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Trebiking (Biking + Trekking) to Edukumeri

Crew:
Vineet
Mahesh
Ravikiran
Kiran (Vineet's Friend)
Jagadish

Date of Journey:
29-Apr-06 To 01-May-06

Kee..Kee…Keee..Keeeeeee…Some sound was coming from nowhere…with difficulty I opened my eyes and looked around. I saw the time and it was 5.00 AM. Then I realized the source of that sound..yes baba..it was my mobile alarm. I saw a new SMS from Jagga saying ‘Wake Up’ which came at 4.45 AM. How I can get up from a mere SMS??..Idiot…The reason for getting up so early is we (5 Boyz) had planned a biking trek (confused??...Go on reading!) to Edukumeri Via Bisile. And we are supposed to meet at 6.00 AM sharp Opp. to ISCKON temple. So I got ready and kick started my bike at 5.30 AM..and Zoom. I was the second one to reach there, Mayya was already there. By 6.30 AM everyone arrived on their bikes. We filled petrol full tank and started our journey.



We crossed Bangalore at almost by 7.15 AM and hit on NH-48 road. Nobody was in mood of hurry to speed the vehicles. Believe me….The NH-48 is awesome road for bikers. It’s like tasting ice cream in middle of summer. After crossing Kunigal, at certain gap of drive, we came across “Hebbagilu” on the right side. Opposite to that, to our left side, one road was visible. We hit that road on left side and even though road was rough, muddy and with potholes, we drove with great enthu to out first destination. The Marconahalli Dam.


We parked our vehicles outside the gate at 9.00 AM, crossed a park which had trees standing tall and we started climbing with our luggage to the top of the Dam. When we reached top of Dam…..I was dumbstruck with its beauty…I shouted “Wow Man”…..In front, the entire scene was filled with water 60 feet deep and fresh cold air blowing to our face. Backside, the scenery was very beautiful park but not maintained clean. I guess very less attention is paid to maintain it as visitors to this dam are rare case and also there is no publicity. There are lengthy chairs (similar to present in railway stations or parks) present to sit and watch the view on top of the dam. There was man who maintained that Dam showed us how the dam worked, how they leave water on other side. There was huge metal covering standing on top of dam with metallic pillars on four sides with letters ‘England’ inscribed on it. I guessed it could be made in England and on same time I wondered how they brought it here from England. Then there was display board of all statistics and measurements related to dam.



We climbed down and we went to bottom side of Dam at the Park side. There were 2 big holes to release water from other side. We left Dam at 9.30……and hit the rugged looking road which took back to NH-48 and continued our journey.

We reached Yadiyur at 10.10 AM and we came across yet another “Hebbagilu” on left side. Here, we took left turn into the town and went straight until we reached our second destination “Mahabalashwara Temple”. Vineet and Jagga went inside the temple while other 3 were waiting. Mean time, I saw a Chariot (“Ratha”) standing opposite to temple. It had some beautiful carvings on all its sides. One elder person of that town who was watching us (Me and Mayya) came near and started explaining all the figures carved on the chariot. The carvings which surprised me were of intimate scenes with one or more persons and more of surprise, it included intimate scene with animals also. I was shocked and was not able to digest this. How could they carve such things on chariot which carries God on festivals?

After Vineet came back, we made our bikes to stand in line horizontally..and did pooja and hit the coconut in front of our bikes for our safe journey. Later we drove back to NH-48 and continued our journey to next destination “The Gorur Dam”. On the way we came across green patch of grass and then we took rest for few minutes under a tree.
On the way to Hassan, you come across 4 way junction which takes to Sakleshpura to right side and Gorur to left side. We took left turn and reached Gorur at 2.30 PM. The Road from NH-48 to Gorur was too good with curvy paths and trees planted alongside the road, thereby experiencing AC effect through out the journey. With this type of road, all 5 drove like crazy at 80km/hr in single bee line. It looked like some bike race is going on.


After reaching Gorur, we came near to the gates of the Gorur dam. The security asked to bring permission letter from authority person whose office was 1km back from where we came. Since it was lunch time, the security told officer would have gone for lunch and we have to wait until he comes and get permission letter. But later, he decided to allow us to see the dam and asked us to tell inside officers that we could not get permission since it was lunch time only if they enquired. We parked our vehicles inside the gate under beautiful tree which had red flowers all over. While walking near to the dam, we were able to see letters “Narmada dam” carved in huge size on either side, one in English and other in Kannada. We climbed steps to reach the top of dam to have lovely sight of water flowing and hitting the dam. The walls towards the water were in sliding shape covered with large square like stones… with few stones blocks protruding at a certain distance at regular intervals. We climbed down and took some snaps on these stone blocks.

We had lunch at around 3.00 PM there itself. We went to temple which is situated opposite side of the dam, residing nearby a river.

We took our bikes near to that river, washed our faces, took some rest and continued our journey to Bisile. Instead of going back, we just took the road from Gorur Dam and continued further towards Shanivarasanthe via Mallipattana.

On the way we came across a road where it takes to Sakleshpura on right side and Bisile to left side. So we hit the roads on left side and continued towards Bisile. Our main aim was to see sunset at 6.00 PM at View point. The path was not smooth, it was muddy road with pebbles around. We came across a circle with 4 roads which again takes to Sakleshpura (32kms from there) on right side. One road was towards Bisile which was around 14 kms. The Nut in the metallic cover for chain socket got loosened in Jagga’s Bike and fell down somewhere on the road. So near the circle, there was repair shop where the repair fellow did some stuff to keep the covering. Meanwhile we all had rounds of Tea and Badam Milk. Then we kicked our bikes towards Bisile. After reaching Bisile, We have to cross police check post and continue further to reach the view point. When we reached view point at 6.20 PM, last visitors were leaving the place. We scouted on top of the view point for some time until 7.00 PM .and then we climbed down to our bikes. Luckily the main gates were not locked. So we took the advantage by opening the gates and rode our bikes to view point itself and parked on left side where there was flat area suitable for parking. We later closed the gates as it is after we got inside.

The black clouds were there on top of our head hence we could not see sun set. Alas!! From view point, the scenery was ultimate as good as painting. We could see Giribetta which was highest peak along with Kumara Parvatha to its right. There was display map of all mountains which were visible along with their names. We pitched tent there and we laid down our sleeping mats. We rested our backs on the mat and ate our snacks while we chatted. We had our dinner (chapattis with Chutney powder) and we slept at 9.00 PM.
It was very hot inside the tent and nobody was ready to sleep outside as we had heard some rumors that cheetahs frequent these places. We had taken candles to light them whole night.

We got up at 5.00 AM after having bad night (Could not sleep properly because of Kiran’s loud snoring L which was similar to Tiger….may be this effect was due to tiger biscuits eaten last night). We removed tent and packed our entire luggage. Vineet told there is one more view point at some distance. I was not interested as sun was hiding still even thought it was 6.00 AM. As rest of 4 were enthu to go there, I stayed back while they went to the view point and returned at 6.30 AM. Then we took our bikes down the view point onto the road, closed the gates as it was when we arrived, and moved on.

We had travel back on same road as we came through Bisile to a village called JagaTa. We came across lot of 2 road junction on the way…and we had to ask the villagers for the right direction. The journey was not an easy one. We have to go through muddy track initially, and then road full of pebbles which are waiting to make your bike to slip and slide. It was not a plain road track; it was full of ups and downs. I felt as though we are doing some cross road race without any audience. On the way we came across a triangle like path, where we got stuck as we did not know which one to take. So we rested there as Vineet took right turn and went ahead to confirm the road with any villagers who may come across. Then he came back and told left road takes to Kurkemane village while right road takes to JagaTa village. So we continued the ride after taking right turn. As we are coming down near to JagaTa village, we had to cross small channel of water which was flowing into farm where it was used to water the plants I guess. After crossing that, immediately we came to a halt. We could see JagaTa village in front of our track. But there was one big hurdle which we rode all this way to experience this. There was river flowing between us and JagaTa village and we must cross this now to continue our journey.

We walked across the river leaving the bikes on the bank to test how much deep it is. Luckily, it was coming to little less than our knees which was safe for only 150CC bike silencers (Mine and Mayya). Jagga inspected left side where their bikes could go without any problem to the silencers as it wasn’t deep that side. So first we all removed our shoes and took our entire luggage to that side of the road. The villagers saw us and they were happy to help us out of that river. They told us the stories of first bikers (7 to 8 ppl) who came in spite of pathetic roads. There was huge tree fallen on their path it seems and they had to lift their vehicles over that and come here. The water was also very much deep that time it seems and villagers were really surprised and shocked to see these people cross this river with their bikes. We then took our bikes one by one through the river. The river was full of pebbles of various sizes so we had to carefully cross the river without falling.

Finally all our bikes were parked opposite to the bank of river. The villagers were very helpful to us. They showed the hanging wooden bridge on the left side which they used to cross when the river rises to high level. They offered us drinking water which was very clean and sweet. They asked us whether we required breakfast. As we had already taken bread and jam for breakfast, we did not go for it. We had our breakfast under a shadow of big tree at around 9.30 AM. I took some beautiful of snaps of flowers in that village. Vineet was trying to capture photos of Swan flying on trees with his analog SLR camera while Mayya and Jagga were nagging him that he cannot use his camera properly.

After thanking villagers, we were set to ride to our next destination “Nagarhole Railway Bridge” which comes near Edukumeri Railway station (Regular trekkers would know this name). This journey was toughest one compared to whatever we did until now. To tell how the path is, I can say my bike fell 4 times on the way without any damage to myself.We were riding bikes on the route which are supposed to be for trekking. So obiviously, it will be difficult. The route was asphalted road until we reached Hongadahalla village and continued our journey further towards track.

I hate this type of roads which was full of palm size pebbles and with ups and downs. But risk has its own value that’s why we were ready to take this as challenge. The distance was some 15 kms but the journey took long time. While going down, we had to go inch by inch applying back and front breaks. While going up, we had to be in first gear and full accelerator. This was our regular routine drive on that path. On the way we came across flat road with tall trees surrounding and some cut woods lying on left side of road.
There we took some snaps and we continued our journey. We came across beautiful scenery on the way where we would stop our vehicles and take snaps.

By 11.30 AM, we came to final destination where we could see Railway Bridge on right side. We parked our vehicles nearby and walked towards Railway Bridge. There were tunnels on either sides of the bridge. Jagga was very happy as he was doing trekking first time on this Edukumeri track by crossing bridges and tunnels. We did not know which one takes us to Nagarhole Railway Bridge. So first we took left side of bridge and walked on the wooden planks of bridge. My legs were shaking as I was very much afraid of heights. Gradually, I became used to walking on the bridge. We crossed the bridge and all others went inside the tunnel except me as I had already been there. It was 2.00 PM already so we decide to move on. We had thought initially there could be path to Gundya which comes on the highway. Vineet took his bike, crossed the railings with great difficulty by using few slabs in slanting position. He went to either side where there was road visible to check whether it leads to Gundya or not. Later he came back and told there was no road. There came few railway workers who told us there is no way to Gundya and to visit Nagarhole Railway Bridge, we have to take right side of tunnel. While we prepared to leave, a single open carriage with some trekkers sitting on it passed on the track. May be they were going to Edukumeri railway station which was some 4 kms away to our left. We crossed the tunnel on right side and crossed one more small bridge. Then we had to cross longest tunnel existing in that track which is of 572mts. We switched on our torches and went through the tunnel to reach our destination Nagarhole Railway Bridge. The bridge was longest one and was at great height with Nagarhole River flowing underneath it. We walked across this bridge and then we climbed down to Nagarhole River with the help of passage like road on right side of bridge.

We enjoyed taking bath in the flowing water. Mayya, Vineet and Kiran swam for some time. At around 3.30 PM, we had our lunch on the rocks nearby river. We looked up the bridge and we saw a group of 8 to 9 trekkers crossing the railway bridge. After finishing our lunch, we came back to our bikes. May be those trekkers would have got surprised to see bikes standing in this type of area. While we drove back the same route as there was no alternative. Those trekkers were having bath near some small flowing water next to our bikes. They may have thought we were crazy to drive these bikes on this type of terrain. On the way, my bike again fell down for 5th time and this time along with me. I got some bruises on my elbow, but was able to manage it. We came to same place (near Hongadahalla village) where there was full of tall trees standing at around 5.00 PM. We decided to hook the tent there itself as there was good air blowing up. Vineet and I went to left side of mountain to get Sun Set View Point while others rested on their mats. We both climbed on right side also to mark Sun Rise View Point to get good snaps in the early morning.

At 6.30 PM, as the sun was coming down, we all 5 went to Sun set view point to take snaps. There were huge boulders standing on that place. We sat on that rocks and waited for our precious catch of Suns image. We took several snaps as the sun was going down.
I asked Mayya to stretch his hands in front and I took a snap of him which looks like he is holding sun on his palm. By 7.00 PM, Vineet and I drive down to nearby village 2kms away to get some food as we heard there was one hotel in that village. But when we reached there, the hotel was closed down and there was no curds packet available to eat with our food. We tried asking one more shop but it was in vain. We met a man who called himself as Secretary. He said he wanted to help but told his assistant is not there to cook food so was unable to. He said if we want, we can cook food ourselves in his room. And he said he will arrange room for sleeping. We told him we had brought tent so we would be sleeping in that. Then to try our luck again, we went to back to that same hotel, where the hotel fellow was standing. Initially he said there was no food available and after some discussion, he agreed to give rice and sambar if extra is present in his house. Later on he gave sufficient amount of rice and sambar to us. He warned us from not to sleep outside as there was elephant attacks recently in surrounding villages. We went back to our tent and rest were also ready to leave the place as one of passerby told them it would rain in the morning. So with reason of rain and elephants, we decided to go for a room in HongadaHalla village. So we kick started our bikes and drive down to this village to reach at 8.00 PM. The villagers were very helpful especially Head Master of the school. He gave us room initially, but we settled for “Ranga Vedhike” which was in open space as we required some cool fresh air.

We had our dinner at 8.30 PM and slept on our mats. We did not use tent this time. We got up at 5.30 AM morning next day and by 6.00 AM we were on the roads towards Sakleshpura. 5 kms before Sakleshpura, we came across our one more destination “Majrabad Fort” also called as “Summer Palace” at around 9.00 AM. This is situated near to the highway so it is hard to miss. We had Badam milk and Tea at hotel and started climbing up towards the Fort leaving our bikes near the hotel itself. While walking up, we came to series of steps (around 200 I guess) which lead to Fort. We reached the fort to be amazed by its beauty.

We hired a guide to tell about its history. This Fort was built by Tippu Sultan. There are 3 Doors to the Fort. It was mainly built to collect and store revenue taxes. Instead of taking all money to Mysore, Tippu wanted to have central place to store the money, hence this fort. The fort is in the shape of stars with 9 sides, each side having watch tower to watch enemies entering. There is huge channel on all sides of fort which was earlier filled with water and crocodiles and poisonous snakes were let into it to avoid enemies. Other than 9 watch towers, there is one extra watch tower which is in front of the fort and looks magnificent with sculptures. The fort has swimming pool at the center in the shape of Plus sign with steps all around it. We went inside the Watch Tower to have experience how the guards watched the building. We stood on top of tower and took some beautiful snaps. The guide showed us the place where Servants room, the kitchen, Bath room were located which are already destroyed by British. He showed us Tippu’s Toilet place which also had separate corner for his bodyguard to watch any enemy entry. He showed us Horse stable, Tippu bedroom, the storage room to store all grains and the storage room for arms. There was escape route to outside on top of the fort. The most thrilling monument was there were 2 escape routes near the swimming pool. These are underground passages used to escape on their horses. The left one leads to Mysore and right leads to Srirangapatna. These escape routes are cured by Govt. of India to protect them from climate changes. The Govt. has blocked the escape routes as there was some rape incident 12 years back in that secret passage. He showed us how the walls of the fort
Keep cool climate even in summer. Hence it was called Summer Palace as Tippu used to come here in summer to have cool climate.


Near to first entrance, on the ceiling we can see the map of the entire fort with star shape with 9 sides including the channel that surrounds the fort. The secret passages are not depicted on this. We came down to our bikes and started towards Bangalore on the NH-48 highway. On the way, we come across 4 ways junction, left road takes us to Hassan and while straight road takes to Bangalore. We continued towards Bangalore with full speed 100Km/hr. Now the bike race actually started. Of course nobody can beat Mayya on Highways. We took left turn towards place called Nuggehalli 2kms after CR Patna. We biked 15 kms towards our final destination “Narasimha Temple” built by Hoysalas. We went inside the temple to find doors closed. We hired a guide there again and he took over all the idols carved on the temple explaining each one of them. The idols start with ‘Brahma’ god and ends with ‘Surya’ god. The other idols consist of Ganesha with eight hands, Harihara, Krishnavatara, Vamanavatara, Parvathi, Kaali, Lakshmi, Saraswathi, Rama, Sita, Lakshmana, Hanuman, Garuda, Vishnu sitting on snake etc. the Polari came and opened the door for us. Inside there were 3 god idols including ‘Ugranarasimha’ god. He did pooja and gave us teertha. At around 2.00 PM, we started to leave to Bangalore. On the way we went to my Aunty house at Mullukere 5kms from Nuggehalli. We had curd milk, tea and then left to Bangalore.

On the way, I saw a man driving a bike standing on the pedals of his bike with his hands folded. I was shocked to see that and I gave thumbs up sign and he acknowledged by bowing down. We reached Bangalore at 6.30 PM. And at last we had Lemon Tea at 7.00 PM at Kiran’s favorite hadda to mark our successful journey. Cheers!!!!...

Why Do We Follow Those Custom Rituals? Why Why Why?

Answers of why...

1. Why do we light a lamp?.

2. Why do we have a prayer room?.

3. Why do we do namaste?.

4. Why do we prostrate before parents and elders?.

5. Why do we wear marks (tilak, pottu and the like) on the forehead?.

6. Why do we not touch papers, books and people with the feet?.

6a. To touch another with the feet is considered an act of misdemeanor. Why is this so?.

7. Why do we apply the holy ash?.

8. Why do offer food to the Lord before eating it?

9. Why do we fast?.

10. Why do we do pradakshina (circumambulate)?.

12. Why do we regard trees and plants as sacred?.

12a. Why do we ring the bell in a temple?.

13. Why do we worship the kalasha?.

14. Why do we consider the lotus as special?.

15. Why do we worship tulasi?.

16. Why do we blow the conch?.

17. Why do we say shaanti thrice?.

18. Why do we offer a coconut?.

19. Why do we chant Om?.

20. Why do we do aarati?.

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1. Why do we light a lamp?

In almost every Indian home a lamp is lit daily before the altar of the Lord. In some houses it is lit at dawn, in some, twice a day – at dawn and dusk – and in a few it is maintained continuously (akhanda deepa). All auspicious functions commence with the lighting of the lamp, which is often maintained right through the occasion.

Light symbolizes knowledge, and darkness, ignorance. The Lord is the "Knowledge Principle" (chaitanya) who is the source, the enlivener and the illuminator of all knowledge. Hence light is worshiped as the Lord himself.

Knowledge removes ignorance just as light removes darkness. Also knowledge is a lasting inner wealth by which all outer achievement can be accomplished. Hence we light the lamp to bow down to knowledge as the greatest of all forms of wealth.

Why not light a bulb or tube light? That too would remove darkness. But the traditional oil lamp has a further spiritual significance. The oil or ghee in the lamp symbolizes our vaasanas or negative tendencies and the wick, the ego. When lit by spiritual knowledge, the vaasanas get slowly exhausted and the ego too finally perishes. The flame of a lamp always burns upwards. Similarly we should acquire such knowledge as to take us towards higher ideals.

Whilst lighting the lamp we thus pray:

Deepajyothi parabrahma

Deepa sarva tamopahaha

Deepena saadhyate saram

Sandhyaa deepo namostute

I prostrate to the dawn/dusk lamp; whose light is the Knowledge Principle (the Supreme Lord), which removes the darkness of ignorance and by which all can be achieved in life.

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2. Why do we have a prayer room?

Most Indian homes have a prayer room or altar. A lamp is lit and the Lord worshipped each day. Other spiritual practices like japa (repetition of the Lord's name), meditation, paaraayana (reading of the scriptures), prayers, and devotional singing etc is also done here. Special worship is done on auspicious occasions like birthdays, anniversaries, festivals and the like. Each member of the family – young or old – communes with and worships the Divine here.

The Lord is the entire creation. He is therefore the true owner of the house we live in too. The prayer room is the Master room of the house. We are the earthly occupants of His property. This notion rids us of false pride and possessiveness.

The ideal attitude to take is to regard the Lord as the true owner of our homes and us as caretakers of His home. But if that is rather difficult, we could at least think of Him as a very welcome guest. Just as we would house an important guest in the best comfort, so too we felicitate the Lord's presence in our homes by having a prayer room or altar, which is, at all times, kept clean and well-decorated.

Also the Lord is all pervading. To remind us that He resides in our homes with us, we have prayer rooms. Without the grace of the Lord, no task can be successfully or easily accomplished. We invoke His grace by communing with Him in the prayer room each day and on special occasions.

Each room in a house is dedicated to a specific function like the bedroom for resting, the drawing room to receive guests, the kitchen for cooking etc. The furniture, decor and the atmosphere of each room are made conducive to the purpose it serves. So too for the purpose of meditation, worship and prayer, we should have a conducive atmosphere – hence the need for a prayer room.

Sacred thoughts and sound vibrations pervade the place and influence the minds of those who spend time there. Spiritual thoughts and vibrations accumulated through regular meditation, worship and chanting done there pervade the prayer room. Even when we are tired or agitated, by just sitting in the prayer room for a while, we feel calm, rejuvenated and spiritually uplifted.

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3. Why do we do namaste?

Indians greet each other with namaste. The two palms are placed together in front of the chest and the head bows whilst saying the word namaste. This greeting is for all – people younger than us, of our own age, those older than friends, even strangers and us.

There are five forms of formal traditional greeting enjoined in the shaastras of which namaskaram is one. This is understood as prostration but it actually refers to paying homage as we do today when we greet each other with a namaste.

Namaste could be just a casual or formal greeting, a cultural convention or an act of worship. However there is much more to it than meets the eye. In Sanskrit namah + te = namaste. It means – I bow to you – my greetings, salutations or prostration to you. Namaha can also be literally interpreted as "na ma" (not mine). It has a spiritual significance of negating or reducing one's ego in the presence of another.

The real meeting between people is the meeting of their minds. When we greet another, we do so with namaste, which means, "may our minds meet," indicated by the folded palms placed before the chest. The bowing down of the head is a gracious form of extending friendship in love and humility.

The spiritual meaning is even deeper. The life force, the divinity, the Self or the Lord in me is the same in all. Recognizing this oneness with the meeting of the palms, we salute with head bowed the Divinity in the person we meet. That is why sometimes, we close our eyes as we do namaste to a revered person or the Lord – as if to look within. The gesture is often accompanied by words like "Ram Ram", "Jai Shri Krishna", "Namo Narayana", "Jai Siya Ram", "Om Shanti" etc – indicating the recognition of this divinity.

When we know this significance, our greeting does not remain just a superficial gesture or word but paves the way for a deeper communion with another in an atmosphere of love and respect.

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4. Why do we prostrate before parents and elders?

Indians prostrate before their parents, elders, teachers and noble souls by touching their feet. The elder in turn blesses us by placing his or her hand on or over our heads. Prostration is done daily, when we meet elders and particularly on important occasions like the beginning of a new task, birthdays, festivals etc. In certain traditional circles, prostration is accompanied by abhivaadana, which serves to introduce one-self, announce one's family and social stature.

Man stands on his feet. Touching the feet in prostration is a sign of respect for the age, maturity, nobility and divinity that our elders personify. It symbolizes our recognition of their selfless love for us and the sacrifices they have done for our welfare. It is a way of humbly acknowledging the greatness of another. This tradition reflects the strong family ties, which has been one of India's enduring strengths.

The good wishes (Sankalpa) and blessings (aashirvaada) of elders are highly valued in India. We prostrate to seek them. Good thoughts create positive vibrations. Good wishes springing from a heart full of love, divinity and nobility have a tremendous strength. When we prostrate with humility and respect, we invoke the good wishes and blessings of elders which flow in the form of positive energy to envelop us. This is why the posture assumed whether it is in the standing or prone position, enables the entire body to receive the energy thus received.

The different forms of showing respect are :

Pratuthana – rising to welcome a person.

Namaskaara – paying homage in the form of namaste (discussed separately in this book). Upasangrahan – touching the feet of elders or teachers.

