Kalaspandan

PÀ¯Á¸ÀàAzÀ£À Kalaspandan

±Á¹ÛçÃAiÀÄ £ÀÈvÀå PÀ¯ÉUÀ¼ÀÄ, DzsÀĤPÀ ¸ÀAªÉÃzÀ£ÉUÀ¼ÀÄ ªÀÄvÀÄÛ d£À¥ÀzÀ PÀ¯ÉUÀ½UÉ «ÄøÀ¯ÁVgÀĪÀ ªÀiÁ¸À¥ÀwæPÉ

PÁAiÀÄðPÁj ¸ÀA¥ÁzÀPÀgÀÄ: UÀÄgÀIJæà GzÀAiÀÄPÀĪÀiÁgï ±ÉnÖ

• Volume: 2

• 10th SEPTEMBER 2011

• Pages: 16

• Issue: 28

Navarasas

Kathak Swaras A Novice’s Research into

in south indian dances

``²æà zÉë ªÀĺÁvÉä’’ AiÀÄPÀëUÁ£À §AiÀįÁl 16-09-2011, 5.30PÉÌ PÁgÀAf DAd£ÉÃAiÀĸÁé«Ä zÉêÀ¸ÁÜ£À, §¸ÀªÀ£ÀUÀÄr, ¨ÉAUÀ¼ÀÆgÀÄ

2

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

KALASPANDAN 10th SEPTEMBER 2011

«WÀßgÁd£À ºÀ§âzÀ £ÀqÀÄªÉ £ÀlgÁd¤UÀÆ ¸ÀqÀUÀgÀ!

ªÀļÉUÁ®zÀ°è PÀȶ ZÀlĪÀnPÉU¼ À £ À ÄÀ ß £Àq¸ É ÄÀ ªÀ gÉÊvÁ¦ ªÀUð À ªÀļÉUÁ® PÉÆ£ÉUÆ É ¼ÀÄw î g Û ÄÀ ªÀAvÉAiÉÄà ºÀ§â ºÀj¢£ÀU¼ À À ¸ÀA¨sÀæªÀiÁZÀgÀuÉ ªÉÆzÀ®ÄUÉƼÀÄîvÀÛzÉ. ºÀ§âUÀ¼ÀÄ CªÀÅUÀ¼À DZÀgu À É EªÉ®èªÇÀ ¸ÀA¨sª æÀ ÄÀ ¸ÀqU À g À U À ¼ À £ À ÄÀ ß vÀªÆ É äA¢UÉ ºÉÆvÀÄÛ vÀgÀÄvÀÛªÉ. ¥Àæwà ªÀµÀðzÀ ºÀ§âUÀ¼À ¸ÀgÀtÂAiÀÄ°è ¨sÁzÀæ¥ÀzÀ ªÀiÁ¸ÀzÀ ±ÀÄPÀè¥ÀPÀëzÀ ZÀvÀÄyðAiÀÄ ¢£ÀzÀAzÀÄ ¸ÀP® À «WÀß ¤ªÁgÀP£ À ÁzÀ «£ÁAiÀÄPÀ£À ºÉ¸j À £À°è §ºÀ¼À «dÈA¨su À A É iÀÄ DZÀgu À U É ¼ À ÄÀ £ÀqA É iÀÄÄvÀÛz.É ºÀ§âUÀ¼ÀÄ ¸ÀA¨sÀæªÀÄzÀ DZÀgÀuÉUÀ¼ÁUÀÄvÀÛªÉ. CAzÀ ªÉÄÃ¯É C°è ªÀÄ£ÀgA À d£ÉUÆ À ¥ÁæzÁs £ÀåvÉ zÉÆgÀP¯ À ÃÉ ¨ÉÃPÀ®?è ªÀ Ä £À g À A d£É JA§ÄzÀ Ä EzÉ CAzÀ ªÉ Ä Ã¯É C°è ®°vÀPÀ¯ÉUÀ½UÉ, CªÀÅUÀ¼À£ÀÄß ¥ÀæzÀ²ð¸ÀĪÀ PÀ¯Á«zÀjUÉ PÀÆqÁ vÀªÄÀ ä PÀ¯U É ¼ À £ À ÄÀ ß ¥Àz æ ² À ð¸ÀĪÀ CªÀPÁ±À zÉÆgÀQ, D ªÀÄÆ®PÀ PÀ¯A É iÀÄ£Éß £ÀA© §zÀÄPÀÄ ¸ÁV¸ÀĪÀ CªÀjUÉ G¥ÀfêÀ£À £Àq¸ É ® À Ä ¸ÀºÁAiÀÄ. »ÃUÉ ºÀ§âU¼ À À £ÀAlÄ PÀ¯Á«zÀg£ À Æ À ß »r¢qÀÄvÀÛz.É ¨sÁgÀwÃAiÀÄ ¸ÀA¸ÀÌøw DZÀj¹PÉƼÀÄîªÀ ºÀ®ªÁgÀÄ ºÀ§U â ¼ À ° À è UÀuÃÉ ±À£À ºÀ§Pâ ÌÉ zÉÆqÀØ ¸ÁÜ£ª À ÃÉ EzÉ. ªÉÊAiÀÄQÛPª À ÁV ªÀģɪÄÀ £ÉU¼ À ° À è F ºÀ§âª£ À ÄÀ ß DZÀj¹PÉƼÀĪ î ÅÀ zÀgÀ eÉÆvÉUÉ

¸ÁªÀðd¤PÀªÁVAiÀÄÆ zÉÆqÀØ ªÀÄlÖzÀ°è ªÁgÀUÀlÖ¯É, ¥ÁægA À ¨sz À ° À è £ÀªÄÀ £À ¸À®ÄèªÅÀ zÀÄ «£ÁAiÀÄPÀ¤UÉà vÁ£ÉÃ? wAUÀ¼ÀÄUÀlÖ¯É UÀuÉñÀ ºÀ§âªÀ£ÀÄß DZÀj¸ÀĪÀÅzÀjAzÀ £ÀÈvÀåPÀ¯Á«zÀgÀÆ EzÀPÉÌãÀÆ C¥ÀªÁzÀªÀ®è. £ÀÈvÀåPÉÌ EzÀPÆ É ÌAzÀÄ ¸ÁªÀÄÆ»PÀ, ¸ÁªÀiÁfPÀ DAiÀiÁªÀÄ«zÉ. »ÃUÉ £ÀlgÁd£Éà zÉêÀgÉA§ ¥ÀjPÀ®à£É ¨sÁgÀwÃAiÀÄgÁzÀ ¸ÀªiÀ ÁdzÀ°è aPÀÌ zÉÆqÀØ ¸ÀªÄÀ ƺÀU¼ À ÄÀ £ÀªÄÀ VzÀÝgÆ À AiÀiÁªÀÅzÉà £ÀÈvÀåPÁgÀåPÀª æ ÄÀ ºÀ§âª£ À ÁßZÀj¸ÀĪÀÅzÀÄ EzÁÝU¯ À ÃÉ C°è ±ÀÄgÀĪÁUÀĪÀÅ¢zÀÝgÀÆ CzÀÄ UÀuÉñÀ ¸ÁA¸ÀÌøwPÀ PÁAiÀÄðPÀæªÀÄUÀ½UÉ eÁUÀ ¸ÀÄÛwAiÉÆAzÉà ±ÀÄgÀĪÁUÀĪÀ MzÀUÀÄvÀÛzÉ. ¢£À¤vÀåªÀÇ £ÀqÉAiÀÄĪÀ ¸ÀA¥Àz æ ÁAiÀÄ«zÉ. ºÁUÁV «WÀߤªÁgÀP,À F vÀgÀºÀzÀ ¸ÁA¸ÀÌøwPÀ PÁgÀåPÀª æ ÀÄUÀ¼ÀÄ «zÁå§Ä¢Þ¥ÀæzÁAiÀÄPÀ «£ÁAiÀÄPÀ¤UÉ ¸ÀªÀiÁdzÀ DgÉÆÃUÀåªÀ£ÀÄß ºÉaѸÀÄvÀÛªÉ. ±Àgu À £ É ßÀ ¯ÉèÉÃPÀÄ.

MAzÀ Ä ¸ÁªÀ Ä Æ»PÀ MUÀ Î lÖ £ À Ä ß, F ¨ÁjAiÀÄÆ UÀuÃÉ ±À£À ºÀ§â JA¢£À ¸ÀzÁãªÀ£ÉAiÀÄ£ÀÄß ªÀÄÆr¸ÀÄvÀÛzÉ. E°è ¸À A ¨s Àª æ ÀÄ ¸ÀqÀUÀgÀUÀ½AzÀ ±ÀÄgÀĪÁVzÉ.

UÀ u É Ã ±À £É £ À ¥ ÁUÀ Ä vÁÛ £ É . DzÀ g É D GzÀAi À i ï PÀĪÀi Á gï ±ÉnÖ £Ár£À d£ÀvA É iÀÄ°è ªÀµð À A¥Àw æ AiÀÄAvÉ ªÀÄÆ®PÀ ¸ÁA¸ÀÌøwPÀ PÀ¯U É ¼ À À C£ÁªÀgt À PÉÌ, ºÀ µ ð À vÀ A ¢zÉ .

PÀ ¯ Á«zÀ j UÀ Æ ºÀµð À ¥ÉÆõÀuU É ,É ¥Àz æ ± À ð À £ÀU½ À UÉ ªÉâPÉU¼ À ÄÀ vÀg¯ À A É zÀÄ D ªÀÄÆ®PÀ CªÀg£ À ßÉ Ã £ÀA© zÉÆgÀPÄÀ vÀÛª.É §zÀÄPÀĪÀ CªÀgÀ ªÀÄ£ÉAiÀĪÀjUÀÆ RĶ vÀg¯ À A É zÀÄ ¸Àévº À Á PÀ ¯ Á«zÀ g À Ä PÀ ¯ É A iÀ Ä £À Ä ß½¹ ¨É ¼ É ¹ §zÀ Ä Q¸À Ä ªÀ ªÀÈwÛ¥ÀgÀ PÀ¯Á«zÀ£Á£À £À£Àß ªÀÄ£À¸ÀÄì ºÀÈzÀAiÀÄUÀ¼ÉgÀqÀÆ PÉ®¸À ªÀiÁqÀÄvÁÛgÉ. D ªÀÄÆ®PÀªÉà vÀªÀÄä §zÀÄPÀ£ÀÆß §AiÀĸÀÄvÀÛzÉ. «WÀßgÁd¤UÀÆ £ÀlgÁd¤UÀÆ EgÀĪÀ PÀ A qÀ Ä PÉ Æ ¼À Ä î v ÁÛ g É . ºÀ § â U À ¼ À £É ¥ À z À ° è PÀ ¯ Á«zÀ j UÉ C«£Á¨sÁªÀ ¸ÀA§Azs,À £ÀÈvÀåP¯ À Á«zÀgÀ §zÀÄQ£À zÀȶ֬ÄAzÀ CªÀPÁ±ÀU¼ À ÄÀ zÉÆgÀPÄÀ vÀÛª.É ¸ÁªÀiÁ£ÀåªÁV J¯Áè d£ÀjUÉ ¨ÉÃgÉAiÉÄà vÉg£ À ÁzÀ MAzÀÄ DAiÀiÁªÀÄ ¥Àqz É ÄÀ PÉƼÀÄîvÛz À .É vÀªÄÀ ä fêÀ£À £Àq¸ É ® À Ä AiÀiÁªÀÅzÁzÀgÆ À PÉ®¸À ªÀiÁqÀĪÀ «WÀßgÁd£À ºÀ§â PÀ¯Á«zÀgÀ §zÀÄQ£À°è D ªÀµÀðzÀ CªÀPÁ±À ¨ÉÃPÁUÀÄvÀz Û .É DzÀgÉ ªÀÈwÛ¥g À À PÀ¯Á«zÀjUÁzÀgÆ É Ã PÀ¯Á §zÀÄQ£À ºÉƸÀ IÄvÀÄ«£À ¥ÁægÀA©üPÀ ºÀAvÀ. zÉÆgÀPÄÀ ªÀ EAvÀºÁ CªÀPÁ±ÀU¼ À ÃÉ `PÉ®¸À’UÀ¼ÁV©qÀÄvÀÛz.É ¥Àw æ AiÉƧ⠣ÀÈvÀåP¯ À Á«zÀjUÀÆ, ¥Àw æ à £ÀÈvÀåvA À qÀPÆ À Ì, ¸ÁPÀµÄÀ Ö ºÀ § â U À ¼ À £ À Ä ß ¸ÁªÀ ð d¤PÀ ª ÁV DZÀ j ¹PÉ Æ ¼À Ä î ª À CªÀPÁ±ÀU¼ À ÄÀ zÉÆgÀQ, CªÀg® É ègÀ §zÀÄPÀÆ ºÀ¸£ À ÁUÀ¯A É zÀÄ ¸ÀA¥Àz æ ÁAiÀĪÉà §ºÀıÀB ¨sÁgÀwÃAiÀÄ PÀ¯U É ¼ À £ À Æ À ß ªÀÄvÀÄÛ ºÁgÉʸÀÄvÉÛãÉ. «WÀßgÁd£À ºÀ§âzÀ £É¥z À ° À è PÀ¯Á«zÀjUÉ CªÀÅUÀ¼À ªÀPÁÛgg À ÁzÀ PÀ¯Á«zÀg£ À ÄÀ ß fêÀAvÀ«nÖzÉ CAvÀ ºÉZÄÀ Ñ CªÀPÁ±ÀU¼ À ÄÀ zÉÆgÉvg À É CzÀjAzÀ £ÀlgÁd¤UÀÆ MªÉÆäªÄÉ ä £À£U À ¤ À ¸ÀÄvÀÛz.É »A¢£À PÁ®zÀ¯Áèzg À É PÀ¯U É ½ À UÉ, ¸ÀAvÉÆõÀªÃÉ C®èªÃÉ ?

PÀ¯Á«zÀjUÉ gÁeÁ±ÀæAiÀÄ«gÀÄwÛvÀÄÛ. D PÁ®WÀlÖzÀ°è, EwÃ... ¥Àe æ U É ¼ À ÃÉ ¥À¨ æ ÄÀs UÀ¼ÁzÀ ªÉÄïÉ, PÀ¯Á«zÀjUÉ £Égª À ÁUÉÆÃzÀÄ

ªÀÄA xÀ £À

¨sÁgÀwÃAiÀÄ ¸ÀA¸ÀÌøw EgÀ Ä ªÀ Å zÉ Ã ºÁUÉ . ªÀ Ä £À Ä µÀ å £À fêÀ£ª À £ À ßÉ Ã MAzÀÄ zsÁ«ÄðPÀ ZËPÀnÖ£Æ É ¼ÀUÉ »r¢qÀĪÀ F ¥ÁæaãÀ ¸ÀA¸ÀÌøw, dUÀwÛ£À ¨ÉÃgÉ ¨ÉÃgÉ fêÀAvÀ ¸À A ¸À Ì ø wUÀ ½ UÉ vÀ Ä ®£É ªÀ i Ár £É Æ ÃrzÀ g É vÀ Ä A¨Á °§gÀ¯ï C¤ß¹©qÀÄvÀÛzÉ. ¨ÉÃgÉ zsÀªÀÄðUÀ¼À°ègÀĪÀµÀÄÖ PÀpt PÀlÄÖ¥ÁqÀÄUÀ¼ÄÀ E°è®è. zsÁ«ÄðPÀ «¢ü«zsÁ£ÀU¼ À ° À è PÀ l ÄÖ ¥ ÁqÀ Ä UÀ ½ VAvÀ ºÉ Z ÁÑ V ¸À A ¨s À æ ª À Ä ¸À q À U À g À U À ¼ À DZÀgÀuÉUÀ½UÉ E°è «¥ÀÄ® CªÀPÁ±ÀUÀ½ªÉ. ªÀÄÆ®vÀB PÀȶ DzsÁjvÀ ¸ÀªiÀ ÁdzÀ ¥ÀjPÀ®à£A É iÀÄ »£É߯ÉAiÀÄ°è £ÀªÄÀ ä ¸ÀA¸ÀÌøw gÉÊvÁ¦ ªÀUð À PÉÌ C£ÀÄPÀÆ®ªÉ£ÄÀ ߪÀ jÃwAiÀįÉè ºÀ§â ºÀj¢£ÀU¼ À À DZÀgu À U É ¼ À Æ À EªÉ.

EAvÀºÁ ºÀ§âU¼ À ÃÉ . ºÀ§âU¼ À À £É¥z À ° À è K¥Àðr¸À¯ÁUÀĪÀ ¸ÁA¸ÀÌøwPÀ PÁgÀåPª æÀ ÄÀ UÀ¼ÄÀ £Ár£À ¨ÉÃgɯÁè PÀ¯Á«zÀgA À vÉ, £ÀÈvÀå PÀ¯Á«zÀjUÀÆ §ºÀ¼À §ºÀ¼À ªÀÄÄRåªÉ¤¸ÀÄvÀÛzÉ.

AiÀiÁªÀÅzÉà PÁgÀåPÀæªÀÄ ±ÀÄgÀĪÁUÉÆÃzÀQÌAvÀ®Æ ªÀÄÄAZÉ

¸ÀA¥ÁzÀPÀ

kalatheera@gmail.com

zsÀ£ÀåªÁzÀUÀ¼ÀÄ `PÀ¯Á¹AzsÀÄ’ ¸ÀA¸ÉÜAiÀÄ ¤zÉÃð±ÀPÀgÁzÀ ²æêÀÄw ¥ÀÆtÂðªÀiÁ UÀÄgÀÄgÁeï ºÁUÀÆ `¸À馅 C©ü£ÀAiÀÄ PÀ¯Á«zÀgÀ PÉÃAzÀæ’zÀ ¤zÉÃð±ÀPÀgÁzÀ qÁ|| J.«. ¸ÀvÀå£ÁgÁAiÀÄtgÀªÀgÀÄ `PÀ¯Á¸ÀàAzÀ£À’ ¥ÀwæPÉUÉ DfêÀ ¸ÀzÀ¸ÀåvÀéªÀ£ÀÄß ¤Ãr ¥ÉÆæÃvÁ컹zÀÝPÉÌ `PÀ¯Á¸ÀàAzÀ£À’ ¥ÀgÀªÁV ºÀÈvÀÆàªÀðPÀ zsÀ£ÀåªÁzÀUÀ¼ÀÄ.

NzÀÄUÀgÀÄ ªÀÄvÀÄÛ eÁ»gÁvÀÄzÁgÀgÀ UÀªÀÄ£ÀPÉÌ gÀAUÀ¥ª æÀ ÃÉ ±À, £ÀÈvÀå±Á¯Á ªÁ¶ðPÉÆÃvÀìª,À £ÀÈvÀå vÀg¨ À ÃÉ w, PÁAiÀiÁðUÁgÀ ªÀÄÄAvÁzÀªÅÀ UÀ¼À ¥ÀPæ l À uÉU½ À UÁV ¥ÀwPæ U É É eÁ»ÃgÁvÀÄ ¤ÃqÀ§ºÀÄzÀÄ. eÁ»ÃgÁvÀÄ ¤ÃqÀ§AiÀĸÀĪÀªg À ÄÀ ¸ÀA¥ÀQð¸À¨ÉÃPÁzÀ ªÉƨÉÊ¯ï ¸ÀASÉå 94480-46368.

email: kalaspandan@gmail.com

Kalaspandan offerts to publish advertisement for Aramgetram, Dance School Anniversary, Workshop and many more.

For further details contact : 94480 - 46368 email: kalaspandan@gmail.com - Udaykumar Shetty Editor & Publisher

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

KALASPANDAN 10th SEPTEMBER 2011

3

¸ÀA¥ÀÄl-2, ¸ÀAaPÉ-28 ¥ÀæPÁ±ÀPÀ / PÁAiÀÄðPÁj ¸ÀA¥ÁzÀPÀ

M¼À¥ÀÄlUÀ¼À°è

GzÀAiÀÄPÀĪÀiÁgÀ ±ÉnÖ

Contents

G¥À¸ÀA¥ÁzÀPÀ

±À²PÀĪÀiÁgï ¥ÀÄvÀÆÛgÀÄ ªÉÄʸÀÆgÀÄ / ªÀÄAqÀå ¥Àæw¤¢ü

¦.JA. gÁzsÁPÀȵÀÚ

¸ÀA¥ÁzÀQÃAiÀÄ

- GzÀAiÀiïPÀĪÀiÁgï ±ÉnÖ

2

¸ÀAzÉúÀ ¸ÀàAzÀ£À

- PÉ. gÁªÀĪÀÄÆwðgÁªï

3

PÀgÀtUÀ¼ÀÄ

- qÁ. gÁ¢üPÁ gÀAf¤

4

- J¸ï.J£ï. ZÀAzÀæ±ÉÃRgï - ¥sÉÆæ. PÉ. gÁªÀĪÀÄÆwðgÁªï - qÁ. gÁ¢üPÁ gÀAf¤ - ²æêÀÄw gÀÆ¥À²æà ªÀÄzsÀĸÀÆzÀ£ï - Smt. Sudha Sridhar - Smt. Chethana Radhakrishna P.M.

£Álå ªÀÄvÀÄÛ ¥ÀÆeÉ

- - «.J¸ï.P˲Pï

4

C©ü£ÀAiÀÄ zÀ¥Àðt

- qÁ. gÁ¢üPÁ gÀAf¤

6

¤£ÉßUÀ¼À £É£ÉAiÀÄÄvÁÛ

- J¸ï.J£ï. ZÀAzÀæ±ÉÃRgï

7

Swaras in south indian dances

-

Lekha Kocherlakota

8

¸ÀAaPÉ «£Áå¸À

Navarasas

-

Dr. P Ramadevi

GqÀĦ / zÀQët PÀ£ÀßqÀ ¥Àæw¤¢ü

²æà PÀªÀįÁPÀë ²æà ¸ÀÄ¢üÃgï PÉÆqÀªÀÇgÀÄ £ÀªÉÆäA¢UÉ...

D£ÉÃPÀ¯ï £ÁgÁAiÀÄt

10

vinyasa.blr@gmail.com

Dances of Orissa

12

¥Àæ¸ÀgÀt

A Novice’s Research into Kathak

-

Lucinda

13

Natya Shastra

-

Smt Chethana Radhakrishna

14

Arts of Savara

-

Dr. Arja Srikanth

15

UÀuÉñï eÉ.J¸ï. ¸ÀA¥ÀPÀð «¼Á¸À KALASPANDANA # 61/1, Sri Ranga, 3rd Cross S.B.M. Colony, B.S.K. 1st Stage, Bangalore - 560 050 Mob: 9448046368

¸ÀAzÉúÀ

email: kalaspandan@gmail.com

¸ÀàAzÀ£À

kalatheera@gmail.com Patrons:

Capt. Ganesh Karnik Vice President, N.R.I. Cell, Govt. of Karnataka

Madan. R Chairman, Notus Pharmaceuticals Pvt. Ltd.

Sri Gourishankar Administrator, Dakshinanmaya Sri Sharada Peetham, Sringeri

Donor

D.K. Chowta Tulu Sahitya Academy Award winner, Bangalore

Subscription Detials

Annual Subscription - 250/-

¥Àæ±Éß : EA¢£À ¸ÀAzÀ¨sÀðzÀ°è £ÀªÀÄä ««zsÀ ªÀiÁzsÀåªÀÄUÀ¼À°è ®°vÀPÀ¯ÉUÀ½UÉ ¥Á±À¸ÀÛöå¹UÀÄwÛ®è, F ¸ÀªÀiÁdPÉÌ PÀ¯ÉUÀ¼ÀÄ ¨ÉÃQ®èªÉÃ?

- ¥Àæ±ÁAvÀPÀĪÀiÁgï, GqÀĦ.

GvÀÛgÀ : ºËzÀÄ. ¥ÀwæPÉ, zÀÆgÀzÀ±Àð£À ªÀÄÄAvÁzÀ ªÀiÁzsÀåªÀÄUÀ¼À°è ®°vÀPÀ¯ÉUÀ½UÉ ¸ÁPÀµÀÄÖ ¥ÁæzsÁ£ÀåvÉ, ¥Áæ±À¸ÀÛöå¹UÀÄwÛ®è ¤d. DzÀgÉ CzÀgÀ CxÀð PÀ¯ÉUÀ¼ÀÄ ¸ÀªÀiÁdPÉÌ ¨ÉÃqÀªÉAzÀ®è. ªÀiÁzsÀåªÀÄUÀ¼ÀÄ AiÀiÁªÁUÀ®Æ ºÉZÀÄÑ ¸ÀASÉå ¸ÀªÀÄƺÀzÀ PÀqÉUÉà ªÀÄÄRªÀiÁrPÉÆArgÀĪÀÅzÀÄ ¸ÀºÀd. ±Á¹ÛçÃAiÀÄ PÀ¯ÉUÀ¼ÀÄ J®èjUÀÆ gÀÄa¸À¢gÀ§ºÀÄzÀÄ. CzÀ£ÀÄß CxÀðªÀiÁrPÉÆAqÀÄ C£ÀĨsÀ«¸ÀĪÀªÀgÀ ¸ÀASÉå PÀrªÉÄ EgÀ§ºÀÄzÀÄ. »ÃUÁV ªÀiÁzsÀåªÀÄUÀ¼ÀÄ CzÀPÉÌ ¥Áæ±À¸ÀÛöå PÉÆqÀ¢gÀ§ºÀÄzÀÄ CµÉÖÃ. CzÀgÀ CxÀð PÀ¯É ¸ÀªÀiÁdPÉÌ ¨ÉÃPÉ E®è JA§ÄzÀ®è. vÀvÀé±Á¸ÀÛçdÕ gÀ¹Ì£ï ºÉüÀĪÀ ¥ÀæPÁgÀ - ªÀÄ£ÀĵÀå£À PÀ®à£É, PÁAiÀÄð ºÁUÀÆ ¸ÀzÁãªÀ£ÉUÀ¼ÀÄ J®èªÀÇ dvÉ dvÉAiÀiÁV ¸ÁUÀÄvÀÛªÉ. DzÀPÁgÀt C£Àß, §mÉÖ, ªÀ¸ÀwAiÀÄAvÉ PÀ¯ÉAiÀÄÆ CUÀvÉåA§ÄzÀÄ DvÀ£À £ÀA©PÉ JAzÉA¢UÀÆ ¸ÀļÀî®è. PÀ¯ÉAiÀÄÄ d£ÀgÀ ¸ÀA¥ÀvÀÄÛ; zÉñÀPÉÌ ±ÁAw JAzÀÄ gÀ«ÃAzÀæ£ÁxÀ oÁPÀÆgÀgÉà ºÉýzÁÝgÉ. PÀ¯ÉAiÀÄÄ ªÀiÁ£ÀªÀ¤UÉ DvÀäzÀ±Àð£À ªÀiÁr¸ÀÄvÀÛzÉ JAzÀÄ ²æà CgÀ«AzÀgÀÄ ºÉýzÁÝgÉ. «eÁÕ£ÀªÀÅ fêÀ£ÀzÀ £É¯ÉUÀmÁÖzÀgÉ PÀ¯É CzÀgÀ ²RgÀ PÀ¯ÉAiÀÄÄ ªÀiÁ£ÀªÀ£À£ÀÄß CwªÀiÁ£ÀªÀ£À£ÁßV¸ÀÄvÀÛzÉ. D£ÀgÀ£ÀÄß dqÀvÀé¢AzÀ CªÀÄÈvÀvÀézÀ PÀqÉUÉ MAiÀÄÄåvÀÛzÉ. «eÁÕ£ÀªÀÅ ªÀÄ£ÀĵÀå£À£ÀÄß ¨É¼É¹zÀgÉ ®°vÀPÀ¯ÉUÀ¼ÀÄ ªÀÄ£ÀĵÀåvÀéªÀ£ÀÄß ¨É¼É¸ÀÄvÀÛªÉ.

