DOCSLIB.ORG

413 Sneha Chintane Coverpage April 2016.Cdr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
413 Sneha Chintane Coverpage April 2016.Cdr Monthly Magazine Published by BUNTS’ SANGHA BANGALORE VOL 12 APRIL 2016 ISSUE 04 Literary & Publication Committee Chairman : Sri Sathyananda Melanta N. Hon. Editor : Sri M. Muralidhar Hegde ¥ÀÅl Advisory Board 1. Editorial 2 Girish Rai A. Dr. Jayaram Shetty S. 2. President's Message 3 Chandrahas Rai D. Amarnath Hegde R. 3. UËgÀªÀ PÁAiÀÄðzÀ²ðUÀ¼À ªÀgÀ¢ 4 Shashidhar Adappa B. 4. 5 Prakash Shetty M. zÉéÃμÀzÀ §zÀÄPÀÄ C£ÁgÉÆÃUÀåPÉÌ PÁgÀt 5. 7 Editorial Board ©Ã¢ £Á¬ÄUÀ¼ÀÄ ªÀÄ£ÀÄμÀå£À ªÉÄÃ¯É Vanamala Sampanna Kumar 6. International Women’s Day Celebration 9 Rajashree K Shetty Rajaram Shetty U. 7. ¸Á® ±ÀÆ®-¸ÀvÀàxÀ 11 Pramodchandra Bhandary K. Chandrashekhar Alva 8. AiÀÄÄUÁ¢ ¸ÀA¨sÀæªÀÄ 15 Nagaraja Shetty K. 9. xG$LrZ¤p]]¹3Mq$LxY 33 Prashanth Rai 10. 34 Patron Members £ÀªÀÄäªÀgÀÄ Smt. Manorama Chowta 11. ªÀÄ£À¸ÁgÉ £ÀPÀÄÌ©r 35 Smt. Veda S. Shetty Sri B. Kusumakara Shetty 12. JvÀÛt ªÀiÁªÀÄgÀ JvÀÛt PÉÆÃV¯É 37 Sri R.S. Shetty Smt. Vasanthi P. Shetty 13. vÀļÀÄ vÉjAiÉÆ£Éè 39 Sri Prakash Shetty 40 Sri A.J. Shetty 14. ¥ËgÀ gÀPÀëuÁ ¥ÀqÉ - ¹«¯ï r¥sÉ£ï Smt. Geetha Bhagavandas Rai 15. AiÀÄPÀëUÁ£À ¥ÀæzÀ±Àð£À 43 Sri K. Shankar Shetty, Hubli Sri Srinivas Sooda 16. Yakshagana Foot Prints 44 17. Matrimonial 47 Publisher Sri H. Shridhar Hegde ¸ÉßúÀ aAvÀ£ÉAiÀÄ°è ¥ÀæPÀlªÁzÀ ¯ÉÃR£ÀUÀ¼À°è£À ªÀÄÄR ¥ÀÅl C©ü¥ÁæAiÀÄUÀ¼ÀÄ DAiÀiÁ ¯ÉÃRPÀjUÉ ¸ÉÃjzÀÄÝ, EzÀgÀ°è CAvÁgÁ¶ÖÃAiÀÄ ªÀÄ»¼Á ¢£ÁZÀgÀuÉ §AlgÀ ¸ÀAWÀPÉÌ AiÀiÁªÀÅzÉà vÉgÀ£ÁzÀ dªÁ¨ÁÝj EgÀĪÀÅ¢®è. AiÀÄPÀëUÁ£À PÁAiÀÄðPÀæªÀÄ K¦æ¯ï 2016 ¸ÀA¥ÁzÀQÃAiÀÄ ±Á¯Á ªÀÄPÀ̽UÉ ¥ÀjÃPÉëUÀ¼É¯Áè ªÀÄÄVzÀÄ, FUÀ ¨ÉùUÉ gÀeÉAiÀÄ ¸ÀªÀÄAiÀÄ. £ÁªÀÅ ¸Àé®à »AzÉ ¸ÀjzÀÄ £ÉÆÃrzÀgÉ, £ÀªÀÄä PÁ®zÀ°è EzÀÄ ºÉÃVvÀÄÛ? §ºÀ¼À PÁvÀÄgÀ¢AzÀ gÀeÁ ¢£ÀUÀ½UÉ PÁzÀÄ, £ÀAvÀgÀ F ¢£ÀUÀ¼À£ÀÄß ºÉÃUÉ PÀ¼ÉAiÀÄĪÀÅzÀÄ JA§ÄzÀgÀ §UÉÎ AiÉÆÃa¸ÀÄwÛzÉݪÀÅ. CdÓ, CfÓ ªÀÄ£ÉUÉ ºÉÆÃUÀĪÀÅzÉAvÀÆ ¸ÀéUÀðzÀ C£ÀĨsÀªÀ. C°è£À PÁqÀÄUÀ¼ÀÄ, UÀzÉÝUÀ¼ÀÄ, ¸Àj wLJ qMz±] tZ¤ 8w ¥Z$L|±Jw po 3J8 ']J (]¦ qJ|± M 3r© )HU] op8 pps8 tJY¤w u 9q$] $H$LwJ8 8 ¸ÀªÀÄAiÀÄ PÀ¼ÉzɪÀÅ JA§ÄzÉà UÉÆvÁÛVgÀĪÀÅ¢®è. UÉÃgÀĺÀtÄÚ, ªÀiÁ«£À ºÀtÄÚ, ºÀ®¸ÀÄ, ºÉ¨É⮸ÀÄ, EvÀgÀ ºÀtÄÚUÀ¼À®èzÉà PÁr£À°è ¹UÀĪÀ vÀgÀºÀ vÀgÀºÀzÀ ºÀtÄÚUÀ¼À£ÀÄß wAzÀÄ, £ÉÃgÉ¼É ºÀtÂÚ£À §tÚ §mÉÖ vÀÄA¨Á ¸ÀªÀjPÉÆAqÀÄ §AzÀ ¢£ÀUÀ¼ÀÄ FUÀ £É£À¥ÀÄ ªÀiÁvÀæ. ¸ÀÄlÖ UÉÃgÀÄ©ÃdzÀ ¥ÀjªÀļÀ, CzÀgÀ gÀÄaAiÉÄà ¨ÉÃgÉ. eÉÆvÉUÉ CfÓ vÀAiÀiÁj¹zÀ §UɧUÉAiÀÄ wArUÀ¼ÀÄ. DzÀgÀÆ EzÉ®èzÀgÀ eÉÆvÉUÉ, £ÀªÀÄUÉ w½AiÀÄzÉÃ, ¥Àj¸ÀgÀ, PÁqÀÄ, d®, £À¢ EªÀÅUÀ¼À §UÉÎ C£ÉÃPÀ «μÀAiÀÄUÀ¼À£ÀÄß w½zÀÄPÉÆAqÀÄ §gÀÄwÛzÉݪÀÅ. GvÀÛªÀÄ ªÁåAiÀiÁªÀĪÀÇ DVgÀÄwÛvÀÄÛ. ©¹°£À ¨ÉÃUɬÄAzÀ ªÉÄÊ §tÚ ¸Àé®à PÀ¥ÁàzÀgÀÆ C£ÀĨsÀªÀzÀ zÉÆqÀØ ºÉÆwÛUÉAiÀÄ£ÀÄß £É£À¦£À gÀÆ¥ÀzÀ°è £ÀªÀÄä eÉÆvÉUÉ vÀgÀÄwÛzÉݪÀÅ. JzÀÄÝ, ©zÀÄÝ, DqÀĪÀ UÀ¯ÁmÉAiÀÄ°è ¸ÀtÚ¥ÀÄlÖ UÁAiÀÄUÀ¼ÁzÀgÉ CzÀgÀ ¥ÀjªÉà EgÀÄwÛgÀ°®è. PÉ®ªÉÇAzÀÄ PÁr£À ºÀtÄÚUÀ¼À£ÀÄß wAzÀÄ ªÉÄÊ, PÉÊ, ¨ÁAiÀįÉè¯Áè CzÀgÀ ¸ÉÆ£ÉAiÀÄ UÁAiÀÄUÀ¼ÁzÀgÀÆ CªÉ®èªÀÇ ¸ÀAvÉÆÃμÀ¢AzÀ £À°zÀÄ PÀÄ¥ÀླྀÀĪÁUÀ ªÀÄgÉvÉà ºÉÆÃUÀÄwÛzÀݪÀÅ. ªÀÄ£ÉAiÀÄ°ègÀĪÀ JªÉÄä, ºÀ¸ÀÄ, PÀgÀÄ, £Á¬Ä, ¨ÉPÀÄÌ, PÉÆýUÀ¼À£É¯Áè CmÁÖr¹PÉÆAqÀÄ ºÉÆÃV CªÀÅUÀ¼À eÉÆvÉ DlªÁr CªÀÅUÀ¼À°è£À ¸ÀA¨sÀAzsÀªÀ£ÀÄß CjvÀÄPÉƼÀÄîwÛzÉݪÀÅ. DUÀ £ÀªÀÄä ±ÀjÃgÀªÀÇ CμÀÄÖ zÀμÀÖ ¥ÀÄμÀÖ, UÀnÖAiÀiÁVgÀÄwvÀÄÛ. PÉÆ£ÉUÉ §ºÀ¼À ¨ÉøÀgÀ¢AzÀ gÀeÉ ªÀÄÄV¬ÄvÀÄ, £ÀªÀÄä HjUÉ, }{8YJ {u3$]0z±]wpµq$]wJr¯$LLW($Y²8¹]&puVw($opw38pw PÉÆqÀ®Ä ¸ÁzsÀåªÉÃ? FV£À ªÀÄPÀ̽UÉ EzÀgÀ §zÀ¯ÁV “¸ÀªÀÄägï PÁåA¥ï”. ¯ÉPÀÌ«®èzÀμÀÄÖ ¨É¼É¢gÀĪÀ EA¢£À F zÀAzsÉ. PÉêÀ® MAzÉÆà &[w-JTZ$8 |±qw8T¯y$8¸r$Q$8¸4¯3P¸)G3®|8¯sÅ$9YuVGpuVWwLT{¸ vÀAiÀiÁjPÉ, JA¨ÁæAiÀÄØj, PÀ®jAUï, PÁæ¥sïÖ, EArAiÀÄ£ï qÁå£ïì, PÁè¹PÀ¯ï qÁå£ïì, £ÁlPÀ, £Àl£É, ¨sÀUÀªÀ¢ÎÃvÉ, ±ÉÆèÃPÀ, ]}uV4¤9Y®$T¸JQ$8¸P¯Up{¸8wL¸µ&T8 (p¨zwJ(wtJ$Lz)0$]rO ¸ÁPÁUÀzÉÆà K£ÉÆÃ) EvÁå¢. EªÉ®èªÀ£ÀÆß M§âgÉÆà CxÀªÁ E§âgÀÄ nÃZÀgïUÀ¼ÀÄ ºÉýPÉÆqÀĪÀÅzÀÄ. EªÉ¯Áè K£ÀÄ -$]Z$LwJ{±qw­3®$sp0$]Z$8 3 $LY¤](p¨3|YwLTw]$LLw8"9]¦|± gÀeÉAiÀÄ ªÀÄeÁ F £ÀªÀÄä ªÀÄPÀ̽UÉ AiÀiÁªÁUÀ ¹UÀ¨ÉÃPÀÄ? }{$L