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A step ahead

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As the year comes to an end, travel-enthusiastic Bengalureans are looking forward to leaving the hustle of the city far behind. Many of them have planned their year-end vacations much in advance, both to make use of discounted airfares as well as to beat the rush.

Hrish Thota and his family are looking forward to their trip to Bali. The travel blogger says, "Bali offers free visa on arrival for Indians whose port of entry and exit are the same. Its also easily accessible via Kuala Lumpur or Bangkok from Bengaluru. And being a tropic paradise, especially during the winter months, we dont want to miss the opportunity."

Thanks to the low-cost airlines, Hrish and his family are travelling on a budget less than Rs 15,000 for a round trip, reducing the overall cost of the vacation. "I look forward to taking part in watersport activities like scuba diving and snorkelling. Bali is also known for its natural beauty and culture," he adds.

Many corporates in the city have taken their winter vacations as an opportunity to unwind . With many companies offering their employees flexibility in terms of job timings, travelling has become a viable hobby for many.

Kuthala Ramnath Subramanian, a sales executive, is eagerly waiting for his backpacking trip to Europe. He says, "I did all the planning and booking within a day. Im going for a 15-day trip around Europe towards the end of the year. Its been on my bucket list for a while now and Im excited that its finally happening."

Ram usually plans a year-end trip as his birthday is around that time. "Its nicer to be away from the hustle and bustle of the city during Christmas and New Year. The places I visit are beautiful and colourful, making it the perfect way to spend my time off from work," he adds.

Another way of taking advantage of the low-cost airfare is to plan trips whenever the airlines announce discounted prices, suggests Shrinidhi Hande. For the past five years, he has travelled abroad at least five times. How does he do it?

"I have a full-time job as an associate manager but I plan something during a long weekend or when I take a week off. I book my tickets as and when the airlines have offers and do the rest of the planning accordingly," he explains. Shrinidhi also agrees that there is a risk attached as these low-cost tickets come with several terms and conditions but he is willing to chance it.

He adds, "In 2017, Ive travelled to the Philippines for Rs 15,000, Japan for Rs 20,000, Phuket for Rs 10,000 and Vietnam for Rs 10,000. Im getting ready to head to Bali next."

Shrinidhi says that everyone today wants everything to be in place before they plan a trip - the timing, work commitments and so on. However, he suggests that going on a trip is best accomplished without thinking too much about it.

So, where are you planning to head to?


Going back to school

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The school I studied in gave me much more than education. It also gave me my wife M S Prabhavathi, a simple lady. She also studied in the same school as mine which is Acharya Patashala, N R Colony, Basavanagudi.

I studied in the boys middle school and my wife studied in the girls middle school. She was a few years junior to me.

This photograph was taken in 1959 in front of our school. There were approximately 50 students in our class. In each class, there were only two sections, A and B. I was in A section.

Our class teacher was B Venkata Rao. We used to call him B V V. He was teaching Arithmetic for us.

Our headmaster was H S Nanjappa. Uniform was not compulsory at that time, but white Gandhi cap was compulsory. Without it, we werent allowed to attend the classes. Few beatings on the palm were common is we made any mistake. But the love and affection of our teachers were unquestionable.

Our teachers used to collect four annas (25 paise) and little rice from each student for the same in order to give pulioyogare and mosaranna as prasadam.

At that time education system was different. The fee was two rupai. There was also no baby nursery or LKG or UKG system. We had educational system of primary school, middle school and high school.

Film actor Rajinikanth was a contemporary in our school. Kannada film actor Upendra is also from APS institution.

Cricket was more popular than any other sports during our middle school days. Inter-school cricket matches were very frequent and popular during this period. My classmate Sanjeeva was a top batsman during our time. Erstwhile Karnataka Ranji Trophy players opening batsmen Ragu and Siddarama were from our school.

Later I studied B A in Jayanagar National College and LLB from B M S Law College and entered the legal profession in 1977.

Even now I am in touch with some of my classmates and we do meet sometimes.

Digital transactions made a giant leap in a year

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The country has made a rapid progress in terms of going digital as far as payments is concerned over the last one year post scrapping of old Rs 500 and Rs 1,000 notes in November last year.

The recent data from the National Payments Corporation of India (NPCI) shows that the mobile banking transactions have grown 19.3% to 863 lakh by end of September 2017 from 723 lakh transactions in November 2016.

In the case of the Unified Payment Interface (UPI) transactions, it has shown a phenomenal jump of 107 times to 308 lakh transactions from 2.87 lakh transactions in November 2016.

According to NPCI data, electronic payments systems including RTGS, NEFT, IMPS, CTS, USSD, NACH, UPI, PPI, debit and credit card at POS, have increased from 67 crore transactions in volume and Rs 94 lakh crore in value terms in November 2016 to 87 crore in volume and Rs 124 lakh crore in value in September 2017.

The giant leap in digital transactions have benefited many e-wallet companies like Paytm, and also FinTech companies.

Wallet major Mobikwik has doubled its subscriber base to 65 million users post demonetisation.

Upasana Taku, co-founder, Mobikwik says, over the past one year, the industry has grown over 55% and has added 150 million users in the e-wallet platforms, along with 10 million merchants.

"At present, we are witnessing close to 30 lakh transactions every day," she said.

Recently, the company has partnered with Bajaj Finserv Limited to develop an EMI wallet through which customers can avail credits and loans. Bajaj Finserv-Mobikwik wallet is also the first credit wallet, she adds.

Mobikwiks frequency for active users grew by 100% and gross merchandise value (GMV) grew to $2 billion and slated to go up to $10 billion.

"Over 25% transactions come from semi-urban and rural users and 75% of our users are millennials," Taku says, adding, "By 2020, we envision that majority Indians will make their mobile as bank and do the entire suite of financial transactions like investments, loans/EMI, insurance, cross-border remittances in addition to making basic payments."

The countrys fifth largest private sector bank YES Bank recently launched a superior payment wallet services BHIM YES PAY by fully integrating the application with all the IndiaStack APIs and NPCI Products.

The bank has over 5.5 lakh registered users on BHIM YES PAY and more than 2 lakh users have already availed either UPI or Virtual Card Services to carry out P2P payments and online shopping. Since launch, the bank has witnessed over 2 million transactions valuing close to Rs 70 crore. Ritesh Pai, Chief Digital Officer, YES Bank says, "We will soon launch FastTag, which will facilitate easy toll payments and look forward to widespread adoption of the digital payment products."

During demonetisation period, digital lending also witnessed a significant growth. Manav Jeet, MD and CEO of FinTech company Rubique, says, "At Rubique, we have seen approximately 30% growth in credit card applications during the last year."

The growth rate of the digital payments industry which was earlier in the range of 20-50% has accelerated post demonetisation to 40-70%, informs Payments Council of India Chairman Navin Surya.

"However, demonetisation is just one of the milestones towards our countrys cashless journey and not the final destination. It conveyed a strong psychological message to our countrymen that cash is not welcome and digitisation of cash is inevitable. This also resulted in doubling of the number of PoS machines in just one year which was one of the weakest links prior to demonetisation," he says.

The insurance industry too witnessed a sharp rise in online payment. "Soon after demonetisation, the industry witnessed a sharp spike in cash payment of premiums but over time we have seen even households from Tier-II cities that preferred cash getting comfortable with NEFT and ECS mandate. This huge behaviour change has significantly improved contactibility and will reduce unclaimed funds," says Karni Singh Arha, Chief Financial Officer of Aviva Life Insurance.

Dewang Neralla, MD & CEO of Atom Technologies said demonetisation was a big boon for Indias cashless and digital agenda.

Atom saw an over 3X growth in the last one year. "Before demonetisation, we were processing monthly transactions of Rs 3,000 crore which now stands at Rs 6,800 crore across all our verticals. The major contributor to this growth was our online payments business. Payment processing volumes have grown three times to what they were since demonetisation," he said.

According to him, the two major technological advancements which will drive the industry going ahead are Artificial Intelligence and Machine Learning. AI and ML will transform the overall generation of payment technologies right from analytics to on demand payment processing aside to changing the shopping behaviour. It will help study the consumer patterns to rollout better financial products for them, he adds.

Packaging ideas to take them home

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Going grocery-shopping with a big shopping list and you find spices, mixes, teas, coffees, oils, beverages, ingredients et al wrapped, packed and sealed in safe, elaborate containers, bottlers, boxes and packets, waiting to be consumed. Behind the moment of being able to use the grocery shopping list, is the thought of how did all those products reach the store in the first place, and then, how were they able to be taken home?

The answer sits firmly packaged in one of the most important, yet working-in-the-background sort of industries â€" Packaging. And Manjusjree Technopack is a packaging household name today, with innovations in the plastic packaging space, which is the driving force of how food, beverage, and other home FMCG companies seamlessly position, sell and supply their products today.

Way back in 1983, then Assam-based Manjushree Technopack set out producing flexible plastic packaging for the tea industry in Eastern India, supplying pouches, bags and other products. In 1994, it purchased a unit in Bengaluru.

"A thought occurred to me: Why not, we expand out of Assam?" reminisces Vimal Kedia, the Founder and Managing Director of Manjushree Technopack.

"We had a plan to work in the plastic PET bottle space. We went around government departments, and met stakeholders to understand the market. We set up this facility totally new. We thought this is a good area for PET bottles, because all the Southern states are industrialised, with high literacy rate and per capita income, resulting in greater spending power. Bengaluru is where logistics works out very well, because of its proximity to Tamil Nadu, Andhra Pradesh, Kerala and Maharashtra. If you cover all of South India, 60% of consumption is covered," he tells DH.

Manjushrees first facility in Bengaluru came up at Bommanahalli, which also came to house a unique packaging heritage museum, exhibiting over 80 years of packaging.

The PET at home

PET or Polyethylene Terephthalate is one the greatest innovations in the packaging space, let alone plastic packaging. Over 20 years ago, PET bottles were not in vogue. When this innovation arrived in India, women were easily attracted to it because they could reuse the wide-mouthed PET jars, for keeping masalas, groceries, sugar, tea powder, salt, spices, and so on. Earlier, glass jars and tin cans were used. PET bottles are easy to handle, no breakage if dropped, and come in handy with the purchase of most items for the home and kitchen.