Shaashtaanga – prostrating fully with the feet, knees, stomach, chest, forehead and arms touching the ground in front of the elder.

Pratyabivaadana – returning a greeting.

Rules are prescribed in our scriptures as to who should prostrate to whom. Wealth, family name, age, moral strength and spiritual knowledge in ascending order of importance qualified men to receive respect. This is why a king though the ruler of the land, would prostrate before a spiritual master. Epics like the Ramayana and Mahabharata have many stories highlighting this aspect.

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5. Why do we wear marks (tilak, pottu and the like) on the forehead?

The tilak or pottu invokes a feeling of sanctity in the wearer and others. It is recognized as a religious mark. Its form and colour vary according to one's caste, religious sect or the form of the Lord worshipped.

In earlier times, the four castes (based on varna or colour) – Brahmana, Kshatriya, Vaishya and Sudra – applied marks differently. The brahmin applied a white chandan mark signifying purity, as his profession was of a priestly or academic nature. The kshatriya applied a red kumkum mark signifying valour as he belonged to warrior races. The vaishya wore a yellow kesar or turmeric mark signifying prosperity as he was a businessman or trader devoted to creation of wealth. The sudra applied a black bhasma, kasturi or charcoal mark signifying service as he supported the work of the other three divisions.

Also Vishnu worshippers apply a chandan tilak of the shape of "U", Shiva worshippers a tripundra (of the shape of "º ") of bhasma, Devi worshippers a red dot of kumkum and so on).

The tilak cover the spot between the eyebrows, which is the seat of memory and thinking. It is known as the Aajna Chakra in the language of Yoga. The tilak is applied with the prayer – "May I remember the Lord. May this pious feeling pervade all my activities. May I be righteous in my deeds." Even when we temporarily forget this prayerful attitude the mark on another reminds us of our resolve. The tilak is thus a blessing of the Lord and a protection against wrong tendencies and forces.

The entire body emanates energy in the form of electromagnetic waves – the forehead and the subtle spot between the eyebrows especially so. That is why worry generates heat and causes a headache. The tilak and pottu cools the forehead, protects us and prevents energy loss. Sometimes the entire forehead is covered with chandan or bhasma. Using plastic reusable "stick bindis" is not very beneficial, even though it serves the purpose of decoration.

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6. Why do we not touch papers, books and people with the feet?

To Indians, knowledge is sacred and divine. So it must be given respect at all times. Nowadays we separate subjects as sacred and secular. But in ancient India every subject – academic or spiritual – was considered divine and taught by the guru in the gurukula.

The custom of not stepping on educational tools is a frequent reminder of the high position accorded to knowledge in Indian culture. From an early age, this wisdom fosters in us a deep reverence for books and education. This is also the reason why we worship books, vehicles and instruments once a year on Saraswathi Pooja or Ayudha Pooja day, dedicated to the Goddess of Learning. In fact, each day before starting our studies, we pray:

Saraswati namasthubhyam

Varade kaama roopini

Vidyaarambham karishyaami

Sidhirbhavatu me sadaa

O Goddess Saraswati, the giver of Boons and fulfiller of wishes, I prostrate to You before starting my studies. May you always fulfill me.

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6a. To touch another with the feet is considered an act of misdemeanor. Why is this so?

Man is regarded as the most beautiful, living breathing temple of the Lord! Therefore touching another with the feet is akin to disrespecting the divinity within him or her. This calls for an immediate apology, which is offered with reverence and humility.

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7. Why do we apply the holy ash?

The ash of any burnt object is not regarded as holy ash. Bhasma (the holy ash) is the ash from the homa (sacrificial fire) where special wood along with ghee and other herbs is offered as worship of the Lord. Or the deity is worshipped by pouring ash as abhisheka and is then distributed as bhasma.

Bhasma is generally applied on the forehead. Some apply it on certain parts of the body like the upper arms, chest etc. Some ascetics rub it all over the body. Many consume a pinch of it each time they receive it.

The word bhasma means, "that by which our sins are destroyed and the Lord is remembered". Bha implied bhartsanam ("to destroy") and sma implies smaranam ("to remember"). The application of bhasma therefore signifies destruction of the evil and remembrance of the divine. Bhasma is called vibhuti (which means "glory") as it gives glory to one who applies it and raksha (which means a source of protection) as it protects the wearer from ill health and evil, by purifying him or her.

Homa (offering of oblations into the fire with sacred chants) signifies the offering or surrender of the ego and egocentric desires into the flame of knowledge or a noble and selfless cause. The consequent ash signifies the purity of the mind, which results from such actions.

Also the fire of knowledge burns the oblation and wood signifying ignorance and inertia respectively. The ash we apply indicates that we should burn false identification with the body and become free of the limitations of birth and death. This is not to be misconstrued as a morose reminder of death but as a powerful pointer towards the fact that time and tide wait for none.

Bhasma is specially associated with Lord Shiva who applies it all over His body. Shiva devotes apply bhasma as a tripundra (the form of "º "). When applied with a red spot at the center, the mark symbolizes Shiva-Shakti (the unity of energy and matter that creates the entire seen and unseen universe).

Bhasma has medicinal value and is used in many ayurvedic medicines. It absorbs excess moisture from the body and prevents colds and headaches. The Upanishads say that the famous Mrityunjaya mantra should be chanted whilst applying ash on the forehead.

Tryambakam yajaamahe

Sugandhim pushtivardhanam

Urvaa rukamiva bhandhanaan

Mrytyor muksheeyamaa amrutaat

"We worship the three-eyed Lord Shiva who nourishes and spread fragrance in our lives. May He free us from the shackles of sorrow, change and death – effortlessly, like the fall of a rip brinjal from its stem."

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8. Why do offer food to the Lord before eating it?

Indians make an offering of food to the Lord and later partake of it as prasaada – a holy gift from the Lord. In our daily ritualistic worship (pooja) too we offer naivedyam (food) to the Lord.

The Lord is omnipotent and omniscient. Man is a part, while the Lord is the totality. All that we do is by His strength and knowledge alone. Hence what we receive in life as a result of our actions is really His alone. We acknowledge this through the act of offering food to Him. This is exemplified by the Hindi words "tera tujko arpan"– I offer what is Yours to You. Thereafter it is akin to His gift to us, graced by His divine touch.

Knowing this, our entire attitude to food and the act of eating changes. The food offered will naturally be pure and the best. We share what we get with others before consuming it. We do not demand, complain or criticise the quality of the food we get. We eat it with cheerful acceptance ( prasaada buddhi).

Before we partake of our daily meals we first sprinkle water around the plate as an act of purification. Five morsels of food are placed on the side of the plate acknowledging the debt owed by us to the Divine forces ( devta runa) for their benign grace and protection, our ancestors (pitru runa) for giving us their lineage and a family culture, the sages (rishi runa) as our religion and culture have been "realised", aintained and handed down to us by them, our fellow beings ( manushya runa) who constitute society without the support of which we could not live as we do and other living beings (bhuta runa) for serving us selflessly.

Thereafter the Lord, the life force, who is also within us as the five life-giving physiological functions, is offered the food. This is done with the chant

praanaaya swaahaa,

apaanaaya swaahaa,

vyaanaaya swaahaa,

udaanaaya swaahaa,

samaanaaya swaahaa,

brahmane swaahaa

After offering the food thus, it is eaten as prasaada – blessed food.

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9. Why do we fast?

Most devout Indians fast regularly or on special occasions like festivals. On such days they do not eat at all, eat once or make do with fruits or a special diet of simple food.

Fasting in Sanskrit is called upavaasa. Upa means "near" + vaasa means "to stay". Upavaasa therefore means staying near (the Lord), meaning the attainment of close mental proximity with the Lord. Then what has upavaasa to do with food?

A lot of our time and energy is spent in procuring food items, preparing, cooking, eating and digesting food. Certain food types make our minds dull and agitated. Hence on certain days man decides to save time and conserve his energy by eating either simple, light food or totally abstaining from eating so that his mind becomes alert and pure. The mind, otherwise pre-occupied by the thought of food, now entertains noble thoughts and stays with the Lord. Since it is a self-imposed form of discipline it is usually adhered to with joy.

Also every system needs a break and an overhaul to work at its best. Rest and a change of diet during fasting is very good for the digestive system and the entire body.

The more you indulge the senses, the more they make their demands. Fasting helps us to cultivate control over our senses, sublimate our desires and guide our minds to be poised and at peace.

Fasting should not make us weak, irritable or create an urge to indulge later. This happens when there is no noble goal behind fasting. The Bhagavad-Gita urges us to eat appropriately – neither too less nor too much – yukta-aahaara and to eat simple, pure and healthy food (a saatvik diet) even when not fasting.

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10. Why do we do pradakshina (circumambulate)?

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We cannot draw a circle without a center point. The Lord is the center, source and essence of our lives. Recognizing Him as the focal point in our lives, we go about doing our daily chores. This is the significance of pradakshina.

Also every point on the circumference of a circle is equidistant from the center. This means that wherever or whoever we may be, we are equally close to the Lord. His grace flows towards us without partiality.

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11. Why is pradakshina done only in a clockwise manner?

The reason is not, as a person said, to avoid a traffic jam! As we do pradakshina, the Lord is always on our right. In India the right side symbolizes auspiciousness. So as we circumambulate the sanctum sanctorum we remind ourselves to lead an auspicious life of righteousness, with the Lord who is the indispensable source of help and strength, as our guide – the "right hand".

Indian scriptures enjoin – matrudevo bhava, pitrudevo bhava, acharyadevo bhava. May you consider your parents and teachers as you would the Lord.

With this in mind we also do pradakshina around our parents and divine personages.

After the completion of traditional worship (pooja), we customarily do pradakshina around ourselves. In this way we recognize and remember the supreme divinity within us, which alone is idolized in the form of the Lord that we worship outside.

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12. Why do we regard trees and plants as sacred?

The Lord, the life in us, pervades all living beings, be they plants or animals. Hence, they are all regarded as sacred. Human life on earth depends on plants and trees. They give us the vital factors that make life possible on earth: food, oxygen, clothing, shelter, medicines etc.

Hence, in India, we are taught to regard trees and plants as sacred. Indians scriptures tell us to plant ten trees if, for any reason, we have to cut one. We are advised to use parts of trees and plants only as much as is needed for food, fuel, shelter etc. we are also urged to apologies to a plant or tree before cutting it to avoid incurring a specific sin named soona

Certain trees and plants like tulasi, peepal etc., which have tremendous beneficial qualities, are worshipped till today. It is believed that divine beings manifest as trees and plants, and many people worship them to fulfill their desires or to please the Lord.

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12a. Why do we ring the bell in a temple?

Is it to wake up the Lord? But the Lord never sleeps. Is it to let the Lord know we have come? He does not need to be told, as He is all knowing. Is it a form of seeking permission to enter His precinct? It is a homecoming and therefore entry needs no permission. The Lord welcomes us at all times. Then why do we ring the bell?

The ringing of the bell produces what is regarded as an auspicious sound. It produces the sound Om, the universal name of the Lord. There should be auspiciousness within and without, to gain the vision of the Lord who is all-auspiciousness.

Even while doing the ritualistic aarati, we ring the bell. It is sometimes accompanied by the auspicious sounds of the conch and other musical instruments. An added significance of ringing the bell, conch and other instruments is that they help drowned any inauspicious or irrelevant noises and comments that might disturb or distract the worshippers in their devotional ardour, concentration and inner peace.

As we start the daily ritualistic worship (pooja) we ring the bell, chanting:

Aagamaarthamtu devaanaam

gamanaarthamtu rakshasaam

Kurve ghantaaravam tatra

devataahvaahna lakshanam

I ring this bell indicating the invocation of divinity, So that virtuous and noble forces enter (my home and heart); and the demonic and evil forces from within and without, depart.

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13. Why do we worship the kalasha?

First of all what is a kalasha? A brass, mud or copper pot is filled with water. Mango leaves are placed in the mouth of the pot and a coconut is placed over it. A red or white thread is tied around its neck or sometimes all around it in a intricate diamond-shaped pattern. The pot may be decorated wit designs. Such a pot is known as a kalasha.

When the pot is filled with water or rice, it is known as purnakumbha representing the inert body which when filled with the divine life force gains the power to do all the wonderful things that makes life what it is.