w$L]|± u8 3 -]¦ Y$LLJ9 Z$UZ$] tZ¤ 3Q3$T }{$L w®qp 8 YJ43$T wJ 8$P$LwJ8 }{ p$YJ wp8 t$]J O®p¸ $ w3¸¹ (Y®o (U op (]J{± yY x4] w$L 1]|3 &]J|±$L &w­ '= )= 9]¦J ($OJ¸pP¸ ªÁlì¥ï£À°è PÁ®PÀ¼ÉzÀÄ, HlªÀiÁr ªÀÄ®UÀĪÀÅzÀÄ. £ÀAvÀgÀ ªÀÄgÀÄ¢£À CzÉà gÁUÀ. ¸ÀªÀÄägï PÁåA¥ï ¥ÁægÀA¨sÀªÁzÀgÉ, CzÀÆ »ÃUÉà EgÀÄvÀÛzÉ. ºÀt PÉÆnÖgÀÄvÉÛêÉ, EgÀĪÀ MAzÉÆà JgÀqÉÆà wAUÀ¼À°è J®èªÀ£ÀÆß PÀ°AiÀĨÉÃPÀÄ. ºÉÃUÉ ¸ÁzsÀå? 89}{op8 p¨3 ]MZ$L|±$Lw3 JHop8 p¨3 $LY¤w(]($oppw­rM¥Z £ÁªÀÅ £ÀªÀÄä Hj£À ¥Àj¸ÀgÀzÀ°è ªÀÄPÀ̼À£ÀÄß ¸Àé®à ¢£À ©lÖgÉ, CªÀjUÉ ¹UÀĪÀ C£ÀĨsÀªÀªÉà ¨ÉÃgÉ. EzÀÄ ªÀÄPÀ̽UÉ ºÉý, w½¹, PÀ°¸ÀĪÀ ¥ÁoÀªÀ®è. EzÀÄ Practical experience ºÁUÀÆ On – job – TrainingYJpw)qQp|± ¸Àé®à AiÉÆÃa¹zÀgÉ ªÀÄÄA¢£À ¦Ã½UÉUÉ £ÁªÀÅ C£ÉÃPÀ «μÀAiÀÄUÀ¼À£ÀÄß w½¹zÀAvÁUÀÄvÀÛzÉ, E£ÀÄß ªÀÄÄAzÉ ¹UÀzÉà EgÀĪÀ &puVw8 p¨pw­rPW88]J43O$Y8Y¤] JA. ªÀÄÄgÀ°ÃzsÀgÀ ºÉUÉØ [email protected] 2 K¦æ¯ï 2016 President's Message “God, grant me the serenity to accept the things that I cannot change, the courage to change things that I can and the wisdom to know the difference”. Sometimes in your life , you come to the crossroads. You realise the right way is to move forward. But sometime you hit a wall and you know, you need to overcome that. Despite all provocation, you accept to ignore and hope people will change. Unfortunately, it never happened. Being the President of a social organisation is never easy and hence was my reluctance despite being in the executive committee for more than 20 years. Some of the well wishers wanted me to take up the mantle so that we can push new ideas. Luckily, I had a great team as executive committee and everyone was focused. The cooperation showed with many programme which was appreciated by one and all. In the recent few months, my enthusiasm has waned, passions get dimmed when suddenly you realise, that are few who believe that are the only one's who know what is good for the Sangha. I don't consider myself a saint but I am certainly not