ಅಜ್ಜಿ ಮತ್ತು ಮುಗ್ಧ ಮನಸ್ಸು

ಹೇಳ್ತಾರೆ, ಮುಗ್ಧತೆಗೆ ಇನ್ನೊಂದು ಹೆಸರೇ ಮಕ್ಕಳು ಎಂದು. ಅದು ಅಕ್ಷರಸಹ ನಿಜ. ಅವರಾಡುವ ಮಾತುಗಳನ್ನು ಕೇಳುತ್ತ ಇದ್ದರೆ ನೋವೆಲ್ಲ ಮರೆತು ಹೋಗುತ್ತದೆ.ಈಗಂತೂ ಬದಲಾದ ಕಾಲದಲ್ಲಿ ಮಕ್ಕಳ ಮಾತು ಕೇಳಲು ಸಿಗುವುದೇ ಅಪರೂಪ. ಹಿಂದಿನ ಹಳ್ಳಿ ಜೀವನದಲ್ಲಿ ಅಕ್ಕಪಕ್ಕದ ಮನೆ ಮಕ್ಕಳೋ, ಇಲ್ಲ ಸಂಬಂಧಿಕರ ಮಕ್ಕಳೋ ಆಡುವ ಮಾತುಗಳನ್ನು, ಕೀಟಲೆಗಳನ್ನು ನೋಡಿ ಸಂತಸಪಡುತಿದ್ದೆವು. ಈಗ ನಮ್ಮ ಮಕ್ಕಳಾದರೂ ಅವರನ್ನ ಪ್ಲೇ-ಹೋಮ್ ನಲ್ಲಿ ಬಿಟ್ಟು ಹೋಗುವ ಪರಿಸ್ಥಿತಿ. ಅವರನ್ನು ನೋಡಿಕೊಳ್ಳುವ ಇಲ್ಲವೇ ಅವರ ಜತೆ ಸ್ವಲ್ಪ ಸಮಯ ಕಳೆಯಲೂ ಸಮಯ ಸಿಗದಷ್ಟು ಜೀವನ ಗೊಂದಲದ ಗೂಡಾಗಿದೆ. ಇದರ ಮದ್ಯೆ ಎಲ್ಲೋ ಮಕ್ಕಳ ಮಾತುಗಳನ್ನು ಕೇಳ ಸಿಕ್ಕಾಗ, ನಾವು ಜೀವನದಲ್ಲಿ ನಿಜವಗಿಯೂ ಏನನ್ನೋ ಕಳೆದುಕೊಳ್ಳುತಿದ್ದೇವೆ ಅನಿಸದೆ ಇರದು.

ಹೀಗೆ ಒಂದು ಅನುಭವವಾಯಿತು ನನಗೆ, ಈ ಮಹಾನಗರಿಯ ಬಸ್ಸಿನ ಪ್ರಯಣದ ವೇಳೆ. ನಾನು ಆಫೀಸಿನಿಂದ ಮನೆಗೆ ಬರ್ತಾ ಇದ್ದೆ. ನನ್ನ ಪಕ್ಕದ ಸೀಟಿನ್ನಲ್ಲಿ ಒಬ್ಬರು ಅರವತ್ತು ಪ್ರಾಯದ ಹುಡುಗಿ, ಆವರ ಪಕ್ಕದಲ್ಲಿ ಒಬ್ಬ ಮುದ್ದು ಹುಡುಗ ಕಿಟಕಿಯಿಂದಾಚೆಗೆ ಇಣುಕಿ ನೋಡುತ್ತಿದ್ದ. ಅವನ ವೇಶಭೂಷಣಗಳಿಂದ ಅವನೊಬ್ಬ ಬಡಕುಟುಂಬಕ್ಕೆ ಸೇರಿದ್ದನೆಂದು ಹೇಳಬಹುದಾಗಿದ್ದರೂ, ಆ ಕಂಗಳಲ್ಲಿ ಇರುವ ಕಾಂತಿ ಎಲ್ಲರ ಮನಗೆಲ್ಲುವಂತಹುದು. ನಮಗೆ ಕಾಣದ್ದು ಅವನಿಗೆ ಏನು ಕಂಡಿತೋ ನಾನರಿಯೆ. ಆದರೆ ಅವನ ಮುಖದಲ್ಲಿನ ಖುಶಿಯಿಂದ ಈ ಕಿಟಕಿ ದೃಶ್ಯಗಳು ಅವನಿಗೆ ಮುದನೀಡಿವೆ ಅನ್ನುವುದು ವ್ಯಕ್ತವಾಗುತ್ತಿತು, ನಾನು ಚಿಕ್ಕವನಿದ್ದಾಗ ತಂಗಿ ಜೊತೆ ಕಿಟಕಿ ಸೀಟಿಗಾಗಿ ಜಗಳ ಆಡಿದ್ದು, ರಿಪ್ಪನ್-ಪೇಟೆಯ ಚಿಕ್ಕಮ್ಮನ ಮನೆಯಿಂದ ಊರಿಗೆ ವಾಪಾಸು ಬರುವಾಗ ದಾರಿಯುದ್ದಕ್ಕೂ ತಂಗಿ ಜೊತೆ ನಾಯಿ ಲೆಕ್ಕ ಮಾಡುತ್ತ ಬಂದಿದ್ದು, ಇದೆಲ್ಲ ನೆನಪಿಗೆ ಬಂದು ಒಮ್ಮೆ ಮತ್ತೆ ಬಾಲ್ಯಕ್ಕೆ ಕರೆದೊಯ್ದ ಈ ಬಸ್ಸಿನ ಪ್ರಯಣಕ್ಕೆ ಕೃತಜ್ನತೆ ಹೇಳಿದೆ.

