Bangalore Kannada Slangs

Since lot of you are searching for this slang's on the blog, I am writing this article, I have borrowed slang's from Dharwad.com website and posting it. You can also contribute to list in the comments column. Some may argue that Bengaluru Kannada slang's are degrading the language, Some also argue,these are new additions to the language, which show the language is alive, kicking and constantly evolving in the new world. Just like English language adds the new words, the Kannada Language should add the words to their list. Sometimes if we go out of Karnataka, that we find that these Bangalore Slang's and Kanglish have acquired the cult status, especially in south Indian towns. These slang's are used to show oneself, the person has been in Bengaluru. Let us see. Time only will tell.

Bangalore Kannada Slang is a vernacular dialect of  Kannada, spoken mainly by people residing in and around Karnataka, especially South-East Karnataka (Bangalore, Mysore, Mandya, etc.).

This dialect is primarily spoken by youth and in informal discourse between locals. This slang is quickly picked up by the outsiders who stay in Bangalore. The slang is also pure Kannada and is quite old, too.

Bangalore Kannada is spoken by the native people almost everywhere: at home, in educational institutions and other places. Bangalore and Mysore Kannada are the most commonly used in other mediums such as plays and movies.

Some words specific to Bangalore Kannada are:

    bombaat, sakkath - meaning awesome/cool
    bejaan - a lot
    kudumi - bookworm

These words can be slang or catchy words, and can also be combined into Kanglish [Kannada+English]. In fact, there is a whole list of Kanglish words and phrases.

For instance, "Just Maja Maadi" used as an alternative for "chill out" (a phrase popularized by one of the city's radio stations). "Enjoy Maadi" and "Swalpa Adjust Maadi" are other such popular Kanglish phrases. The word Maadi literally means do/ make.


Contribution from Kannada cinema
Upendra a popular star of urban blues has popularized Bangalore Kannada. His famous song from a movie named Upendra he has popularised the word oLu - meaning rubbish. The song says MTV subbulakshmige bari OLu - meaning for a doyen of Carnatic Shastreeya Sangitha like Subbulakshmi, MTV is rubbish. He is known to popularize the side effects of urbanization

Jaggesh has to his credit for inventing word Dagaar meaning a whore/prostitute for those who follow seductive and revealing outfits on city roads. One more innovation is Dow (from Dove rhymed with love) for referring a lover.

Sudeep introduced a word Kichcha in a superhit blockbuster movie Huchcha which means a person with lot of fire or Kichchu inside him. In fact Kicha is used to denote Lord Krishna which becomes Kichcha due to his fiercesome nature in this heart touching movie.

Anant Nag had introduced terms Roll Call in one of movies meaning one who makes fools of people from his talking skills.

Ambareesh had introduced a term Guldu Khan - to mean a stupid/brainwashed person - related to a foolish Muslim invader in his films.

Ravichandran and Kashinath have also contributed a lot of pun related dialogues and terms in their movies.

There is a whole list of vulgar slangs. Many of them could be derogatory or offensive in nature, though they all have a funny connotation. Hence, caution is advised while using them in public.

Bangalore Kannada slang words List

Aandu Paandu - The mundane or the common folks

Bhadko - Rogue [popularized by the TV serial Paapa Pandu]

Bond - Professional; expert (from James Bond)

Chaddi Dost - Bum Chum (meaning a childhood friend; perhaps denoting the time of friendship)

Dove - A girlfriend (perhaps a distortion of the English word love)

Edda Diddi/ Erra Birri - Rash/ Hapazard (Perhaps derived from vehicular noise)

Gamad/ Gampar/ Gubaal/ Guggu/ Gujjad - Foolish person/Villager/ or Illiterate (Hindi Derivation Gawar = Illiterate)

Jack Haku - To screw somebody (from carjacking - Haku is to put)

Juttu - Weakling

Maama - [Literally means maternal uncle/ father-in-law (mother's brother)] often used as derogatory term for incompetent police

Maga, Maam, Machi, Raaja - Son or Dude

Chindi : Too good

Bombat : Incredible

Sak'kat : Awesome

Blade : Got screwed (also see 'Kuiey' in chap 3)

Topi : Got cheated

Chatri:- No.1 fraud

Adjust : Anytime you are caught on the wrong foot use this word

Kirik : Mess

Magane : Anybody (Male) who does not keep in touch!!!

Lo : Anybody (Male) who keeps in touch always

busy : Busy !!!

Mucchu : It is a very potent word and should be used with caution.It is normally used in conjuntion with various body parts. Strictly to  be used with friends and definitely not with members of the opposite sex

Madam : Any girl who becomes a friend thus putting an end to any mischief you want to commit !!!

Chitranna : To be used with Chindi. It means had a gala time

Maj'A : Fun. To be used with Sakkat depending on the amount of
fun you had.

Bend Aethu: Screw, Ex:-Maneli appa,amma bend aeththaaramma !!

Jai Aagu: fully disappered.

Punta : Good in fundamentals, very able person. High IQ. Also used for teasing, like " 2 year ninda, India hogillva ? Panta kano neenu!"

Kudami :- Book worm !!.

Puntar Ke Gin : Gina of Puntas i.e. king of punters.

Tuppa : Very easy to grasp. Eg:"Question paper olle tuppa eddange ettu kano.. chindi chitranna maadaak butte!!"

Mileage : Scope u get by any different or special act in a friends group."Eno new hair dye-na ? Full Milageaaaah ?? "

Hodeskonda : Got screwed.

Biddaah! : Total flat for the outward shining of any object/subject.. like "dekhke dekhke gir gaya saaala" "Photo nodi Biddaah..... maduveyaagi..Biddaah!!"

Guru : Mix of Lo and magane.

Deevru : Person who is seen once in a while.

Sisyaaa! : Close friend in need of free advice. "Haangalla kano   sisya! Hing daarig baa! Nan maat kelade hodeskobyada"

Aenamma : Aenamma Chennagiddiya !!!

Solid : Great deal. "Java++nallidya ?? Solidale, Solid kanamma Panta kano neenu! Full mileage, full posh!!".


Baggu : Don't fool me, u better be. e.g: "100 rupai saalana ? buggtiyaa ? oythaa irallae magane! Naane elli bombdi hodita eddini! Doddadaagi band butta kisadkondu! "

Mindri:- Bastard.

Jagat Mindri:- International Bastard.

Othla/Thooku/Dumki: Total gone case. "Wipro na ? MG roadaa ? Full othlanaa ? " " Otla hodediddu jaasti  aaythu, enoo kelsa maadilla.

Launch/Kick::-  Next stage after high Boosing.

Dagaar/Half set/keepu : Famous in Jaggesh fan's circle!

Gaandu:- Impotent

Kirik : Problem, nuisance. " Heavy kirikkamma, hike kodu andre    baggu antaane namm managerru !"

Blade & Kori:  same as kuyyi.

Siva : same as guru. " En siva..daadi bittidiya ? Hendru oorallilva ? "

Magane : To be used with very close friend circle.Else u may loose your relationship and a few teeth too :-)."
Eno magane, pathene ella? Elli beli haaroke hogidde ?"" Mag-Ane!! Muchhu, adella Nannishtaaa !" " Sari, eaga nadi Magane, otla hodiyonaa"

Heat : Fully equipped with hormones. MEB. (Most Eligible Bachelor)
            "Namma huduga full heat-Ge bandavne. Enadru vyavaste maadbeku"

Piece : How "heat-Ge bandavru" look almost every female on Brigade."Sakhath piece-amma! Full biddog-bitte".

Pure : A deshi found in videsh.

Mom:-  Close friend  eg:-  Yen Mom full zooma.......( Kinglish)

Anna:- Must be used , when u 'r talking with Bigges.        ex:- Anna nanagu ovandu Chance!!(jaggesh)

Thirtha/Prasada:- Same as Yenne

Sight/Line/Dove:-  Other names for Loving.....

Hakki/Birds :-  Pretty girls

Nimmajji :- One Abuse !!

Ainaathi :- Videshi

Guldu\Pyaade :- Person who is very innocent.

Dharmada Aeetu :- Absoulutley Free of cost.

Maavana Mane :- Police Station.

Chamak : alias Minchu. show off ; derive 'scope' (see Mileage)

Tagadu : Opposite of Punta. A person of very low IQ. Dudhead, Dunce...