A kalasha is placed with due rituals on all-important occasions like the traditional house warming (grihapravesa), wedding, daily worship etc. It is placed near the entrance as a sign of welcome. It is also used in a traditional manner while receiving holy personages. Why do we worship the kalasha? Before the creation came into being, Lord Vishnu was reclining on His snake-bed in the milky ocean. From His navel emerged a lotus from which appeared Lord Brahma, the creator, who thereafter created this world.

The water in the kalasha symbolizes the primordial water from which the entire creation emerged. It is the giver of life to all and has the potential of creating innumerable names and forms, the inert objects and the sentient beings and all that is auspicious in the world from the energy behind the universe. The leaves and coconut represent creation.

The thread represents the love that "binds" all in creation. The kalasha is therefore considered auspicious and worshipped. The waters from all the holy rivers, the knowledge of all the Vedas and the blessings of all the deities are invoked in the kalasha and its water is thereafter used for all the rituals, including the abhisheka.

The consecration (kumbhaabhisheka) of a temple is done in a grand manner with elaborate rituals including the pouring of one or more kalashas of holy water on the top of the temple. When the asuras and devas churned the milky ocean, the Lord appeared bearing the pot of nectar, which blessed one with everlasting life.

Thus the kalasha also symbolizes immortality. Men of wisdom are full and complete as they identify with the infinite Truth ( poornatvam). They brim with joy and love and respect all that is auspicious. We greet them with a purnakumbha ("full pot") acknowledging their greatness and as a sign of respectful and reverential welcome, with a "full heart".

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14. Why do we consider the lotus as special?

The lotus is the symbol of truth, auspiciousness and beauty (satyam, shivam, sundaram). The Lord is also that nature and therefore, His various aspects are compared to a lotus ( i.e. lotus-eyes, lotus feet, lotus hands, the lotus of the heart etc.).

The lotus blooms with the rising sun and close at night. Similarly, our minds open up and expand with the light of knowledge. The lotus grows even in slushy areas. It remains beautiful and untainted despite its surroundings, reminding us that we too can and should strive to remain pure and beautiful within, under all circumstances.

The lotus leaf never gets wet even though it is always in water. It symbolizes the man of wisdom (gyaani) who remains ever joyous, unaffected by the world of sorrow and change. This is revealed in a shloka from the Bhagwad-Geeta:

Brahmanyaadhaaya karmaani

Sangam tyaktvaa karoti yaha

Lipyate na sa paapena

Padma patram ivaambhasaa

He who does actions, offering them to Brahman (the Supreme), abandoning attachment, is not tainted by sin, just as a lotus leaf remains unaffected by the water on it.

From this, we learn that what is natural to the man of wisdom becomes a discipline to be practiced by all saadhakas or spiritual seekers and devotees. Our bodies have certain energy centers described in the Yoga Shaastras as chakras.

Each one is associated with lotus that has a certain number of petals. For example, a lotus with a thousand petals represents the Sahasra chakra at the top of the head, which opens when the yogi attains Godhood or Realisation. Also, the lotus posture ( padmaasana) is recommended when one sits for meditation. A lotus emerged from the navel of Lord Vishnu. Lord Brahma originated from it to create the world. Hence, the lotus symbolizes the link between the creator and the supreme Cause.

It also symbolizes Brahmaloka, the abode of Lord Brahma. The auspicious sign of the swastika is said to have evolved from the lotus.

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15. Why do we worship tulasi?

In Sanskrit, tulanaa naasti athaiva tulasi - that which is incomparable (in its qualities) is the tulasi.

For Indians it is one of the most sacred plants. In fact it is known to be the only thing used in worship, which, once used, can be washed and reused in pooja - as it is regarded so self-purifying.

As one story goes, Tulasi was the devoted wife of Shankhachuda, a celestial being. She believed that Lord Krishna tricked her into sinning. So she cursed Him to become a stone ( shaaligraama). Seeing her devotion and adhered to righteousness, the Lord blessed her saying that she would become the worshipped plant, tulasi that would adorn His head.

Also that all offerings would be incomplete without the tulasi leaf - hence the worship of tulasi.

She also symbolises Goddess Lakshmi, the consort of Lord Vishnu. Those who wish to be righteous and have a happy family life worship the tulasi.

Tulasi is married to the Lord with all pomp and show as in any wedding.

This is because according to another legend, the Lord blessed her to be His consort. Satyabhama once weighed Lord Krishna against all her legendary wealth. The scales did not balance till a single tulasi leaf was placed along with the wealth on the scale by Rukmini with devotion.

Thus the tulasi played the vital role of demonstrating to the world that even a small object offered with devotion means more to the Lord than all the wealth in the world. The tulasi leaf has great medicinal value and is used to cure various ailments, including the common cold.

Yanmule sarvatirhaani

Yannagre sarvadevataa

Yanmadhye sarvavedaascha

Tulasi taam namaamyaham

I bow down to the tulasi, At whose base are all the holy places, At whose top reside all the deities and In whose middle are all the Vedas.

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16. Why do we blow the conch?

When the conch is blown, the primordial sound of Om emanates. Om is an auspicious sound that was chanted by the Lord before creating the world. It represents the world and the Truth behind it.

As the story goes, the demon Shankhaasura defeated devas, the Vedas and went to the bottom of the ocean. The devas appealed to Lord Vishnu for help. He incarnated as Matsya Avataara - the "fish incarnation" and killed Shankhaasura. The Lord blew the conch-shaped bone of his ear and head. The Om sound emanated, from which emerged the Vedas.

All knowledge enshrined in the Vedas is an elaboration of Om. The conch therefore is known as shankha after Shankaasua. The conch blown by the Lord is called Paanchajanya. He carries it at all times in one of His four hands. It represents dharma or righteousness that is one of the four goals (purushaarthas) of life.

The sound of the conch is thus also the victory call of good over evil. Another well-known purpose of blowing the conch and the instruments, known traditionally to produce auspicious sounds is to drown or mask negative comments or noises that may disturb or upset the atmosphere or the minds of worshippers.

Ancient India lived in her villages. Each village was presided over by a primary temple and several small ones. During the aarati performed after all-important poojas and on sacred occasions, the conch used to be blown. Since villages were generally small, the sound of the conch would be heard all over the village. People who could not make it to the temple were reminded to stop whatever they were doing, at least for a few seconds, and mentally bow to the Lord. The conch sound served to briefly elevate people's minds to a prayerful attitude even in the middle of their busy daily routine.

The conch is placed at the altar in temples and homes next to the Lord as a symbol of Naada Brahma (Truth), the Vedas, Om, dharma, victory and auspiciousness. It is often used to offer devotees thirtha (sanctified water) to raise their minds to the highest Truth. It is worshipped with the following verse.

Twam puraa saagarot pannaha

Vishnunaa vidhrutahakare

Devaischa poojitha sarvahi

Panchjanya namostu te

Salutations to Panchajanya the conch born of the ocean Held in the hand of Lord Vishnu and worshipped by all devaas

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17. Why do we say shaanti thrice?

Shaanti, meaning "peace", is a natural state of being. Disturbances are created either by others or us. For example, peace already exists in a place until someone makes noise. Therefore, peace underlies all our agitations. When agitations end, peace is naturally experienced since it was already there. Where there is peace, there is happiness. Therefore, every one without exception desires peace in his/her life.

However, peace within or without seems very hard to attain because it is covered by our own agitations. A rare few manage to remain peaceful within even in the midst of external agitation and troubles. To invoke peace, we chant prayers. By chanting prayers, troubles end and peace is experienced internally, irrespective of the external disturbances. All such prayers end by chanting shaanti thrice.

It is believed that trivaram satyam - that which is said thrice comes true. For emphasizing a point we repeat a thing thrice. In the court of law also, one who takes the witness stands says, "I shall speak the truth, the whole truth and nothing but the truth".

We chant shaanti thrice to emphasise our intense desire for peace. All obstacles, problems and sorrows originate from three sources.

Aadhidaivika : The unseen divine forces over which we have little or no control like earthquakes, floods, volcanic eruptions etc.

Aadhibhautika: The known factors around us like accidents, human contacts, pollution, crime etc.

Aadhyaatmika : We sincerely pray to the Lord that at least while we undertake special tasks or even in our daily lives, there are no problems or that, problems are minimised from the three sources written about above.

May peace alone prevail. Hence shaanti is chanted thrice.

It is chanted aloud the first time, addressing the unseen forces. It is chanted softer the second time, directed to our immediate surroundings and those around, and softest the last time as it is addressed to oneself.

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18. Why do we offer a coconut?

In India one of the most common offerings in a temple is a coconut. It is also offered on occasions like weddings, festivals, the use of a new vehicle, bridge, house etc. It is offered in the sacrificial fire whilst performing homa. The coconut is broken and placed before the Lord. It is later distributed as prasaada.

The fibre covering of the dried coconut is removed except for a tuft on the top. The marks on the coconut make it look like the head of a human being. The coconut is broken, symbolising the breaking of the ego. The juice within, representing the inner tendencies ( vaasanas) is offered along with the white kernel - the mind, to the Lord.

A mind thus purified by the touch of the Lord is used as prasaada ( a holy gift). In the traditional abhishekha ritual done in all temples and many homes, several materials are poured over the deity like milk, curd, honey, tender coconut water, sandal paste, holy ash etc. Each material has a specific significance of bestowing certain benefits on worshippers. Tender coconut water is used in abhisheka rituals since it is believed to bestow spiritual growth on the seeker.

The coconut also symbolises selfless service. Every part of the tree -the trunk, leaves, fruit, coir etc. Is used in innumerable ways like thatches, mats, tasty dishes, oil, soap etc. It takes in even salty water from the earth and converts it into sweet nutritive water that is especially beneficial to sick people. It is used in the preparation of many ayurvedic medicines and in other alternative medicinal systems.

The marks on the coconut are even thought to represent the three-eyed Lord Shiva and therefore it is considered to be a means to fulfill our desires.

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19. Why do we chant Om?

Om is one of the most chanted sound symbols in India. It has a profound effect on the body and mind of the one who chants and also on the surroundings. Most mantras and vedic prayers start with Om.

All auspicious actions begin with Om. It is even used as a greeting - Om, Hari Om etc. It is repeated as a mantra or meditated upon. Its form is worshipped, contemplated upon or used as an auspicious sign.

Om is the universal name of the Lord. It is made up of the letters A (phonetically as in "around"), U (phonetically as in "put") and M (phonetically as in "mum"). The sound emerging from the vocal chords starts from the base of the throat as "A". With the coming together of the lips, "U" is formed and when the lips are closed, all sounds end in "M".

The three letters symbolize the three states (waking, dream and deep sleep), the three deities (Brahma, Vishnu and Shiva), the three Vedas (Rig, Yajur and Sama) the three worlds (Bhuh, Bhuvah, Suvah) etc. The Lord is all these and beyond.

The formless, attributeless Lord (Brahman) is represented by the silence between two Om Chants. Om is also called pranava that means, "that (symbol or sound) by which the Lord is praised". The entire essence of the Vedas is enshrined in the word Om. It is said that the Lord started creating the world after chanting Om and atha. Hence its sound is considered to create an auspicious beginning for any task that we undertake. The Om chant should have the resounding sound of a bell (aaooommm).

Om is written in different ways in different places. The most common form symbolizes Lord Ganesha's. The upper curve is the head; the lower large one, the stomach; the side one, the trunk; and the semi-circular mark with the dot, the sweetmeat ball (modaka) in Lord Ganesha's hand. Thus Om symbolizes everything - the means and the goal of life, the world and the Truth behind it, the material and the Sacred, all form and the Formless.

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20. Why do we do aarati?

Towards the end of every ritualistic worship (pooja or bhajan) of the Lord or to welcome an honored guest or saint, we perform the aarati. This is always accompanied by the ringing of the bell and sometimes by singing, playing of musical instruments and clapping.

It is one of the sixteen steps (shodasha upachaara) of the pooja ritual. It is referred to as the lighted lamp in the right hand, which we wave in a clockwise circling movement to light the entire form of the Lord.

Each part is revealed individually and also the entire form of the Lord. As the light is waved we either do mental or loud chanting of prayers or simply behold the beautiful form of the Lord, illumined by the lamp. At the end of the aarati we place our hands over the flame and then gently touch our eyes and the top of the head.

We have seen and participated in this ritual from our childhood. Let us find out why we do the aarati?

Having worshipped the Lord of love - performing abhisheka, decorating the image and offering fruits and delicacies, we see the beauty of the Lord in all His glory. Our minds are focused on each limb of the Lord as the lamp lights it up. It is akin to silent open-eyed meditation on His beauty. The singing, clapping, ringing of the bell etc. denote the joy and auspiciousness, which accompanies the vision of the Lord.

Puttannanavara Chitragala Vivara

23 Movies from the great director Puttanna Kanagal

Kannada chitra rangada bangaaradha yuga (Golden age of Kannada film industry)

One of the doyens of Kannada film industry, a committed person to make Kannada films shine in the international scene, a perfected technician, a person of great social responsibilities, and above all a person who knew the ins and outs of film making. Mr. Puttanna Kanagal represented the Indian directors in a director's summit in Russia.
He is one of the greatest filmmakers who transcended the technical limitations of his time in filmmaking. His film "Maanasa Sarovara" is one of the finest on human psychology. His portrayal of "AmruthaghaLige" i.e., "The most auspicious moment" in the film "AmuthaghaLige" is his concern for Social change. His depiction of the tenderness of love in "Saakshaatkaara" shows his ability to handle an otherwise boring story in a way liking to the audiences.
Below I would like to list his works in Kannada. His works, though includes films in Telugu, Tamil, Hindi and Malayalam, are very few and so a list of them is given at the end. His works are only mentioned here. His works are best understood by watching them in action. My inert pen cannot convey all the action he brought on the screen. This is a small tribute to a great personality who made a considerable value addition to the world of filmmaking.

1) Bellimoda (literally means-Silver Cloud)
A film with close association with the literary personalities of Kannada. The film is based on Ms. Triveni's Novel "bekkina kaNNu". It has a few wonderful songs which are hummed even today. Dr. Da. Ra. Bendre's "mUDaNa maneyA muttina nIrina erakaava hoydaa" brings on the scene the "minugutaare" (shining star) .
Kalpana, who later worked with the director in another similar film called "sharapaMjara". She played tragic roles in both the films, which displayed her as a complete actress. Mr. Puttanna was restless to see the morning Sunrise in black and white, which he could see in colour through his camera but not on the silver screen. This film started a generation of good movies which led the golden age of Kannada film industry. Mr. Puttanna wandered one full week to search a tree from where the sunrise would be grand to match the lines of Dr. Bendre's lines, and he finally could locate one near Chickmagalur (The coffee district of Karnataka), and this tree has additional significance in the film.
Cast: Kalyan Kumar, Kalpana, Pandari Bai, Ashwath
Songs: Dr. Da.Ra. Bendre, Vijayanarasimha
Music: Vijayabhaskar

2) Mallammana Pavaada (1969)
A village leader's son is drugged and made dumb by his own step mother who wants her "own" son to get the property of her husband. To culminate the dumb fellow's fate she gets him married with a village lass (Mallamma), who educates him-besides getting herself educated. Thus she makes him capable of understanding what is happening around. Sounds the storyline is familiar? Yes you are right, the Hindi movie "beTa" is a poor copy of this Puttanna's original movie. Unfortunately Ravichandran made this very movie in Kannada as a remake (Annayya). An astoundingly good social story line wonderfully narrated by Puttanna made ripples in the filmdom and paved the way for some really good movies. As a typical characteristic of Puttanna Kanagal's movies, this film also has good music, wonderful display of characters. Listen to "Ever Lively" L.R. Eshwari's song "aashaa vilaasi".
Cast: Dr. Rajkumar and others
Songs: Kanagal Prabhakar Shastry
Music: Vijaya Bhaskar

3) Kappu Bilupu (1969)
A movie with the highlight of Puttanna's movies, i.e., fine music. Listen to P. Susheela's Golden hour, the song "ee chendada maneyalli" and "amma ninna tOLinalli kaMda naanu"
Cast: Rajesh, Kalpana and others
Songs: R.N. Jayagopal
Music: R. Ratna

4) Gejje Puje (1969)
A film to bring social awareness about a rampant problem of all times. This story is about a woman who is branded a "whore", and about how her child is innocently wants to know what it really means. A brilliant acting by Ashwath, Lokanath and Leelavathi. The film also has the portrayal of the innocence of childhood which is a common feature in Steven Spielberg's films.
The usual highlights of Puttanna's films like, carrying the audience without boring, good songs, sensible story handling and with a social touch are well witnessed in the movie. Songs like "gagnavu ellO.. bhUmiyu ellO..", "paMchamavEda prEmada naada" are from this movie.
Cast: Ashwath, Leelavathi, Lokanath and others
Songs: Vijayanarasimha
Music: M. Ranga Rao

5) KaruLina Kare (1970)
Dr. Raj and Puttanna together make this a fine movie. Listen to the song "maisUru dasara, eshToMdu suMdara" by P.B. Srinivas
Cast: Dr. Rajkumar, Renuka, Kalpana and others
Lyrics: R.N. Jayagopal
Music: M. Ranga Rao

6) Sharapanjara (1971)
Probably actress Kalpana's best performance. The storyline deals with human psychology. Has best music with songs like "biLigiri raMgayya", "uttara dhRuvadiM dakshiNa dhruvakU", "koDagina kaavEri", "saMdEsha mEgha saMdEsha".
One more interesting thing is Puttanna could make heroine centric films like this one and make them commercially successful. So, it was the director's movie rather than a hero's movie.
Cast: Kalpana, Gangadhar
Songs: Dr. Da.Ra. Bendre, Vijayanarasimha
Music: Vijayabhaskar

7) Sakshathkara (1971)
One of the finest movies I have ever seen. The tenderness of love is depicted at its best. Has the best music. Has Dr. Raj with Puttanna for the third time (after Mallammana Pavada and Karulina Kare). Never to miss the song "olave jeevana saakShtkaara". Also has Narasimharaju with some real good humour. Mr. Prithviraj Kapoor has given one of his greatest performances as father of Dr. Raj in the movie.
Cast: Dr. Raj, Vajramuni, Jamuna, Narasimharaju, Prithviraj Kapoor, Balakrishna
Songs: Kanagal Prabhakara Shastry
Music: M. Ranga Rao

8) Nagara Haavu (1972)
This movie gave two actors to Kannada film industry, who later went on to get millions of fans. This movie introduced Vishnuvardhan (Puttanna renamed "Kumar" as Vishnuvardhan and told he should become as famous as the king by the name) and Ambarish. This is the only movie which had Vishnuvardhan in all of Puttanna's movies. After this movie, Chitradurga and its surroundings became tourist places. The movie has finest music and a song introduces 'Abhinaya Sharade' Jayanthi as 'Obavva'- the wife of a watch guard who became immortal after the war that followed.. Jayanti still remembers this role of her as her career's best performance. One more important thing is the versatility Puttanna brought in each of his films. Jayanthi though had a historical role, in her next project with Puttanna, she was given a role of 'fallen lady' in the film 'Edakallu guddada mele'. This movie is based on the novel by another famous writer of Kannada Mr. Ta. Ra. Subbarao.
Cast: Vishnuvardhan, Ambarish, Shivaram, Ashwath, Leelaavathi
Songs: Vijayanarasimha, R.N. Jayagopal
Music: Vijayabhaskar

9) Edakallu Ghuddadha mele (1973)
The movie has a social storyline. Jayanthi and Arathi have given their finest performances. Chandrashekhar (the hero of the movie) is caught between morals and pleasure. Has some of the finest songs of all times. The song "viraha nUru nUru taraha" personified Vijayanarasimha as "Virahanarasimha". Other humming tunes from the movie are "saMOsha Elu svaragaLa", "nillu nille pataMga", "saMnyaasi arjuna saMnyaasi", "guMDina mattE gammattu" still have their top position among good musical hits.
Cast: Chandrashekhar, Jayanthi, Arathi and others
Songs: Vijayanarasimha,
Music: M. Ranga Rao

10) Upaasane (1974)
A musical extravaganza. The film has a spiritual storyline. The music is the highlight of the movie. The movie is undeclared tribute to the trinities of Carnatic music (Shyama Shastry, Thyagaraja and Muttuswami Dikshitar). The lyricists have rendered their best creative works for the movie. I cannot point out a single song as movie's highlight. The songs "bhaaratha bhooshira", "bhaavaveMba hoovu arali", "aachaaravillada naalige" are fantastically adopted in the film.
Cast: Arathi, Leelavathi, Laxmidevi, K.S. Ashwath, S. Seetharam, Vajramuni, Musuri Krishnamurthy
Songs: Purandhara Dasaru, Vijayanarasimha, Chi. Udayashankar
Music: Vijayabhaskar

11) Shubha MaMgaLa (1975)
Puttanna's portrayal of Shubha Mangala (meaning the reunion) is the uniting of the lovers. Film has a fine story, fine songs. Srinath appeared for the first time in Puttanna's film. Srinath's image as "Pranaya Raja" is depicted through the song "Hoovondu baLibaMdu".
Cast: Srinath, Arathi, Shivaram and others
Songs: Vijayanarasimha, M.N. Vyasa Rao
Music: Vijayabhaskar

12) Kathaa Sangama (1975)

As the name says, it is made with three stories of three different writers.
Puttanna's prolific capability of writing the story script is well exhibited through this movie. Obviously the story was fantastic and the technical work.
Cast: Rajnikanth,Arathi and others
Songs: Vijayanarasimha
Music: Vijayabhaskar

13) Bilee Hendti (1975)
This film brought Kasthuri Shankar who sang the song "raMgEna haLLiyaage" with Vani Jayaram. The film has a tragic storyline. The tragic story is very well handled by Puttanna. The song "raMgEna haLLiyaage" is taken from a popular folk story which I had heard in our homes. The songs popularity inpired the making of another film with the name "raMgEna haLLiyaage raMgaada raMgEgouDa".
Dont' miss to listen to the song "yaava taayiyu paDeda maganaadarEnu"
Cast: Arathi,Anil Kumar,Margaret Thompson,Leelavathi
Songs: Vijayanarasimha
Music: Vijayabhaskar

14) Phalitamsha (1976)
The film brought "Mogambo" Amarish Puri into Kannada films. A fine movie with good music and a very good story. Listen to Vani Jayaram in the song "Love eMdare..."
Cast: Amarish Puri and others
Songs: Vijayanarasimha, Shyamasundar Kulkarni, R.N.Jayagopal
Music: Vijayabhaskar

15) Kaaleju RaMga (1976)
Some spirited music and "metallica" like songs. A film made in a different dimension then Puttanna's usual way. The songs like "Colleju raMgadalli". The story unfolds in a college campus.
Cast: Ambarish and others
Songs: Vijayanarasimha, Chi. Udayashankar
Music: Upendrakumar

16) Paduvaarahalli Paandavaru (1978)
One of the finest movies comparable to anytime anywhere movies.
Five people fight against the misdeeds of the so called "head" of a village and his followers. Has some of the finest songs like "janma neeDida bhUtaayiya", "tUkadisi tUkaDisi bILadiro tamma". Puttanna's careful observation has not left to expose how Hindi can be a language of deceit through two characters who claim not to know Kannada but only Hindi and collect money through the "head" of the Village and try to flee the village. But through dramatic events they get caught. Not to miss the song "kaNNa muchchi kuLitare", "Esu varsha aithe niMge"
Cast: Ambarish, Ramakrishna, Jai Jagadish, Ashok, Dhirendra Gopal, Arathi and others
Songs: Vijayanarasimha, R.N. Jayagopal
Music: Vijayabhaskar

17) Dharmasere (1979)
Remember the songs "kaMdaa, O muddu kaMdaa.." and "mUka hakkiyu haaDutide", "ee saMbhaaShaNe namma I prEma saMbhaaShaNe"? These superb songs are from this movie. The movie has a very touching storyline.
Cast: Arathi, Srinath, Musuri Krishnamurthy and others
Songs: Vijayanarasimha
Music: Upendrakumar

18) Ranganaayaki (1981)
Another gem of a movie which won the national award for Puttanna and for Kannada. The story has a daring subject in which one falls in love his own mother not knowing she is his mother. The tragic ending ends the life of "raMganaayaki". Ambarish, Ashok, Ramakrishna, Arathi have given their finest performances in this movie. Fine songs like "jai jagadaMbe", "maMdaara pushpavu neenu", "kannaDa naaDina rasikara manavaa", "jai hRudaya jhEMkaara" and some of
the adoptations of "raMgabhUmi" (theatrical music) are the highlights of the movie.
Cast: Ambarish, Arathi, Ashok, Ramakrishna, Musuri Krishnamurthy and others
Songs: Vijayanarasimha, R.N. Jayagopal
Music: M. Ranga Rao