M§â PÀ¯ÉUÁgÀ£À P˱À®å¢AzÀ MAzÀÄ PÀ°è£À ZÀÆgÀÄ PÀÆqÀ gÀvÀßQÌAvÀ CªÀÄÆ®åzÁÝUÀÄvÀÛzÉ. ªÀiÁvÀÄ ¸ÀıÁæªÀåªÁzÀ ¸ÀAVÃvÀªÁUÀÄvÀÛzÉ. »ÃUÉ PÀ¯ÉAiÀÄ ¨É¯É CzÀ£ÀÄß C£ÀĨsÀ«¹AiÉÄà CjAiÀĨÉÃPÀÄ. D£ÀgÀ ºÀÈzÀAiÀÄzÀ°è CzÀPÉÌ ¥Áæ±À¸ÀÛöå zÉÆgÀQzÀgÉ ¸ÁPÀÄ; DUÀ PÀ¯É C®è ¸ÀªÀiÁdªÉà GzÁÞgÀªÁUÀÄvÀÛzÉ.

PÉ. gÁªÀĪÀÄÆwðgÁªï

Life Subscription 3500/-

¸ÀÆZÀ£É : F CAPÀtPÉÌ AiÀiÁªÀÅzÉà ¥Àæ±ÉßUÀ¼À£ÀÄß PÀ¼ÀÄ»¸ÀĪÀªÀgÀÄ ¥Àæw wAUÀ¼À 10£Éà vÁjÃT£À M¼ÀUÉ F «¼Á¸ÀPÉÌ £ÉÃgÀªÁV ¥Àæ±ÉßUÀ¼À£ÀÄß PÀ¼ÀÄ»¸À§ºÀÄzÁVzÉ. ªÉÄZÀÄÑUÉ ¥ÀqÉzÀ ¥Àæ±ÉßUÉ ¸ÀÆPÀÛ §ºÀĪÀiÁ£À«zÉ.

(Including Postage)

«¼Á¸À : PÉ. gÁªÀĪÀÄÆwðgÁªï, £ÀÆ¥ÀÅgÀ 327 21£Éà ªÀÄÄRågÀ¸ÉÛ, 2£Éà ºÀAvÀ, eÉ.¦.£ÀUÀgÀ, ªÉÄʸÀÆgÀÄ - 570 008.

4

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

PÀgÀtUÀ¼ÀÄ

»A¢£À ¸ÀAaPɬÄAzÀ

»rzÀgÉ PÀ®«®¹vÀªÁUÀÄvÀÛzÉ.

51. PÁæAvÀPÀ : PÁ®£ÀÄß »AzÉ ªÀÄqÀa, £ÀAvÀgÀ CªÀ£ÀÄß ªÀÄÄAzÉ ZÁa JwÛ £É®zÀ ªÉÄðqÀĪÀÅzÀÄ, ºÀ¸ÀÛUÀ¼À£ÀÄß CQë¥ÀÛzÀ°èqÀĪÀÅzÀÄ PÁæAvÀPÀ J¤¸ÀÄvÀÛzÉ.

57. CUÀ ð ® : PÁ®ÄUÀ ¼ À £ À Ä ß JgÀ q À Æ ªÀ g É vÁ®UÀ ¼ À CAvÀgÀzÀ°èlÄÖ »AzÀPÉÌ ¨ÁV PÉÊAiÀÄ£ÀÄß ¥ÁzÀzÀ »AzÉ ElÖgÉ CzÀÄ CUÀð®ªÁUÀÄvÀÛzÉ.

52. PÀÄAavÀ : ªÉÆzÀ®Ä PÁ®£ÀÄß ¨ÁV¹, ªÉƼÀPÁ®£ÀÆßj £ÀAvÀgÀ §®UÉÊAiÀÄ£ÀÄß ªÀÄt¹, JqÀ¥PÀ ÌÀPÌÉ J¢gÁUÀĪÀÅzÀÄ PÀÄAavÀ J¤¹PÉƼÀÄîvÀÛzÉ.

(¨s À g À v À £ À Ä ºÉ ¸ À g À Ä UÀ ¼ À £ À Ä ß EqÀ Ä ªÀ ° è «±À é P É Æ Ã±À J£ÀߧºÀÄzÀÄ. J°èAzÀ EAvÀºÀ ¥ÀzÀUÀ¼À£ÀÄß DV£À PÁ®zÀ¯Éèà ºÀÄqÀÄQzÀ JA§ÄzÀÄ ¤UÀÆqsÀ. FV£À PÁ®zÀªÀjUÉ ªÀÄPÀ̽UÉ CzÀgÀ®Æè MAzÀÄ CxÀªÁ JgÀqÀÄ ºÉ¸ÀjqÀĪÀÅzÉà MAzÀÄ zÉÆqÀØ ¸ÀªÀĸÉå. ¨sÀgÀvÀ E¢ÝzÀÝgÉ §ºÀıÀå F ¸ÀªÀĸÉå PÁqÀÄwÛgÀ°®è. CUÀð® JµÀÄÖ ZÉ£ÁßVzÉ ºÉ¸ÀgÀÄ C®èªÉ.

EzÉÆAzÉà C®è ¨sg À v À £ À À £Álå±Á¸ÀÛçz° À è ºÀÄqÀÄQzÀgÉ §ºÀıÀåB ªÀÄPÀ̽UÉ ºÉ¸ÀjqÀ®Ä PÀµÀÖªÁUÀ¯ÁgÀzÀÄ. CµÀÄÖ ºÉ¸ÀgÀÄUÀ¼ÀÄ DPÀµÀðPÀªÁVªÉ).

53. ZÀPª æÀ ÄÀ AqÀ® : ¨ÁºÀÄUÀ¼£ À ÄÀ ß ZÁa, ªÉÄÊAiÀÄ£ÀÄß ªÀÄt¹, PÁ®Î¼À £ÀqÀÄªÉ PÉÊUÀ¼À£ÀÄß C¥À«zÀzÀ°èlÖgÉ CzÀÄ ZÀPÀæªÀÄAqÀ®ªÁUÀÄvÀÛzÉ.

54. GgÉÆêÀÄAqÀ® : ¥ÁzÀU¼ À £ À ÄÀ ß zÀÆgÀz° À è ¸Àé¹PÛ z À ° À l è ÄÖ DªÉÄÃ¯É C¥À«zÀÞPÉÌ, PÉÊUÀ¼À£ÀÄß JzÉAiÀÄ JvÀÛgÀPÉÌ EqÀĪÀÅzÀÄ GgÉÆêÀÄAqÀ®ªÁUÀÄvÀÛzÉ.

55. DQë¥ÀÛ : DQë¥ÀÛ¢AzÀ vÀĸÀÄ ¥ÀPÀÌPÉÌ ¨ÁV PÉÊAiÀÄ£ÀÄß PÀlPÁªÀÄÄRzÀ°è ZÉ°èzÀgÉ CzÀÄ CQë¥ÀÛ PÀgÀt.

56. vÀ®«®¹vÀ : £É®PÀÆÌjzÀ ¥ÁzÀzÀ ¨ÉgÀ¼ÀÄUÀ¼À£ÀÄß ªÉÄÃ¯É ªÀiÁr, ¥ÀPÀÌPÉÌ CªÀÅUÀ¼À£ÀÄß ZÁa, ºÀ¸ÀÛUÀ¼À vÀ®UÀ¼À£ÀÄß CAzÀgÉ CAUÉÊUÀ¼À£ÀÄß PɼÀUÉ ªÀÄqÀa

58. «Që¥ÛÀ : PÁ®Ä, PÉÊAiÀÄ£ÀÄß MAzÉà ¢QÌ£° À è »AzÉ E®èªÉ ¥ÀPÌÀ PÌÉ JwÛ »rzÀgÉ CzÀÄ «Që¥ÛÀ PÀgt À ªÉ¤¹PÉƼÀÄîvÛz À .É 59. DªÀ v À ð : ªÀ Ä t ¹ zÀ PÁ®Î¼À £ À Ä ß ZÁa ªÀ Ä vÉ Û PÀÆqÀ¯É CµÉÖà ªÉÃUÀzÀ°è J¼ÉzÀPÉÆAqÀÄ, PÉÊUÀ¼À£ÀÄß CzÀ P É Ì C£À Ä UÀ Ä tªÁV ºÉ Æ A¢¹zÀ g É CzÀ Ä DªÀvÀðPÀgÀtªÁUÀÄvÀÛzÉ.

KALASPANDAN 10th SEPTEMBER 2011

- qÁ|| gÁ¢üPÁ gÀAf¤ 60. qÉ Æ Ã¯Á¥ÁzÀ : ªÉ Æ ¼À P Á°£À ° è ªÀ Ä t ¹ zÀ PÁ®£À Ä ß ¥À P À Ì ¢ AzÀ ¥À P À Ì P É Ì vÀ Æ UÀ ¨ É Ã PÀ Ä , PÉ Ê UÀ ¼ À ZÀ ® £À ª À ® £À U À ½ UÀ £ À Ä UÀ Ä tªÁV, DUÀ CzÀ Ä qÉÆ®¥ÁzÀªÁUÀÄvÀÛzÉ.

61. «ªÀÈvÀÛ : JqÀUÁ®£ÀÄß ºÀwÛgÀ J¼ÉzÄÀ PÉÆAqÀÄ, PÉÊUÀ¼£ À ÄÀ ß wgÀÄV¹ »rzÀÄ, wæPÀªÀ£ÀÄß ªÀÄt¹, ²¯ÁavÀzÀ°è ¸ÀÄwÛzÀgÉ DUÀ CzÀÄ «ªÀÈvÀ۪ɤ¹PÉƼÀÄîvÀÛzÉ.

62. «¤ªÀÈvÀÛ : F ºÉ¸ÀgÀÆ ¸ÀºÀ ¸ÀÄAzÀgÀªÁVzÉ C®èªÉ. ºÉýPÉÆAqÀÄ £ÉÆÃr MªÉÄä «¤ªÀÈvÀÛ. ¥ÁzÀUÀ¼À£ÀÄß ¸ÀÆaëzÀÞ ZÁjAiÀÄ°èlÄÖ, ºÀ¸ÀÛUÀ¼À£ÀÄß gÉÃavÀzÀ°èlÄÖ wgÀÄV¹zÀgÉ DUÀ CzÀÄ «¤ªÀÈvÀÛ DUÀÄvÀÛzÉ.

63. ¥Á±ÀéðPÁæAvÀ : ¥Á±ÀéðPÁæAvÀ ZÁjAiÀÄ°è ¥ÁzÀU¼ À ¤ À ßlÄÖ PÉÊUÀ¼À£ÀÄß ¥ÁzÀUÀ½UÀ£ÀÄUÀÄtªÁV ZÀ°¸ÀÄvÁÛ ªÀÄÄAzÉ ºÉeÉÓ ElÖgÉ ¥Á±ÀéðPÁæAvÀ PÀgÀtªÁUÀÄvÀÛzÉ.

64. ¤¸ÀÛA©üvÀ : MAzÀÄ PÁ®£ÉßwÛ »A§qÀª£ À ÄÀ ß wUÀzª À g À U É É JvÀÛj¹ ®¯Ál w®PÀzÀ°ègÀĪÀAvÉ PÉÊAiÀÄ£ÀÄß ºÀuÉUÉ ªÀÄÄnÖ¹zÀgÉ CzÀÄ ¤¸ÀÛA¨sÀÆvÀ PÀgÀtªÁUÀÄvÀÛzÉ.

65. «zÀÄézï¨sÁA æ vÀ : PÁ®£ÀÄß ¥ÀÆwðAiÀiÁV JwÛ ZÀPz æÀ A À vÉ wgÀÄV¸ÀÄvÀ,Û vÀ¯A É iÀÄ£ÀÄß »A¢¤AzÀ ªÀÄÄlÄÖv,ÛÀ ¸ÀÄvÀ® Û Æ

UËgÀ«¸ÀĪÀÅzÀPÌÉ ¥ÀÆeÉ JAzÀÄ ºÉ¸g À ÄÀ . ¥ÀÆeÉ JAzÀgÉ £ÁªÀÅ £ÀªÄÀ VAvÀ ºÉZÄÀ Ñ ±ÀQÛAiÀÄļÀî ªÀ¸ÀÄÛ«£À°èqÀĪÀ UËgÀªÀ §Ä¢Þ. EzÀ£Éßà £ÁªÀÅ «UÀæºÁgÁzsÀ£É JAzÀÄ PÀgÉAiÀÄÄvÉÛêÉ. ¥ÀÆeÉAiÀÄ®Æè ¸ÀºÀ JgÀqÄÀ «zs.À ±ÁjÃgÀPÀ ªÀÄvÀÄÛ ªÀiÁ£À¹PÀ. ¥s® À ¥ÀĵÁà¢U ü ¼ À £ À ÄÀ ß vÀAzÀÄ vÀ£ßÀ G¥Á¸À£Á ªÀÄÆwðAiÀÄ §½ PÀĽvÀÄ ªÉÃzÀ ªÀÄAvÀU æ ½ À AzÀ zsÁåAiÀiÁ«Ä.. zsÁå£ÀA ¸ÀªÀÄ¥ÀðAiÀiÁ«Ä....., DªÁºÀAiÀiÁ«Ä gÀvÀß ¹AºÁ¸À£ÀA ¸ÀªÀÄgÀàAiÀiÁ«Ä......¥ÁzÀAiÉÆÃB ¥ÁzÀåA ¥ÁzÀåA ¸ÀªÄÀ gÀA à iÀiÁ«Ä...... ºÀ¸A ÛÀ iÉÆÃB CWÀåðªÀÄWÀåðA ¸ÀªÄÀ ¥ÀðAiÀiÁ«Ä - F jÃw «¢üªv À ÁÛzÀ ¥ÀÆeÉAiÀÄÄ ±ÁjÃgÀPÀ ¥ÀÆeÉ J£ÀߧºÀÄzÀÄ. EA¢UÀÆ ¸ÀºÀ zÉêÁ®AiÀÄUÀ¼® À Æè ªÀÄ£ÉAiÀÄ®Æè £ÀqA É iÀÄÄwÛgÄÀ ªÀ ¥ÀÆeÁPÀª æ ÄÀ ªÀÅ EzÀPÌÉ GzÁºÀgu À A É iÀiÁVzÉ. F ¥ÀÆeÉAiÀÄÄ vÁvÀàAiÀÄðªÀ£ÄÀ ß ªÀÄÄAzÉ «ªÀj¸À¯ÁVzÉ. E£ÀÄß ªÀiÁ£À¹PÀ ¥ÀÆeÉ : vÀ£ßÀ EµÀÖ zÉʪÀPÌÉ ¥sÀ®¥ÀĵÁà¢UÀ¼À£ÀÆß, UÀAzsÀ- ªÀ¸ÁÛç¢UÀ¼À£ÀÆß ªÀiÁ£À¹PÀ ¸ÀAPÀ®à¢AzÀ¯Éà C¦ð¹ ¥ÀÆf¸ÀĪÀÅzÀÄ.

£Álå ªÀÄvÀÄÛ ¥ÀÆeÉ £Á

lå ªÀÄvÀÄÛ ¥ÀÆeÉ EªÉgq À g À À ºÉ¸g À ÄÀ ¨ÉÃgÉ ¨ÉÃgÉ EzÀÝgÆ À ªÀÄÆ® GzÉÝñÀ MAzÉÃ. ±Á¸ÀÛçPÁgÀgÄÀ £Ál媣 À ÄÀ ß ªÀÄÆgÀÄ ¨sÁUÀU¼ À ÁV «AUÀr¹zÁÝg.É £ÀÈvÀÛ, £ÀÈvÀå ªÀÄvÀÄÛ £Álå. F ªÀÄÆgÀjAzÁUÀĪÀ MlÄÖ PÉ®¸À JgÀqÃÉ ±ÁjÃgÀPÀ ªÀÄvÀÄÛ ªÀiÁ£À¹PÀ. £ÀÈvÀÛªÀÅ CAUÁAUÀUÀ¼À ZÀ®£ÉUÀ½AzÀ PÀÆrgÀĪÀÅzÀjAzÀ ±ÁjÃgÀPÀ J£ÀߧºÀÄzÀÄ. £ÀÈvÀåªÀÅ ¨sÁªÁ©ü£A À iÀÄUÀ½AzÀ PÀÆrgÀĪÀÅzÀjAzÀ ªÀiÁ£À¹PÀ J£ÀߧºÀÄzÀÄ. ¨sÆ À vÀ PÁ®zÀ MAzÀÄ WÀl£ÉAiÀÄ£ÀÄß PÀxÁªÀ¸ÄÀ Ûª£ À ÁßV DAiÀÄÄÝ ±ÁjÃgÀPª À ÁVAiÀÄÆ ªÀiÁ£À¹PÀªÁVAiÀÄÆ C©ü£À ĹªÀÅzÀÄ £Álå. »ÃUÉ ±ÁjÃgÀPÀ ZÉõÉU Ö ½ À AzÀ®Æ ªÀiÁ£À¹PÀ ¨sÁªÀ£U É ½ À AzÀ®Æ DzÀ±ð À ªÀåQÛU¼ À £ À Æ À ß G£ÀßvÀ WÀl£ÉU¼ À £ À Æ À ß ¥ÉÃæ PÀëPj À UÉ CvÀå®àPÁ®zÀ°è ªÀÄ£ÉÆÃgÀAd£ÉAiÀiÁUÀĪÀAvÉ eÁÕ¦¹PÉÆqÀĪÀÅzÉà £Álå JAzÀÄ ¸ÀÆÜ®ªÁV ElÄÖPÆ É ¼ÉÆît. E£ÀÄß ¥ÀÆeÉ JAzÀgÃÉ £ÀÄ?

KvÀPÁÌV?

¥ÀÆeÉ - ¥ÀÆdå - ¥ÀÆd¤ÃAiÀÄ dqÀª¸ À ÄÀ Û«£À°è DPÁgÀª£ À ÄÀ ß gÀƦ¹ UÀÄtUÀ¼£ À ÄÀ ß ¨sÁ«¹ DgÁ¢ü¸ÄÀ ªÀÅzÀÄ CxÀªÁ

gÀvßÉ öÊA PÀ°àvÀ ªÀiÁ£ÀA¸À »ªÀÄd¯ÉÊB ¸ÁߣÀAZÀ ¢ªÁåA§gÀA | £Á£ÁgÀvßÀ «¨sÆ À ¶vÀA ªÀÄÈUÀªÄÀ zÁªÉÆÃzÁAQvÀA ZÀAzÀ£AÀ || eÁfà ZÀA¥ÀPÀ ©®é¥v À g æÀ a À vÀA ¥ÀĵÀàAZÀzÆ Às ¥ÀAvÀxÁ | ¢Ã¥ÀAzÉêÀ zÀAiÀiÁ¤zsÃÉ ¥À±ÄÀ ¥ÀvÃÉ ºÀÈvÀÌ°àvAÀ UÀȺÀåvÁA || ¸ËªÀuð É Ã ªÀÄt RAqÀgv À ßÀ gÀavÉà ¥ÁvÉÃæ WÀÈvÀA ¥ÁAiÀĸÀA | ¨sPÀ ëÀ öåA ¥ÀAZÀ«zsAÀ ¥ÀAiÉÆÃzÀ¢Aü iÀÄÄvÀA gÀA¨sÁ¥s® À A ¥sÁtÂvAÀ || ±ÁSÁ£ÁªÀÄAiÀÄÄvÀA d®A gÀÄaPÀgAÀ PÀ¥Æ À ðgÀ RAqÉÆÃdé®A| vÁA§Æ®A ªÀÄ£À¸ÁªÀÄAiÀiÁ«avÀA ¨sPÀ ÁÛöå¥À¨ æ Æ És ùéÃPÀÄgÀÄ || bÀvAæÀ ZÁªÀÄgÀ AiÉÆÃAiÀÄÄðUÀA ªÀåd£ÀPAÀ ZÁzÀ±ð À PÀA ¤ªÀÄð®A | «ÃuÁ ¨sÃÉ j ªÀÄÈzÀAUÀ PÁºÀ¼À PÀ¯ÁVÃvÀA ZÀ £ÀÈvÀåA vÀxÁ || ¸ÁµÁÖAUÀA ¥Àt æ wB¸ÀÄw Û §ðºÀÄ«zsº À åÉ ÃvÀvìÀªÄÀ ¸ÀAÛ ªÀÄAiÀiÁ | ¸ÀAPÀ¯àÉãÀ ¸ÀªÄÀ ¦ðvÀA vÀª« À ¨sÆ É Ã ¥ÀÆeÁA UÀȺÁt ¥À¨ æ Æ És Ã|| »ÃUÉ DZÁgÀå ±ÀAPÀgÀ ¨sU À ª À v À Áàzg À À ²ªÀªiÀ Á£À¸À ¥ÀÆeÁ«¢üAiÀÄÄ ªÀiÁ£À¹PÀ ¥ÀÆeÉUÉ GzÁºÀgu À A É iÀiÁVzÉ.

DAiÀÄðgÀ PÁ®zÀ°è ªÉÃzÀAiÀÄÄUÀzÀ DAiÀÄðgÀ PÁ®zÀ°è ¨sÁgÀvÀzÀ°è «UÀæºÁgÁzsÀ£ÉAiÀÄÄ EgÀ°®èªÉAzÀÄ ZÀjvÉæPÁgÀgÀÆ, vÀvÀéeÁÕ¤UÀ¼ÀÆ ¤tð¬Ä¹zÁÝgÉ. DzÀgÉ £ÀÈvÀåªÀÅ CA¢£À d£ÁAUÀzÀ ¸ÀA¸ÀÌøw MAzÀÄ CAUÀªÁV¢Ýv£ É ßÀ ®Ä £ÀªÄÀ UÉ ªÉÃzÀ ªÀÄvÀÄÛ G¥À¤µÀvÄÀ ÛU½ À AzÀ¯ÃÉ DzsÁgÀªÅÀ zÉÆgÀPÄÀ vÀÛz.É VÃvÁAiÀÄ ¸ÀÆvÀªiÀ ï | £ÀÈvÁÛAiÀÄ ±ÉʮƵÀªiÀ ï ||vÉÊ-¨Áæ||3-4-2 AiÀĸÁåA UÁAiÀÄAw £ÀÈvÀåAw ||CxÀªð À || 12-1-41 EzÀ®èzÉ ªÀiÁzsåÀ A¢£À ¸ÀA»vÉ, PÁté¸A À »vÉU¼ À ® À Æè £ÀÈvÀå - £ÁmÁåZÁgÀåUÀ, UÁAiÀÄPÀ, F CxÀðzÀ ±À§ÝU¼ À ÄÀ §A¢ªÉ. ªÀiË°¸ÀÜPÄÀ A¨sÀ ¥ÀjgÀPëÀ t ¢üãÀnêÀ ||ªÀgº À Æ É Ã¥À¤µÀvï|| (vÀ¯ÉAiÀÄ ªÉÄÃ¯É UÀrUÉAiÀÄ£ÀÄß ºÉÆvÀÛ £ÀvÀðQAiÀÄÄ £ÁlåªÁqÀÄwÛzÀÝgÀÆ ¸ÀºÀ DPÉ UÀªÀÄ£ÀªÉ®èªÀÇ vÀ¯ÉAiÀÄ ªÉÄð£À UÀrUÉAiÀÄ°èAiÉÄà EgÀĪÀAvÉ ªÀiÁ£ÀªÀgÀÄ vÀªÀÄä vÀªÀÄä

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

wgÀÄUÀĪÀÅzÀÄ «zÀÄézï¨sÁæAvÀ PÀgÀtªÉ¤¹PÉƼÀîvÀÛzÉ.

66. CwPÁæAvÀ : CwPÁæAvÀ ZÁjAiÀÄ°è£À ¥ÁzÀUÀ¼À£ÀÄß ªÀ Ä ÄAzÉ ¸À j ¸À Ä vÀ Û , PÉ Ê UÀ ¼ À £ À Ä ß CzÀ P À Ì £ À Ä UÀ Ä tªÁV CwPÁæAvÀzÀ°èlÖgÉ CzÀÄ CwPÁæAvÀ PÀgÀtªÁUÀÄvÀÛzÉ.

67. «ªÀ w ðvÀ P À : MAzÀ Ä PÉ Ê AiÀ Ä £À Ä ß CQë ¥ À Û z À ° è l ÄÖ , E£ÉÆßAzÀÄ PÉÊAiÀÄ£ÀÄß gÉÃavÀzÀ°èlÄÖ, ¥ÁzÀUÀ¼ÀÄ CQë¥ÀÛzÀ°èzÀÄÝ, ªÉÄïÉäÃAiÀÄ£ÀÄß ªÀÄt¹zÀgÉ, CzÀÄ «ªÀwðvÀPÀ PÀgÀtªÉ¤¸ÀÄvÀÛzÉ.