BaaNali:-  Baaldie

Turimane:- Dentally forward

Dabba :-  Same as  Tagadu

Maska : see Benne

Benne : Butter. Used to promote relationship. esp. political, organisational etc. Building goodwill in a viley way

Biscuit : Lancha.

Peerethi : Love. usu. superficial. Used to impress 'Piece'. inapprpropriate with 'Dagar'

Chamcha : A Person who uses lot of 'Maska' to promote his self interest. The villan in old kannada movies, nowadays potrayed as a statesman

Bathati/Fitting :- Pimping. ex:- Lecturerge namma mele Olle batti itta maga aa attender.

Yennai/Gundu : Liquor. Booze. Usu. followed by a 'Thalping'   session.  The in-thing to do in the pubs esp. by young people

Thalpu : Eat rather, Gobble. eg. "Thalp it all I say !" is   famous when you go to free Luncheon in a star hotel

Kuiey : A Boring session. "Meeting nalli blade haki sakkath   kuieydhru..."

Saaru : An informal greeting. opp. of Sir which is mark of   respect.  "Namaskara Saar ge"

Sustu : Tired or, when you are Dazed. "Aa piece nodithere neenu sustu aagbidtheya"

Burudae : Lie. also referred as 'Reel' or 'Rail' eg. "Nin      burudae keli keli sustu aaythu

Dani : Boss. "Promotion sigle antha namma Danige sakkath benne haktha idene"

Oollu : - Same as Burude( Upendra's contribution)

Tufree:- famous past time or hangout for Students who fag.

Hawa:-  Famous ,ex:- Maga awanu valle hawa Ittiddane.

Hattisu:- Flattering

Kivege Huvvu:- same Reel.

Mabbu:- Same as GulDu.

Damar:- The End.

Udis :- Gone case. Ex:- Bitti sikre ella Udis.

Guraiusu:-  Gazing with anger

Attakaiusu;-  Enter

Jamaiusu:-  Enjoy

Lagaiusu  :- same as 3

Udaiusu:-  Enjoy others Propertey.

Pattaisu:- Trap a girl

Bitti/Oosi(O'c) :-  Free

Mundaisu/Bolisu:-  Shave others Purses.

Shikshe       :-  Great punishment.

Bharatharatna :- person who is very honest.

Achchu\Batti :- To copy in exams.

Seize :-    Caughted Redhand.

Sinku:-  Escape ,Ex:- Poice baruva munche baa maga sink agi bidona

Kalakar:- Jack of all.

Uri   :- Jealousey(Stomach burning).

Aata   :-  Ex:- Yannamma tumba Aata aaduthithiya

L.K.B :-  Famous foul word .

T.P     :- Time Pass

T.T     :- Titte Tirisu( Uppi contribution).

D.T    ;- Means same as Enjoy

A.J.M:-  A'n Just Miss
           ex:- Maga ,distige 100 marks ninda  ajm aagihoyithu

J.K  : --???****

TMH:- Next stage after high Boosing.

P.P :-Pakkada mane Phone

Underworld Bhashe:

Adda    :- Hangout place.

Deal    :- Buisness

Sketch  :- plan for Supari Killings

Laang   ;- Famous weapon

Finish  :- End life

Hudugaru:- Chelas of Don.

Nin A'----n :- This should be used alternatively with very word.

Dichchi :-  Eg. Nanna Magane ondu dichchi kotre kannage  stars kaanisuthe

Ikku :- Bash or Beat.

Namma Area:-  Our propertey.

Mamulu  :-   Haftha.

Kaki    :-   Police

Linku:-


Gadegalu

Umpirege decision.
Thirupahige Laddu.
Conductor ge ticket.
Sun ge torch
Samudrakke uppu.
Sollege malaria.
Kannu Tampu.
Paadada Xerox.
Chakkage Chappale.

Ranges
------
Ekkaa Chikki - |
Bejaan.        |  --> Long Ranges
Ekkaa Makka.   |
Ragadu    |

Kaanji Pinji   |
Kuyya          | --> Short Ranges.
Jujubi

Sources
Wiki
Ramblings with Bellur
Dharwad.COM

POV: In Praise Of Foundry Photojournalism Workshop


As this blog's followers and readers know, I attended the Foundry Photojournalism Workshop in Buenos Aires as a faculty member, and decided I'd jot down my thoughts as to how it progressed and developed.

I attended all four Foundry workshop (Mexico City, Manali, Istanbul and now Buenos Aires), and it was by far the best in terms of organization and infrastructure. Whilst there may be a difference of opinion among faculty members as to the strength of the students projects as presented during the workshops, we all agreed that the organization, the behind-the-scenes work and the two venues (Motivarte and Arte y Arte) were terrific.

The photographers in the faculty were lauded for generously sharing their knowledge and time, but I think the unsung heroes of Buenos Aires' Foundry were its staff, administrators and the local volunteers who made it a wonderful success.

Eric Beecroft, as the visionary force behind the Foundry Workshops, deserves singular praise. He had an idea 4-5 years ago, and made it a reality despite enormous obstacles. As they say, Eric pushed water uphill, and made it to the top. With him, and deserving many kudos for the success of the Buenos Aires workshop are Mansi Midha, Kirsten Luce, Gabriel "Morty" Ortega, Tiffany Clark, Jen Storey, and Hugo Infante. They are excellent photographers in their own right, and you can see their individual biographies here.

Despite their various bouts with tenacious flu, exhaustion and long hours, the staff and local volunteers worked around the clock, and deserve enormous credit for the success of this year's Foundry. Here's to you...and a standing ovation for a well done job!

The students' presentations were shown on the last evening, and having strict time limits for each made it much easier to appreciate. The audience was delighted to have seen such powerful, compelling, creative, imaginative and in a couple of cases, tongue in cheek work.

I will only mention the faculty by saying that, as usual, all instructors exerted tremendous efforts to share their technical knowledge with their classes and beyond. There were incredibly interesting panel discussions, and I, for one, was stunned at some of the instructors' candor in describing the toll their jobs have had on their lives...and yet, they participated in this workshop just because they want to give back.

Finally, a word about Buenos Aires...the combination of the best beef, lamb and chorizos (especially at Glumy and Criollo on Serrano square) in the world, excellent wine, bewitching tango music, and the seductive milongas...as well as some of the most attractive women (and I'm told, handsome men) I've seen, also contributed to it being such an unforgettable experience.

The 2012 Foundry Photojournalism Workshop will be held in Southeast Asia....Viet Nam is on top of the shortlist. Keep your eyes and ears open for the eventual details...and be part of it. You won't regret it.

Terri Gold: Into The Mists of Time

Photo © Terri Gold-All Rights Reserved
Terri Gold joined my Tribes of South Rajasthan & Kutch Photo~Expedition™ last year, and is now showing her terrific infrared images about life in Guizhou (China) in an exhibition entitled “Into the Mists of Time", of which the above image is part of.

Julie Keyes is curating and presenting the exhibition at 4 North Main Gallery, which is located at 1 North Main Street in Southampton, New York, and will be opened for viewing on July 30th, 12-7PM and July 31st, 12-5PM. 


From the exhibition's press release:

Terri Gold’s lifelong body of work “Still Points in a Turning World “focuses on Asia’s vanishing tribal heritage and has been widely published and exhibited. Recently, she was featured in aCurator Magazine and Lenscratch and was a winner in the Planet Magazine and London International Creative Competitions. Gold’s work is interpretive in nature and incorporates the use of infrared light and the invisible light spectrum. She is interested in the myriad ways in which people find meaning in their lives, how an individual explores his or her existence through their traditions.


So if you're in the Hamptons this week-end, don't miss it! Teri's images are unique and well worth your time.

Indu Antony: It's A Beautiful World Outside




Indu Antony attended the Buenos Aires Foundry Photojournalism Workshop which just ended a few days ago, and chose the incomparable Maggie Steber as her instructor. A wise decision...and one which speaks volumes about Indu's passion for photojournalism.

She also chose me to review her phenomenal portfolio...which I did, spending a very long time doing so, forgetting I had other photographers waiting for me. Her multimedia photo essay on the destitute and the homeless in a Bangalore shelter is so compelling and sensitive that I watched it twice...slowly. You will too.

