಮಾಣದಲ್ಲೇ ಆಗಿರಬಹುದು, ಇಲ್ಲಾ ಕೋಟ್ಯಾಂತರ ರೂಪಾಯಿಗಳನ್ನೊಳಗೊಂಡ 2ಜಿ ಹಗರಣ, ಕಾಮನ್‌ವೆಲ್ತ್ ಗೇಮ್ಸ್‌, ಆದರ್ಶ ಸೊಸೈಟಿ, ಸತ್ಯಂ, ಐಪಿಎಲ್‌ನಂತಹ ಬೃಹತ್ ಪ್ರಮಾಣದ ಕಥೆಗಳೇ ಆಗಿರಬಹುದು. ಆದರೆ ಒಂದೇ ಸಮಾಧಾನದ ವಿಷಯವೆಂದರೆ ಸಣ್ಣ ಪ್ರಮಾಣದ ಭ್ರಷ್ಟಾಚಾರದ ಬಗ್ಗೆ ಕೋಪ ಇಟ್ಟುಕೊಂಡೂ ಅಸಹಾಯಕರಾಗಿ ಸುಮ್ಮನಿದ್ದ ಸಾಮಾನ್ಯ ಜನರಲ್ಲಿ ಈಗ ಅಸಹನೆ ಶುರುವಾಗಿದೆ.
ಫೇಸ್‌ಬುಕ್‌, ಟ್ವಿಟ್ಟರ್, ಆರ್ಕುಟ್‌ನಂತಹ ಸಾಮಾಜಿಕ ಸಂಪರ್ಕಜಾಲಗಳನ್ನು ಉಪಯೋಗಿಸುವವರಿಗೆಲ್ಲ ಈ ಒಂದು ತಿಂಗಳಲ್ಲಿ ಒಂದು ಸಂದೇಶ ತಲುಪಿರುತ್ತದೆ- ಭ್ರಷ್ಟಾಚಾರ ತೊಲಗಿಸಲು ಜನ ಲೋಕಪಾಲ ಮಸೂದೆಯನ್ನು ಜಾರಿಗೆ ತರುವಂತೆ ಒತ್ತಾಯಿಸಿ ಹಿರಿಯ ಗಾಂಧಿವಾದಿ ಅಣ್ಣಾ ಹಜಾರೆ ಏಪ್ರಿಲ್ ಐದರಿಂದ ಅನಿರ್ಧಿಷ್ಟಾವಧಿಯ ಉಪವಾಸ ಸತ್ಯಾಗ್ರಹ ಮಾಡುತ್ತಿದ್ದಾರೆ. ಅದನ್ನು ನಿಮ್ಮ ಊರುಗಳಲ್ಲಿ, ಪಟ್ಟಣಗಳಲ್ಲಿ, ಮನೆಗಳಲ್ಲಾದರೂ ಸರಿ, ನೀವೂ ಬೆಂಬಲಿಸಿ, ನಿಮ್ಮ ಕೈಲಾದ ಮಟ್ಟಿಗೆ ನೀವೂ ಉಪವಾಸ ಮಾಡಿ ಈ ಸತ್ಯಾಗ್ರಹದಲ್ಲಿ ಭಾಗವಹಿಸಿ ಎಂದು. ಅಣ್ಣಾ ಹಜಾರೆಗೆ ಬೆಂಬಲವಾಗಿ ನಿಲ್ಲಲು ಎಲ್ಲಾ ಕಡೆ ಸಮಾಜ ಸೇವಕರು, ಸಾಮಾನ್ಯ ಜನರು ಬದ್ಧರಾಗಿ ನಿಂತಿದ್ದಾರೆ. ಹಜಾರೆ ಉಪವಾಸ ಸತ್ಯಾಗ್ರಹ ಆರಂಭಿಸುವ ಜಂತರ್ ಮಂತರ್‌ಗೆ ಬರಲಾಗದಿದ್ದರೆ ಪರವಾಗಿಲ್ಲ, ನಿಮ್ಮ ನಿಮ್ಮ ಮನೆಗಳಲ್ಲಿ, ಕೆಲಸ ಮಾಡುವ ಸ್ಥಳಗಳಲ್ಲಿ ಆ ಒಂದು ದಿನವಾದರೂ ಉಪವಾಸ ಮಾಡಿ ಎನ್ನುತ್ತಿದಾರೆ ಆ ಆಂದೋಲನದ ಹರಿಕಾರರಾದ ಕಿರಣ್ ಬೇಡಿ ಮತ್ತು ಅರವಿಂದ ಕೇಜ್ರೀವಾಲ್.