ಒಂದು ಕಡೆ ಜಂಕ್ಷನ್ನಲ್ಲಿ ಟ್ರಾಫಿಕ್ ಜಾಮ್ ಆಯ್ತು, ಆಗ ಮುದುಕಿ ತನ್ನಷ್ಟಕ್ಕೆ ಗೊಣಗಲು ಶುರು ಮಾಡಿತು, “ಬೆಂಗಳೂರೆಲ್ಲ ಹೀಗೆ.. ಬೆಂಗಳೂರೆಲ್ಲ ಹೀಗೆ .. “ ಎಂದು. ಪಕ್ಕದಲ್ಲಿದ್ದ ಆ ಹುಡುಗನಿಗೆ ಅಜ್ಜಿ ಹೀಗೆ ಯಾಕೆ ಹೇಳ್ತಾ ಇದೆ ಅಂತ ತಿಳೀದೇ “ಯಾಕಜ್ಜಿ.. ಯಾಕಜ್ಜಿ..?” ಅಂತ ಕೇಳಿದ್ರೆ ಆ ಅಜ್ಜಿ ಸಿಟ್ಟು ಮನಸ್ಸಲ್ಲೇ ಬೆಂಗಳೂರು ಟ್ರಾಫಿಕಿಗೆಲ್ಲ ಯೆಡಿಯೂರಪ್ಪನೇ ಕಾರಣ ಅನ್ನೋ ತರ, ವೀರೋದ ಪಕ್ಷದ ಖರ್ಗೆ ಸ್ವರ ಮಾಡಿ “ಚೀಫ್ ಮಿನಿಷ್ಟರ್ ಸತ್ತಹೋಗಿದ್ದಾನೆ..” ಅಂದಳು. ಪಾಪ ಈ ಮಗುಗೆ ಅವಳ ಮನಸ್ಸಿನ ಕೋಪ ಹೇಗೆ ಅರ್ಥವಾಗಬೇಕು? ಸತ್ತುಹೋದವರು ಯಾರು, ಬಸ್ಸು ಯಾಕೆ ಮುಂದೆ ಹೊಗ್ತಾ ಇಲ್ಲ, ಇದೇನೂ ತಿಳಿಯದೆ ಅಜ್ಜಿ ಕಡೆ ಮುಖ ಮಾಡಿ “ಯಾರಜ್ಜಿ ಸತ್ತುಹೋಗಿದ್ದು, ಆ ಟಿಕೇಟ್ ಕೊಡ್ತಾ ಇದ್ರಲ್ಲ, ಅವ್ರಾ?” ಅಂತ ಕೇಳಿದಾಗ ನನಗೆ ನಗು ತಡೆಯಲಾಗಲಿಲ್ಲ. ಅಜ್ಜಿಗೂ ಆ ಮಾತು ಕೇಳಿ ಯೆಡಿಯೂರಪ್ಪನ ಮೇಲಿನ ಕೋಪ ಎಲ್ಲ ಮರೆತುಹೋಗಿ ಒಮ್ಮೆ ನಕ್ಕುಬಿಟ್ಟರು. ಜಾಸ್ತಿ ಜನ ಇಲ್ಲದೆ ಇರೋದ್ರಿಂದ ಕಂಡಕ್ಟರ್ ಅಲ್ಲೆ ಹಿಂದಿನ ಸೀಟಲ್ಲಿ ಕುಳಿತಿದ್ದ. ಆದ್ರೆ ಅವ ಇವತ್ತು ಎಷ್ಟು ದುಡ್ಡು ಸರಕಾರಕ್ಕೆ ಮೋಸಮಾಡಿದ್ದಿನಿ ಅನ್ನೊದು ಲೆಕ್ಕ ಸಿಗದೆ, ಇನ್ನು ಒಂದಿಷ್ಟು ಜನರಿಗೆ ಸುಮ್ಮನೆ ಟಿಕೇಟು ಕೊಟ್ಟು ಲಾಭ ಕಮ್ಮಿಯಾಯಿತು ಅನ್ನೊ ಕೊರಗಲ್ಲಿ ಇದ್ದ ಹಾಗೆ ಕಂಡು ಬಂದ. ಅವನು ಈ ಚಿಕ್ಕ ವಿಷಯಗಳಲ್ಲಿ ಖುಷಿ ಪಡುವ ಮನಸ್ಸಿನವನಾಗಿರಲಿಲ್ಲ.

