Tuesday, December 1, 2009
BHASAVANNA VACHANAS
People who have money build temples
What can /, a poor man, do?
My legs are pillars
My body itself is the temple
My head is the golden tower
Please listen 0, Kudalasangama
The static has an end
But the dynamic has none.
What can /, a poor man, do?
My legs are pillars
My body itself is the temple
My head is the golden tower
Please listen 0, Kudalasangama
The static has an end
But the dynamic has none.
Flower In The Desert
This happened many many summers ago.
There was a young flower in the desert where all was dry and sad looking...It was growing by itself...enjoying every day...and saying to the sun "When shall I be grown up"? And the sun would say "Be patient"---Each time I touch you,you grow a little"...And she was so pleased.Because she would have a chance to bring beauty to this corner of sand...And this is all she wanted to do---bring a little bit of beauty to this world.
One day the hunter came by---and stepped on her.---She was going to die---and she felt so sad.Not because she was dying ---but because she would not have a chance to bring a little bit of beauty to this corner of the desert.
The great spirit saw her, and was listening.---Indeed,he said ...She should be living...And he reached down and touched her---and gave her life.
And she grew up to be a beautiful flower...and this corner of the desert became so beautiful because of her.
There was a young flower in the desert where all was dry and sad looking...It was growing by itself...enjoying every day...and saying to the sun "When shall I be grown up"? And the sun would say "Be patient"---Each time I touch you,you grow a little"...And she was so pleased.Because she would have a chance to bring beauty to this corner of sand...And this is all she wanted to do---bring a little bit of beauty to this world.
One day the hunter came by---and stepped on her.---She was going to die---and she felt so sad.Not because she was dying ---but because she would not have a chance to bring a little bit of beauty to this corner of the desert.
The great spirit saw her, and was listening.---Indeed,he said ...She should be living...And he reached down and touched her---and gave her life.
And she grew up to be a beautiful flower...and this corner of the desert became so beautiful because of her.
The Bunts of Tulu Nadu
The word Bunta in Tulu language implies a powerful man or a soldier. The community of Bunts (anglicized from Buntas), also referred to as Nadavas, form an important and integral part of the socio economic culture of Tulu nadu, in coastal Karnataka. They share Tulu nadu with other prominent ethnic groups like the Billavas, Mogeras, Brahmins, Konkanis, Catholics and Jains. As a community, Bunts are next in number only to the Billavas of Tulu nadu. They are reputed to be agriculturists par excellence.
SUN OF THE KANNADA CINEMA
Puttanna Kanagal
Puttanna Kanagal(1933–1985) was one of the most prominent Kannada film directors of the 1960s and the 70s. Although majority of his films were on offbeat or taboo subjects, he endeared both to the critics and ordinary film goers alike. He also directed a handful Malayalam and Tamil,Telugu and Hindi movies.
Puttanna's maiden directorial venture was in Malayalam movie Poocha kanni (Cat eyed/Hazel eyed lady) based on the Kannada novel by Triveni Bekkina Kannu. In Kannada his first cinema was Savira Mettilu which was never released, during his life-time.
Puttanna's first break directorial venture was Bellimoda (Silver Clouds). Starring Kalpana and Kalyan Kumar, this movie was a critical and commercial success. Legend has it that Puttanna scouted for a week to find the perfect location for the mellifluous song "Moodala manyeaa".
Puttanna Kanagal(1933–1985) was one of the most prominent Kannada film directors of the 1960s and the 70s. Although majority of his films were on offbeat or taboo subjects, he endeared both to the critics and ordinary film goers alike. He also directed a handful Malayalam and Tamil,Telugu and Hindi movies.
Puttanna's maiden directorial venture was in Malayalam movie Poocha kanni (Cat eyed/Hazel eyed lady) based on the Kannada novel by Triveni Bekkina Kannu. In Kannada his first cinema was Savira Mettilu which was never released, during his life-time.
Puttanna's first break directorial venture was Bellimoda (Silver Clouds). Starring Kalpana and Kalyan Kumar, this movie was a critical and commercial success. Legend has it that Puttanna scouted for a week to find the perfect location for the mellifluous song "Moodala manyeaa".
