An Ode to Artists

The Directorate of Archaeology and Museums, located in the Dasara Exhibition Ground, Mysore, in a novel effort to revive traditional and folk arts, conducted an art camp to bring together 15 renowned artists from various parts of the State onto a single platform. This was one among the various programmes organised by the Directorate as part of its 125th anniversary celebrations. Each of the 15 artists contributed two of their paintings to the Directorate which will be permanently exhibited in its Art Gallery. In this article, the readers are taken on a virtual journey into the world of art where the artists express their opinions both on canvas and through words.

Painting their way to excellence....

A close study of the paintings in Karnataka indicates that instead of reflecting life as it was during those periods, the painters had adopted conventionalised settings and highly stylised postures. Vijayanagar tradition of painting encouraged three distinct schools of painting, namely the Deccani School (Sultanate), Mysore School and the Tanjore School.

While the rulers of Bijapur, Gulbarga and Bidar were responsible for the development of a distinct style known as the Deccani style, the southern parts of Karnataka continued the ancient style which was developed at Vijayanagar and the rulers of Mysore extended patronage to art.

After the death of Tipu Sultan in 1799 AD, the State was restored to its original royal family of Mysore and its ruler Mummadi Krishnaraja Wadiyar (1799 - 1868 A.D.), son of the last Wadiyar King Khasa Chamaraja Wadiyar VIII, introduced a new era by reviving the ancient traditions of Mysore style of painting and extending patronage to music, sculpture and literature. He introduced English education in Mysore and during interactions with the British, Western influences modified the art, which is now known as Mysore School Painting or the New Mysore Painting.

Below are the profiles of 15 artists who participated in the art camp, along with their paintings:

K. S. Srihari from T. Narasipura specialises in pure Mysore style of painting and has a history of four generations of artists in his family. Dr. R. Gopal, Director, Department of Archaeology and Museums, had assigned to him the responsibility of selecting artists who would take part in the camp and one look around the gallery shows what an extraordinary job Srihari has done.

When asked about his journey so far and about his audience, Srihari said: “Since I grew up watching my father and grandfather work in this art style, I also got absorbed into it. And once I got to know the significance and specialty of Mysore style, there was no looking back. However, people don't know the basic difference between Mysore and Tanjore styles. Even though the subjects may seem same in both, the anatomy, dress, etc. are very different. Mysore style was influenced by the royal family, the ornaments and dresses worn by them and the common man. It gives more importance to minute details, where as in Tanjore style, pearls mirrors, etc. are used. It has a rough finishing as compared to Mysore style. These differences have to be taught to the people. That can happen if the Government takes up an interest in art and promotes it through camps. We had previously conducted a summer camp in association with the Dept. to teach children the basics about Mysore style, anatomy and colour schemes. The media also should help us educate people about various art forms.”

Mysore & Tanjore styles: 

Mysore traditional painting by K.S. Srihari

One feature that distinguishes Mysore painting from others is its gesso decoration. Gesso refers to the paste mixture of white lead powder, gambose and glue which is used as an embossing material and covered with gold foil. The gesso work in Mysore paintings is low in relief and intricate as compared to the thick gold relief work of the Tanjore School. Gesso was used in Mysore paintings for depicting intricate designs of clothes, jewellery and architecture. The work was taken up in the morning when the base of the gold work on the painting was still moist so as to hold the gold foil firmly. After allowing the painting to dry, glazing was done by covering the painting with thin paper and rubbing over it with a soft glazing stone known as kaslupada kallu. When the thin paper was removed, the painting shone brightly with the combination of gold and colours. Mysore and Tanjore paintings share the same lineage of Vijayanagar School. However, there are some identifiable differences between them. Mysore painting is done on paper, stuck up on a wooden board where as the Tanjore painting is done on cloth. Tanjore School used the gold-coated silver wafers to highlight ornaments and specific areas where as Mysore School used a 24 - k pure gold. Tanjore paintings use precious stones like diamond, pearls and rubies; traditional Mysore paintings ignore this kind of embellishment.

Ishwar Nayak from Sagar in Shimoga district has played an important role in reviving the traditional Chittara art. After completing Diploma in Stage Art, he got inspired with the line patterns in Chittara paintings, a trademark of his community, which made him go back to dig into the roots of this dying art form. Ishwar's grandmother and mother were his inspiration and he studied the art for 10 years. He later won a National award in 1998 for his work named “Masterpiece” and Karnataka Rajyotsava award in 2005. Ishwar has set up a school in his village where local women are trained in Chittara art. The Govt. of India has exhibited his work in Hong Kong (2009) and Australia (2010).

In his constant struggle to keep Chittara painting alive, Ishwar has been conducting workshops and training programmes in many places. He gets assignments for decorating of walls of hotels and houses in Bangalore. When asked about the mordernisation of art, he said: “Any art constantly undergoes changes. We keep the basic tradition and look for ways to be innovative. Art constantly needs a new canvas and it can't remain limited.”

Chittara: 

Chittara art by Ishwar Nayak

Chittara is a depiction of the life of the Deewaru tribals of Malnad region. The paintings are done for special occasions like weddings and festivals and are symbols of brides & grooms, fertility, the sowing of paddy, birds, trees, animals, etc. The central theme is the relation between man and nature and the lines and patterns of the painting symbolises the religious, social or agricultural practices of the community. Colours like white from a mixture of rice paste, red from crushed stone and burnt rice for black are used. Chittara paintings are also used to decorate cane baskets, pen stands, pots, door hangings and walls.