ಅಜ್ಜಿ ಸ್ವಲ್ಪ ನಗುವನ್ನು ಹತ್ತಿಕ್ಕಿ, “ಇಲ್ಲಪ್ಪ, ಅವನಲ್ಲ ಸತ್ತುಹೋಗಿದ್ದು!” ಅಂದ್ರೆ, “ಮತ್ಯಾರು? ಬಸ್ಸು ಒಡ್ಸ್ತಾ ಇದ್ರಲ್ಲ ಅವ್ರಾ?” ಅಂತ ಕೇಳಿದಾಗ ಇನ್ನು ಜಾಸ್ತಿನೇ ನಗು ಬಂತು. ಅಜ್ಜಿ “ಏನೋ ನೀನು? ಮಿನಿಷ್ಟರ್ ಅಂದ್ರೆ ಗೊತ್ತಿಲ್ವ?” ಅಂತ ಕೇಳಿದರೆ, ಸ್ವಲ್ಪ ನಾಚಿಕೆ ಆದವನಂತೆ ಮುಖಮಾಡಿ “ನಂಗೆ ಗೊತ್ತಿಲ್ಲ” ಅಂದ. ಅಜ್ಜಿ ಮಾತು ಬದಲಾಯಿಸಿ “ನಿನ್ನ ಹುಟ್ಟಿದ ಹಬ್ಬ ಅಂತೆ, ಸ್ವೀಟ್ ಎಲ್ಲ ಎಲ್ಲಿ?” ಕೇಳಿದ್ರೆ “ಅದನ್ನೆಲ್ಲ ಆವಾಗ್ಲೆ ಹಂಚಿ ಆಯ್ತು, ಈಗ ಎಲ್ಲ ಖಾಲಿ” ಅಂದ. ಮತ್ತೆ ಅಜ್ಜಿ ಇನ್ನು ಪ್ರಶ್ನೆ ಕೇಳ್ತಾಳೆ ಅಂತ ನಾಚಿಕೆ ಆಗಿ ಮುಂದೆ ಕೂತಿದ್ದ ತನ್ನ ತಾಯಿಯ ಪಕ್ಕ ಹೋಗಿ ಕೂತ. ಇಷ್ಟೋತ್ತಿಗೆ ನನ್ನ ನಿಲ್ದಾಣ ಬಂದಾಗಿತ್ತು. ಒತ್ತಡದ ಬದುಕಿನಲ್ಲಿ ಈ ರೀತಿಯ ಒಂದೊಂದು ಚಿಕ್ಕ ಪ್ರಸಂಗಗಳು ಮನಸ್ಸನ್ನು ನಿಜವಾಗಲು ಹಗುರ ಮಾಡುತ್ತವೆ ಅನಿಸಿತು. ಮತ್ತೆ ಮನೆಗೆ ಬಂದು ಅದೇ ಗುಂಗಲ್ಲಿ ಇನ್ನೊಮ್ಮೆ ಬಾಲ್ಯ ಬಂದರಾಗದೇ ಅನಿಸದೆ ಇರಲಿಲ್ಲ.

ಹೀಗೊಂದು ಸಂಜೆ ..

ಈ ಮಳಿಯೇ ಹೀಂಗೆ.. ಕೊಡಿ ತಂದ್ ದಿನ ಮಳಿ ಬತ್ತಿಲ್ಲೆ, ತರ್ದಿದ್ ದಿನ ಜೋರ್ ನೆರಿ. ಹೀಂಗೆ ಅಯಿತ್ ನಿನ್ನೆ. ಕೆಲ್ಸ ಮುಗ್ಸಿ ಕೆಳಗೆ ಬತ್ತೆ, ಎಂಥ ಹೇಳುದು.. ಕಪ್ ಕಟ್ಟಿ ಜೋರ್ ನೆರಿ ಹೊಯಿತಾ ಇತ್. ಆರ್ ಗಂಟಿಗೆಲ್ಲಾ ಒಂಬತ್ ಗಂಟಿ ಕಣಂಗ್ ಆಯಿತ್. ಮೊದಲೆಲ್ಲ ಮಳಿ ಅಂದ್ರೆ ಜಾಸ್ತಿ ತಲಿಬಿಸಿ ಮಾಡ್ಕಂತಿರ್ಲ. ಮಳಿ ಅಂದ್ರೆ ಒಂತರ ಖುಶಿ. ಆ ಮಳಿಯಂಗೆ ಡ್ರೈವ್ ಮಾಡುಕೇನೋ ಒಂತರಾ ಗಮ್ಮತ್. ರಸ್ತಿ ಬದಿಯಂಗೆ ಜನ ಆಚೆ ಈಚೆ ಹಾರುವರ್ ಯಾರು ಇರುದಿಲ್ಲ. ಈ ಬೈಕಿನರ್ ಎಲ್ಲ ಕಮ್ಮಿ, ಎಲ್ಲಾರು ಅಲ್ಲಿಲ್ಲ್ ಅಂಗಡಿ ಬದಿಯಂಗೆ ಕೂಕಂಡ್ ಮಳಿ ಬಿಡುದನ್ನೆ ಕಾಯ್ತಾ ಇರ್ತ್ರ್. ನಂದೆ ಕೆಲ್ಸ ಬಿಡುವತಿಗೆ ಮಳಿ ಬಂದ್ರೆ ಒಳ್ಳೆ ಖುಶಿ ಆಪುದ್.