Gandaberunda
The Gandaberunda (also known as the Berunda) is a two-headed mythological bird of Hindu mythology thought to possess magical strength. It is used as the official emblem by the Karnataka government and it is seen as an intricately sculptured motif in Hindu temples.
A roof sculpture depicting a Gandaberunda is found on the roof of the Rameshwara temple in the temple town of Keladi in Shimoga District(now Shivamogga). The Gandaberunda was used by the Wodeyar dynasty of Mysore as the Royal emblem. The Karnataka Government adopted this symbol as the state symbol.
YANA
Yana is a quiet hill station among the evergreen forest of Sahyadri mountains. Yana is only 25 kilometers from Kumta, a small coastal town and 40 kilometers from Sirsi. The region offers spectacular scenic beauty; lofty mountains, splendid rock formations, trickling waterfalls and a holy temple. The hill station is often frequented by tourists who like to gaze at Bhariraveswara Shikhara that stands 120 meters high. Another beautiful peak is the Mohini Shikhara that is ninety meters from base. These looming peaks are spectacular structures that have attained dimensions roughened through weathering turning into a photographer's delight.
Monday, November 30, 2009
vivekananda quotes
"Seek ye first the kingdom of God, and everything shall be added unto you." This is the one great duty, this is renunciation. Live for an ideal, and leave no place in the mind for anything else. Let us put forth all our energies to acquire that which never fails--our spiritual perfection. If we have true yearning for realization, we must struggle, and through struggle growth will come. We shall make mistakes, but they may be angels unawares.
Take up one idea. Make that one idea your life - think of it, dream of it, live on that idea. Let the brain, muscles, nerves, every part of your body, be full of that idea, and just leave every other idea alone. This is the way to success, that is way great spiritual giants are produced.”
Our duty is to encourage every one in his struggle to live up to his own highest idea, and strive at the same time to make the ideal as near as possible to the Truth.
Tuesday, November 24, 2009
Global media analysis and that's impact on India
In conventional parlance, the current era in history is generally characterized as one of globalization, technological revolution, and democratization. In all three of these areas media and communication play a central, perhaps even a defining, role. Economic and cultural globalization arguably would be impossible without a global commercial media system to promote global markets and to encourage consumer values. The very essence of the technological revolution is the radical development in digital communication and computing. The argument that the bad old days of police states and authoritarian regimes are unlikely to return is premised on the claims that new communication technologies along with global markets undermine, even eliminate, the capacity for “maximum leaders” to rule with impunity.
For capitalism’s cheerleaders, like Thomas Friedman of the New York Times, all this suggests that the human race is entering a new Golden Age. All people need to do is sit back, shut up and shop, and let markets and technologies work their magical wonders. For socialists and those committed to radical social change these claims should be regarded with the utmost skepticism.
Prior to the eighties and nineties, national media systems were typified by domestically owned radio, television and newspaper industries. There were major import markets for films, TV shows, music and books, and these markets tended to be influenced by U.S. based firms. But local commercial interests, sometimes combined with a state-affiliated broadcasting service, predominated within the media system. All of this is changing, and changing rapidly. Whereas previously media systems were primarily national, in the past few years a global commercial-media market has emerged. To grasp media today and in the future, one must start with understanding the global system and then factor in differences at the national and local levels.
Chernin’s firm, Rupert Murdoch’s News Corporation, may be the most aggressive global trailblazer, although cases could be made for Sony, Bertelsmann, or AOL-Time Warner. Murdoch has satellite TV services that run from Asia to Europe to Latin America . His Star TV dominates in India and Asia with thirty channels in seven languages. News Corporation’s TV service for China, Phoenix TV, in which it has a 45 percent stake, now reaches forty-five million homes there and has had an 80 percent increase in advertising revenues in the past year.
Once the national deregulation of media began in major nations like the United States and Britain , it was followed by global measures like the North American Free Trade Agreement (NAFTA) and the formation of the World Trade Organization (WTO), all designed to clear the ground for investment and sales by multinational corporations in regional and global markets. This has laid the foundation for the creation of the global media system, dominated by the afore-mentioned conglomerates. Now in place, the system has its own logic. Indian Firms must become larger and diversified to reduce risk and enhance profit-making opportunities, and they must straddle the globe so as to never be outflanked by competitors.