A native of Gulbarga K. S. Parameshwar says he developed interest in painting right from 7th std. He went on to graduate from Visual Arts Garden College, Gulbarga, and is now a lecturer at Sri Kalaniketan College of Visual Arts, Mysore. When asked about the opportunities that artists have in present days, here is what Parameshwar said: “Art school students always have an upper hand when it comes to drawing of any type, be it in animation or even software, as they learn from the basics. They have a better understanding of colour schemes and patterns. Once they complete their training, they can either be a teacher or a freelancer. In Gulbarga, artists finish their training and move to Mumbai. However, artists of Mysore are lucky enough to have Bangalore and Chennai, where there has been an increase in demand for paintings and one can earn from Rs. 35,000 to 40,000 for their work.”

Parameshwar practices folk art and is working on a series called “Power of Bull”, two of which he has now contributed to the Gallery. Explaining about his interest in folk art, he said: “Everything in this world finds its roots in the soil. Modern elements may come and go but what is of the soil stays forever. The same is with folk art. There is always a connection with nature in folk art and this inspired me. We are not immortal but our work is. We can leave behind our paintings for the generations to come and that gives us a sense of satisfaction.”

Folk paintings: 

Folk art by K.S. Parameshwar

These are pictorial expressions of village painters marked by the subjects chosen from epics such as Ramayana and Mahabharata, as well as daily village life, birds, animals, sun, moon, plants and trees. The colour used range from subdued low hues to vibrant colours, but derived from natural materials with papers, clothes, leaves, pots, stone and mud walls used as canvas.

Folk paintings do not emerge in chronological order but has evolved in various region of India depending mainly upon the rural cultures, mythological stories and everyday rituals.

Resident of Mysore, Chandrika is the daughter of the celebrated palace artist Ramanarasaiah. She specialises in Mysore style Ganjifa painting and regularly conducts classes and workshops in an effort to preserve and promote the art. When asked about what more needs to be done for reviving the traditional art, Chandrika said: “The Department has done a commendable job in organising such a workshop. It is rare to see 15 talented artists come and work at one place. However, interaction should be from both sides. People need to take advantages of such workshops and show interest to keep traditional art alive.”

Ganjifa: 

Ganjifa painting by Chandrika

This was a popular card game in ancient India, played extensively during the Mughal period. Ganj is a Persian word meaning "treasure" or "hoard" and the cards have a history of more than 300 years. The cards were inlaid with precious stones and made of ivory and mother – of - pearl. They are generally circular and sometimes rectangular in shape with exquisite paintings on them. Now Ganjifa is now known more for the art work involved rather than the card game. Mysore is the home of Ganjifa Raghupathy Bhatta who strived hard to bring a forgotten ganjifa art back to life.

City's H.S. Shivakumar is a drawing teacher in T. Narasipur Government High School. He has also been a freelance artist since 1992 and specialises in traditional miniature and folk painting. “People won't understand the techniques used in paintings when they see them in exhibitions. But in such camps, the visitors can also interact with the artists and gain background knowledge about the paintings,” says Shivakumar.

As an art teacher, he encourages interested students to take exams related to drawing. In many cases, the students will have talent but won't know how to proceed. Shivakumar provides necessary guidance to such students to get into art colleges. His school conducts annual exhibitions and taluk - level workshops. He also takes weekend classes for children. When asked what more can be done, Shivakumar said: “Talented artists from rural areas need sponsors to exhibit their work. Also free coaching camps will encourage people to come forward. Apart from these, we need help from the media. Now – a - days, politics dominate newspapers and art goes to the inside pages. If the media can go hand – in - hand with artists, then promotion of art will get an extra boost. Earlier, children did not have enough encouragement to take up art as a career. But now the trend has changed and parents are also coming forward.”

Miniature: 

Miniature painting by H.S. Shivakumar

Indian paintings can broadly be classified as murals and miniatures. Murals are works executed on walls of solid structures, as in Mysore Palace, Ajanta caves etc. Miniature paintings are executed on a very small scale on perishable material such as paper and cloth. Indian miniature paintings are renowned worldwide for their beauty and detailing with its history dating back to the 7th century AD, when Kashmiri miniatures first made their appearance. Miniature painting reached its peak glory during the Mughal period and ever since, the tradition has been carried forward by painters of different schools. As the name signifies, miniature painting is an intricate, colorful painting, small in size, executed meticulously with delicate brushwork.

Other artists at the camp: 
Kamal Ahamed:

Painting by Kamal Ahamed

 “The purpose of such camps is that we discover more about other art forms than just our field of specialisation. All artists here have their own styles. It is a great learning experience,” says miniature artist Kamal Ahamed from Gadag. He obtained a Masters degree in Fine Arts from Karnataka University, Dharwad and is now a high school drawing teacher.

Munimohan:

Portrait by Munimohan

Munimohan from Bangalore is a lecturer at Chitrakala Parishat. He specialises in both traditional and contemporary art forms. Says Munimohan, “In Bangalore, art has gained a lot of importance over the past few years. Even parents are playing their part in educating children about various art forms. However the present generation should not go behind instant fame as art involves a very slow learning process and takes time to gain expertise.” When asked about the secret behind his stunning portrait painting, Munimohan explains [while quickly sketching out various expressions on a sheet]: “It is very important to study the anatomy first. You should spend hours just studying your subject, their expressions, posture and movements. Once you have thoroughly studied that, even if your subject moves out, you will have an impression in your mind and can draw them. And this should be a continuous practice.”

Jayavanth: 

Folk art by Jayavanth

A resident of Manipal, Udupi, Jayavanth is a Pharmacist by profession and an artist by interest. He is a member of the Artists' Forum in Udupi and specialises in Mangalore style of folk art. When asked about the difference in both the styles, Jayavanth said: “The noticeable difference between Mysore style and Manglorean is that in Mysore they make use of gold which is not present in my art. The large round ear rings, necklaces and other jewellery mainly depict the folk style of Mangalore.” Till date he has had more than 20 exhibitions in various parts of the country

Kashinath Venkatesh Kale: 

Folk art by Kale

A native of Sandur, K. V. Kale combines the past & present, traditional & modern style in his folk art paintings. Kale tries to bring out the customs and life of Sandur village in a colourful and distinctive form. The bright colours, large round eyes of the subjects and voluptuous male and female figures give a unique touch to his paintings.