ಆರೆ ಈ ಕೆಲು ದಿನದಿಂದ ನಮ್ ದಿನ ಸಮ ಇಲ್ಲ, ಕಾರ್ ಆಕ್ಸಿಡೆಂಟ್ ಆರ್ ಮೇಲೆ, ಸುಮಾರ್ ದಿನದಿಂದ ಬಸ್ಸಲ್ಲೇ ಬಪ್ಪುದ್. ಈ ಆಟೋದವರನ್ನ ಕಂಡ್ರೇ ನಂಗೆ ಆತಿಲ್ಲ. ಅವರು ಹೇಳು ರೇಟ್ ಕೆಂಡ್ರೆ ರಕ್ತ ಕೊದ್ದ್ ಹೊತ್ತ್. ಅವರ್ ಹೇಳು ಮಾತಿಗೆ ಇಚಾರ್-ಆಚಾರ್ ಇಲ್ಲ. ಅದಕ್ಕೆ ಯಾರ್ ಹಂಗ್ ಬೇಡ ಅನಳಿ ಬಸ್ಸಲ್ಲೇ ಬಪ್ಪುದ್. ಆರೆ ನಾನ್ ಇಪ್ಪು ಪ್ಲೇಸಿಗೆ ಸಮ ಬಸ್ ಇತ್ತನಳಿ ಮಾಡಿರ್ಯ? ಒಂದ್ ಬಸ್ ತಪ್ಪಿ ಹೋರೆ ಇನ್ನ್ ಒಂದ್ ಅರ್ಧ ಗಂಟೆ ಕಾಯಿಕ್.

ಮಳಿ ಏನ್ ನಿಲ್ಲು ಹಾಂಗೆ ಕಾಂತಿಲ್ಲಪ. ಇನ್ನ್ ಬಸ್ ಸ್ಟಾಂಡಿಗಾರೂ ಹೊಯಿಕಾಲೆ. ಇಲ್ಲ ಅಂದ್ರೆ ರಾತ್ರಿ ಇಲ್ಲೆ ಆಯಿಕಂಡ್ರೆ ಸೈ. ಈ ಮರ್ಲ್ ಮಳಿ ಬಿಡತ್ತ್ ಅಂದಳಿ ಹ್ಯಾಂಗ್ ಹೇಳುದ್. ಅದಕ್ಕೆ ಇನ್ನೇನ್ ಸ್ವಲ್ಪ ಸ್ವಲ್ಪ ಹನಿ ಹನಿ ಅಂಬತಿಗೆ ಹೊರ್ಟೆ. ಬಸ್ ಸ್ಟಾಂಡಿಗೆ ಬಂದ್ರೆ ಎಂತಾ ಹೇಳುದು, ಎಷ್ಟ್ ಹೊತ್ತಾರು ಒಂದ್ ಬಸ್ ಇಲ್ಲೆ. ಇವತ್ತ್ ಮಳಿ ಅಂದಳಿ ಆಟೊದರ್ ಎಲ್ಲ ಮನಸಿಗೆ ಬಂದಷ್ಟ್ ಹೇಳ್ತಾ ಇದ್ದಿರ್. ರಸ್ತಿ ಬದಿಯಂಗಾರು ನಿತ್ಕಂಬುಕ್ ಇತ್ತಾ? ಈ ಬಡ್ಡಿ ಮಕ್ಕಳ್ ನೀರ್ ಹಾರ್ಸ್ಕಂಡ್ ಹೋಪುದ್. ನಂಗತ್ತೂ ನಮ್ಮದ್ ಅಂದಳಿ ಒಂದ್ ಗಾಡಿ ಇಲ್ಲದಿರೆ ಹೆಂಗ್ ಆತ್ ಅಂದಳಿ ಗೊತ್ತಾಯಿತ್.

ಅತ್ ಕಾಂಬುದ್ ಇತ್ ಕಾಂಬುದ್, ಎಲ್ಲಾ ಬದಿಗ್ ಹೋಪ್ಯು ಬಸ್ ಬತ್ತ್, ಆರೆ ನಮ್ ಬದಿಗ್ ಹೋಪು ಬಸ್ ಇಲ್ಲಾ ಕಾಣಿ. ಸುತ್ತ ಮುತ್ತ ಇದ್ದರೇಲ್ಲ ಕೆಲುವರ್ ಸಾಯಿಲಿ ಇನ್ ಆಪುದಲ್ಲ ಅಂದಳಿ ಆಟೊ ಹಿಡ್ಕ ಹೋರೆ, ಇನ್ನ್ ಕೆಲುವರ್ ಬೈಕ್ ಅಡ್ಡ ಹಾಕಿ ಹೋರ್. ನಾನ್ ಮಾತ್ರ ಬಸ್ ಬರ್ಕ್, ನಾ ಮನಿಗ್ ಹೋಯಿಕ್ ಅಂದಳಿ ಗಟ್ಟಿ ಮಾಡ್ಕಂಡ ಕೂತಿದಿ.

ಅಂತು ಇಂತು ಒಂದ್ ಬಸ್ ಬಂತ್. ಅದನ್ನ ಕಂಡ್ರೆ ಹತ್ತು ಬಾಪ್ ಇಲ್ಲ. ಆರೆ ಮಳಿ ಎನ್ ಜಾಸ್ತಿ ಆದಂಗ್ ಇತ್ತಪ. ಇನ್ನ್ ಇಲ್ಲೆ ಕೂಕಂಡ್ರೆ ಇಲ್ಲೆ ಸ್ನಾನ ಆತ್ ಅಂದಳಿ ಹೆಂಗೋ ಅದ್ರೋಳಗೆ ತೂರ್ಕಂಡೆ. ಮನಿ ಬಂದ ಬೀಳುವತಿಗೆ ಅರ್ಧ ಜೀವ ಇಲ್ಲ. ಮೈ ಎಲ್ಲ ಒರ್ಸ್ಕಂಡ್, ಒಂದ್ ಕಟ್ಟಂಗೆ ಚಾ ಕುಡ್ದ್ರ್ ಮೇಲೆ ಸ್ವಲ್ಪ ಅಯ್ಯಬ್ಬ ಅಮಂಗ್ ಆಯಿತ್. ನಾಳೆಯಿಂದ ಕಾರ್ ವಾಪಸ್ ಬಪ್ಪಲ್ಲೊರಿಗೆ ಮಳಿ ಬಾರ್ಲಿ, ಬರ್ದೆ ಇರ್ಲಿ, ಕೊಡಿ ಒಂದ್ ನೆನಪ್ ಮಾಡಿ ತಕ ಹೊಯಿಕ್.