Perhaps the best way to understand how closely the global commercial media system is linked to the Indian economy is to consider the role of advertising. Advertising is a business expense incurred by the largest firms in the economy. The commercial media system is the necessary transmission belt for businesses to market their wares across the India . International multinational corporations are concentrating Indian consumers to sell their product and service, so they extensively using the national regional media vehicle. Example textile industry Lee, John players, and peter England etc. they are extensively using TV, print, radio, etc forms, because of this Indian media industry making so huge profit.
Together, the seventy or eighty first- and second-tier giants control much of the world’s media: book, magazine, and newspaper publishing; music recording; TV production; TV stations and cable channels; satellite TV systems; film production; and motion picture theaters. But the system is still very much evolving. The end result of all this activity by second-tier media firms may well be the eventual creation of one or two more giants, and it almost certainly means the number of viable media players in the system will continue to plummet. Some new second-tier firms are emerging, especially in lucrative Asian markets, and there will probably be further upheaval among the ranks of the first-tier media giants.
The global media system is only partially competitive in any meaningful economic sense of the term. Many of the largest media firms have some of the same major shareholders, own pieces of one another or have interlocking boards of directors. The global market strongly encourages Indian corporations to establish equity joint ventures in which two or more media giants share ownership of an enterprise. This way, firms reduce competition and risk and increase the chance of profitability
.
Indian journalism is influenced by Western news services, which regard existing capitalism, the United States , its allies, and their motives in the most charitable manner imaginable. As for culture, the “ Hollywood juggernaut” and the specter of U.S. cultural domination remain a central concern in many countries, for obvious reasons. Exports of U.S. films and TV shows increased by 22 percent in 1999, and the list of the top 125 grossing films for 1999 is made up almost entirely of Hollywood fare. Indian film industry rapidly changed through the global. Like replacement of single-screen theaters by “multiplexes” has contributed to a dramatic decline in local film box office.
But, with the changing global political economy, there are problems with leaving the discussion at this point. The notion that corporate media firms are merely purveyors of U.S. culture is ever less plausible as the media system becomes increasingly concentrated, commercialized and globalized. Because of the world open economy Indian media industry adopted some western media organization structure like multinational firms, with shareholders, headquarters, and operations scattered across the nation .
When audiences appear to prefer locally made fare, the global media corporations, rather than flee in despair, globalize their production. Sony has been at the forefront of this, producing films with local companies in China , France , India , and Mexico , to name but a few. India ’s acclaimed domestic film industry—“Bollywood”—is also developing close ties to the global media giants.
But it would be a mistake to buy into the notion that the global media system makes nation-state boundaries and geopolitical empire irrelevant. A large portion of contemporary capitalist activity, clearly a majority of investment and employment, operates primarily within national confines, and their nation-states play a key role in representing these interests. Also is virtually unknown to the journalism of AOL-Time Warner’s CNN and the other corporate media giants, who increasingly are the providers of substantive news concerning international and Indian politics. So above all these facts support global media product influenced the India .
For capitalism’s cheerleaders, like Thomas Friedman of the New York Times, all this suggests that the human race is entering a new Golden Age. All people need to do is sit back, shut up and shop, and let markets and technologies work their magical wonders. For socialists and those committed to radical social change these claims should be regarded with the utmost skepticism.
Prior to the eighties and nineties, national media systems were typified by domestically owned radio, television and newspaper industries. There were major import markets for films, TV shows, music and books, and these markets tended to be influenced by U.S. based firms. But local commercial interests, sometimes combined with a state-affiliated broadcasting service, predominated within the media system. All of this is changing, and changing rapidly. Whereas previously media systems were primarily national, in the past few years a global commercial-media market has emerged. To grasp media today and in the future, one must start with understanding the global system and then factor in differences at the national and local levels.