ಅಣ್ಣಾ ಹಜಾರೆ ಎಂದು ಜನರಿಂದ ಪ್ರೀತಿಯಿಂದ ಕರೆಯಲ್ಪಡುತ್ತಿರುವ ಕಿಸನ್ ಬಾಬುರಾವ್ ಹಜಾರೆ ಉಪವಾಸ ಸತ್ಯಾಗ್ರಹ ಮಾಡಿ ಸೋತ ಉದಾಹರಣೆಗಳಿಲ್ಲ. ಹಜಾರೆ ಉಪವಾಸಕ್ಕೆ ಕೂತಾಗಲೆಲ್ಲ ನಮ್ಮ ಸರಕಾರಗಳು ನಡುಗಿವೆ. ಮಹಾರಾಷ್ಟ್ರದ ಆರು ಭ್ರಷ್ಟ ಮಂತ್ರಿಗಳನ್ನು ಕಿತ್ತೊಗೆಯಲಾಗಿದೆ, ನಾನೂರು ಅಧಿಕಾರಿಗಳು ಕೆಲಸ ಕಳೆದುಕೊಂಡಿದ್ದಾರೆ, ಮಹಾರಾಷ್ಟ್ರದಲ್ಲಿ ಮಾಹಿತಿ ಹಕ್ಕು ಕಾಯಿದೆ ಜಾರಿಗೆ ಬಂದಿದೆ ಹಾಗೂ ಕೇಂದ್ರೀಯ ಮಾಹಿತಿ ಹಕ್ಕು ಕಾಯಿದೆಯ ತಿದ್ದುಪಡಿ ಮಾಡುವ ನಿರ್ಧಾರವನ್ನು ಕೇಂದ್ರ ಸರ್ಕಾರ ವಾಪಾಸು ಪಡೆದುಕೊಂಡಿದೆ.
ಭಾರತದಂತಹ ಯಾರಿಗೆ ಏನಾದರೂ ಡೋಂಟ್ ಕೇರ್ ಮನೋಭಾವನೆ ಇರುವ ದೇಶದಲ್ಲೇ ರಾಜಕಾರಣಿಗಳ ಬೆವರಿಳಿಸಿರುವ ಎಪ್ಪತ್ತೈದು ವರ್ಷದ ಹಜಾರೆ ಕೇವಲ ಒಬ್ಬ ಬಡ ಕಾರ್ಮಿಕನ ಮಗ. ಮಿಲಿಟರಿಯಲ್ಲಿದ್ದು ಬಂದ ಮೇಲೆ ಸ್ವಾಮಿ ವಿವೇಕಾನಂದರ ಪುಸ್ತಕವೊಂದನ್ನು ಓದಿ ಪ್ರಭಾವಿತರಾದ ಹಜಾರೆ ತನ್ನ ಊರನ್ನು ಉದ್ದಾರ ಮಾಡಲು ಯತ್ನಿಸಿದರು, ಅದರಲ್ಲಿ ಯಶಸ್ವಿಯೂ ಆದರು. ತನ್ನ ಊರಿಗೆ ಶಾಲೆ ಮಂಜೂರು ಮಾಡಲು ಸರ್ಕಾರ ಒಪ್ಪದಿದ್ದಾಗ ಹಜಾರೆ ಉಪವಾಸ ಶುರುಮಾಡಿದರು ಮತ್ತು ತನ್ನ ಯತ್ನದಲ್ಲಿ ಯಶಸ್ವಿಯಾದರು. ಅಲ್ಲಿಂದ ಶುರುವಾದ ಹಜಾರೆ ಯಶೋಗಾಥೆ ಪರಿಸರ ಸಂರಕ್ಷಣೆ, ಕುಡಿತದ ನಿರ್ಮೂಲನೆಯಂತಹ ಸಾಮಾಜಿಕ ಪಿಡುಗುಗಳನ್ನು ನಿವಾರಿಸುವಲ್ಲಿಂದ ಈಗ ಭ್ರಷ್ಟಾಚಾರದ ವಿರುದ್ಧ ಹೋರಾಟದವರೆಗೆ ಬಂದು ನಿಂತಿದೆ.