ಇದನ್ನು ಸಂಪದದಲ್ಲಿ ಪ್ರಕಟಿಸಿದ್ದೇನೆ, ನಿಮ್ಮ ಪ್ರೋತ್ಸಾಹಕ್ಕೆ ಧನ್ಯವಾದಗಳು.

Linux and Me

There was a time in college where in these so called Linux-freaks use to argue with me about Linux saying Linux is so good, stable and powerful than windows, but I was a big fan of Microsoft, and for me Microsoft is like GOD, which gives you such a pretty OS with so minimal bugs! Whenever we write a small program we can see 100s of bugs and Imagine an OS, used by billions of people with millions of applications and so many just trying to hack and write viruses for them, after all that if windows is running with out problem 99% of the time then that’s really great.

The one who use to argue with me used to blame windows for crashing and all that viruses they are troubled with, but my explanation is just as simple as explained above and I stick to windows for so user friendly and so fast, compared to the time it takes to do the same thing on windows. It’s just not imagination, but have personally used Linux on my machine, The Red Hat one, pretty old version of Linux, and just cant do anything better with that which I can do in windows.

Time has passed and I am here in Samsung working on Real time operating systems, and the system software and architecture development. I never imagined this Linux will become so powerful and one day I have to make it work on our Samsung mobile just because people want Linux on their mobile too. I am studying the kernel internals of it and how it manages not to crash and the facilities it provide over windows. Now I am convinced that Linux is much prettier than it was as I imagined and started falling in love with it. And one day when you see Samsung phones with Linux running on it, don’t forget to remember me for my contribution. May be at some point your phone would be running the code I have written!

By the way this Ubuntu flavor of Linux for laptops looks cool, and planning to get it on my laptop and I am using it for my official work, running virtually on Windows Xp, because still most of the work is comfortable on windows even the page I am typing now!

Yakshagana

Yakshagana is a classical folk art of South Canara (Undivided south Canara, including Mangalore and Udupi districts of Karnataka). It can also be seen in North Canara as well as Kasaragod of Kerala, and Shimoga districts to some extent. Traditionally, Yakshaganas would go on all night. It is sometimes simply called as Aataā in both Kannada and Tulu (meaning play). I is also called Bayalata, as name suggests it’s stage is normally put up on the paddy fields and people watch sitting on the fields, and may be some benches on backside.

I can’t forget those days during my childhood where we use to go to Aata whenever it happens near our place and spent the whole night there, sometimes watching and sometimes simply sleeping on the ground in the crowd. We use to take along blankets to protect from cold. Normally they use to be the ones played by the troupes of temples funded by devotees. I use to enjoy the comedies in the stories made by the comedy artist. His look itself used to be very hilarious. The demon characters were really frightening, so called Rakshasa or “Bannada Vesha”. They are really colourful and it takes hours for them to do the makeup. We sometimes go to the Chouki (the place where the artists get dressed) and spend some time watching how they get dressed, many senior artists used to dress and makeup themselves.

Yakshagana consists of a Himmela (background musicians) and a Mummela (dance group). Himmela consisting of Bhagawata, who is also the facilitator (singer), Maddale, Hormonium for drone and Chande (loud drums). The music is based on the Karnataka Sangeetha but with a heavy folk influence. A Yakshagana performance begins at the twilight hours with the beating of several fixed compositions on drums called Abbara or Peetike, for up to an hour before the 'actors' get on the stage. The actors wear resplendent costumes, head-dresses, and painted faces which they paint themselves. A performance usually depicts a story from the Hindu epics and puranas. It consists of a narrator(Baghawatha) who either narrates the story by singing or sings precomposed dialogs of a character, backed by musicians playing on traditional musical instruments as the actors dance to the music, with actions that portray the story as it is being narrated. All the components of Yakshagana, music, dance and dialog are improvised. Depending on the ability and scholarship of the actors variation in dance and amount of dialog may change. It is not uncommon for actors to get into philosophical debates or arguments without going out of the framework of the character being enacted.

I myself is very much interested in Yakshagana, I always try to watch it whenever I am in my native and get a chance to. But spending whole night becomes difficult these days, and to suit our timing concerns these days Tent Yakshagana’s are being organised (A commercial form, where in you pay and watch in a theatre). I myself played a small role once in my native in a “Sanghada Mela” (A group of people who have practised Yakshagana as a habit). I have also played a role in our company’s annual day on surprise event. It’s a wonderful experience to be a part of Yakshagana, make up is and the head wear is the most difficult thing to bear for long time. The head wear called as Keerita is tied tight and sometimes you feel fatigue.