"Initially, we would send PET consignments of tea packaging by train all the way to Eastern India, because the demand was huge, with limited players," Kedia says.

Explaining the science behind PET packaging, with tea as an example, he says: "In tea, only 100 gm, 250 gm, 500 gm, and 1 kg are popular sizes in India. The 250 gm tea packs constitute 60% of sales, either in pouch or PET containers, 25% are from 500 gm, while the balance is between 100 gm and 1 kg. The science here involves knowing popular sizes and what should be the volume by density. Tea will require a particular size of capacity to pack. In the same way, oil requires different sizing. A 250 gm tea pack requires a 750 ml jar, but to pack 250 ml oil or water, one requires a 250 ml bottle."

A second factory came up in 2003, which merged its earlier factory within itself, setting up unified operations. As business expanded, Manjushree acquired land in the Bidadi Industrial Area and opened a large factory to manufacture preforms for cola and bottling industries, owing to high tonnage â€" Every day, that facility produces about 250 tonnes, while Bommanahalli makes only 50 tonnes. Production level has risen to an annual output of four billion units of PET preforms, bottles and containers, which corresponds to 15% share in the overall Indian PET market.

"We moved up with all the industries, and our uniqueness was in service, quality and design. We invested in technologies and innovations, understanding customers ideas. We imported bottle-blowing machines from Japan, preform machines from Canada, film machines from Germany, and multi-layer technologies from Italy, so as to never compromise on quality. The main crux here is reliability and integrity. If I get an order, which I dont deliver on time, my customers factory will shut down. And if his product is out of the market for even one week, someone else will take over," Kedia says.

Industry mantra

Packaging has two formats: Flexible (wrappers), which is economical and cheap; and Rigid, which can be held in hand and is reclosable. General merchandise in India is packed in cheaper flexible packs, against expensive rigid packaging. Premium products like shampoos, cosmetics, and colas, are packed in rigid bottles, which are convenient to use, carry, refrigerate, and reuse.

Today, Manjushree is one of the largest manufacturers of anything in rigid packaging, supplying to a mega host of customers and industries. The company caters to 12 sectors including food and beverage, edible oil, alcobev, dairy, personal care, and home care, among others.

Last year, Manjushree acquired rival Varahi, emerging as a pan-India company â€" with seven operational plants in Karnataka, Himachal Pradesh, Uttar Pradesh, Uttarakhand and Assam, with a total annual manufacturing capacity rising to 1,25,000 MT. Today, the companys clients, who number around 200, include Patanjali, Dabur, SC Johnson, Marico, Coca-Cola, PepsiCo, Reckitt-Benckiser, Mondelez, and many others. It also exports to 10 countries.

"Totally, we have over 1,000 designs from 5-ml containers to 20-litre potable water bottles. We can manufacture any size for any industry. We are capable of making bottles for any product, be it acidic, processed food, or dry product, as we even have moisture and oxygen barriers. Besides PET, we work with Low-density polyethylene (LDP), High-density polyethylene (HDP), Polypropylene, LED bulbs made of Polycarbonate, and Polystyrene," Kedia says.

Plastic peril

Indias plastic packaging industry, which is largely unorganised, is expected to reach $73 billion by 2020, at 18% CAGR, according to a report by FICCI and Tata Strategic Management Group, which also states that the size of the industry in India today is at $32 billion, constituting only 4% of the global packaging industry.

The largest consumer of plastic products is the beverage space at 40% in India (global is 60%), led by colas, followed by liquor (10%), pharmaceuticals (8%), and then other health supplements, and miscellaneous products.

With plastic comes the question of its inherent threat to the biosphere and its unfortunate ability to degenerate the environment, if not treated or disposed of properly.

"The biggest challenge is plastic mismanagement. The government has come out with the Plastic Waste Management Rules, which specifies producers responsibilities. Even citizens must be disciplined enough to dispose of plastic in a separate bin, lest we all continue to suffer," Kedia, who is also the President of PET Association for Clean Environment, says, adding that awareness and stringent punishment is needed.

Manjushree is carrying out R&D on biodegradable plastics, which isnt in much use, owing to its high cost. "It has to be produced from plants â€" sugarcane to molasses, from which Monoethylene glycol has to be sourced. Biodegradable plastic doesnt fulfill requirements of all industries," he says.

A way out would be to reduce the weight of a plastic bottle or container, and also using recycled plastic. "We look at new designs through our dedicated design studio, on how to reduce weight and plastic use. By this, the customer reduces his packaging costs, and it is our objective to reduce plastic usage every year," he adds.

Till date, Manjushree Technopack has invested over Rs 500 crore. Last year, it logged a turnover of Rs 650 crore, and will close this year at Rs 850 crore, a growth of 30%. "We eye Rs 1,000 crore in turnover by 2019," concludes Kedia.

In memory of great violinist

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Chowdiah was a renowned violinist and inventor of 7-stringed violin and also a great teacher. In his memory the Academy of Music has built a historical auditorium in the shape of a violin. In memory of K K Murthy, the Academy conducts a music festival every year and an award has also been instituted in the name of Chowdiah. In this years music festival (Nov 1 to 5) the Chowdiah Award was conferred on Pandit Praveen Godkhindi, popular Hindustani flautist.

Dr Jayanthi Kumaresh, popular Veena player, gave a recital on Thursday. The "Parvati Kumaram Bhavaye Satatam" of Muthuswami Dikshitar in the raga Natakuranji, gave her a sunny start. Then she sprang a surprise by chosing a infrequent raga Rasali. The sweet raga is known as Eka Kriti raga, followed by Tyagarajas "Aparadhamula Norva". Then came another raga tuneful and fond of many connoisseurs - Amritavarshini and the familiar kruthi "Anandamritakarshini", which was pleasing throughout.

The finale came in the form of a pallavi in the raga Kharaharapriya. Though it is a commonly heard raga on the concert stage, Kharaharapriya acquired a lively colour, new shape and flavour in the hands of Jayanthi. It was further buttressed through the well-knit thana. The pallavi was followed by a spirited "Thani" by the percussionists - Anantha R Krishnan on mridanga, Trichy Krishnaswamy on ghata and Pramath Kiran on both tabala and morching. Jayanthi concluded her impactful concert with a thillana in Mand raga and a mangala of Syama Sastri.


Bright vocalist

The 914th programme of Bangalore Lalithakala Parishat was a vocal recital by K V Krishnaprasad. He is a disciple of R K Padmanabha of Sharada Kala Kendra and is decidedly resourceful filling a wide variety of roles with ease and conviction. He is establishing not only as a performer, but also as a teacher and organiser. In the current concert he was well supported by Adithi on violin and Chethan Murthy on mridanga.

In the beginning, Krishnaprasad chanted verses on Saraswathi and Vadiraja, customarily. The Sri Raga varna and "Mahaganapathim Bhajeham" gave a lilting setting. He presented few devotionals such as "Srimannarayana," "Aadadella Olithe Aayithu," "Thamburi Meetidava" and Ugabhogas like Kaava Daivavu Neene, which suited the occasion. "Marugelara" was rendered with nostalgic flavour. Kannada Gowla is a pleasing raga, a Shadava raga and both Tyagaraja and Dikshitar have composed in this raga.

Krishnaprasads rendering of Kannada Gowla was charming, sustained with a flurry of lovely phrases. He elaborated Pantuvarali neatly for the familiar keertane "Raghuvara" in which nerval (Manasuna Nikemarulu) and swaraprasthara - were complementary to the raga. He concluded his lively concert with a thillana and mangala. No doubt, K V Krishnaprasad has a bright future in the years to come.

Sparkling presentation

Naada Surabhi is catering to the cultural needs of the Koramangala and surrounding areas from last 24 years, by conducting music programmes. The 25th anniversary was held wih a with a six-day music festival, last week.

Sanjay Subramanian who gave a vocal recital on Wednesday, is one of most sought after musicians. "Inthachala," the Kambodhi varna gave steady start and "Karikalabhava Nutham" in Saveri was another fine selection, followed by "Sri Parvathi Parama" and "Kande Kande Swamiya." A popular kruthi of yester years "Entha Veduko" brought nostalgic memories in the old timers. Audience had another surprise - a pleasant surprise, in the elaboration of Chaya Ranjini. The raga glowed with lilting sangathies in the melodious and striking voice of Sanjay. The brisk thana further added to the impact.

S Varadarajan on violin, Neyveli Venkatesh on mridanga and Guru Prasanna on khanjari - rose to great heights in their supporting roles.

An ageless icon

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She is a pioneer in many ways. Vyjayanthimala was the first female actor to be known so much for her dances in Hindi films. Though there were some female actors from the South who did Hindi films even in her time, she was the biggest among them. She was the first South female actor to reach the numero uno position, and at her peak worked in the home productions of three big names - Dev Anand (Jewel Thief), Raj Kapoor (Sangam) and Dilip Kumar (Gunga Jumna) - as well as with Rajendra Kumar (Ganwaar) in her last film. For good measure, there was also Bengal titan Uttam Kumars Hindi debut and production Chhoti Si Mulaqat.

Across industries

Her career also spanned films in Tamil and Telugu and one Bengali film, Tapan Sinhas Hatey Bazarey. But her real achievements were a bevy and more of other Hindi hits like Bahar (her Hindi debut with mentor producer A V Meiyyappan and his banner AVM Productions, which was a Hindi remake of Vaazhkai), Ladki, Nagin (the biggest hit of 1954), Naya Daur, New Delhi, Kathputhli, Amar Deep, Aasha, Sadhana, Madhumati, Paigham, Aas Ka Panchhi, Nazrana, Zindagi, Suraj and Jewel Thief.