Chernin’s firm, Rupert Murdoch’s News Corporation, may be the most aggressive global trailblazer, although cases could be made for Sony, Bertelsmann, or AOL-Time Warner. Murdoch has satellite TV services that run from Asia to Europe to Latin America . His Star TV dominates in India and Asia with thirty channels in seven languages. News Corporation’s TV service for China, Phoenix TV, in which it has a 45 percent stake, now reaches forty-five million homes there and has had an 80 percent increase in advertising revenues in the past year.
Once the national deregulation of media began in major nations like the United States and Britain , it was followed by global measures like the North American Free Trade Agreement (NAFTA) and the formation of the World Trade Organization (WTO), all designed to clear the ground for investment and sales by multinational corporations in regional and global markets. This has laid the foundation for the creation of the global media system, dominated by the afore-mentioned conglomerates. Now in place, the system has its own logic. Indian Firms must become larger and diversified to reduce risk and enhance profit-making opportunities, and they must straddle the globe so as to never be outflanked by competitors.
Perhaps the best way to understand how closely the global commercial media system is linked to the Indian economy is to consider the role of advertising. Advertising is a business expense incurred by the largest firms in the economy. The commercial media system is the necessary transmission belt for businesses to market their wares across the India . International multinational corporations are concentrating Indian consumers to sell their product and service, so they extensively using the national regional media vehicle. Example textile industry Lee, John players, and peter England etc. they are extensively using TV, print, radio, etc forms, because of this Indian media industry making so huge profit.
Together, the seventy or eighty first- and second-tier giants control much of the world’s media: book, magazine, and newspaper publishing; music recording; TV production; TV stations and cable channels; satellite TV systems; film production; and motion picture theaters. But the system is still very much evolving. The end result of all this activity by second-tier media firms may well be the eventual creation of one or two more giants, and it almost certainly means the number of viable media players in the system will continue to plummet. Some new second-tier firms are emerging, especially in lucrative Asian markets, and there will probably be further upheaval among the ranks of the first-tier media giants.
The global media system is only partially competitive in any meaningful economic sense of the term. Many of the largest media firms have some of the same major shareholders, own pieces of one another or have interlocking boards of directors. The global market strongly encourages Indian corporations to establish equity joint ventures in which two or more media giants share ownership of an enterprise. This way, firms reduce competition and risk and increase the chance of profitability
.
Indian journalism is influenced by Western news services, which regard existing capitalism, the United States , its allies, and their motives in the most charitable manner imaginable. As for culture, the “ Hollywood juggernaut” and the specter of U.S. cultural domination remain a central concern in many countries, for obvious reasons. Exports of U.S. films and TV shows increased by 22 percent in 1999, and the list of the top 125 grossing films for 1999 is made up almost entirely of Hollywood fare. Indian film industry rapidly changed through the global. Like replacement of single-screen theaters by “multiplexes” has contributed to a dramatic decline in local film box office.
But, with the changing global political economy, there are problems with leaving the discussion at this point. The notion that corporate media firms are merely purveyors of U.S. culture is ever less plausible as the media system becomes increasingly concentrated, commercialized and globalized. Because of the world open economy Indian media industry adopted some western media organization structure like multinational firms, with shareholders, headquarters, and operations scattered across the nation .
When audiences appear to prefer locally made fare, the global media corporations, rather than flee in despair, globalize their production. Sony has been at the forefront of this, producing films with local companies in China , France , India , and Mexico , to name but a few. India ’s acclaimed domestic film industry—“Bollywood”—is also developing close ties to the global media giants.
But it would be a mistake to buy into the notion that the global media system makes nation-state boundaries and geopolitical empire irrelevant. A large portion of contemporary capitalist activity, clearly a majority of investment and employment, operates primarily within national confines, and their nation-states play a key role in representing these interests. Also is virtually unknown to the journalism of AOL-Time Warner’s CNN and the other corporate media giants, who increasingly are the providers of substantive news concerning international and Indian politics. So above all these facts support global media product influenced the India .
