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'I always wanted to be in movies'

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As a child, Sanjana Shetty remembers posing in front of the mirror, mouthing elaborate movie lines and dancing to film numbers. Her passion for the film industry remained strong over the years and she looked forward to explore any opportunity that could get her noticed
in Sandalwood. Little did the interior design graduate-turned-model know that she would live her dream through the upcoming movie Cafe Garage. In a candid conversation with Tini Sara Anien, she talks about her exciting entry into the movie industry.

Tell us about your baby steps into the industry...

I did modelling for a bit after which I joined an airline as a cabin crew. My interest in films kept me going and I did many auditions. I did a cameo role in Chamak, which stars Ganesh, and in Garuda. Before I knew it, there were more projects coming my way. I am now shooting for Cafe Garage.

What about movies excite you?

I always wanted to be in movies. I never watched Cartoon Network as a child. My father had a lot of movie videocassettes with him and I would always watch them.

How did Cafe Garage come your way?

Actor Karunya is a friend and she told me that she was working on a project. I told her that I wanted to audition for it. I sent my photographs and the team and director Pawan Ranadheer shortlisted my profile and I was a part of the project. I cannot explain how happy I am.

Your role in Cafe Garage...

I play a simple Mysuru girl and the daughter of Cafe Garages owner. I play Ananya who is a typical girl-next-door.

Are you like Ananya?

I am a simple person but I do not wear traditional attire. I am more broad-minded than Ananya but when it comes to meeting new people, I am cautious.

What do you like most about the film?

I always wanted to work with a supportive team and even though the director is a new person, the team is a sportive one. The movie is a youth-centric one and the subject is treated freshly. The characterisation will make it stand out.

How challenging has the journey been so far?

There are many interesting experiences that fresh faces go through. There are some people who misguide you. Just like any other industry, there are good and bad people there. One has to be judgemental and careful. One shouldnt hurry when it comes to accepting movie offers as things can go wrong. Patience is an important virtue.

Do you believe that female actors are treated equally?

It all depends on the project and the roles. If it is a women-oriented project, then the female lead is given more importance.

Whats next on your list?

My next movie will be Jintha. I play the role of a politicians daughter who is haughty. The role will be very similar to Deepika Padukones character in Cocktail.

Define yourself as an actor...

I am a directors actor. I strongly believe that a script is a directors vision and I always want to do justice to it.

Some things you never step out without...

My mobile phone, red lipstick and my best confident smile.


His symphonies

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Music composer and singer Anoop Seelin claims to have seen God. And not just one, but five! "For me, the only gods are my father, Hamsalekha, Ilaiyaraaja, A R Rahman and Michael Jackson," Anoop declares sitting in his cosy music studio in his Rajarajeshwari Nagar home. Before I begin with my questions, Anoop has one for me - "Why are you interviewing me?" He wants to know. For his sheer body of work, I tell him. Be it his award-winning compositions for Sidlingu, or his chart-topping numbers for Love in Mandya, or his recent popular tunes for Dayavittu Gamanisi, Anoop Seelins musicography is one to envy.

Classical beginnings

We go back to the very beginning. Pointing to his dads photograph behind him, Anoop says, "My father, a violinist, will always be my first guru. He taught me classical music." In 1986, when the iconic movie Premaloka hit the theatres, Anoop was one of the many movie-goers entranced by its music, and especially by its music director, Hamsalekha. And in 1992, when Anoop witnessed an entire theatre dancing to the hit tunes of Roja, he realised the true power of film music and began to aspire to become a music composer.

So determined was Anoop that when he grew up, he actually managed to hitch his wagon to Hamsalekha: the hit music-maker of those times. From standing outside Hamsalekhas studio to just catch a glimpse of the star composer to becoming a part of his chorus group, and ultimately singing songs as a track singer for him, Anoop managed to rise through the ranks soon. "After singing in his chorus group for almost two to three years, Hamsalekha-sir finally took me under his wings. He was the one who introduced me to playback singing. I sang songs for films like Ondagona Baa, Nenapirali, Sixer," he says.

"It wasnt just a music school for me, it was like a life school," Anoop says recalling the time spent learning under Hamsalekha. "He was the number one in the industry back then. So, networking with important people became an everyday affair. When I finally decided to become an independent music composer, most of the industry already knew who I was. Moreover, I picked up the nuances of creating music from him," he reveals.

In 2005, Anoop decided to give wings to his childhood dream of becoming an independent music director. In 2008, his fresh tunes for the film Gooli earned him positive reviews and also brought to his doorstep films like Eddelu Manjunatha, Sidlingu, Directors Special, Love in Mandya, Neer Dose, Eradane Sala and Dayavittu Gamanisi. It doesnt matter what kind of films he gets, Anoop always looks at the soul of it, the content, to weave the tapestry of music around it. "Whether its a script, a novel or a serial, it will always have atma or a hook point, something that triggers the emotions in me. I analyse that to figure out the tunes," he explains.

No matter what questions I throw at him, Anoop has answers at the tip of his tongue. He feels very strongly about Kannada and its fading identity, wishes people would legally download songs and end piracy, believes music reality shows do more harm than good, and also clearly states that a good voice is gods gift. But he doesnt want any other aspiring musician to go through the same journey he did. Whats so bad about being a music maestros student and creating music for hit films month after month, I wonder. Anoop explains, "A musicians life is tough. Theres always a sense of uncertainty in this field. There will be instances wherein you will have work for two months in a row and then in the third month, there will be nothing. Thats where the real test lies."

The secret of success

Having said that, Anoop does have a few pearls of wisdom to offer - "Music is like a big ocean. You have to keep learning. Build a sound foundation before you begin to experiment. A good music composer has to learn to incorporate many different opinions and ideas into his tunes."

His recent project Dayavittu Gamanisi pops up every now and then during our conversation. Not surprising, considering Anoop calls it his most favourite and the most challenging project till date. "Its an anthology with four different stories getting hyperlinked in the end. Usually, for a film, we compose two duets, a sad song and a mass number. But here, we had to look at each story as a different film but with a common point. I had to even let go of four to five other projects for this movie," he reveals. Two duets, a sad song, a mass number: is this formula still relevant, I ask. Anoop exclaims, "Yes, of course! Thats our culture. Why change something that is loved by everybody even today?"

Just like most of the other singers and composers in the industry, Anoop too has qualms about the trend of hiring singers from Mumbai for Kannada films. But he also has a practical solution for it: "As a music composer, my song should demand the voice it needs. For instance, for the song Currentu Hodha Timealli in Love in Mandya, I felt that it demanded the voice of Bappi Lahiri, so I went to him. But to balance the equation, I brought in a local singer for the female portion," he explains, adding that there should be a give & take policy in such matters.

The door to the music studio opens and his sound engineer walks in with Anoops one-and-a-half-year-old daughter Aalaapana. "We had decided her name even before she was born," Anoop beams as he cuddles her. Thats the cue for me to end the conversation and leave the music director to his world of melodies.

For the masses

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Director Suseenthiran is one of a kind. The man, who has made 10 films so far, enjoys immense respect not just from those in the industry but also from the general public, for most of his films are meaningful and socially responsible works of art. They often have a strong social message in the most entertaining manner possible. Now, his next film Nenjil Thunivirundhal is already garnering attention.

In an exclusive interview with Sunday Herald, the director opens up about Nenjil Thunivirundhal, Angelina (the film that he is currently directing with newcomers) and more. Excerpts follow...

Tell us about your film Nenjil Thunivirundhal.

I will say a dialogue from this film to answer your question. To be a part of this society, you do not need the courage to do something that is wrong. You need the courage to do what is right. Today, there are several ways to make money. But some professions and industries should not be looked upon as businesses. They should not be used to make money. If such a thing happens, then our whole society will be destroyed. The story of Nenjil Thunivirundhal has been inspired by a real-life incident.

Your films are known for fantastic action sequences. Will this movie have action sequences too?

There will be fights and action sequences in this movie too but then, each film and story will have a different mood. My stories are always centred around the common man. How does a common man fight? There will be no flying in the air sequences, no superhuman fights. In film-making, two things matter when you shoot an action sequence. One, what is the idea on which the fight is based, and two, what is the emotion that is being carried across. I am someone who firmly believes that every action sequence must be based on an idea. Along with the idea, the emotion must also be spoken about.