B. L. Mahesh: 

Painting by Mahesh

This artist from city is working as a graphic artist at National Testing Service, Central Institute of Indian Languages in city. His extraordinary painting of Tipu Sultan is on display at the gallery.

M. S. Anand: 

Traditional painting by Anand

Also a resident of the city, Anand practices Mysore traditional style and has won the Dasara Award from 1996 to 2002.

K. S. Umadevi: 

Mysore Traditional art by Uma Devi

City’s Umadevi has been practicing Mysore traditional art for the past 10 years and has received the Dasara award for the same for four years.

M. V. Kambar: 

Painting by Kambar

A resident of Bangalore, Kambar practices Vijayanagar style of art and has won the Lalitha Kala Academy Award in 1981, 1988 and 1992.

F. V. Chikmath: 

Painting by Chikmath

This Dharwad artist has done many solo and group shows across India. Chikmath has received the 22nd Lokamanya Tilak and the Karnataka Lalitha Kala Academy award among many others.

J. S. Sridhar Rao: 

Painting by Sridhar Rao

A city resident, Sridhar works at Mysore Traditional Art Gallery in Jaganmohan Palace.

 
 (Published in Star of Mysore dated Jan.8, 2011)

Romancing with the Moon

 The night sky with its countless stars and the ever-enchanting moon has always been a source of inspiration to many creative minds, be it a painter, poet, writer or a musician. Some of the most romantic songs till date have been about the moon. Artistes apart, just staring at the night sky will make one wonder how great it would be if you could capture that moment forever. And this is where a photographer comes into picture!
A photographer has the power to capture that very moment which you wish to preserve forever. However, photographing the night sky and the moon and presenting it just the way your eyes see it is a very challenging task. It is a test of skills which when passed can turn into a masterpiece.
Surely the most common problems faced by anyone who has attempted to photograph the moon are blurred image or the 'ghost' moon or the moon appearing as just a bright circle. But don't let this bring your spirits down as there are a few simple solutions which can help you get great shots.
Firstly, it's important to visualise your photograph. When you know what you want to shoot whether just the moon or a landscape or sky with stars, it becomes easier to compose your shot.
Next tip is to use a tripod. Since the lighting is low and you may need long exposures, always set up your DSLRs on a sturdy tripod to reduce the blur. You can also use a cable release or the came-ra's self timer to trip the shutter in order to avoid camera shakes.
Photographing the moon

Shooting the moon has its own advantage as you can always refer to a moon chart to know its shape and location. This will give you time to prepare for the perfect shot. The moon, from full to the thin crescent, offers infinite opportunities to make a great picture. Your first attempts, however, may show a 'ghost' moon which is caused by reflection inside the lens barrel. Websites and books on photography can give you some useful tips on what aperture and shutter speed to use for the moon. But the most ideal way is to take a clue from it and start experimenting rather than just sticking to the exact values. 

And how do you do this? Check your first few shots on the LCD with the suggested values and then, according to your image adjust them. Preferably make use of Manual (M) or Aperture priority (A) mode. After a couple of trials, you will surely be able to capture the moon without the 'ghost' and which won't look like a bright spot. However, remember to keep the ISO setting low, usually 100 or 200, to minimise grains and digital noise. When shooting just the moon, make use of a telephoto lens longer than 200mm. This will help you fill the frame and magnify the moon.

Landscape
You can also try shooting a landscape lit by just the moonlight. For this you would have to make use of the 'Bulb' setting in your camera since capturing a picture with such low light will need long exposures ranging from two to five minutes or even more. The same method also applies for photographing the stars. And remember to use a tripod.

Drawing a star with a star!

Make use of light painting technique to try drawing objects with a star. Find a bright star and decide what you want to draw. It will be easier if you practice your path before actually taking the photo. Keep your camera in 'Bulb' mode and focus on the star. Now open the shutter and move the camera in the path you practiced and close once you are done. Begin with simple shapes like circles and triangles and later on with stars and other complicated shapes. The movement of your camera can be tricky in the begi-nning. But keep trying as once you get an idea, it will be great fun to 'draw a star using a star' with the camera!
Shooting landscape and moon

Including landscape with the moon adds effect to your photo. While this is possible when the moon is just rising and the sun is still out, it becomes difficult once it is dark. Then the moon will become the brightest object. If you want to capture the landscape, you will need long exposures which will lead to the moon looking extra bright. One way to do this is to take two separate shots and then combine them. Take a picture of the landscape, say a building or a tree or a city scene. And then shoot the moon. Next mask both the images using a good photo editing software like Photoshop. Paste the moon onto your landscape. You will also have an added advantage of altering the size of the moon. However, make sure your masking is perfect so that the two images blend well.
Finally, don't be disheartened if you don’t have a DSLR. Even a compact camera with manual mode is sufficient to get some amazing photographs of the moon. Remember, some of the greatest photos have been taken using compact cameras. And no matter how good your photos look, you can always add that extra touch using software. But see to it that you don’t over do it.
Like the French photographer Henri Cartier Bresson said ‘Your first 10,000 photographs are your worst.’ So never stop trying. Keep experimenting and keep clicking!

(Published in Star Of Mysore dated Feb. 1, 2011)

Royalty to Rags - Mysore Dasara

Dasara of 2010 was the first time I got to see the ‘Nada Habba’ so closely. While others saw the grandness of the royal family, all the cultural programmes, streets glittering with lights, government offices all lit up, I saw the other side of this ‘great’ festival – the richness and rags of the royal family.

See this supposed to be white horse?

Royal Horse !!!!