19) Maanasa Sarovara (1982)
Probaly the finest movie with a subject exhibiting the human psychology. This movie redefined the image of two actors (Srinath and Ramakrishna).
While Srinath proved that he is an actor of content, Ramakrishna got the image of a playboy through this movie. This movie also introduced another fine actress Padmavasanthi. The movie is concpicuously important as this was made after a similar tragic incident in the life of Puttanna. Some never to miss songs like "vEdaaMti hELidanu", "maanasa sarOvara", "cheMda cheMda", and Poet G.S. Shivarudrappa's poem "haaDu haLeyadaadarEnu" are simply superb and their picturization. The dialogues are awe inspiringly simple and good.
The movie won Puttanna awards and accollades. Vijayanarasimha penned a song which was a tribute to Puttanna "O guNavaMtha, O guNavaMtha" (in the movie masaNada hUvu).
The movie is filmed in Sandur and nearby places. The location, the songs, the picturization are all wonderfully crafted to bring the poetic moments Puttanna wants to bring in the minds of audiences.
Cast: Srinath, Ramakrishna, Padmavasanthi, Mysore Lokesh, Vaishali Kasaravalli
Songs: Vijayanarasimha, R.N. Jayagopal, Dr. G.S. Shivarudrappa and others
Music: Vijayabhaskar

20) Dharani Mandala Madhyadolage (1983)
Listen to the song "geLati O geLati", fantastic picturisation

21) RuNamuktaLu (1984)
Puttanna was a producer for this movie. Even with his money he made films of social awareness like this one. The film has fine songs and a very touching storyline.
Cast: Padmavaasanthi, Bhaarathi

22) Amtutha Galige (1984)
"A widow getting a new life" is how Puttanna depicts "amRutha ghaLige" (auspicious moment). The hero is a book worm and well mannered who marries his friend knowing that she was in love with another (Santhosh) friend of him. He lives with her and brings up "her" child. But conveys to Santhosh that he did a mistake and there is not point in continuing it any further. The film climaxes when Santhosh convinces the "window" to marry him. The moment when this happens Puttanna puts it the auspicious moment. The film has scenes from some of very good locations. Never to miss the songs like "hiMdUstaanavu eMdU mareyada", "paarvathi parashivara praNaya prasaMga" are from this movie.
Cast: Ramakrishna, Sridhar, Padma Vasanthi and others
Songs: Vijayanarasimha
Music: Vijayabhaskar

23) Masanada Hoovu (1984)
Has fine music, songs, storyline. The tragic moment happened in Puttanna's life during the making of this movie. Puttanna did not live to finish the movie.
Vijayanarasimha rendered a song to commemmorate the memory of Puttanna "O guNavaMtha". The songs like, "masaNada hUveMdu nInEke koraguve" are still popular.
Cast: Ambarish,Aparna
Songs: Vijayanarasimha, R.N. Jayagopal
Music: Vijayabhaskar

Kannada Websites patti illide nodi.....

General Sites
http://www.kannadastore.com/
http://www.kannadakasturi.com
Kannada Wikipedia
http://www.vishvakannada.com/
http://www.kannada.com/
http://www.totalkannada.com/
http://www.my-kannada.com/
http://www.thatskannada.com
http://www.ourkarnataka.com/
http://www.karnatakarakshanavedike.org/
http://www.cs.toronto.edu/~kulki/kannada/kanindex.html
http://sify.com/kannada/
http://www.kannadaratna.com/
http://www.vishwabanku.org/
http://www.kannadasangha.com.bh/index.htm

Kannada History
http://www.ancientscripts.com/kannada.html
http://www.kamat.com/kalranga/kar/index.htm

Kannada Songs & films
http://www.kannadaaudio.com/
http://www.udbhava.com/
http://www.chirag-entertainers.com/
http://www.viggy.com/
http://www.indiaglitz.com/channels/kannada/
http://www.MusicIndiaOnline.org
http://www.chitraranga.com
http://www.chitraloka.com/
http://www.musicindiaonline.com/
http://www.hamaracd.com/hcdindia/asp/Kannada.asp?eid=4%2B3
http://www.angelfire.com/ar/kebballi/index.html
http://www.geocities.com/singer_ram/
http://www.cs.toronto.edu/~kulki/kannada/haadu.html
http://www.geocities.com/Hollywood/Boulevard/8329/
http://kannada.galatta.com/
http://nagathihallichandru.com/
http://www.achichu.com/Kannada-Songs/3.htm

Kannada Radio
http://kannadasongs.allindiansite.com/
Sify Radio
http://www.kannadaaudio.net/

Kannada Lyrics and Literature
http://www.kannadalyrics.com/
http://www.kannadasaahithya.com/
http://www.dasasahitya.org
http://www.missouri.edu/~physchan/kannada/kannada.html

Kannada Newspapers and Articles
http://199.74.239.15/udayavani/home.asp
http://www.kannadaprabha.com/
http://www.sanjevani.com/
http://www.prajavani.net/apr292005/home.php
http://www.vijaykarnatakaepaper.com
http://www.prajavani.net
http://www.eesanje.com/
http://www.kannadadhvani.com/
http://www.prakashaka.com/
http://www.sampada.net/
http://www.idukannada.com/

Karnataka Cook Book
http://www.bennett.com/curry/archives/cat_karnataka.php
Southern Kitchen

Karnataka Tour
http://kstdc.nic.in/
http://www.junglelodges.com/
http://www.mybangalore.com/
http://www.karnatakatourism.org/
http://www.tourisminindia.com/indiainfo/states/karnataka/index.htm

Cities & Places
http://www.explocity.com/bangalore.asp
http://www.karnataka.com
http://www.bangalore.com
http://www.bangaloreit.com
http://www.bangaloreonline.com
http://www.apnabangalore.com
http://www.bangalorebest.com
http://www.bangalorenet.com
http://www.children-of-bangalore.com
http://www.bangaloretelecom.com/
http://www.bangalorebio.com/
http://linux-bangalore.org/
http://www.educationbangalore.com/
http://bangalore.gnu.org.in/
http://www.cyberbangalore.com/
http://www.mybangalore.com/
http://www.bangalore-online.com/
http://www.iskconbangalore.org/2.asp
http://www.bangaloreyellowpages.com
http://www.koramangala.com/
http://www.bangalorelabs.com/
http://www.bwssb.org/
http://www.bangalore.travelmall.com/
http://www.harappa.com/post/bang.html
http://www.bangaloreonlineflorists.com
http://www.naveenmysore.com/mysore/mysore.htm
http://www.kamat.com/kalranga/mysore/jewelry.htm
http://www.mysorepalace.org/
http://www.mysoredasara.com/
http://www.mylibnet.org/
http://www.mysoresamachar.com/
http://www.mysore.nic.in/
http://www.starofmysore.com/
http://www.agumbe.com/
http://www.kodava.com/
http://www.yakshagana.com/
http://www.uni-mysore.ac.in/
http://www.geocities.com/Athens/2960/
http://www.mysore.net/history.htm
http://www.dharwad.com/
http://www.hubli.bsnl.co.in/
http://www.clickhubli.com/
http://www.bijapur.net/
http://www.mangalore.com/
http://www.mangaloreuniversity.ac..in/
http://mangalorecustoms.kar.nic.in/
http://www.mangaloredelicacy.netfirms.com/
http://www.mgl.stpi.in/index.html
http://www.udupipages.com/travel/mlore.html
http://www.mangalorecity.com/mlore.htm
http://www.mangalore-karnataka.com/

Others
http://www.kannadavrinda.org/
http://www.pampakannadakoota.org/
http://www.omniglot.com/writing/kannada.htm
http://cad.nic.in/users/mmh/kannada.html
http://members.tripod.com/~lingayat/index.html
http://www.baraha.com/kan_news/news019.htm
http://www.ekavi.org/kannada.html
http://www.ciil-learnkannada.net/
http://www.akkaonline.org/
http://www.geocities.com/kannadaganaka/
http://www.indianlanguages.com/kannada/
http://www.kannadakutaillinois.com/
http://www.clickhubli.com/kannadalinks.htm

Love in a hot climate by Rachel Shelley (British Actress in Film Lagaan)

Lagaan is the biggest-budget Bollywood movie ever, the first to shoot entirely on location and the first to use a large number of British actors - among them the female lead Rachel Shelley. She chronicles four months of disease, tears and passion in the desert of western India

Friday May11, 2001
The Guardian

Arrival
Bhuj is a dusty, walled fort town in a remote corner of north-western India. With plenty of soldiers. Pakistan is only 70km away, and given the delicate nature of relations between Islamabad and New Delhi, the Indian government regards the area as "highly sensitive". So all foreigners are required to register with the police. In big letters, my little registration card reads: "Please note that landscape photography is prohibited." Interesting. Did anyone tell them we have come here to shoot a film? My assignment is to spend four months here as the lead actress in Bollywood's most expensive film ever. It's a period romantic comedy called Lagaan, set in a poor and drought-stricken community in central India in 1893. It tells the story of a dastardly British army captain who challenges the locals to a cricket match, the loser of which will pay the state's land tax - or lagaan. The Indians are led by a heroic villager, but this being 1893, they are ignorant of the game's rules. Luckily, the captain's visiting younger sister, Elizabeth (me), is inspired to teach them covertly out of sympathy, and later, out of love for the heroic youth. And there are songs. Our star, producer and muse is the Bollywood legend Aamir Khan.

Moving in
People are treating me as though I'm already famous, just because they know I'm about to do an Aamir Khan film. Giving autographs is new for me. "Just write what you normally write," Satya, a producer, told me, as though it's something I do every day. The cast and crew are all billeted on the top four floors of Bhuj's only seven-storey apartment block. Residents who aren't working on the film won't share the lift with me. I am told that the shoot was already three days behind schedule even before I arrived - and that the production is horribly disorganised and the food is inedible. So far, then, it's really no different from any other film I've been in.

Day 1 (on set)
During my first hour of filming, the sweat began to collect in puddles in and around my corset. Then came the sandblasting as the wind whipped up, playing havoc with my hat and make-up. In between having to spit, extract eye bogies and stand like a teapot (one hand on hat because the hat pins haven't arrived; one holding my parasol aloft), I/we completed the scheduled scenes to everyone's satisfaction. The Indian actors celebrated the completion of the first shot with a prayer. Lagaan breaks many of the rules of Indian film-making, and the industry is watching, waiting for things to go wrong. These are the Bollywood firsts: shooting synch-sound (ie, recording the sound simultaneously with the pictures); shooting entirely on location; using British actors speaking Hindi lines; and shooting in one continuous schedule - no one will be slipping off to complete the other 15 films they have on the go, as is usual. Aamir told the cast and crew they would not be hired unless they cleared their schedules and committed, and commit they did. Our director of photography (DP) is India's award-winning best, Anil Mehta. Our costume designer, Bhanu Athaiya, won an Oscar for Gandhi. Even the smaller roles are filled by revered Indian actors.

Day 3
It shouldn't happen on any film set. A whole afternoon's work has to be re-shot. Why? Because we were finishing a scene today that we started yesterday and yesterday I was wearing earrings. Today I wasn't. Whose fault is that? Continuity? It doesn't exist. Wardrobe? Yes, but they are really tailors, not dressers. They've actually asked me if the back of my skirt looks OK - like I can see it from where my head is. Ever since I arrived I've been asking who would be helping me dress, as corsets and period costume all seem to fasten at the back. The wardrobe staff are all older men and wouldn't help even if I wanted them to. Pina, the chief hairdresser, has volunteered but says she will not be held responsible for anything that goes wrong. She has enough to do and cannot keep checking me on set. So what happens? We lose an entire afternoon's shooting. I talk to the Indian actors who tell me they are keeping their own continuity because no one else will. Although that's not the official line, it's what always ends up happening in Bollywood, even for the leading lady. Continuity has never been a responsibility I have faced before. I have enough of my own work to be thinking about. I am told not to worry because it is totally not my fault and of course a dresser will be found immediately. I know it's not my fault! But we still have to re-shoot and that pisses me off! Back at Sahajanand Towers, I want to drown my sorrows in a large vodka ginger ale or dairy-free ice cream or an enormous bowl of pasta or a hot bath. None of these is available. I may take up smoking again instead.