¥ÀPÀÌUÀ½UÉ ¨sÀÄdzÀ JvÀÛgÀPÉÌ §gÀĪÀAvÉ ZÁazÀgÉ CzÀÄ UÀåzsÁæªÀ°Ã£ÀPÀ.

75. ¸À £ À ß vÀ Û : ºÀ j uÁ¥À Ä vÀ ¢ AzÀ fVzÀ Ä PÁ®Î¼À £ À Ä ß ªÀÄÄAzÀPÌÉ ¸Àé¹ÛPz À ° À èlÄÖ, PÉÊUÀ¼£ À ÄÀ ß MAzÀPÆ É ÌAzÀÄ CAUÉÊ ºÀvÀÄÛªÀÄr¹zÀgÉ CzÀÄ ¸À£ÀßvÀ PÀgÀtªÁUÀÄvÀÛzÉ.

76. ¸ÀÆaà : ¥ÁzÀªÀ£ÀÄß ªÀÄt¹ JwÛ £ÀAvÀgÀ ªÀÄÄAzÉ £É®zÀ ªÉÄðlÄÖ ºÀ¸ÀÛUÀ¼À£ÀÄß CzÀPÉÌ vÀPÀÌAvÉ §¼À¹zÀgÉ CzÀÄ ¸ÀÆaÃPÀgÀtªÁUÀÄvÀÛzÉ.

68. UÀ d Qæ à rvÀ P À : CAfvÀ z À ° è z À Ý JqÀ U É Ê Q«UÉ , §®UÉ Ê ®vÁºÀ ¸ À Û , ¥ÁzÀ U À ¼ À Ä vÀ Æ UÀ Ä ªÀ Å zÀ Ä UÀdQæÃrvÀPÀªÉ¤¹PÉƼÀÄîvÀÛzÉ.

77. CzsÀð¸ÀÆaà : C®¥ÀxÀzÀ°è ºÀ¸ÀÛªÀ£ÀÄß vÀ¯ÉAiÀÄ ªÉÄÃ¯É §®UÁ®£ÀÄß ¸ÀªÁaà ¥ÁzÀz° À l è ÖgÉ CzÀÄ Czsð À ¸ÀÆa PÀgÀtªÁUÀÄvÀÛzÉ.

69. vÀ®¸ÀA¸ÉÆáÃnvÀ : PÁ®£ÀÄß PÀÆqÀ¯Éà ªÉÃUÀ¢AzÀ JwÛ ªÀÄÄAzÉ EqÀĪÁUÀ ¥ÀvÁPÀzÀ°èzÀÝ JgÀqÀÆ ºÀ¸ÀÛUÀ¼ÀÄ ZÀ¥Áà¼É vÀlÄÖªÀÅzÀÄ vÀ®¸ÀA¸ÉÆàÃnvÀªÉ¤¸ÀÄvÀÛzÉ.

78. ¸ÀÆaëzÀÞ : MAzÀÄ ¥ÁzÀ ¸ÀÆaAiÀÄ°è E£ÉÆßAzÀÄ ¥ÁzÀ »A§qÀzÀ ªÉÄïÉ, MAzÀÄ PÉÊ ¸ÉÆAlzÀ ªÉÄïÉ, E£ÉÆßAzÀÄ JzÉAiÀÄ ªÉÄÃ¯É CzÀÄ ¸ÀÆaà «zÀÞ PÀgÀtªÁUÀÄvÀÛzÉ.

70. UÀgÄÀ qÀ¥ÄÀ v è PÀ À : MAzÀÄ PÁ®£ÀÄß »AzÉ ZÁa, MAzÀÄ PÉÊ ®vÁºÀ¸ÀÛ, E£ÉÆßAzÀÄ PÉÊ gÉÃavÀªÁVzÀÄÝ, vÀ¯ÉAiÀÄ£ÀÄß JwÛ »rzÀgÉ CzÀÄ UÀgÀÄqÀ¥ÀÄèvÀPÀ PÀgÀtªÉ¤¸ÀÄvÀÛzÉ.

71. UÀAqÀ¸ÀÆaà : §®UÁ®Ä ¸ÀÆaÃ¥ÁzÀzÀ°è vÀĸÀÄ ¥ÀPÀÌPÉÌ ªÁ°zÀgÉ, MAzÀÄ PÉÊ JzÉUÉ, E£ÉÆßAzÀÄ PÉÊ CAavÀzÀ°è UÀAqÀ¸ÀÜ®PÉÌ EzÁÝUÀ CzÀÄ UÀAqÀ¸ÀÆaà 72. ¥ÀjªÀÈvÀÛ : PÉÊUÀ¼ÀÄ ªÉÄÃ¯É C¥ÀªÉöÖvÀzÀ°è wgÀÄV¹ ElÄÖ ¸ÀÆaÃ¥ÁzÀ JgÀq£ À A É iÀÄ PÁ®UÉ «gÀÄzÀÞ ¢QÌ£° À è ªÉÄïÉäAiÀÄ£ÀÄß ¨sÀæªÀÄjPɬÄAzÀ wgÀÄV¹ªÀÅzÀÄ ¥ÀjªÀÈvÀÛ.

73. ¥Á±Àð é eÁ£ÀÄ : MAzÀÄ PÁ®£ÀÄß ¸ÀªÄÀ ªÁVlÄÖ JgÀq£ À AÉ iÀÄ ºÀ¸ÀÛªÀ¤ßlÖgÉ CzÀÄ ¥Á±ÀéðeÁ£ÀÄ PÀgÀtªÁUÀÄvÀÛzÉ.

74. UÀåzsÁæªÀ°Ã£ÀPÀ : MAzÀÄ ¥ÁzÀªÀ£ÀÄß »AzÉ ZÁa, ªÉ Æ ¼À P Á®£À Ä ß ªÀ Ä t ¹ , ¨ÁºÀ Ä UÀ ¼ À £ À Ä ß JgÀ q À Æ

¯ËQPÀ PÀªÄÀ ðUÀ¼£ À ÄÀ ß ªÀiÁqÀÄwÛzÝÀ gÆ À ¸ÀºÀ UÀªÄÀ £Àª® É èªÇÀ ¸ÀzÁ DvÀä£À PÀqU É ÃÉ EgÀ¨ÃÉ PÉA§ÄzÀÄ EzÀgÀ ¨sÁªÁxÀð) DgÉÆÃUÀå ¸ÀA¥Á£ÀzÉ, §Ä¢ÞPÀıÀ®vÉ, avÉÛöÊPÁUÀæöå, DvÀä¸A À AiÀĪÀÄ, ±ÀjÃgÀzÁqsåÀ ð, §æºäÀZg À åÀ , ¹ÛçÃAiÀÄgÀ ¥ÁwªÀv æ åÀ . ¢üÃWÁðAiÀÄĸÀÄå F JAlgÀ Cr¥ÁAiÀÄzÀ°è CwÃA¢æAiÀÄ «µÀAiÀÄUÀ¼À£ÀÄß CjAiÀÄĪÀÅzÉà ¥ÀæzsÁ£ÀªÁVlÄÖPÉÆArzÀÝ ªÉÃzÀAiÀÄÄUÀzÀ ¸ÀÄA¸ÀÌøvÀ d£ÁAUÀzÀ°è £ÁlåªÀÇ ¸ÀºÀ ªÉÃzÀª» À vÀ PÀªÄÀ ðªÉà DVvÉA Û zÀÄ EzÀjAzÀ ¸Àµ à Ö¥ À q À ÄÀ vÀz Û .É DzÀgÉ CA¢£À £ÀÈvÀå - £ÁlåzÀ ¥ÀÆtð¸ÀégÀÆ¥ÀªÀÅ ºÉÃVvÉÆÃÛ w½AiÀÄ®Ä DzsÁgÀU¼ À ÄÀ ¹QÌ®.è D¼ÀªÁV «ZÁgÀ ªÀiÁrzÁUÀ MAzÉgq À ÄÀ CA±ÀU¼ À ÄÀ ªÀiÁvÀæ ¸ÀA¥ÁæzÁ¬ÄPÀªÁV CAnPÉÆAqÀÄ §A¢gÀĪÀAvÉ £À£ßÀ C£ÀĨsª À PÀ ÌÉ §A¢zÉ. CµÀÄÖ GvÀª Û ÄÀ ¹ÜwAiÀÄ°èzÝÀ £ÁlåªÅÀ PÀª æ ÄÉ Ãt QëÃt¸ÄÀ vÁÛ§AzÀÄ ¨sÀgÀvÁZÁgÀå£À PÁ®PÉÌ vÀ£Àß GvÀÛªÀÄ ¸ÀA¸ÁÌgÀªÀ£ÀÄß PÀ¼ÉzÀÄPÉÆArgÀ¨ÉÃPÉAzÀÄ £À£ÀUÀ¤¸ÀÄvÀÛzÉ. DzÀÝjAzÀ¯Éà ¨sg À v À ÁZÁgÀå£ÄÀ §æºäÀ ¤AzÀ £ÁlåzÀ G¥ÀzÃÉ ±Àª£ À ÄÀ ß ¥Àqz É ÄÀ vÀ£ßÀ ªÀÄPÀ̽UÉ C¨sÁå¸À ªÀiÁr¹ ¥ÀZ æ ÁgÀPÌÉ vÀAzÀ£A À vÉ. ¥ÀƪÀðA PÀÈvÀAiÀÄÄUÉà «¥Áæ ªÀÈvÉÃÛ ¸ÁéAiÀÄA¨sÄÀ ªÉÃAvÀgÃÉ vÉÃvÁæAiÀÄÄUÉà ¸ÀA¥Àª æ ÈÀ vÉÃÛ ªÀÄ£ÉÆêÉÊðªÀ¸åÀ vÀ¸åÀ ZÀ UÁæªÄÀ å zsª À ÄÀ ð ¥Àª æ ÈÀ vÉÃÛ vÀÄ PÁªÀįÉÆèsª À ± À AÀ UÀvÃÉ FµÁåðPÉÆÃæ zsÁ¢ ¸ÀA ªÀÄÆqsÃÉ ¯ÉÆÃPÉà ¸ÀÄTvÀ zÀÄBTvÉà ||¨sÀ £Á|| 8-9 ... vÀ¸Áävï ¸ÀÈeÁ¥ÀgÀA ªÉÃzÀA ¥ÀAZÀªÀÄA ¸ÁªÀðªÀtÂPÀA ||¨s|À | 12 DZÁgÀå ¨sg À v À ¤ À AzÀ £Álå PÀ¯A É iÀÄÄ «¢ü, ¤AiÀĪÀÄ, ¤µÉÃzsU À ½ À UÉƼÀ¥l À ÄÖ MAzÀÄ ±Á¸ÀÛçªÁV gÀÆ¥ÀÄUÉÆArvÀÄ. (¨sÀgÀvÀ¤UÀÆ ¥ÀƪÀðzÀ°èzÀÝ “¸ÁgÁ±ÀAiÀÄ𠲯Á°¨sÁåA ©ü P À ë Ä £À l ¸À Æ vÀ æ A iÉ Æ ÃB” £Álå ¸À A §AzÀ UÀ æ A xÀ U À ¼ À Ä G¥À ® §Þ«®è ) . F ±Á¸À Û ç ªÀ £ À Ä ß£À ¸ À j ¸À z À MAzÀ Ä ±ÉæõÀ× ¸ÀA¥ÀæzÁAiÀĪÀÅ ¨É¼É¬ÄvÀÄ. DzÀgÉ C£ÀÄPÀgÀuÁ ¥ÀæzsÁ£ÀªÁzÀ £ÁlåPÀ¯ÉAiÀÄÄ PÁ®PÀæªÉÄÃt C£ÀÄPÀgÀuÉUÉ ¤®ÄPÀĪÀ «µÀAiÀÄUÀ¼À£Éß®è ºÉƸÀ ºÉƸÀzÁV UÀ滹 ¤gÀƦ¸ÀÄvÁÛ §AzÀÄ DAiÀiÁAiÀÄ PÁ®zÀ PÀ¯Á¥ÉÆõÀPg À À £ÉÊwPÀ - ¸ÁA¸ÀÌøwPÀ ªÀÄlÖPÉÌ vÀPÀÌAvÉ GvÉÛÃd£ÀºÉÆA¢ ªÀiÁ¥ÁðqÀÄUÀÄvÀÛ §A¢zÉ.

ªÀiÁ£ÀªÀ ¸Àé¨Ás ªÀ - «UÀº æ ÁgÁzs£ À É (¥ÀÆeÉ) ¥ÀÆeÉ CxÀªÁ DgÁzsÀ£ÉUÉ «UÀº æ ÀªÉà DUÀ¨ÉÃPɪÀħ ¤AiÀĪÀĪÉãÀÆ E®è. DAiÀÄðgÀ PÁ®zÀ°è (¥ÀÈyé-D¥ï-

79. C¥ÀPÁæAvÀ : vÉÆqÉAiÀÄ£ÀÄß wgÀÄV¹ PÁ®Î¼£ À ÄÀ ß »A§qÀPÌÉ »A§qÀ ºÀaÑ C¥ÀPÁæAvÀzÀ°èlÄÖ, CzÀPÉÌ vÀPÀÌAvÉ PÉÊUÀ¼ÀÄ EzÁÝUÀ C¥ÀPÁæAvÀ PÀgÀtªÁUÀÄvÀÛzÉ.

80. ªÀ Ä AiÀ Ä ÆgÀ ® °vÀ : ¥ÁzÀ ªÀ È ²Ñ P À z À ° è , ºÀ ¸ À Û U À ¼ À Ä , gÉ Ã avÀ ªÉ Ä Ã¯É ä AiÀ Ä £À Ä ß wgÀ Ä V¸À Ä ªÀ Å zÀ Ä EzÀ Ä ªÀÄAiÀÄÆgÀ®°vÀPÀgÀtªÁUÀÄvÀÛzÉ.

81. ¸À¦ðvÀ : CAavÀ ¥ÁzÀUÀ¼À£ÀÄß MAzÀjAzÉÆAzÀÄ zÀÆgÀ«lÄÖ, vÀ¯ÉAiÀÄ£ÀÄß ¥ÀPÀÌPÉÌ wgÀÄV¹ PÉÊUÀ¼À£ÀÄß gÉÃavÀzÀ°èlÖgÉ CzÀÄ ¸À¦ðvÀªÁUÀÄvÀÛzÉ.

82. zÀAqÀ¥ÁzÀ : MAzÀÄ ¥ÁzÀ £ÀÆ¥ÀÄgÀzÀ°è, E£ÉÆßAzÀÄ zÀAqÀ¥ÁzÀ ZÁjAiÀÄ°è vÀvïPÀët D ºÀ¸ÀÛUÀ¼À£ÀÄß C¥À«zsz À ° À èj¹zÁUÀ CzÀÄ zÀAqÀ¥ÁzÀPg À t À ªÁUÀÄvÀÛz.É

vÉÃd¸ï-ªÁAiÀÄÄ-DPÁ±À) ¥ÀPæ ÈÀ w ¥ÀÆeÉAiÀÄÆ EzÉÝìÄvÀÄÛ. ªÀÄ£ÀĵÀåg° À è AiÀiÁªÁUÀ ¸Àägt À zsÁgÀt ±ÀQU Û ¼ À ÄÀ PÀÄApvÀªÁUÀÄvÀÛ §AzÀªÇÉ Ã DUÀ ªÀÄÆwð ¥ÀÆeÉAiÀÄÄ ¥ÁægA À ¨sª À Á¬ÄvÀÄ. ªÀiÁ£ÀªÀ ¸ÀªÀiÁdªÀÅ zÉÊ»PÀ, ªÀiÁ£À¹PÀ z˧ð®å¢AzÀ £ÉÊwPÀ¥v À £ À ª À ÁV CzsÆ É ÃUÀwV½AiÀÄĪÁUÀ ªÀÄÆwð¥ÀÆeÉAiÀÄÄ fêÀPÌÉ vÁætPÉÆlÄÖ ¥ÀƪÀð¸Àägu À A É iÀÄ£ÀÄß vÀÄA© fêÀ£PÀ ÌÉ ¸À ºÀPÁjAiÀiÁUÀÄvÀÛzÉ. «UÀæºÁgÁzsÀ£ÉAiÀÄÄ ªÀiÁrgÀĪÀiÁqÀºÆ É gÀl GzÉÝñÀªÇÀ EµÉÖÃ. ¥ÁætU  ¼ À ° À è JgÀqÄÀ «zs.À ¸Áܪg À À - dAUÀªÄÀ . ¸Áܪg À À JªÀÄzÀgÉ VqÀ, ªÀÄgÀ, §½î EvÁå¢. dAUÀªÀÄ JAzÀgÉ ªÀÄ£ÀĵÀå¤AzÀ »rzÀÄ ZÀvÄÀ µÁàzÀ dAvÀÄUÀ¼ÄÀ - Qæ«ÄQÃl EvÁå¢. »ÃUÉ C£ÉÃPÀ ¥Áætª  U À ð À UÀ½zÀÝgÆ À ¥ÀÆeÉ £Álå EvÁå¢UÀ¼ÀÄ ¸ÁA¥ÀæzÁ¬ÄPÀªÁV DZÀgÀuÉAiÀÄ°ègÀĪÀÅzÀÄ ªÀÄ£ÀĵÀåªÀUÀðzÀ°è ªÀiÁvÀæ. ªÀiÁ£ÀªÀ ªÀUÀðªÀÇ ¸ÀºÀ «±Àé ¥ÀæPÀÈwAiÀÄ MAzÀÄ ¨sÁUÀªÉà DVgÀĪÁUÀ EªÀ£À «±ÉõÀªÁzÀgÆ À K£ÀÄ? DzÀgÉ CzÉÆAzÀÄ «avÀæ ¨sÁUÀ.

G½zÉ®è fëUÀ¼À ¯ÉÆÃPÀz° À èAiÀÄÆ EgÀĪÀ PÀlÄÖ¥ÁqÀÄ, «zsÉÃAiÀÄvÉ ªÀÄ£ÀĵÀå ¥ÁætÂAiÀÄ°è®è. CªÀ£À°è£À ¸ÀévÀAvÀæ ªÀÄ£À¸Éìà EzÀPÉÌ PÁgÀt. ªÀÄ£À¹ì£À ¸Àé¨sÁªÀªÉà ZÀAZÀ®.

EzÀjAzÁV ªÀÄ£ÀĵÀå£À fêÀ£À ªÀåªÀ¸ÉÜUÀ¼ÀÄ ¹ÜgÀªÁV - KPÀ ¥ À æ P ÁgÀ ª ÁV £À q É z À Ä PÉ Æ AqÀ Ä §A¢gÀ Ä ªÀ Å zÀ Ä C¸ÀA¨sÀªÀ. ªÀÄ£ÀĵÀå£À£ÀÄß ©lÄÖ G½zÉ®è ¥ÁætªÀUÀðPÉÌ PÉÆlÖ ªÀgÀªÉAzÀgÉ ¥ÀæPÀÈwAiÀÄ «µÀAiÀÄzÀ°è «zsÉÃAiÀÄvÉ. ªÀÄ£ÀĵÀåªÀUÀð ªÀiÁvÀæ ºÁUÀ®è. J°è JµÀÄÖ ªÀiÁvÀæªÀ£ÀÄß ¥ÀPæ ÈÀ w ¸ÀAzÀ¨U Às ¼ À ÄÀ PÀqÁØAiÀĪÁV £Àq¸ É ÄÀ vÉA Û iÉÆà C°è CµÀPÖ ÌÉ ªÀiÁvÀæ EªÀ£ÄÀ «zsÃÉ AiÀÄPÀ£ÁVgÀÄvÁÛ£.É G½zÀ PÀqU É ¼ À ° À è ¥ÀPæ ÈÀ wAiÀÄ£ÀÄß UÉ®è®Ä EªÀ£À ¥ÀA æ iÀÄvÀß. EµÀÆÖ KPÉ? zÀÄBR ¤ªÀÈwÛ ¸ÀÄR¥Áæ¦Û, MnÖ£° À è £ÉªÄÀ ä¢UÁV. ªÀ Ä £À Ä µÀ å ¤UÉ D£É A iÀ Ä µÀ Ä Ö §®«®è . ºÀ Q Ì A iÀ Ä AvÉ ºÁgÀ¯ÁgÀ, «Ää£ÀAvÉ Fd¯ÁgÀ. »ÃUÉ EªÀ£À ±ÀQÛAiÀÄÄ ¥Àj«ÄwAiÀįÉÃè EzÀÝgÆ À ¸ÀºÀ ¥ÀPæ ÈÀ wAiÀÄ gÀÆ¥ÀÄgÉÃSÉU¼ À £ À ÄÀ ß w½AiÀÄ®Ä EªÀ£À GvÀÌmÃÉ ZÉÒ. DzÀgÉ M¨ÉÆâ§â£À §Ä¢ÞAiÀÄÆ MAzÉÆAzÀÄ «µÀAiÀÄPÉÌ ¹Ã«ÄvÀªÁVzÉ. F §Ä¢ÞUÀÆ «ÄÃjzÀ MAzÀÄ CªÀåPÀÛ ±ÀQÛAiÀÄ£Éßà DvÀä JA§ÄzÁV ¤±ÀѬĹ CzÀgÀ G¥Á¸À£Á PÀæªÀÄUÀ¼À£Éßà MAzÉÆAzÀÄ ºÉ¸j À ¤AzÀ PÀgz É g À ÄÀ . F C£ÉÃPÀ ªÀiÁUÀðUÀ¼° À è£À MAzÀÄ ªÀiÁUÀðªÉà ¸ÀUÄÀ uÉÆÃ¥Á¸À£.É ¸ÀUÄÀ uÉÆÃ¥Á¸À£A É iÀÄ «¢ü, ¤AiÀĪÀÄ, ¤µÉÃzsU À ¼ À £ À ÄÀ ß w½¸ÀĪÀ ±Á¸ÀÛçªÃÉ DUÀªÄÀ ±Á¸ÀÛç.

F ±Á¸ÀÛç¢AzÀ ¥ÀqA É iÀÄĪÀÅzÀÆ ¸ÀºÀ fêÉñÀégÀ vÀvéÀeÁÕ£.À

KALASPANDAN 10th SEPTEMBER 2011

5

83. ºÀjt¥ÀÄèvÀ : CwPÁæAvÀzÀ ºÉeÉÓAiÀÄ£ÀÄß ªÉÄÃ¯É ¥ÀÄnzÀÄ £É®zÀ ªÉÄðqÀ¨ÉÃPÀÄ. M¼ÀvÉÆqÉAiÀÄ£ÀÄß CAavÀzÀ ªÉÄÃ¯É Ej¹zÁUÀ CzÀÄ ºÀjt¥ÀÄèvÀ PÀgÀtªÁUÀÄvÀÛzÉ.

84. ¥ÉæÃASÉÆðPÀ : EzÀÄ ¸ÀºÀ ºÉ¸ÀjqÀ®Ä ZÉ£ÁßVgÀÄvÀÛzÉ C¤ß¸ÀÄvÀÛzÉ C®èªÉ? MAzÀÄ ¥ÁzÀªÀ£ÀÄß ªÀÄt¹ ¥ÀPÀÌ¢AzÀ ¥ÀPÀÌPÉÌ vÀÆV, E£ÉÆßAzÀjAzÀ ¥ÀÄnzÀÄ, ªÉ Ä Ã¯É ä öÊ wgÀ Ä V¹zÀ g É CzÀ Ä ¥É æ à ASÉ Æ Ã°vÀ P À PÀgÀtªÁUÀÄvÀÛzÉ.

85. ¤vÀ A § : ¨s À Ä dUÀ ¼ À £ À Ä ß GzÀ Ý ªÁV E½©lÄÖ PÉʨÉgÀ¼ÀÄUÀ¼À£ÀÄß M¼ÀUÉ ªÀiÁr CAUÉÊ zÉúÀzÀ PÀqÉ §zÀÞZÁjAiÀÄ°è ¥ÁzÀUÀ¼À¤ßj¹zÁUÀ CzÀÄ ¤vÀA§ PÀgÀtªÁUÀÄvÀÛzÉ.

86. ¸ÀÍ°vÀ : GAiÀiÁå¯ÉAiÀÄAvÉ vÀÆUÀÄ ºÉeÉÓUÀ¼À¤ßqÀÄvÀÛ, PÉÊUÀ¼À£ÀÄß gÉÃavÀ E®èªÉ WÀÆtÂðvÀ C®ÄUÁqÀzÀAvÉ ElÖgÉ CzÀÄ ¸ÀÍ°vÀ PÀgÀtªÁUÀÄvÀÛzÉ.

87. PÀj ºÀ¸ÀÛgÀPÀ : MAzÀÄ PÉÊ ªÀPÀë ¸ÀÜ®zÀ°è E£ÉÆßAzÀÄ CzÀgÀ ªÉÄÃ¯É GzÉéöÖvÀ JAzÀgÉ J¢gÀÄ ¢QÌUÉ ZÁa CAavÀzÀ°èqÀĪÀÅzÀÄ, ¥ÁzÀªÀÇ CAavÀzÀ°èj¹zÁUÀ CzÀÄ PÀ°ºÀ¸ÀÛPÀ PÀgÀtªÁUÀÄvÀÛzÉ.

88. ¥Àæ¸À¦ðvÀPÀ : MAzÀÄ PÉÊ gÉÃavÀzÀ°è E£ÉÆßAzÀÄ ®vÁ ºÀ¸ÀÛ, ¥ÁzÀvÀ®UÀ¼À£ÀÄß ¥À¸Àj¹ ªÀÄÄAzÉ ¸Àj¸ÀĪÀÅzÀÄ ¥Àæ¸À¦ðvÀPÀ PÀgÀtªÁUÀÄvÀÛzÉ.

89. ¹AºÀ«PÉæÃrvÀ : MAzÀÄ ¥ÁzÀªÀ£ÀÄß C¯ÁvÀzÀ°è ªÀÄÄA¢lÄÖ E£ÉÆßAzÀjAzÀ ²ÃWÀæ ºÉeÉÓAiÀĤßlÄÖ, ¥ÁzÀUÀ½UÀ£ÀÄUÀÄtªÁV ºÀ¸ÀÛUÀ¼À£ÀÄß »rzÀÄ ZÀ°¹zÀgÉ CzÀÄ ¹AºÀ«QæÃrvÀ PÀgÀtªÁUÀÄvÀÛzÉ. ªÀÄÄAzÀĪÀgÉAiÀÄĪÀÅzÀÄ.