"Indu, you should marry a dentist and open a dentist clinic and have two boys who will be successful dentists too!". I decided to disobey her and follow my dream of being a photographer. I have been chasing colour purple ever since through my images."
Indu hails from Bangalore and is drawn to documenting the unprivileged, the homeless and those who lack a voice.  Her It's A Beautiful World Outside was photographed in a Bangalore shelter which mainly houses psychologically ill people who, like us, have dreams and wishes.

From the sight-impaired to the physically handicapped, all believe they will one day walk out from that shelter into that beautiful world "Outside". In her multimedia piece, Indu fused their portraits to photographs of their dreams, and recorded their voices telling us of their hopes and wishes.

Powerful...emotional...and sensitive.

Jon Goering: Ethiopian Orthodox Christianity

Photo © Jon Goering-All Rights Reserved
I am certainly glad Jon Goering chose me to review his multifaceted portfolio during the Foundry Photojournalism Workshop in Buenos Aires a few days ago, and so will you when you view his black & white images of Ethiopian Orthodox Christianity.

I guarantee you'll find these beautiful images very compelling, and extremely well composed.

Jon is a photojournalist living near Birmingham, Alabama and is the staff photographer for Shelby County Newspapers. He was awarded third place by the Hearst Journalism Awards program for News/Sports in 2008/2009 and honored for his photography of Ethiopia. At CPOY64 he was awarded two honorable mentions awards, one for International Picture Story for a story on the children of the Chinandega, Nicaragua landfill, and one for Portrait. The project was later selected by the photojournalism collective LUCEO as one of ten finalists for their student project award. Jon garnered other awards, and I predict he will continue to impress us with his future projects.

In Buenos Aires, my review of Jon's images (viewed on his iPad) quickly evolved into a conversation about Ethiopia and the profound religiosity of its people. I can't recall for certain if I told Jon this, but when looking at his images, the sinking feeling in my stomach signalled I had missed much by photographing only in color when I was in Lalibela during Timket...but it was in 2004 and what did I know then?!

So I'm happy Jon is smarter than I was, and did realize that black & white photography enhanced his visualization of Ethiopia's beautiful Christian rituals.

David Lazar: The Monks Of Burma

Photo © David Lazar-All Rights Reserved
After the 10 days or so I spent amidst photojournalism work, I thought I'd revert to pure travel photography through the work of David Lazar; a collection of absolutely gorgeous portraits of Burmese monks which are certain to thrill and impress the legions of photographers who traveled to this magnificent land, and who especially favor simple portraiture work. I know quite a number of those photographers, and also know of a few who will be traveling soon to see for themselves what Burma has to offer.

Not only are the portraits just spectacular, but the gallery's presentation is also superb. The gallery of large images is on the Visions of Indochina website.

David Lazar is a musician and photographer from Brisbane, and who loves traveling and capturing moments of life through photography. He has won a number of awards and recognitions for his photography which include Shutterbug Awards 2011, Kumuka Travel Photo Contest 2010, Lonely Planet Photo Competition 2010, Asian Geographic - Poetry in Motion Competition 2010, Intrepid Photography Competition 2009...and many more.

I'm not at all surprised. David's photographs are the type that win awards consistently.

Amy Winehouse: Unique Talent



Here's Amy Winehouse in an acoustic version of Love Is A Losing Game. She sang this sad song with only a solo guitarist, and it demonstrates her impressive range of vocals. She had a incredible future, but it was not to be.  


One of my favorites is her "Me And Mr Jones"....another great song.

(Via One Voice-One Guitar)

Gardelito, The Tango Performer Of San Telmo

Photo © Tewfic El-Sawy-All Rights Reserved (Click To Enlarge)
After the phenomenally successful Foundry Photojournalism Workshop in Buenos Aires ended, and the raucous party(ies) waned in the wee hours of the night (or more accurately with the first rays of the sun), some sleep-deprived souls joined the Sunday throngs in San Telmo.

San Telmo is the oldest neighborhood of Buenos Aires. It is a well-preserved area and is characterized by its cafes, tango parlors, antique shops on cobblestone streets, which are often filled with artists and dancers.

Mervyn Leong, Syed Azahedi, Mariana Castro and myself met in the San Telmo main square where we ambled for a few hours, photographing the stalls, the vendors, the customers and the flaneurs. To the side of the square, we stumbled on a solo tango performer who called himself Gardelito, presumably after Carlos Gardel who was a singer, songwriter and actor, and is the most prominent figure in the history of tango. For one of his songs, click here.

Gardelito is an old hand working the crowds, sings and plays the guitar quite well and knows how to market himself. He displayed his washed out photographs on a wall behind him, and claimed he was interviewed by all the world's major newspapers.

As a footnote, there's little doubt in my mind that the Buenos Aires Foundry Photojournalism Workshop was the best one organized so far since it was started by Eric Beecroft in 2008. I will post more on this in a few days.

The Fishing Fleet …


The story of the ‘bibi’ line and the retuned empties

The world we live in is certainly interesting and many of the tales that enliven it come from books that people do not even know to exist. . I spend a long time with those inanimate objects created to outline periods from the past, marveling at the varied life that man led thus far. This story detailed a period like that and though I did know of this vignette from a couple of books, they were by no means complete. This weekend, armed with some research material, I got into the depths of the story and what you read is a result of that effort.

To get to this story, I have to take you to the Britain of the post Industrial revolution period. The Midlands and London were certainly busy places and a good amount of manufacturing took place. The factories were buzzing, the raw material came in freighters from the newly established colonies in India and the Far East and the British ports were busy places indeed. The educated (but from socially lower rungs (mostly though not all) of society) moved to India and found positions in the military, civilian or academic areas or even with the ICS in India and for them then, it was like today’s Middle East for Indians. They travelled far from home, to the heat and dust of India, to make a living and to make a name, earn some money and like in the case of Wellesley and a few others, fame.

But then there were many other sub plots in the story of the British Raj and this is not one you will find detailed, but mentioned only in passing, in most books. Today, you can find a few novels detailing the story of one or two of the many thousands who travelled in what were loosely known as the fishing fleet. And the large canvass of that story has in one corner the tragedy of the returned empties of the story. It was certainly difficult to research, for unlike the meticulously recorded British times in India, this has been given a short sift. Sometimes you wonder why, but anyway let us get to know the members the fleet and its purpose.

In the beginning, the ships leaving Britain travelled around the Cape of Good Hope, much like the earlier Portuguese and Dutch ships and made their beeline to an Indian port, like Bombay, Madras or Calcutta. There they disgorged their load of weary but bright eyed and pale skinned men, eager to make their presence felt among the brown people of India. How they made that presence felt is the story of the Raj. Some of the richer or senior people who paid their fare, brought along their spouses, or probably the EIC paid their fares as perks. The younger men came alone. The need for female companionship for those young and eager men sometimes created local relationships in India and a class called Eurasians or Anglo Indians was born. I had earlier covered this topic in this hyperlinked article, which I had enjoyed writing.

In the early days, the time of discovery as historians put it, there was no feel for class and society, but soon after, came the sad story of class hierarchy and color. That itself is a fascinating subject and the British actually borrowed examples from India’s own caste system to establish themselves at the top of the ladder, equal to or sometimes above Brahmins. They fortunately had the very man who created all the mess, a gentleman by name called Manu, who wrote his Manusmriti, and the class map he created, for the subjugation of the masses, at their disposal. They used varna or color to establish superiority and thus came the concept of the goras and kalas. The British Gora soon became the white master.

But that was to soon create havoc in their private lives. The young and unattached soldier certainly found paid company in the many brothels that sprouted around the forts and towns the British lived in. But the young needed partners and soon the marriage to a local or Desi woman was frowned upon, both the man and the woman became outcastes in the white’s clubs. As Geroge & Anne Forty state in their book – They also served- The [districts] in the larger cities - in Bombay it was known as "the Cages," in Poona it was called "the Nadge" -- were strictly out of bounds. If any white soldier was seen in the area, whistles were blown by the police, all traffic came to a standstill and the soldier would, of course, be caught .. .Any man who availed himself of the "tree rats" or "grass bidis" was properly dealt with. He was given a severe ticking off, had his pay stopped and was sent to Number 13 Block, which was the dreaded treatment center. Many turned, as a last resort, to the "five-fingered widow..."

The British upper crust found this all very disquieting. They had to find a way to keep the young at bay. And the solution was the establishment of what they called (but did not consign to written text and recorded history) the Fishing fleet.