It is called the pattada kudre (royal horse). In olden days pure bred white horses with not a single speck of black was chosen specially for puja purposes. Only that horse which had a swirl on its forehead would be selected – not just any white horse. But see this poor pony. First look at it reminded me or Lady Gaga and so we named it the same. if that is how it looked originally, see how it looked after being dressed for the puja!

Say cheese

 Observe the tattered saddle and clothes.

Lady Gaga... see the torn saddle

Colourful Gaga

And its not just lady gaga but even her keepers are in rags.

Next were the pattada aane or royal elephants. Even they gave company to gaga by getting groomed in torn and faded clothes. 

Royal elephants.... Different shades of faded red

Royalty in rags

Keepers in tattered clothes

But just take a look at the royal family…

'His highness' Srikantadatta Wadiyar

'Her highness' Pramodadevi Wadiyar

If the Wadiyar family is so great and dasara is our Nada Habba then why are these animals, which play an important role in the puja process so poorly kept? Cant the government or the royal family give them better clothes or is it that they just don’t care?

If at all you haven’t seen all this ‘grandeur’ during this dasara then don’t miss it next year. For all we know it will still be the same.

"Purpose of an artiste is like a lone individual"

A product of the Film and Television Institute of India, Pune, G.S. Bhaskar has been an ace cinematographer of this country. He has worked on movies like Ijjodu (2010), Accident (2008), Hyderabad Blues 2 (2004), Saaz (1997), Nagamandala (1996) and Disha (1990). Presently, he is heading the Bangalore-based Lakshmisurya Academy for Cinematographic Excellence (LACE), an organisation consisting of an informal group of enthusiasts who aim to evolve sensible  cinema. We had an informal chat with him about his views on cinematography and India's journey in the same. Excerpts:

How has Indian cinematography evolved over years?
G.S. Bhaskar: We are technically a derivative of German technicians. As they spread all over the world, a few of them came to our country also. And then there was Dadasaheb Phalke who came to be known as the Father of Indian Cinema. We were greatly influenced by Hollywood as at that time movies from    England weren't being screened here. Hence, our style greatly  reflected the techniques used there.
Next was Subrata Mitra. He has worked a lot with Satyajit Ray and his 'Pather Panchali' gained Indian cinema a global recognition. Even westerners felt that this film was a step ahead of  Hollywood movies. At the same time in Bombay, V.K. Murthy was working with what you call augmented reality. It was neither glamourisation nor reality, something like enhanced glamourisation. He went on to shoot India's first 75mm movie 'Kaagaz Ke Phool.'
Somewhere between 1955 and '65, the foundation for Indian cinematography was laid. The establishment of Film and Television Institute of India, Pune, in 1960 provided training in various aspects and fields related to cinema. A lot of importance was given to positioning India on the world map. We then started speaking the language of Europe than just Hollywood.
By 1970, we were directly absorbed into the industry. In a matter of just two decades, the industry was flooded with technicians from the Institute.
Technology has improved with time, but movies these days are becoming meaningless. In that case wouldn't the efforts put into cinematography be wasted?
Bhaskar: Machines don't make movies. It is the brain behind them which should bring meaning to the work. If people are not creative then however  advanced the technology and machines may be, it will be useless. Even a single camera with a good lens is enough to make a meaningful movie with lasting impact. So it is important for an artiste to express what he wants to, effectively rather than just making movies for commercial purposes.
Kaagaz Ke Phool was not a great hit at the time it was released, but now it is considered as a classic. Success should not be measured by the amount of cash collected. It should inspire you to a higher thought.
Art movies do touch individuals. But these days we rarely get to see them…
Bhaskar: If art film-makers had made an effort to open theatres in every place around 20 years back, may be this would not have been the situation. However, there is still a ray of hope. Doordarshan telecast art films on every Sundays but later they stopped. Now Lok Sabha Channel has taken over. It is also up to the people to develop interest and make it a point to watch them.

"Success shouldn't be measured by the amount of cash collected. It should inspire you to a higher thought."

Cinematographers are like bass players in a band. They play a very important role but usually go unnoticed. Are they getting the importance that has long been due to them?
Bhaskar: That is very true. The Dada Saheb Phalke Award-2008 to V.K. Murthy is a sign of improvement. Irony is that it took such a long time for cinematographers to get recognised. It is the same in Hollywood also. The room at the top is small and people who are already there are scared that someone else may occupy it (laughs)! However, you don't need an award to tell the audience that a movie is good. They can judge for themselves.

Having worked with so many Directors, who do you feel is the best?
Bhaskar: Every director has his own speciality and I liked working with all of them. It is not the question of best but I enjoy working with Sathyu because he himself is a technician and he can understand what exactly a technician goes through. Also, for me it does not matter if it is an art movie or commercial. The meaning conveyed by the movie is what matters most.
You have worked with a youngster like Nagesh Kukunoor in 'Hyderabad Blues 2.' He made very different movies like Rockford and Iqbal which was much appreciated by audiences. How was it working with him?
Bhaskar: He is disciplined and is always ready with a well-prepared script. He is very organised in his work unlike many other directors. Being both an actor and director is quite challenging and poses a few difficulties. But it was great working with him. However, an artiste should stick to what he does best. He has carved out a niche for himself with some of his earlier movies like Iqbal but later he destroyed it by jumping into commercial movies. People like Benegal and Sathyu have not let down their audience as they have stuck to what they do best. Whether or not the movie is a hit, they have constantly done what the audience always look forward to in their works. This is what makes them great and stand out from the rest. Purpose of an artiste is like a lone individual.
Which work of yours do you consider a masterpiece?
Bhaskar: More than a masterpiece, there was this movie which we had to shoot in Nagpur forest which was the most challenging task I have faced. The vehicle carrying generator and lights met with an accident. So we were left with no lights except for two portable ones I had carried along with me. The Director left the decision to me as to whether we should continue or go back. It was a tough and risky call but I chose to continue. While shooting a campfire scene, one of the lights I had fused out and we were left with just one light. Also in those days we didn't have high speed films. So we got 6 petromax lights from the local officials and with the one remaining light along with a jeep headlight we finished the shot. It was a risk any cinematographer would never dare to take. I won't call it a perfect shot but it was like a batsman scoring 4 runs in one ball at a crucial point in the match. And today I can proudly take credit for it. It shows that things can be achieved with minimal resources.
Currently I am working on two films — one mainstream and the other is a Sanskrit film. My masterpiece is yet to come along.
A few last words…
Bhaskar: Pursue your passion, whatever it may be. There is always a great joy and satisfaction in doing what you like.