a sinner. In your quest to do something good for the community, there would be issues and I believe they can be sorted by clarity of thoughts and not by stubbornness. The election in the horizon may have something to do with that but I hope and pray Ǥ ϐ and despite all attempts, I realise one person opinion can stop all activity irrespective Ǥ ϐǤ I hold no grudges against anyone but I request all our well wishers to realise why I am hurt and how I feel, it is all not worth it. I have only one request to almighty... dear God, if I have hurt others give me the strength to apologise... If people hurt me, give me the strength to forgive. We will not be living forever, let us in a short time available, do good for the people and the community. History will not remember, how long you lived but will remember, how well you lived and what is your contribution to the society at large Dr. Naresh Shetty President 3 K¦æ¯ï 2016 UËgÀªÀ PÁAiÀÄðzÀ²ðUÀ¼À ªÀgÀ¢ AiÉÄÃμÁA £À «zÁå £À vÀ¥ÉÇãÀzÁ£ÀA| eÁÕ£ÀA £À ²Ã®A £À UÀÄt£ÉÆà £À zsÀªÀÄð:| vÉà ªÀÄvÀðå ¯ÉÆÃPÉà ¨sÀÄ« ¨sÁgÀ ¨sÀÆvÁ| ªÀÄ£ÀÄμÀå gÀÆ¥ÉÃt ªÀÄÈUÁ±ÀÑgÀAw|| $LLM8x]®Yrµ]p8wto§HppTY]W&[w]Vw¹w8| E®èªÉÇÃ, CAxÀªÀgÀÄ ¨sÀƨsÁgÀÀPÀgÁV F ªÀiÁ£ÀªÀ¯ÉÆÃPÀzÀ°è ªÀÄ£ÀÄμÀågÀÆ¥ÀzÀ°è 1TTww88 ¸ÀªÀÄÄzÁAiÀÄzÀ »AzÀĽzÀ DyðPÀ ªÀÄÄUÀÎnÖ£À°ègÀĪÀ ¥sÀ¯Á£ÀĨsÀ«UÀ½UÉ ¢£ÁAPÀ 01.04.2015 jAzÀ 31.03.2016 J &woÅ$L|± 0O 3MwW w$8z Y¯ 8 p¨ xYM{9] op$3 J$] ¸ÀAWÀzÀ ªÀÄ»¼Á «¨sÁUÀªÀÅ CAvÀgÁ¶ÖçÃAiÀÄ ªÀÄ»¼Á ¢£ÁZÀgÀuÉ ¥ÀæAiÀÄÄPÀÛ ‘¥Àæw¨sÁ’ - CAvÀgï ¸ÀAWÀUÀ¼À ¸ÁA¸ÀÌöÈwPÀ ¸ÀàzsÉðAiÀÄ£ÀÄß AiÀıÀ¹éAiÀiÁV DAiÉÆÃf¹vÀÄÛ. PÁAiÀÄðPÀæªÀÄzÀ°è ¸ÀĪÀiÁgÀÄ 11 vÀAqÀUÀ¼ÀÄ ¨sÁUÀªÀ»¹, ¸ÀAeÉ £ÀqÉzÀ ¸À¨sÁPÁAiÀÄðPÀæªÀÄzÀ°è ªÀÄÄRå CwyAiÀiÁV DUÀ«Ä¹zÀ ²æêÀÄw ªÀiÁUÀðgÉmï ¸ÀA¥ÀvïgÀªÀgÀÄ ¸ÀàzsÁð xHYM8twLpxYJXwLU]J)3$L¹3¯w]JwMw xuV8]w5®¥~¯wZ JWI}Q$=z4~¯wZJG~¯3}Q$LwM8&vÅw$]p8 ¢£ÁAPÀ 27.03.2016 gÀAzÀÄ ¨sÁ£ÀĪÁgÀ AiÀÄPÀëUÁ£À ¸À«Äw ªÀw¬ÄAzÀ AiÀÄPÀëUÁ£À PÁAiÀÄðPÀæªÀĪÀ£ÀÄß DAiÉÆÃf¸À¯ÁVvÀÄÛ. ¸ÀAWÀzÀ AiÀÄPÀëUÁ£À vÀgÀ¨ÉÃw