ಪ್ರಧಾನಿ ಮನಮೋಹನ್ ಸಿಂಗ್ ಕೇವಲ ರಿಮೋಟ್ ಕಂಟ್ರೋಲ್ ಎನ್ನುವ ಹಜಾರೆ, ಸರ್ಕಾರದ ಲೋಕಪಾಲ ಮಸೂದೆ ಭ್ರಷ್ಟ ರಾಜಕಾರಣಿಗಳನ್ನು, ಅಧಿಕಾರಿಗಳನ್ನು ಶಿಕ್ಷಿಸುವ ಬದಲಾಗಿ ರಕ್ಷಿಸುವ ಉದ್ದೇಶದಿಂದ ತಯಾರಾಗುತ್ತಿದೆ ಎನ್ನುತ್ತಾರೆ. ಲೋಕಪಾಲ ಮಸೂದೆಯಡಿ ಲೋಕಪಾಲರಿಗೆ ಯಾವುದೇ ಸ್ವತಂತ್ರ ಕ್ರಮ ಕೈಗೊಳ್ಳುವ ಅಧಿಕಾರ ಇರುವುದಿಲ್ಲ, ಬರಿ ಸಲಹೆ ಕೊಡಬಹುದಷ್ಟೆ. ಸರ್ಕಾರದ ಮಸೂದೆಯಡಿ ಲೋಕಪಾಲರಿಗೆ ಅಧಿಕಾರವಿರುವುದು ಕೇವಲ ರ್ರಾಜಕಾರಣಿಗಳ ಮೇಲೆ ತನಿಖೆ ನಡೆಸಲು, ಅಧಿಕಾರಿಗಳ ಮೇಲಲ್ಲ. ಜೊತೆಗೆ ತಪ್ಪಿತಸ್ಥರ ಬಗ್ಗೆ ಸುದ್ದಿ ಕೊಡುವವರಿಗೆ (Whistleblowers) ಇಲ್ಲಿ ಯಾವುದೇ ರಕ್ಷಣೆಯಿಲ್ಲ. ಅದರ ಬದಲಾಗಿ ಕರ್ನಾಟಕ ಲೋಕಾಯುಕ್ತ ಸಂತೋಷ್ ಹೆಗ್ಡೆ, ಸುಪ್ರೀಂ ಕೋರ್ಟ್ ವಕೀಲ ಪ್ರಶಾಂತ್ ಭೂಷಣ್ ಹಾಗೂ ಸಮಾಜ ಸೇವಕ ಅರವಿಂದ ಕೇಜ್ರೀವಾಲ್ ಜಂಟಿಯಾಗಿ ತಯಾರಿಸಿರುವ ಜನ ಲೋಕಪಾಲ ಮಸೂದೆ ಭ್ರಷ್ಟ ರಾಜಕಾರಣಿಗಳು ಹಾಗೂ ಅಧಿಕಾರಿಗಳು ಇಬ್ಬರ ಮೇಲೂ ಸೂಕ್ತ ಕ್ರಮ ಕೈಗೊಳ್ಳಲು ಲೋಕಪಾಲರಿಗೆ ಹೆಚ್ಚಿನ ಅಧಿಕಾರ ಕೊಡುತ್ತದೆ, ಅದರಿಂದ ಸರ್ಕಾರದಲ್ಲಿ ಪಾರದರ್ಶಕತೆ ತರಲೂ ಅನುಕೂಲವಾಗುತ್ತದೆ. ಲೋಕಪಾಲರ, ಲೋಕಾಯುಕ್ತರ ನೇಮಕಾತಿಯಲ್ಲಿ ರಾಜಕಾರಣಿಗಳು ತಲೆ ಹಾಕುವಂತಿಲ್ಲ, ಎನ್ನುತ್ತಾರೆ.
ಅವರು ಹೇಳೋದರಲ್ಲೂ ಅರ್ಥವಿದೆ. ಹಲ್ಲಿಲ್ಲದ ಹುಲಿಗೆ ಬೇಟೆ ಹಿಡಿದು ಕೊಟ್ಟರೇನು ಉಪಯೋಗ? ಈಗ ಸರ್ಕಾರ ತರಲು ಹೊರಟಿರುವುದೂ ಅಂತಹುದೇ ಒಂದು ಮಸೂದೆ. ಮೊದಲೇ ಸಿಬಿಐ, ಕೇಂದ್ರ ವಿಚಕ್ಷಣಾ ದಳಗಳಂತಹ ಸಂಸ್ಥೆಗಳು ರಾಜಕಾರಣಿಗಳ ಹಿಡಿತದಲ್ಲಿವೆ, ಅವುಗಳಿಂದ ಭ್ರಷ್ಟಾಚಾರದ ಪಾರದರ್ಶಕ ವಿಚಾರಣೆ ಸಾಧ್ಯವಿಲ್ಲ ಎನ್ನುವ ಆರೋಪ ಹೊತ್ತಿರುವಾಗ, ಇನ್ನೊಂದು ಸಂಸ್ಥೆಯನ್ನು ಹುಟ್ಟುಹಾಕಿ ಅದರ ಚುಕ್ಕಾಣಿ ಹಿಡಿಯುವ ಲೋಕಪಾಲರಿಗೆ ಸ್ವತಂತ್ರ ಅಧಿಕಾರ ಕೊಡದಿದ್ದರೆ ತಪ್ಪು ಮಾಡಿದವರನ್ನು ಹಿಡಿದೂ, ಶಿಕ್ಷೆ ಕೊಡಲು ಅಧಿಕಾರವಿಲ್ಲದ ನಮ್ಮ ರಾಜ್ಯದ ಲೋಕಾಯುಕ್ತ ಸಂಸ್ಥೆಯ ತರವೇ ಅದೂ ಹತ್ತರಿಂದ-ಐದು ಕೆಲಸ ಮಾಡಿ ಸಂಬಳ ಎಣಿಸಿಕೊಳ್ಳುವ ಒಂದು ಸರ್ಕಾರಿ ಸಂಸ್ಥೆಯಾಗಿ ಮಾರ್ಪಡುತ್ತದೆ. ಕೇಂದ್ರ ಚುನಾವಣಾ ಆಯೋಗವನ್ನು ರಾತ್ರೋರಾತ್ರಿ ಬದಲಿಸಿದ ರಾಜಕಾರಣಿಗಳ ನಿದ್ದ್ಗೆಡಿಸಿದ ಟಿ.ಎನ್. ಶೇಷನ್, ಸರ್ಕಾರ ತನ್ನ ಕೆಲಸಕ್ಕೆ ಅಡ್ಡ ಬಂತೆಂದು ಭ್ರಷ್ಟ ಐಎ‌ಎಸ್, ಐಪಿಎಸ್ ಅಧಿಕಾರಿಗಳ ಹೆಸರುಗಳನ್ನು ಕೇಂದ್ರ ವಿಚಕ್ಷಣಾ ದಳದ ವೆಬ್‌ಸೈಟ್‌ನಲ್ಲಿ ಪ್ರಕಟಿಸಿದ ಅಲ್ಲಿವರೆಗೆ ಅಸ್ಥಿತ್ವದಲ್ಲಿರುವುದರ ಅರಿವೇ ಇರದ ವಿಚಕ್ಷಣಾ ದಳದ ಎನ್. ವಿಟ್ಟಲ್, ತನ್ನ ಕೆಲಸ ಮಾಡಲು ರಾಜಕಾರಣಿಗಳ ಒಪ್ಪಿಗೆಯ ಅಗತ್ಯವಿಲ್ಲ ಎಂದು ಹೇಳಿ ಧೀರೂಭಾಯಿ ಅಂಬಾನಿ ಮನೆಯ ಮೇಲೆ ದಾಳಿ ಮಾಡಿದ ಸಿಬಿಐ ಡೈರೆಕ್ಟರ್ ಆಗಿದ್ದ ತ್ರಿನಾಥ್ ಮಿಶ್ರಾ ಇಂಥ ದಕ್ಷ ಅಧಿಕಾರಿಗಳಿದ್ದ ಸಂಸ್ಥೆಗಳು ಈಗ ಪೂರ್ತಿಯಾಗಿ ಬದಲಾಗಿವೆ. ಈಗ ಲೋಕಪಾಲ ಮಸೂದೆ ತಂದರೆ, ಅದಕ್ಕೂ ಇದೇ ಗತಿ. ದಕ್ಷ ಅಧಿಕಾರಿಗಳಿರುವವರೆಗೂ ಯಾವ ಸಂಸ್ಥೆಯಾದರೂ ಪ್ರಾಮಾಣಿಕವಾಗಿಯೇ ಕೆಲಸ ಮಾಡುತ್ತದೆ. ಈಗಿರುವ ಸಂಸ್ಥೆಗಳನ್ನೇ ಶುಚಿಗೊಳಿಸಿ ಅವುಗಳ ಅಧಿಕಾರ ವ್ಯಾಪ್ತಿಯನ್ನು ಹೆಚ್ಚಿಸಿದರೆ ಮಾತ್ರ ನಮ್ಮ ಸಾಮಾಜಿಕ ವ್ಯವಸ್ಥೆ ಸರಿಯಾಗುತ್ತದೆ.