And so, some girls escaped boring country life and made their way east.. Chaperoned sometimes by older married women who would explain to them the ways of India (with graceless and uneducated tact, like - do not shake hands with an Indian, you never know here their hand shave been!!) arriving in India in the cooling Autumn months, before the chill set in, in the northern mountains and the plains where the wars were fought and were governing took place. The ratio of British men to White women was three, five or as some books mention 10:1. So the marriage market in British India was bright indeed and to fill the gap came in the droves of women from Britain…

In the beginning the rules forbade British women in outposts, so the protestant English married locals as I mentioned earlier, or worse (according to the British books) they matched up with Catholics of Portuguese Indian origin. The answer to the problem was to ship marriageable girls to India. That was the fishing fleet. The first fishing fleets were shipped out in the latter part of the 17th century. The EIC provided them ‘one’ set of clothes and supported them for one year, the time allocated to find husbands. If they did not, the EIC warned them formally not to stoop to low morals and they were quickly shipped back to Britian. But this formal practice was however abandoned in the 18th century for presumably cost reasons. Many months ago, I wrote about the Orfaaas Del Rei of Lisbon, the girls who were sent out to India by the Portuguese Lendas Da India for the same purpose, to become partners for needy males serving in India. . Britian’s answer as you can see, was the fishing fleet.

Anyway by the early 19th century, the ships stopped taking the laborious route around Africa, and started using the faster route through the newly opened Suez Canal. It was in 1871, that the canal was opened and soon came to the called ‘The highway to India’. It is certainly strange isn’t it? How Egypt and the Red Sea route were always linked with India from the earliest records of mankind!! That Red Sea route was used by everybody to get to mystical India for all it produced and all it did not. Ah! I am drifting off.. let me get back on to track.

Once the sea highway was created, the route to India was straightforward and one of the steamship companies that steamed through was the P&O Company. Do you remember my article about POSH? (For those who need to start of right, I would recommend you take a quick peek at that article of mine). The Peninsular and Oriental Steam Navigation Company was a major steamship carrier of passengers and mail between England and India, between 1842 and up until 1970. The P. & O. route from Tilbury or Southampton went through the Suez Canal and the Red Sea to ports in India. I must also add here that there were others in operation, the BI shipping line for example. The bright and the best of Britain sailed into India and as the ships returned, the weary lot took the R & R trip back to tell their stories to the gloomy lot in Britain. It was certainly a gloomy place (Blighty in those days) for the air was smoky, fogs were a plenty, the mood was dark and gloomy, and some war was always looming in the European horizons..

The returning British on the other hand looked brown and tanned, with better toned muscles after the riding and work in India and the stories they doled out after a few mugs at the bar were astounding, to the untrained ear, of maharajas, coolies, ayas, house staff, bungalows and so on. The girls took notice. India was a place many of them wanted to go to.

Whether this enterprise was publically announced, whether it was started by an entrepreneur or whether it was sponsored by the EIC or the government is not clear, but it soon became known to interested girls that those who were looking for a husband could take a steamer to India, for there was many a young Englishman looking for a wife. Many a girl booked a place on an Eastward P&O. This P&O run from Liverpool to Bombay thus got the nickname (name in the nick of time – is that how the phrase came about??) Fishing fleet. The girls were in the ship and going on a fishing trip…fishing for a husband, and escaping the dreary gloomy, dark & dank, smelly and ‘orrible blighty, now destined for the sunny, bright, hot and dusty India…to start a new life. One lady who travelled in 1779 describes the two groups of girls who were in these ships as the old maids or the shriveled lot and the others as girls educated merely to cover their mental deformity. The British India shipping line was called the bibi or lady line (Indian army – Heathcote) owing to the ladies seeking marriage filling them!!.

How did the girls get into the fleet? Girls in Britain or their parents started the husband hunt in right earnest after a certain age. If there was failure after a season or two, they were promptly shipped off on a fishing fleet to India, before they became a member of the spinsterly lot. Where did the girls head to after landing? They moved on to the many cantonments around India, Calcutta, Bombay, Madras where they lodged with friends and relatives or they went to the various Hill stations.

Just imagine the plight of that girl who stepped out of that steamer to start her new life…Margaret McMillan in her ‘Women of the Raj’ provides a striking picture…Sometimes they were magnificent, Sometimes on the other hand, they were awful as only people who are as frightened as can be. When a conviction of superiority goes with fear then the arrogance is heightened and sharpened. The memsahibs …..they stride through that history in their voluminous clothes which denied the Indian climate, their only concession to the heat, the graceless solar helmet, the topi which protected their rose petal cheeks from the alien sun….

After they reached India these girls were led to the balls or taken to ‘ala juggas’ or secluded spots where they sat, danced or came to know intimately, the new men courting them. Some fishing fleet girls met their match on the ship and got married as soon as they got off the ship, and as you can imagine, the long voyage was quite conducive for these matters. But this was not the best catch, so girls were told not to venture out on deck and court the men travelling on these ships unless they were of the appropriate level. Quoting from the Colonel’s lady, Those traveling alone were advised to stay in their cabins, Bible in hand, to avoid the temptations of the East and the shipboard romances. Not for nothing was the British India Shipping Line known as the "bibi" line, the Hindustani word for "woman" or "mistress" coinciding with the Company's "B.B.' monogram. The best catch was of course the heaven born or the ICS cadre men, who were equated to the Brahmins of India by the British.

And thus the annual fishing fleet arrived every autumn, and as the sprightly female passengers were disgorged, the men at the hills stations waited in eager anticipation. As the trains rumbled and steamed on from Calcutta or Bombay to the hills stations with these heady girls, the men stocked up on goods in anticipation of a quick marriage, things like furniture and clothes, to impress on the new and fair arrival.

Once landed they would move off to places like Simla or other hill stations where eager men were in anxious wait and only the ugly or unfetching ones were left unattached after a month or two. Some girls saw the opportunity and flirted a lot and worked their way through a number of eligible bachelors staring from lieutenants to the civilians (more easy to settle down in a town than an outpost, you see!) and hopefully ending with the well paid ICS man with loads of perks… before finally getting hitched. The end of the eligibility line was a district collector, usually. Ironically, the man who has been spurned sometimes ends up hawking off all the furniture and clothes he had collected in anticipation of a quick wedding to the man the girl has chosen over him…possibly his friend or senior.

As Julia Gregson the author of East of Sun mentions, For young girls, the immediate challenge—rarely stated or acknowledged—was to find a man. To do this, one had to meet the right people, to go to parties and polo matches, to fit in with a very small, enclosed, and sometimes frightened group of people. Lots of fun on the surface, but the rules of engagement were clear: you had to conform, to look good, to dress well, and not to say anything that might frighten the horses. Bluestockings and eccentrics were not well tolerated. India itself was another challenge. Some women fell in love at first sight, others hated it: the stinks, the poverty, the heat, the feeling of being cut off from Europe.

As Pran Nevile states in his book Sahib’s India - To keep them chaste for the marriage market, unmarried women traveled under the care of chaperones, usually married women…’Almost all of the fresh cargo got snapped up on the spot. The Sunday Church was a good spot for offering and receiving proposals. The few who did not succeed in securing marriage proposals, spread out into the mofussil towns.

The interest of the ladies was equally intense but for different reasons, as Lady Angela Falkland, wife of the Governor and a daughter of William IV and Mrs. Jordan noted in 1848:-

"The arrival of a cargo of young damsels from England is one of the most exciting events that mark the advent of the cold season (in mid October) with its 4 months of concentrated gaiety of dances, balls and picnics. It can be well imagined that their age, height, features, dress and manners become topics of conversation, as they bring the latest fashions from Europe, they are objects of interest to their own sex."

Statistically - At the Census (1861) 11,636 women above the age of 15, of English origin including 8,356 wives, were enumerated and 98,888 men.

Quoting from a poem in 1813

Pale faded stuffs, by time grown faint
Will brighten up through "art";
A "Britain" gives their faces paint,
For sale at India's mart.