Two more films did not do well but became cult movies later, each with an unforgettable character - Bimal Roys Devdas (as Chandramukhi) and Lekh Tandons Amrapali. Whichever way we look at it, and long before the term was coined for popular use in Hindi cinema, Vyjayanthimala was a superstar. Thanks majorly to her dances, she even got the best songs, including cult classics like Man Dole Mera Tan Dole (Nagin), Honthon Mein Aisi Baat (Jewel Thief), Aaja Re Pardesi (Madhumati), Do Hanson Ka Joda (Gunga Jumna), Tumhein Yaad Karte Karte (Amrapali) and even Titli Udi. It is a fact that from her earliest film, her bharatanatyam-oriented dances became huge hits in North India for their sheer exotic novelty.

Catching up with the ageless diva took some effort, as the lady does not reside in Mumbai. Luckily, her son Suchindra Bali co-ordinated, and after a brief personal meeting at a Mumbai event just so that we would not be anonymous voices on phone, we managed a nice conversation after she was back home in Chennai.

We begin with the pre-eminent topic of her music, as she also won the Lata Mangeshkar Award for her contribution to the arts some months back. The singer has rendered an overwhelming majority of her songs.
"I hold Lataji in tremendous esteem,"
she says.

Recounting a memorable incident from her life, even before she made her Hindi debut, she says, "My first film was Vaazhkai in Tamil in 1949. After its release, my producer A V Meiyyappan brought Lataji to my home in Chennai as he felt that I sang fairly well. She heard and complimented me. The best part is that over the decades, she and I are still close."

She denies being among the heroines who, in their contracts, insisted that only Lataji would sing for them, but does not deny that Latas songs for her were timeless creations. But apart from the language, why did she herself not sing in films, as she was trained in music as well as dance?

"My era was more about semi-classical and folk songs, but I do not think I was a great singer," she says. "My director Tapan Sinha persuaded me to sing in his Bengali Hatey Bazarey though. I may have sung tillana (tarana) once or twice. I was keener on dance. But in our times, the co-star, director and great music were so important for a stars progress and standing. Also, they wanted to ensure a situation where I could have at least one solo dance in a film even when it was not on or about dance."

Amrapali remains a special film for her in this respect. "The legendary Gopikrishnaji was the dance director," says the actor. "However, I got to work with the best - P L Rajji, Sohanlalji and others in my career." Adding a contemporary touch, she notes, "I have worked with Saroj Khan too - she was assisting Sohanlalji."

How did her love for dance originate? "My maternal grandmother Yadugiri Devi had a great passion for classical dance and music. My inclinations are deeply rooted from there. She would stress on the importance of gestures - the mudras and the footwork. But she came from a conservative family," she says.

However, her grandmother and actor-mother Vasundhara Devi (who she called akka or elder sister as there was only a difference of 16 years between them!) had the vision to sense her potential. They encouraged her, did not care what society would say, and so the actor even danced at the age of five at the Vatican in front of the Pope!

Enchanting moves

Vyjayanthimala learnt dance under K P Kittappa Pillai and Mylapore Gowri Amma, and Carnatic music from Manakkal Sivaraja Iyer, while her icon for music was Pattammal. At 13, just after her arangetram, she was offered Vaazhkai, and life changed for her instantly. "I never went back to school after that," recalls the actor.

Her leading men included the best and biggest from the 40s, including her first Hindi co-star Karan Dewan, who was a big name then. But she herself feels that she teamed very well with Dilip Kumar. "We made a good team, and even Saira Banu (Dilip Kumars wife) says so." She rates their first film Devdas high among their collaborations. "Until that film, I was only considered a great dancer and an ordinary actor. My role as Chandramukhi decisively changed all that," she says.

However, Vyjayanthimala has great memories of fun times with Raj Kapoor, Dev Anand and Rajendra Kumar. The actor recalls her youngest co-star Dharmendra very fondly. "I came to know that he signed the film because he wanted to work with me. By that time, I was married to Dr Bali and was quitting films," she says. "He was such a shy and charming man who respected me hugely. I even helped him with a step or two for the song Tu Mera Main Teri, Duniya Jale To Jale, and he was a quick learner."

Shatrughan Sinha also had a negative cameo in the film, while Sanjeev Kumar was cast in a negative role in her Sunghursh. These actors were the youngest heroes she worked with. She missed a chance to work with Shashi Kapoor and Amitabh Bachchan by turning down their mothers role in Deewaar!

As directors, she rates Bimal Roy (Devdas, Madhumati) high apart from Raj Kapoor (Sangam), Vijay Anand (Jewel Thief), B R Chopra (Naya Daur, Sadhana) and Amiya Chakravarty (Kathputhli). "They were all visionaries," she states simply.

Chairperson of the 48th National Film Awards, Lok Sabha member for two terms and Rajya Sabha member for one, her joining the BJP after 19 years with the Congress, and a fan following of rare magnitude, Vyjayanthimala Bali is known for much more than just her performances. Her autobiography some years back made news as she came clean on her alleged affair with Raj Kapoor. And even today at 81, Vyjayanthimalas dance performances continue to make waves by drawing crowds globally.

In fact, yesterday, today or tomorrow, Vyjayanthimala is a born iconic star who makes news as naturally as the sun shines.

5 'Psycho' surprises

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At three minutes and change, the shower scene in Alfred Hitchcocks Psycho is one of the most familiar in film history. The deadly encounter between Marion Crane and the cross-dressing Norman Bates was shot over seven days in 1959, and every element is instantly recognisable: the shadowy figure tearing aside the shower curtain, the stream of blood and water circling the drain, Bernard Herrmanns shrieking violins.

The scene has been dissected by scholars and critics and parodied by everyone from Mel Brooks to The Simpsons; its score has become aural shorthand for "something really scary is about to happen." Is there anything a Psycho fan still might not know about this most famous of cinematic moments?

Turns out, plenty. In his new documentary 78/52, the director Alexandre O Philippe examines the sequence in myriad ways, looking at, for example, audience reaction in 1960 (sustained, unremitting screams) and the films visual obsession with shower heads. In addition to talking with directors, historians and others, Philippe pored over the original storyboards and Hitchcocks handwritten notes. Philippe estimated that he has seen the iconic scene thousands of times. Still, the documentary maker continues to be fascinated by it. Since completing the film, he has talked with the choreographer Sean Curran about the movement of bodies within the sequence and hopes to look at the Bauhausian use of triangles, squares and circles.

"Theres so much Im still discovering. Thats why people keep going back to it because it goes so deep," he said, adding, "Theres only a handful of movies that do that."

Think you know Psycho? Here are five things that might surprise you:

The murder in the book is much different from the movie.

The story was adapted from a 1959 novel of the same name by Robert Bloch. But the killing is a lot shorter in the original telling. Hitchcock took 78 shots and 52 cuts (hence the documentarys title) to capture Marions murder. Bloch took only 2 1/2 sentences to describe the killing, which ends with Norman lopping off Marions head. Bloch also reveals Normans heavily rouged mug (which the movie keeps in shadow). "In the book, the murder itself is an afterthought," Philippe said. "With Hitchcock, it was all about the murder."


Hitch had a fine ear for melons.


To find just the right sound of someone being stabbed, Hitchcock famously listened as his prop man hacked away at a variety of melons. Which one sounded most like a knife cutting through flesh? Hitchs one-word determination:


casaba. Six decades later, Philippe replicated the experiment, hunting down 27 varieties of melons from across Latin America, Asia, and Europe, and chopping into them. He then sent the sound files to Gary Rydstrom and Shannon Mills, award-winning sound designers at Skywalker Sound, and asked them to listen. Their expert conclusion: casaba. "It has a very thick skin, and its very starchy and gooey in the centre," Philippe said.

Normans parlour wasnt just filled with stuffed bird carcasses.

There were also paintings - including a reproduction of Susanna and the Elders, by the 17th-century artist Frans van Mieris the Elder. In a promo for the movie, Hitchcock nods at the paintings "great significance" before quickly scuttling away. A popular subject of painters like Rubens and Rembrandt, the biblical tale tells of two old men who leer at a woman as she bathes, then threaten to blackmail her unless she has sex with both of them. In the film, Norman uses "Susanna" to cover the peephole through which he spies on Marion, the paintings depiction of voyeurism (and more) mirroring Normans own lecherousness. "The version that Hitchcock selected is the most graphic version you can find," Philippe said. "Theyre not just looking at her or watching her, theyre groping her, and it conveys this idea of the violation of a woman being watched."


It inspired another great movie moment.

Martin Scorsese used the shower scene as a model for the bout between Jake LaMotta and Sugar Ray Robinson in Raging Bull, from the sprays of sweat flying across the canvas to the streams of blood shooting out of every inch of LaMottas battered skull. When Robinson raises his right arm high above his head before smashing in LaMottas face, its lousy form for a boxer, but perfect for a knife-wielding murderer, which is what Scorsese was going for. Watch the two scenes side by side, and the similarities are remarkable, Philippe said, adding, "The moment you know that it was inspired by the shower scene, you can never look at it the same way. When you watch it, you can almost hear the strings.


Anthony Perkins wasnt the killer.

Spoiler alert: Normans mom didnt kill Marion Crane. But it wasnt Norman either, or at least not Anthony Perkins as Norman. The mystery stabber was a body double, Margo Epper. Perkins was in New York rehearsing for a Broadway show, so Epper donned Normans unbecoming dress and wig for the climactic scene. During filming, however, her features were visible in the shot, so layers of makeup were applied to darken her face. Audiences didnt notice that the killers face was completely in shadow in a shower flooded with light. "Youre too busy focusing on whats happening," Philippe said. "Its an obvious trick, but youre so focused on this shocking scene, the last thing youre going to notice is the trick. Thats Hitchcock as Houdini. Hes doing his magic right in front of your eyes, but you cant see it."

Fresh off the boat

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His third Hindi film as a music composer, Chef, had a delectable score. Raghu Dixits music was appreciated even as the film sank without a trace. However, essentially, Raghu is someone who has been a live musician, performing in multiple countries besides his homeland Karnataka, skipping smoothly across languages and cultures, and making a mark in India as well as internationally. He performed at the diamond jubilee celebrations of Queen Elizabeth in the UK alongside celebrity dancer-choreographer Mayuri Upadhya, his wife. And you cannot slot the man, as he may himself not know what he will be up to next. Collaborations are a special forte, and the partners can be from anywhere.