ಜೈನ್ ಹವಾಲಾ ಹಗರಣವನ್ನು ೧೯೯೫ರಲ್ಲಿ ಬೆಳಕಿಗೆ ತಂದ ಪತ್ರಕರ್ತ ವಿನೀತ್ ನರೇನ್‌ರನ್ನು ಮೊನ್ನೆ ಜನವರಿಯಲ್ಲಿ ನಡೆದ 'ಭ್ರಷ್ಟಾಚಾರದ ವಿರುದ್ದ ನಡಿಗೆ' ಆಂದೋಲನದಲ್ಲಿ ಯಾಕೆ ಭಾಗವಹಿಸಲಿಲ್ಲ ಎಂದು ಯಾರೋ ಕೇಳಿದಾಗ ಅವರು ಕೊಟ್ಟ ಉತ್ತರ, "ಎಷ್ಟು ಆಂದೋಲನಗಳು ನಡೆದರೂ ನಮ್ಮ ವ್ಯವಸ್ಥೆ ಸರಿಯಾಗುವುದಿಲ್ಲ. ಅದಕ್ಕೇ ನಡಿಗೆ ನಡೆಯುವ ಸ್ಥಳಕ್ಕೆ ಹೋಗಿ ವಾಪಾಸು ಬಂದೆ."
ಕಾಂಗ್ರೆಸ್ ಅಧ್ಯಕ್ಷೆ ಸೋನಿಯಾ ಗಾಂಧಿಯವರ ಕಚೇರಿಯಲ್ಲೇ ಪಕ್ಷದ ಟಿಕೆಟುಗಳು ಮಾರಾಟವಾಗುತ್ತಿವೆ ಎಂದು ಕೇರಳ ಕಾಂಗ್ರೆಸ್ ಹಿರಿಯ ನಾಯಕ ಮಾಜಿ ಆರೋಗ್ಯ ಸಚಿವ ಕೆ. ರಾಮಚಂದ್ರನ್ ಆರೋಪ ಮಾಡಿದ್ದಾರೆ. ಕಾಂಗ್ರೆಸ್‌ನ 'ಕಾಸಿಗಾಗಿ ಓಟು' ಹಗರಣದಲ್ಲಿ ಕಳೆದ ವರ್ಷ ಪದ್ಮಭೂಷಣ ಗೌರವ ಸ್ವೀಕರಿಸಿದ ವ್ಯಕ್ತಿಯ ಹೆಸರೂ ಕೇಳಿಬರುತ್ತಿದೆ. ಭಾರತೀಯ ಸ್ಟೇಟ್ ಬ್ಯಾಂಕ್‌ಗೆ ಸುಮಾರು 41 ಕೋಟಿ ರೂಪಾಯಿ ವಂಚಿಸಿದ ಪ್ರಕರಣದಲ್ಲಿ ಸಿಬಿಐಯಿಂದ ಬಂಧನಕ್ಕೊಳಗಾಗಿದ್ದ ಅನಿವಾಸಿ ಭಾರತೀಯ ಸಂತಾ ಸಿಂಗ್ ಛತ್ವಾಲ್ ಕ್ರಿಮಿನಲ್ ಕೇಸು ಎದುರಿಸಿದವರು. ಇಂತಹ ಸರ್ಕಾರದ ಪ್ರಯತ್ನ ಎಲ್ಲಿಯವರೆಗೆ ಸಫಲವಾಗುತ್ತದೆ? ಆ ಪ್ರಯತ್ನದ ನಿಜವಾದ ಉದ್ದೇಶವಾದರೂ ಏನು?
ಆದರೂ ಇಂತಹ ಪ್ರಶ್ನೆಗಳ ನಡುವೆಯೂ ನಾವು ಅಣ್ಣಾ ಹಜಾರೆಗೆ ಬೆಂಬಲ ಸೂಚಿಸಬೇಕು, ಉಪವಾಸ ಮಾಡಿ ಅಥವಾ ದಿನನಿತ್ಯದ ಭ್ರಷ್ಟಾಚಾರಗಳ ವಿರುದ್ದ ಪ್ರತಿಭಟಿಸಿ. ಈಜಿಪ್ಟ್‌ನಲ್ಲಿ ಸರಕಾರವನ್ನೇ ಬೀಳಿಸಿದ ಸಾಮೂಹಿಕ ಕ್ರಾಂತಿ ಕೂಡ ಫೇಸ್‌ಬುಕ್‌ನ ಒಂದು ಸಣ್ಣ ಸಂದೇಶದಿಂದಲೇ ಶುರುವಾಯಿತು ಎನ್ನುವುದನ್ನು ನಾವು ಮರೆಯಬಾರದು. ಜನರ ಅಸಹನೆ ಒಂದು ಆಂದೋಲನವಾಗಿ ಮಾರ್ಪಟ್ಟರೆ ಅದಕ್ಕಿಂತ ದೊಡ್ಡ ಚಳುವಳಿಯ ಅಗತ್ಯವಿಲ್ಲ. ಕ್ರಿಕೆಟ್‌ಗೋಸ್ಕರ ಬೀದಿಗಿಳಿಯುವ ಜನ, ಭ್ರಷ್ಟಾಚಾರದ ವಿರುದ್ದ ಇಳಿಯಲಾರರೇ?

