Tribal woman files case against Yogi for sharing her nude pic on social media

Mangaluru, Mar 19: The officers of Directorate of Revenue Intelligence, on March 11 intercepted 2 persons - Syed Mohammed and Shri Ashoka K S - Mangalore Central Railway Station and recovered 5.6 Kgs of gold bars in crude form.

The operation was conducted based on specific information about a network of operators who were bringing smuggled gold in the form of crude bars from Calicut to Mangaluru. The gold was then re-melted and cast into 100 gms bars with foreign markings, using foreign marking moulds, and was then getting distributed to various locations in Karnataka.

Further, one Mr. Manjunath Shet alias Rupesh who was supposed to receive the said gold from the passengers was also apprehended at the parking lot of the railway station.

Simultaneous searches were conducted in three different premises in car street Mangaluru, Udupi, and Shivamogga.

Further, the source of the gold was traced to melters/jewellers in Calicut and swift follow up action was conducted leading to seizures of gold and Rs 82 lakh Cash. Two cars of Toyota Etios model belonging to the syndicate having specially designed cavities for concealment which were used for transporting cash and gold between Calicut and Mangaluru were also seized.

Naveen Chandra Kamath of Udupi, who is the master mind involved in the case was also apprehended. Overall 7 persons were arrested during the entire operation. Further investigation is ongoing in the said case to uncover the other persons involved in the racket. The total seizure was 9.3Kgs of gold, valued at approximately 4 crores, 5.2 kgs of silver along with Rs 84 lakh in cash.

The team constituted of 40 officers from Bengaluru, Mangaluru and Shivamogga took part in the co-ordinated effort.

Bengaluru, Apr 18: Amid fears that people from the unorganised sector are running out of cash to meet their daily expenses, the Karnataka government said there was no data available for such labourers, who can be provided financial assistance under the direct benefit transfer (DBT) scheme.

"The government does not have data of people in the unorganised sector such as drivers, farmers, domestic help and others. If we have to deposit directly into their account, we need data..," State Labour minister A Shivaram Hebbar told reporters.

The minister said a situation borne out of the COVID-19, where the entire nation has been lockdown was never anticipated.

To him, the pandemic has given an opportunity to gather information about the unorganised sector.

"This COVID-19 has taught the department and the workers a lesson that we should be prepared for a situation like this. We have learnt that all the information about labourers should be available with the labour department," Hebbar conceded.

The minister opined that the department should have had the list during the good times but nobody bothered to have it.

"During the good times nobody bothered about it -- neither they (beneficiaries) asked for it, nor we thought of it.," Hebbar said.

Now that the pandemic has struck, the government is focusing only on not letting anyone starve to death.

A three-level preparation has been made -- at the village level, Taluk level and the city level, the minister said.

Village anganwadis have been stuffed with food items to be cooked for the needy, whereas in Taluk level, government hostels have been turned into shelters for the labourers, he said, noting that lakhs of philanthropists in cities have come forward to feed the people from unorganised sector.

"The basic objective of our government is that no one should starve to death. The issue of organised or unorganised sector comes next," he explained.

On the fear of large-scale retrenchment, the minister said notices have been served on all the industries that no one should be expelled from the job.

However, Hebbar underlined that the industrialists today are as much in distress as the workers and his department was taking into account everyone's concern.

A decision will be taken in this connection by the government in the next two days, to provide assistance to small enterprises to keep them afloat.

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.