Third time lucky?

He shares a special rapport with Hindi film composers Vishal-Shekhar. When the duo launched their own music label, he was their first artiste with The Raghu Dixit Project. His first fling with Hindi cinema was a single song in the 2009 film Quick Gun Murugan, after which he started out with Yash Raj Filmss Mujhse Fraaandship Karogi as a full-fledged composer. Up next was Bewakoofiyan with the same team.

He now states that he has formed a special team of friends with Chef director Raja Krishna Menon and its lyricist Ankur Tewari, with whom he had been associated with even before the release of his film.

We straightaway move to the aspect of film music direction: why has he done such less films until now? He laughs and says, "I am a free bird in my music - I can do just about anything I feel like. But film music is different, and a live musician like me had to grasp the technical aspects of it. Production, sound engineering, programming - I had to go back and learn these aspects. It took almost two years, and I was not only studying on my own but also enrolling for online courses. Today, I can tell my sound engineers and programmers what I am looking for, which I could not do earlier."

Raghu also says that he has a team in place now, though earlier he had to work with "people I did not know."

Technical aspects apart, what about the creative side? "When I make my normal songs, I do not have any restrictions. But composing music for films is defined by the parameters of a script," he replies. "We have to take guidance from that. We have to assess the atmosphere, the directors take and vision, the needs of the song - like solo or duet, and whether it is a silent, montage kind of song or a lip-synched one. Finally, the market demands are the biggest determining factors."

Which was his favourite song from among his compositions in Chef? "My top songs are Khoya Khoya and Darmiyaan. Khoya Khoya is a rare ghazal in a modern mode. Darmiyaan was a very different song for me, and lyrically it was so simple yet so emotional."

In more than one song in Chef, especially in Shugal Laga Le (which Raghu sang himself), we felt that he is influenced quite a lot by R D Burman? "Really?" asks the composer-singer. "But as far as I know, the only aspect we share is our initials
R D!" A guffaw follows before Raghu goes on, "Actually, I have not grown up on film songs at all. My growing up influences have been, first, Carnatic, folk, and later, Western music that I would beg and borrow CDs of from my friends. I have also learnt bharatanatyam for 18 years. Film music was never played at home!"

Now the bharatanatyam, Carnatic classical and folk angles must be the reason why his wife Mayuri told us that she cannot work at her choreography without the support of his music. A roar of laughter follows as he says, "Thats not true, you know. Our interaction is more like her telling me, Jaao, grocery leke aao (Go get the groceries)! Actually, she has worked with people like Ajay-Atul and others. I have always told her to work outside the comfort zone and widen the ambit of her work. But yes, we do understand each other completely, and it becomes easy to follow each others brief, and that makes us happy."

Keeping busy

In the last decade, Raghu has taken to film music in a big way and has achieved immense success. His first film, Psycho (2008) as well as Just Maath Maathalli (2009) were both musically huge. Another hit was Kote (2011) and yet another one was Happy New Year earlier in 2017. And while all these films were in Kannada, Raghu is also widening his horizons now.

Coming up are eight movies, of which five are in Kannada (Fly, Pradesha Samachara, Orchestra, Relax Sathya and Garuda), one in Telugu (Deeksha), and one in Malayalam (Joshua And Jenny). Raghu is also scoring for a Telugu web series called

B. Tech.

But all said and done, the live musician in him is also thriving - after all, that is Raghu Dixits forte. Did we not hear even the hero of Chef telling us that he is the famous musician who sings in a lungi?


The middle land

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After the explosively lush beauty of Sangla in the Kinnaur district of Himachal Pradesh and its forests of pine and cedar, wildflowers and gushing streams, we were heading for the high-altitude desert starkness of Spiti valley. This entailed an eight-hour drive but we soon realised that the Trans Himalayan region does not let you enter its charmed heart easily.

Initially, we exulted that the roads had improved, but half an hour before the rough and tumble town of Spillow, our car ground to a halt behind a serpentine queue of vehicles of every shape and size. People had spilt out of their cars and a wedding party decked up in all their finery, the women in rustling silks and the men in jaunty Kinnauri caps with plumes were posing for selfies on the filament-like road.

Below us, the Sutlej river tore through the gorge reflecting our impatience, but there were no signs of road rage or anxiety amongst the laid-back queue of cars brimming with happy vacationers and locals. Minutes, then hours, ticked away as the road was being widened. A couple of times, calls of "Khool gaya. Its open," rippled down the line of cars, but they turned out to be false alarms. A gentleman from the wedding party said that delays such as these were to be expected in these parts. A group of smiling locals handed us a few apricots in a gesture of friendship and we immediately felt better despite the delay.

It was a valuable lesson that we learnt in the mountains - of patience, fortitude and faith in the gods! After three hours, resignation was replaced by smiles and soon, we were away. With typical urban impatience, we overtook several cars and sped away over a fragile bridge that could take only one car at a time!

Beyond, the road was often gravelly and narrow, so narrow that the two left tires of the car grazed the sides of the mountain while the other two clung to the edge of a ravine. The frequent bumps and grinds would have had us airborne but for our seat belts.

After lunch at the one-horse town of Spillow, the landscape decided to pull out all the stops. Mountains rose like huge seismic humps and struck belligerent poses. Vast gorges swept past, resembling the open cavernous mouth of a giant, while the river ripped through like it was on steroids.

In the distance, the white-tipped Himalayas shimmered in the sun, while below, brown mountain ranges that changed colour under passing clouds - from dun to steel-grey, dark-blue to bruised purple - rose like angry, bunched fists.

We passed towns with quaint names and reached Khab, which is the confluence of the Sutlej and Spiti rivers that roared through a vast gorge. Above us soared the Reo Purgyil, (6,816 m or 22,363 ft), the highest peak in Himachal Pradesh.

The town of Nako turned out to be a charming one with the air of a Central Asian settlement on the Silk Route. It has a monastery and a poplar-rimmed lake, but we did not linger as darkness was gathering, and driving at night in the mountains was a scary prospect.

Naturally interrupted

But fate had other plans for us and a little ahead there was a landslide and another knuckle-biting wait of two hours. Once on our way again, the dark road was lit only by the headlights of our car and a stainless steel moon that spilt its beams on the other-worldly landscape.

Three kilometres ahead of the town of Sumdo, which marked our entry into the magical Spiti Valley, a fork in the road towards the north leads to the village of Gue, the home of the sacred, naturally preserved Mummy Lama. According to legend, the mummy is of a lama who lived 600 years ago. It is believed that he purged the village from the scourge of scorpions. When he died, a rainbow straddled the sky and, today, the village of a few hundred souls worship the mummy like a living god.

Dressed in silk robes and kept in a glass chamber in the monastery, the mummy has not been embalmed yet is well-preserved, and even his hair and teeth are intact. But we had to skip Gue as darkness clung to the landscape like a highwaymans cloak.

We reached Tabo around 9 pm, shrouded in the quiet of night and seemingly fast asleep like a spell had been cast on it by a wicked witch. However, our hotel, the oldest in Tabo, was lit like a beacon and after a hot dinner, we fell asleep dreaming of fire-breathing dragons flying over soaring massifs. The next morning, just beyond our verandah stretched Glistening-green barley fields, and in the distance were low-slung, whitewashed mud-brick homes similar to the ones in Ladakh.

High tea

We couldnt wait to get to Tabo Monastery, the oldest continuously functioning gompa in India dating to 996 AD, and said to be the Ajanta-Ellora of the Himalayas. A young monk showed us around the spotless monastery consisting of nine chapels in mud-walled buildings. Five of them, dating between 10th and 11th centuries, glowed with murals that looked like they had been painted yesterday. Indeed, the best Buddhist muralists painted them in the Tibetan and Indian styles.

After our exploration of the old and new gompas, filled with a vibrant energy, a wizened lady invited us to tea which she had brewed fresh on a portable stove in the expansive grounds. With typical urban insensitivity, we offered to pay for the tea, but she gave us a toothless smile and said that it was a service to welcome visitors. Another lesson learnt - dont offer cash in these remote inhospitable tracts where kindness and compassion are the only legal tender.

Soon, we were on our way to Kaza, the sub-district headquarters of Spiti, revelling in the scenery once again. Back in Mumbai, we dream of the mountains that rise in defiance of the heavens; some that crouch like wrinkled folds on an ancient face while others clad their nakedness in shawls of fleecy clouds. Nor will we forget the villages that balance on precarious ridges, sparsely populated with a few hundred souls - warm, welcoming and nurturing.

A day with dolphins

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Its 9 am and the Mauritian jetty we are standing at is slowly coming to life. The sun is out, sunshine beautifully bouncing off the waters of the Indian Ocean. Boats, both big and small, are being readied for the day. Having woken up at six in the morning, we haven driven some 70-odd km through some sleepy villages, the capital city of Port Louis, salt fields, the Black River National Park and luxurious resorts to reach the Tamarin Bay jetty, from where we would be whisked off on a day-long dolphin cruise.

One of the major attractions for both Mauritians and non-Mauritians, dolphin cruises are perfect to pencil into your Sunday calendar. Such cruises generally offer dolphin-watching opportunities (obviously), some snorkelling time, a lunch out on the sea, a visit to an island, and front-row views to the oceanic landscape of this stunning island nation.

Bruno, our catamaran skipper, starts off by giving us some basic safety instructions, after which we set sail for the open water. Pretty soon, the jetty is but a distant dot in the landscape. We pass by mountains and beaches that seem to have materialised out of a picture postcard. Behind us, on our left, we are told to look at the grand Le Morne Mountain, whose summit is a huge, square-shaped monolithic rock.

Sitting pretty at the extreme south-western tip of Mauritius, this mountain has a sad history. In the 19th century, this mountain was a refuge for many runaway slaves. After the abolition of slavery in the country, when the police went to inform these slaves about their freedom, many slaves misunderstood their intention and jumped to their deaths. Today, the place is a World Heritage Centre and also a favourite spot of many hikers, and might also be home to a few ghosts of the past.