There are two variants of Yakshagana. In this fierce competition, the two styles differentiate from one another through the instruments played, but also through the costumes displayed.

The Badagutittū style, as its name indicates, is prevalent in Northern parts of South Canara, that is, from Padubidri to Byndoor and North Canara District. It makes use of a typical Karnataka chande.[8] The Badagutittu style was popularized by Shivram Karanth's Yakshagana Mandira at Saligrama village in Dakshina Kannada as a shorter, more modern form of Yakshagana. Keremane Shivarama Heggade, the founder of the Yakshagana troupe, Idagunji Mahaganapathi Yakshagana Mandali is an exponent of this style of Yakshagana.

The second variation, the Tenkutittu style, is prevalent in Southern areas of South Canara, that is, from Mulki to Kasargod. It is accompanied by a Kerala maddalam. Another aspect that sets it closer to Kathakali than its northern counterpart is the less exuberant costumes, notable the demon ones. One notable practitioner of Tenkutittu style Yakshagana was the late Sheni Gopalakrishna Bhat.

There are other forms of Yakshagana such as “Koodata”, “Jodata” and “Attanige Aata”. Koodata is where two troupes performs together in one stage, one troupe artists will take roles of “Pandavas” and other of “Kauravas” and thus there will be a healthy competition among the artists to give value to the roles they perform and if you get a chance to watch such a Koodata you should never miss it. A Jodata is where two troupes will perform separately on two stages side by side. Attanige Aata is one where there will be one stage above the other, like a two stories building, where they depict the earth on ground floor and Heaven on the top floor, but these days these type of Attanige Aata have reduced and almost extinct.

Dr. K.S. Karanth is the foremost authority on Yakshagana and has been working on all its aspects, namely--dance, music, and literature, since 1930. He had given great contribution to Yakshagana and his contribution should be remembered and respected. He has led the way to a deep and systematic study of this art form. He has spent decades travelling to remote villages with in Karnataka to inspect and study every Yakshagana manuscript, the earliest going back to A.D. 1651. He has put together his findings in the shape of two standard books Yakshagana-Bayalata (1958) in Kannada, and Yakshagana in Kannada and English (1975).

Picture Credits : Wikipedia

Kambala – Muddy Water Buffalo Race

Kambala or the buffalo race is a form of folk art for the entertainment of people after the first crop after the rainy season and before the start of second crop, organised by few families in the District. It’s also believed that these fields used in Kambala are not cultivated by people as they are very large in size, in olden days the Bhootas or spirits use to do the work overnight. The roots of this type of buffalo race can be traced back to more than a thousand years. At that time Kambala was the event when farmers paid tribute to their gods for protecting their crops. According to people associated with the sport, it flourished under the royal patronage of kings and famous households in Mangalore. In the olden days, the buffaloes were brought in procession to the accompaniment of drum dance.

In school days going to Kambala was of great interest for us, as there use to be a festive environment everywhere surrounding the Kambala field or track. People use to come from far off places and stay overnight near the field and the racing starts early next morning. People from far off places who come here a day or two early and help in preparing land for this sport. It’s called in Kannada or Tulu as “Hadana”. The winner of the race will normally be given the cash award. It was considered a pride to the owner of the winning pair.

There will be a pair of bullocks in the family just for this purpose; they are called “Mani Hori” or the family bullocks of the family, who organize the Kambala, and they will come for racing only at the end, interested people will wait till the end to see this, it will be an eye feasting scene. A popular quote on the race explains this scene,

"Hold your breath. Silence rules the air as thousands watch in stunned anticipation! The man is crouching behind the buffaloes on a slide of wood attached to the animals. Not a muscle moves. Only the wind is playing on his lock of hair. For him the race is all that matters. Suddenly the scene explodes, the man springs up, his hand cocked, his whip held high and the huge animals lunge forward, bellowing, their hooves churning the muddy waters and sending their wet spray in the hot air, their eyes wide, wild and white - man and beast engaged in one spurt of activity and one aim - victory."

There are interesting stories associated with these Kambalas and their rituals. Near my place lot of Kambala happen every year and among them famous ones being Vandaru Kambala, Billady Kambala, and Yedthady Kambala, Vandaru being the biggest in Udupi district. In our school days parents use to say that, “if children go there they will put you guys in “Nigalan Bavi” (A sacred well of Vandaru where the crocodile lives, it’s called Nigala). It seems they had the tradition of giving a human to this crocodile every year on the day of Kambala, and the Kambala starts after giving pooja to this god. As far as I know, as I heard from my grandparents and old people around my place that the workers of the family who organise this Kambala use to come in night to the house of their “Okkalu” (In south canara, some families had a few tribal families as their permanent workers in olden days, and they are called as Okkalu), and tie a thread made of banana plant on their legs when they are asleep, and he will be the culprit or “Bali” for that year. He cannot escape for being dumped in to the well next day. They were not that daring at that time to talk against these rich families who arrange Kambala. But once what happened is the guy to whom the thread was tied, was a little intelligent and he removed that and tied to another guy who came to their house as guest. Next day they dumped the guest in to the well. Since guest is considered as equal to god it was a big mistake, and hence forth this ritual was dropped. But still parents warn us not to go there, saying you will be dropped in the well.

There are more than 45 Kambalas held annually in the district between November to February.