The girls were led through the merry go round for a while and many settled with their prize catches in the fine fishing or hunting grounds up in the hill stations blessed with the salubrious cool weather. Many a special entertainment was organized for the new arrivals from the fishing fleet. Months went by and as summer came, there were some left, who were as they called it ‘short of bait’. Some were truly so, on the physically and attractiveness scale, some had as they said expended all the bait truly liberally ( now you know why it was called a fishing fleet) on the voyage itself and well, they ended up uncalled for, eventually. They hung around till the ships returned and this sad and desolate lot were called the ‘returned empties’, destined for a life of spinsterhood, working their feet off in governess’ing and nursing. Some of the returned empties were actually real returners who hated India, the colonial life style, the falseness under the pomp and lack of meaning in lonely colonial life in a land that hated them and a bunch of customs they themselves hated. They returned empty handed, and thus were the unkindly named the returned empties….

But this does not work out in mathematical sense with figures varying between 3-10 men to every British woman and 100:2 between suitors and fishing fleet girls, the chances of success were very high and that is why the trip was a regular seasonal event. Such being the case, the retuned empty was perhaps a rarity, and one who were sent back must have been terrible misfits…As the poem in an old weekly stated…

Now sail the chagrined fishing fleet
Yo ho, my girls, yo ho!
Back to Putney and Byfleet
Poor girls, you were too slow!

One question still remained in my mind. Who comprised the fishing fleet? Some references state that they are daughters of Indian officers, who went at a young age to England for studies, others mention they are daughters from wealthy families; some others believe they constituted ordinary middle class working girls. Victor Jacquemont, a French botanist visiting India at the time was not much impressed by the English ladies he met at Calcutta and other places. He wrote (1830): “Portionless girls who have not succeeded in getting married in England arrive here in cargoes for sale on honourable terms,” Another question remained; did the fleet spend just one autumn + winter season in India or a whole year? In the very beginning EIC sponsored them for a whole year, but later on with higher frequency of shipping and higher sustenance costs, the returned empties were back in the blighty in 6-8 months after setting out on the fishing trip.

The fishing fleet became virtually institutionalized by 1880. Balls, gymkhanas, moonlight picnics etc were waiting for the arrivals, and as Eric Richards mentions in his book Brittania’s children, the increase of influx of British women was also to decrease the intimacy level between the two races in India. It also appears that the returned empties complained bitterly (somewhat unfair I think) of the local competition from the Gentoo Indian women.

So readers, that is the story of the fishing fleet or the bibi line and the case of the returned empties. A period of time when mans need for a mate meant bridging oceans..One of these days I will cover the Indian marriage bazaar in the NRI circles and the Chinese marriage bazaar in Beijing…

Sometimes girls tell me how humiliating it is to undergo ‘pennukanal’ or the ritual ‘seeing a girl session’ in an arranged marriage. Just imagine how it was for these poor girls from Britain!! Then they will understand the travails of an unmarried girl going off to faraway lands , sometimes uncivilized from their perspective, and hunting or fishing for a husband, after lounging around in balls and galas and getting liberally sampled…well, that was life then…..

Recommended reading
Women of the Raj – Margaret McMillan
The Sandalwood tree- Elle Newmark
Judy O'Grady and the Colonels Lady - Noel T St John Williams.
East of Sun – Julia Gregson
Sahibs India – Pran Nevile
Plain tales from the Raj – Paul Allen
Raj – Lawrence James
The Linnet Bird – Linda Holeman

Many thanks to roortsweb.com for pointers provided in their conversations…and ancestersonboard for the fishing fleet passenger list published on their website that I have included in this article for completeness.

Pics – from google images – Thanks to the owners and uploaders.

Buenos Aires: The Tango Dancer Is Waiting

Photo © Tewfic El-Sawy-All Rights Reserved

Well, we're midway through the Foundry Photojournalism Workshop in the Argentine capital of Buenos Aires, where the food and wine are remarkable, the women are gorgeous and the music is superb. A photojournalism workshop with intense classes given by top photographers, and interspersed with forays into the night life of this non-sleeping city! It can't get any better.

A group of us went last night to the Salon Canning on Scalabrini Oritz, where we witnessed some of the finest tango musicians, and impressive dancing from the patrons of the establishment.

Although I photographed the dancers, this image of a woman waiting to be asked to dance is the one that remains with me from last night.


Karnataka Janapada Tradition

Jaanapada is a word made by two words Jana - People or tribe, Pada - a kind of short verse joined together as a Sandhi- a grammatical term. The folk culture and colloquial tongue of Kannadigas.

Janapada Tradition has generally described as the expressions of the illiterate. it represents the uninhibited response of the uneducated and unsophisticated sections of the Karnataka to life experiences in a variety of forms. Janapada tradition represents Kannadiga desire to communicate his/her experiences of joy and sorrow and share it with others. This motivation as such is the same as that of proper Kannada Literature. Karnataka Janapada tradition finds expression not in the form of writing but in the form of the spoken word or song(Janapada Geethe) which is transmitted and perpetuated by oral tradition. Another distinguishing characteristic Karnataka Janapada tradition is that whatever the themes or the experience, it expression is simple, direct and vivid, unembellished by artifice or ornament, and if occasionally figures of speech make their appearances, they appear as sparkle and freshness of live speech that directly but picturesquely express whatever is felt or thought. Janapada Literature reflects the life of kannadigas as it is lived from day to day.

Karnataka Janapada Folk Tradition even though includes every aspect of Kannadiga life can be broadly classified into three main heads.
1.Folk Literature
2.Janapadageethe, songs expressive of the common joys and sorrows of the common people. All can be subdivided according to subject matters of the occasion or purpose the different forms intended to serve.
3.Folk Theater, Poetry intended to celebrate the greatness of chosen deities and ballads dramatizing the heroism or sacrifice of chosen heroes, historical or legendary

1.Folk Literature
Kannada Stories, short and long , in diverse forms and dealing with diverse themes has been found and collected . Though the purpose of the narrative is both entertainment and enlightenment, the former usually gains emphasis. Karnataka Janapada Folk Tradition, questions of probability or realism do not arise at all. The natural and the supernatural easily coalesce, and traffic between earth, heaven and hell is easy and common. When human being marries a celestial maid or a celestial damsel is enamored of a mortal, all kinds of difficulties arise, jealousies are roused, impediments are created by men and demons alike and the hero and the heroine after perilious fights and strange escapades get finally united and everything ends happily. Karnataka Janapada Folk Tradition do not have unhappy endings always. Like the supernatural , the magical element too marks frequent appearance in Kannada folk tales. The story of the gem in the serpent's hood or that of the young acrobat appears with slight variations all over Karnataka and have drawn attention of scholars and researches as being typical. These and similar stories could be described as complex narratives but there are a large number that are straightforward in their manner and intent. There are the stories of clever and stupid, stories of birds and animals, all of which reveal a moralist bias but narration is always vivid and attractive. In the former category, the clever and the stupid find themselves in the opposite roles in peculiar circumstances of the story. Such situations make for humor as in those stories which are intended to be humorous, like the stories of wandering ministerial who in the course of the single night cheated four women or the story of the night blind son in law who makes fool of himself when he went to his wife’s parents house. Animal stories are pretty common and intentions are moral. What provides interest is the free intercourse between animal and human world and even the occasional metamorphosis into all kinds of beings, common, strange or celestial. The Story of the crow and the sparrow is well known. Almost of all the animals of the forest figure in one character or the other. Equally common are the stories of cruel kings and childless queens and the strange happenings inside royal places. Nothing limits the folk imagination in the invention of stories and teller always displays his art in making his narrative absorbing and in the end instructive. Who among us has not heard the story of a rich boy or girl falling in love with a poor girl or boy and marrying her or him eventually after many hardships including fierce opposition from would-be parents-in-law? Karnataka folk literature abounds in such stories such as our films do. Or, consider the story of a vagrant husband whose exploits are finally discovered by the wife but pardoned immediately, true to spirit of ideal house wife. This as you may have thought is not a film story either. This is the story of our Lord Srikanteswara, of Nanjangud, who in spite of being wedded to the beautiful Deveri, had an affair going, with Chamundi, of the Chamundi hills. Or, take the story of Lord Ranganatha, of the Biligiri hills, who fell in love with a poor Soliga tribal girl - and married her. So much credence is given to this story by the local people, the Soligas, that they even to this day address Lord Ranganatha as ‘Bhava’, that is brother-in-law. These are stories which could make wonderful film material, and it is no exaggeration if we say that the genesis of majority of Kannada film stories is the folk literature.