Silhouette Of Troubled Souls

According to the National Crime Records Bureau's Crime Clock for 2005, India reported crime every 17 seconds of which there was one case of crime against women every three minutes. And these figures are drawn by only recorded incidents of crime, meaning, a number of incidents go unnoticed and unrecorded. ‘Sexual harassment of women at workplace’ forms a major part of crime against women.

In search of a life with dignity

Every newborn child opens its eyes to discrimination: at first, if it's a girl or boy and then, on its colour, looks; at school, on its marks, parents’ financial status, school's name; in college, again its marks, dresses and 'coolness'; at work, it will be company's name, mode of transport, salary and what not.
Everyone is discriminated by everyone else in almost every walk of life and it seems as though humans can discriminate even without a reason. People have started to look for ways to prove themselves superior to others by any means possible, even if it is a matter of least significance. But there is one area which remains common regardless of birth, school, college or work — GENDER.
From the time one can remember and has been recorded, women have always been looked down upon and discriminated against the ‘superior male’ at home and workplace alike.
Many things have changed in the past few years, in terms of education, technology, science, etc., with everyone speaking of modernisation and development. In contrast to earlier days, women have now started to work, becoming financially independent and supporting their families, standing equal and in ways going ahead of their opposite sex. Sadly however, the society’s thinking towards women still remains same. Women are still being mistreated at home, society and at workplace.
Home apart, why are people so bent upon harassing women at work too? Aren't they too humans and have equal right to lead a life with dignity? Cases of higher officers and subordinates, in one way or the other, harassing women at work have come to light from time to time and many are yet to see the light.
The government, however, showed some signs of improving the situation with the 1997 verdict of Vishaka & others Vs State of Rajasthan & others. The Supreme Court defined sexual harassment as 'any unwelcome gesture, behaviour, words or advances that are sexual in nature' and passed a set of guidelines, some of them being:

• It is the onus of the employer to include a rule in the company code of conduct for preventing sexual harassment.
• Organisations must establish complaint committees that are headed by women.
• Initiate disciplinary actions against offenders and safeguard the interests of the victim.
• Female employees shall be made aware of their rights.

But even after this, very few cases were voiced out with few having knowledge of the existence of such a judgement. Our country still does not have proper laws to curb sexual harassment and hardly any organisation has implemented the guidelines or established committees to fight against this crime.
Few social organisations along with support from media are playing their part in working towards its implementation and creating awareness among women about their rights, giving a voice to their problems. Again, it is a very small section of our country's vast population.
Now, 13 years after the Vishaka verdict, 'The Prohibition of Sexual Harassment of Women at Workplace Bill' has been approved to be presented in the Parliament. Even though it got over-shadowed by all the political drama taking place in our country and with the Parliament not having any successful session till now, a section of the society did spare a thought to this Bill (with the rest either unaware of it or just not bothered). It evoked mixed responses from both the genders, each trying to justify their points on whether the bill is necessary or not and about its effectiveness.
This is what a senior lady Advocate in city had to say: First when the Vishaka guidelines came out, there were a number of awareness programmes and speeches organised across the country. But it ended there and not much action was taken either by the organisations or government. On paper everything looks good. When a woman reads the Bill, she may feel happy seeing the provisions under it. However, when it comes to practically implementing a law, a lot of problems arise.There is much confusion in parts of the Bill and it seems incomplete. Maybe that's the reason why not many have taken note of it.
Any Act or Law can be used and misused. But how are you going to prove in cases pertaining to this Bill? If a girl is going through mental or physical harassment, no person will be kept as witness. Only circumstantial evidence and the background of the accused will be considered.
There is an example of a case wherein a girl complained to a committee in her office, reporting harassment by another employee. The committee heard what the accused had to say and conducted a departmental enquiry. The company however went in support of the accused and suspended the girl from work. When the girl went to court, the court ordered summons to the accused and he asked for a revision. The case is now pending in the High Court.
If a woman complains to her higher official regarding harassment at work and the complaint is not acknowledged, she can always file a private complaint, both against the person who harassed and the head of the organisation stating that the head, by not having a committee in the organisation, instigated the other person to do such an act. She can also file a suit to restrain the head from removing her from the job. But how far is all this practically possible? These cases may go on for years. It's not just enough if the woman stands up; she has to be supported by her co-workers.Also a parallel law has to be brought out which provides such women with alternative employment in case they are suspended or dismissed. Only then can they boldly voice out their problem, because in many cases the women will be the sole bread earners of their family. What we are speaking of concerns the urban parts, but what about rural women? At least women in city are becoming stronger but the rural women are not aware of the laws protecting them. Even if awareness programmes are created, attendance will be just for head counting. It has very little impact. There is a major lack of support, regardless of urban or rural society. Effective social and medical counseling has to be imparted at every level. Only then can some changes be seen. Facts apart and whether or not the Bill actually comes into action, there are a few questions regarding the above issue which have to be addressed by the public and the government.
People from various sectors gave their opinion regarding the matter. A few excerpts follow:
 