Bhoota Kola – Spirit Worship

The coastal districts of Karnataka, Udupi and Dakshina Kannada, collectively known as Tulu Nadu have always been unique from the rest of Karnataka. Rituals like Bhoota Kola, Nagaradhane (snake worship) have given it an identity, distinct from other parts of Karnataka. Bhoota Kola or Holy Spirit Worship is an ancient form of worship prevalent among the Tulu-speaking community. Bhoota worship has a known history of about eight centuries, but it can be traced back to ancient tribal era. It is not only a living tradition, but is getting revised with much vigour and growing interest. It is a complex thing with beliefs, rituals, and rules of worship, apparatus, literature, music and theatrical elements. In essence, the spirits or the bhootas worshipped are considered to be the guardians of the villages, and are believed to be having powers of helping, showing grace, trouble making etc. The nature, the powers, likes and dislikes of Bhootas vary. Bhootas have been playing an important role in the administration and in the folk judicial system.

The spirit in question may be one of a number of different categories: bhuta, daiva, kule, preta, sirikulu, cikku, and others. Some of the prominent names among them are - Guliga, Panjurli, Koti-Chennaya (Baidyerlu), Raktheswari, Ullalthi, Kodamanithaya, Malaraya, koddhabbu, Orthe, Chikku, Haiguli, Vishnumoorthi, Annappa, Nayer, Jumadi, Koragathaniya etc. They include spirits of cultural heroes, animal spirits, ghosts, and anthropomorphic divinities of various sorts. Many spirits and categories of spirits have only vague identities, but the character of some is elaborately described in long oral narratives or paād-danāas(The songs sung in the Kola performances) which describe their birth, "adventures", and death. Many other spirits are incorporated into these cults under specific conditions. its exploits, miracles, greatness etc. The paddanas are sung only at certain stages of a Kola performance. They include many historical and cultural details, along with the story of a Bhoota.

Kola means ‘wearing a costume’ or ‘playing a role’. Kola is the chief form of Bhoota worship. Usually it is an annual ceremony. It takes place on fixed dates as per the solar year. It may be at the family level, village level or at the level of a group of villages. The Holy Spirit is also known as 'Daiva'. Mostly this is relevant to few families which have been following this for hundreds of years. Such families might have a small temple like structure built which is known as 'Bhootada Gudi'. These families rely on the holy spirit to shower them with good fortune and protect them from the evil. Parba (Parva), Kola, Nema, Bali, Kendaseve are the varieties of Bhuta worship.

On the day of the Kola, we offer fruits and coconut to the Bhoota in his Gudi and followed by a “Annadana” at home depending on the ability of the family or the person. In the evening when the sun sets, family members and the neighbours gather near the “Bhootada Gudi”. Most of the people gathering come either for entertainment or to get solutions for the ever pending problems. The Bhootada Gudi is well decorated with lights and flowers to look like a stage for the Bhoota performance. The musicians, accompanied with drums and wind instruments are seated on another side are ready to provide beats of varying tempo for different stages in the processions. The pandal is well decorated with various figures made from palm leaf, mango leaf and areca flower.

The person who invokes the bhoota or the spirit dresses up in colourful costumes, complete with a sword, bells and other such accessories. He is slowly prepared for self-hypnotism and for imposing the spirit on him. He is ceremoniously given oil for a ritual bath to make his body physically purified and mentally calm. Pastes from plant extract are used as a makeup for the impersonator. Different colours are used to symbolically display the characteristic features of the spirit. His wife, sister or mother sings the ballad or paād-danāas which narrates the birth of that spirit, its descent into the land, heroic deeds, its travels and sphere of influence etc.

He now assumes the role of the spirit himself and starts calling the authorities to inquire the reason for his invocation. He addresses everyone according to his rank. The organizers propitiate the spirit and beg protection, prosperity, good crop and wealth for the entire community. If pleased, the spirit through the oracle conveys the pleasure and promises protection and prosperity. If the spirit is not satisfied, then he prescribes certain punitive rituals for acts of insult or impurity to the holy place or certain acts of commissions and omissions on part of the devotees. While settling the quarrels or disputes the impersonator assumes the role of a tribunal and conducts him in a dignified manner as upholder of truth and righteousness. The decision of the impersonator is final without provision for appeal.

It is also believed that each place will have some Stala Bhootas and some are immigrants, which migrated with people when they travelled from one place to another. Some are the spirits of the ancestors who died years back, sometimes these existence of Bhootas will come to know during Kola, that those spirits wanted to see the family once in a while, so they need be to given some offering on some special occasions. There is a occasion called “Jakni” where in we give the offering to those ancestors who visit family once in a while. Bhuta worship is an intimate part of the life of the people. It is a forum for social contact, community life, celebration of festival and entertainment - all in one

Photo Credits : (2 pics)

Tulu Language - Script and History

Tulu language is one of the five Dravidian languages of South India (others being Tamil, Telugu, Kannada and Malayalam). Tulu is spoken by about more than 2 million people as their mother tongue in a small niche, mainly in coastal Karnataka and Northern Karala (Kasaragod district), called as Tulunadu. Tulu, derived from proto-Dravidian, and is one the oldest Dravidian languages, you will be convinced with this statement when you read the facts revealed during the study and research.