»ÃUÉ ¥Àgª À iÀ ÁvÀä eÁÕ£PÀ ÄÀ Ì ªÀÄÆvÀð¥ÀÆeÉUÆ À ¸ÀA¢üAiÀÄAvÉ EgÀĪÀÅzÉà ªÉ à zÀ ª À Ä AvÀ æ U À ¼ À Ä . F ªÉ à zÀ ª À Ä AvÀ æ U À ¼ À ° è ¥ÀgÀªÀĸÀvÀåªÀÇ, vÀvÀéeÁÕ£ÀªÀÇ, ¥ÀPæ ÀÈw gÀºÀ¸ÀåªÀÇ CrVªÉ. ¥ÀÆeÁPÁ®zÀ°è GZÀj Ñ ¸ÀĪÀ ªÀÄAvÀ,æ CzÀgÀ CxÀð CzÀgÀ ¨sÁªÀ £ÀAvÀgÀ vÁvÀAà iÀÄð. PÀqAÉ iÀÄzÁzÀ F vÁvÀAà iÀÄð£ÀĨsª À ª À ÃÉ eÁÕ£.À CzÀ£ÄÀ ß ¥Àqz É ÄÀ PÉÆAqÀª£ À ÄÀ eÁÕ¤. ¨s Ë wPÀ dUÀ w Û £ À ¸À à ± À ð «®è z À D£À A zÀ z À ° è ªÉÄʪÀÄgÉvÀ eÁÕ¤AiÀÄ DvÀäªÀÅ vÀ£Àß D£ÀAzÀPÉÌ MAzÀÄ ªÀÄÆvÀðgÀÆ¥Àª£ À ÄÀ ßPÉÆlÄÖ £Á®ÄÌ ¢PÀÄÌU½ À UÉ JgÀagÀĪÀÅzÉà ¨sÁgÀwÃAiÀÄ £ÀÈvÀå. DzÀÝjAzÀ¯ÃÉ £ÁlåªÇÀ ¸ÀºÀ ªÉÃzÀzÀ MAzÀÄ CAUÀªÁAiÀÄÄÛ. DzsÁåvÀä ¥Àz æ Ás £À ªÀÄvÀÄÛ CAvÀªÄÀ ÄðTUÀ¼ÁzÀ IĶUÀ¼À ºÀÈzÀAiÀÄ¢AzÀ ºÉÆgÀl «zÉåAiÀiÁzÀÝjAzÀ EzÀ£ÄÀ ß LzÀ£A É iÀÄ ªÉÃzÀªA É zÀÄ PÀg¢ É zÁÝg.É “£ÁlåARåA ¥ÀAZÀªÄÀ A ªÉÃzÀA” ||¨s|À | 15 AiÀĪÉÄãÀA IÄVâB¸ÀĪ Û AÀ w dUÁ溥 À ÁoÀåA IÄUÉéÃzÁvï AiÀÄdÄ©ðB AiÀÄdAw ¸ÁªÀĨsÆ É åà VÃvÀªÄÉ ÃªÀZÀ ¸ÁªÀÄ©üB UÁAiÀÄAw AiÀÄdĪÉÃðzÁzÀ©£ ü AÀ iÀiÁ£ï CxÀªð À ©üB d¥ÀAw ||PÁoÀP¨ À ÁæºäÀ t|| gÀ¸Á£Á$xÀªð À uÁzÀ¦ ||¨sÀ £Á-17||

¥ÀPæ ÈÀ w - ¥ÀÄgÀĵÀ ¥ÀÆeÉ - £Álå £ÁªÀÅ AiÀiÁªÀÅzÀg° À è CzÉà ¸À¨ é Ás ªÀª£ À ÄÀ ß PÁtÄvÉÃÛ ªÉAiÉÆà CzÉ Ã ¥À æ P À È w. ¥À æ P À È wAiÀ Ä °è D ¸À é ¨ s Á ªÀ ª À Å AmÁUÀ ® Ä PÁgÀtªÉãÀÄ? D PÁgÀt ¥ÀÄgÀĵÀ£Éà §æºÀä CxÀªÁ «gÁmï¥Àw. ªÀÄ£ÀĵÀå£ÀÄ vÀ£Àß «ZÁgÀPÉÌ ¥ÀæPÀÈwAiÀÄ£ÀÄß ªÀÄÆ® ¸ÁªÀiÁVæAiÀiÁV G¥ÀAiÉÆÃV¹PÉÆAqÀÄ vÀ£Æ À ä®PÀ vÀve éÀ ÁÕ£¥ À q À A É iÀÄ®Ä §¼À¹zÀ G¥ÁAiÀĪÉà ¸ÀUÄÀ uÉÆÃ¥Á¸À£.É £ÁªÀÅ ¥ÀÆf¸À¨ÃÉ PÁzÀgÉ EzÀPÌÉ ¥ÀƪÀð¨sÁ«AiÀiÁV £ÀªÄÀ ä «ZÁgÀPÌÉ ¸Àºd À ªÁVAiÀÄÆ £ÀªÄÀ ä §Ä¢ÞUÉ «ÄÃjzÀÆÝ DV £ÀªÄÀ ä EA¢æAiÀÄPÉÌ UÉÆÃZÀgª À ÁUÀĪÀ ªÀ¸ÄÀ Û MAzÀÄ CªÀ±åÀ PÀ.

EzÀ£ßÉ Ã VÃvÁZÁgÀå£ÀÄ ¥ÀPæ Á±À ªÀ¸ÄÀ ÛU¼ À ° À è ¸ÀÆAiÀÄð£ÀÆ, G£ÀßvÀ ²RgÀU¼ À ° À è ªÉÄÃgÀĪÀÇ, ¥Àªð À UÀ¼° À è »ªÀiÁ®AiÀĪÀÇ, ªÀȵÀ¨sÀUÀ¼À°è C±ÀévÀܪÉAzÀÆ ºÉý PÁtĪÀ ªÀ¸ÀÄÛUÀ¼À£ÀÄß GzÀºj À ¹ ¨sU À ª À A À vÀ£À ±ÀQA Û iÀÄ£ÀÄß vÉÆÃjPÉÆlÖ. JvÀg Û ª À ÁzÀ ²RgÀzÀ CrAiÀįÉÆÃè CxÀªÁ §ÈºÀvï ¸ÀªÄÀ ÄzÀz æ À CAa£À¯Æ É Ãè ¤AvÀÄ £ÉÆÃrzÁUÀ CªÀÅUÀ¼À ¸À馅 ±ÀQÛU¼ À ÄÀ £ÀªÄÀ ä §Ä¢ÞUÉ ¤®ÄPÀzÝÀ . DzÀÝjAzÀ¯ÃÉ ²RgÀ - ¥Àªð À vÀ - ¸ÀªÄÀ ÄzÀæ £À¢UÀ¼ÄÀ ªÀÄ£ÀĵÀå£À DvÀä «ZÁgÀPÌÉ vÀvéÀ¸ÁªÀiÁVæAiÀiÁAiÀÄÄÛ. ¥ÁætU  ¼ À À G¥Á¸À£A É iÀÄÆ »ÃUÉAiÉÄà : ¥ÀQU ë ¼ À ° À è UÀgÄÀ qÀ£Æ À , ...ªÀÄÄA¢£À ¥ÀÄlPÉÌ

6

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

KALASPANDAN 10th SEPTEMBER 2011

...»A¢£À ¥ÀÄl¢AzÀ

¸À¥ÀðUÀ¼À°è ªÁ¸ÀÄQAiÀÄÆ «ÄãÀÄUÀ¼À°è ªÉƸÀ¼ÉAiÀÄÆ, ªÀÄÈUÀU¼ À ° À è ¹AºÀªÇÀ JAzÀÄ ºÉý ¥ÁætU  ½ À UÉ ¨sU À ª À A À vÀ£ÄÀ PÉÆnÖgÀĪÀ ±ÀQÛAiÀÄ£ÀÄß «ªÀj¹zÀ. E£ÀÄß ªÀiÁ£ÀªÀgÀ£ÀÄß GzÀºÀj¸ÀÄvÁÛ ±À¸ÀÛçzsÁjUÀ¼À°è gÁªÀÄ£ÀÆ, AiÀiÁzÀªÀgÀ°è PÀȵÀÚ£ÀÆ, ¥ÁAqÀªÀgÀ°è CdÄð£À£ÀÆ JAzÀÄ ªÀÄ£ÀĵÀå ±ÀQÛAiÀÄ£ÀÄß w½¹zÁÝ£.É MnÖ£° À è AiÀiÁªÀ ªÀ¸ÄÀ ÛªÅÀ L±ÀéAiÀÄð AiÀÄÄPÀÛªÇÀ , PÁAwAiÀÄÄPÀÛªÇÀ , ±ÀQÛAiÀÄÄPÀÛªÇÀ DVgÀÄvÀÛzA É iÉÆà CªÉ®èªÀÇ £À£Àß vÉÃd¹ì£À MAzÉÆAzÀÄ CA±ÀªÉA§ÄzÀÄ ¨s À U À ª À A vÀ £ À ªÁPÀ å . F zÀ È ¶Ö ¬ ÄAzÀ ¯ É Ã ¨s Á gÀ v À z À ° è £ÁUÀg¥ À Æ À eÉ, UÀgÄÀ qÉÆÃvÀìª,À gÁªÀÄ PÀȵÀÚ ¥ÀÆeÁ¢UÀ¼ÄÀ DZÀ g À u É A iÀ Ä °è ª É . F ¥À æ P À È wUÉ £Á£ÁgÀ Æ ¥À U À ½ AzÀ ¢ªÀå±ÀQÛAiÀÄ£ÀÄß C£ÀÄUÀ» æ ¹gÀĪÀ ¨sU À ª À A À vÀ£À ¥ÀÆeÉAiÉÄA§ ¥s® À ¨sj À vÀ ªÀÈPÀëzÀ MAzÀÄ PÉÆA¨ÉAiÉÄà £Álå. ¥ÀÆeÁAvÉà bÀvÀæA ¸ÀªÀÄ¥ÀðAiÀiÁ«Ä - ZÁªÀÄgÀA ¸ÀªÄÀ ¥ÀðAiÀiÁ«Ä VÃvÀA ±ÁæªAÀ iÀiÁ«Ä - £ÀÈvÀåA zÀ±ð À AiÀiÁ«Ä

¥ÀÄ£À«ðZÁgÀ ¸ÁªÀ i Á£À å ªÀ Ä £À Ä µÀ å £À ¸Ë¨s Á «PÀ CAvÀ B ¥À æ ª À È wÛ U É ¤®ÄPÀ Ä ªÀ A vÉ CwÃA¢æ A iÀ Ä «µÀ A iÀ Ä UÀ ¼ À £ À Ä ß C£ÀÄPÀgÀuÁ¥Àz æ sÁ£ÀªÁV w½¸ÀºÉÆgÀngÀĪÀÅzÉà ±Á¹ÛçÃAiÀÄ £ÁlåPÀ ¯ É . dUÀ w Û £ À «¨s À Æ w¥À Ä gÀ Ä µÀ g ÁzÀ ²æ à gÁªÀ Ä ²æ à PÀ È µÁÚ ¢ UÀ ¼ À UÀ Ä t gÀ Æ ¥Á¢UÀ ¼ À £ À Ä ß ªÀ t  ð ¹gÀ Ä ªÀ ªÁPÀàç§AzsPÀ ÌÉ gÁUÀ - vÁ¼ÀU¼ À £ À ÄÀ ß fÃr¹ UÁ£À ªÀiÁqÀÄvÁÛ C©ü£À¬Ä¸ÀĪÀÅzÉà ¨sÁgÀwÃAiÀÄ £ÀÈvÀå ¸ÀA¥ÀæzÁAiÀÄ. F ªÀĺÁ ¥ÀÄgÀĵÀgÀ fêÀ£ÀzÀ°è £ÀqÉzÀ WÀl£ÉUÀ¼À£ÀÄß ªÀÄ£ÉÆÃgÀAd£ÉAiÀiÁUÀĪÀAvÉ CvÀå®à PÁ®zÀ°è ¥Àz æ ² À ð¸ÀĪÀÅzÉà £ÁlPÀ. £ÀlgÀÄ vÀªÄÀ ä CvÀÄåvÛª À ÄÀ C©ü£A À iÀÄ¢AzÀ d£ÀjUÉ D£ÀAzÀªÀ£ÀÄßAlÄ ªÀiÁr vÁªÀÇ D£ÀAzÀªÀ£ÀߣÀÄ©ü¸ÀÄvÁÛ ªÀÄAiÀĪÀÄgÉAiÀÄĪÀÅzÀÄ F±Àég¥ À Æ À eÉAiÀÄ®èzÉ ªÀÄvÉÛãÀÄ?

¸ÀAPÉÃvÀ ºÀ¸ÛÀ J£ÀÄßvÁÛg.É

£À A ¢PÉ Ã ±À é g À £ À ¥À æ P ÁgÀ ºÀ ¸ À Û ¥ Áæ t UÀ ¼ À Ä ºÀ £ É ß gÀ q À Ä ±ÉÆèÃPÀzÀ PÉÆ£ÉAiÀÄ°è w½¹gÀĪÀ “zÁéz± À À ºÀ¸ÛÀeÁ” EzÀ£ÄÀ ß CxÉʸÀÄvÀÛz.É ªÉÆzÀ®£ÉAiÀÄzÁV ‘¥À¸ æ ÁgÀt’. EzÀgÀ ®PÀëtªÀ£ÄÀ ß ±ÉÆèÃPÀzÆ É A¢UÉ «ªÀj¹zÁÝ£.É 1. ¥À¸ æ ÁgÀt: “¥À¸ æ ÁgÀtweÉÕAiÀÄ ªÀÄÄUÀļÉãÁj ¥À¸ æ ÁgÀuÃÉ vï CAzÀgÉ ¨ÉgÀ¼ÀÄUÀ¼À£ÀÄß ZÁagÀĪÀ ºÀ¸ÀÛPÉÌ ¥Àæ¸ÁgÀtºÀ¸ÀÛ JAzÀÄ PÀgA É iÀÄÄvÁÛg.É

aºÉßUÀ¼ÄÀ J¯Áè jÃw¬ÄAzÀ®Æ C©üªåÀ QÛAiÀÄ£ÀÄß ¸ÀÄáj¹ £Á£ÁxÀðUÀ¼£ À ÄÀ ß M¼ÀUÆ É ArgÀÄvÀÛzÉ J£ÀÄߪÀÅzÀÄ £ÀA¢PÉñÀég£ À ÄÀ ±ÉÆèÃPÀz¯ À èÃÉ w½¹zÁÝ£.É

2. PÀÄAavÀ: “PÀÄAZÀ£ÁzÀAUÀĽãÀAZÀPÄÀ AaPÀB ¸ÀªÄÀ Ä¢ÃjvÀA” ªÀÄr¹zÀ ¨Ég¼ À ÄÀ UÀ¼ÄÀ ¼Àî ºÀ¸ÛÀ PÀÄAavÀªÁUÀÄvÀÛz.É

£Álå ¥Àz æ ± À ð À £Àz° À è ¥Àv æ åÀ PëÀ - ¥ÀgÆ É ÃPÀë ªÀ¸ÄÀ ÛU¼ À À ¸Áܪg À À dAUÀªÄÀ vÀ骣 À ÄÀ ß w½¸ÀĪÀ aºÉßUÀ¼ÄÀ 8. ªÀåQÛAiÀÄ DPÁgÀª£ À ÄÀ ß vÉÆÃj¸ÀĪÀÅzÀÄ ªÉÆzÀ®£ÉAiÀÄzÀÄ. JgÀq£ À A É iÀÄzÀÄ ªÀÄÄRªÀ£ÄÀ ß vÉÆÃj¸ÀĪÀÅzÀÄ. ªÀÄÆgÀ£ÉAiÀÄzÀÄ CªÀÅUÀ½gÀĪÀ ¸ÀܼÀUÀ¼À£ÀÄß vÉÆÃj¸ÀĪÀÅzÀÄ. £Á®Ì£ÉAiÀÄzÀÄ ªÀåQÛAiÀÄ zsÀéd/DAiÀÄÄzsÀUÀ¼À£ÀÄß vÉÆÃj¸ÀĪÀÅzÀÄ. LzÀ£ÉAiÀÄzÀÄ CªÀ¤AzÁUÀĪÀ ¥ÀæAiÉÆÃd£À.

DgÀ£ÉAiÀÄzÀÄ CªÀ£À ¥Àæ¨sÁªÀ ªÁå¦ÛUÀ¼À£ÀÄß ¥ÀæzÀ²ð¸ÀĪÀÅzÀÄ.

CªÀ£À ZÉõÉU Ö ¼ À £ À ÄÀ ß ¸ÀÆa¸ÀĪÀÅzÀÄ K¼À£AÉ iÀÄzÀÄ. JAl£ÉAiÀÄzÀ£ÄÀ ß w½¸ÀzÉ £ÀA¢PÉñÀégÀ£ÀÄ ±ÉÆèÃPÀªÀ£ÀÄß ªÀÄÄV¹zÁÝ£É. DzÀgÉ JAlÄ ®PÀëtUÀ¼À ºÀ¸ÛPÀ ÌÉ aºÉß JAzÀÄ ºÉ¸g À ÄÀ JA¢gÀĪÀÅzÀÄ 8 aºÉßUÀ¼£ À ÄÀ ß zséÀ¤¸ÀÄvÀÛz.É DzÀgÉ KPÉ JAl£ÉAiÀÄzÀgÀ ºÉ¸j À ®è JA§ÄzÀÄ w½zÀħgÀĪÀÅ¢®è. DzÀgÉ ±ÉÆèÃPÀzÀ°è ªÀiÁvÀæ vÀzsÀéeÁ£ÁA ZÀ zÀ±Àð£ÀA JA¢gÀĪÀÅzÀjAzÀ 8 aºÉßUÀ¼ÀÄ ¸ÀjAiÀiÁV §gÀÄvÀÛzÉ. CxÀðzÀ°è zsÀéd ªÀÄvÀÄÛ DAiÀÄÄzsÀ JgÀq£ À Æ À ß MnÖUÃÉ PÉÆnÖgÄÀ ªÀÅzÀjAzÀ 7 ªÀiÁvÀæ £ÀªÄÀ UÉ ¹UÀÄvÀz Û .É ºÁUÁV zséÀd ªÀÄvÀÄÛ DAiÀÄÄzsU À ¼ À £ À ÄÀ ß ¨ÉÃgÉ ¨ÉÃgÉ aºÉßUÀ¼ÁV G¥ÀAiÉÆÃV¹ CxÀªÁ ºÉý C¨sÁå¹¹.

6. ¥ÉÃæ jvÀ: “¥À±ÁÑzÁÝUÃÉ PÀÄAavÉÆêÁ ¥ÉÃæ jvÉÆêÁ ¥À¸ æ ÁjvÀB AiÉÆà ºÀ¸ÛBÀ PÀyvÀ¸Æ É ìÃAiÀÄA ¥ÉÃæ jvÀB ¥ÀƪÀð¸ÉÆj©üB” ¨Ég¼ À ÄÀ UÀ¼£ À ÄÀ ß »A¨sÁUÀPÌÉ §VθÄÀ ªÀÅzÀÄ, C®ÄUÁr¸ÀĪÀÅzÀÄ ªÀÄvÀÄÛ ZÁZÀĪÀÅzÀPÌÉ ¥ÉÃæ jvÀ ºÀ¸Û¥ À ÁætªÉAzÀÄ PÀgA É iÀÄÄvÁÛg.É 7. GzÉ é à ¶Ö v À : “ºÀ ¸ À Û £ ÁªÀ Ä Æzs À é ð ¨s Á ºÉ à AiÀ Ä ÄzÀ Î ªÀ Ä £À A eÁÕ¦ªÀvð À £Éà vÀzÄÀ zÉÃé ¶ÖPÀ «ÄºÁåºÄÀ ¨sð À gÀvÁUÀªÄÀ ªÉâ£ÀA” CAzÀgÉ £Álå PÁgÀåzÀ°è PÉÊUÀ¼À£ÀÄß ªÉÄïÉvÀÄÛªÀÅzÀPÉÌ GzÉéöÖvª À A É zÀÄ PÀgA É iÀÄÄvÁÛg.É (¨sg À v À ÁUÀªÄÀ zÀ®Æè EzÀgÀ G¯ÉèÃR«zÉ) 8. ªÁåªÀÈvÀ:Û “GzÀUv æÀ BÀ ¥Á±Àéð ¨sÁUÉà ºÀ¸Æ É ÛªÁé ªÀÈvÀÛPÆ É Ã ¨sª À ÃÉ vï” ¥Á±ÀéU¼ À ° À è ªÉÄîPÉÌwÛzÀ CAzÀgÉ §® CxÀªÁ JqÀ¨Ás UÀU¼ À ° À è ªÉÄÃ¯É ªÀiÁrzÀ CxÀªÁ JwÛzÀ PÀAiÀÄUÀ¼£ À ÄÀ ß ªÁåªÈÀ vÀÛªA É zÀÄ PÀgA É iÀÄvÁÛg.É 9. ¥ÀjªÀÈvÀ:Û “¥Á±Àð é ¨sÁåAZÀ ¥ÀÄgÉÆèsÁUÉà AiÉÆà ºÀ¸Æ É £ Û l À £Éà PÀÈvÀB ¥ÀjªÀÈvÀÛ ¸ÀéªiÀ ÁSÁåvÆ É Ã £ÁªÀiÁß ºÀ¸ÛÀ «±ÁgÀzÊÉ B” £ÁlåPÁ®zÀ°è ¥Á±ÀéðUÀ½AzÀ ºÀ¸ÀÛUÀ¼À£ÀÄß ªÀÄÄA¨sÁUÀPÉÌ vÀgÄÀ ªÀÅzÀPÌÉ ¥ÀjªÀÈvÀÛ JAzÀÄ PÀgA É iÀÄÄvÁÛg.É 10. ¸ÀAPÉÃvÀ: “HºÁ «zsÁ£À gÀZÀ£Á «£Á¸ÀÆܯÉÆÃQÛ ¥ÀƪÀðPÀA AiÉÆà ºÀ¸ÉÆÛà ¤AiÀĪÀÄA ¥Áæ¥ÀÛ¸Àì ¸ÀAPÉÃvÀ GzÁºÀÈvÀB” CAzÀgÉ ªÀiÁvÀÄUÀ½AzÀ AiÀiÁªÀÅzÉà ¸ÀÆZÀ£É ¬ÄgÀzÉ PÉêÀ® ªÀiË£À¢AzÀ¯ÃÉ CxÀðªÀiÁrPÉƼÀĪ î ÅÀ zÀPÌÉ CxÀ HºÉ¬ÄAzÀ »ÃVgÀ§ºÀÄzÀÄ JAzÀÄ w½zÀÄPÉƼÀÄîªÅÀ zÀPÌÉ

AiÀÄxÁ £Álå ¥ÀAæ iÉÆÃUÀ eÉöÕ ÊB vÀĵÀåAw ¸ÀÄw Û ªÀÄAUÀ¯ÊÉ B || ¨sg À v À À | 37-30

- «.J¸ï.P˲Pï

aºÉß: “¥Àv æ åÀ PÁëuÁA ¥ÀgÆ É ÃPÀëuÁA ªÀ¸Æ À £ Û ÁA £ÁlåPÀªÄÀ ðt ¸Áܪg À v À éÀA dAUÀªÄÀ vÀé «ÄAiÀÄÄPÁëªÀĦvÁ zÀȱÀªiÀ ï vÀzÁPÁgÀ ¥ÀPæ l À £ÀA vÀ£ÄÀ äR¸Àå ¤jÃPÀëtA vÀvÁÜ÷ì£z À ± À ð À £ÀA ZÁѦ vÀzÞÀ ÷éeÁ£ÁA ZÀ zÀ±ð À £ÀA vÀzÁAiÀÄÄzs¥ À PæÀ l À £ÀA vÀzÎÀ vÁxÀ𠤪ÉÃzÀ£AÀ vÀzÁé÷ì¥ÛÀ zÀ±ð À £ÀA ZÁѦ vÀZÑÉõÁÖz± À ð À £ÀA vÀxÁ CµÀÖ®PÀët«ÄvÉåÃZÀaѺßÀ «ÄvÀå©üyAiÀÄvÉÃ

5. C¥À ª É Ã ¶Ö v À : “Czs À ¸ Áé z À Î ªÀ Ä £À A AiÀ Ä ¸À å ºÀ ¸ É Æ Û Ã £Á ªÀÄ¥ÀªÉöÖvÀB” CAzÀgÉ ¨ÉgÀ¼ÀÄUÀ¼À£ÀÄß PɼÀªÀÄÄRªÁV »rAiÀÄĪÀÅzÀPÌÉ C¥ÀªÃÉ ¶ÖvÀ JAzÀÄ PÀgA É iÀÄÄvÁÛg.É

£À vÀxÁ UÀAzsª À iÀ Á¯ÉåãÀ zÉêÁ¸Àĵ Û åÀ Aw ¥ÀÆfvÁB ||

£ÀlgÉA§ ¨sÁªÀª£ À ÄÀ ß ªÀÄgÉvÄÀ C©ü£À ĸÀĪÀ £ÀljUÀÆ

(»A¢£À ¸ÀAaPɬÄAzÀ )

4. ¥ÀÄATvÀ: “¥ÀÄgÉÆèsÁUÉà PÀÄAavÉÆà ªÁ gÉÃavÉÆà ªÁ ¥À¸ æ ÁjvÀB AiÉÆà ºÀ¸ÁÛ¸ÄÀ , ¥ÀvÁPÁ¢£ÁðªÀiÁ¸À ¥ÀÄeÁÕvÆ É Ã ¨sª À ÃÉ vï” ¥ÀvÁPÁ¢ ºÀ¸U ÛÀ ¼ À ° À è ¨Ég¼ À ÄÀ UÀ¼£ À ÄÀ ß ªÀÄr¸ÀĪÀÅzÀÄ, C®ÄUÁr¸ÀĪÀÅzÀÄ ªÀÄvÀÄÛ ZÁZÀĪÀÅzÀPÌÉ ¥ÀÄATvÀª£ É ÄÀ ßvÁÛg.É

UÀ A zs À ªÀ i Á¯Áå¢UÀ ½ AzÀ ¥À Æ f¹zÀ g É DUÀ Ä ªÀ ¸ÀAvÉÆõÀQÌAvÀ®Æ £Álå ¥ÀæAiÉÆÃUÀªÀ£ÀÄß §®è £ÀlgÀÄ C¦ð¸ÀĪÀ ªÀÄAUÀ¼PÀ g À À ¸ÀÄÛwUÀ½AzÀ zÉêÀvU É ½ À UÉ C¢üPÀ ¸ÀAvÉÆõÀªÁUÀÄvÀÛzA É zÀÄ ¨sg À v À ª À ÁPÀå«zÉ.