At University of Mysore
The University of Mysore has a Women Harassment Complaints Committee which started functioning in 2006 with an aim address harassment problems faced by students/ faculty. The Committee has 12 members including a lady Chairperson, a member from an NGO, lawyer, two male members, etc. and also an Enquiry Committee comprising 5 members. The Committee has the reputation of being very effective and has won praises at many workshops. The Secretary of the Committee spoke about the procedure followed and problems faced by the Committee in taking right action:
“Students are made aware of the Committee during orientation programme. First when any faculty/student comes to us with a complaint regarding harassment, we take down a written statement and call in the accused person to see what he has to say. If the accused accepts his mistake and we land in a suitable solution with the discussion, the case will be dropped. Else if the complainant wants further action, we probe into the case and see if the accused is really guilty. Out of the 25 cases (5 were anonymous) most have been proven and the accused has been found guilty. But the major problem we face is we do not have enough power to take action.
“Even though we submit a report about the guilty person we are not informed about the action taken. If this is the case how will the student feel safe to come and complain to us? After all it's their career which is at risk. Only with speedy enquiry and strict action against at least two accused, women will get confidence about our work.”
Another member of the Committee is from an NGO ‘Samatha’ and here is what she said: “The committee is very effective up to the level of enquiring into the case and finding the guilty. But once we submit the report it is the duty of the University to take necessary action. We have been told that the statutes of the University do not support necessary action. We have sent the revised statutes for approval which has been forwarded to the Governor. However there has been no response from the Governor's office.
“Beyond enquiries even our hands are tied. It's like Lokayukta, we have proved the crime but don't have power to take action. Apart from the University, not many colleges have such Committees. The University has to act responsibly in this matter and cooperate with the Committee. The government has to take serious action in this regard. Even the younger generation is not showing interest in such cases.”
An employee of a top IT company in city: “The Bill seems like a step forward. Even though I have personally never faced such problems, a few girls working with me have. We have an Internal Committee which works for causes related to the problems faced by women. They also conduct awareness programmes for the employees. However, many are not ready to stand up for themselves and complain. They should stop getting scared about their job security and approach the Committee with their problems.
“Action has been taken regarding such issues and one doesn't have to worry if they will have to face isolation. If each company has a Committee which will address such issues, then I guess half the problem will be solved.”
However, another employee of the same company remarked: “The committee does function but it is not easy for us to complain. The moment we do, the higher officials are informed about us and then we face isolation and get targeted by office members. All we get after complaining is mental harassment and it's difficult to work in such an environment. That is the reason many choose to remain quiet.”
A higher official at another company got into defensive mode when he was asked for his opinion by saying when a Committee does exist in their company it's upto the female employees to make use of it. It is assured that they will get justice and won't face any isolation. This was said when at least three out of five workers in the same place were hesitant to complain about the problems they were facing.
A young girl working in a small organisation: “My first few days at work were fine until I got to hear stories about the male employees of my organisation. Hearing stories apart, after some time even I had some bitter experiences. We don't have any committee to address problems faced by women. On one side I am feeling very uncomfortable with the behaviour of men towards me, but, on the other side, a few of the women have no problem with such inappropriate remarks and physical contact. Vulgar jokes and inappropriate touching are just some of the problems I face almost every day. When reported, I am told that it is ‘fatherly/brotherly behaviour,’ and not to mind it. I want to know which father would treat his daughter this way and also there is no need for the male employees to show any affection towards us as they are expected to behave professionally at work place.
“Even if I raise my voice and try to change things, nothing is happening. Will such a law be effective in an organisation like ours where people, men and women alike, just get along with such issues instead of addressing and solving them? I can always quit this place and move on. But situation may be the same in other places also. I want to stay here make a change. If the Bill is passed, I may get some help.”
A city college student: “We have a lecturer in our college who is a known offender. All other staff including the Principal know about him and it has been going on for years now. Recently a student was molested by him during an exam. She was bold enough to give a written complaint against him. Enquiries were conducted and reports have been submitted. Still no action has been taken. How will other girls get confidence if this is the situation? What more are we supposed to do?”
Contrasting voices for the same problem: A few top notch companies have taken effective measures to prevent harassment at work. But what about the smaller companies, organisations, students, research fellows, house maids and all those women who go to an office to get work done and have to face such unruly behaviour? Also, it is not enough to just have schemes and laws which protect harassed women, but the harassment itself should be stopped.
All the voices had one common solution — to change the system. Clean the society from grassroot level. The teaching should begin from home. Schools and colleges should take time out from the ‘race for marks’ and educate and inculcate morals in the students. They should have effective awareness programmes in a way which will interest and affect the mentality of the youth. If this is effectively done, problems may reduce at workplace along with the companies taking necessary measures to curb this filth which has haunted our country for ages.
Such a change may not happen overnight. But the start should be made now and at this very moment. Else, no matter how much our country may advance, if its people don't learn to respect Mothers, it is doomed to remain backward forever.

Story behind the Vishaka judgement:The Supreme Court guidelines in the case of Vishaka & others Vs. State of Rajasthan & others was brought out owing to the gang rape of one Bhanwari Devi by a group of Thakurs as she attempted to stop a child marriage in their family. Bhanwari Devi was a social worker at rural-level in a development programme initiated by the Government of Rajasthan, aiming to curb child marriages.
As part of her work, Bhanwari Devi tried to stop one Ramkaran Gujjar's minor daughter's marriage. The marriage, however, took place but Bhanwari Devi was not forgiven for her efforts to stop the same. She was subjected to social boycott, and in September 1992 was gang raped by five men including Ramkaran Gujjar in front of her husband. The only male doctor in the Health Centre refused to examine her and the doctor at Jaipur only confirmed her age without making any reference to rape in his medical report.At the Police Station, the women constables taunted her throughout the night. Past midnight, the Policemen asked Bhanwari to leave her lehenga behind as evidence and return to her village. She was left with only her husband's bloodstained dhoti to wear. Their pleas to let them sleep in the Police Station at night were also turned down.
The trial court acquitted the accused, but Bhanwari was determined to fight and get justice. She said that SHE HAD NOTHING TO BE ASHAMED OF AND THAT THE MEN SHOULD BE ASHAMED FOR WHAT THEY HAD DONE.
Her spirit inspired fellow saathins and women groups countrywide and they launched a campaign for justice to Bhanwari. On December 1993, the High Court said, “It is a case of gang rape which was committed out of vengeance.”This provoked women groups and NGOs to file a petition in the Supreme Court of India, under the name 'Vishaka', asking the Court to give certain directions regarding the sexual harassment that women face at the workplace. The result is the Supreme Court judgement, which came on Aug. 13, 1997, and the Vishaka guidelines.