Coming to the star attraction of our cruise, dolphins, we are told these aquatic mammals head to Tamarin Bay every morning to catch up on some sleep, and mating. Thats where we are headed, screams Bruno, over the blaring Mauritian music in the catamaran. As the sun climbs higher in the sky, the water turns turquoise green, and then a deep shade of navy blue.

The water games

Luck seems to be favouring us today: the weather is clear, the ocean calm, and in the distance, we hear dolphins splashing about in the water. Bruno informs us that the dolphins we see jumping out of the water are spinner dolphins. The dolphins put on quite a show for us: they leap out of the water, spin around and splash back into the blue, leaving us with dropped jaws and out of breath. Its a big pack, Bruno says, almost 100 to 300. As an acknowledgement of their playful antics, we collectively ooh and aah till the dolphins disappear deeper into the waters.

At the catamaran, chilled rum cocktails flow freely and the music turns more upbeat. Our fellow cruise companions, comprising Indian honeymooners and a Mauritian family, ditch their seats for coveted spots closer to the water. The sun has risen higher in the sky and the water has magically turned crystal-clear, and sports the lightest shade of blue ever possible. With the wind in our hair and ocean air in our lungs, we sail further into the ocean to look for that perfect snorkelling spot. Finally, the catamaran slows down, and while the crew sets up a grill by the side, we get ready to meet and greet our oceanic friends. Wearing a life jacket and a snorkelling mask, I stand on the edge of our catamaran, ready to disappear into the blue beauty beneath me. My worried mother mouths words of caution and goes ballistic when a crewmate jokes about sharks swimming in the waters below. I dont know if its the utter serenity of my surroundings or my own fear, I can suddenly hear my own heart thud loudly. But whats a trip to Mauritius without a few splashes in the Indian Ocean? So, I take a deep breath, and leap into the air, screaming, before splashing into the cool waters below. I seem to go down for a while, deeper and deeper in the ocean, before rising up, a blob in the water. Bruno throws in a couple of bread pieces around us in the water, which lead an entire school of fishes to us.

Soon, a call for lunch is made and we reluctantly swim back to our catamaran. Its almost noon and the ocean looks spectacularly blue. We are told we need to get into the smaller boat trailing behind our catamaran to go see the world-famous crystal rock of Mauritius.

One of a kind

Situated about 200 m from the shores of the biggest lagoon in the Southern Hemisphere, this crystal rock is a fossilised piece of coral reef that juts out of the water. It looks like a rock bouquet and can only be found in two other places of the world: Maldives and Seychelles. We circulate this chunky piece of rock in our small boat before getting off on Benetiers Island. Named after the clam-shell-shaped crystal rock, this island is perfect for an afternoon snooze. You can also pick up some souvenirs from the numerous surfboard stalls here. Ever tried tamarind ice-cream? You might just find it on this island.

About 30 minutes later, we are back on our catamaran, on our journey back to the jetty and reality. We all are satiated and drowsy: you might wonder if its all those rum cocktails. But no, it was the delicious combination of water, land and air that make Mauritius a heady cocktail. And mind you, one sip of this natural concoction and you will get addicted. And suffer from a hangover that you cant shake off, even after going back home.

Getting there: Almost all hotels will be able to hire taxis for you from your
hotel to Tamarin Bay.

What to do: You can book the full-day catamaran dolphin cruise from 9 am to 4 pm, which include a barbecue lunch and snacks. Or, you could go for the shorter, two-three-hour version in a speedboat, which will include breakfast and swimming with the dolphins.

Book at least two days in advance as such cruises fill up quite fast. The simplest way to book is through your hotel.

Cost: The price for these cruises usually ranges between Rs 2,000 and Rs 3,500.

Diversity is key to farming success

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Shivu Siddalingaswamy, a resident of Antarasante hobli in Heggadadevanakote (HD Kote) taluk of Mysuru district, has been engaged in farming for the last 12 years now. Shivu returned to his village and took up farming after graduation.

His father, who had suffered loss in tobacco and cotton cultivation, discouraged him initially. "Since there was nothing to lose further, I decided to experiment in the land," Shivu says. After reboring, the old borewell yielded 2.5 inches of water. He started with ginger and later cultivated cardamom and turmeric. By then, he had realised that with multiple crops, the loss from one crop gets balanced with the profit from some other crop.

This motivated him to diversify the crops further and start vegetable cultivation. Along with vegetables he also planted banana. Crop rotation has not only helped him get a steady income, but also enriched the soil. "We can avoid losses if we plan our crops in phases," Shivu says. Now one can see a variety of vegetables, turmeric, coconut, banana, maize and cotton in his
18-acre land. At least three types of crops can be seen in the farm every month.

While Shivu sells most of the harvest at the wholesale vegetable market at the RMC yard in Mysuru, some vegetables like chillies, tomato and long beans get sold directly at the farm.

When waterfalls come alive

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The rainy spells at the end of monsoon have changed the landscape of Jogimatti, 14 km away from Chitradurga. Considered to be an arid area, Chitradurga has soaked in the magic of monsoon this season and the Jogimatti area, in particular, offers a visual treat to the visitors. The Jogimatti forest range is spread across Chitradurga, Holalkere and Hiriyur taluks. This forest acts as the catchment area for the water sources in the surrounding villages. Several rainwater harvesting structures like Kumaranakatte, Gopanakatte, Beeramallappa tank, Okkalikkanakatte, Kadlekatte kanive and Balambavi have been constructed in this forest centuries ago. Though the reason behind the construction of these structures is not clear, they are crucial to maintain the water levels in the region.

Apart from these, one can see dones or pools carved naturally on rocks. All these and other water storage structures in the Jogimatti forest area are brimming with water due to generous rains this year. Interestingly, water flowing out of them through the rocky terrain has led to the formation of small streams and in some places, water glides down forming small but beautiful waterfalls. These temporary waterfalls will continue to charm people until the tanks go dry.

The trail of waterfalls starts from the better known Himavatkedara Falls. "We can spot six to seven streams and waterfalls as we walk further up into the forest. It is very rare to see these waterfalls come alive," says trekking enthusiast Nagaraj. He has trekked in this area and photographed the waterfalls. "Water that flows out of Gopanakatte results in the formation of four waterfalls. This is also the reason for the water abundance in Himavatkedara Falls," he adds.

The rocky terrain of this shrubby forest acts as a filter allowing pristine water to slide down in the waterfalls. Rainwater that falls on the huge Iranna rock flows through Kadlekatte valley, Godegavi, Galigudda, Chiratekallu, Ankolegutti, Seelugallu, Gavibagilu and Devarahalla. Water from these sources flows to the Doddanayakanakere near the Adumalleshwara mini zoo in the forest surroundings. The water flow has increased in the historical Chandravalli area too.

Jogimatti forest area had sustained two consecutive drought years before a good monsoon this year. The Forest Department had created waterholes for wild animals. "We have constructed check dams in the forest area and these structures have also contributed to the formation of streams and waterfalls. This ecosystem has proved beneficial to central Karnataka," says K B Manjunath, deputy conservator of forests, Chitradurga division.

Like any other forest, Jogimatti has a rich diversity of flora and fauna. A survey conducted by nature enthusiasts has shown that there are over 200 birds in the area. Black buck, four-horned antelope, leopard, bear, python and fox are some of the animals seen here. Similarly, one can see rare herbs and endangered plant species in this forest. The forest that is known for its strong wind flow was once home to Siddha and Jogi communities. In 2015, the State government declared Jogimatti as a wildlife sanctuary. So, one has to take permission from the Forest Department to enter the forest.

The abodes of Lord Bahubali

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On the summit of a tall, rocky outcrop, studded with monuments of various kinds, is a large, walled compound, towering over the ramparts of which is the head and upper torso of a gigantic human figure. Toiling ant-like, up the hundreds of rock-cut steps leading to the top, is a steady stream of devotees, who will arrive at the sanctuary at the summit, to gaze in awe at the 57 feet (17.7m) high statue of Bahubali - the "largest consecrated granite monolith anywhere in the world."

Unperturbed by the hubbub of the crowd and the attentions of the devout, Bahubali stands erect, his powerful arms hanging loose by his sides, gazing ahead through half-closed eyes, a gentle smile playing on his lips, "verily the personification of tranquillity" according to the celebrated Jain poet Hemachandra. This image - the tallest statue of Bahubali, or Gommata as he is also known, is at Shravanabelagola, in Hassan district of Karnataka. There are several other equally impressive statues of Bahubali at other places in Karnataka.

Monolithic wonders

The second tallest statue of Gommata is at Karkala, in Udupi District, standing all of 41 feet and 5 inches high on a granitic hill. Yet another Gommata statue is at Venur, in Dakshina Kannada district, rising 35 feet above the pedestal it stands on. Another exquisitely carved monolithic image of Gommata stands atop a small outcrop at Gommatagiri in Mysuru district. At only 16 feet high, it is the shortest among the monolithic images of Bahubali, but the fine workmanship and beautiful location makes it one of the spectacular seats of Gommateshwara.

But who is Bahubali, also called Gommata, whose images are built on such colossal scales at so many places in Karnataka? One who could have had it all - empire, power and wealth, all within his grasp, but who chose to throw it away in the moment of his triumph, realising the futility of it all. That in essence is Bahubali, the young prince turned renunciate, celebrated by these colossal images.

Bahubali was one of the sons of Rishabhanatha, or Adinatha, the first tirthankara of the Jain religion. Tradition has it that when Rishabhanatha, ruler of Ayodhya, took to the life of a recluse, he divided up the kingdom among his hundred sons. The eldest, Bharata, was ambitious, and coveted the territories of his brothers, in addition to what he had annexed by conquest. In response to his challenge, all his brothers gave up their kingdoms and took up monkhood, except Bahubali.