Folk tradition in Karnataka, began orally. The systematic study of folk literature was initiated by European scholars. Anyone who glances at the Kittel dictionary is sure to be amazed by the abundant collection of proverbs, most of which are of folk origin. Kittel was helped in this by his immediate superior at the Basel Mission Church, Mangalore, Rev, Moegling. Abbe Dubois’ work ‘Hindu Customs, Manners and Ceremonies’ contain a number of folk tales. May Frere’s ‘Old Deccan Day’ is an independent collection of folk tale. Among Kannadigas, Nadakeriyanda Chinnappa, a scholar from Kodagu, published in 1924, a book in Kodava language called ‘Pattole Palame’, which was a collection of regional folklore with Kannada commentary. This was followed by Halasangi brothers of North Karnataka who published three volumes of folksongs and Ballads, titled ‘Garathiya Haadu,’ ‘Mallige Dande’ and ‘Jeevana Sangeetha’. Archaka B. Rangaswamy Bhatta of Mandya District brought out a book ‘Huttida Halli Halliya Haadu’ which depicts the rural traditions of an entire village. During pre-independence period B.S. Gaddagimath was perhaps the first scholar in Kannada to secure a doctorate for his thesis on folklore. This was followed by Jee. Sham. Paramashivayya’s series of articles in Kannada Journals on folklore. Haa. Maa. Naik, a scholar in linguistics, published many papers on the study of folk culture.

Mathigghatta Krishnamurthy has brought out a series of voluminous books like ‘Grihini Geethegalu’, a collection of folk songs. S.K. Karim Khan has travelled the length and breadth of Karnataka giving lectures on folk literature. Popular playwright - novelist Chandrasekhara Kambara has to his credit many popular adaptations of folk stories like Siri Sampige, Singaravva Matthu Aramane, Kadu-Kudure and Sangya-Balya. Girish Karnad won international acclaim for his play ‘Nagamandala’ based on folk story. And so did A.K. Ramanujan for his collection of folk stories. B.V. Karanth and C. Aswath are pioneers in scoring folk music to films. They made their debut as music directors in ‘Vamsha Vriksha’ and ‘Kakana Kote’ respectively. H.L. Nagegowda, B.B. Handi and H.K. Rajegowda have done remarkable work in this field. ‘Janapada Loka’ of Janapada Parishat, at Ramanagar which has taken a good shape by H.L. Nagegowda, has a rare collection of folk materials. ‘Arambhadettu Inooru’, ‘Aane Banthondane’, ‘Nannuru’, ‘Veriyar Elvinnana Girijana Prapancha’, are some of his important collections. H.K. Rajegowda’s ‘Kempanna Gowdana Yakshagana Kavyagalu’, ‘Vokkaliga Janangada Sampradaya’, ‘Itihasa Janapada’ are notable works. K.R. Krishnaswamy (Karakru) Hi.Chi. Boralingaiah and Mudenur Sanganna’s works are also noteworthy.

Certain folk tales are common to all regions of Karnataka. One such is about a Harijan youth masquerading as Brahmin and marrying a girl from that community. The girl when discovers the deceit, throws herself into pyre and becomes a goddess. Another narrative - ‘Kerege Hara’ is woven round a chaste woman who sacrifices herself for the successful completion of village tank. And then we have many number of animal tales in which the fox is the trickster.

Gaadegalu (Kannada Proverbs)
Proverbial Gaade which has a famous saying in Kannada as Veda sulladaru Gaade sullagadu -meaning even if Vedas are proved wrong practically , Gaade(Proverb) can never go wrong.

Panchatantra and Jataka Stories
There is hardly any other secular work in the World which has penetrated so deeply in many cultures encompassing practically every continent of the World. During the last 1500 years there are at least 200 translations of Panchatantra in about 60 languages of the World. Aesop fables (2), Arabian Nights(3), Sindbad(4) and more than 30 to 50% of Western nursery rhymes and Ballads have their origin in Panchatantra and Jataka stories. Dated to around 3rd century BC. The Panchatantra stories migrated out of India in 6th century AD during Kadamba rule. Panchatantra migrated to Iran in the 6th century CE . The story is well known. Burzoe, a physicianat the court of Sassanian king Anushirvan (531-571 c.CA), was sent to India in search of Sanjivani herb. In search of this medicine he traveled a lot in India and brought Panchatantra to Iran, which he translated into Pahlavi, titled Kalilah wa Dimnah, with the help of some Pundits. Available version is the Syrian version of Karataka and Damanaka. The Panchatantra stories developed and collected around the Karnataka/ Maharashtra region. It shows the antiquity of Janapada tradition to unknown eras. Panchatantra stories have become the part of glorious Karnataka temple architecture along with Ramayana and Mahabharata stories. The Navalinga temple of Kakanur, someshwara temple in Somashila, Abalur, Isvara temple in Hiresinganagutti, Kolaramma temple in kolar, Pillar Stones at Yasale, Isvara and Kadambeshwara temple at Sirival and Sculptures at Galaganatha ,Virupaksha, and Mallikarjuna temples in Pattadakal, Aihole, Mudhol, Tripurantakeshwara Balligave, Kalleswara temple in Bagali, pillar in Kadur etc carry the legacy. Durgasimha(Lived during Jagadakamalla of Chalukya dynasty) author says that the panchatantra was collected in the court of Salivahana of Banavasi by Court Poet Gunadaya. Panchatantra is Jain origin and jain essence is retained by Durgasimha eventhough he was a Brahmin, we have to note Gunadaya was Buddhist scholar. Vasubhaga Bhatta version is now used everywhere in south India as well as South east Asia and Far east, while Vishnu Sharma is north Indian version dominates other parts of the globe. You will find Vasubhaga version is followed in South Karnataka and Vishnu sharma version in North Karnataka. Both Vasubhaga and Vishnu Sharma are from Karnataka. Vishnu sharma belonging to Aihole, under king called Amarshakti who ruled with capital Mahilaropya (Mailara in Bellary district). Mailara today is on the banks of the Tungabhadra River in Hadagali taluk, Bellary district. This is a well known piligrimage center famous for the Shivamallari temple.

2. Janapadageethe (Poems)
Janapadageethe are lengthy poetical compositions, religious or semi-religious in character and related either to local deities or legendary characters that had achieved miracles or had rendered one or another kind of service to the community. Janapadageethe are similar to but distinct from ballads which celebrate the heroism or sacrifice or similar action of historical and legendary heroes. Janapadageethe relating to deities are attached to particular temples or religious institutions like mutts and the compositions are sung by particular classes of professional minstrels to accompaniment of musical instruments. These compositions are extensive that it takes several nights to sing them. Usually selected portions dealing with episodes favorite with listeners are sung on particular occasions. Such , for example , are the songs pertaining to Maleya madeswara or yellamma, the female deity of saundatti. The worship of zunjappa, the deity of golla community has its own song sequence which is built-up within the framework of the Krishna story.


The Gorava community has its own sacred places like Mylara whose legends provide the theme celebrating the importance of the place. All over Karnataka, tradition of such folk poetry abound are numerous. Diverse in theme and treatment are the Janapadageethe which form the most voluminous and popular body of folk literature. Janapadageethe's chief characteristics are that they are invariable anonymous compositions handed down by oral tradition. Janapadageethe have their own kind of musical style recitation. Janapadageethe prosodic forms and variety can be the subject of a detailed study. Invariable Janapadageethe deal with some kind of activity or another at home or in the fields. Janapadageethe pertain to all aspects and contexts of life and are, therefore, too numerous to classify under particular headings. Janapadageethe are sung either to relieve the tedium and monotony of work or purely for entertainment. there are separate Janapadageethe for men and women differing again in age groups of the singers and their audiences. Parents love for their children, the mother in law harassment. the sorrows of childless woman., the ever strong attraction of parental home for the young bride, pure lover songs and songs of separation the variety of Janapadageethe is endless.

When we come to the realm of songs we find songs for every rural activity, be it grinding, pounding, christening the baby, lullaby, marriage, nuptials, or even tattooing. The last named is the forte of a distinct community called the ‘Koravanjis’. Kolata or stick dance is unique to Karnataka.

JaanpadaGeethe can be classified for our convenience as
(I).Small songs which are sung on every occasion like marriage, festival, travel and most importantly on every work done mostly from harvest to cooking. The art of composing verses was natural when Kannadigas were deeply involved in their works commonly related to agriculture , pottery , harvest, flouring grains.