Salient features of the Bill:

• Sexual Harassment: Unwelcome sexually determined behaviour such as physical con-tact, advances, sexually coloured remarks, showing pornography or making sexual demands, whether verbal, textual, graphic or electronic or by any other actions, which may contain — promise of preferential treatment in that employee's employment (or) threat of detrimental treatment in that employee' employment or an implied threat about the present or future employment status of that employee and includes the creation of a hostile working environment (or) the conduct interferes with an employee's work or creates an intimidating, hostile or offensive work environment (or) such conduct can be humiliating and may constitute a health and safety problem.
• Every woman shall have a Right to be free from Sexual Harassment and the Right to work in an environment free from any form of Sexual Harassment.
  No employer or any person who is a part of the management/ownership/supervisor/co-employee shall, sexually harass a female employee at the workplace, where she is employed/seeking employment; whether the harassment occurs in / at the workplace, or at a place where the said person has gone in connection with the work. Every employer/management of the workplace shall take all necessary and reasonable steps to prevent and ensure that no woman employed in the establishment is subject to Sexual Harassment by any third party during the course of employment.
  In cases where an employer-employee relationship does not exist it shall be the duty of the head of the body/institution to ensure that — No student or any person seeking admission to any such institution /professional body or a client is subjected to sexual harassment. An aggrieved woman shall have the Right to claim compensation from the defendant for any Sexual Harassment to which she may have been subjected to, in an appropriate Court of law.
  The court may for reasons impose a fine of not less than Rs.10,000 on any workplace which has failed to constitute an Internal Complaints Committee (ICC)or opted to have been governed by the Local Complaints Committee (LCC) or failed to initiate action within a reasonable time. It shall be mandatory for every workplace to constitute an ICC as prescribed under this Act. The Committee shall be headed by a woman as Chairperson. It shall be the responsibility of the District Officer under this Act, to constitute a LCC, at the district level which will consist of at least four persons and a woman as Chairperson.

(Published in Star Of Mysore dated Nov. 27, 2010)

Jungle Fever @ Sunkadakatte Forest Reserve

Ever since I watched Jurassic Park, I’ve been fascinated by dense, tropical rainforests which are full of surprises at every turn. I’ve always wondered where I’d find a place like that, closer to home, and it so turned out that such a forest is much closer than I imagined.

Sunkadakatte, a lesser known range of Nagarahole National Park and by far the best I have been to till date, is my Jurassic Park. Nagarahole is one among India’s best wildlife parks having many ranges under it, and Sunkadakatte is one among them with restricted access to public. The range is located close to the Kabini Reservoir, situated about 225 kms from Bangalore and 90 kms from Mysore. From Mysore, it can be reached by taking SH-17D (Mananthavady Road) to Antarasante via Chattanahalli and Hampapura.

Guest house

We were put up in a very beautiful solar powered guest house, about 4-5 kms into forest. A single-floor cottage with sloping roof having 3 suites, each of which had 2 spacious rooms and a big bathroom. A cosy and pretty dining shack put up about 50 ft away from the guest house serves up tasty food the cook is ever ready to provide us with.

The best thing about the location of the guest house is that at dawn and dusk, several animals are seen in its vicinity. We woke up early morning to be greeted by hundreds of chital deer, wild boar, gaur and the trumpeting of elephants. We were also lucky to get a glimpse of a pack of wild dogs (dholes) which are very rare to spot. At night, wild boars can be heard snorting and circling around the cottage with jumbled sounds of other animals. Several wildlife photographs are on display in the guest house, many clicked by M.N.Jayakumar, Additional Principal Chief Conservator of Forests.

There is no official safari in this reserve but a forest employee, who patrols the forest for poaching activities, was asked to take us around on his jeep. We started the safari at 4 pm on the day we arrived, taking the trails typically used by employees for surveillance. The foliage on either side of the path is cleared to a minimum distance in order to prevent forest fires from spreading across the path. We were barely minutes into the jungle when it started pouring heavily. Our guide informed us that it was going to be difficult to spot animals, since they disappear into the heart of the forest when it rains. But we were far from disappointed. The forest itself looked magnificent when drenched in rain.

The paths leading into the jungle are narrow, sometimes very steep, and almost impossible to navigate in the rain. We skidded, got thrown off our seats several times, and got stuck right in the middle of a puddle as darkness approached — all adding to a perfect jungle experience. We were not that unlucky with animals either, as we spotted several hundreds of spotted deer and many sambhar, all huddled under the foliage against the rain. We also saw lion-tailed macaques near them, which are said to signal the deer of any approaching predators.

The drive along the backwaters of Kabini reservoir had much more in store for us. We saw many elephants, some with the calves running underneath the mothers for shelter whenever it rained, and adults flinging mud on their backs. There was also a massive group of about a hundred wild boars scattered along the bank of the backwaters. We also spotted a herd of gaur, one of the largest we had ever seen. On our way back, the sight of a large lone tusker got us both thrilled and scared. We moved quickly since it was getting dark as well. The experience was so novel and exhilarating that we requested our guide to take us out again the following morning.