vÀgÀUÀwAiÀÄ ªÀÄPÀ̽AzÀ ‘¸ÀªÀÄÄzÀæ ªÀÄxÀ£À’, ªÀÄ»¼ÉAiÀÄjAzÀ ‘ZÀPÀæªÀÇåºÀ’ ºÁUÀÆ £ÀÄjvÀ PÀ¯Á«zÀjAzÀ ‘ZÀAzÀæºÁ¸À’ AiÀÄPÀëUÁ£À ¥ÀæzÀ±Àð£À ªÀÄ£ÉÆÃdÕªÁV ªÀÄÆr§AvÀÄ. (Z¤=8q]VpJ]$L3´8p3{x]3W£wp8WrZuVP¸3O$t30$]z3´J8 '\¹3 $Lwp¨ qT{yY ) qQp|± }¯x] $L3´8p xZ$L w5®¥ ~¯wZ 3{wZ }Q ºÁUÀÆ ¸ÀAZÁ®PÀ ²æà ©. ªÀÄzsÀÄPÀgÀ ±ÉnÖAiÀĪÀjUÉ C©ü£ÀAzÀ£ÉUÀ¼ÀÄ. CPÉÆæÃzsÉãÀ dAiÉÄÃvï PÉÆæÃzsÀªÀĸÁzsÀÄA ¸ÁzsÀÄ£Á dAiÉÄÃvï 3rwp¨}$Zy$]z3O]¦p¨0 ·$L]M$]z8z±u3 ºÉZï. ²æÃzsÀgï ºÉUÉØ UËgÀªÀ PÁAiÀÄðzÀ²ð ¸ÀÆZÀ£É ¦æAiÀÄ ¸ÀzÀ¸ÀågÉÃ, $:] ]®M8 qTz *]§~{9Jw ­P¸¹3T¸¹8 ]§8$U]¦ ]® u$]VwJ op$3 14.04.2016 jAzÀ ¸ÀAWÀzÀ PÀbÉÃj ªÉüÉAiÀÄ°è gÀÆ.20/-£ÀÄß ¥ÁªÀw¹, vÀªÀÄä ¸ÁämïðPÁqÀð£ÀÄß ¥ÀqÉAiÀĨÉÃPÁV «£ÀAw. UË| PÁAiÀÄðzÀ²ð 4 K¦æ¯ï 2016 zÉéÃμÀzÀ §zÀÄPÀÄ C£ÁgÉÆÃUÀåPÉÌ PÁgÀt ªÀĪÀÄvÀ J¸ï. ºÉUÉØ, ²ªÀªÉÆUÀÎ DgÉÆÃUÀå¢AzÀ EgÀĪÀªÀjUÉ CzÀgÀ ªÀĺÀvÀé w½¢gÀĪÀÅ¢®.è vÉÆÃj¸ÀĪÀªÀgÀ£ÀÄß £ÁªÀÅ ±ÀvÀÄæUÀ¼ÉAzÀÄ ¨sÁ«¹ IÄuÁvÀäPÀ D DgÉÆÃUÀåzÀ ªÀĺÀvÀé gÉÆÃVUÀ½UÀμÉÖ w½¢gÀÄvÀÛzÉ. «ZÁgÀUÀ¼À£ÀÄß vÀ¯ÉAiÀÄ°è vÀÄA©PÉÆAqÀÄ CªÀgÀ£ÀÄß ¸ÀzÁ zÉúÀªÀÅ £ÉÆëUÁUÀ°Ã, £À°«UÁUÀ°Ã ¸ÀàA¢¸ÀĪÀÅzÀÄ zÉéö¸ÀĪÀAvÉ £ÀªÀÄä ªÀÄ£À¸ÀÄì AiÉÆÃa¸ÀvÉÆqÀUÀÄvÀÛzÉ.
Load more

Recommended publications
  • M.A-Music-Vocal-Syllabus.Pdf
    BANGALORE UNIVERSITY NAAC ACCREDITED WITH ‘A’ GRADE P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MUSIC SYLLABUS – M.A KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) CBCS SYSTEM- 2014 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree with music vocal/instrumental as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination in music (vocal/instrumental) conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in vocal/instrumental music conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in music b) All India Radio/Doordarshan gradation c) Any diploma in music or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. MUSIC course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), two practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6.