Tell us about how you picked Sundeep Kishan for this movie?

When I was making my film Jeeva, I wanted to do it as a bilingual. So, I cast Vishnu Vishal as the hero in Tamil and Sundeep Kishan as the hero in Telugu. However, after shooting for a day or two, I found the entire process of shooting a film in two languages taxing. I realised that I wouldnt be able to shoot the film with two different casts in two different languages simultaneously. So, we just made the film in Tamil. But I have known Sundeep from then and am aware of the fact that he is really passionate about cinema. After shooting my film Maaveeran Kittu, I had a script that was ready but I was thinking of whom to cast. Vishnu Vishal had expressed his interest in this script and said he would love to do this film along with Vikranth. Then, one day, Sundeep called me when Tulasi madam wanted to speak to me. During the conversation, he expressed his desire to work together. And then suddenly, all things fell into place. I believe this film will showcase Sundeeps acting potential and strengthen his position as a strong commercial hero.

Your first film Vennila Kabadi Kuzhu was a blockbuster. Now, we hear that the sequel to the film is being made by your uncle...

Vennila Kabadi Kuzhu 2 is also based on a real story. My uncle entered the world of cinema 10-15 years before I began my journey. In fact, I came to cinema taking strength in the knowledge that he was there. He wants the story of this film to be to be related to the story of my first film and narrated my dads life as the films story. My dads character is played by Pasupathy in the film and his sons character in the film is played by Vikranth.

Tell us about your next movie, Angelina...

Of all the films that I have shot, this one will be the most stylish. It will be a thriller. All the people in this film will be new other than Soori, who has been an integral part of most of my films. I have tried a new way of script writing for Angelina that is bound to make audiences sit up and take notice. In fact, I have shot 75% of the film and I can say now itself that this will be a sure-shot success!

Malay of The Many

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Ports are always the centre of amalgamation of cultures. I have always marvelled at the buzz of colours and the cacophony of noises that surround these port cities. One of the more understated ones is the royal city of Klang in Malaysia. An erstwhile outpost of the British Empire, this city held its importance due to the flourishing tin trade emerging out of this peninsular nation. With a host of British administrators mingling with Chinese traders and Indian workers, it has left a mark on the citys skyline.

I visit Klang to discover these multicultural influences in the form of the architectural beauties and finger-licking food.

Our discovery starts at the Sultan Suleiman Building or the White House, the nerve centre of colonial Malaysia. The British administrative building imposes itself on the skyline with its stark white colour and typical Victorian-era columns. Although it housed the law and administrative offices of the British, it has now been converted into a museum (1988) that honours the ninth Sultan of Selangor, HRH Sultan Salahuddin Abdul Aziz Shah. It houses artefacts, photographs, along with clothing and ornaments used by the eight monarch of Selangor, and traces his life from being a crown prince, then holding various public offices and finally culminating in him being crowned sultan in 1960. The gallery also traces the royal genealogy of the sultans of Selangor till the current monarch, HRH Sultan Sharafuddin Idris Shah.

After a hard days work, the Englishmen used to retire to the Royal Klang Club, which is another throwback to the colonial ages. Built in 1901, it served as the centre for recreational activities for the British officers. There is a typical colonial feel to the place with ample use of wood and leather sofas. The dining room, known as Smugglers Inn, has a nautical feel to it, while the old watering hole, Admiral Benbow Inn, retains its cosy colonial touch.

Kingly built

The Royal Klang club hosts a plethora of sports activities like swimming and lawn tennis, among others. Further down the road lies the Istana Alam Shah, the royal residence of the Sultan of Selangor. Unlike many kings in India, the Malaysian monarchs were on friendly terms with the British. So, it should not come as a wonder when you realise the royal residence of the current king was built by the British. This magnificent behemoth combines the best of Victorian and Saracenic architectures in a way that truly befits a royal residence. Entry to the palace is restricted, but the outskirts paint quite a scenic picture replete with beautifully manicured lawns.

During the times of colonial trade, the British settled hundreds of workers from southern India here. Many of them have gone on to make Malaysia their home, and their influence plays a major role in shaping the landscape of Klang.

Jalan Tengku Kelana or Little India is always abuzz with the colours and smells of India. The footpaths are lined with shops selling home-cooked delicacies along with utensils, clothing and items for home décor. Standing in the middle of all the bustling activities, I feel right at home as the smell of coconut oil wafts into my nostrils.

We then visit Archana Restaurant for a taste of South India in Malaysia. The thalis are served on banana leaves. Not only their traditional food, the Tamilians have also brought their colourful garland shops along with them.

The moment I approach the lane, a beautiful scent hits my nose. The shops have been around for decades and sell large garlands used for purposes of worship. Another influence of South India has been the erstwhile Chartered Bank building, which now has a shop selling Chennai silk saris.

Concentrated faiths

One of the most endearing pictures that I remember Klang by is that of a mosque, a church and a temple all present in the same vicinity. The Indian Muslim Mosque is a remembrance of both South Indian and Islam architectures. It is rumoured that the mosque serves biryani during Ramadan. While St Barnabas Church is a modern brick building, it is Sri Nagara Thendayuthapani Temple that draws me in with its colours.

Going into the skyline, this triangular structure is typical of South Indian architecture, and is managed by the influential Chettiyar community. The temple, one of the most beautiful ones, is dedicated to Lord Murugan.

A bit further down the trail is the impact that Chinese traders have left on Klang. The colourful Kuan Yin Temple is one of the most picturesque Buddhist temples I have seen in a long time. The pagoda-style buildings are beset with colours that would dazzle you. Beautiful carvings on the wall will tell you about the life of Confucius and also about Chinese mythology, including dragons.

The central idol is that of Kuan Yin flanked by his loyal attendants, the Jade Girl and the Golden Boy, while the intricate timber carving on the roofs is mesmerising. Theres also a small koi garden that has a small tea pavilion sitting right above it.

The skyline of Klang would not have been complete without a Roman Catholic church.

Our Lady of the Lourdes Church is built in a typical gothic style with large windows and coloured glass that throw a lot of colours on the walls of the chapel.

The city of Klang is located at a distance of about 1.5 hour from Kuala Lumpur. Its one place that should definitely be on your itinerary when you visit Malaysia.

Words Of a Believer

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It is a rare dancer who says what she enjoys most is upgrading her knowledge. It is this immersion in reading, reflecting and brainstorming that sculpts Anuradha Vikranths dance philosophy, her teaching methods, and her visual interpretations. "Perhaps, my mother recognised this connection much earlier than I did," says Anuradha, who was 10 when she began learning bharatanatyam under Nirupama Rajendra. "My mom says I had so much energy and it had to be channelised into something fruitful."

Channelised it certainly was. Anuradha discovered how utterly fulfilling learning dance and performing on stage could be. "It was dance, dance and dance throughout my teen years. I believe it also helped me academically â€" it gave me a sense of focus and forced me to be disciplined," she recalls.

At a crossroads

Today, Anuradha has gained recognition as a skilled bharatanatyam dancer known for her innovative choreography. Having completed her Ranga Pravesham at the age of 18, Anuradha continued her training with the veteran guru Narmada, who she says was largely responsible for broadening her vision, giving shape to her passion, and ultimately helping her when life gave her a choice - to climb the corporate ladder or to climb the stage.

"The truth is, for women, life is divided into before and after marriage â€" if my husband and his family had not supported me, I could never have chosen dance as a career however badly I wanted to," she says. And thats exactly what she advises her students too. "I find so many youngsters passionate about dance today - no doubt, dance requires a lot of commitment and dedication, but above all, one needs family support."

In fact, it was after Anuradha married Vikranth and moved to north Bengaluru that she started her dance school, Drishti Art Centre. A huge aesthetic space housing both an indoor and an outdoor studio, it started September 2001 with a handful of students, and today, Anuradha trains more than 300 students in the classical dance form. Drishti celebrated 17 years this November with a two-hour performance by over 250 students of Anuradha at the Chowdiah Memorial Hall. "The last 17 years have been a great learning experience for me… but the recent inflow of energy into classical dance is something that has particularly gladdened me," she says.