To prevent war and unnecessary bloodshed, it was decided that the two brothers would engage in battle with each other. After two rounds of man-to-man contests, both of which ended in favour of Bahubali, the final round was a wrestling match between the two. Easily the stronger of the two, Bahubali lifted up Bharata effortlessly and was about to dash him to the ground, when the futility of defeating his own brother for material gain struck him. He gently lowered his elder brother to the ground. Bharata, however, was smarting from the insult of defeat in front of his subjects and hurled his discus at Bahubali. Miraculously, the discus circumambulated Bahubali and came to rest at his feet. Bahubali embraced his elder brother and joyfully gave up all that he had conquered to retire to forest, seeking enlightenment.

He stood erect, his arms hanging loosely beside him, for a year. Termite mounds grew at his feet and poisonous serpents crawled about on him. Creepers entwined his body and arms. Unmindful of all this, he persevered in his quest for enlightenment, which however eluded him despite the practice of such austerities for a whole year. The poet Jinasena relates how the sorrow of having humiliated his elder brother held Bahubali back from the attainment of full enlightenment. A repentant Bharata visits Bahubali at the site of his penance to pay him homage, and this removes the final obstacle, paving the way for Bahubalis enlightenment.

It is believed that Bharata erected an image of Bahubali at Paudanapura, the capital from which Bahubali had ruled his share of the kingdom bequeathed by Rishabha. In course of time, this image got covered by creepers and anthills and gradually even Paudanapura disappeared from this world of humans. Centuries later, Chavundaraya, the illustrious minister of the Western Ganga King Rachamalla IV hit upon the idea of creating an image at Shravanabelagola, for his pious mother Kalala Devi. It is believed that the sculptors of the image fashioned it from an erect granite tor, which stood at the summit of the hill, for consecration in 981 CE.

The Bahubali statue at Karkala was installed in 1432 CE by King Virapandya of the Kalasa-Karkala kingdom, and the image at Venur, by the Ajila chieftain Vira-Timmaraja in 1604 CE. The date of installation of the image at Gommatagiri is not known, though local legend attributes it to one Changaalva - a descendant of Chavundaraya, in the 12th century.

Favourite theme

However, the Shravanabelagola colossus was not the earliest image of Gommata to be carved. Earlier images, though not freestanding, were sculpted at Cave 4 of the 6th century Jain rock-cut temple in Badami and the Jain cave on Meguti Hill in Aihole, under the patronage of the Early Chalukyas. The tableau of Homage to Bahubali appears to be a favourite sculptural theme in Jain art, often juxtaposed with Parshvanatha, a tirthankara, as in Badami and several instances in Ellora.

Interestingly, these early images depict Bahubali with long locks of hair falling over his shoulders. Some of the early metal images of Bahubali too depict him similarly. It is from Shravanabelagola onwards that we see depictions of Bahubali with tight curls of hair. The 10-feet high image of Bahubali in Artipura, which pre-dated the one in Shravanabelagola by a few decades, also has tight curls of hair.

Bahubali was an arhat, not a tirthankara; however, he was the first being to attain moksha in this Avasarpini Kala - the
descending half-cycle of the cosmic wheel of time, according to Jain cosmology. It is the alluring theme of his great renunciation which has inspired its celebration as the tallest monolithic statue of the world, and lesser colossi on several hilltops.

As one takes in the sight of any of these colossi standing erect and proud under the skies, unmindful of the onslaught of the elements, one cannot help marvelling at that quality of these statues which mirror the serenity of the ascetic in the forest, unperturbed by the anthills that cover his body, or the creepers that engulf him, or the serpents which crawl about on him.

(The author is with National Institute
of Advanced Studies, Bengaluru)

In the service of Kannada

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The shaping of Indias future depends on understanding its past," said Nobel laureate Amartya Sen. Reflective of this philosophy is Vijayapura-based Dr P G Halakatti Research Centre, which is engaged in the preservation and publication of literary works. The core objective of this non-profit organisation is the preservation and dissemination of vachanas - a lyrical form of rhythmic, short poems, which evolved in the 11th century and flourished in the 12th century. Through this, the centre has been spreading the
vision and philosophy of Sharana Basaveshwara and others.

To preserve and spread the fragrance of vachanas, Dr P G Halakatti Research Centre, set up by Bijapur Liberal District Educational (BLDE) Association, has taken up a pioneering path where very few organisations try their hand at: taking up research projects and publishing literary works. And the centre has set an example for others by successfully completing research projects and publishing volumes of books.

Publications

The centre, named after the late Dr Phakirappa Gurubasappa Halakatti, was set-up in 2003. He is considered as the Max Muller of Karnataka for his dedicated service to collect and preserve vachanas. Dr Halakatti, who was bestowed the titles of Rao Sahib and Rao Bahadur by the British, founded BLDE Association in 1942. Starting a research centre in Dr Halakattis memory was a long-cherished dream of BLDE Association.

The centre has brought out a number of books and some of them have drawn the attention of national and international academicians. Dr Halakattis complete works on vachanas, which has been published in 15 volumes, is considered to be a milestone in Kannada literature. As many as 15 scholars, under the guidance of the late Dr M M Kalburgi, worked on these volumes.

"We are focusing on neglected areas of literature and history. Through this, we would like to throw light on the forgotten history and culture of Karnataka. Vachanas teach the values of life while also promoting equality and non-violence. But they didnt get proper attention in the literary world. Dr Halakatti dedicated his life to collect and preserve them. Bringing out Dr Halakattis six decades of research work in 15 volumes is our major contribution to Kannada literature," says Dr M S Madabavi, secretary, Dr P G Halakatti Research Centre.

Similarly, books on Adil Shahi rulers translated and published by the centre have captured the imagination of scholars. As most of the information and literature related to the Adil Shahi rule was in Persian, Urdu, Deccani (a mix of Persian and local dialects) and English languages, Kannada readers were deprived of authentic reference material.

With this in mind, the centre translated several books on Adil Shahi rule into Kannada and published in 18 volumes. Dr M M Kalburgi, Krishna Kolhar Kulkarni, Dr B G Mulimani, Ramzan Darga, Dr H G Daddi and Dr Rahamat Tarikere worked on these volumes.

Apart from this, the centre has also published over 45 books on Sharana literature, philosophy, folklore, history, heritage, great personalities and institutions.

Considering the efforts of Dr Halakatti Research Centre, Kannada University, Hampi has accorded it a research centre status. "It is a professional research centre that helps scholars to understand different aspects of their subjects meticulously. It is from here that I got to learn the nuances of research. The centre helped me improve my academic knowledge," says Channappa Katti, who did his PhD from the centre.

Cultural space

More than 115 books edited by Dr Halakatti, and letters written by him and his father have been digitised to keep them in their original form. The centre gets financial support from the BLDE Association for most of its activities. The State government has also funded some of its projects.

The Dr P G Halakatti Research Centre has a fully fledged library for research scholars. A spacious auditorium in the premises is used for seminars, workshops and cultural activities. The centre also boasts of a mini museum where personal and rare archival articles of Dr Halakatti are on display. The printing press used by Dr Halakatti is one of the exhibits.

The centre has received many honours and awards, including the Akhil Bharata Kannada Sahitya Parishat Award, Nolamba Award and the Rajyotsava Award for its commendable work in preserving the Sharana literature. "Creating infrastructure facilities, promoting vachanas and publishing books on the history of Vijayapura are a way of showing our respect and gratitude towards the founder of the association," says Dr M B Patil, president of BLDE Association.

The research centre can be contacted by email at drpghrc05@gmail.com.

A quaint temple on a hilltop

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Kundapura in Udupi district is a strategically located town surrounded by many temples of historical importance. Just less than 10 km from here lies the hamlet of Kumbhasi, and on a hillock called Anegudde is a prominent Ganesha temple. We chose to go up the hillock in a vehicle, although many devotees chose to use the stairway to reach the premises. The greenery around indicates the remnants of a forest. In the past, the region was filled with elephants and hence the name, Anegudde.

As it is the auspicious month of Karthika, many people thronged to the temple, and security personnel were stationed all over to guide the visitors. From the parking lot, we head towards the entrance to pay our obeisance to the presiding deity, worshipped as Siddhi Vinayaka or the Sarva Siddhi Pradayaka - fulfiller of boons.

The conjoined peepal and neem trees cast their shade at the entrance. The temple is quaint looking with a small gopuram visible from the entrance and it bears sculptures of Vinayaka in various forms. The temple has two main sections: the pillared and stucco walled structure housing the altar and an adjoining hall. The pillars painted in sandal and yellow colours bear simple floral motifs. Elephants holding lotus adorn the corners of the roof. The spacious hall comprises a dining area where daily annaprasadam is offered.

A few steps ahead take us to the threshold of the main entrance and from here, the tall, monolith idol in a standing posture is visible. Resembling an elephant more than the usual Ganesha, the idol is chaturbhuja (four-armed): two in a mudra to bestow blessings while the other two pointing downward, indicating salvation at his feet. I am arrested by the gold and silver kavacha, which gives the idol a majestic look.

The belief is that the idol is a swayambhu vigraha (self-manifested one) and is said to be from the Mahabharata period. As I make the customary pradakshina, I come to see that the temple has seen many modifications in the past few decades. The
mythology is depicted on the walls of the inner praakara in blue-grey coloured embossed pictures in stucco style, with a brief caption written in Kannada.

Mythology & local lore

As the story goes, sage Agasthya took upon himself to perform a yagna to appease the rain gods and save the region from a severe drought. However, the demon Kumbhasura posed many hurdles to the rituals, causing havoc. The sage sought the help of the Pandavas who were in exile and were in the region at that time. Bhima, who was assigned the duty, prayed to god Ganesha to bestow powers to slay the demon. Ganesha appeared in the form of an elephant and gave Bhima a sword to fulfil the task.

A fierce battle ensued, and eventually, Bhima killed Kumbhasura. The yagna completed without further hindrance and the area was blessed with rains, sustaining life. After this incident, the village took the name Kumbhasi and Ganesha became the chief deity of the area. Signifying the event, Parashurama is said to have developed the shrine and declared it as one among the mukti sthalas, a place of salvation.

According to a local story, millennia later Vishweshwara Upadhyaya, an ardent devotee of Ganesha, was guided in his dream about the existence of the shrine. On another occasion, he saw a cow showering milk on a stone covered with wildflowers and creepers. Upon excavation, he found the vigraha and realising the significance, he began performing pujas regularly. It is said the tradition continued since then.