Friday, November 20, 2009
The Puppet Theatre
Puppetry in considered as the most expressive of all theatrical forms. In India, puppet troupes are found in states like Rajasthan, Andhra Pradesh, Maharashtra, Kerala and Karnataka. In Rajasthan, the paper puppets and string puppets are popular. Andhra is famous for Shadow puppets.
In Karnataka, the puppet theatre is said to have existed since ancient times. Puppetry in the state, is believed to have existed at the time of 'Kanakadasa' and 'Purandaradasa' and its roots are traced to the coastal tract of Karnataka. The health and family welfare department has been using puppetry shows for spreading messages like family planning, anti-dowry etc among the rural and semi urban places. The two prominent forms of puppetry of the state are (a) String puppets or Marionettes and (b) Leather or Shadow puppets.
History of the puppets
The puppets have huge history according source available the puppets as old as Indian epics Ramayana and Mahabharata, in these sources mentioned the puppets used for the entertainment and spreading holistic morality during that point time. After this age the ancient times the puppets shows had taken place in Muryas, Gupthas, period but the peck of the puppetry popularity begun during vijayanaga dynasty and Mysore wadayer in Karnataka. So Karnataka famous for the enrich folk culture forms like yakshagana, bayalata, doddatta, filksongs, as well we can see the rich puppet culture in coastal area of Karnataka and old mysore part. The well knows personality of the Karnataka Nadhoja H N Nagegowda had given a great contribution for the folk culture. He had collected the various folk art aspects across the Karnataka. He was founder of the Jana Padhaloka in Ramnagaram, it is a huge museum of the folk culture here we can see the various folk culture art crafts, folk dance various forms and particular cultural signs and symbols.
String Puppets or Marionettes
Present many marionette troops exist in the Karnataka state. The whole family works as a team besides outside members as the art may be practiced by a member of any caste. A Brahmin family in Nelamangala near Bangalore owns a puppet troupe, which possesses a set of almost a century-old puppets. It appears that these string puppets are quite ancient and the puppets of Hallare, in Nanjangud taluk, Mysore district are said to be of 300 years old.
A string puppet means a puppet manipulated from above and controlled by long strings invisible to the audience. Made of wood, the puppets of North Karnataka are short and slim in appearance possessing a pair of legs and hands whereas the puppets of South Karnataka are 3 feet high but without legs. All puppets are controlled by strings and the strings are tied to the hands and the head of the puppet. Some of the puppet troupes have discarded strings and have replaced them with rods for easier manipulation of puppets.
The stage is simple, usually consisting of a thick black backdrop, two or three wooden poles and a curtain to cover the puppet players from being seen by the audience. Puppet artistes of a Nelamangala based troupe have developed a box type stage which is easily removable and mobile. The conventional puppet stage is covered on all the three sides to make the puppeteers and musicians not visible. With the result, the audience can watch the show from only one side.
Prominent musical instruments used during the performance are 'Mrudanga' (also known as Maddale in Kannada), 'Mukhaveena' (a unique wind instrument made of wood, measuring one feet long and consisting twelve holes), cymbals and a Harmonium.
Presentation: Approximately ten persons are required to stage a puppet show. The troupe consist of puppet manipulators, instrument players, musicians and a Bhagavata. Bhagavata is the chief musician followed by few performers who assist him in the background. Depending on the story, the artistes use about 15 to 20 puppets in a show.
The puppets perform against a black backdrop and are controlled and manipulated by black strings. The puppets are suspended from above and played by puppeteers who rest their hands on a 12 feet long wooden pole called 'Manthu'. The puppeteers of Karnataka perform the dual role of a narrator and an operator simultaneously. They not only manipulate the puppets behind the curtains but also conduct dialogues. The puppet operator wear anklets and dance along with puppets but such actions are not visible to the audience. The puppets are on an average 3 feet high, with fully articulated arms and hands. In some of the marionette puppets of Karnataka, the heads, the eyes and eyebrows move up and down and even move to the left and right. The master puppeteer controls the head, trunk and arm. Coordination with other puppeteers is a skill for any puppeteer to master. The discipline of movement is extraordinary and the puppet move, dance and enact their roles that provide a perfectly balanced spectacle. The duration of the puppet show varies from 6 to 8 hours.
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