»ÃUÉ KPÉÆÃzÉåñÀå¢AzÀ ºÉÆgÀl JgÀqÀÄ ¸ÁzsÀ£À ªÀiÁUÀðUÀ¼ÃÉ £Álå ªÀÄvÀÄÛ ¥ÀÆeÉ.

- qÁ|| gÁ¢üPÁ gÀAf¤

3. gÉÃfvÀ: “CAUÀĽ£ÁA ¥ÀZ æ ® À £ÁzÉÃavÀA ¥ÀgQÀ ÃwðvÀg”À CAzÀgÉ C®ÄUÁr¸ÀĪÀ ¨Ég¼ À ÄÀ UÀ¼À ºÀ¸PÛÀ ÌÉ gÉÃfvÀª£ É ÄÀ ßvÁÛg.É

D£ÀAzÉÆà §æºäÉ Ãw ªÀåeÁ£Ávï ||

¸ÀAvÉÆõÀA d£ÀAiÉÄÃvï¥ÁædBÕ vÀzÃÉ ªÀ F±ÀégÀ ¥ÀÆd£ÀA||

C©ü£ÀAiÀÄ zÀ¥Àðt ¨sÀgÀvÀ£ÀÄ £Álå±Á¸ÀÛçzÀ°è w½¹gÀĪÀ ºÀ¸ÀÛPÀgÀtUÀ¼À §UÉÎ w½zÀÄPÉÆArj. FUÀ C©ü£A À iÀÄ zÀ¥ð À tzÀ°è £ÀA¢PÉñÀég£ À ÄÀ w½¹gÀĪÀ ºÀ¸ÀÛ¥Áæt®PÀëtUÀ¼À£ÀÄß CªÀÅUÀ¼À ®PÀëtUÀ¼ÉÆA¢UÉ «ªÀgª À ÁV CxÉÊð¹PÉƼÀÄîª.À

¥ÉæÃPÀëPÀgÉA§ ¨sÁªÀªÀ£ÀÄß ªÀÄgÉvÀÄ «ÃQë¸ÀĪÀ ¥ÉæÃPÀëPÀjUÀÆ ¥ÁvÀ¢ æ AzÀÄAmÁUÀĪÀ vÀ£ÀäAiÀÄ ¨sÁªÁ£ÀĨsÀªÀ D£ÀAzÀªÉà §æºäÀ .

PÉÆ£ÉAiÀÄzÀÄ EzÀPÌÉ ºÉÆA¢PÉÆAqÀAvÉ EgÀĪÀ ¥ÀzÁxÀð nÃPÉ. “¥ÀzÁ£ÁA PÀyvÁ£ÁA¸ÁézÀxÀ𠫪ÁðºÀvÁAiÀÄ¢ EAiÀÄA ¥ÀzÁxÀð nÃPÉÃw PÀyvÁ ¨sÀgÀvÁ¢ü©üB” CAzÀgÉ ºÉüÀÄwÛgÀĪÀ ¥ÀzÀUÀ¼À CxÀðªÀ£ÀÄß ¤²évÀªÁV ªÀåPÀÛ¥Àr¸ÀĪÀ ºÀ¸ÛÀ ¥ÁætPÉÌ ¥ÀzÁxÀð nÃPÉ JAzÀÄ ºÉ¸g À ÄÀ . »ÃUÉ zÁéz± À À ºÀ¸ÛÀ ¥Áæt®PÀt ë UÀ¼£ À ÄÀ ß C©ü£AÀ iÀÄ zÀ¥ð À tPÁgÀ «ªÀj¹zÁÝ£.É EzÀ£ÄÀ ß w½¹PÉÆmÁÖUÀ C©ü£A À iÀĪÀ£ÄÀ ß JµÀÄÖ «zsz À ° À è AiÀiÁªÀ AiÀiÁªÀ CxÀðUÀ½UÉ ºÀ¸ÀÛUÀ¼À ¨ÉgÀ¼ÀÄUÀ¼ÀÄ ¥ÁævÀ¤zsÀåªÀ£ÀÄß ºÉÆA¢ªÉ JA§ÄzÀÄ w½AiÀÄÄvÀÛzÉ. eÉÆvÉUÉ ¥ÁæAiÉÆÃVªÁV £ÀÈvÀåªÀ£ÀÄß ªÀiÁqÀĪÁUÀ qÁ|| ªÉAPÀl ®PÀëöäªÄÀ 䣪 À g À A À vÉ MAzÀÄ ªÁPÀåzÀ gÀZ£ À U É É 25 jAzÀ 50 ¨sÁªÀU¼ À £ À ÄÀ ß vÉÆÃj¸ÀÄwÛzÝÀ AvÉ, J®ègÆ À ¸ÀºÀ F ªÀiÁUÀðzÀ°è ¥ÀA æ iÉÆÃUÀ ªÀiÁqÀ®Ä ¸ÁzsåÀ ªÁUÀÄvÀÛz.É EA¢£À ªÁAiÀÄĪÉÃUÀzÀ d£À fêÀ£ÀzÀ°è J®èªÀ£ÀÆß ªÉÃUÀªÁUÉà PÀ°AiÀĨÉÃPÉ£ÄÀ ߪÀ ¥Àwæ ¨sU É ½ À UÉ ¸ÀªÄÀ AiÀÄzÀ NlzÉÆA¢UÉ vÀªÄÀ ä fêÀ£z À À NlªÀ£ÄÀ ß CµÉÖêÉÃUÀªÁV Nr ªÀÄÄV¹PÉÆAqÀÄ ©qÀĪÁ¸É ºÉÆgÀvÄÀ , »A¢£Àªg À AÀ vÉ vÁ¼Éä ¤zsÁ£À JA§ÄzÀÄ CªÀgÆ É ¼ÀUÉ DªÁºÀ£AÉ iÀiÁUÀzÀ ªÀåxð À ¥ÀzU À ¼ À ÄÀ . AiÀÄĪÀ d£Àv,É ªÀÄPÀ̼ÄÀ MAzÀ®è MAzÀÄ PÁgÀt¢AzÀ ¢£À ¨É¼U À ÁUÀĪÀÅzÀg° À è ¢£À¥w À Pæ U É ¼ À ° À è ¸ÀÄ¢ÝAiÀiÁUÀÄvÁÛg.É DzÀgÉ ¨ÉÃgÁªÀ ¥Àw æ ¨sU É ½ À AzÀ®è

DPÀ¹äPz À À C¥ÀWÁvÀU½ À AzÀ, DvÀäºv À åÉ U½ À AzÀ fêÀ£ª À £ À ÄÀ ß CµÉÖà ªÉÃUÀªÁV ªÀÄÄV¹PÉÆAqÀ §UÉÎ avÀt æ . ºÉvÀÛªÀgÀÄ CªÀgÀ£Éßà £ÀA©PÉÆAqÀªÀgÀ §zÀÄPÀÄ JµÀÄÖ £ÀgÀPÀªÁUÀÄvÀÛzÉ JA§ CjªÉà E®èzÉ aPÀÌ ªÀÄPÀÌ¼Æ À ¸ÀºÀ DvÀäºv À åÉ UÉ ±Àgu À ÁUÀĪÀÅzÀÄ ¨sÁgÀvz À AÀ vÀºÀ zÉñÀz° À è EAvÀºÀ WÀl£ÉU¼ À ÄÀ ¸ÀªÃÉ ð¸ÁªÀiÁ£Àå JA§AvÁVgÀĪÀÅzÀÄ JAvÀºÀ zÀÄgÀAxÀ.

CzÀPÁÌVAiÀiÁzÀgÀÆ ºÉvÀÛªÀgÀÄ ªÀÄPÀ̽UÉ aPÀÌA¢¤AzÀ¯Éà CAzÀ g É C©ü ª À Ä £À Ä å ºÉ Ã UÉ vÁ¬Ä UÀ ¨ s À ð zÀ ° è z ÁÝUÀ ¯ É Ã ZÀPª æÀ ÇÀ 庪 À £ À ÄÀ ß ¨sÃÉ ¢¸ÀĪÀÅzÀÄ£ÀÄß PÀ°vÀAvÉ, vÀªÄÀ ä UÀ¨ð Às zÀ°è£À ªÀÄPÀ̽UÉ ¸ÀzÁ zsÉÊgÀå, vÁ¼Éä, ªÀÄÄ£ÀÄßUÀÄΪÀ PÉZÉÑzÉ, «ÃgÀvÉ, EªÉ®èªÀ£ÉÆß¼ÀUÉÆAqÀ ºÁqÀÄ, PÀxÉ, £ÁlPÀ, £ÀÈvÀåUÀ¼À£ÀÄß £ÉÆÃqÀĪÀÅzÀgÀ, PÉüÀĪÀÅzÀgÀ ªÀÄÆ®PÀ ªÀÄPÀ̼À ¨sÀ«µÀåªÀ£ÀÄß ºÉvÛª À g À ÄÀ ¸ÀÄgÀQëvU À Æ É ½¸À§ºÀÄzÀÄ. E®èªÁzÀ°è zÀÆgÀz± À ð À £À, «ÃrAiÉÆÃ, dAUÀªÄÀ ªÁt (ªÉƨÉʯï) EªÀÅUÀ¼À §¼ÀPU É ½ À AzÀ UÀ¨sÀðzÀ°ègÀĪÁUÀ¯Éà ªÀÄPÀ̼ÀÄ zÀÆgÀzÀ±Àð£À, dAUÀªÀĪÁt EªÀÅUÀ¼À ¥ÀjZÀAiÀÄ, «zÉò ¸ÀA¸ÀÌøwUÀ¼Éà ¨ÉÃgÀÄUÀ¼ÁV ªÀÄÄAzÉ ¤ÃªÀÅ ¨ÉÃPÉAzÀgÀÆ ¤ªÀÄä ªÀÄPÀ̼ÀÄ ¤ªÀÄäªÀgÁUÀzÉ ºÉÆÃV ©qÀĪÀ C¥ÁAiÀĪÀ£ÀÄß ¤ÃªÉà JzÀÄj¸À¨ÉÃPÀÄ. ºÉZÁÑV ºÉvÀÛªÀgÀÄ CzÀgÀ®Æè vÁAiÀÄA¢gÀÄ EzÀgÀvÀÛ ºÉZÀÄÑ UÀªÄÀ £Àºj À ¹ ªÀÄPÀ̼À DAiÀÄĵÀ媣 À ÄÀ ß ºÉZÄÀ ª Ñ iÀ ÁqÀĪÀvÛÀ ¸ÀA¸ÀÌøw, PÀ¯U É ¼ À £ À ÄÀ ß ¤ªÀÄäzÁV¹PÉƼÀÄîªÀ CªÀ±åÀ Pv À É EzÉ. ºÉuÆ É A Ú zÀÄ PÀ°vÀgÉ ±Á¯ÉAiÉÆAzÀÄ vÉgz É A À vÉ JA§ GQÛAiÀÄ£ÀÄß EAzÀÄ ¤dªÁV¸À Ä ªÀ v À Û ºÉ v À Û ª À g À Ä zÀ È qs À ºÉ e É Ó ¬ Äj¸À ¨ É Ã PÁVzÉ .

AiÀiÁªÀÅzÉà ¸ÀAVÃvÀ, £ÀÈvÀå, avÀ,æ £ÁlPÀ, DlUÀ¼À ¸Ààzð És UÀ¼° À è ¸ÉÆÃ®Ä UɮĪÀÅUÀ¼ÀÄ MAzÉà £ÁtåzÀ JgÀqÀÄ ªÀÄÄRUÀ¼ÀÄ CªÀÅUÀ½VAvÀ DlzÀ ¸ÀÆàwð¬ÄAzÀ DqÀĪÀ°è, ¥Àz æ ² À ð¸ÀĪÀ°è ¥Á¯ÉÆμÀÄî«PÉ ¥ÀæªÀÄÄR. ¨ÉÃgÉAiÀĪÀgÀ ¨ÉÊUÀļÀ, C¥ÀªÀiÁ£À §zÀÄQ£À ªÀÄÄ£ÀßqÉUÉ vÉÆÃgÀt. CªÀÅUÀ¼À£ÀÄß zÀÈqsÀavÀÛ¢AzÀ ¹éÃPÀj¹ £ÀªÄÀ ä vÀ¥ÄÀ àU¼ À £ À ÄÀ ß w¢ÝPÆ É AqÀÄ, EAzÀÄ CAzÀªg À ÃÉ ªÀÄÄAzÉ ±Àº¨ À Á¸ï JAzÀÄ ºÉªÄÉ ä¬ÄAzÀ ºÉÆUÀ¼ÄÀ ªÀAvÁUÀ¨ÃÉ PÀÄ JA§ bÀ®¢AzÀ §zÀÄPÀ£ÄÀ ß D¸Á颹, EvÀgg À £ À ÄÀ ß §zÀÄPÀ®Ä ©qÀ®Ä ¸ÀĸÀA¸ÀÌøvÀ£ÁßV¸ÀĪÀ ªÀÄ£ÉÆøÉÜöÊgÀå¢AzÀ ¨É¼ÉAiÀÄĪÀ ªÀÄ£ÉÆèsÁªÀ¢AzÀ ªÀÄPÀ̼£ À ÄÀ ß ¨É¼¸ É ¨ À ÃÉ PÀÄ. CzÀPÁÌV AiÉÆÃUÀ, ¸ÀAVÃvÀ, £ÀÈvÀå, £ÁlPÀ, avÀæ AiÀiÁªÀÅzÉÆà MAzÀÄ PÀ¯A É iÀÄ£ÀÄß ªÀÄPÀ̽UÉ aPÀ̪A À iÀĹì¤AzÀ¯ÃÉ ¥ÁoÀzÆ É A¢UÉ PÀ°¸ÀÄvÁÛ ºÉÆÃV, ¥ÁoÀz° À è »AzÉ ©Ã¼ÀÄvÁÛgÉ JAzÀÄ PÀ¯U É ¼ À £ À ÄÀ ß PÀ°¸ÀzÉ PÉêÀ® ±Á¯É, ªÀÄ£É ¥ÁoÀ, ¥ÀĸÀÛPÀ CzÀPÌÉ ¨É¯É CªÀgÄÀ vÉUz É ÄÀ PÉƼÀÄîªÀ CAPÀUÀ¼ÀÄ EµÀÖgÀ¯Éèà CªÀgÀ ¥Àæw¨sÉAiÀÄ£ÀÄß PÀnÖºÁPÀ¨ÉÃr.

CªÀjUÉ AiÀiÁªÀÅzÀg° À è D¸ÀQÛ¬ÄzÉAiÉÆà CzÀgÆ É A¢UÉ CªÀgÀ ªÀåQÛvéÀ «PÁ¸ÀUÆ É ¼Àî®Ä ¸ÀºPÀ j À ¹ zÉñÀPÌÉ GvÀÛªÄÀ ¥Àe æ A É iÀiÁV PÉÆqÀÄUÉ ¤Ãr. K£ÀÄ PÉÆqÀ®Ä ¸ÁzsåÀ ªÁUÀ¢zÀÝgÆ À F ¥ÀA æ iÀÄvÀß ¤gÀAvÀgÀ«gÀ°. DUÀ¯ÁzÀgÀÆ CuÁÚ ºÀeÁgÉAiÀÄAvÀºÀªÀgÀ ¨sµ æÀ ÁÖZÁgÀzg À À «gÀÄzÀÞzÀ ZÀ¼ÄÀ ªÀ½, UÁA¢üÃfAiÀĪÀgÀ ¸ÀvÁåUº æÀ À EªÀÅUÀ½UÉ MAzÀÄ ªÀiË®å zÉÆgÀPÀÄvÀÛzÉ. E®èªÉà «ÃgÀ¥Àà£ï, ²ªÀgÀ¸À£ï ªÀÄÄAvÁzÀAvÀºÀ £ÀgÀ¨sÀPÀëPÀgÀAvÉ PÉƯÉUÀqÀÄPÀgÀ£ÀÄß, CzsÀ«ÄðUÀ¼À£ÀÄß, CvÁåZÁjUÀ¼À£ÀÄß, gÁªÀt zÀĵÁë¸ÀgÀ£ÀßµÉÖà dUÀwÛUÉ PÉÆqÀÄUÉUÀ¼ÁV¸ÀÄvÁÛ ºÉÆÃV CzÀjAzÀ CªÀgÀ£ÀÄß ºÉÆgÀUÉ vÀg® À Ä ¸ÁzsåÀ ªÁUÀzÉ £ÁªÀÇ §zÀÄPÀ¯ÁUÀzÉ EgÀĪÀAvÀºÀ ¥Àj¹ÜwAiÀÄ£ÀÄß £ÁªÉà vÀAzÀÄPÉÆAqÀAvÁUÀÄvÀÛz.É F ¤nÖ£° À è ºÉvª ÛÀ g À ÄÀ , UÀÄgÀÄUÀ¼ÄÀ , PÀ¯Á«zÀgÄÀ , ¸Á»wUÀ¼ÄÀ J®ègÆ À aAw¹ ¤ªÀÄä PÉÆqÀÄUÉU¼ À £ À ÄÀ ß zÉñÀPÁÌV, ¸ÀA¸ÀÌøwUÁV, PÀ¯U É ÁV ¤Ãr.

DUÀµÖÉà ¤ªÀÄä ªÀiÁ£ÀªÀ d£ÀäzÀ §zÀÄQUÀÆ ¸ÁxÀðPÀv.É ...ªÀÄÄAzÀĪÀgAÉ iÀÄĪÀÅzÀÄ

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

¤£ÉßUÀ¼À

7

KALASPANDAN 10th SEPTEMBER 2011

£É£ÉAiÀÄÄvÁÛ....

¨sÁUÀ

25

»jAiÀÄ «ªÀıÀðPÀ ²æà J¸ï. J£ï. ZÀAzÀæ±ÉÃRgï CªÀgÀ ¸ÀéUÀvÀUÀ¼ÀÄ

£À

ªÀÄä §¸ÀªÀ£ÀUÀÄr ±ÁSÉUÉ ¤jÃQë¹zÀ ¥ÉÆÃæ vÁìºÀ zÉÆgÀPz À ÃÉ ºÉÆìÄvÀÄ. ¸ÀĪÀiÁgÀÄ JgÀqÄÀ wAUÀ¼ÄÀ , ªÁgÀPÌÉ gq É ÄÀ ¢£ÀPÁÌzg À Æ À PÀxPÀ ï DPÁAQëU¼ À ÁågÀÆ ªÀÄÄAzÉ §A¢gÀ°®è. ¥ÀæAiÀÄvÀßPÉÌ ªÀÄAUÀ¼À ºÁqÀ¨ÉÃPÁV §A¢vÀÄ.Û CzÀjAzÀ ¯Á¨sU À ½ À ¹zÀª£ À ÄÀ £Á£ÉƧâ£ÃÉ . JAzÀÆ E®èz,À MAzÉà ¸ÀªÄÀ £ÁV ªÀÄÆgÀÄ-£Á®ÄÌ “vÉÆÃqÁ”UÀ¼£ À ÄÀ ß PÀ°¹zÀÝ®èzÃÉ , PÀqA É iÀÄzÁV JA§AvÉ UÀuÃÉ ±À vÉÆÃqÁ(!) ªÀ£ÀÄß PÀ°¹ “E£ÀÄß ¤£ÀUÉ PÀ°¸ÀĪÀÅzÉãÀÆ G½¢®è. ¸ÁzsÀ£ÉAiÀÄ£ÀÄß ªÀÄÄAzÀĪÀj¹PÉÆAqÀÄ ºÉÆÃUÀÄ. £Á£ÀÄ PÀ°wzÀÄÝ EzÀQÌAvÀ ºÉaÑ£ÀzÉä®è. DzÀgÉ MAzÀÄ ªÀiÁvÀæ £É£¦ À qÀÄ. K£ÀÄ PÀ°vÉ JA§ÄzÀÄ ªÀÄÄR媮 À .è CzÀ£ÄÀ ß ºÉÃUÉ ªÀÄÄAzÀĪÀj¸ÀÄwÛÃ, ¤ªÀð»¸ÀÄwÛà JA§ÄzÉà ªÀÄÄRå”, JA§ §Ä¢ÞªÁzÀzÆ É A¢UÉ ¸ÉÆúÀ£ï D ±ÉÊ°AiÀÄ°è £À£U À Æ É AzÀÄ CAvÀ¸£ ÛÀ ÄÀ ß MzÀV¹PÉÆnÖzÝÀ gÄÀ . C°èUÉ D ±ÁSÉAiÀÄ C¹Ûvéª À ÇÀ ªÀÄÄPÁÛAiÀÄUÉÆArvÀÄÛ! EzÀjAzÀ D ¢£ÀUÀ¼À°è, JAzÀgÉ 1943-45gÀ ¸ÀĪÀiÁj£À°è £ÀÈvÀå PÀ°AiÀÄĪÀÅzÀg° À è ¥ÉÆÃæ vÁìºÀ AiÀiÁªÀ ªÀÄlÖz° À èvÄÀ Û JA§ÄzÀ£ÄÀ ß H»¸À§ºÀÄzÀÄ. ®°vÁ zÉÆgÉ, PÀȵÀg Ú Áªï zÀA¥ÀwUÀ¼ÄÀ C®à¸é® À à GvÉÃÛ fvÀgÁVzÀÝgÄÀ .

CzÀÆ EA¢gÀĪÀAwgÀ°®è. CzÀgÀ®Æè PÀxÀPï£À ¥Àæ¨sÁªÀ E£ÀÆß ±ÉʱÁªÀ¸ÜÉ AiÀÄ°èAiÉÄà EvÀÄÛ. ±Á¯ÉAiÀÄ ¥Àgz À É ©zÀÝ£A À vÀgÀ £À«Ää§âgÀ ¨sÃÉ nAiÀÄ MAzÀÄ ¢£À. ¸ÉÆúÀ£ï £À£U À É JgÀqÄÀ vÀÄAqÀÄ ¥ÉÃqÀU¼ À ¤ À ßvÀÄ,Û vÀªÄÀ UÉ ¥ÀÄvÀæ¸ÀAvÁ£À ¥Áæ¦ÛAiÀiÁ¬ÄvÉA§ ±ÀĨsÀ ¸ÀªÀiÁZÁgÀªÀ£ÀÄß CgÀ Ä »zÀ g À Ä . DzÀ g É vÁ¬Ä-ªÀ Ä UÀ Ä ªÀ £ À Ä ß PÁt®Ä £À£ÀߣÁߺÁ餸À°®è. £Á£ÀÆ D ¢QÌ£À°è D¸ÀQÛAiÀÄ£ÀÄß ªÀåPÀÛ¥Àr¸À°®è. DzÀgÀÆ, CªÀgÀÄ £À£Àß ¸À®ºÉAiÀÄAvÉ vÀ ª À Ä ä ªÀ Ä UÀ ¤ UÉ £À g É Ã AzÀ æ ¯ Á¯ï JAzÀ Ä £ÁªÀ Ä PÀ g À t ªÀiÁqÀ®Ä M¦àzÀgÀÄ. ºÉ¸ÀgÀÄ CzÉà D¬ÄvÀÄ PÀÆqÀ. «µÁzÀªÉAzÀgÉ, ªÀÄÄA¢£À wAUÀ¼À¯Éèà ªÀiÁè£ÀªÀzÀ£ÀgÁV £À£ßÀ °èUÉ §AzÀÄ ¸ÉÆúÀ£ï vÀªÄÀ ä – EAzÁætàAiÀÄ «ªÁºÀ C£À Æ fðvÀ U É Æ ArvÉ Û A § ¸À Ä ¢Ý. JµÀ Ä Ö DvÀ Ä gÀ ¢ AzÀ zÀA¥ÀwUÀ¼ÁVzÀÝgÆ É Ã, CµÉÃÖ ²ÃWÀª æ ÁV ¨ÉÃ¥ÀðqÉAiÀiÁVzÀÝgÄÀ .

JAzÀg,É ¸ÉÆúÀ£ï ªÀÄvÉÛ, D ºÉÆwÛUÉ CzÉà ªÀįÉèñÀégA À £À PÁqÀÄ ªÀįÉèñÀégÀ zÉêÀ¸ÁÜ£z À À §zÀÄV£À 15£Éà wgÀÄ«£À, ºÀ¼A É iÀÄ ªÀÄ£ÉAiÀĵÉÖà C£ÀÄPÀÆ®ªÁVzÀÝ ªÀÄ£ÉAiÀÄ°è ªÁ¸À. vÀgU À w À UÀ¼£ À ÄÀ ß ªÀÄÄAzÀĪÀj¸À®Ä vÀAiÀiÁgÁzÀgÄÀ .

F ªÀÄzsåÉ £ÀªÄÀ ä ±Á¯ÉUÉ ºÀ®ªÀÅ GvÁì»Ã DPÁAQëU¼ À À ¸ÉÃ¥ÀðqÉAiÀiÁVvÀÄÛ. CªÀgÀ°è ¥ÀæªÀÄÄRgÉAzÀgÉ, ªÉÄʸÀÆgÀÄ ¯ÁåA¥ïì£À°è ¨ÉÆèÃAiÀÄgï DVzÀÝ £À£Àß «ÄvÀæ PÉ.J£ï. ¸ÀÄAzÀgïgÁªï, ªÀįÉèñÀégÀzÀ SÁåvÀ CªÉÄZÀÆgï £ÁlPÀ PÀ ¯ Á«zÀ JA.J¯ï.J¸ï.±Á¹Û ç à jAzÀ DgÀ A ©ü ¸ À ¯ ÁzÀ »ªÀiÁA±ÀÄ ²±ÀÄ«ºÁgÀzÀ°è ²PÀëPÀ£ÁVzÀÝ ºÉZï.Dgï.