    [Show full text]
  • Khabbar Vol. XXXIII No. 4 (October, November, December
    K h a b b a r North American Konkani Newsletter Volume XXXIII No. 4 October, November, December - 2010 From: The Honorary Editor, "Khabbar" P. O. Box 222 Lake Jackson, TX 77566 - 0222 XXXIII-4 ADDRESS SERVICE REQUESTED FIRST CLASS TO: Khabbar XXXIII No. 4 Page: 1 Khabbar Follies In this section, Khabbar looks into the Konkani community and anything and everything that is Konkani from a Konkani point of view. The names will never be published but geographic location will be identified in general terms. There is no doubt in my mind that Khabbar is a part & parcel the latest Khabbar. Here comes the reply from this young of life of Konkanis in North America. In fact, Khabbar has Konkani reader: developed a special relation with most of the Konkani families and here are some examples of those close encounters of a “Thanks for sending Khabbar, Vasant uncle. My hostel is different kind….…… really lonely but Khabbar always gives me a good feeling of ----------------------------------------------------------------------------- home when I read the newsletter. Here’s also my correct Khabbar has a good track record of mailing hard copies to answer to this quarter’s quiz. I am also enclosing Rs. 15 as my subscribers regularly. I was sending Khabbar to this young dues (Sorry, I have no dollars, only rupees!!). reader from Houston, TX. Recently, he moved to India for higher studies without giving his forwarding address. Editor’s Note: Khabbar managed to get his address in India and mailed him That’s the most valuable Rs. 15.00 Khabbar ever earned! ***** SUBSCRIPTION FORM: Dear Konkani family, It is time to renew your subscription for 2011.
    [Show full text]
  • Expectant Urbanism Time, Space and Rhythm in A
    EXPECTANT URBANISM TIME, SPACE AND RHYTHM IN A SMALLER SOUTH INDIAN CITY by Ian M. Cook Submitted to Central European University Department of Sociology and Social Anthropology In partial fulfilment of the requirements for the degree of Doctor of Philosophy Supervisors: Professor Daniel Monterescu CEU eTD Collection Professor Vlad Naumescu Budapest, Hungary 2015 Statement I hereby state that the thesis contains no material accepted for any other degrees in any other institutions. The thesis contains no materials previously written and/or published by another person, except where appropriate acknowledgment is made in the form of bibliographical reference. Budapest, November, 2015 CEU eTD Collection Abstract Even more intense than India's ongoing urbanisation is the expectancy surrounding it. Freed from exploitative colonial rule and failed 'socialist' development, it is loudly proclaimed that India is having an 'urban awakening' that coincides with its 'unbound' and 'shining' 'arrival to the global stage'. This expectancy is keenly felt in Mangaluru (formerly Mangalore) – a city of around half a million people in coastal south Karnataka – a city framed as small, but with metropolitan ambitions. This dissertation analyses how Mangaluru's culture of expectancy structures and destructures everyday urban life. Starting from a movement and experience based understanding of the urban, and drawing on 18 months ethnographic research amongst housing brokers, moving street vendors and auto rickshaw drivers, the dissertation interrogates the interplay between the city's regularities and irregularities through the analytical lens of rhythm. Expectancy not only engenders violent land grabs, slum clearances and the creation of exclusive residential enclaves, but also myriad individual and collective aspirations in, with, and through the city – future wants for which people engage in often hard routinised labour in the present.
    [Show full text]
  • A Discourse on the Deconstruction of Spirit Worship of Tulunadu
    A Peer-Reviewed Refereed e-Journal Legend of Koragajja: A Discourse on the Deconstruction of Spirit Worship of Tulunadu Mridul C Mrinal MA in English and Comparative Literature Central University of Kerala, Kasaragod. The Social stratification in a community is often complex and ambiguous in nature. Upon the rise of each nation states and civilization, there were several parameters, which determined the social stratification. In ancient Greece, the word used to denote the divisions are genos. The ancient Greek society was divided into citizens, metics and slaves. In ancient Rome, the social stratification was identified with mainly two groups, Patricians and Plebeians. The chief resource for the social stratification parameters are economical in nature. Other factors such as tradition and beliefs are often can be said to have rooted in the wider economic subject. The term class is often associated with economics. There are usually hegemonial and subdued elements in social stratifications. In ancient Greece, the hegemonial element is found associated with the citizens, who are free and members of the assembly whereas slaves were the subdued element who were brought into slavery. In ancient Rome, the hegemonial element were the patricians whereas the plebeians were the subdued. These ideas can often be observed with Class struggle and historical materialism. The division of history into stages based on the relation of the classes is an important aspect of Historical materialism. In India, the main social stratification parameter is the caste.it could be claimed as ceremonial as well as economic in nature. BR Ambedkar observes Endogamy as a product of ceremonial caste.