Anuradha believes parents are realising that dance is not just about a few mudras and steps; it instils values, lets children know about their traditions and culture, and crucially, builds their confidence and teaches them focus and discipline. "Which is why there is so much keenness to learn nowadays; it makes me certain that our classical dances arent going to disappear anytime soon!" she says.

Probably why Anuradha believes Indian classical dance forms dont need any forced experimentation to survive. "There could be tweaking of themes to talk about social issues, but our mythologies are so vast and deep that they are capable of imparting every life lesson," she believes.

Life lessons from mythologies

The dancer does exactly that in one of her productions, Mahabharata - the Essence of Life. A project supported by the Arts Council, England, this production was at the UK recently. "Every episode of Mahabharata imparts a lesson; that is how we structured this performance," she says. Beginning from Yudhisthira being crowned as king, it takes the flashback route to depict the Kauravas and Pandavas as children. "Even as young students, there was so much animosity between the cousins - their jealousy, the bullying, and the enormous peer pressure -arent these the same issues kids nowadays face?" The production takes nuggets of their life and extrapolates them to todays situations, thus achieving what the artiste calls a "seamless contemporary feel."

In her recent production Ekyam, she takes up the concept of Shiva as an upholder of familial values and Parvathi as a strong, independent woman. "Treating your wife as a woman with a mind of her own, imparting teachings to children, and being united - this is what the ekyam (unity) of Shiva and Parvathi is about," she says.

About her creative process, Anuradha says when there is a new production at hand, she first brainstorms with her students and mentors. Once the concept is in place, she formulates the choreography. "I approach the music after my choreography. That way, the vision and feel that I want can be translated on to the compositions perfectly."

But before she does all of this, she reads. And reads. "I am constantly trying to deepen my knowledge about Natya Shastra, the origins of dance, and the path it has taken. I believe this is what keeps me rejuvenated and my choreography far from being jaded. It is this expanding of the self thats most satisfying."

Indeed, who can deny that?

Going Goethe

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I first discovered Goethe in college, reading a selection from Faust. In Frankfurt, one of my first few visits is to the home of the famous German writer, poet and playwright, Johann Wolfgang von Goethe, who was born in Frankfurt in 1749.

His house in Hirschgraben was destroyed in World War II in 1944, but was meticulously rebuilt from its original plans and opened in 1951 - furnished with original baroque pieces, porcelain and art belonging to the Goethe family, conveying the life of a prosperous, erudite family in those days.

The half-timbered Goethe House, made of red brick and stone, is actually two houses joined together, dating to about 1600, which was first bought in 1733 by Goethes grandmother. As I enter the house through the back entrance, I see the wrought-iron staircase with the initials of Goethes parents carved on it. "The first four sandstone steps are original," says my guide. "Goethes father hired private tutors to give his son lessons in Latin, Greek, French, English, as well as dancing and fencing," she adds.

In the entrance hall are large wooden Frankfurt-style cupboards to salvage precious objects in case of fire. The Yellow Room, called the Weimar Parlour, is where all the mementoes collected by Goethes mother are stored. Theres a portrait of young Goethe and the marble bust of Goethe depicting him in the role of Orestes in his play Iphigenia.

The exquisite Blue Room was the dining room with handcrafted Rococo porcelain in glass cupboards and baroque mirrors on walls. "Blue was a very fashionable colour in those days," explains my guide. The bobbin lace cushion harks back to the days when Goethes mother spent her afternoons making lace.

On the corner of the ground floor is also a vintage kitchen with a brick stove, recreating Goethes childhood, with an original water pump linked to the well in the cellar, a luxury in those days. Sunlight streams in through the window, illuminating the wooden racks holding copper pots and moulds shaped like fruits (for making cakes and gelatin salads).

On the first floor are large baroque-style cabinets that once held family linen. The first room that I see on this floor is the luxurious red Peking Room with Chinese-inspired wallpaper holding images of animals and flowers, resembling silk fabric. This room was used for family celebrations, or to greet important visitors.

As situation demands

During the Seven Years War, it was billeted by a French lieutenant, much to Goethes fathers annoyance. On the other side of the landing is the Music Room. "Music was a very important part of Goethes life," explains my guide. I look entranced at the ceiling of the room with stucco reliefs of musical instruments - the mother and sister would sing, and the father would play the lute. The room is dominated by a pianoforte and a beautiful painting of the Goethe family in shepherds costumes.

As I ascend towards the second floor, I see on the landing a gargantuan astronomical clock built in 1746 - young Goethe admired this clock, which shows the phase of the moon and the position of the sun with zodiac signs. I see his Birth Room, a bare room where the author first saw the light of day. "It was on the 28th of August, 1749, at the stroke of twelve noon that I came to the world in Frankfurt on the Main," he writes in his autobiography.

The room has a portrait of him in his old age, and also the star and the lyre, the emblems of the poet. Next to it is his mothers room with a pastel portrait above her desk, and a table that displays delicate cups and saucers, and porcelain of those days from which she had her favourite, hot chocolate. The library room is lined with bookshelves with more than 2,000 ancient gilded tomes collected by Goethes father, covering all spheres of knowledge. No wonder the author writes, "I had from childhood the singular habit of always learning by heart the beginnings of books." Goethes father was also an art collector and collected paintings by Frankfurt painters of his times like Juncker, Hirt and Morgenstern - these framed pictures adorn the walls of the painting room.

Source of inspiration

I see an antique linen press with two wooden planks to flatfold clothes on the landing of the third floor. On the wall is a large painting of the Frankfurt coronation celebration that Goethe experienced in 1764. The show stopper is the Puppet Theatre room which has a weathered toy wooden puppet theatre that the author received as a gift when he was four years old, and cherished greatly. The puppet shows arranged at home were a great source of his imagination in writing plays at a young age.

Finally, I enter the geniuss room that has his original ink-splattered desk where he wrote his early works including The Sorrows of Young Werther.

I feel his spirit and genius here, and am amazed to see that Goethe was also a talented artist. The walls are decorated with his drawings and sketches - I love the sketch of his room and the portrait of his sister Cornelia. There is also a silhouette of Charlotte Buff, his first love! My visit ends with an exhibition that showcases details of the Goethe family, the history of the house and how Frankfurt was in that time and era. By visiting his birthplace I get a window into the life of the genius who, in spite of his upper-class upbringing, became a rebel and a freethinker. Someone who believed, "Personality is everything in art and poetry."

Pinnacle in his sights

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With sport, finding the trajectory towards greatness is what all players strive for, but only a handful realise the goal. Disappointments, heartbreaks and serious injuries lead to the downfall of many, but the ones with true grit overcome such adversities and etch their names in history books.

It was November 16, 2014 and a shy, young lad from Guntur was up against badminton superstar and legend Lin Dan in front of the latters home fans in Fuzhou, China.

The first game had gone the way of the Indian as he displayed nimble footwork and vicious smashes against a two-time Olympic champion. Precisely 21 minutes later, scenes of euphoria engulfed the court-side of the Haixia Olympic Sport Centre as an elated Kidambi Srikanth exulted at 21-19, 21-17 as he became the first Indian to win a Super Series Premier mens event.

This, the China Open Super Series, was the first and what Srikanth calls his most memorable Super Series title. Critics may have called the first a fluke, considering he didnt win his next till 2017, but he has ended all doubts with a stupendous season so far, soaring to the elite ranks of world badminton.

"I would still probably call the China Open my best win to date because I was very young and just getting into the bigger leagues then. That said, I honestly treat all my titles the same. That win was special because facing someone like Lin Dan whom weve all grown up watching was a daunting task and he was at the top of his game then. So definitely, beating him and that too in front of his home fans was an incredible experience," says Srikanth.

He backed his China success with a triumph at the 2015 India Open beating the current World No 1 Viktor Axelsen, but, by his elevated present standards and plethora of recent titles, went through a lull in 2016.

What had started with Lin Dan, threatened to end with him as well, as a three-game loss in the quarterfinals of the 2016 Rio Olympics hurt Srikanths morale immensely and a subsequent ankle stress fracture during the 2016 Korea Open proved to be another damaging blow.