And so we headed off at 7 am the next day, with all our senses feeling every bit of the fresh forest, still opening its eyes to the warm rays of sun. It had stopped raining the previous evening and the morning was a perfect setting to watch birds. We spotted several peacocks, peahens, kingfishers and kites. There is also a pond called Tiger Tank in the forest, named so as it is frequented by the big cats. Unfortunately we weren’t lucky enough to spot one. Nonetheless, an action-packed and unforgettable five-hour jungle safari spread over two days made this a trip we’d never forget. What we did miss though, was a stay in the Kabini River Lodge nearby, and a boat trip around the backwaters.

A must for photo enthusiasts if you are staying overnight is to fully charge your camera batteries as there are no sockets in the guest house. One can get really close to nature at Sunkadakatte, with its untamed forest and abundant wildlife. But do keep in mind the rules of forest, and follow them to the last word, since we must conserve to the best possible extent, what is left of our forest cover.

(Published in Star Of Mysore dated Nov.16, 2010)

Seven wins and still counting…

The vajra mushti (diamond fist)

Vajra mushti kalaga at Mysore Palace during Dasara 2010

First blood

One among the many rich traditions of our country is Kusti (wrestling) with its homeland being Mysore. In olden days, every village had a Hanuman temple and an akhada. Kusthi was not just a sport but an art used for self defense and for protection of the empire.

M.R. Madhava, son of M.R. Sudarshan of the Jetty family whose name is synonymous with the ‘vajra mushti kalaga’ (a varied and special form of wrestling) and kusti, is very humble and modest person. He shared his experience in the palace, about his family and community.  Excerpts from the interview:

Your whole family is very well known for wrestling. Can you tell us about your family tree?

Madhava: My family traces back to the times of Tippu Sultan. Kari Jatappa, my great great grandfather was a Raja Vastadi in Tippu’s court. Story goes that when Tippu told he can kill a tiger, Kari Jatappa killed a tiger by hitting it with his bare hands. During the time of Mummudi Wadiyar, Rama Jatappa was famous. People would say “Aakashakke eeni ella, Rama Jatappange kustili sati ella” (there is no ladder to the sky, same way, there is no equal to Rama Jatappa in kusti). Next was my grandfather, M.R.  Jatappa. He used to supply agarbatti to the palace durbar. It was famous all over India. My father was M.R.  Sudarshan. He was conferred with the titles Mr. Body Builder Mysore and with Mr. Olympics title in Madras. We are five brothers: Ramji, Basavanna, Tiger Balaji, Arvind and me (Madhav). All five were into wrestling in our earlier days, but now most of them have quit.  Balaji is very famous and has wrestled in the kalaga and at the Chennaiah akhada. I specialise mainly in blood-fighting.

When and from where did the Jattis originate?

Madhava: We have heard stories from our elders that our forefathers were in Akbar’s courts in Delhi. The Jetty family had around 3,000 houses there. For various reasons our clan migrated from Delhi and spread to different parts of India. They say that the origin of Jattis dates back to as early as the time of Lord Krishna and that it was the Jattis who taught Balarama how to wrestle. But since the practice of sati was predominant with our people, there were very few descendents of the Jattis. 

Members of your family have taken part in the well-known ‘vajra musti kalaga.’ How is the kalaga fought and is it practiced anywhere else?

Madhava: This form of fighting takes place only in Mysore and that too on the last day of Dasara. Nowhere else in the world will you get to see it.

First we keep the red mud and offer prayer to our home deity Nimbuja Devi to take her blessings. Later we shave our head leaving only a pony like those of pujaris and wear the kusti dress. In the palace we will be given the vajra musti which we need to wear for the fight. It is usually made of elephant tusk or the horn of a gaur.  

After the Maharaja is seated, there will be a referee who will conduct the fight. Four fighters, 2 from Mysore-Chamrajnagar and 2 from Bangalore-Chennapatna are called and divided into two pairs. Both the pairs fight simultaneously and it lasts from around two to ten minutes. Whoever draws first blood will be declared the winner and the fight is immediately stopped. The sight of first blood is considered to be a good sign to start Vijayadashami. Later the king proceeds to offer puja to the Banni tree.  

Do you practice regularly for the kalaga?

Madhava: We usually start training one or two months before the event. There is a strict training routine and we need to practice breathing control. Also we need to follow a proper diet for maintaining fitness. It is like training for a war.

Who selects the fighters for this event?

Madhava: There will be about eight heads called Kalipha, Ustad, etc, who select the fighters. One person cannot fight for two years in a row. It is usually every alternate year or more. Nowadays we give chance to juniors also if they want to fight, so that even they can improve. Only those from the Jatti community can take part in this fight. I started when I was 18-years-old and have participated and won seven times at the palace. There is no age limit for taking part. One can fight until he has the strength to.

It is a very dangerous art form. Has anyone got severely injured while fighting?

Madhava: Many people have got injured till now. I know a person who lost his eye around thirty years back and one who has a hole in his face. You are supposed to hit only the head. However sometimes you miss and hit the opponents face. A slight miss can cause severe injury. But we feel the pain only for some five minutes, later its gone. Doctors will also be present during the fight to provide first aid to those injured.

Will the training be given from childhood?

Madhava: It all depends on daring. If the kid has the guts and dare to fight, only then can he face his opponent. In that case they train for around half an hour during evening tying a towel to their hands.

What do you do for a living other than the kalaga?

Madhava: We rear cows and whenever asked for will go for duty to the palace. We have agarbatti and other small businesses also.

Will your kids continue the family tradition?

Madhava: It is up to them if they want to practice. Like I said, they can fight only if they have the dare to. But we will see that the next generation will keep up the tradition of our community.

(Published in Star Of Mysore dated Oct.15, 2010).