PÉñÀªª À ÄÀ Æwð ªÀÄvÀÄÛ D ºÉÆwÛUÉ PÀȵÀg Ú Áªï zÀA¥ÀwUÀ½AzÀ ¨sÀgÀvÀ£ÁlåªÀ£ÀÄß C¨sÀå¹¹ ¥ÀæªÀzsÀðªÀiÁ£ÀPÉÌ §gÀÄwÛzÀÝ, ¥À æ w ¨s Á ªÀ A vÉ PÁAvÁ. FPÉ DUÀ v Á£É vÀ A zÉ A iÀ Ä £À Ä ß PÀ¼ÉzÀÄPÉÆAqÀÄ vÁ¬Ä ªÀÄvÀÄÛ ªÀÄƪÀgÀÄ vÀªÀÄäA¢gÀÄ ªÀÄvÀÄÛ M§â vÀAVAiÀÄgÀ ¸ÀA¸ÁgÀ ¤ªÀðºÀuÉ ©UÀqÁ¬Ä¹, ¸ÉÆúÀ£ï vÀªÄÀ ä ¸ÀºÁAiÀĺÀ¸Ûz À À D±Á鸣 À É ¤ÃrzÀÄzÀjAzÀ, ¸Àºd À ªÁVAiÉÄà PÀxPÀ ï£ÀvÛÀ ªÁ°zÀgÄÀ . PÀȵÀg Ú Áªï zÀA¥ÀwUÀ¼À £ÀµÖÀ, ¸ÉÆúÀ£ïgÀ £ÀÈvÀå±Á¯ÉAiÀÄ ¯Á¨sª À ÁV ¥Àjt«Ä¹vÀÄÛ.

PÁAvÀ PÀ°PÉAiÀÄ°èAiÀÄÆ ²ÃWÀª æ ÁV ªÀÄÄAzÀĪÀjzÀÄzÀjAzÀ D ¯Á¨sz À À D¼ÀzÀ CjªÁUÀ®Æ §ºÀ¼À ¸ÀªÄÀ AiÀÄ »rAiÀÄ°®è!

D ¸ÀªÀÄAiÀÄzÀ°è ¸ÉßúÀ®vÁgÀÆ £ÀªÉÆäA¢VzÀÄÝzÀjAzÀ D ªÀÄÄAzÉ £Àqz É À MAzÉgq À ÄÀ PÁAiÀÄðPÀª æ ÄÀ UÀ¼ÄÀ PÀ¯A É iÀÄ zÀȶ֬ÄAzÀ AiÀıÀ¸ì£ À Æ À ß UÀ½¹vÀÄÛ.

EzÉà ¸ÀĪÀiÁj£À°,è JAzÀgÉ ¸ÉÆúÀ£ïgÀ ªÉÆlPÀÄUÉÆAqÀ ªÉʪÁ»vÀ fêÀ£,À PÁAvÁ, ¸ÀÄAzÀgï ªÀÄvÀÄÛ £Á£ÀÄ £Àwð¹zÀ KPÉÊPÀ ¥Àz æ ± À ð À £Á - £ÀAvÀg,À £Á£ÀÄ ¯ÁUÁ¬ÄÛ¤AzÀ §AiÀĹzÀÝ J®è¥àÀ ¦¼ÉîAiÀĪÀg° À è ¨sg À v À £ À Álå PÀ°PÉ ªÀÄÄAzÀĪÀj¸ÀĪÀ CªÀPÁ±À MzÀV §A¢vÀÄÛ. D ¸ÀªÀÄAiÀÄzÀ°è CtÚ ²ªÀÅ, ¥Àwß gÁdAgÉÆA¢UÉ ªÀÄzÀgÁ¹£À°è vÀ£Àß ªÉʪÁ»PÀ fêÀ£ÀªÀ£ÀÄß DgÀA©ü¹zÀÝ. DPÁ±ÀªÁtÂAiÀÄ ªÀÄzÀgÁ¸ÀÄ PÉÃAzÀz æ ° À è PÁAiÀÄðPÀª æ ÄÀ ¤ªÀðºÀuÁ¢üPÁjAiÀiÁVzÀÝ ²ªÀÅ UÉÆÃ¥Á®¥ÀÄgÀA£À MAzÀÄ ªÀÄ£ÉAiÀÄ°è ªÁ¸ÀªÁVzÀÝ. CªÀ£À MAzÀÄ ¥ÀvÀæzÀ°è, vÀ£Àß ¸ÀºÉÆÃzÉÆåÃV ¦.Dgï ¸Áé«Ä ¨ÉAUÀ¼ÀÆjUÉ §gÀĪÀªÀjzÀÝgÉAzÀÆ, CªÀgÉÆqÀ£É £Á£ÀÆ

ªÀÄzÀgÁ¹UÉ vÉgÀ¼À®Ä ¹zÀÞ£ÁVgÀ¨ÉÃPÉAzÀÆ ¸ÀÆa¹zÀÝ. gÉÆnÖ ZÁj vÀÄ¥ÀàzÀ°è ©¢ÝvÀÄÛ. ²ªÀÅ ¤gÀƦ¹zÀÝAvÉ ¸Áé«Ä £À£ÀߣÀÄß ¨sÉÃnAiÀiÁV, vÀªÀÄä AiÉÆÃd£ÉAiÀÄ£ÀÄß £À£ßÀ ªÀÄÄA¢lÖgÄÀ . CzÀgA À vÉ, ªÀÄzÀgÁ¹£À°è SÁåvÀ avÀæ ¤zÉÃð±ÀPÀ PÉ. ¸ÀħæºÀätåAgÀªÀgÀ C£ÀÄd PÉ. «±Àé£ÁxÀ£ï £Àq¸ À ÄÀ wÛzÝÀ £ÀÈvÉÆåÃzÀAiÀÄ ¸ÀA¸ÉÜAiÀÄ°è £Á£ÀÄ ¨sg À v À £ À Álå, PÀxÀPï ²PÀëPÀ£ÁV £ÉêÀÄPÀUÉÆArgÀĪɣÉA§ÄzÀÄ. ¸Àé®à »AdjPɬÄAzÀ¯Éà D DºÁé£ÀPÉÌ ¸ÀªÀÄäw¹, CªÀgÉÆqÀ£É CAzÉà gÁwæ gÉÊ°£À°è ªÀÄzÀgÁ¹UÉ vÉg¼ À ® À Ä ªÀÄÄAzÁzÉ. ²ªÀŪÀ£ÀÄß £ÉÆÃqÀĪÀ CªÀPÁ±À, CªÀ£ÉÆqÀ£É ªÁ¹¸ÀĪÀ ¸À Ä AiÉ Æ ÃUÀ . ¤AiÉ Æ Ãf¹zÀ A vÉ , CªÀ Ä ä CtÚ vÀ ª À Ä ä vÀAVAiÀÄjAzÀ ©Ã¼ÉÆÌAqÀÄ ªÀÄzÀgÁ¹UÉ ¥ÀA æ iÀiÁt ¨É¼¹ É zÉ. ªÀ Ä Ä£À Æ ì Z À £ É E®è z É Ã ºÉ Æ ÃzÀ Ä zÀ j AzÀ ¤¯ÁÝtzÀ ° è ²ªÀÅ«£À G¥À¹ÜwAiÀÄ£ÀÄß JzÀÄgÀÄ £ÉÆÃqÀĪÀAwgÀ°®è.

UÉÆÃ¥Á®¥ÀÄgÀAUÉ PÀgÉzÉÆAiÀÄÄåªÀAvÉ M§â ¸ÉÊPÀ¯ï jPÁë ZÁ®PÀ¤UÉ £À£ßÀ £ÀÄß M¦à¹, ªÀÄgÀÄ¢£À ªÉÄʯÁ¥ÀÄgÀA£À ®¸ï ZÀZï𠧽 EgÀĪÀ £ÀÈvÉÆåÃzÀAiÀÄzÀ°è vÀªÄÀ ä£ÄÀ ß ¸ÀA¢ü¸ÄÀ ªÀAvÉ w½¹, ¸Áé«Ä £À¤ßAzÀ ©Ã¼ÉÆÌAqÀgÄÀ . £Á£ÀÄ UÉÆÃ¥Á®¥ÀÄgÀA vÀ®Ä¦zÁUÀ, CzÉà vÁ£É ¸ÀÆAiÉÆÃðzÀAiÀĪÁVvÀÄ.Û MAzÀPÆ É ÌAzÀÄ CAnPÉÆAqÀAwzÀÝ ¸Á®Ä ªÀÄ£ÉU¼ À À UÉÆÃqÉAiÀÄ ªÉÄÃ¯É C®è°è zÉúÀzÀ ªÉÄïÁãUÀ PÉêÀ® d¤ªÁgÀ¢AzÀ DªÀÈvÀªÁzÀ, ªÀÄzsÀå ªÀAiÀĹì£À ¥ÀÄgÀĵÀgÄÀ ¢£ÀzÀ ¥ÀwPæ A É iÀÄ£ÀÄß wj« ºÁPÀÄwÛgÄÀ ªÀ zÀȱÀå CzÉÆAzÀÄ ¨ÁæºäÀ tgÀ §qÁªÀuÉ JAzÀÄ ¸Áj ºÉüÀÄwÛvÄÀ Û.

C°è £ À MA¢§â g À £ À Ä ß «ZÁj¹ CtÚ £ À ¤ªÁ¸À ª À £ À Ä ß PÀAqÀÄPÉÆAqÉ. CzÀÄ MAzÀ£Éà ªÀĺÀrAiÀÄzÀÄ. UÉÃl£ÀÄß vÉgÉzÉÆqÀ£É, PɼÀV£À ¨sÁUÀzÀ°è ªÁ¸ÀªÁVzÀÝ, ªÀÄ£ÉAiÀÄ ªÀiÁ°ÃPÀ£ÀAwzÀÝ, CzÉà d¤ªÁgÀ¢AzÀ D®APÀÈvÀ ªÀåQÛ, AiÀiÁgÀÄ ¨ÉÃQvÉÛAzÀÄ «ZÁj¸À¯ÁV, ²ªÀÅ«£À ºÉ¸ÀgÀ£ÀÄß CgÀ Ä »zÉ . “vÀ A ©AiÀ i Á” (vÀ ª À Ä ä £ Á) JAzÀ Ä ¥À æ ² ß¹, ªÉÄîäºr À AiÀÄvÀÛ vÉÆèÉðgÀ¼£ À ÄÀ ß ºÁ¬Ä¹zÀgÄÀ . CzÀgA À vÉ ªÉÄlÖ®ÄUÀ¼À£ÀÄß ºÀwÛ, ¨ÁV®£ÀÄß §rAiÀÄĪÀÅzÀgÀ°èAiÉÄà ²ªÀǪÉà §AzÀÄ ªÀÄÄA¨ÁV®£ÀÄß vÉgz É ÄÀ , £À£ßÀ PÉÊAiÀÄå°zÀÝ ¸ÀtÚ ¥ÉnÖUA É iÀÄ£ÀÄß vÉUz É ÄÀ PÉÆAqÀÄ DºÁ餹zÀ. E§âjUÀÆ ¸ÀAvÉÆõÀªÁVvÀÄÛ. CwÛUÉ gÁdA£À£ÀÄß PÀgÉzÀÄ, AiÀiÁgÀÄ §A¢gÀĪÀgÀÄ £ÉÆÃqÀÄ JAzÀÄ ºÉý, PÁ¦ü vÀgÀ®Ä ºÉýzÀ ²ªÀÅ. ªÀÄ£É ºÀ¼A É iÀÄzÁzÀgÆ À , ªÉÄîäºr À ºÉƸÀ ¸ÉÃ¥ÀðqÉ. ªÀÄÆgÉà PÉÆÃuÉU½ À zÀÝgÆ À , CªÀÅ «±Á®ªÁV, ªÀÄÄAzÉ, »AzÉ JgÀqÀÆ ¨sÁUÀUÀ¼À®Æè «¸ÁÛgÀªÁzÀ ºÀeÁgÀU½ À zÀÄÝzj À AzÀ PÀlÖqÀ C£ÀÄPÀÆ®PÀg.À ©¹®Ä ªÀÄZÀÆÑ £ÀªÄÀ UÉ ¸ÉÃj, ±ÉSU É Á®zÀ°è DgÁªÀĪÁV C®Æè ªÀÄ®UÀĪÀ CªÀPÁ±À. £Á£ÀAvÀÄ ªÀÄ£ÉAiÀÄ°èzÁÝUÀ ªÀÄÄA¢£À ºÀeÁgÀz¯ À ÃèÉ PÁ®PÀ¼A É iÀÄÄwÛzÝÉ . ªÀÄ£ÉAiÀÄ°èzÝÀ ªÀÄÆgÀÄ £Á®ÄÌ PÀÄaðUÀ¼ÄÀ , MAzÀÄ ¸ÀtÚ nÃ¥Á¬Ä PÀÆqÀ C¯ÉÃè eÉÆÃr¸À¯ÁVzÀÄÝ, J¯Áè £À£U À É ºÉý ªÀiÁr¹zÀAwvÀÄÛ! ¸ÉÆUÀ¸ÁzÀ PÁ¦ü ¸ÉêÀ£A É iÀÄ £ÀAvÀg,À ²ªÀÅUÉ £À£ßÀ PÉ®¸ÀzÀ §UÉÎ «ªÀj¹zÉ. CzÀgA À vÉ £Á£ÀÄ ªÀiÁgÀ£A É iÀÄ ¢£À ®eï ZÀZï𠧽AiÀÄ £ÀÈvÉÆåÃzÀAiÀÄ ¸ÀA¸ÉÜAiÀÄ°è ¸Áé«ÄAiÀĪÀg£ À ÄÀ ß PÁtĪÀÅ¢vÀÄÛ. ²ªÀÅ £À£U À É D eÁUÀPÌÉ ºÉÆÃV §gÀĪÀ «zsÁ£Àª£ À ÄÀ ß w½¹PÉÆlÄÖ, CzÀÄ §¹ì£° À è ªÀÄÆgÀÄ ¸ÁÖ¥ïUÀ½VAvÀ zÀÆgÀ«®è JAzÀÄ w½¹zÀ.

D §¸ï ¸ÁÖ¥ïUÉ £ÀªÄÀ ä ªÀģɬÄAzÀ PÉêÀ® LzÀÄ ¤«ÄµÀU¼ À À £ÀrUÉ! ªÀÄ£ÉAiÀÄ EvÀgÀ C£ÀÄPÀÆ® ¥Àw æ PÀÆ®UÀ¼£ À ÄÀ ß «ªÀj¹zÀ ²ªÀÅ. ±ÀĨsª æÀ ÁzÀ gÉqï DPÉöì Êqï £É®, ºÀªÁªÀiÁ£ÀPÌ£ À ÄÀ UÀÄtªÁV UÁ½ ¨É ¼ À P À Ä UÀ ½ AzÀ PÀ Æ rzÀ Ý gÀ Æ , ¸ÁߣÀ z À ªÀ Ä £É , ±ËZÁ®AiÀÄUÀ¼ÉgÀqÀPÀÆÌ, PɼÀV½zÀÄ ºÉÆÃUÀ¨ÉÃPÁVzÀÄÝzÀÄ C¤ªÁAiÀÄð. CzÀPÌÉ ºÉÆA¢PÉƼÀî¨ÃÉ PÁVzÀÄÝzÄÀ CµÉÖãÀÆ PÀµÖÀ¸ÁzsåÀ ª¤ É ¸À°®è. CªÀ£À PÉ®¸ÀzÀ ¥Á½UÀ¼£ À ÄÀ ß «ªÀj¹, vÁ£ÀÄ D ªÁgÀ ªÀÄÄAeÁ£É ºÀvÛj À AzÀ ¸ÀAeÉ DgÀgª À g À U É É PÉ®¸ÀPÌÉ ºÉÆÃUÀ¨ÃÉ PÉAzÀÆ, vÀ£ßÀ E£ÉÆßAzÀÄ ¥Á½ ªÀÄzsÁåºßÀ JgÀqj À AzÀ gÁwæ 11 gÀªg À U É É EgÀĪÀÅzÀ£Æ À ß w½¹zÀ. ¨É¼V À £À ¥Á½AiÀÄ°è ªÀÄzsÁåºÀß ¨sÉÆÃd£ÀPÉÌ §AzÀÄ ºÉÆÃUÀĪÀ C¨sÁ帪 À £ À Æ À ß «ªÀj¹zÀ. DzÀgÉ £Á£ÀÄ ºÉÆgÀUÉ ºÉÆÃUÀĪÀ ªÀÄÄ£Àß HlªÀ£ÀÄß ªÀÄÄV¹AiÉÄà ºÉÆÃUÀ§ºÀÄzÉAzÀÄ w½¹, vÀ £ À ß PÉ Æ ÃuÉ A iÀ Ä D¯É ä à gÁzÀ ° è ºÀ t -PÁ¸À Ä EnÖgÄÀ ªÀ ¸Àܼª À £ À ÄÀ ß vÉÆÃj¹, CzÀjAzÀ £À£ßÀ RZÀð£ÀÄß ¤¨sÁ¬Ä¹PÉƼÀÀÄzÉAzÀÄ w½¹zÀ. DzÀgÉ £À£Àß®Æè vÀvª ìÀ ÄÀ AiÀÄPÉÌ ¨ÉÃPÁzÀ a®ègÉ PÁ¸ÀÄ EgÀĪÀÅzÁVAiÀÄÆ, ºÉZÄÀ Ñ

¨ÉÃPÁzÁUÀ £ÉÆÃqÀĪÀÅzÁV CgÀÄ»zÉ. vÁ£ÀÄ ¸ÀĪÀiÁgÀÄ £Á®ÄÌ Q.«Äà zÀÆgÀzÀ°è JUÉÆäÃgï£À°èzÀÝ DPÁ±ÀªÁt ¤®AiÀÄPÉÌ ¸ÉÊPÀ¯ï£À°è ¸ÀªÁj ªÀiÁqÀĪÀÅzÁVAiÀÄÆ w½¹, ªÀÄÄRåªÁV D ¸ÀªÀÄAiÀÄzÀ°è, £À£Àß ¦æÃwAiÀÄ aPÀ̪ÀÄä, vÀAUÀªÀÄä ªÀÄzÀgÁ¹£À°ègÀĪÀ ¸ÀAvÉƵÀ ¸ÀªÀiÁZÁgÀªÀ£ÀÄß w½¹zÀ. DPÉ, CwÛUÉ gÁdAgÀªg À À ¸ÉÆÃzÀgv À ,ÛÉ ªÀÄAUÀ¼A À gÀªg À À NgÀVwÛAiÀiÁVzÀÄÝzÀjAzÀ, DPÉAiÀÄ ªÀÄ£ÉAiÀÄ°è vÀAVzÀÝgÀÄ.

CªÀgÀ ªÀÄ£ÉAiÀÄ £ÀªÀÄä ªÁ¸À¸ÀܼÀzÀ »A¢£À ©Ã¢AiÀįÉèà EzÀÄÝzj À AzÀ, HlPÉÌ ªÉÆzÀ®Ä, JAzÀgÉ vÁ£ÀÄ D¦üùUÉ vÉg½ À zÀ. £ÀAvÀgÀ CªÀg£ À ÄÀ ß ¨sÃÉ nAiÀiÁV §gÀĪÀAvÉ ¸ÀÆa¹zÀ. £À£ÀUÉ ¨ÉÃPÁVzÀÄÝzÀÆ ¨ÉÃgÉAiÀiÁVgÀ°®è. vÀAUÀªÀÄägÀ ªÀÄzÀgÁ¸ÀÄ ¥Àª æ Á¸À vÀªÄÀ ä ºÁrPÉAiÀÄ zs¤ éÀ ªÀÄÄzÀt æ PÁÌV. CzÀÄ SÁåvÀ ºÉZï.JA.«. PÀA¥À¤AiÀÄ ªÀÄÆ®PÀ dgÀÄUÀ¨ÃÉ QvÀÄÛ. aPÀÌ¥Àà gÁªÀÄAiÀÄågïgÀªÀgÀ ¸ÉÆÃzÀgÀ ¸ÀA§A¢ü PÉ.J¸ï.

CAiÀÄågï F PÀA¥À¤AiÀÄ d£Àg¯ À ï ªÉÄãÉÃdgï. CAvÉAiÉÄà vÀªÄÀ ä £ÁgÁAiÀÄt£ï CzÉà PÀA¥À¤AiÀÄ ºÀtPÁ¸ÀÄ «¨sÁUÀzÀ £ËPÀgÀ. DzÀgÀÆ zsÀé¤ ªÀÄÄzÀæt ¸À°Ã¸ÁV PÉÊUÀÆr §gÀĪÀAvÀºÀÄzÁVgÀ°®è. vÀAUÀªÀÄä PÀpt ¥ÀjÃPÉëUÀ½UÉ M¼ÀUÁUÀ¨ÃÉ QvÀÄÛ. EªÀgÀ ºÁrPÉAiÀÄ£ÀÄß PÀA¥À¤AiÀÄ ¸ÀAVÃvÀ ¤zÉÃð±ÀP,À »jAiÀÄ, SÁåvÀ ¸ÀAVÃvÀ PÀ¯Á«zÀ vÀÄjAiÀÄÆgÀÄ gÁdUÉÆÃ¥Á®±ÀªÄÀ ð C£ÀĪÉÆâ¸À¨ÃÉ QvÀÄ.Û D «zÁéA¸ÀgÄÀ ªÀÄAUÀ¼A À - £ÁgÁAiÀÄt£ï ªÀÄ£ÉAiÀÄ JzÀÄgÀÄ ªÀÄ£ÉAiÀÄ°è ªÁ¹¸ÀÄwÛzÝÀ DvÀ£À »jAiÀÄ ²µÉå, ºÉ¸g À ÁAvÀ UÁAiÀÄQ, J£ï.¹. ªÀ¸A À vÀPÄÀ ªÀiÁjAiÀĪÀgÀ ªÀÄ£ÉUÉ §AzÁUÀ¯¯ É Áè vÀAUÀªÄÀ ä C°èUÉ ¨sÉÃnPÉÆmÁÖUÀ, ªÉÄðAzÀ ªÉÄÃ¯É DPÉAiÀÄ ºÁrPÉAiÀÄ£ÀÄß ¥ÀjµÀÌj¸ÀÄwÛzÀÝgÀÄ. »ÃVzÀÝgÀÆ, CªÀgÀ ¥ÀæxÀªÀÄ ¥ÀæAiÀÄvÀß, ªÀ¸A À vÀ gÁUÀzÀ “£Àl£À ªÀiÁr£Ágï” wgÀ¸ÌÀ øvÀUÆ É ArvÀÄÛ.

PÉ . J¸ï.CAiÀ Ä ågïgÀ ° è z À Ý D zs À é ¤ ªÀ Ä ÄzÀ æ t ªÀ £ À Ä ß £Á£À Ä D°¹zÉ PÀÆqÀ. CzÀÄ £À£ÀUÉ »vÀªÁVAiÀÄÆ C¤¹vÀÄÛ.

DzÀgÉ vÀÄjAiÀÄÆgï CzÀ£ÀÄß “¥Á¸ï” ªÀiÁrgÀ°®è. £À£U À A À vÀÆ CzÀÄ ¸ÉÆÃfUÀª¤ É ¹vÀÄÛ. £Á£ÀÄ D gÉPÁqïð£ÀÄß ¨ÉÃrzÁUÀ, CzÀ£ÄÀ ß ºÁUÉ «¯ÉêÁj ªÀiÁqÀ¯ÁUÀzA É §ÄªÀ ¤§Azs£ À A É iÀÄ£ÀÄß w½¹zÀgÄÀ CAiÀÄågï. D §½PÀ vÀAUÀªÄÀ ä ªÁ¸ÀÄzÉêÁZÁAiÀÄðgÀ EwÛÃZÉUÉ §ºÀ¼À §¼ÀPÉAiÀÄ°ègÀĪÀ ªÉÆúÀ£À gÁUÀzÀ “gÁgÁ J¤ «®avÉ gÁªÀÄzÉëÄgÁ” JA§ PÀÈwAiÀÄ£ÀÄß Dj¹PÉÆAqÀgÀÄ. F QÃvÀð£ÉAiÀÄ£ÀÄß vÀAUÀªÄÀ ä ¸ÀévBÀ ªÁ¸ÀÄzÉêÁZÁAiÀÄðgÀ ¸ÀªÄÀ ÄäRzÀ¯èÃÉ ºÁr “¨sÃÉ µï” J¤¹PÉÆArzÀÝgÄÀ PÀÆqÀ. DzÀgÆ À vÀÄjAiÀÄÆgï CzÀg° À è ¸ÁPÀµÄÀ Ö ¸ÀÄzsÁgÀuU É ¼ À £ À ÄÀ ß zÀÈvÀUw À AiÀÄ°è ºÉÆA¢¹, PÉÆ£ÉUÀÆ CzÀ£ÀÄß zsÀ餪ÀÄÄ¢æ¸À¯Á¬ÄvÀÄ ªÀÄvÀÄÛ CzÀÄ vÀÄjAiÀÄÆgïgÀ, JAzÀgÉ ºÉZï.JA.«. PÀA¥À¤AiÀÄ M¦àUAÉ iÀÄ£ÀÄß UÀ½¹vÀÄ. vÀvÀìA§A¢üvÀ gÉPÁqïð ªÀiÁgÁlªÀĽUÉUÀ¼À°è zÉÆPÀĪÀAvÁ¬ÄvÀÄ PÀÆqÀ. £À£ßÀ ªÀÄnÖUÉ ºÉüÀĪÀÅzÁzÀg,É ªÉÆzÀ°£À “£Àl£À ªÀiÁr£Ágï” ºÉZÄÀ Ñ »vÀPg À À J¤¹vÀÄÛ.

CzÀgÀ £ÀvÀð£ÀªÀÇ £À£ÀUÉ ¥ÁoÁAvÀgÀªÁVzÀÄÝzÀjAzÀ, D ªÀÄzsÀå®AiÀÄ£ÀzÀ ¸ÉƧUÀÄ, UÁA©üÃAiÀÄ𠤪ÀðºÀuÉAiÀÄ°è ¸À Ä R¨s Á ªÀ P É Ì JqÀ ª À i Ár PÉ Æ nÖ v À Ä Û . C£À Ä ¨s À « ¸À ® Æ ¸ÁzsÀåªÁVvÀÄÛ. £À£Àß C©üªÀÄvÀ aPÀ̪ÀÄjUÉ ¸ÀªÀÄAd¸À J¤¹zÀÄÝ £À£Àß ºÉaÑ£À ¸ÀAvÉÆõÀPÉÌ PÁgÀtªÁVvÀÄÛ.