(II). Ballad or narrative folk song is another distinct form. ‘Jeeshampa’ has classified them to twelve groups or traditions as 1. Devara Guddas, 2. Neelagaras,3. Ganeplayers, 4. Gorvas, 5. Choudikeyavaru, 6. Aradigalu 7. Karapaladavaru,8. Tamburiyavaru, 9. Kinnara Jogigalu, 10. Dombidasaru, 11. Helavaru and 12. Jangamaru.

(III). Religious pada like those of Dasa Saahitya and Vachana Saahitya and probably even the literature of Guru shishya tradition which is known to only be passed through ears and not on papers can be put into this broad term. Shishunala Shareefa ,Purandara Dasa , Kanaka Dasa , Sarvajna stand at top as wandering saints. There were also compositions on rituals which were laid on common man when caste system was on peak to oppose the atrocities and understand the traditions. Normally the Jangama or wandering monks or the Dasa or wandering devotee who used to hold a tamboori - a famous instrument to add muse the verses , use to travel places spreading the knowledge they had acquired and used to receive alms from people known as Bhavathi Bhiksha Dehi which does not find a right word in contemporary English.

(IV). Songs sung by Mothers to their Babies and children.

(V). Apart from these the folk dance arts added color to expressions rather than words and were popular at mass gatherings.

3.Folk Theater
Ballads as such form a separate category. They are actually narrative poems, but all narrative poems are not ballads. The principle characteristics of ballads are that they tell the story of some hero and heroine in verse forms that keep pace with quick tempo of action. They celebrate the heroism or sacrifice or some other breath taking adventure or action. Such for example are the ballads of Sangoli Rayanna or Kittur Chennamma or Hyder Ali or the adventure during battle of Periyapatna. Karnataka Folk literature is thus purely social product rooted in the life of the community and expressive of its likes and dislikes, its deepest faith and loyalties expressive of everything that determines the quality and content of its daily living.

Folk theater has a rich tradition in Karnataka. Who, for instance, has not heard of ‘Yakshagana’ , Doddata, Bayalata etc., Puppet theater is another folk form, classified into two categories as Thogalugombe and Keelugombe. The former is shadow play with the help of leather cut into human or animal or super-human forms and the latter are performed with the help of dolls with movable limbs controlled by strings by the operators. What Interests as literature is the narrative technique which would be quite engrossing.

4. Janapada Medicine
And then there are a host of books on folk medicine such as ‘Padartha Sara’, ‘Vaidyaratnakara’ etc. Many of these were brought out by, or with the help of the Royal family of Mysore.

5. Janapada Dance
As dance is a visual art, the visual impression of this dynamic art is lost on the sands of time. The tradition of dances currently at vague in Karnataka can be broadly divided as Janapada and Shista, the former being localized in certain areas only, whereas the latter has spread to other parts outside the state. Closely connected with folk literature are folk arts Kamsaalay, Chaudike, Ekatari etc., and dances like Lambani dance, Patada Kunita, Nandikolu Kunita, Veeragase, Dollu Kunita, Gorawara Kunita, Gondala, etc. These are all connected with religious rituals, tagged with some deity, and Yakshagana and puppet show are also of similar origin.

6. Janapada Jaatre
A Jaatre or gathering festival arranged by government of Karnataka showcasing Jaanapada art.

Janapada Trust and Academy
Two other main centres for the study of folk literature are the Karnataka Janapada Trust and the Karnataka Janapada and Yakshagana Academy. The former has a collection of more than 1,000 folk songs recorded from all over the state. The latter brings out an annual collection of folklore of about 100 pages at a low cost.

Govinda Pai Research Centre. Udupi (M.G.M. College) has been doing unique documentation work, and has collaborated with a Spannish University. In order to promote folk literature and folk arts, the Karnataka Jaanapada and Yakshagana Academy honours the outstanding folklore scholars and the artists every year by granting Jaanapada Tagna Award and Annual Awards.
D. Javaregowda, as Vice-Chancellor of Mysore University, established a Folklore Research Centre at Mysore. The Universities of Bangalore; Dharwad and Gulbarga, also offer Doctoral Degrees in the study of folk culture. Of late Hampi Kannada University and Shimoga University have also been in the forefront.


Jaanapada Tagna Award Winners
1986 : Simpi Linganna; 1988 : Mathighatta Krishnamurthy and D. Javeregowda; 1989: H.L. Nagegowda; 1990 : H.M. Nayak and B.B. Hendi; 1991 : Ku.Shi. Haridasa Bhat and K.R. Lingappa; 1992 : Chandrashekhara Kambara and Mudenuru Sanganna; 1993: M. Chidananda Murthy, P.R. Thippeswamy and N.R. Nayak; 1994 : G. Narayana, Goru Channabasappa, Devendra Kumar Hakari, M.G. Biradara, Amrita Someshwara and C.P. Krishnakumar; 1995: Ham.Pa Nagarajaiah, Ramegowda (Ragau), Somashekhara Imrapura and R.C. Hirematha; 1996 : B.A. Vivek Rai, Basavaraja Malashetty and P.K. Rajashekhar; 1997 : M.M. Kalburgi, M.B. Neginahala, T.N. Shankaranarayana, O.K. Rajendra and P.K. Khandoba; 1998: Kyatanahally Ramanna, Shanthi Nayak and A.V. Naavada; 1999 : Nam Tapasvikumar, M.N. Vali and H.J. Lakkappa Gowda; 2000 : Taltaje Keshava Bhatta, C.H. Mahadeva Nayak, M.T. Dhoopada, T.S. Rajappa and M.A. Jayachandra, 2001: Siddalingaiah, William Madtha, Shrirama Ittannavar, 2002: Channanna Valikara, B.S.Swamy, Nallur Prasad, 2003: M.G.Eswarappa, Shreekanta Kodige, Prabhakara Joshi, Since 2004, the Jaanapada Tagna Award being stopped and awards established in the name of B.S. Gaddagi Math and Jishampa are given to folklore scholars. Gaddagi math award: Keremane Mahabala Hegade (2004), Veeranna Dande (2005), Ha.Ka. Rajegowda (2006), D.B. Naik (2007), C.K. Navalagi (2008) Jishampa award: He. She. Ramachandra gowda (2004), M.K. Raghava Nambiyar (2005), Basavaraja Nellisara (2006), G.S. Bhat (2007), Y.C. Bhanumathi (2008).

Jaanapada and Yakshagana Acadamy Award Winners
The Academy honors the folklore scholars, artists, authors, collectors/ editors/critics/ publishers, institutions, groups, art promoters etc., every year by granting annual awards. So far (2008) 703 eminent persons have won Annual Awards. For Yakshagana separate accadamy is founded in 2008-09. Under the chairmanship of Kumble Sundararao.

Source
A Handbook of Karnataka
The Encyclopaedia Of Indian Literature Volume 2, By Amaresh Datta

New: Zoom H2n Handy Recorder



Since I'm about to start teaching my class Multimedia For Photographers at the incomparable Foundry Photojournalism Workshop, I am glad to have caught the news that Samson (Zoom) has announced the H2n, a portable audio recorder that incorporates five built-in mics, and one 3.5mm external mic input, for a variety of sound capture scenarios, and for the anticipated street of $199.

It will come with a bunch of accessories including an audio editing software, and an optional accessory pack with lots of goodies.

It may well be time to retire my Marantz PMD620 after all! But it will have to do until the H2n is released in September....which may allow me to get it before I travel to Kolkata on my Cult of Durga photo expedition.

Foundry Photojournalism Workshop Is Live!

Photo © Tewfic El-Sawy-All Rights Reserved
I've been on Buenos Aires since Friday morning, and I've already seen tango street performers, as well as spent many hours at a genuine milonga observing the traditional rituals and procedures that govern the tango, the national dance of Argentina.

The Foundry Photojournalism Workshop 2011 has just been inaugurated by a lunch for the faculty, and approximately 130 students are converging towards Motivarte, where the official introduction of students-instructors is scheduled in an hour or so.

Eric Beecroft, in the manner of the Roman emperors, declared the workshop open by saying 'let the games begin'. He didn't really say that...but his speech was infinitely more eloquent.

I ought to get ready to meet my students.