    [Show full text]
  • Editors Seek the Blessings of Mahasaraswathi
    OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi
    [Show full text]
  • Karnatak Music Vocal/Instrumental (Veena/ Violin )
    Syllabus for M.A. (Previous) Karnatak Music Vocal/Instrumental (Veena/ Violin ) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Study of Scales, Ragas and Forms 70 Marks 1. Detailed study of ragas Prescribed (List – A). 2. Comparative study of the basic scales of different systems of Music such as Karnatak, Hindustani, Ancient Tamil Music, western and Far Eastern. 3. Decorative angas figuring in kriti’s and other Musical forms. 4. Pallavi notation; Theory of Rettai Pallavi and Nadai Pallavi. 5. Different Mudras figuring in Musical compositions. 6 Evolution of Indian Musical scales. Internal Assessment 30 Marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical Study of the evolution of Ragas, Talas and Music Instruments 70 Marks 1. The different periods of Musical History and their distinctive features, Landmarks in the history of Indian Music. 2. Evolution of Ragas, Ragalakshana and system of Raga classification, Ragas which owe their origin to folk Music. 3. Classification of Musical Instruments. Important musical instruments adopted in traditional music. 4. Evolution of Musical forms with special reference to Prabandhas and their classifications; Gita Prabandha, Vadya Prabandha, Nritya Prabandha, and Misra Prabandha. 5. Concept of “Marga” and “Desi” in the spheres of Raga, Tala, Prabandha. 6. Knowledge about the formation of 175 and 108 systems of talas. Rare talas figure in Tiruppugazh. Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of one hour duration with accompaniments, before an audience, planned by the candidate within the Prescribed Ragas(List A& B).
    [Show full text]
  • Raga Dhana of Udupi Turns 25
    raga that is not commonly chosen began to sound better than before good control over the bow and over for this mode of improvisation. The providing a lot of saukhyam when laya. While these are assets for an niraval embellishment showcased he sang Inta saukhyamanine accompanying violinist, there did his vidwat and the trademark of his (Kapi, Tyagaraja). A quick appear a difference in the styles and guru T.M. Krishna’s earlier genre Bhogeendrasayinam (Kuntalavarali, in the approaches to elaboration of of concert-music. Aligning with the Swati Tirunal) preceded the Ragam, ragas between the vocalist and the “pace and spin” formula of concert Tanam and Pallavi in Poorvikalyani. violinist. music, he sang Mariveredikku The professionally competent To the credit of the artists, it must (Shanmukhapriya, Patnam execution of this centrepiece with the be said that none of them showed Subramania Iyer) at a brisk pace repetition of the pallavi in various any sign of fatigue, nor did they and embellished it with swaras. speeds and gaits and some pleasing let the audience feel so. It was an He went on to sing an alapana of ragamalika swaras could simply not enjoyable experience, a luxury that Yadukulakambhoji which appears capture the magic created by the may not be possible during the to be a favourite raga of his and evocative music in the first half of mad rush of the season or on a rendered Syama Sastry’s swarajati the concert. working day. (Kamakshi), emulating his guru and The last phase had a portion of doing him proud, too.
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]
  • A Landscape Approach to the Rejuvenation of the Cultural Landscape of Barkur Through Historical Analysis
    International Journal of Science and Research (IJSR) ISSN: 2319-7064 Impact Factor (2018): 7.426 A Landscape Approach to the Rejuvenation of the Cultural Landscape of Barkur through Historical Analysis Meghana K Raj, Rajshekar Rao 1MS Ramaiah Institute of Technology, Bangalore, India 2Professor, MS Ramaiah Institute of Technology, Bangalore, India Abstract: Barkur, which is an ancient port town in Karnataka situated on the banks of the river Sita, has a unique culture that is developed because of its natural setting and that is reflected in the way of life, Architecture, and festivals. It has a rich historical background and this cultural landscape which has evolved over centuries is under threat due to insensitive development and apathy towards their heritage. This paper involves a landscape approach through historical analysis of the primary data and survey method using secondary data to map the topography of this town. Design strategies are proposed for a sustainable rejuvenation of the heritage and cultural landscape to achieve ecological stability, conservation of the monuments and to promote eco-tourism and showcase the glory and growth of this town. It is found that proper watershed management would help to optimize the use of natural resources, improve agriculture productivity and revive the lost interlinks between the streams and tanks. Policies are proposed to protect and conserve rich farmlands and provide for a sustainable development of the historic sites and monuments. The proposals include a sustainable development to promote eco-tourism and provide economic opportunities to the local community. Keywords: Cultural landscape, Ecological stability,Eco-tourism, Morphology, Sustainable Rejuvenation 1.