Ganesh Chaturthi and Sankashta Chaturthi are the main events that are celebrated here. An annual grand rathotsava (car festival) takes place in the month of December. Devotees often perform the tulabharam seva to the lord.

The spiritual power around the temple is palpable. It is no wonder that devotees come here seeking boons from the generous elephant god.


The epitome of folk tradition

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There exists a society where each member of the tribe carries a song from the womb to the grave. I read about it some years ago and the story has stayed with me all these years. A unique tribe in Africa stands witness to this custom where a woman of the tribe on knowing that she has conceived, sits and knits, not a cap or a sweater but a song for her baby-to-be-born. The song develops as the child grows in the womb. She shares the song with the childs father and then with the community.

When the mother is in labour, the women come together and sing the song for her. The child is welcomed into the community with that very song. Whenever the child cries, the song becomes the lullaby. While growing up, if the child errs, the community flocks around the kid and sings the same song in sorrow. A song is intertwined with the life of an individual and that song weaves the individual with the community harmoniously. Finally, when that person is dead, the entire community sings the same song for one last time.

This story resonates whenever I think of Sukri Bommu Gowda, the woman who carries as many or more songs on her lips as the beads of her traditional necklace and the wrinkles on her face. Sukrajji, as she is fondly called, hails from the Halakki Vokkaliga tribe in Uttara Kannada. The tribe has a rich singing lineage. Sukri is the one of the custodians of Halakki tradition.

A song for every occasion

Sukri has a song on her lips for every occasion - be it birth, wedding, farming activities or day-to-day activities like filling water and storytelling. Sobane pada, Kami, the traditional Halakki song, and the Arjuna Jogi song are some of the popular songs she sings. Sukri learnt the songs from her mother, Devamma. She has added many more songs to the treasure she inherited from her mother and other women of the tribe. This list grows each day. She infuses life into the stories with her mellifluous voice. While she retains the rhythm, she keeps on improvising the content. One interesting song she renders is the song of Anjugana Hakki, which gives an account of how life is formed. Its story goes like this: when nothing was there in the universe, there appeared a bird called anjuga. The bird laid some eggs. One of the eggs was broken and the contents formed the universe. The water in the egg became the sea, the white portion became the sky and the remaining solid part became the earth.

Sukri is also well versed in rural riddles called ogatu and knows the medical qualities of locally available herbs. Additionally, she is an expert in performing tarle - a Halakki dance form, which she teaches to those who are interested in it. She does not represents just the Halakki song tradition, but is the representative of the Halakki heritage in all its sense. Songs have stayed with her all through her life. She was married at an early age to a much older man. At a young age, she lost her children and husband. "Did you ever stop singing for any period?" I asked. "Never, I always used to sing and I will continue to sing till my last breath," she said immediately. Songs come naturally to her. She makes songs out of everything she sees, listens and feels.

When asked how many songs she knows, Sukri quipped, "Once, some people came to record my songs. They asked me the same question. In turn, I asked them how many songs they would be able to record." This incident happened when researchers H L Nage Gowda, Kareem Khan, H C Boralingaiah and others were archiving her songs. Shripada Shetty, a retired Kannada professor from Ankola, later told me that, her songs, when recorded, would exceed 800 hours. He fondly remembers her like this, "Sukri halliya magu, ettikondavara kaigoosu." It means, Sukri is the child of the village, who belongs to those who pick her up.

She must be around 80 years old now, but her enthusiasm and stamina would put a person half her age into shame. She still cooks, grinds, and works in the fields. Neither recognition nor age has made her sit idle. She lives in her koppa - a Halakki Vokkaliga settlement - along with her daughter-in-law and granddaughter. She has also been bestowed awards such as the Nadoja award, Janapada Shri and the Padma Shri. More than the awards, what matters to her is the happiness of the people around her. She always believes that she is one bead among the many beads in the colourful necklace they wear.

Social concern

Sukrai is not just a carrier of the heritage. Her greatness lies also in the way she reacts and responds to the society around her. Sripada Shetty remembers how she along with the late Dinakara Desai fought for the rights of the landless labourers. She strongly stands for girls education. She has learnt to write her name by practicing on the walls of her hut.

Along with the late Kusuma Sorab, Sukri worked for womens welfare, environmental protection and ban on liquor. She was also a member of the Belikeri village panchayat. She has travelled across the country and has taught university students about Halakki heritage and music.

Writer and researcher H C Boralingaiah is an authority on Halakki Vokkaligas. He says, "Sukris uniqueness lies in her social awareness. Her organisational capacity and active participation in social movements make her exceptional. If fact, these qualities make her relevant to all ages." He then explained about a tradition in the community. When a girl comes of age, a function is organised where each woman of the tribe removes one necklace from umpteen number of necklaces around her neck and puts it around the neck of the girl. This is how the girl is blessed when she stands at the threshold of womanhood. This reminded me of the African tradition, mentioned earlier in the article.

Sukri represents the indomitable spirit of the region. Modern education has indirectly confined us to cherish only the written words and written history. Here is a woman who has silently spun a koudi of oral tradition comprising songs and stories. Its time we not just acknowledge but also consider this rich treasure as a part of history.

Snippets - UNUSUAL POLE ACTIVITY

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Jupiters X-ray auroras pulse independently
Jupiters intense northern and southern lights pulse independently of each other according to new UCL-led research using European Space Agencys XMM-Newton and NASAs Chandra X-ray observatories. The study, published in Nature Astronomy, found that very high-energy X-ray emissions at Jupiters south pole consistently pulse every 11 minutes. Meanwhile, those at the north pole are erratic: increasing and decreasing in brightness, independent of the south pole. This behaviour is distinct from Earths north and south auroras which broadly mirror each other in activity.

Other similarly large planets, such as Saturn, do not produce any detectable X-ray aurora, which makes the findings at Jupiter particularly puzzling. The team hopes to keep tracking the activity of Jupiters poles over the next two years using X-ray observing campaigns in conjunction with Juno to see if this previously unreported behaviour is commonplace.

FILM-BASED STUDY

Reacting to moral issues

Are we more prone to help the person who resembles us the most? Social neuroscientists have studied the effects of similarity by showing a re-edited version of the film My Sisters Keeper to a group of subjects and by giving them a moral dilemma to consider while measuring their brain function by fMRI. The subjects were asked to observe the film in the light of different questions. The study focused particularly on how the subjects felt about one sister refusing to donate an organ to another sister diagnosed with cancer. The study discloses a major conflict between what the subjects told they felt about the moral issue presented to them and what actually happened inside their brains.

UNNOTICED STRUCTURES

Mysterious stone gates

Archaeologists have uncovered nearly 400 previously undocumented stone structures they call gates in the Arabian desert. They
believe that these may have been built by nomadic tribes thousands of years ago.

David Kennedy, an archaeologist at the University of Western Australia and author of a paper set to appear in the journal Arabian Archaeology and Epigraphy, said when he first saw the Google Earth satellite images, he was confronted with structures quite different from anything he had ever seen before. He called them gates because when looked at horizontally, they resemble a simple fence with two thick upright posts on the sides connected by one or more long bars.

Stephan Kempe, a retired professor of physical geology at Technische Universitat Darmstadt in Germany, who was not involved in the paper, said that the new study was one of a series of papers describing previously unnoticed structures in the Saudi Arabian lava fields. "There are many other features that have only recently been understood
as forming classes of prehistoric geoglyphs that were widespread in an area thought to be very barren and devoid of human impact," he said.

NO WAY OUT

Impossible to beat ageing

Ageing is a natural part of life, but that hasnt stopped people from embarking on efforts to stop the process. Unfortunately, perhaps, those attempts are futile, according to University of Arizona researchers who have proved that its mathematically impossible to halt ageing in multicellular organisms like humans."Ageing is mathematically inevitable - like, seriously inevitable. Theres logically, theoretically, mathematically no way out," said Joanna Masel, professor of ecology and evolutionary biology and at University of Arizona. Joanna and University of Arizona postdoctoral researcher Paul Nelson outline their findings on math and ageing in a new study published in the journal Proceedings of the National Academy of Sciences.

DOCUMENTARY

Day of the Asteroid

Hollywood movies have long thrilled in showing us the catastrophic aftermath of an asteroid making direct impact with our planet. As explored in the compelling documentary Day of the Asteroid, this possibility is far from manufactured fantasy. Our planet has played host to asteroid collisions throughout its history, and it seems inevitable that it will happen again. Is there anything we can do to protect ourselves?

The galaxy is a vast battlefield populated and shaped by a countless series of violent impacts and explosions. When these events involve our planet, the results are profound. Day of the Asteroid looks into the impacts they leave behind and shows the real work being done to thwart another planetary doomsday scenario. To watch the documentary, visit www.bit.ly/2A9cVXB.

Ripples in the fabric of space-time

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Whenever theres a big science discovery, its always nice to get a historical perspective. And so here goes with the remarkable observation of gravitational waves emanating from the merger of two dead stars, or neutron stars, some 130 million light-years from Earth.

Its 50 years since the existence of these stellar remnants was confirmed (July 1967) by the mighty Northern Irish astronomer Jocelyn Bell Burnell. Its more than 40 years since we realised neutron stars might occur in pairs, or binaries, as we call them. "And from that time, its been clear that occasionally they would approach closer together and have a spectacular splat of some kind," says English Astronomer Royal Sir Martin Rees.

Workings of neutron stars

Well, on August 17 this year, at precisely 12:41:04 UTC, a pair was duly observed to do just that. To have a big splat. The big fuss is that the event was recorded first from its gravitational wave signature, the way it warped space-time (a major breakthrough); and then through its light emissions at many different wavelengths - from gamma rays all the way through to radio waves - over subsequent days.

This combination of observations has never been possible before and it provides significant new insights into the workings of neutron stars where the density of matter is theorised to be perhaps a few hundred thousand to a few hundred million tonnes per cubic centimetre. Weird stuff. "The neutron star is a laboratory for extreme physics; its exotic material, very neutron-rich; and when its torn apart you get exotic radiation and very rapid neutron-capture processes that produce elements like gold. So, its very exciting," enthuses Sir Martin.