TAGORE'S GORA LEADS US TOWARDS CONTEMPLATION

Pic. by Hampa Nagaraj

"Why should a man, except as a means of livelihood, desire to act on the stage when he has the whole world to act in, is not clear to me," mused British playwright George Bernard Shaw. He should, however, have seen the play 'Gora' by Rangayana artistes for answer.

Intense in its storyline and character portrayal, the experimental play is based on a novel of the same name by Rabindranath Tagore, which was considered an epic by its own strength.

This year's Bahuroopi theatre festival became a stage where 'Gora' stood up from within the confines of the pages of the book and spoke to the audience — of himself, his principles, his vision and his truth.

Rangayana's veteran artistes, with years of practice of metamorphosing into the characters they are enacting, took up the challenge of portraying a difficult story set in Bengal during the days of British Raj.

'Gora' brings out the tumultuous atmosphere that prevailed in those days as Indians tried to both accept liberal ideas and refused to let go of old customs and traditions. It was a transition period and the Bengali society was divided into the liberal thinkers who formed the Brahmo Samaj and the traditional orthodox Hindus.

Rangayana's Prashanth Hiremath, the protagonist who portrayed Gora in the play, fills the entire stage with his towering personality as both an overzealous Hindu who hates vehemently all things outside Hindu tradition and yet is humane in his attitude.

It is natural that all forms of the society have their own contradictions and hypocrisies. The Brahmin family to which Gora 'belongs' and Poresh Babu's family which follows Brahmo Samaj are continuously at crosshairs because of their conflicting viewpoints. The story is woven with sub-stories, inter-plots on freedom struggle not just against the British but also within oneself. But though the characters openly defy Anglo-rule, they cannot find a way out of their inner conflicts.

Gora, who is a strong advocate of Hinduism and a natural leader, in time becomes an aggressive, arrogant, self-opinionated person who thrusts his opinions on others and expects them to follow. But occasionally he lets us take a peep into his heart where he is intensely patriotic and strongly wishes for an ideal India where the downtrodden are upheld by humanity irrespective of caste, creed and colour.

His stubbornness in upholding his orthodox beliefs and confusion about his blooming love towards Poresh Babu's daughter Sucharita conflict each other. But it finally resolves itself when he comes to know the truth about his identity — that he is the son of an Irish couple and not of Brahmin parents, as he believed.

The moment that steals the show comes when Gora accepts his origins and discards not only his religious symbols including the sacred thread and unknots his tuft, but also his fanaticism towards Hinduism, especially Brahminism and becomes a true human and, more importantly, free.

The play, though beautifully staged, is at times dragging due to numerous vociferous monologues by Gora which seems preachy and at such times, even the booming voice of Prashanth Hiremath fails to hold the attention of the audience.

Saroja Hegde, Pramila Bengre, Nandini, Krishnaprasad and other artistes take the play to its logical end through their effective depiction of the characters of a British India.

Tagore advocates the freedom of expression lacked by women of those days through the characters of Sucharita and Lolita. The play also comes out as a strong voice against the atrocities committed by the British against our farmers, mostly unnoticed and uncared for by the high class Indian society. Though a difficult story which especially is uncontemporary, Gora convinces us that the purpose of theatre is not just to entertain and educate, but also leading us towards contemplation.