"That was a tough phase for me personally. It was actually a real close affair against Lin Dan there (at the Olympics) and I was highly disappointed with my result because there were two crucial points that slipped away.

"Then the injury happened and you cant really predict whats going to happen. But Im glad I realised that the best thing to do was to focus all my energy on recovering fully and overcome it."

But everything changed this year for the 24-year-old as he rose like a phoenix to accumulate four Super Series titles in 2017 alone, and with it shoot himself to World No 2 in the BWF rankings.

By virtue of his victories, Srikanth has also joined an elite pack of players â€" Lin Dan, Lee Chong Wei, and Chen Long -- that have won four Super Series titles in a year. Quizzed on whether it was overwhelming to be in such a position, he calmly said: "Im feeling really happy. But before I can comment further, Id like to finish my season on a high. Of course they are the biggest legends in badminton. To have my name feature in the same list with them is a thoroughly special feeling. Im excited by it."

Srikanths feat was even more impressive as he overcame heavyweights Chen Long (Australia Open), Axelsen (Denmark Open) and Son Wan Ho (Indonesia Open) en route.

Going from a young boy who hated fitness routines, Srikanth is now rubbing shoulders with the most nimble and fleet-footed badminton players across the world. This part of his game has come to the forefront post his ankle injury. Srikanth reveals that he worked really hard on his fitness, while retaining most aspects of his on-court play.

"It wasnt about my game. I didnt really tweak it too much. For me, it is more about knowing your body. The key is to acknowledge how I actually feel before I make any conscious decision of pushing myself to the limit and coming back onto the circuit. I was happy to take my time. It was a slow process and I didnt push myself. One small step at a time was what it was."

When fitness of players is mentioned on the Indian badminton circuit, one name comes to mind â€" that of Indonesian coach Mulyo Handoyo. Multiple players have mentioned in numerous interviews that Handoyo, who previously coached the legendary Taufik Hidayat, has brought in a regime that will catapult physical levels of the Indians to greater heights.

Joining chief national coach Pullela Gopichand in the beginning of 2017, Handoyo has delivered results consistently in the current season.

"Handoyo has been a great addition to the set-up and hes actually taken Indian badminton to the next level. Hes changed the entire dimension of how we train. He has 25-30 years of experience. To have him and someone with the expertise of Gopi sir, we can see that badminton in the country is headed in the right direction," opined Srikanth.

In recent years, Saina Nehwal and P V Sindhu have been the flag-bearers of Indian badminton but the male players have hit the headlines in superb fashion, with Srikanth, H S Prannoy and B Sai Praneeth making the world sit up and take notice of them. Srikanth believed that for a more sustained domination of the sport in both categories, there was still a lot left to be done.

"I think the amount of hard work we have been putting in has been really helping us improve various aspects of our game. But if we want to stay at the top for long, there is a lot more we need to do and remain focused on doing that. Saina, Sindhu, (HS) Prannoy, Praneeth and I have been doing really well. I dont see why we cannot continue to dominate the scene as long as we are honest with what we do."

The hectic nature of the season has caught up with Indias top mens shuttler as he will give the China Open Super Series Premier and the Hong Kong Open Super Series a miss. A quadriceps muscle strain to his leg during the Senior National Badminton Championships in Nagpur earlier this month has effectively ended his hopes of becoming World No 1 and he will now hope to regain full fitness and mount a challenge at the season-ending Dubai World Super Series Finals in December.

"My immediate focus is to play well in Dubai. I really want to do well there since its the season-ender. I reached the World Super Series Masters final in 2014 (losing to Long in the semifinal) and hope I can take one step further this time."

No matter what Srikanth does from here on, he definitely has joined the upper echelons of the badminton world. With age on his side, this trailblazer is sure to enthrall one and all for many years to come.

The secret behind Federer's late surge

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Pierre Paganini took part in track and field in his youth, and when he first decided to become a coach he was interested above all in working with soccer stars. But it is in tennis, a sport he has never played regularly, where he has made an indelible mark as the key man in the shadows for Roger Federer and Stan Wawrinka.

If they have continued to win big into their 30s, it has a great deal to do with Paganini, the 60-year-old Swiss fitness coach who takes a cerebral approach to working up a sweat.

"A big part of the reason that Im here where I am today is definitely because of Pierre," Federer told me in a recent interview. Where Federer finds himself now is back in London at the ATP Finals, the tour championship reserved for the worlds top eight players.

Federer, now 36, is the oldest man in the field and won all his round robin group matches against Alexander Zverev, Marin Cilic and Jack Sock. Federer has won the prestigious event a record six times.

Though he skipped the entire clay-court season to preserve his body and his spark, he has swept nearly all else before him, winning seven titles, including the Australian Open and Wimbledon, and losing just four matches all year.

Back to No 2 in the rankings behind Rafael Nadal, Federers winning percentage of 92 percent is his best since 2006, when he went 92-5, winning 95 percent of his singles matches (a season, it should be noted, in which he did play on clay).

Paganini has worked with Federer for 17 years, longer than any other member of Federers current team. Is even he surprised by his mans 2017? "Yes, totally, completely," Paganini said. "You have to be honest. Its a majestic, fantastic year. Its not possible normally."

Paganini, who does most of his work with Federer off the tour in Switzerland and Dubai, has seen only two of Federers 19 Grand Slam tournament victories in person. In 2009, he was in Federers box when he won his first and only French Open. This year, he was at Wimbledon.

Paganini said he was very much in the moment as he watched Federer defeat an emotional Cilic on the grass of the All England Club, but when Paganini caught his flight back to Switzerland, he said images kept surfacing in his brain of all the work Federer had done off camera to get back to this astonishing level.

One of the most powerful images was from February 2016, when Federer was still recovering from surgery to repair a torn meniscus in his left knee, the first surgery of his life.

"Rog worked with his physical therapist for two weeks and when we started the fitness training, at the beginning he had to, for example, jog 5 meters and then walk backwards," Paganini said. "It was like he was learning to walk again. You can be the most positive person in the world and there are still moments where you wonder, is he really going to be able to play high-level tennis again?"

The answer has been a resounding yes, although it required another six-month break from competition at the end of 2016. The question is how long Federer, the oldest mens singles champion at Wimbledon in the Open era, might be able to sustain this if he continues cherry-picking his spots and staying fresh in the head and legs.

Paganini says it is entirely up to Federer.

"I think only Rog will know when its the moment that hell want to say perhaps this is enough," Paganini said. "Rog does have the biological age of 36 but for me, he has an athletic age that is younger than that and yet he has the maturity of someone well over 40. So its quite a balance."

Federer and Paganini met when the former was 14 and a new arrival at the Swiss national training center in Ecublens near Lausanne. Federer, the youngest boarder there, was still working through his talent and his temper. When he eventually put together his own team in 2000, he asked Paganini to join him.

"Hes made fitness workouts so enjoyable, if they ever can be," Federer said. "I just follow his beat. Whatever he tells me, Ill do it because I trust him. People ask me, do you still do your physical tests and stuff? I dont have to do any tests because I work with Pierre and he knows and sees if Im moving well or not; if Im slow or fast; all these things. Hes had a huge part of this success, and Im happy I called him way back when."

Paganini said his methods of training Federer have changed with the years. They used to play other sports like basketball in Federers youth to add variety but now focus on activities that directly correspond to tennis. According to Paganini, they emphasise complex drills that mimic the multi-pronged challenges of the sport.

"You have to be strong, fast, coordinated and have endurance in tennis and you have to do drills for that," Paganini said. "But you also should never forget you have to use this on a tennis court; not on the road or in the pool. So you always have to create a link between the speed and the athletic way its used on the court. Nine times out of 10 on the court, the speed is in the first three steps and then youre playing the tennis ball. So you have to train to be particularly strong in the first three steps."

Paganini said he truly believes Federer has not lost a step while acknowledging that full transparency was not the goal. "If there is anything that has diminished, its for the opponents to figure out," he said with a chuckle.