The Story of the Pachyderm and Iyer

I have mentioned the favorite animal in Kerala many a time in what I call 'my attempts at writing'. We love the elephant in Kerala and always look at it kindly and with a great amount of affection. But today it reminded me of a story that my friend told me many years ago and at that time, I penned it into my musings and filed it away. Today, as I was wondering what to post, for I was not in a real mood to post anything heavy, I came across this and decided to air it finally.....At that time, some 8 years ago, I had written it as a converstation between me and my second son Arun.For quite some time I did not believe this story after I heard it from my friend Ram. But Ram has always been a truthful chap, and now I am telling it to Arun… I cannot recite the tale like Ram did, it had its own special tones and flavor when told in Tamil and many of the Mannargudi nuances are now missing…nevertheless, it is an interesting tale.

Arun wonders what a pachyderm is and I explain to him that it is none other than our dear elephant. An elephant is very visible in South India, especially Tamil Nadu and Kerala. It is part of most pomp and ceremonies, always a part of temple festivities and religious festivals, both Christian and Hindu. We see them now and then, on the road, being walked by their mahouts from temple to temple, doing work like pulling tree logs and of course at virtually every big temple, serenely eating coconut leaves.. In our own village, we have a temple and there used to be a famous elephant called Pallavur Parameswaran.. Arun is astounded. You give names to elephants? I explain that they have an important position in our society and that the most famous of the lot was the Guruvayur Kesavan…an elephant so famous that a movie was made about its life and times. He thinks I am fibbing. Now what more can I do to convince a kid who prefers to believe what Eminem raps? I guess that if I show him Kesavan’s web page, he would believe me, but there is no such website. Google does come to my help though, I find documented references to the great Kesavan and show them to Arun. He is a bit perturbed though. This angle is new to him….Elephants with names, movies about them?

With the help of Google, I show him that there are books on Guruvayur elephants, Kerala elephants and so on…I show him pictures..he finally seems convinced and so we continue with the tale.

Oh, I love the Indian elephant…..Arun asks why I like the India pachyderm more than the African one, I ask him to look at both pictures and decide. The Indian elephant looks more proportionate and rounded, also less ancient, but he does not quite see it that way, so we agree to disagree.

Ram my friend, I met him at Istanbul, is from Mannargudi, a town in the Tanjavur district – Tamil Nadu. Mannrgudi has a great Krishna temple, visited by many devotees. Remember that many stories and life in South Indian villages are related to temple life and this happens to be around the temple elephant.

Krishna Iyer was a miserly chap, not everybody liked him though he was omnipresent and sometimes overbearing. If something important took place, Krishna Iyer would be there to offer his two cents worth of worthless advice. He was generally considered a nuisance though relatively harmless. He presented an interesting picture, bare bodied except for the loin cloth or dhoti, the weather beaten punul (sacred thread) across his chest…and bare footed, adorned with the discolored thorthu mundu (towel) across his shoulder.

Arun has to interrupt, he wants to know what the Punul is, and why he was not wearing any shirt or shoes. I ask him to recall the sights and sounds from our last visit to Kerala and the temples. I remind him that it was the custom around temples, especially for those who were working in the temple and who had to go in and out of the sanctum sanctorium often…It is easier not to have to wear & remove shirts..that he understands, though it was strictly speaking not the right explanation.

Krishna Iyer did not have any living family, he never married, which was good of course since ‘they’ would have had a miserable life. He lived his simple life, eating free temple food or ‘Nivedyam’ wandering here and there and being himself…mostly a general but harmless nuisance.

The temple had its elephant and this was a very calm and nice elephant. He never harmed anybody, the mahout would even take him around the ‘Agraharams’ and the village to bless children with its trunk…in return for some money (meant for the mahout) or some food (plantains usually).

Arun gets the picture..The elephant is a great big animal who is kid friendly like a giant teddy bear and who would put out its trunk when a coin is inserted in the right place…Aha…OK..good ...good ...go on…cut to the chase..

But elephants do become wild at times, especially when in Musth…I have difficulties explaining this to Arun, as it is a not so well understood phenomenon, a time when elephants become crazy and unpredictable. I tell him that elephants have such bad periods in their life, which he eventually accepts. When a captive elephant such as our temple elephant goes into Musth, it is pretty dangerous, there are stories of these ‘rouge’ elephants trampling masses, killing mahouts and so on..

This was a normal day in the Krishna temple in Mannargudi and Krishna Iyer was wandering around. He could not find anybody who would listen to him, but after wandering around a bit, he saw our elephant and his mahout…(No Arun, Ram uncle did not tell me the elephants name. I am not sure if Tamilians names their elephants like us Malayalis).

Krishna Iyer had with him some Nivedyam plantains and he decided to offer what he had to the elephant..he lifted his hand and the Pazham (plantain) to the animal. What followed was a disaster. Nobody is sure if the elephant was in Musth, the mahout is also confused why all that happened, but the elephant simply curled its trunk around our man Krishna Iyer, lifted him high in the air, spun him a couple of times and dropped him on the floor. A very simple maneuver like you see in WWF these days…only thing was that during the high speed spin, Krishna Iyer was spun on his vertical as well as horizontal axis …

Arun wants to know why the elephant did this. I have no idea, He tells me to call Ram uncle in Istanbul and find out. I tell him that probably Krishan Iyer pelted the elephant with a stone when he was a kid..elephants never forget…(remember Agatha Christe's novel??)

Nothing much would have happened to a younger fella, but K Iyer was by then over 45 years old and he had a lot of difficulty getting up from where the elephant had dropped him. He got up once and then promptly collapsed. The mahout hollered his head off and a lot of good and not so friendly people gathered around our fallen man. They decided to take him to the hospital.

The doctor who checked Iyer, was sure that K Iyer had internal injuries. So he was sent of to the district hospital. They checked him again, and admitted the poor chap, did test after test and said that he probably had his intestines twisted. After a while, they discharged him saying that his condition was stable, but Krishna Iyer was in big trouble, he simply could not eat. Whatever he ate, he threw out. So he had to continue on a liquid diet…There was no reason for a major surgery, so nobody did it.

This continued on for many years. The old Krishna Iyer changed, he became a real constipated, cranky nut as months went by. He viewed life through his pain and suffering and spread gloom wherever he went. He consulted many doctors, he even went to Vellore CMCH, but nobody could help. He was a lost soul. He became more religious and started spending more and more time at the temple, but he fastidiously avoided both the elephant and the mahout, and of course we know by now why it was so.

The only man who could tolerate him was the temple priest. They would talk of all the village politics and the worldly issues during the balmy evenings after the last prayers & ‘Poojas’. On one such occasion, the priest jokingly said that the only person who could set Krishna Iyer right was our friend the Elephant. And by then Krishna Iyer was desperate, he did not want any possibilities unexplored (ask any other constipated guy and he will agree). He went in search of the mahout and asked him if there was any hope for him. The mahout asked Krishna Iyer to come back with some plantains for the elephant (the mahout never actually had any plan, he thought this was a good way of getting some grub for the pachyderm). Krishna Iyer did exactly that..He went to fetch some plantains from the temple kitchen.

He came back with the plantains and stretched them out toward the elephant. Mr Elephant, which was dozing a bit, lifted its head and took a long look at the thin specimen of manhood in front of him. They say ( as i mentioned before) that elephants have a long memory, and this time too, its memory did not fail him. He remembered Krishna Iyer.

Arun is wide eyed…no, dad, don’t tell me ‘that’ happened.. I can’t believe this. I said, ‘let me complete Arun, and ask Ram uncle the next time you see him, he is the one who told me this tale’.

The elephant again picked up Krishna Iyer with its trunk, just like the last time, and spun him. twice, thrice and then put him on the ground..Nothing more, nothing less. Only this time he spun him around the other way, anticlockwise ..on both axes.

When Krishan Iyer came to, he felt like a new man. No more pains or discomfort, so he asked for a pitcher of water and drank the whole of it, without any more pain, just like he used to do in his younger days. He was finally cured…BY THE ELEPHANT!!!

Ram insists that this tale is true, he tells me that I can go anytime to his village and ask around or even meet Krishna Iyer. He swears by it..Arun laughed his head off then and giggled for days later thinking about this, in mirth. But when we went to the Pallavur temple later, he would not go near the elephant. Today I am sure Arun a college going student must be thinking it was one of my 'tall' taes.

Maybe we will visit Mannargudi some day, some time, maybe we will meet Krishna Iyer & the elephant, to expore the truth & get further details..until then, this sure is one hell of a tale!!!

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