DzÀgÉãÀÄ, £ÀªÀÄäªÀgɯÁè CªÀgÀ ªÉÆúÀ£ÀgÁUÀzÀ PÀÈwAiÀÄ ºÁrPÉAiÀÄ£ÀÄß ªÉÄðAzÀ ªÉÄÃ¯É D°¹, ºÉªÄÉ ä vÁ½zÁÝg.É ªÀ¸A À vÀgÁUÀzÀ gÀZ£ À A É iÀÄ£ÀÄß D°¹zÀª£ À A É zÀgÉ £Á£ÉƧâ£ÃÉ !

CAvÀÆ vÀAUÀªÄÀ ä D ¸ÀªÄÀ AiÀÄzÀ°è ªÀÄzÀgÁ¹£À°è ªÁ¸ÀÛªåÀ ºÀÆrzÀÄÝzj À AzÀ £ÀªÄÀ ä ºÀ¼ÃÉ AiÀÄ ªÀiÁvÀÈ ¥ÀÄvÀª æ ÁvÀì®å ªÀÄvÉÛ aUÀÄgÀĪÀAvÁ¬ÄvÀÄ. ¸ÀªÀÄAiÀÄ zÉÆgÉvÁUÀ¯É®è CªÀgÀ£ÀÄß ¨sÉÃnAiÀiÁUÀÄwÛzÉÝ. ºÀ¼ÉAiÀÄ ªÉÄʸÀÆj£À ¸ÀAzÀ¨sÀðUÀ¼À£ÀÄß ªÉÄ®ÄPÀÄ ºÁPÀĪÀÅzÀg¯ À ÃèÉ ¸ÀAvÉÆõÀ ºÀAaPÉƼÀĪ î A À vÁVvÀÄ.Û CzÀ£ÄÀ ß ºÀAaPÉƼÀĪ î ° À è £À£ßÀ CwÛU,É ªÀÄAUÀ¼A À ªÀÄvÀÄÛ CªÀgÀ zÉÆqÀØ ¨sÁªÀ£À ¥ÀÄvÀæ ªÉAUÁZÀAjUÀÆ ªÀÄ£ÀgA À d£ÉAiÀiÁVvÀÄ.Û ¸ÀAVÃvÀzÀ°è ªÀÄ¤ß ªÀÄvÀÄÛ ªÀÄAUÀ¼ÀA ¸ÀºÀ C®à ¸Àé®à C©ügÄÀ a ¨É¼¹ É PÉÆArzÀÝjªÀÄzÀ, ¸ÉÃjzÀ ºÀ®ªÀÅ ¸ÀAeÉU¼ À ° À è £ÀªÄÀ äU¼ À À PÉÆÃjPÉAiÀÄAvÉ vÀAUÀªÄÀ ä ºÁr £ÀªÄÉ ä®g è À ªÉÄZÀÄU Ñ U É É ¨sÁd£ÀgÁUÀÄwÛzÝÀ gÄÀ . ¸ÀAVÃvÀz,À PÉ®ªÀÅ «±ÉõÀ gÁUÀU¼ À ,À gÀZÀ£ÀPÁgÀgÀ, QÃvÀð£ÉUÀ¼À£ÀÄß PÀÄjvÀ ZÀZÉðUÀ¼ÀÆ CµÉÖà ¸Áég¸ À åÀ Pg À ª À ÁVzÀÄݪÅÀ . £À£U À A À vÀÆ ªÉÄʸÀÆj£À ºÀ¼A É iÀÄ ªÀÄzsÄÀ gÀ ¸ÀAeÉU¼ À ÄÀ ªÀÄgÀÄPÀ½¸ÀÄwÛzÄÀ ݪA É §AvÉ ¨sÁ¸ÀªÁUÀÄwÛvÄÀ Û.

Swaras 8

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

The swaras in Carnatic music are slightly different in the 12 note system.

There are 3 types each of Rishabha, Gandhara, Dhaivatha and Nishadha.

There are 2 types of Madhyama, while Panchama and Shadja are invariant.

Position Swara 1 Shadja 2 Shuddha Rishabha 3 Chathusruthi Rishabha 3 Shuddha Gandhara 4 Shatsruthi Rishabha 4 Sadharana Gandhara 5 Anthara Gandhara 6 Shuddha Madhyama 7 Prati Madhyama 8 Panchama 9 Shuddha Dhaivatha 10 Chathusruthi Dhaivatha 10 Shuddha Nishadha 11 Shatsruthi Dhaivatha 11 Kaisiki Nishadha 12 Kakali Nishadha

Short name Sa Ri Ri Ga Ri Ga Ga Ma Ma Pa Dha Dha Ni Dha Ni Ni

Notation S R1 R2 G1 R3 G2 G3 M1 M2 P D1 D2 N1 D3 N2 N3

Mnemonic sa ra ri ga ru gi gu ma mi pa dha dhi na dhu ni nu

As you can see above, Chathusruthi Rishabha and Shuddha Gandhara share the same pitch (3rd key/ position). Hence if C is chosen as Shadja, D would be both Chathusruthi Rishabha and Shuddha Gandhara. Hence they will not occur in same raga together. Similarly for two swaras each at notes 4, 10 and 11 .

What The Swaras Mean Each shuddha swara (i.e., Sa, Re/Ri, Ga, Ma, Pa, Dha/Da, and Ni) is traditionally held to have originated in the sound of a different animal, and some have additional meanings of their own. Also, each swara is associated

KALASPANDAN 10th SEPTEMBER 2011

in south indian dances

with one of the seven chakras of the body. Just as the swaras ascend through the saptak, so they are mapped onto the chakras in the body in ascending order. Komal notes are associated with the left side of each chakra; the left channel, Ida Nadi, is the side of emotion and intuition. Shuddha and tivra notes are associated with the right side; the right channel, Pingala Nadi, is the side of logic. Ragas, therefore, have more or less of an effect on a given chakra depending on the notes they contain.

Indian music has fundamentally been a spiritual aid & the vehicle for the soul to realise & attain the Universal Soul ( Paramatman). It lay stress on melody, harmony being secondary though vital.

Corresponding Classification / Nomenclature : Greek

Ecclesiastical

European

Arabic

Indian

Lydic

Ionian

Modern C

Meia Mode

Dheera Sankarabharanam

Pypygian

Dorian

Modern D

Irak Mode

Karaharapriya

Doric

Phrygian

Modern E

Mex Mode

Todi

Hypelysic

Lydian

Modern F

Edzeil Mode

Kalyani

Hypopurigion

Mixolydian

Modern G

D.Jorka Mode

Harikambhoji

Hypodoric

Aeolian

Modern A

Lisa Mode

Natabairavi

(Mixed Doric)

(Locrian)

Modern B

Saika Mode

Nilambari

The Andolit swaras, another special form of swaras, exist raga specific and shall not be applied to any raga using these notes. Andolit swars are notes, which are being oscillated within the Andolan alankar. The specification of the Andolan alankar is the oscillation (swing) from a fixed note touching the periphery of an adjacent note. By this oscillation the shruti-s (microtones) are touched which exist in between.

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

9

KALASPANDAN 10th SEPTEMBER 2011

Chitta swara: In Indian classical music, chitta swaras are a set of solfa passages (phrases of swaras). These are sung after the anupallavi and charanam, in the krithis which enriches the beauty of the composition. This is usually done by the performers and not by the composers and in Carnatic music is an important improvisation aspect (manodharma music).

Some of descriptions in a tabular form below:

Sa

Ri

Ga

Ma

Pa

Dha

Ni

Day of birth

Sunday

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Birth star

shatabhiSag

citra

shraviSTa

makha

uttarashadha

pUrvASADha

Anuradha

Birth Place

jambu

shAka

kusha

krau~nca

shalmali

shvEta

puSkara

rashi

kuMbha

tulA

mIna

siMha

kanyA

dhanur

v.rshcika

rAshi Adhipati

shani

bh.rgu

shashi

sUrya

budha

guru

kuja

jAti

rAkSasa

rAkSasa

rAkSasa

rAkSasa

manuSya

manuSya

dEva

vaMsha

dEva

.rSi

dEva

dEva

pitr

.rSi

asura

varNa

brAhmaNa

kSatriya

vaishya

brAhmaNa

shUdra

kSatriya

vaishya

.rSi

dakSa

atri

Kapila

vasiSTha

bhArgava

nArada

tuMburu

dh.rSTA (dEva)

agni

brahma

candra

viSNu

nArada

tuMburu

tuMburu

abhimAna dEvata

agni

brahma

Sarasvati

shiva

viSNu

sUrya

gaNapati

chandas (metre)

anuSThup

gAyatri

t.rSThup

b.rhatI

pa”nktI

uSNik

jagai

gOtram

jamadagni

AtrEya

gautama

vasiSTha

shrIvatsa

parAshara

shAla”nkAyan

Color

red

yellow

golden yellow

white

black

yellow

mixed

Dress

white

yellow

Red

blue

Light yellow

mixed

black

AbharaNa

muktA

indranIla

Vajra

vaiDUrya

marakata

gOmEtaka

pushyarAga

vilEpana

kuMkuma

Agaru

KastUri

karpUra

gOrOcana

candana

kadaMba

Ayudham

khaDga

kunta

gadhA

cakra

bhiNDivAla

nArAca

a”nkusha

pushpa

jAti

caMpaka

punnAga

mallika

kEtaki

karavIra

padma

AhAram

dadhyanna

pAyasa

BhakSya

citrAnna

piSTa

shuddAanna

taNDula

rasa

adbhutam

raudram

shAntam

hAsyam

sh.r”ngAram

bhIbhatsam

karuNa

dhvani

peacock

cow

Sheep

krau~nca

pika

horse

elephant

vAhanam

haMsa

siMha

bhEruNDa

hariNa

Sita sAluva

shuka

sArika

bhAryA

gAndharvi

kinnari

yakSi

kiMpuruSi

nAgakanyA

surastrI

rAkSasi

AkAram

sthUlam

sUkSmam

sthUlam

dIrgham

samapuSThi

dIrghaM

atisthUlam

v.rkSam

cUta

kharjUra

kadaLi

jaMbirA

dADimI

drAkSA

punnAga

Bijakshara

Om

Im

Soum

Hrim

Klim

Gloum

Hram

Vadi, Samvadi, Vivadi, Anuvadi: Vadi, in both Hindustani classical music and Carnatic music, is the dominant swara (musical note) of a given raga (musical scale). “Vadi is the most sonant or most important note of a Raga.”[1] It does not refer to the most played note but it rather refers to a note of special significance. It is usually the swara which is repeated the greatest number of times, and often it is the swara on which the singer can pause for a significant time.

Vadi swara, along with the Samvadi swara of a raga,

usually brings out the uniqueness of the raga and its bhava (mood) and rasa (emotion). A swaram is said to be vivadi in relationship with another swaram, if there is a discordant effect produced by the swaram in relation to the other.

It is different from Apaswaram, which is incorrect swaram or incorrect rendition / pitch/ frequency deviating from the swaram itself. If Vadi is like the King, samvadi is the Minister.

Vivadi is like an enemy and Anuvadi follows the King and Minister, and hence is like a servant.

PÀ¯ÁwÃgÀ (j.) Mr¹ì £ÀÈvÀå±Á¯É C¦ð¸ÀĪÀ

``²æà zÉë ªÀĺÁvÉä’’

AiÀÄPÀëUÁ£À §AiÀįÁl ²æà ªÀĺÁ°AUÉñÀégÀ ¥ÀæªÁ¹ AiÀÄPÀëUÁ£À ªÀÄAqÀ½ (j.) ¥ÀÄvÀÆÛgÀÄ EªÀjAzÀ. ¢£ÁAPÀ 16-09-2011 ±ÀÄPÀæªÁgÀ, ¸ÀªÀÄAiÀÄ: ¸ÀAeÉ 5.30 jAzÀ ¸ÀܼÀ : PÁgÀAf ²æà DAd£ÉÃAiÀĸÁé«Ä zÉêÀ¸ÁÜ£ÀzÀ DªÀgÀtzÀ°ègÀĪÀ ¥ÀæªÀZÀ£À ªÀÄA¢gÀ §¸ÀªÀ£ÀUÀÄr, ¨ÉAUÀ¼ÀÆgÀÄ - 560 004

¥ÀæªÉñÀ GavÀ

ºÉaÑ£À ªÀiÁ»wUÁV : 94480 46368

- Lekha Kocherlakota

Navarasas 10

A

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

s there is the production of good taste through the juice produced when different spices, herbs and other articles are pressed together, so also Rasa (sentiments) is produced when various bhavas get together. Just as through molasses and other articles, spices and herbs create six kinds of tastes, so also the Sthayi Bhavas in combination with different bhavas attain the state of Rasa.

Definition: The combination of Vibhavas (Determinants) and Anubhavas (consequent) together with Vyabhichari bhavas (Transitory state) produce Rasa.

When the Natya Sastra was compiled by the sages, the recognized rasa-s were only eight: Sringara (erotic); Hasya (comic); Karuna (pathetic); Raudra (furious); Vira (heroic); Bhayanaka (terrifying); Bibhatsa (odious) and Adbhutha.

Sringara hasya karuna raudra vira bhayanaka l Bhibhatsadbhutha sangnouchetya ashta natya rasah smrtah ll Later, however the ninth rasa- Santa (tranquil) was added.

Sringara Hasya Karuna Raudra Vira Bhayanaka l Bhibhatsadbhutha Santhasya Nava natye rasah smrtah ll Sringara: The rasa named Sringara originates from the Sthayi Bhava of Rati (love). Whatever is clean, pure and worth looking at is considered with the sentiment Sringara. An excellent young woman is its Prakrithi (source of origin). It has two Adhisthanas (base) (a) Sambhoga (Love in Union) (b) Vipralamba (Love in separation) (a) Sambhoga : This love in union gets itself manifested through the Vibhavas like the pleasant season, garlands, ornaments, people near &

dear, sensual objects, excellent mansions, objects of pleasure, going to the garden, experiencing pleasures, listening to sweat voice, seeing beautiful thing, play and sports etc.

Its production in the drama is by means of gestures through the Anubhavas like clever and significant glances of the eyes, movements of the eyebrows ogling looks, movement of limbs etc. The Vyabhichari bhavas are all except for Trasa (fright), Alasya (lethargy), Ugratha (ferocity), and Jugupsa (disgust). (b) Vipralamba: This should be displayed during the dramatic performances through the following Anubhavas like Nirveda, Glani, Sanka, Asuya, Srama, Chinta, Outhsukya, Nidra, Suptha, Swapna, Bibboka, Vyadhi, Unmada, Apasmara, Jaadya, marana, and other conditions.

Sringara rasa is the outcome of the following things and activities such as the favorable season, garlands, ornaments, sweet music, poetry, persons near and dear, frequenting parks and gardens sporting activities etc. Its presentation in the dramatic performance is through graceful movements of the limbs accompanied by sweet smiles, pleasing words, fortitude, delighted expressions, serene eyes, beaming face etc.

Hasya: Laughter is the Sthayi Bhava in Hasya Rasa. The Vibhavas are Vikrthavesha (unseemly dress), Vikrthalankara (misplaced ornaments), Dharstya (impudence), Laulya (covetousness), Kalaha (quarrel), Asatprachapa (near-obscene utterance), Vyanga Darsana (displaying deformed limbs), Dusada Harana (Pointing out the faults of others) and other similar things.

The Anubhavas are biting the lips,

KALASPANDAN 10th SEPTEMBER 2011

- Dr. P Ramadevi

throbbing of the nose and cheek, opening the eyes wide, contracting the eyes, perspiration, colour of the face, holding the sides and others. The Vyabhichari Bhavas are Alasya, Avahitha (dissimulation), Tandra (drowsiness), Anidra, Swapna, Prabodha, Asuya and other things.

Hasya is of two types. 1. Aatmastha 2.Parastha.

When the actor laughs to himself it is called Aatmastha (self-based) and when he makes other to laugh it is called Parastha. This rasa is most common to women characters and persons of the mean order. It has six distinct varieties. They are 1.Smita (gentle smile) 2.Hasita (slight laughter) 3.Vihasita (open laughter) 4.Upahasita (laughter of ridicule) 5.Apahasita (obscene laughter), 6. Athihasitha (Boisterous laughter). Smitha and Hasitha belong to the people of high rank, Vihasita and Upahasitha to the ordinary people, Apahasitha to the mean people.

Karuna: Soka is the Sthayi Bhava in the outcome of the Karuna Rasa. The Vibhavas are curse, distress, downfall, and calamity, separation from the near and dear, loss of wealth, murder, imprisonment, flight, dangerous accidents and misfortunes. Its

presentation on the stage is through the Anubhavas like discharge of tears, , lamentation, parched throat and mouth, pallor of the face, drooping of the limbs, grasping for breath, loss of memory and other similar things. The Vyabhichari Bhavas are dejectedness, in difference , languor, anxiety, yearning, exited state, illusion, loss of sense, sadness ailments, lethargy, sluggishness, epileptic loss of memory, fear, death, paralysis, tremor, pallor in the face, shedding tears, loss of speech and kindred feelings. The Karuna rasa takes its origin through different Bhavas either at the sight of the death (or murder) of the dear one or when unpleasant words have an adverse impact.

It is to be presented on the stage through sighs, lamentation, loss of sense, weeping bitterly and other gestures.

Raudra: The Sthayi Bhava of Raudra Rasa is Krodha (anger). It takes it origin in rakshasas, danava and very haughty human beings with a regular

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

Mathi (intellect), Garva(pride), Vega (rashness), Augrya (ferocity), Amarsha (indignation) Smrti ( recollection), Romancha (horripilation) and other features.

Vira rasa is produced through enthusiasm, perseverance, absence of grief, absence of surprise and freedom from delusion. The Vira rasa should be depicted perfectly on the stage through statements scolding and censuring (wrong doers) , display of bravery, vigor, heroism, enthusiasm and aggressiveness.

Bhayanaka Rasa: In this Rasa the Sthayi Bhava is Bhaya (fright). Its outcome is through the Vibhavas such as Vikrita rava (terrific noise), Srvoluka Trasodvega (panic and worried state on hearing the cries of jackals and owls), Sethva

battle as its immediate cause. The outcome of this rasa is through the Vibhavas such as Krodha (anger), Dharsana (violation of modesty), Adhikshepa (abuse), Apamana (insult), Anrthavachana (uttering falsehoods), Vakparusya (harsh words), Droha(animosity), Mathsarya (jealousy), and kindred ones. The activities connected with this Rasa are beating, tearing, harassing, chopping off, breaking, piercing, striking, hurling missiles, shedding blood, seizing of weapons and such like. Its presentation in the dramatic performance is through the Anubhavas like making the eyes red, perspiring profusely, knitting of the eyebrows, clapping the hands, quashing of the teeth, biting of the lips, throbbing of the cheeks, hitting the palm with the fist etc,. The Vyabhichari bhavas of this rasa are tumultuous battle, energetic enthusiasm, impetuosity, wrath, restlessness, ferocity, profuse perspiration, trembling, rising of the hairs etc.

Raudra rasa is produced through these activities like the excitement due to battles, hitting and striking, cutting and tearing, maiming and mutilating.

Its presentation in the dramatic performance is by means of these special feats such as discharging different kinds of missiles, chopping off of the headless trunks, arms head etc. Thus Raudra rasa is seen as fierce activity where there is much of the wielding of weapons and the movements and utterance of words etc are very terrible and frightening.

Vira Rasa: It is the exhibition of energy and enthusiasm of high rank as the basis. The Vibhavas (determinants) are Asammoha (Composure and absence of infatuation), Adhyavasaya (perseverance), Naya (good tactics), and Vinaya (humility), Parakrama (valor), Sakthi (power), Prathapa (aggressiveness), Prabhava (mighty influence) and other similar ones. Its presentation to the stage is through the Anubhavas (consequents) such as Sthairya (firmness), Sourya (heroism), Dhairya (bravery), Thyaga (readiness to sacrifice), Vaisaradya (proficiency), and the like. The Sanchari bhavas (Transitory states) are Dhriti (fortitude),

KALASPANDAN 10th SEPTEMBER 2011

11

Hrllekhana (heartache, grief anxiety), Nisthivana (spitting), Udvejana (expressing disgust) and the like. The Vyabhichari Bhavas are Apasmara (loss of memory), Vega (agitation), Moha (delusion or loss of sense), Vyadhi (illness), Marana (death) etc. The Bibhatsa rasa arises through many things causing disgust such as seeing what is not desirable, defects

and abnormality in tests, smells, touch and sound. Its presentation on the stage should be perfectly earned out by means of shaking the head, rolling the eyes, covering the nose, lending down the head and walking imperceptibly.

Adbhutha Rasa: “Vismaya” is the Sthayi Bhava for Adbhutha Rasa. Its outcome is through the Vibhavas such as Divyadarshana (seeing a heavenly

Darshana (sight of apparitions), Sunyagara (empty house), Aranya Pravesa (entering a forest), Marana (death) Swajanavadha (murder of our own people), Bandhana (imprisonment), seeing or hearing about or discussing any of these things and the like. Its presentation on the stage is through the Anubhavas such as, Pravepithakaracharana (trembling of the limbs), Nayana chalana (movement of the eyeball), Pulaka (hair standing on ends), Mukha Vaivarnya (pallor in the face), Svarabheda (change of voice and tone) and the like. The Vyabhichari Bhavas are Sthambha (paralysis), Sveda (perspiration), Gadgada (chocked voice), Romancha (horripilation), Vepathu (trembling), Vaivarnya (lack of luster), Sanka (suspicion), Moha(fainting), Dainya (dejection), Avega (agitation), Chapala (restlessness), Trasa (fright), Apasmara (epilepsy or loss of memory), Marana (death) etc. is the state of a trembling heart in the midst of terrors or in a helpless situation. Bhaya means fear.

Seeing ghastly sights, hearing fearful noises and sounds, being left alone in a deserted house or in the midst of a wilderness or anticipating heavy loss, approaching death all such factors give rise to Bhayanaka rasa. It may also be the result of offence, deceit, doubt, stunned feeling, sweating, hair rising, forgetfulness, undue emotions or mad feelings. The Bhayanaka rasa is to be presented on the stage in variably through the trembling of hands and feet, paralysis, palpitation, agitation in the limbs, parched lips and throat.

Bibhatsa Rasa: In this rasa the Sthayi Bhava is Jugupsa. Its outcome is from the Vibhavas such as Ahrdaya-apriya-aveksa (seeing displeasing things), Anista-Sravana-Darsana-Parikirthana (hearing, seeing and discussing what is undesirable) and similar things. Its representation on the stage is through the Anubhavas such as Sarvangahara (squeezing up all the limbs), Mukhanethraghurnana (moving the face to and fro, rolling the eyes),

being), Ipsithamanorathavapthi (attainment of the cherished desire), seeing magical tricks and creation of things that can never be imagined about etc. Its presentation on the stage through the Anubhavas like Nayanavisthara(gaping of the eyes), Animeshaprekshana (staring with winkles eyes) Romancha, Asru, Sveda, Harsha, uttering words like congratulations, making gifts, sense of shouts of ha ha, movements of limbs and the like. Its Vyabhichari bhavas are shedding tears, paralysis, perspiration, chocking of the voice, horripilation, excitement, sluggishness, sinking down etc.

Santa Rasa: Feeling of peacefulness (sama) is the Sthayi Bhava for Santa rasa. Freedom from desires, feeling of detachment, fearless state of mind and like gives rise to Santa rasa. It has its foundation also in patience, service mindness, goodness, philosophical outlook, self control and such qualifications. Harmless or non violence is the keynote of Santa Rasa.

12

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

O

rissa, the emerald of the east has the most colorful dance forms which can captivate any body. Apart from the classical dance forms of Odissi, other folk dances are definite treat to the eyes.

KALASPANDAN 10th SEPTEMBER 2011

Gotipua

Gotipua This traditional dance form needs special training and dedication. The classical and most famous dance of Orissa, Odissi owes its origin to Gotipua dance, which is performed only by male artists. The male dancers dress up as female as required by the ballet, perform the dance with high degree of sophistication and at ease like the female dancers. Gotipur tradition is still there at Raghurajapur the village near Puri. Eminent Gurus of Odissi like Guru Kelucharan Mohapatra, Guru Pankaj Das, Guru Gangadhar Pradhan first learned Gotipua to excel in Odissi.

ODISSI The famous classical dance from of Odissi owes its origin to the temples. The rhythms, the bhangis (expression) and mudras (posture) play important roles, for these have distinctive qualities of their own. Odissidance mainly is based on the love theme of Radha and Krushna.

Devadasis attached to Lord Jagannath kept the tradition of Odissi alive. With the composition of Gita Govinda and its introduction to the temple, it became a part and parcel of the rituals of the dance form.

In the Gotipua dance, performed by young boys dressed as girls where one can detect the jerking movements in place of Odissi’s smooth transition from one posture to another.

The different items of the Odissi dance style are Mangalacharan, Batunrutya or Sthayi Nrutya,

Odissi

Dances of

Orissa

fast tempo. The soul of the dancer is supposed to merge with the divine as the dancer becomes ecstatic. Thus Odissi is an effort to come nearer to God and experience the true bliss.

There has been lot of experiments in the dance form by renowned Gurus. The commendable efforts were made by late Kabichandra Kalicharan Patnaik, after whom late Padmavibhushan Guru Kelu Charan Mohapattra, late Padmashree Guru pankaj Das, Guru Gangadhar Pradhan, artists like Late Sanjukta Panigrahi, Sonal Mansingh, Priyambada Hejmadi, Minati Mishra, Kumkum Mohanty have taken Odissi to the international arena. The best platform to visualize Odissi in its magnificent form are the Konark Dance festival, Puri beach festival and some other festivals organized in collaboration with the Eastern Zonal Cultural Centres, Department of Tourism etc.,

CHOW DANCE : Chow Dance or the martrtial dance form of Orissa owes its origin to the indigenous rich cultural heritage. The dancer moves the leg and body with much flexibility to potray the themes drawn from the great epics, the Ramayana and the Mahabharat Though Chhow’s favourite theme is the romance f

Chow Dance

Pallavi, Abhinaya and Moksha. In Mangalacharan, the dancer dedicates herself to the Lord and begs on apology to the Mother Earth for stampling her feet on her, She apologises to her audience for any shortcoming and offer salutation to her Guru.

Batunrutya is pure dance, that begins with a series of sculpture like postures symbolizing the playing Veena, drum, flute or cymbals.