Day 11
The reason for not writing in more than a week is not just because some of the other Brits have arrived and I suddenly have something that resembles a social life (Scrabble), but because I have been working like a dog. Tuesday morning was by far the lowlight. Awful. After all my requests for a wardrobe assistant, no one had arrived and as I prepared for a new scene, the nightmares in the changing room began. There were still no hatpins, which are essential. My undergarments had been washed but were still wet. No one could find the right shoes and the period leather laces hadn't been cut. The assistant directors (ADs) were bullying me into leaving for set when I wasn't fully dressed. I was supposed to be doing my biggest Hindi scene and instead was stressing over wardrobe! No one even attempted to apologise, placate or accept responsibility, so when I found the temporarily appointed wardrobe man, Sanjay, I demanded answers. OK - I shouted at him. Not for more than about 30 seconds, and then I immediately apologised, but I shouted. Maybe now, I thought, someone would get the message. Sure enough, solutions miraculously became available. That night, I was summoned to Aamir Khan's room where, to my acute shame, I was sanctimoniously reprimanded. "Everyone was completely shocked," said Aamir, because they all thought I was "such a nice, reasonable girl", and "that sort of behaviour just doesn't happen on my film sets". To my huge surprise, I began to cry. This made him feel terrible, which I'm sorry to admit actually made me feel a lot better. But still, I hadn't managed to justify or defend myself as well as I could. What I did manage to tell Aamir was that I found his dual role as producer and actor very hard to cope with as I couldn't handle being reprimanded by him in the evening and then having to tell him the next day in Hindi that I love him. I guess he is the star and it is his shebang and I will just have to deal with it. After six days of pre-dawn calls and 14-hour working days, I was ready for my Saturday night. I nearly cried again when I heard that my fellow Brit actors were all about to spend the evening watching the Leeds-Liverpool match live on telly. I wandered off to find the "party" in the DP's room. Oh my God. Ghazaals are traditional Urdu rhymes set to music, helplessly romantic, stunningly poetic, even in translation. One of the cast, Ragou, is a trained ghazaal singer, and it was spine-tingling to listen to him. Add to this the fact that Apoo, our assistant director, who until this evening had barely spoken to or even smiled at me, took it upon himself to tumble his translations into my left ear. Apoo is probably the most attractive man on the entire film and to have his sweet voice pour warm poetry over me under the bewitching wails of Ragou's succulent voice . . . Well, after 15 minutes I felt sure he was about to propose something to me. But when I returned from the bathroom, my place had been snuck into by Clementina in production. Although the evening continued in grand style, when I got into bed I could still hear his words: "How can I throw the ashes of your thoughts in the water, their fire will turn the water into flames . . ."

Day 18
The working week was characterised by the public study of the declining state of my complexion. When I arrived in India, there wasn't a blemish in sight; in the last two weeks, my face has erupted. Spots are never nice, but now their progress isbeing tracked by the make-up artist, the DP, the chief gaffer, the lighting man, the director, the lead actor and the entire AD department - and then will be magnified to fill the screen. To be fair, all these people are so good at their respective jobs that I doubt anything will be very obvious in the finished product. I just wish I could keep my spot examination within the confines and privacy of my own bathroom. Another Saturday night, another ghazaal concert, this time a professional performance organised by production on the roof of Sahajanand Towers. I tried to squeeze in next to Apoo but in the end I had to share his translations with everyone else. I have heard that he is involved with his assistant. They are curiously cagey about their whole affair. People took turns to sing near the end of the show. I stumbled through a rather croaky rendition of Norwegian Wood, then hid in a corner for a while.

Day 34
Another nightmare. Having been told I had my first whole day off, I was enjoying doing nothing when I was called on set. No one could tell me what for. On arrival I was told out of the blue that I was doing an enormously emotional scene, my second biggest Hindi one. And I had a brand new Hindi line. As the production team knows well, Hindi lines take me a couple of days to become fluid with. So I got cross and upset. Their excuse was that they only made the decision at 1am and didn't want to wake me. So why didn't I know about it till I got on set at midday? I attempted to learn the new words - none of which were familiar. And it would have to be the line before I say "I love you" in Hindi, wouldn't it? It wasn't going in. No surprise really: I gave up my millennium holiday to learn Hindi - if I could learn Hindi lines in an hour I wouldn't have bothered. Imagine the scenario: young tearful Victorian gal attempting to plead her innocence to sceptical handsome Indian villager is forced to confess the unrequited and doomed love she feels for him. Emotion fills her flushed and tearful face as her eyes meet those of her beloved:
Elizabeth: Mayray bahee nay mujhay dhoka dhaka toomhay giruftar kuraya. [My brother when to me deception gave your arrest did.]
Bhuvan: Kyookee kah? [Because what?]
Elizabeth: (over-wrought) Kyookee . . . [Because . . .]
Aamir steps aside briefly to reveal a small and very badly written cue board. Our gal reads it once, and then again, because it's all just too unsettling and quite a tough line . . .
Elizabeth: Mayray bahee ko yay maloom ho gaya ta key . . . [My brother of this found out past tense that . . .]
Aamir steps back into my eye line for me to deliver the rest of the original script . . .
Elizabeth: May toomsay pyar kurnay lugee hoo. Ha, Bhuvan, may toomsay pyar kurnay lugee hoo. [I've fallen in love with you. Yes, Bhuvan, I've fallen in love with you.]
Filming is so often like this. Last- minute changes wipe out months of preparation. Our director, Ash, was very happy so I had to accept it. But I could have been much better.

Day 45
This week and last have been long and hard. We are filming the grand finale, a three-day cricket match, and all those not on the pitch are spectators in the British pavilion, ie we are background. So background that we are not processed through hair and make-up. So background that the Raj is played by a stand-in chosen for his dissimilarity, and one of the British majors has been allowed to go home for a few days. In fact, so background are we that on Thursday, when the "creative team" decided to return unexpectedly to day one and all day-one costumes were found being smashed to pieces on a rock somewhere (ie were in the wash), they decided it didn't really matter what we were wearing. So we wore day-two clothes instead. Everyone is losing it slightly. Possibly out of sheer boredom I contracted a violent dose of gastroenteritis on Friday morning and was sent home at lunch. Even though I felt quite normal again by evening, Apoo told me not to come in today (Saturday) because my absence can be obscured by a parasol. In his words, "It's good to be friends with the first AD." Still, finding my casual dispensability rather unnerving, I have decided to re-read my script and brush up on my character this afternoon. These last 10 days I have almost forgotten the plot.

Day 52
We are still filming the cricket match. Everyone is getting delirious. I have been sitting with Jeremy Child, another Britisher, for three weeks now, in the same position on the same raffia chair, in 38-degree heat, pretending to be engrossed in a game we can't even see. Some of the unluckier extras are sitting in the sun and sunstroke has taken its toll. I am about to crack.

Day 54
Today I did crack. But thankfully I cracked along with everyone else under the guise of Holi, the Indian festival of colour which celebrates the spring equinox, and traditionally everyone drinks bang lassi and throws paint at one another. As soon as "wrap" was called, all hell broke loose. I had come equipped with a 2ft-long water pistol and a bucket full of balloons that Harri, my unofficial assistant, had been dutifully filling with pink paint for me all day. Immediately I was out of costume I stepped out, thinking I could take on the world. Within 20 seconds, Apoo was upon me and so was the entire bucket of pink paint, balloons and all. I ended up in the trough of water prepared specially for the celebration. Of course, all this spilt water went into the dry cracked earth, creating one enormous mud pool. And then we all went into the mud pool. We were even provided with small amounts of alcohol that evening by the caterers. I wish every day was Holi.

Day 64
So now I am on drugs. After two days of low-grade gastroenteritis, I couldn't get to sleep because the composer, AR Rahman, who is about to work with Andrew Lloyd Webber on his new musical, is in the next room and can only work at night. And it seems he can only work very, very loud. Then my puking and poohing became more severe. Doctor Rao was called. In my delirious state I began to think I might never get better. I took the antibiotics, slept a little and managed to stay upright throughout the evening's work.

Day 68
It's 2:40pm and I have just woken up after a week of night shoots at Mandvi Palace, 90 minutes south of Bhuj. Though Mandvi is lush with trees and crops, the state of Gujarat is suffering from severe drought, and cattle are dying by the side of the road. It's difficult to accept, but there is water if you have the money. We had water to waste at Holi, and there is water enough for the fountains at the palace. Someone has organised a whip-round for the local farmers. At the palace, it's cool, calm, controllable, intimate and dust-free. We even get ahead of schedule. The only problem for me was the first scene of my song/fantasy. I'm taken into the ballroom where they are all set up to shoot Aamir (who is now dressed in British officer uniform) and I do a swift, romantic waltz. Except it's not just a quick waltz; they start throwing in multiple spins and head turns and telling me to "spot" (whatever that is) and basically behave like the trained dancer I am not. I did not expect to have to rehearse - self-consciously and badly - in front of the entire cast and crew in full costume. It takes me 40 minutes to get it right, but thankfully Aamir isn't much better. The dance director rattled me immediately, shouting and telling me how easy it is. I am out of my depth - all Indian actresses are classically trained dancers too. When Harri delivers a sweetly reassuring note and a handful of rose petals from Apoo just before we shoot, I think, sod it, pretend you're messing about in your living room with a friend. Hey presto, everything then goes smoothly. I have completed my first Bollywood dance sequence.

Day 78
My "song" continues to make me laugh. I twirl in circles on the beach in my nightwear, skip around pillars and fountains and dance with scarves on a high, blustery turret. They've even got me kissing roses and clasping doves (pigeons, really) and declaring "Yes, I'm in looove!" before releasing them to the heavens. It's a shame they are so lazy they plummet to the ground when I let them go. All of this is done to music playback which is loud enough to drown out my dreadful singing. It is all over just as I am really beginning to love it. My song was the only opportunity I got to wear sensual and sexy clothes and make-up. The best part for me was dressing up as a local Indian village girl and playing coy with Aamir at twilight. With my midriff showing and adorned with jewellery, I've decided I make a cool peasant. Trouble is, I am now way too skinny to be considered at all sexy to the average male Indian filmgoer. Apoo is, it seems, no average Indian filmgoer. He has taken to inviting me for brunch at about 3pm when everyone wakes up. I am the last to leave and sometimes the only one to arrive, and the party always goes with a romantic swing. This last week it was not unusual to see us rushing on to the bus, slightly flushed, just before departure time.

Day 83
My back has been itchy. Then it felt a bit sore. When I could no longer lean back or lie down, I reckoned it was time to see Dr Rao, who prescribed more antibiotics and diagnosed me as having "multiple boils and baby lesions"! He told me to ensure my corset is washed frequently, so this afternoon I mentioned this to the wardrobe guys, who don't speak English. Please wash this many times. No, no wash madam. Yes, please wash. And please call me Rachel. OK, OK. So you will wash it tonight? No, madam, cannot wash. OK, I'll wash it then. No no, Bhanuji say corset no washing. Why? Bhanuji say. Never. What, ever?! Never madam. You're telling me you have never washed this corset? Never madam, we never wash corset. It get damage, madam. Bhanuji say. I'll give them sodding damage. Three months in the same gritty, sweaty, dusty, tight corset and never once washed? No amount of talcum powder was ever going to combat that.

Day 97
I have found myself another pastime to while away the small hours of a night-time shoot: trying to work out once and for all if Apoo is lying to me when he tells me he is no longer involved with his assistant. Wondering if he was telling me the truth when he told me they had split up months ago, and if it really was just coincidence that he and I got together only when she had supposedly "left the film". She has now returned earlier than planned and my dates have been extended and, oh my God - are we overlapping in too many ways to be tasteful or hygienic? This is not the most cheerful way to pass the time but it has suddenly become the most important.

The end
My work is all complete. Apoo called a wrap on me, and Ash presented me with a cricket bat that had been signed by everyone in the cast and crew. I looked about me a little dewy-eyed at all the smiling faces that have filled my life these past four months. I hugged Ash and felt a rush of nostalgia, sadness, relief, jubilation, achievement. Then Apoo appeared to tell me he had personally organised for everyone to sign my cricket bat. I turned away. His fiancée and I (yes, fiancée) spoke properly for the first time the other night, all night, and through her tears she taught me a new Hindi word not dissimilar to another good old English c-word: chute . As I stood there in my own little web of feelings, I suddenly found myself engulfed by a throng of extras, all calling for photos and autographs. Ash and Apoo managed to extract themselves from this affray, and suddenly I was cut off from the people who meant something to me and surrounded by excited strangers. As I signed and posed for snaps, I saw the cast and crew lose interest and begin to wander to the catering area. I wanted to shout "Don't you understand? I've finished!" For everyone else, though, today was just another day of shooting. The 100th. Wow.