"When you judge speed in tennis, you have to judge it differently than you judge a 100-metre runner," Paganini said. "You have to judge a great deal the reaction time and how well the speed is coordinated. Its not only important to move fast. You have to move right, and with the nature of the sport, you have to move fast and right for a long time in a match. Rog has proved like others before him that its possible to do this past 30. I think what we forget with him is the discipline he has had for many, many years. All his life and his philosophy revolve around tennis."


It's Italy's Year Zero

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One by one, they slipped away, in those wakeful hours that followed Italian soccers darkest day. Gianluigi Buffon, denied his dream of a sixth World Cup, led the way, confirming with tears in his eyes that he would not play for his country again. Daniele De Rossi and Andrea Barzagli soon followed.

Italy lost two World Cups last Monday night: first their chance of appearing in the 2018 edition, and then the three players who represented the final links to 2006, the last men standing from the generation that conquered the world.

As Italy tried, on Tuesday, to digest the idea that they would not be present at a World Cup for the first time in 60 years, the country embarked on that journey that comes as an inevitable consequence of a sporting failure that has the air of a national humiliation.

First, they sought people to blame, soon settling on two candidates: Gian Piero Ventura, the coach, and Carlo Tavecchio, president of the FIGC, the countrys soccer federation. Tavecchio fired Ventura but ignored growing calls that he resign.

Then, as they absorbed the shock and its fury abated, Italy began to seek explanations. There is an instinct in these situations to call for what the newspaper Gazzetta dello Sport labelled a "Year Zero," to assume that only seismic change can rectify a seismic shock, to demand that everything be ripped up and started again. The disappointment is too intense to be rooted in bad luck; it must, instead, be proof of some wide-ranging systemic failure. It is tempting to look at the consequence and reverse-engineer a cause.

In the 24 hours after the loss, Italy did just that. Former Italy manager Arrigo Sacchi advised that "we have to do many things differently from now on" for the country to regain their prestige and their pedestal. Urbano Cairo, the president of Torino FC, was busy calling for a "complete restart."

An editorial in Gazzetta dello Sport called for more money to be invested in youth academies and suggested a task force be dispatched to learn from the successes of Germany and, more recently, England in kick-starting the development of young players.

It all fits so neatly. Italy is a country used to measuring the speed and scale of its own decline - in society as much as in sport - while the demise of Serie A, the top league, is an article of faith across soccer. Not long ago, it was the most desirable and most admired club competition in the world. Now it languishes behind the Premier League, the Bundesliga and La Liga for glamour, interest and financial power.

Its stadiums, with only a couple of exceptions, are rotting; it continues to struggle with the scourge of some of its clubs ultras. Its teams, Juventus apart, generally have little or no effect in continental competitions; many are over-reliant on ageing players, their legs weary and powers dulled. It is Italys self-perception - of a country slowly, inexorably crumbling - made flesh and played out every Saturday and Sunday.

That logic, though, rather ignores the reality. Serie A is the most vibrant it has been in years, with arguably the most engaging championship race in any of Europes major leagues. Napoli, described by Manchester City manager Pep Guardiola as one of the best teams he has ever faced, Roma and Internazionale all have the look of genuine challengers to Juventus hegemony.

Serie As teams, meanwhile, have a younger average age than those of both the Premier League and La Liga, and the countrys young players are enjoying significantly more success than they have for some time: Their under-19 team finished as runners-up in last years European Championship, and their under-20s were third in this years World Cup.

Most remarkably, some of them are even being given a chance to play in Serie A, a league with a chronic distrust of youth. A core of young players - Gianluigi Donnarumma, Manuel Locatelli, Alessio Romagnoli, Patrick Cutrone - have enlivened AC Milan.

Juventus can boast Daniele Rugani and Federico Bernardeschi; Lorenzo Pellegrini joined Roma this summer; in Pietro Pellegri, a 16-year-old striker, Genoa may be in possession of the countrys brightest talent; Atalanta, a team with a squad drawn in no small measure from its youth academy, qualified for a European competition for the first time in decades last season.

Italian soccer has its problems, of course - stadiums, ultras and television rights, most pressingly - but it is in a healthier state now than, for example, when the country won the World Cup in 2006, in the aftermath of a match-fixing scandal. It has not failed to qualify for Russia because of some structural shortcoming or moral flaw but for rather more prosaic reasons.

First: Italy have failed to understand how FIFAs ranking system, which decides which teams are seeded where in World Cup qualifying, works; or, more pertinently, their authorities have failed to understand how to make it work for them.

Italy have a woeful record in meaningless friendly matches over the last five years. That has seen the national team, one of Europes superpowers, slide down those FIFA rankings, leaving them as a second seed when the qualifying draw was made. Italy were duly drawn with Spain, a top seed. Better results in friendlies - or, ironically, merely playing fewer friendlies - would have spared Italy such an intimidating opponent in their group and might have averted the need for a playoff altogether.

Second: When the FIGC, which governs Italian soccer, sought a replacement for Antonio Conte last summer, it settled upon Ventura, the experienced but unremarkable coach of Torino. Ventura had no experience in international soccer, and little at the summit of Serie A. He was attractive because he seemed substantially calmer than his predecessor. He was also significantly cheaper than Conte, a world-class coach in the prime of his career, who is now at Chelsea. As it has turned out, the FIGC got what it paid for.

And third: Though Italy are the most surprising absentee from Russia next summer, missing a World Cup for the first time in 60 years, they are not the only major nation that will not be present. The Netherlands missed out, too, and so have Chile, the United States and Cameroon - the champions of South America, North and Central America and Africa.

International soccer is no longer the sports gold standard; its quality is not as high as it once was. It is, however, more finely balanced than it has ever been. Size is no guarantee of quality - witness Icelands qualifying ahead of Turkey - and neither is history. Italy, and the rest, just happened to stumble as the playing field levelled.

That is not to say, of course, that Italy can simply continue on their path, change coaches and hope for the best; as former manager Sacchi said, it is an error to "seek a scapegoat to salve our conscience," to believe an individual can be held responsible for everything in a team sport.

Italy were eliminated in the group stage of the 2010 and 2014 World Cups, failing to beat such luminaries as Costa Rica, New Zealand and Slovakia in the process. "This disaster has not come out of the blue," as Sacchi said.

The problem, though, is less with the future than it is with the past.

Massimo Oddo, a part of the 2006 team, said Tuesday that the World Cup victory had tricked the country into thinking "everything was perfect, that no change, renewal or improvement to our general system of football was necessary."

Crucially, that extended to the players themselves. That 2006 generation cast the longest of shadows: The fact that, 11 years on, three of its members were on the field in Milan is a measure of how long it has endured. Italy could not quite bring themselves to say goodbye and, in doing so, they deprived subsequent generations of air.

Now, in the aftermath of Milan, and Sweden, it has no choice. Italy must move on, and they must start again. Those goodbyes were the changes they needed. Italy, at last, have their Year Zero.

'Harder you work, luckier you get'

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As one of golfs "Big Three," Gary Player set the standard for worldwide tournament play, winning more than 100 titles, including nine major championships. Luck is the residue of hard work, Player is prone to say, and he is quick to credit his father, who worked as a captain in a gold mine 12,000 feet underground, teaching by example that with hard work, he could do anything.

"I was with him one time when he finished work," said Player. "He took off his shoes and poured water out. I asked him why he was walking around in water. He said he wasnt. That was his sweat."

His fathers words imbued in him a core philosophy that would guide him throughout his life. Player, 82, continues to circle the globe with seemingly unlimited drive.

"Im as busy as Ive ever been," Player said. "Traveling around the world designing golf courses, playing some tournaments, ranching, studying genetics, learning about eating. Im so inquisitive about so many things. I still want to learn. So many people seem to lose their desire to improve and grow as they get older, but I cant say that has happened to me."

Excerpts from an interview:

You were an early adopter to the importance of fitness in golf success. What do you say to the critics who feel that lifting weights has been detrimental to Tiger Woods and Rory McIlroy, among others?

Nonsense. Tiger played his best when he was training hardest in the gym. And Rorys strength is an asset to his game because he is competing against much bigger and naturally stronger players. Its not just strength training though, but flexibility and core stability, too. Nearly all the top professionals today are working out. There is a reason the PGA Tour has a traveling gymnasium. Physical fitness gives players an advantage - its that simple. If you dont work out, you may linger, but you will not last.