The detection of gravitational waves by the LIGO labs in the US and the VIRGO facility in Italy really is opening up a new era in astronomy. One very smart calculation from the August 17 event is the determination of the Hubble Constant, which describes the expansion rate of the Universe. The further away you look, the faster galaxies are receding from us. Ever since the American Edwin Hubble first detailed this relationship in 1929, astronomers have meticulously tried to put a value on it because it helps us gauge the size and age of the universe.

Its been done by measuring the distance and velocities of a large number of stars in a good sample of galaxies. The stars have all been so-called standard candles - objects that shine with a known power output. If you understand this absolute quantity and compare it with the stars apparent brightness on the sky, you can figure out their distance from Earth using the inverse square law.

But its not easy because no one standard candle will do the job; you must use one type to calibrate the next in a series of steps. "Its like taping a large number of rulers together. Every time you do it, theres a chance for a little bit of wobble, and a little bit of extra uncertainty creeps in," explains Will Farr from the University of Birmingham, UK. "[But] because gravitational waves can directly measure distances, we dont need to tape rulers
together."

Calculating the distance

Simply put, they neatly package the distance information for us. "The absolute intensity of an event is encoded in the signal shape, and the apparent intensity is what you measure with your gravitational wave detector - and from one over r squared, you can then tell how far away it was," says Karsten Danzmann from the Max Planck Institute for Gravitational Physics, Germany. You still need a velocity measurement to go with the distance, and that is obtained from analysing the light associated with the event that generated the gravitational waves. Hence, the thrill weve seen this week from astronomers in being able to sense gravitational waves and light from the same source at the same time.

Bernie Schutz from Cardiff University, UK first proposed working out the Hubble Constant in this way some 30 years ago. "Its amazing to have done it after all this time," he said. "From this event, we get a value of 70 kilometres per second per megaparsec." What does that mean? Well, a megaparsec is 3.26 million light-years, so it follows that cosmic expansion increases by 70km/second for every 3.26 million light-years we look further out into space. Now, this is just one data point with a fair bit of uncertainty associated with it (the range goes from 62 to 82), so no one is yet yelling from the rooftops.

But there is good confidence that as more and more gravitational wave observations are made, the error bars will narrow significantly. The speculation is that within 10 years or so, sufficient observations could have been acquired to provide an independent check on the conventional technique.

The American Nobel laureate Adam Riess said, "This feels like Christmas. Gravitational waves are giving us so many presents; there is even something under the tree for cosmologists! I think this is a very promising technique, especially for the near future after LIGO collects a few tens of these and we can begin reaping the dividends of averaging."

Gravitational waves: an overview

*Gravitational waves are a prediction of the Theory of General Relativity

*It took decades to develop the technology to directly detect them

*They are ripples in the fabric of space-time generated by violent events

*Accelerating masses will produce waves that propagate at the speed of light

*Detectable sources ought to include merging black holes and neutron stars

*LIGO/VIRGO fire lasers into long L-shaped tunnels; the waves disturb the light

*Detecting the waves opens up the universe to completely new investigations

A tale of flares, fans and waves on the Sun

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September 7, 2017 was unlike any other. The skies over some parts of the northern hemisphere were lit up with auroras. Radio communication devices snapped briefly and there was a widespread blackout in the parts that faced the Sun.

The culprit? Solar flares - an immense outburst of energy on the solar surface that sends out a deluge of high-energy particles out into space. Classified as a class X - the highest classification - this flare was the most powerful flare seen in over a decade, pouring out as much energy as would billions of hydrogen bombs.

"On the Sun, explosions happen when different magnetic field lines entangle and snap because of the constant motions happening in the atmosphere of the Sun. The snapping of the magnetic field lines releases a large amount of energy in a short interval of time. This phenomenon is called a solar flare, which in turn, sends shockwaves travelling on the surface of the Sun," explains Vaibhav Pant, a PhD student at Indian Institute of Astrophysics (IIA), Bengaluru.

Although Earth is protected from the adverse effects of a flare by the magnetic field of the Earth, the charged particles released during flares can pose a danger to our satellites and electronic equipment, lying outside the Earths magnetic field. Moreover, studying the jets of high energy particles and radiations released during a flare can also reveal information about the Sun, like the nature of the plasma on the solar surface and properties of its corona, making scientists take special interests in these solar flares.

Powerful flare

In a recent study, Vaibhav and a group of researchers from Northumbria University, UK and Harbin Institute of Technology, China, observed a never-before-seen phenomenon on the solar surface on March 6, 2012, which was triggered by another class X solar flare. For the first time, they had observed a standing wave in the coronal structures of the Sun. In a paper published in The Astrophysical Journal, the researchers have proposed a mechanism for the origin of the standing wave and have probed its properties.

There is much action in the corona. Influenced by the magnetic field of the Sun, many coronal structures are formed when the hot plasma follows the magnetic field lines, much like iron fillings forming patterns around a magnet. A coronal fan loop is one such coronal structure that spreads outwards and is narrow and dense at the surface of the Sun. It is a loop formed by plasma shaped by the immense magnetic field of the Sun, with the two ends tied to the surface of the star. Just like a string attached to a ball.

Reflection of energy

The events on March 6, 2012 unfolded when a powerful flare was triggered in a region of high activity - a region where sunspots and solar flares regularly occur - named AR 11429. When the shock waves from this flare reached a coronal fan loop in another active region named AR 11428, it set off oscillations in the coronal structure, which led to the formation of a standing wave in the coronal fan loop. "A wave is called standing wave, if the energy of the wave does not travel from one location to another. To make this happen, there should be a reflection of energy from somewhere," remarks Vaibhav.

The standing waves observed is a treasure trove of information, say scientists. "A wave carries the information of the
medium in which they travel. For example, the speed of a sound wave depends on the pressure and density of the medium in which the sound wave propagates. Similarly, the study of these compressive waves helps us understand different properties of the medium through which they travel, which is plasma in this case. Since the observed standing waves were seen in coronal loops, they carry information about plasma confined in the coronal loops," explains Vaibhav.

The study also revealed that the standing wave reflected much before the location from where the fan loop is tied to the solar surface. This phenomenon is unlike a wave on the guitar string where it is reflected at the point where the string is tied. The scientists theorise that this may be a result of the sharp change in density of plasma along the fan loop, which causes the wave to turn back before it reaches close to the solar surface.

(The author is with Gubbi Labs, a research collective based in Bengaluru)

Naturebites

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A new plant species

In the coastal parts of Karnataka, we now have a new species of Mopane paddle pod plant. A woody climber with looping branchlets and tiny green flowers, the Mopane paddle pod plant is found in parts of Africa and south-east Asia. This species was discovered by a team of researchers from the Centre for Ecological Sciences, Indian Institute of Science (IISc), Bengaluru. The new species is considered to be a sister species of Mopane paddle pod (Reissantia indica), and is classified under the genus Reissantia. The species, unlike other species in Reissantia, has flowers without any stalk. Hence, it has been named Reissantia sessiliflora.

This species is known to be found only in the sea-facing lateritic scrubs of Uttara Kannada district with an estimated extent of occurrence to be less than 100 sq km. Most of the areas where this plant was found was destroyed by human disturbances, which has forced the species to be classified as critically endangered. "If immediate steps are not taken to protect and restore the last remaining patches, we have little chance in protecting it," says G Ramachandra Rao, who was a part of the team that discovered the new species.

CONSERVING ENERGY IN WINTER

Shrews shrink their skulls and brains

Bad news, bears. Hibernation is no longer the coolest thing animals do to survive the winter. As cold weather approaches, tiny mole-like creatures known as red-toothed shrews (found mostly in North America, northern South America, Europe and northern Asia) will shrink their own heads, reducing their skull and brain mass by as much as 20%, according to new research published in Current Biology. When warm weather returns, they will regrow the region nearly to its original size. Though it is not yet clear why the shrews go down a few sizes for the winter, the authors of the study speculate that the reduced head and brain size helps them conserve energy when resources are scarce.

"These tiny mammals cannot migrate long distances to avoid winter, nor can they enter any kind of energy-saving state like hibernation," said Javier Lazaro, a doctoral student at the Max Planck Institute for Ornithology, Germany, and an author of the study. The shrews reduction in size does not only affect the head. Several major organs lose mass in winter, and the spine shortens, as well. Overall, the shrews in the study reduced their body mass by about 18% from July to February.

INDICATOR OF DISTRESS

Oysters can hear noise pollution

Like anyone with rowdy neighbours, oysters may be feeling stressed thanks to the growing problem of underwater noise pollution, and are trying to filter out the racket. New research published in PLoS One reveals that oysters will close their shells when exposed to noises along a range of frequencies that includes the sounds emitted by known noise polluters like cargo ships and underwater oil exploration. In oysters, closed shells are an indicator of distress. Under optimal conditions, bivalve molluscs will keep their shells open, and they are thought to shut them only when feeling stressed or threatened. Clamping their shells to screen out noise pollution or other artificial irritants could prevent oysters from perceiving important biological cues, said the authors of the study. Oysters "must be able to hear breaking waves and water currents," which could trigger their biological rhythms, said Jean-Charles Massabuau, an author of the study. Not being able to detect other natural events, like rainfall or thunderstorms, could also prevent them from knowing when it is time to spawn, Jean-Charles said.

DOCUMENTARY

An Inconvenient Truth

An Inconvenient Truth presents an illustrated talk on climate by Al Gore, the former Vice President of United States, aimed at alerting the public to an increasing planetary emergency due to global warming. It weaves the science of global warming with Al Gores personal history and lifelong commitment to reversing the effects of global climate change. An Inconvenient Truth makes the compelling case that global warming is real, man-made, and its effects will be cataclysmic if we dont act now. The documentary has been credited for raising international public awareness on global warming and re-energising the environmental movement. To watch the documentary, visit www.nflx.it/2h4uaVs.

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