    [Show full text]
  • A Study of Tuḷuva Women and the Siri Possession Cult
    An Online Open Access Journal ISSN 0975-2935 www.rupkatha.com Volume V, Number 2, 2013 Special Issue on Performance Studies Chief Editor Tirtha Prasad mukhopadhyay Editor Tarun Tapas Mukherjee Indexing and abstracting Rupkatha Journal is an international journal recognized by a number of organizations and institutions. It is archived permanently by www.archive-it.org and indexed by EBSCO, Elsevier, MLA International Directory, Ulrichs Web, DOAJ, Google Scholar and other organisations and included in many university libraries Additional services and information can be found at: About Us: www.rupkatha.com/about.php Editorial Board: www.rupkatha.com/editorialboard.php Archive: www.rupkatha.com/archive.php Submission Guidelines: www.rupkatha.com/submissionguidelines.php Call for Papers: www.rupkatha.com/callforpapers.php Email Alerts: www.rupkatha.com/freesubscription.php Contact Us: www.rupkatha.com/contactus.php © Rupkatha Journal on Interdisciplinary Studies in Humanities Ritualistic World of Tuluva: a study of Tuḷuva Women and the Siri Possession Cult Yogitha Shetty University of Hyderabad Abstract The paper could roughly be divided into two sections: first provides a brief outline of Bhūtārādhane or the ritual-performance traditions of the Tulu-speaking region in the coastal region of Karnataka. Second offers an insight into the mass possession cult of Siri, which like the other rituals of Bhūtārādhane derive their referential script from the oral tradition of the land. Connected intricately with the Siri epic or pāḍdana, Siri rituals are performed annually in many places of the coastal region of Karnataka. During these rituals thousands of ‘afflicted’ women gather and get ‘possessed’ by the pantheon of Siri spirits.
    [Show full text]
  • 06 Chapter 2.Pdf
    r. 3 CHAPTKR_I1 : HISTORICAL BACKGROUND OF THE BUMTS 2.1 Parasu Rarna Sristi 2.2 Situation of South Kanara 2.3 Languages of the District 2.4 Who are the Bunts ? 2.5 Deffion Worships 2.6 Different Types of Bhuta Worship 2.7 Serpent Worship Brought by Brahmins 2.8 Four Sub-divisions of Bunt Caste 2.9 Bunts Other Characteristics 2.10 Marriage System 2.11 Agriculture And Trade 2.12 Land Tenures 2.13 Divisions of Time -0==0- 4; CHAPTER II HISTORICAL BACKGROUND OF_THE_BIJiWTS INTRODUCT ION : No definite historic record relating to South 1 2 Kanara-^ or Tuluva has been found of earlier date than the eighth or ninth century A.D., but it must certainly at one time have formed part of Kerala,the Western of the three ancient Dravidian kingdoms men­ tioned in king Ashoka's rock-cut inscriptions of the 3 third century B.C. Prior to the introduction of Brahmins under the auspices of Kadamba kings in the eighth century, the early agricultural population of Tuluva seems to have held a subordinate position to the Na'yars or Bunts, who were the military adherents of the chieftains who ruled as feudatories of an overlord, who, in his turn was recognised by some more distant suzerain. The re- !• Mr. H.A.Stuart' s,'The Manual of South Kanara',Chap. II.History and Archaeology P.54.Govt.Press Madras, year 1895. 2. 'Tuluva'-The larger portion of the district is made up of the old country of Tuluva. J.3turrock;Madras district Manuals.South Kanara Vol.1 Govt.
    [Show full text]
  • Dr. Mamatha Hegde Profile
    Dr. Mamatha Hegde Profile Qualifications B.Sc. First class with Distinction, from Mangalore University in the year 1996 M.Sc. First class, from Bangalore University in the year 1998 UGC- NET from CSIR in the year June 1998 ASRB – NET from ASRB in the year October 2001 Ph. D from Bangalore University in the year July 2013 Awards 1. Certificate of Merit and Overall proficiency, M.G.M College, Udupi, 1995 and 1996. 2. Received “Rashtriya Gaurav Award” in June 2013 by International friendship Society, New Delhi. 3. Received “Best citizen of India Award” in August 2013 by Best Citizen Publishing House, New Delhi. 4. Received the Best paper award for in the National Conference on role of Home Science education and Interdisciplinary subjects “Eco- friendly dye for Infant clothing’ held in the year July 2009, Bangalore. 5. Received the Best paper award (Second runner off) in the International Conference on “Challenges and Opportunities for Developing Sustainable RUBAN Society for the paper Sustainable Green Entrepreneurial Avenues for Fashion Industry,” 13-14 Feb 2015, Organized by Dayananda Sagar Business Academy, Bangalore. 6. Received the “Best Bunt women achiever award” on behalf of International Women’s day celebrations organized by Bunts Sangha , Bangalore on 7 March 2015. 7. Received “Outstanding Professor of RUAS” award for recognizing exceptional contributions and efforts of Ramaiah University of Applied Science Professors in the area of science on National Science Day 28 February 2020. 8. Received the Academic Excellence Award, ICEATAT 2020 in Appreciation for Dedication and Contribution in the field of Textiles at first International Conference on Advances in Textile Engineering and Apparel Technology held by the Journal of Textiles and Clothing Science on 23 August 2020.
    [Show full text]