Rory McIlroy (Masters), Phil Mickelson (US Open) and Jordan Spieth (PGA Championship) all need one more leg to complete the career Grand Slam. As one of the five golfers who have previously won all four majors, who do you think will achieve it next?

The next major on the calendar is the Masters, so Rory has the next chance. Augusta suits Rorys game. I think it could be him. I hope Jordan achieves this, too, as it really is the holy grail of golf.

How did you become such a great bunker player, and what is your secret?

You have to be strategic, and you have to know the sand. But really, the harder you practice, the luckier you get. No more is this true than with bunker play. My mentality was, why not make a part of the game others find difficult to be one of my strengths? Mentally, it gave me a significant advantage. I thrived in the sand. But it was because I spent many, many long hours perfecting this part of my game. Nobody could beat me. I dont care who it was. Take Tiger Woods at his best, he could never beat me out of a bunker. Never. Nobody could.

You made as many clutch putts as anyone. How did you acquire the putter you used?

Its a funny story. Arnold Palmer and I were playing in Japan on a new course, and the greens were bumpy, and I thought I needed some loft. So we go into a store in Tokyo, and theres a long, thin stall with a drum of putters. I picked out this putter, and I liked it for these greens. It had a $5 tag on it. I put it back. We werent in a hurry. We looked some more. At the end, I went back for the putter I liked. Now it has a six in front of the five. The salesman saw me. Smart man. I wish he worked for me. Best $65 I ever spent. I won over 100 tournaments worldwide and the Grand Slam with my Black Knight blade putter.

What do you make of the latest generation of golfers taking spring breaks together and waiting at the green to celebrate each others victories?

Its terrific. Winning is great, but sharing a victory is even sweeter. We did the same. The camaraderie I had with Jack, Arnold, Lee and many others on and off the course helped me be a better golfer and a better person. Dont get me wrong - we wanted to beat the hell out of each other. But when the contest was over, we celebrated together like the guys are doing today. You have to love it.

Music and Dance Reviews

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KARTHEEKA SANGEETHA SAMBHRAMA

The Nada Jyothi Sangeetha Sabha Trust celebrated the Kartheeka Sangeetha Sambhrama last week, with vocal, veena and a musical feature, in collaboration with the Sri Rama Mandira, Malleswaram.

Vidushi Yoga Vandana, who gave a veena recital on Thursday, hails from a highly educated and cultured family. Her father Veturi Anandamurthy is a Telugu scholar and husband Dr Venkat Kamesh is an outstanding scientist. Yoga Vandana is a post graduate in science (Zoology) and has passed Sangeetha Alankara also in music. A student of V.S. Anantha Rao, Yoga Vandana is an A-top grade Veena player of Akashavani and has won prizes in Bangalore Gayana Samaja and Kanchi Sabha.

With this background, Yoga Vandana lived up to her reputation in the current concert as well. The celebrated Kaanada atta Thala varna gave a good idea of the feast that was to follow. The Vandisuvudu Aadiyali was followed by an infrequent swarajathi of Veena Seshanna in the raga Kharaharapriya. Shringara Lahari in the raga Neelambari, was a popular composition of yesteryears in the whole of South India.

The vainiki built a reverberating base in both Ranjini (Durmargachara) and Reetigowla (Jananee), with a melodic grace. The climax came with Keeravani alapana, the 21st mela and a popular rakti raga. The rendition of the raga and swara (for Kaligeyunte of Tyagaraja) gave a dignified picture of the soulful melody. The Mand thillana was also lively.

It was melodious, classical to the core sans gimmicks. The percussion duo Ranjani Siddanthi and B. Bhagyalakshmi gave good support on mridanga and morsing respectively.

DUAL TALENT

The Saraswathi Sangeetha Vidyalaya presented Govind Lakshmi Bhave Puraskar to V.S. Rajagopal and Veena Murthy last week. The awards function was followed by a music recital by Varijashree Venugopal. She is a multi-faceted musician with several accolades to her credit, in the young age itself.

It was a different beginning as she opened the concert with the Yeti Yochanalu, which is not usually chosen as a opening kruthi. This particular Tyagarajas composition in the raga Kiranavali, the Sampurna Audava raga, is a shining raga, which attracts the attention of the connoisseurs, at once!

Varijashri added swara briskly as well enchancing the impact of the composition. Saranga is another attractive raga, in which she selected Nivada Ne Gana keerthane. Raga Jaganmohini, which is a Audava Shadava raga, became popular through Shobillu Saptaswara of Tyagaraja. Varijashri meditatively dwelt on Jaganmohini and the raga came alive and the composition brimmed with confidence, to emerge as a solid piece.

She sang the popular devaranama Jagadodaddarana adding a good feel. Then she shifted over to flute and gave a brief recital with just 4 small compositions. Maanasa Sancharare, Krishna Nee Begane Baro, Venkatachala Nilayam and Bhagyada Lakshmi Baramma. It was melodious, performed with good Bhava and it is worth watching Varijashris career. She was ably supported by D. Achutha Rao on violin and Adamya on mridanga.

Vidushi Yoga Vandana

'People call me a livewire'

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Actor Harshika Poonacha is overwhelmed with the feedback she has been getting from her fans, friends and family for her cameo in the just released, Upendra Mathe Baa. Her small but significant role has added a lot of colour to the movie.

The way the actor has modulated her voice and tweaked her body language is something to watch out for. Harshika also feels that acting with Upendra has changed her perspective towards filmmaking and her approach to the script and characters. In an interview Harshika talks about her role and more.

How is the response for your role in Upendra Mathe Baa?

It is a cameo but I am happy that genuine film lovers who have watched the film seem to have loved my character and were able to connect with it. I have been flooded with messages from my fans on Twitter, Instagram and a few social networking sites telling me how much they loved my character.

What was the best part of working on this project?

I had to change my voice to sound flirty yet cute. My body language too had to be changed to suit the role. There is a scene in the film where I recite a poetry, proclaiming my feelings for the man I love. I enjoyed playing this part because this is something that I
have never attempted before.

On working with Upendra....

Upendra is a wonderful human being and a great co-star. In fact, he taught me how to emote some of the scenes and gave me the confidence to carry it off. This was just a cameo but I want to work again with him in a full-fledged film.

What is your next project?

I play the title role in Chitte and I go by the character name of Sona. I have two-shades in the film. One is that of an innocent girl and the other is a total contrast.

How was your experience of working in Chitte?

I thoroughly enjoyed portraying these two shades. I have played tough roles and portrayed dark characters in the past. The tougher the role, the better it is.

You have also been fortunate to play several title roles. Tell us about it?

Yes I have. It is prestigious to bag title roles but that comes with a lot of responsibility.

What you do like about yourself?

People call me a livewire and I quite agree with that, because I dont get bogged down by anything that easily.

Whats in the pipeline?

I am working on a Malayalam project called Charminar. Here again, I play two contrasting characters. In one shade, I portray the character of a geeky girl and in the other, I play a supermodel.

Reviving the lost glory

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The de-weeding process at Bellandur Lake has been stalled again notwithstanding all the focus generated by conservationists to save the water body. Several other lakes in the city, like Sarakki Lake in J P Nagar, Byrasandra Lake in Jayanagar and Horamavu-Agara Lake, too have turned into cesspools as they arent cleaned and de-weeded as often as they should be.

Citizens who live near lakes have registered their protest against the slow death of these waterbodies and are taking active part in making sure the lakes are cleaned. They believe that unless they raise their voice, the government will not get down to action. There are several instances across the city where residents have joined hands with the government to hasten the process of cleaning and rejuvenating the lakes.

Rahul R S, an employee with the telecom industry and a resident of Rajarajeshwari Nagar, got together with a few other residents to form RR Nagar- I Care, an informal group that works with government officials to ensure that the cleaning and de-weeding of Halagevaderahalli Lake is done on a regular basis.

"We monitor the work of the government and make sure that they dont skip the cleaning process. Our efforts have paid off because today, after consistent efforts, the lake is clean and attracts may a rare species of birds," says Rahul. He adds that the residents also keep a watch over the lake and its surroundings.