Pallavi is extremely graceful and lyrical while Moksha is the last item performed to the accompaniment of rhythmic syllables. It has the

Krishna and Gopi, Yet Chhow’s portrayal of martial art also does not have any parallel. The core theme of the chow revolves round love, romance, chivalry and victory of good over evil. This highly stylized Chhow dance of today follow the basic principle of

the Natrya Shastra of Bharat Muni and the Abhinays Darpana of Nandikeswara. This dance form became closely associated with religion. The Chhow dancers worship Lord Shiva and Goddess Parvati, the two presiding deirties of the Tandava and the Lasya styles respectively. The typical Chhow dance pose is difficult to show, when the dancer at rest is one the bent knee so that the legs form a Square, the raising of the right hand upward with the left hand shown downward bothe forming right angles at the elbow, The Chhow dancers have to practice difficult modes of walk-in, striking difficult postures and moving in a way peculiar to this style, It is a virile dance form and was in the past undertaken by male dancers who perfomed in female roles, as and when required. Today there are also female dancers who have mastered this art.

The difference between the chow of Mayurbhanja and that of Purulia of West Bengal is the use of mask. In Mayurbhanj the dances do not use the mase, hence the facial expression becomes evident while in Purulia the dancers use the mask for which the facial expression and the facial movement remains absent, for it is not visible. The dance is usually performed in the open, air on a raised platform, the musicians stand, on one side of the platform and play on big kettle drums and other musical instruments. In villages, Chhow dance is usually performed during Chaitra parva festival in the days concluding the month of Chaitra, Popular story from the Ramayana and Mahabharata are staged. The costumes, the headgear and other ornamental requisites are carefully selected. The dance programme consists of solo, duer or group performances. Today the subject matter of Chhow dance is borrowed from the whole gamut of animate and inanimate nature. The female peacock, swan the deer dances depict the wild beauty and grace of the form and are excellently choreographed. The hilly region of north-eastern Orissa with a rich folk and tribal culture has influenced the Chhow dance. ....to be continue

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

A few years ago I knew very little about Classical Indian dance, I had perhaps heard the terms Bharatanatyam and Kathak uttered, but that was about it. My training was primarily in Western dance forms such as ballet, tap, modern and contemporary and I would have considered myself as something of a dance enthusiast, but how could I have been when I only knew a few dance styles from a very small part of the world? What about other countries? How was dance used in their cultures? I had no idea.

It was not until I began my undergraduate degree at the University of Surrey that a whole new (dancing) world became unveiled to me. Kathak is one of four techniques that are taught on the course and these weekly classes taught me in the basics of what I was to discover was an incredibly rich cultural dance form.

Once I was introduced to the form, I became instantly drawn in. Kathak appealed to me for several reasons which related to earlier interests and experiences of mine. Whilst the extended rhythmic footwork patterns drew on my training and passion for tap dance, the exquisite ragas and

analytical thinking, I began to question the environment in which I was learning. After one year of compulsory Kathak classes, I opted to carry on my training into the second year and third years of my degree. When choice came into the equation, class sizes dwindled meaning that in my second year there were twelve students, in my final year there were eight. Significantly, there was one constant factor which remained throughout the course of the degree – none of us were Indian. These young dancing bodies were learning a very specific dance form, classical in its heritage and traditional in its culture. How were we to learn a form like this when none of us were from that particular culture and none of us knew about Kathak’s heritage?

Would we be taken seriously amongst those who were from the culture? Would our dancing stay true to the form? Could we even call ourselves Kathak dancers? All these questions were buzzing around my head and my impressionable mind and passionate heart needed answers.

In order to develop my understanding of the form, and answer questions that became increasingly important to my training, I decided to explore this specialist field for my dissertation. The paper was entitled: Embodying Kathak: A Comparison Between Culturally Based How Passion led to and Non-Culturally Interest: Based Practitioner and its purpose was, in essence, to determine whether the cultural base is necessary for a dancer to embody the form. In order to do this I began by conducting research into the historical, socio-political and cultural contexts of the form. I used a two-part methodology to approach my research focus, the first method was by observing practitioners during performance and the second was to interview them. For the former, I analysed the performances using British dance theorist, Janet AdsheadLansdale’s analytical model, and my own criteria which consisted of technique, choreography and spirituality to assess their practice of the form. The latter was assessed using the theory of kinesthetic empathy, as coined by German philosopher, Theodor Lipps. Whilst the latter element was designed to obtain an awareness of the practitioners’ perspectives as informed by their experiences in the form. I decided to term the dancers and culturally based and non-culturally based complex talas appealed to my musical background. for several reasons. I wanted to be conduct the This was a very different way of moving too – research paper with a degree of sensitivity to the intricate yet grounded, abstract yet narrative; yet, socio-political background surrounding the form. as a bodily practice, Kathak felt so right.

I knew already, from my training in the UK, that Being that I was learning Kathak in a university not just Indian dancers, alone, learn the form. context, I became more and more interested in Through my research, I learnt that those who live forgoing the boundaries of movement. This kind in the Indian sub-continent share similar cultural of depth was certainly encouraged and there was values with India, despite their independence a particular emphasis on looking beneath the from the state. As a result, the term “Indian” does aesthetics of a dance style; to allow the theoretical not accurately describe dancers who practice the underpinnings support our practical training. In form in a country that used to be part of India, this unique learning environment, my creative mind such as Bangladesh and Pakistan. At this point, was given the opportunity to develop, flourish and it seemed that the term “South Asian” might be as a result, my concerns shifted to contextualising better suited but, due to globalisation, there are the form and finding the artistic communication first, second and even third generation Britishand intention behind it.

Asian or American-Asian people practicing Kathak.

By researching Kathak’s rich historical and Even when the younger generations are born into a cultural context, and applying some moderately Western culture, they are direct descendants from

A Novice’s Research into Kathak

KALASPANDAN 10th SEPTEMBER 2011

13

Indian/South-Asian culture, and so more informed on the cultural background of the form. In order to accommodate these points, I made the decision to use the terms “culturally based” and “nonculturally based” dancers.

This research paper found several underlying conclusions about the way in which Kathak is practised in the United Kingdom by comparing the work and experience of equal numbers of culturally based and non-culturally based dancers.

Firstly, that Kathak is even practised in the UK is a testament of its durability; it is an attractive art form to many people all over the world where it transcends geographical, cultural and social barriers. Secondly, Kathak’s susceptibility to an array of cultural and artistic backgrounds makes it increasingly relevant to redefine the form through vast ideological frameworks such as national identity and cultural hybridity which, in turn, brings a new level of understanding to its practitioners and followers. This dissertation recognises that movement is just one area of study and that, actually, a dancer, culturally or non-culturally based, is more likely to embody the form when they transcend technique itself. In Western dance conventions, technique goes hand in hand with choreography and yet, in Classical Indian dance, choreography is still a relatively new concept. As a result, the choreography which was observed in the performances of culturally and non-culturally based dancers became a product of cultural hybridity which has a knock-on effect for the conduct of Kathak practice. Choreography has not only become a tool to reinvent the form but, in addition, it makes Kathak more readily available to Western dance audiences.

As previously stated, spirituality arose as an area of significance to the dancer’s embodiment of the form, mostly because it allows the dancer to achieve a deeper connection to Kathak and, as a result, a deeper connection to their audience. Through kinesthetic empathy, I came to the conclusion that spirituality allows the dancer to connect more freely with the form which, therefore, makes them more likely to exhibit their artistry. Finally, this research paper acknowledges that whilst an awareness of the founding culture is necessary to understand the context behind the dance, the cultural base is not essential to one’s embodiment of Kathak.

Of course every research project has its biases and inconsistencies, even when its author and researcher has tried to remain impartial and as accurate as possible. Future research into the field might incorporate a wider variety of performance venues which are located in the mainstream of London’s dance environment, as well as in the more community-based suburbs and other cities up and down the country such as Birmingham, Leicester etc. Additionally, this study’s use of kinesthetic empathy to evaluate the spirituality present in performance could have included a reading of the audiences’ perspectives in order to qualify my own opinions and create a more balanced debate.

I find it incredibly exciting to be involved, even in a very small way, in what is a deeply beautiful, artistically rich dance form, Kathak. I thoroughly enjoy the new shapes and concepts of culturally and non-culturally based practitioners in the UK and I look forward to watching it grow and develop for many years to come.

- Lucinda England

14

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

T

he reason behind the Nirgita in its seven forms as well as the Uttapana will be given now. Now Bharata gives in detail about worshipping the deities in different parts of the preliminaries beginning with the Pratyahara and ending in the Mahachaari.

The Patyahara pleases the Raksasas and the Pannagas, while the Apsarasas are delighted with the Avatarana. The Gandharvas are pleased when the Arambha is performed, and in the performance of the Asravana the Daityas take delight. The Vaktrapani pleases the Danavas and in the Parighattana the hosts of Raksasas are pleased.

By the Samghotana Guhyakas are satisfied, while the Margasarita pleases the Yaksas. When songs are sung the gods enjoy them, and Rudra with his followers is pleased by the performance of the Vardhamana. Similarly in the performance of the walking round Lokapalas are delighted, and the moon-god is pleased with the benediction. During the singing of the Avakrsta nagas are pleased, while Suskavakrsta pleases the host of Pitrs. In the Rangadvara Vishnu is pleased, while the Jarjara ceremony pleases the leaders of Vignas. On the Cari Dancing in symphony being performed Uma takes pleasure while in the performance of Mahacari the Bhutas are delighted.

After performing the songs and the Vardhamana, Hence Bharata has described the different parts one should sing the Utthapani(raising ) Dhruva which of preliminaries and the gods pleased by has in its feet of eleven syllables them. He has also mentioned the parts the first two, the fourth, the of the preliminaries in which the different eighth and the eleventh as long. gods take delight.

It should be in Caturasara Tala The performance of the preliminaries and four feet and four Sannipatas which means worshipping the gods, is as well as three kinds of tempo praised by them and is conducive to duty, and three caesuras. Besides this fame and long life. And this performance it should consist of four walkingwhether with or without songs, is meant rounds and of three Panis, and for pleasing the Daityas and the Danavas as it should be in the Visloka metre Smt. Chethana well as the gods. and in the same kind of Tala.

Radhakrishna P M Bharata says that the characteristics The Tala in question should and function of performances with or consist consecutively of Samya of without songs as well as of the Vardhamana will two kalas, Tala of two kalas, Samya of one kala and be discussed later while discussing the rules of Sannipata of three kalas.

Dhruvas.

Natya Shastra

KALASPANDAN 10th SEPTEMBER 2011

First walking-round: A Sannipata tala of eight kalas should be observed. And it is said that the first walking-round is made up of four such Sannipatas. The first walking round in the preliminaries should be made in slow tempo i.e Sthitalaya and on the termination of the third Sannipata, drums should be played.

Second walking-round: On the termination of the first walking-round which was in slow tempo, the second walking-round would commence in medium tempo during which the director and the two assistants should enter the stage. Before entering the stage the three should get themselves purified, initiated and furnished with charms of protection against evil spirits. They should be clad in white and they should carry white flowers with them. The three should simultaneously enter the stage with hand full of flower offering.

While entering the stage, they should be looking with the Adbutha glance and be in Vaisnava sthana with saushtava of the body.

The two assistants should carry the golden pot and the Jarjara. Along with them, the director should put forward five steps. These five steps should be performed as described by Bharata. The purpose of these five steps is to worship Brahma.

As described by Bharata they should place their two feet three talas part and then raise them one by one on each side and again put them down at the same distance. After going five steps in this manner, the director and his two assistants should perform the Suchi Chari with left foot moved first.

Then director should offer flowers in Brahma’s circle (Brahma mandala) This is the centre of the stage where the deity (Brahma) is supposed to be present.

After offering the flowers, the director should respectfully bow to Brahma with lalitha gesture.

During the salutation, he should thrice touch the ground with his hand and his steps suitably divided.

This second walking –round should performed in medium tempo.

EVERY FRIDAY CULTURAL EVENING PROGRAMME 29th SUCCESSFUL YEAR Indian Council for Cultural Relations, Department of Kannada and Cultural, Department of Youth Services & Sports, Youth Writers and Artists Guild Programmes between 15th August 2011 and 15th September 2011 16th September 2011

Mr. Anil V. Iyer, Bengaluru

Bharatanatyam Dance Recital

23rd September 2011

The Structural School of Fine Arts, Bengaluru

Kannada Play

30th September 2011

Kum. Samata R.M., Dharwad

Bharatanatyam Dance Recital

07th October 2011

Vidwan. Ananth Bhagwath, Bengaluru

Hindustani Light Classical Music (Vocal)

14th October 2011

Kum. Trupti S., Kerala

Bharatanatyam Dance Recital

Time: 6.30 p.m.

Venue: Yavanika, State Youth Center, Nrupathunga Road, Bengaluru

All are cordially invited

PÀ¯Á¸ÀàAzÀ£À 10 ¸É¥ÀÖA§gï 2011

S

avaras have a special place among the Tribes of Andhra Pradesh who are preserving their ancient traditions. They don’t have divisions based on Gotras like the other Tribes do. They are known by names “Soura”, “Sabara”, “Savara”and have around twenty five sub sects viz., Arisid, Baseda, Bheema Bobbi, Dondia, Gontara, Jadu, Jaro, Jurai, Kapu, Kissara, Kumdumba, Kumbi, Lanu Balinjiamala, Mara, Moni, Muli, Mutta, Sardha, Sudda, Tekkali etc. We can find the mentions about this tribe in literary works like Itareya Brahmanam, Ramayana, Mahabharata, Kadambari, Kadhasaristagaram etc.

Presently they are residing in Eastern Ghats of Srikakulam and Vijayanagaram districts. The foreign tourist ‘Ptolemy’ also mentioned about these Savaras. Apart from the above, they find mention in the inscriptions of kings belonging to Choda Ganga, Paschima Ganga and Pallava dynasties. Depending on this, the researchers assume that this tribe is important and widely spread. They speak in a special language which belongs to the “Kolmunda” group of languages which is one of the ancient Asian languages.

The main occupation of Savaras is agriculture.

So, they usually reside in places near the mountain streams. They also do fishing, hunting and selling agricultural products apart from working as daily wagers in the forests. They do agriculture in three methods. The first method is ‘step irrigation’. In this method, they build step-wise rivet-moat walls on hills and use the flattened land on each step to cultivate. The second is irrigation on plain lands. In this they cultivate Green gram, Whole gram, Black gram, Maize, Corn, Jowar etc. And the third type is back-yard cultivation. In this they grow crops like Tobacco, Corn, Pumpkin, Cucumber, Ginger etc.

Savaras are very sincere towards their occupation.

Their sincerity towards the agriculture is obvious as they call the months also in the names of crops and the works related to agriculture like ‘Dhanyam Nela (month of grains)’ for January, Kandipanta Nela for February, Kandula panduga for March, Konda Vetla marammttula Nela for April, Dukki Nela for May, Kaluputeeta Nela for June, Sajjala Nela for July, Kukka Lordugula Nela for August, Challikala Nela for September, Ragula Nela for October, Dhanyam Pottuposukune Nela for November and Pantala Panduga for December.

Previously, the marriages were arranged within the village. But now they are arranged based on the surnames as they are started interacting more with urban culture. The few methods of marriages are Pankui (Arranged marriage), Ding deng boi (elopes), Kinnersang (Service marriages) and Ulai Boi (marriges by exchange policy). The marriage ceremony is a simple process in which the pundit or priest offers the offerings to the fore fathers seeking their blessings and concludes with the feast. Marriages strengthen the relations. Couples can divorce if there have problems like infertility and family disputes that cannot be solved. Their society has three heads viz., “Gomong”, “Bhuyya”, and “Parna” to control the tradition. Gomong is the head of the village also known as “Nayak”. Bhuyya is the religious head and plays a key role in festivals, marriages and in other rituals. “Dessari” is a religious ritual performer, who decides the Muhurut or the auspicious dates. There is one more religious performer called “Kudan”, who plays musical instruments like ‘Kudansagram and kudan bhoi’ during festivals and other ceremonies.

He gives the sacrifices in the ritual performances to satisfy the ancestors and also chant sthotras during ceremonies like naming ceremony.

Savaras worship Lords and also the spirits of their ancestors. As per their belief every human being has two spirits. One is major and the other is minor.

Minor one is the life of human being and the major

one is the soul which exists even after death. When the man dies soul reaches heaven in the form as a shadow. However, unless the rites are performed which are known as “Gaur” and a goat is sacrificed the soul keep roaming on the earth and cannot enter the heaven, as the ancestors do not permit it. The moment the gaur is finished the soul mingles with ancestors. They also believe that the soul comes back whenever it doesn’t get proper clothes, food, alcohol and tobacco and takes it from the houses of Savaras. It pesters the relatives, if it is not satisfied.

In this situation they go to the black magician ‘kudan’ who can solve their problem by satisfying the soul. Savaras worship many Lords depending on their sentiments, problems, and diseases. They have separate Lords fOr Earth, Mountains, Sun, Rain, Streams, Wind etc. They worship even the evil forces. As per the writer Verneir Yelpin, who wrote “The Religions of Indian Tribes”, Savaras have four types of Lords. The first type is “Sorumanji”, in this every Lord has a name and position. Second type is “Kittu manjis”, who belongs to epics and mythology.

Third type is the souls of ancestors and the last type are “Kalbanjas”. Kalbhanjas are the spirits, who becomes Lords once their gaur is completed. Savaras have temples in the streets and on the boundaries of the villages. However, every house can be treated as a temple as most of the sacrifices are offered at home. Every house has Lords for the stoves, roofs, etc. They paint the walls to respect the people who died, to avoid diseases and also to celebrate festivals.

They erect a pillar outside the corridors on the name of the Lord. They believe that this Lord will protect them from all the dangers.

Savaras dance during marriages and festivals, which is an indispensable feature of their lives. All people participate in these dances without considering their sex and age. In a way they give importance to dance than music. They dance as per the beats and rhythm of musical instruments like Sannai, Tudum, and Dappu, which is very energetic. Sometimes few people are possessed by spirits (Poonakam) during these dances. Men and women form separate groups and dance holding each other’s waists. The synchronization of their movements is graceful as they move nearer and farther, backward and forward. They give importance to simple steps. Earlier they are not using any makeup or special costumes for the dance but now they make up their faces and wearing kneeend sarees and preferring to tie knots when it comes to hairstyles. Men are wearing Dhoti and shirts.

KALASPANDAN 10th SEPTEMBER 2011

15

perform these dances at their places. However, the music has to be recorded in the cassettes to enable them to do so.

Coming to the painting skills, painting is the part of their belief. This Art is called “Lingole” in their language. They paint the portrait of their Lords and ancestors skillfully. They believe that their lives are being influenced by invisible forces, therefore, they paint on their walls to satisfy these forces. Like-wise they paint on the walls as a sign of respecting elders, to avoid diseases, wishing good irrigation to the crops. There are many variations in these paintings.

They mainly paint moon, sun, stars, animals and the other things. This Art is not found in other Tribes.

The way the Savaras express their eternal thinking will definitely attract tourists. Tourists who are interested in these Arts can be trained with the help of Savaras.

It is more useful if the residing areas of Savaras which have natural beauty can be visited as a part of Tribal Tourism apart from exhibiting their dances and paintings at Tourism centers. Tourists who are

Arts of

Savara Cultural Tourism A.P.

Usage of Savara Arts in Cultural Tourism Marketing Savaras have the skills of painting apart from dance, which can also be used for the marketing. There is no doubt Savaras dance with graceful movements and will entertain tourists as it is suitable for enthusiastic people to participate and learn. As this dance doesn’t require special make-up, tourists can

vexed up with their city life can feel relaxed, when they visit the Savaras as Savaras usually reside in hilly areas which look beautiful due to the small hills, streams and the step irrigation methods. The huts in the villages of Savaras are in parallel rows which are opposite to each other. Presently they are building the concrete houses instead of huts. If Tourism Department can provide facilities to the tourists to stay in these areas and introduce the recipes of Savaras, then the tourists can really enjoy the new experience. On the whole if the Tribal Tourism can be conducted making Visakhapatnam as a center using the dances and paintings of Savaras, it will be very helpful as it propagates the traditions and Arts of Savaras enabling the tourists and researchers to enjoy a new experience.

Dr. Arja Srikanth IRTS

Á¸ÀàA¸ÉzÀ 10 ¸É2011 ¥ÀÖA§gïKALASPANDAN 2011 PÀ16 ¯Á¸ÀàAzÀ£PÀÀ ¯10 ¥£ÀÖAÀ §gï 10th September 2011 Posting Date : 10th & 11th September 2011 : Posted at GPO, Bangalore.

16

KALASPANDAN 10th SEPTEMBER 2011 RNI: KARBIL/2009/29668.

RNP/BGS/2125/2010-12.

Licenced to Post without Pre Payment. Licence No WPP: 205

Bengaluru International Arts Festival (BIAF) 2011

M

usic, Dance & Theatre! BIAF 2011 - The most exciting cultural spectacle of Bengaluru is set to wow art lovers again! With a host of enthralling performances by incredible artistes from India and abroad, it promises to unite, engage, enlighten, entertain, enchant and spellbind one and all. The event also features two days dedicated to folk arts.

The festival is the path-breaking initiative of AIM (Artists Introspective Movement) the city-based art movement led by Dr. Suma Sudhindra and Mrs. Veena Murthy Vijay. BIAF which made a grand start in the year 2009 has now grown to be the largest flagship international festival in Bengaluru.

BIAF is one among the 10 major multi-arts festivals in the country, recognized by Ministry Of Culture, Govt of India in terms of quality of work, innovation of vision, scale and depth of programmes.

This unparalleled feast of dance, music, theatre and other visual arts is the most sought after art event in the city, sensitizing and engaging connoisseur and common people alike through various art forms from all over the world by providing a common platform for interaction between the artistes, their arts & connoisseurs.

Cutting across geographical boundaries, spanning 8 days at 9 different venues, this edition of Bengaluru International Arts Festival (BIAF 2011), is a comprehensive bouquet of many art forms & promises to host and feature over 175 artistes from around the world.

Opening on Thursday, September 15th, at Chowdiah Memorial Hall, The Sufi Gospel Project gives the perfect divine start to the festival. The Sufi Gospel Project, delightful blend of music, poetry and prayer that transcends the barriers of religion and language, is a brainchild of Jazz singer, Sonam Kalra. Percussion ensemble by Anooru Anantha Krishna Sharma & team presents “Laya Lavanya” with their new energetic compositions. Later in the evening, on the same venue, join Vijay Prakash, the popular playback singer from Mysore, well-known for his Slumdog Millionaire song, Jai Ho & will entertain you. A soulful evening, a must for all!

On the 16th, at UB City, BIAF brings, “SINGING SLIDES AND SLIDING SONGS” the celebrated American slide guitarist. Billy Cardine & Sangeet Samrat Chitravina N Ravikiran, the prolific composer and musician with leading Karnatic Vocalist, Sudha Raghunathan as Guest Star. A musical evening to remember for all time to come!

On the 17th, at UB City, witness Amit Heri, collaborate with Matt Renzi in a memorable Jazz evening. Norwegian Group “FOOD” with Prakash Sontakke will present their Fusion Band.

On 17th and 18th The Folk Festival at Jayangar and Freedom Park, the festival showcases folk troupes from the countries of Philippines, Indonesia, Sri Lanka alongside folk artists from the states of Karnataka, Orissa, Manipur, etc.

On 17th “ Cabezas de Cera” Mexican Band presents jazz & pop music, at Opus In The Creek On the 18th, watch the popular Desi Hip Hop band, DNOAX perform live at Opus, Palace Cross Road.

On September 22nd, at J S S Auditorium, 8th Block Jayanagar, a chance to free ourselves from all worldly worries, amazing drummers from Japan, are sure to mesmerize the audiences on their hypnotic beats followed by “BHAVA CHETANA” – Light Music by Suchethan Rangaswamy, Divya Raghavan, Supriya Acharya, Ajay Warrior & Troupe.

On 23rd, at Brigade MLR, J P Nagar, the festival offers a melodious evening of Hindustani vocal by Muddu Mohan and Hindustani-Karnatic Jugalbandi by Ranjani & Gayatri.

At 6pm at Chowdiah Memorial Hall, the celebrated playwright, Ratan Thiyam presents his Chorus Repertory Theatre’s much appreciated play, ‘Aashibagee Eshei’ an adaptation of Henrik Ibsen’s ‘When We Dead Awaken’.

On 24th, at Brigade MLR, J P Nagar, it’s a chance to catch the Bharatanatyam artist, Padmini Ravi and the Kathak dancer, Anuj Mishra in their enthralling performances.

On the same evening, leading Odissi dancer, Aruna Mohanty presents her troupe of Orissa Dance Academy at Chowdiah Memorial Hall. Later in the evening, the famed Kathak exponent, Aditi Mangaldas with her troupe of Drishtikon Dance Foundation is sure to mesmerize art lovers

September 15 – 18 & 22 – 25, 2011

with their breathtaking classical and contemporary Kathak recital.

The festival closes on September 25th at Chowdiah Memorial Hall. The finale brings together, The Prince Charming of carnatic music, O S Arun with the acclaimed Hindustani vocalist, Pandit Sanjeev Abhyankar, in a not-to-miss evening of Bhakti Sangeet.

As part of the festival, Taj West End, at Race Coarse Road, hosts an art exhibition at The Art Corridor in association with Concern India Foundation, from September 22nd to 23rd.

Presented in partnership with Idea and support of BBMP, Ministry of Culture, Government of India and Sangeet Natak Akademi, New Delhi, ICCR, US Consulate, Japanese Embassy, British Council, Embassy Of Mexico the BIAF presents you with the widest diversity of artistic genres and bring harmony through art.

For further queries and details, invitations & donor passes, please contact

AIM (Artists Introspective Movement ) #42, Sirur Park Road, 4th Cross, Malleshwaram, Bangalore – 560003.

Phone: +91-80-23462242 / +91-7760498077 E-mail: aim.biaf@gmail.com, Website: www.biaf.co.in

Smt. Veena Murthy Vijay

Dr. Suma Sudhindra

Directors

Printed by Udayakumar Shetty T.B., Published and owned by Udayakumar Shetty T.B., #61/1, Sri Ranga, 3rd Cross, SBM Colony, BSK 1st Stage, Bangalore - 560 050. Printed at Lavanya Mudrana, No. 19, 15th Cross, Vidya Peeta Circle, Banashankari 1st Stage, Bangalore-560 050. Editor Udayakumar Shetty T.B