Lagaan premieres in Bombay on June 15, and will be released in the UK later this year. Photographs of the making of the film will be on sale at Alphabet, Beak Street, London W1, from June 26. Proceeds go to the Gujarat Earthquake Fund.

Source: http://www.guardian.co.uk/friday_review/story/0,3605,488660,00.html

ಸಂಖ್ಯಾಶಾಸ್ತ್ರ

ಒಂದು ದೇವರು - ಪರಬ್ರಹ್ಮ ದೇವರು
ಎರಡು ಪಕ್ಷಗಳು - ಶುಕ್ಲಪಕ್ಷ , ಕೃಷ್ಣಪಕ್ಷ
ಮೂರು ಕಾಲಗಳು - ಭೂತ , ವರ್ತಮಾನ , ಭವಿಷ್ಯ
ತ್ರಿಮೂರ್ತಿಗಳು - ಬ್ರಹ್ಮ , ವಿಷ್ಣು , ಶಿವ
ಮೂರು ಗುಣಗಳು - ಸತ್ವ , ರಜಸ್ಸು , ತಮಸ್ಸು
ನಾಲ್ಕು ವೇದಗಳು - ಋಗ್ವೇದ , ಸಾವವೇದ , ಯಜುರ್ವೇದ , ಅಧರ್ವಣವೇದ
ನಾಲ್ಕು ಪುರುಷಾರ್ಥಗಳು - ಧರ್ಮ , ಅರ್ಥ , ಕಾಮ , ಮೋಕ್ಷ
ಚತುರೋಪಾಯಗಳು - ಸಾಮ , ದಾನ , ಭೇದ , ದಂಡ
ಪಂಚ ಮಹಾಭೂತಗಳು - ಪ್ರಥ್ವಿ , ನೀರು , ಅಗ್ನಿ , ವಾಯು , ಆಕಾಶ
ಪಂಚ ವಾಯುಗಳು - ಪ್ರಾಣ , ಅಪಾನ , ಉಪಾನ , ವ್ಯಾನ , ಸಮಾನ
ಪಂಚೇಂದ್ರಿಯಗಳು - ಚಕ್ಷು , ಶ್ರೋತ್ನ , ಜಿಹ್ವಾ , ಪ್ರಾಣ , ಸ್ಪರ್ಶ
ಪಂಚಾಗ್ನಿಗಳು - ಅಹವನೀಯ , ದಕ್ಶಿಣ , ಸಾರ್ಹಪತ್ಯ , ಸವಿತಾ , ಅವಸಧಾ
ಷಡ್ರಸಗಳು - ಉಪ್ಪು , ಹುಳಿ , ಖಾರ , ಸಿಹಿ , ಕಹಿ , ಒಗರು
ಷಡ್ವ್ಯರಿಗಳು - ಕಾಮ , ಕ್ರೋಧ , ಲೋಭ , ಮೋಹ , ಮದ , ಮತ್ಸರ
ಏಳು ಸ್ವರಗಳು - ಸ , ರಿ , ಗ , ಮ , ಪ , ದ , ನಿ
ಏಳು ವಾರಗಳು - ಆದಿತ್ಯ , ಸೋಮ , ಮಂಗಳ , ಬುಧ , ಗುರು , ಶುಕ್ರ , ಶನಿ
ಏಳು ಬಣ್ಣಗಳು - ಊದಾ , ನೇರಳೆ , ಆಕಾಶ ನೀಲಿ , ಹಸಿರು , ಹಳದಿ , ಕಿತ್ತಳೆ , ಕೆಂಪು
ಎಂಟು ಮಹಾಸಿದ್ದಿಗಳು - ಅಣಿಮಾ , ಮಹಿಮಾ , ಲಘೀಮಾ , ಗರಿಮಾ , ಪ್ರಾಪ್ತಿ , ಪ್ರಾಕಾಮ್ಯ , ವರ್ಶಿತ , ಈಶತ್ವ
ಎಂಟು ಯೋಗ - ಯಮ , ನಿಯಮ , ಆಸನ , ಪ್ರಾಣಯಾಮ , ಪ್ರತ್ಯಾಹಾರ , ಧ್ಯಾನ , ಧಾರಣ , ಸಮಾಧಿ
ಎಂಟು ದಿಕ್ಕುಗಳು - ಪೂರ್ವ , ಆಗ್ನೇಯ , ದಕ್ಷಿಣ , ನ್ಯೆರುತ್ಯ , ಪಶ್ಚಿಮ , ವಾಯುವ್ಯ , ಉತ್ತರ , ಈಶಾನ್ಯ
ನವಗ್ರಹಗಳು - ಸೂರ್ಯ , ಚಂದ್ರ , ಮಂಗಳ , ಬುಧ , ಗುರು , ಶುಕ್ರ , ಶನಿ , ರಾಹು , ಖೇತು
ದಶಾವತಾರ - ಮತ್ಸ್ಯ , ಕೂರ್ಮ , ವರಾಹ , ನರಸಿಂಹ , ವಾಮನ , ಪರಶುರಾಮ , ರಾಮ , ಬಲರಾಮ , ಕೃಷ್ಣ , ಕಲ್ಕಿ

ಸಂಗ್ರಹಣೆ - ರವಿಕಿರಣ

Mission Muskaan

She was smiling at me. She was just around 13 years old I guess. I smiled at her back. Seeing her smile, I realized at least I have done one good thing in my life. I have done something for my people in my society. The little girl was one of many children who spend their life in orphanages.

During September 2005, I came up with idea of celebrating New Year with orphanages. In midst of our daily schedules, lets do something that would make us feel we are doing something for the society. I know everybody will be busy with their office work, mail checking (:)), Con calls, meeting friends and girlfriends, watching movies, etc. But in spite of these genuine reasons (?), let’s do something for the orphans.

I planned to have my friends and my colleagues (most of them are software engineers) along with me to contribute to orphanages and spend their precious time with orphanages.
I am very much fond of children. So when I had this thought, it really touched, moved and inspired me. So I started to collect the orphanage information from my friends. One of my friends, Mr. Narayanan helped me in getting some 5 to 6 addresses. Thanks to him once again. That was my first step towards my Orphanage project.

I then went to one of orphanages “Anatha Shishu Nivasa” near Bull Temple Road and talked to caretaker Mr. Gurukiran. I told him that we are interested to spend some time in service of orphans. We discussed around half an hour on how we can serve orphans and the options we have. We are allowed to help in the form of toys, uniforms, books, medicines, donations, etc. There were 2 options which looked suitable for me.
* We can donate the necessary things (food, play things, books, blankets, etc) to them and one weekend we can go and play with them/ we will serve food for children in their own orphanage.
* Second one requires more budget. i.e. taking orphans to a resort to spend their whole day with us. Transportation and food are supposed to be provided by us.
We can go organization level in this case, I mean, through our company CGI.

As I finished talking with him and was on the way outside, one small girl of age 10 years was standing in front of me on the steps. Her hands were stretched forward asking to lift her. I was dumbstruck. She never knew me and I dint know what to do. Then I just went to her and lifted her hand was asking her name. By that time, a lady staff came and took that girl from me. I was totally touched by small little girl. There itself I decided I will complete my project irrespective of circumstances.

There were around 66 children overall in this orphanage. I then enrolled almost all my colleagues and friends for this project and formally shoot out a mail having all the details and asked volunteers to come forward so that we can go one weekend and celebrate with children. Some couple of weeks got passed without any results due to some reasons like hectic work, deadlines, critical issues, conference calls, going to native places, etc

Finally we decided to start on Jan 1st 2006 to celebrate New Year with the orphanage children. Hemanth GA, Arun Vatsa, Raghavendra Naik, Kanakaraj, Jyothi Naik, Nisha, Parameshwar Hegde, Prasanna Hebri and Jayakrishnan along with me went to the orphanage. We decided to sponsor food for one day which comes to 1200/-.And also, we had plans to serve the food in our own hands to children during their lunch and spend some time with them after lunch. Hence, we decided to meet in front of Orphanage at 1:00 PM afternoon since their lunch time is at 1.30PM. When almost al\everybody assembled near the gate, it was almost 1.30PM and lunch was started for them. Since it was first day of the New Year 2006, lots of family people and college students came to celebrate New Year among the children. We were really surprised to se so much help coming from the society. When we entered orphanage, already college students and orphanage staff were serving food for the kids. There were children of various ages from 8 months to 16 Year old where 60% of them were girls. The caretaker told us that they get these orphans lying in front of their gate, placed in garbage, left in hospitals, etc. The parents would have abandoned the child due to poverty, miscarriage, girl factor, etc.

All children were sitting in a line and were reciting prayers loudly before lunch. Before starting lunch they told “Annadata Sukhibhava” which really touched my heart by their innocence and cuteness. The little orphanage where they lived looked like a place where heaven touched earth.

We were with children for around 2 hours and then we decided to leave. We donated 1200/- to caretaker Gurukiran for which I got receipt. We could not mingle with children since there were more visitors than the children on New year day. So we decided to come another day between 4PM and 6.30 (Children Leisure time) during weekends and spend time by organizing some games where each and every child would be participating. We also came up with idea of going to other orphanages where proper facility is not there. Then we left the place, had our lunch at Kamat Bugal Rock Hotel nearby and left to our respective houses.

Time to start organization level participation in Orphanage project in bigger way. So I already brought this idea to SPARSH (Committee for Extra Cuurricular Activities). This social service is planned in Jan month end. Lets hope and wish this will be successful.

Information:

Anatha Shishu Nivasa provides care for children up to 18 years, including shelter, food, clothing and education. Apart from formal education, the children are trained in job oriented courses in Vocational Training Centre. The single parents or parents who do not have any children are allowed to come on each Sundays and spend some time with these children.

The Address of this ashram is as follows:
Anatha Shishu Nivasa,
#1A, 5th Main, NR Colony,
Opp To BMS College Of Engg.,
Bull Temple Road,
Bangalore - 560 019.
Ph: +91 80 26508641
Email : anathashishu@gmail.com

There are other options to serve the children in a better way which are as follows:
* Donate Rs 1200/- and sponsor food for one day
* Donate Rs 400/- and sponsor one day lunch/dinner
* Donate Rs 200/- and sponsor one day breakfast/evening milk
* Provide one set of uniform shoes by donating Rs 7000
* Provide one set of school uniforms by donating Rs 10000
* Sponsor one child for one year by donating Rs 15000
* Create an endowment (corpus fund) for feeding/education/maintenance by donating a specific amount by your choice
* Sponsor a project under vocational training center
* Donations in any kind are also accepted like provisions, stationery, clothing, toys, books, games, sports goods, fruits, vegetables, etc
Please avoid cooked food, sweets and chocolates

Meaning of 007

In the USA after about 1870, it was relatively rare for a locomotive to bear an individual name, and each one had two numbers, its 'builder’s number' and its 'running number'. The former was for internal use by the company which built the locomotive, and was usually sequential from 1 onwards (in the case of the Baldwin Locomotive Works, America’s prime locomotive builder, the final locomotive built had a builder’s number of 70,541) It appeared on a ‘builder’s plate’, riveted to the locomotive structure in some comparatively inconspicuous place.

The 'running number', in both British and American practice carried in large numerals either on the tender or the cab side, was the number by which the locomotive was known in everyday talk: in the USA, this was usually prefaced by the definite article – a famous flyer of the New York Central, a 4-4-0 with the identifying number 999, was known as “the 999”. British practice saw many passenger locomotives given names (though very few locomotives for freight duties bore them).

The ORG commented that “to avoid confusion with any actual locomotive, [Kipling] took the unusual course of starting with two cyphers and not content with this prefixed them with the decimal point”. The ORG continues:
“Since the author was an educated Englishman writing in English, there is no need for controversy as to the pronunciation of the title, which he would naturally have given as “point (or decimal) nought nought seven”. Readers in countries where the nought is called “zero” (e.g. France and the USA) will no doubt pronounce it in that wise, but nowhere, it is hoped, except in the world of telephone operators, will “owe owe (or double-owe) seven” be employed.” The ORG was written before Ian Fleming’s James Bond, special agent 007, had made an impact, and it is feared that many, if not most, readers today would use “owe owe seven”