"Earlier, there were cases of tree thefts, littering and anti-social elements hanging around the premises of the lakes. Now even that has reduced," he adds.

J Krishnan, a resident of Bannerghatta Road, has been instrumental in reviving and maintaining the Kalena Agrahara Lake. He is a core member of the Kalena Agrahara Lake Preservation and Beautification Members Association and the members have made sure the lake is cleaned at least three to four times a year.

"A lake covered with weeds is an eyesore. We spend nothing less than one and half lakhs a year to get contractors to clean the lake. This has immensely benefitted the residents in the vicinity," informs Krishnan.

But there are a few waterbodies like Sarakki Lake and Byrasandra Lake that still remain in a state of neglect. Sudarshan H S, a software professional who lives near the Byrasandra Lake, points out that the lake hasnt been de-weeded for a long time.

"The Byrasandra Lake has also been encroached upon from all sides. You dont know where the lake begins and where it ends. People also throw garbage near the lake which aggravates the problem," says Sudarshan.

The story is no different at Sarakki Lake. Vijay M, an architect, who lives just opposite the lake, says "Weeds cover more than half the lake and construction debris and garbage is dumped along the periphery of the lake. It is only now that they have slowly started cleaning it up." He adds that there was a time in the city when all the lakes were interlinked and that link is clearly missing now.

Running for a cause

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The city witnessed a very different run on Sunday with men and women running together at the Beardo-Thon held in Cubbon Park in the wee hours of the morning.

Hosted by the Bharath Beard Club and the Mumbai Runners, this event was held to mark International Mens Day. The event was held as an initiative to run and raise awareness for mens health.

The event saw a robust registration which came as a pleasant surprise for the organisers and saw the participation of regular runners, young and old men, professionals and people from all walks of life.

Dilip Kumar, a businessman, who heard about the event through Facebook, said that he was excited because he loves running and the event was held in support of mens health.

"Its rare that two passions come together in one event. I also made it a point to connect with others and encourage them to come. Many from my running group, No Brakes, came to the event," he said.

Dilip, who is a regular at Cubbon Park, says that the route was familiar to him. "This made the run easier for me. Like any other running event, this was a big confidence booster and a platform to hone ones running skills," he added.

For others like Sharan M, a senior associate, the event was "about exploring many different aspects of manhood, varying from men health issues to maintaining beards". He said, "It was exciting to see the Beardos (members of the Beard Club) sharing many interesting stories. Some cheered us while we were running while others told us about how to maintain a beard."

After the registrations, the runners were briefed about the route. The starting and ending point was the parks bandstand. The event also included a zumba session.

"Apart from the participants, it was nice to see others cheering and supporting us too. Also many women came out in support of the event, which was very encouraging," said Sharan.

Most marathons or runs that happen in the city are to support women or child issues, which is where this event stood out, said Anju KP, a photographer. "The event was held on an apt day, which also marks and highlights the cause behind No Shave November. When men can come out in support of our causes, why cant we do the same?" she said.

Anju felt that the best part of the event was that it was a free one, which encouraged many to participate.

"Its when we stand together as a team that we can battle deadly episodes, especially health issues like cancer and other such ailments," she added.

A mirror to the city

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The theatre was created to tell people the truth about life and the social situation," said Stella Adler once. On these lines is Boiled Beans On Toast, one of the different plays that will be presented on stage as part of the Deccan Herald Theatre Festival 2017, which will be on from December 3.

This play, which is written by Girish Karnad, revolves around the unsung tales of ordinary Bengalureans and their struggles. It is directed by Prakash Belawadi. Starting under a single roof, the characters in the play branch out in various directions and get entangled in the swirl of life. They lose track of themselves, separate and unexpectedly collide and careen off each other. The city is Bengaluru but anyone familiar with life in a modern Indian megalopolis will instantly respond to this portrayal of urban aspirations, conflict, blind groping and violence. The struggles and the madness in the play are interwoven with the joy and the hilariousness of everyday life in Bengaluru.

On the relevance of the play, Prakash says, "In Girish Karnads Boiled Beans On Toast, the play talks about people who think about the city as a haven and more. Karnad himself is a victim of road-widening near his residence and he fought against it without success. He lets his characters speak without comments and without judgement. The play is seemingly light but loaded with nuance."

Prakash adds, "The only character who is genuinely from the city, who has been living in the city since he was two years old, is Kunal. Like he reckons, the city is an accident, it exists and survives for no reason."

The director feels that it is typical for Indian intellectuals to romanticise the village as innocent, a place of harmony and grace. "And in contrast to paint the city as a place where people become corrupt, lose idealism and compassion for fellow beings. It is rare to get a vision that is opposite in this country, where the characters say that I managed to find relief in the city. This is why a Karnad play is unique," he adds.

Why was this play chosen for the festival? "The reason is strange yet simple - I have always wanted to work on a Girish Karnad play," says Prakash. The play is being presented in a unique format.
"Its an English play but to me the play should sound like how Bengalureans speak. The effort is to make the play seem like our thing," he says.

Prakash points out that it is difficult to write about contemporary themes in the city. "There are many films which are shot here but are never about the city. The purpose of art is to represent the familiar and to not take it for granted and to make the unfamiliar seem intimate. It will be unique for Bengalureans to watch a play about themselves," he adds.

The Deccan Herald Theatre Festival, which is curated by Sandbox Collective, aims to be different from its earlier editions. Ask Prakash about how this festival would connect to the citys youth, he says, "The festival is being held at multiple venues which should attract a mix of audiences. The play is about young people and all the people in the play who matter are young," he says.


'I love how vibrant the markets are'

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Exploring new places always excites Irene van Zeeland. An opportunity to learn dance in a different format is what brought her to the city. Born in The Hague, The Netherlands, this young expatriate considers Amsterdam her hometown. She is excited to be here as a visiting faculty member for the diploma programme with the Attakkalari Centre for Movement Arts.

As a freelancer, Irene has also worked in New York and Paris for a bit. "I love exploring new places. So, moving here wasnt a challenge. It was when I was in New York that a friend from Britain, who had been a part of a programme with Attakkalari, suggested that this would be a place I would like to visit. I connected with them and it worked out well," she says.

"I was offered a programme where I can teach and shape the curriculum accordingly. This opportunity to explore my interests on a personal and professional level was exciting," she adds.

Having been briefed by her friend about Bengaluru, Irene was told that it would be easy to live here. "I was told that the students were very dedicated and had the eagerness to learn. I found that to be true. Students here are like sponges, they absorb everything well," she says.

Since last September, the expatriate has grown to love different things about the city, be it the culture or the food. Recollecting her initial few days, Irene admits that she was completely lost. "I had no idea how to reach the city and what was where. Since I was used to the subway system in New York and Paris, I found transport here challenging. But I started using Google Maps and I slowly found my way around," she says.

Irene feels that Bengalureans have always reached out to help. "I stay in a place where one doesnt find a lot of expatriates. My accent is weird for the local people but they still help me out. Everyone did whatever they could to help me settle in," she says.

She feels that Wilson Garden, where she stays, is like a town within a city. "Everyone knows everyone there. From the shopkeepers to the people near my street, many have made my stay here interesting," she says.

"Another interesting thing is the importance one gives to their families here. Despite work schedules or anything else, people give great importance to family. How people care for each other is very impressive," she says.

Talking about her observations in the city, Irene says it was a different experience to see cows on the roads. "Back home, there are designated spaces for cows, like fields," she says with a laugh.

About how things work here, she says, "Its very unorganised here. I am used to getting ready for things in advance. I am not used to getting things done at the last minute."

Every new place adds on to ones own character and Irene says that she has now learnt to slow down. "Ive learnt to go with the flow now. I have become less obsessed with organising things and have started to appreciate the flexibility here," she says.

Irene enjoys Indian food and doesnt mind the spice level at all. "I have always loved the spice in the food here. I am used to Indian food from my childhood as my father used to prepare Indian dishes. I love different items like Palak paneer, etc," she says. She enjoys dosa and idli quite often. "I love going to Nagarjuna. In fact, when my friends try to take me to Continental places, I always suggest smaller and local places," she adds. She also likes hanging out at Phobidden Fruit or at TOIT.

