BJP will win 150 seats in next Karnataka Assembly polls: Shobha

Mangaluru, Mar 27: In the wake of coronavirus, the Council of Mangalore City Corporation (MCC) has taken steps to prevent the spread of Covid-19 in the city as a task force has been formed to monitor home delivery of essentials and the situation prevailing in the city due to outbreak of the virus.

MCC commissioner Shanady Ajith Kumar Hegde held a meeting of wholesalers to plan the smooth supply of essentials to the people on Thursday.

Speaking on the occasion, he said, the wholesalers of the city have been directed to supply essential goods to apartments in the city. Each apartment should prepare purchase details and must hand it over to the wholesalers. This way residents will not have to go out to buy essentials. The purchasing time will be between 6 am to 12 pm.

Even as the Muslims of undivided Dakshina Kannada district broke out of the “spiral of silence” and made history by leading an unprecedented protest against CAA, NPR and NRC as well as the categorial mistreatment of non-saffronites at the hands of the police across the country, mainstream media turned a blind eye to the spectacle at the Shah Garden Maidan in Mangaluru’s Adyar where about two lakh patriots with tricolor in their hands converged to assert themselves on January 15th, 2020, a date which will be remembered by the people of coastal Karnataka forever.

The largest gathering in the history of Mangaluru was absolutely peaceful, law-abiding and respectful. While the slogans of ‘Azaadi’ were reverberating in the atmosphere, the protesters were seen making way for vehicles and passersby, taking care of women and helping elderly citizens on the highway adjacent to the ground. Though the organisers and most of the participants were Muslims, they collectively identified themselves as “We, the people of India”.

The district administration and the police department hadn’t imagined or even dreamt of such a mammoth gathering after blocking the highway and banning public transport from 9 am to 9 pm. Many opine that this action was taken only to discourage the concerned from participating in the protest and to create fear in the hearts of the people who are yet to process the unjustifiable deaths of two innocent citizens in an unwarranted police firing a few weeks ago.

What has since surprised the protesters most is the mainstream media’s blatant attempt to downplay the significance of this largest ever gathering. Shockingly, it could not make it to the front pages of any of the state-level Kannada daily newspapers except city-based Vaartha Bharathi. In the absence of The Hindu, which had announced a holiday on account of Makar Sankranti, most of the English newspapers too pitilessly buried the historic event in their inner pagers. National TV channels too were evidently reluctant to cover the event until NDTV started telecasting the news of the protest.

This uneasy relationship between the media and minorities in coastal Karnataka has long existed, but the non-coverage of the huge protest of Jan 15 marks a quantum leap beyond the media’s traditional pro-Sangh Parivar stance and biases –– which in the past had often demonised non-saffronites –– to now completely ignore and suppress the people’s voice. This media bias has naturally evoked a sharp response from netizens, who took to social media to issue clarion calls to boycott the mainstream media forever.

Cleanliness Drive

Most major protest meets and rallies –– both religious and political –– leave behind tonnes of garbage, especially water bottles, placards and buntings. However, the organisers of the Jan 15 protest meet led by example by launching a cleanliness drive in the area soon after the protesters left the venue peacefully. The drive continued on Jan 16 too. (Ironically, amidst this ongoing cleanliness drive, a local news portal captured photos of a few plastic bottles scattered along the road at Adyar and published a report accusing the event organisers and participants of polluting the area!)

Mangaluru, Feb 26: The 'Yakshagana' stage in Karnataka is witnessing a curious spectacle with a Muslim woman artiste creating waves with her performances.

Arshiya, the artiste from Vittal in Dakshina Kannada district, is the first woman from the Muslim community to venture into the popular traditional theatre art form.

At one time, women were barred from Yakshagana stages.

A Muslim woman exponent on stage has attracted the attention of 'Yakshagana' lovers in the state.

Arshiya is now getting advanced training in her skills at the Kadali Kala Kendra under Ramesh Bhat here.

Arshiya, who is fond of 'Bannada Vesha' (villain roles), is now known in her stage name 'Tanu Vitla.'

She has already performed various episodes on stage and gained popularity.

Arshiya, currently working in an automobile showroom at Padil, said she was attracted to the art form from a very young age.

The initial enchantment with the art form came as she saw the role of Mahishasura in 'Sri Devi Mahatme Yakshagana Prasanga' (episode) performed near her home town.

She was attracted to all the elements of the art form, which combines music, percussion, dance, dialogues, stage techniques, make-up and costume.

Arshiya said she was also inspired by a teacher in her school at Vittal who trained her for a performance on stage during the school's annual day celebration.

She started performing on local stages at Vittal at the very young age of 10.

Arshiya now performs prominent roles on stage including Mahishasura in Sri Devi Mahatme Prasanga, the role which enamoured her in her childhood.

She also has donned the roles of Nishambhasura, Rakthabeejasura, Srinivas Kalyana, Sudarshanopakyana, Kadamba Kaushike and Shambavi Vijaya.

Her performances at Udupi and Karwar besides Mangaluru have earned her a lot of admirers, who love her 'Asura' roles, thanks to her loud voice.

Arshiya now wants to learn the 'Chende' (percussion instrument), which is an important element in Yakshagana performances.

Arshiya revealed that there was a bit of resistance from her community about her passion for the art form, but she had staunch backing of her family.