Tulu Script

A script called Tulu is used in Tulunadu for centuries. All Tulu classics discovered recently are in Tulu script, and some in other scripts. This Tulu script was being used by Brahmins. Till recently they were using it for writing Mantras, for accounts etc. Since hundreds of years, Tulu Brahmins were going to Kerala Temples for Agama Sastra rituals. They took the Tulu writing with them to Kerala, thus they carried the Tulu script to Kerala. Malayalam had not developed a script of its own by that time. The upper castes and classes of Keralites started close contacts with the Tulu Brahmins and hence they adopted the Tulu script, and later adopted it to what is now called the Malayalam script. (Reference: 'Tulu -Nadu-Nudi' by P.V. Puninchathaya).

As researches indicate, Tulu as a language branched off from Dravidian language, at least a thousand years earlier to Malayalam. So it is unlikely that a language much younger gave a script to an older language. Actually, probably Malayalam as an independent language was yet to be evolved, when Tulu had its own classical literature. So Tulu could not borrow a Malayalm script, simply because it did not exist. What existed was a Tulu Script, later taken by Malayalam. Another important proof of its antiquity is that the pundits (‘Mattadipatis') use only Tulu for their signature since the beginning of Matta tradition, despite the high status of Sanskrit in Mutts. Neither Sanskrit nor Kannada, but Tulu script is the official script of the Mattas in Tulunadu. Hence, it is a script evolved in Tulu area that was later adopted for Malayalam. Hence it is Tulu script, and not Malayalam script nor Tulu-Malayalam script. To call Tulu script as Malayalam is both wrong and unfortunate.

In the first half of 19th century the German missionaries undertook a renaissance of the language. Unfortunately, they published Tulu literature and materials related to Christianity in the Kannada script as they had established printing presses in that language in Mangalore. In addition the German missionaries also produced Tulu lexicon and Tulu-English dictionary. They are also credited with transcription of Tulu folklore, Tulu proverbs and works on spirit worship in Tulu Nadu. Printing material in the Kannada script led to further disuse of the original Tulu script. By late 19th century Tulu script became remote and was endangered. Today there are no books or literature in the Tulu script and there are only a handful of Tuluvas who can read the script.

Tulu Literatures

The earliest piece of literature, Tulu Mahabharata is from the 15th century written in Tulu script. Another manuscript that was discovered Tulu Devimahatme, a prose work like the Mahabharata, is also from the 15th century. Two epic poems written in 17th century namely Sri Bhagavata and Kaveri has also been found. Madhvacharya’s eight Muttas established in Udupi in the 13th century were centres of Tulu literature during his lifetime and thereafter. However, very little of this has survived. So it is not inconceivable (as it is claimed) that Madhvacharya himself did all his writings in the Tulu script.

The Tulu Dialects

All the classic literatures discovered thus far are written only in one of the four dialects of the language,

• The Brahmin dialect, the dialect spoken by Brahmins in the southern part of Tulu Nadu and is used in these manuscripts. The priests belonged to a sect of Tuluva Brahmins called the Shivalli Brahmins. Tulu script was used by these Brahmins to write mantras. The Brahmin dialect also has imported many Sanskrit words into its dialect and lexicon.
• The Common dialect, which is spoken by the non-Brahmin class, was not used in writings of Tulu. However, the Common dialect is used in many of the folk songs, proverbs and riddles. The folk songs called the Paaddanas are treasures reflective of the rich culture of Tulu Nadu. They also allow a glimpse into the society of Tuluva people. These were never written down and have been passed on through generations as oral traditional songs.
• Jain dialect, Spoken by the Jains in the northern part of Tulu Nadu.
• Tribal dialect, Spoken by tribal people; closely resembles the Common dialect

Research and Study Reveals the following facts

Research in Tulu language and script has been sorely lacking. In 1856 Robert Caldwell undertook a systematic study of the Tulu language with his monumental work, “A Comparative Grammar of Dravidian or South Indian Family of Languages.” Caldwell called Tulu one of the most developed Dravidian languages. In 1872 J. Bigel wrote, “Grammar of The Tulu Language.” Then in the 20th century S. U. Panniyadi and L.V. Ramaswamy Iyer published more books about its grammar. These authors contended that the language was well developed, and was one of the earliest off-shoots of proto-South Dravidian language, with many dialectal variations. Tamil, Malayalam and Kannada also were derived from it, whereas Telugu was derived from proto-Central Dravidian. There is renewed interest in the language as evidenced by the fact that many universities both in India and abroad are promoting more research of Tulu language. Rashtrakavi Govinda Pai Research Center in Udupi has encouraged such research. Dr. D.N. Shankar Bhat and Dr. Padmanabha Kekunnaya have been doing commendable, ongoing research in the field.

Tulu is now disappearing in Tulu country and has established itself in Kerala. This, like many, is a paradox. So Tulu script has become a daughter of the in laws, and in-law of the motherland. The use of Kannada for Tulu is the reason for this peculiar situation. The modern Tulu writings are using Kannada script. So it is natural that Tulu script is not likely to be revived for writing Tulu.

After all people from somewhere else came here and did study of Tulu Language and culture, and got doctorate for their findings and studies and some of our people also have contributed a lot. So being from Tulunadu one should at least know about their language, its history and who and all have contributed to its study and growth. This is my little effort in that direction. Many books and web resources have been referred for writing this article, hope this gives you a detailed picture of Tulu language, if so my effort is worth.

References:
• The Tulu Script
• Tulu Language: Its Script and Dialects
• Recognition for Tulu