Though Irene isnt a fan of shopping, she loves heading to Commercial Street when she wants to buy some fabric or knick-knacks. "The shopping areas here can be insane but fun. I love how vibrant the markets are here," she says. To relax, she loves heading out with a book to either Cubbon Park or Lalbagh Botanical Garden.

When she has time to spare, she goes for dance or art-based performances, likes watching plays at Ranga Shankara or spending time at 1 ShanthiRoad Studio Gallery. "Ive learnt a lot about the culture over a cuppa coffee. Ive also noticed that the youngsters here are not very different from elsewhere. They all have similar interests and hobbies, face the same situations and problems. Ive been able to gel in well," she says.

"It has been a fun ride till now and I want to stay on as long as I can," she says.

'It is a great learning curve'

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It is the urge to experiment and learn how to use existing ingredients to make something new that prompted Billie McKay to sign up for the Masterchef Australia contest in 2015. And life changed almost overnight for her after she emerged the winner. Her life took a new turn and she began looking at everything from a totally different perspective. Billie, who was in the city recently for an event of Fabelle, talks about her love for cooking and life after winning the contest.

How has life changed after the contest?

Life has completely changed after I won the contest. Earlier, I wasnt very sure what I wanted to do but now I am more confident about making a career as a chef.

How did winning it change you as a person?

The experience of being a part of the contest has made me a more confident person and has toughened me. It is a great learning curve.

Who were you favourite judges?

In the beginning, I liked Gary but during the competition I slowly took a liking to George because he had so much information to share with everybody. Towards the end, Matt was a favourite with many because after the challenge, he would come around to everybody and talk. That showed that he really cared.

Are you an experimental cook?

I began by following a recipe book but when I gained more confidence, I began experimenting with strange flavours and tried to make something sensible from it.

Do you cook Indian food?

I love Indian food. I started by making Butter chicken and Dal. I am still perfecting my skills at making Indian curries.

What is important - the smell or taste?

Both have their importance. The smell of something would make me want to eat it almost instantly, but the taste is important because only smell doesnt complete the dish.

How do you handle success?

I dont know. The whole concept of success is very surreal. I dont feel very different from when I started but I am excited when people, especially children, tell me that they were inspired to cook after watching me.

A dish that went all wrong...

One of my experiments was straight out of a memory. I grew up on a dairy farm where we had a lot of turnips. My mother would make some delicious dishes with them. I once tried to make something fancy from turnips and everything went wrong.

Your advice to aspiring chefs...

Keep trying out different dishes and never stop experimenting.

A touching tale of many lives

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Director Venkat Bharadwajs Kempirve is inspired by real conversations that he heard when he was sitting in Tagore Circle Park in Gandhi Bazaar. What moved him was a few senior citizens talking about the problems that they faced with their children. The gnawing gap between the two generations and mismatched thinking forms the crux of the story of Kempirve.


Venkat recalls that he would go the same spot regularly for three days to develop the story. "I was thoroughly moved by what I saw and the many issues raised by the elderly. I also observed youngsters aged between 18 and 25 seated at the park, who were immersed in their own world and seemed disconnected from their surroundings," explains Venkat.


Delving into the heart of the story, Venkat says, "The project looks into the life and journey of an old man who is forced to work because there isnt enough money for his family. The story throws light on the dreams and aspirations of people from two different age groups," adds Venkat.


He adds that people will be able to relate to the script because it mirrors the happenings of most of the modern households. "As the story deepens, the viewers will see more thought-provoking lines and situations," adds Venkat.


The director says that he thoroughly enjoyed working on this film because everything in the film had to be worked on from scratch. "We adopted a very natural style of shooting and improvised at every step. Our first challenge was to find a 100-year-old house in the heart of the city for the shooting. And to our surprise, we managed to get the exact place that we had in mind," says Venkat.

The next was to narrate the script to veteran actor Dattanna. "After several rounds of discussion with Dattanna, we agreed on a couple of things that would improve the product," he adds.Commenting on Dattannas performance, Venkat says, "He has two shades to his character and he has performed them to perfection. He swiftly moves from one emotion to another. His natural style of acting has added a lot of strength to the film," he says.

'Zen'tangling her creativity

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Aarathy Priya was unsure about how she will take forward her passion for crafting. "I was a mother of two children; I didnt think I could learn any new skills. I thought I will just be another housewife," she recollects.

But now, Aarathy is a busy bee who alternates between teaching children, taking workshops and even appearing on television programmes! It is the realisation of a childhood dream for the crafter. "I developed a sudden interest in drawing in my childhood. When my mother saw me doodling in my books, she enrolled me in art classes. But I wasnt allowed to choose it as a career since it was seen as a waste of time. I studied BSc computer science and worked for 4-5 years as a Montessori teacher. But I was still very much interested in this and would cut classes all the time to go for drawing lessons."

"Now my profession is tied to my interest. I go around schools taking workshops for students at a nominal rate. I have travelled all over the city for this passion of mine. I can never say no to a workshop because I love imparting knowledge to children. I am also a regular at exhibitions," she says.

From mixed media and scrapbooking to creating ceramic murals and paintings, Aarathy does it all. Though she doesnt always stick to one medium or motif, mandalas are a preferred choice. "I love mandalas. You can keep creating on them, there are no limitations - you can introduce some Zentangles, come out with your own designs and so on," she notes.

Asked about her favourite creation so far, she explains, "I love my ceramic murals, especially the big vaastu mural I have created. A vaastu mural includes elements like flowing rivers, horses, Ganesha images, wheel motifs and so on. It is supposed to bring in money into the household. My piece is made from ceramic clay but looks like wood and most of the visitors to my house first enquire about this piece of art." Aarathy also likes making things that are useful in day-to-day life. "Nobody is interested in putting up many things on the wall now. Gifts or creations have to be thoughtful and useful. I make mobile pouches, tote bags, jewellery pouches, bags and more. Currently, fabric is my favourite medium and I am working on doing T-shirts with zodiac signs."

Initially, when she gifted her artefacts to friends and family, they refused to believe that she could come up with such things. "They couldnt believe that I was capable of something like this. They kept on asking me if the things were bought," she says with a laugh.

Her family has been a pillar of support. "My mother has been extremely encouraging and looks after my children when I go out. My father always buys me whatever materials I want. My husband too is very supportive. When I have to go for workshops, he comes home early to take care of the children." Aarathy now plans to take her art to rural areas to look at ways to provide livelihood options to the women there.

Flipping the pages of history

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This picture was taken in 1956 when Maharaja Jayachamarajendra Wadiyar came to the Kannada Sahitya Parishad in Bangalore for a function. My father, K Gopalkrishna Rao, was the secretary at that time and I was four years old. We were selected to give bouquets to the dignitaries but since we were so small, we had to be lifted up by others so we could give them the flowers.

My father expired when I was in school. He was a prominent short story writer and was the PA of Chief Minister Kengal Hanumanthaiah during the time the construction of Vidhana Soudha was completed. We used to go there to see the construction.

My mother gave away all my fathers books to libraries by the time we grew up. So when I was doing my BA Honours and Masters in Kannada, I didnt have the luxury of referring to them. Still, I passed BA Honours with third rank in Vijaya College. One of my professors, G Venkatasubbiah, later went on to become the president of Kannada Sahitya Parishad. He was also my fathers friend.

Even during my college days, I remember thinking about my fathers books and his authored articles, wishing to read them. After my children grew up, got married and had grandchildren, I had some spare time. From 2010, I started searching for my fathers articles, poems, stories and more in universities and libraries.

We searched in many places and I was able to procure almost eighty percent of his writings. His book, titled Kensington Park, was published in 1943. Till today, people recognise me as the daughter of the author of Kensington Park. When I read through his writings, I thought I should publish them so people can read them once again.

So almost 50 years after my father died, I brought out a few compilations of his literary creations. There was also a book with his photos and peoples memories of him. The function was held in Kannada Sahitya Parishad only.

My love for words and languages is something I inherited from him. I took classes in Alliance Francaise to learn French before going to visit a pen friend in France. I am also a published author myself now.

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