For the uninitiated, Bilkis Bano has no connection to Gujarat. She is a KPCC general secretary from Bhadravathi in Shivamogga, who once used to work closely with the Janata Parivar and has known Chief Minister Siddaramaiah from those days.
Bilkis Bano is KPCC general secretary from Bhadravathi in Shivamogga. Photo | X
Bengaluru :
With a certain Bilkis Bano figuring in the list of Congress nominees, the question on everyone’s mind is: Who on earth is she?
For the uninitiated, Bilkis Bano has no connection to Gujarat. She is a KPCC general secretary from Bhadravathi in Shivamogga, who once used to work closely with the Janata Parivar and has known Chief Minister Siddaramaiah from those days.
Sources said she is Siddaramaiah’s candidate while his’s son Yathindra, who sacrificed his Varuna seat for his father, is the high command nominee.
Other Siddaramaiah MLC nominees are minister NS Boseraju and K Govindraj. Vasanth Kumar and Basanagouda Badarli are AICC president Mallikarjun Kharge’s candidates while Ivan D’souza is said to be Krishna Byre Gowda’s man although he is said to be close to Siddaramaiah too.
It was a surprise that Deputy CM DK Shivakumar’s two nominees, Vijay Mulgund, who was also raided due to his closeness to the KPCC chief, and Vinay Karthik, who is an office bearer in the KPCC, did not make it to the final list.
The 10 Congress MLAs necessary for nomination of Bilkis Bano signed on her nomination and the proposer and seconders will be on Monday.
Sources said Bilkis Bano is respected as a loyal party worker. She is quite close to Bhadravathi MLA Sangamesh for whom she campaigned vigorously and personally led the canvassing in 2023. She has served formerly as the chairman of the Minorities Development Corporation during the previous tenure of Siddaramaiah as CM for about 18 months.
When TNIE tried to reach her on Sunday evening, all three of her numbers were either switched off or not reachable.
source: http://www.newindianexpress.com / The New Indian Express / Home> Karnataka / by Bansy Kalappa / June 03rd, 2024
Melkar Women’s PU College, Marnabail, has been awarded with ‘Excellence Award’ by Muslim Educational Institutions Federation (MEIF) for achieving cent percent results in 2nd PUC in science, commerce and arts for the academic year 2024.
S M Rashid Hanji, chairman of Mangaluru Education Enhancement Trust (MEET) received the award on behalf of the management committee of the college during the recent MEIF annual conference held in Mangaluru.
Mohammed Farhaad, pro chancellor of Yenepoya University; Nisar Ahmed, chancellor of Presidency University; Syed Mohammad Beary, chairman of Bearys Group of Institution; Musabba Beary, chairman of MEIF; Iqbal Ahmed, Umar Teekay and others were present.
source: http://www.daijiworld.com / Daiji World / Home> Karnataka / by Daijiworld Media Network – Bantwal (VP) / June 03rd, 2024
Dakhni is not central to local identity in Bengaluru the way it is in Hyderabad, but it is still a fixture of everyday life in the city’s linguistic landscape.
Banglori Dakhni: How a language associated with Hyderabad thrives in Bengaluru too
Dakhni, a non-literary Indo Aryan language usually seen as “Southern Urdu”, is spoken across the entire Deccan and beyond, and is primarily associated with the city of Hyderabad. However, the language is widely spoken across Namma Bengaluru as well, even if it isn’t necessarily part of most portrayals or depictions of the city, or even popular local consciousness.
While around half of what can roughly be called Hyderabad’s core city (i.e. Hyderabad district) speaks Dakhni natively as per Census data (at 43.5%), non-native speakers use the language as a lingua franca as well, forming a cornerstone of local Hyderabadi identity.
In highlighting the language’s ties to Hyderabad, however, there is a tendency to view Dakhni as having a unique base in the city. In doing so, Dakhni’s other major urban varieties, varieties with their own urban presence, history, and patterns of usage, are overlooked.
Dakhni’s urban presence in Bengaluru
Hundreds of kilometres from Hyderabad lies the Deccan’s largest urban centre – Bengaluru, the capital of Karnataka. 12% of the city identified as Urdu speaking in the 2011 Census, and the Urdu most speak is a local variety of Dakhni, often called Banglori Urdu.
Banglori Urdu differs significantly from the variant popularised through Hyderabadi media and pop culture. Dakhni is not central to local identity in Bengaluru the way it is in Hyderabad, nor does it serve the role of lingua franca throughout the city, but it is still a fixture of everyday life and has a prominent place in the city’s linguistic landscape.
Bengaluru’s Cantonment, originally a military township established by the British in 1806, has an especially large concentration of Dakhni speakers, a presence that dates back to the early days of the Cantonment itself. In fact, the township was long referred to by its own name in local Dakhni – lashker, or “army camp”, a literal translation of the word “cantonment”, a name still used by many older speakers. Both Dakhni and Tamil are the most common languages spoken in the Cantonment, with Dakhni especially prominent in the Cantonment’s many bazaars. The “Hindi” many local Tamil speakers know and use is often essentially the Dakhni of their neighbours, picked up just from living in the Cantonment.
Dakhni is also spoken in South Bengaluru, by communities who live alongside Kannada speakers. In this part of the city, the language is primarily only used by its native speakers, since Kannada functions as a lingua franca. Many of these families trace their roots back to across erstwhile Mysore State, from Chikmagalur to Davangere, and their speech is influenced by Kannada. Dakhni’s demographic presence here is quite limited in comparison to in the Cantonment. Famous Kannada poet KS Nissar Ahmed, RJ Danish Sait, and singer Lucky Ali are some well-known speakers of Bengaluru Dakhni. Sait’s popular series of prank calls features many sketches in what is essentially thick Bengaluru Dakhni.
Image credit: Professor Walter Hakala of SUNY Buffalo
Interestingly, Bengaluru’s urban landscape also features a handful of Urdu inscriptions, some with a noticeably Dakhni touch. The 19th century Tawakkal Mastan dargah in Chickpet, for example, one of the city’s oldest dargahs, features a slab with an Urdu inscription recording the death of one Murad Bibi. The inscription features the word form ku instead of Standard Urdu ko, a distinctively Dakhni trait found in both Dakhni classical poetry as well as the speech of modern speakers.
Some features of Banglori Dakhni
Varieties of Dakhni maintain a high level of mutual intelligibility across the wide geographic distribution of the language, and this applies to basic vocabulary, grammar, prosody, pronunciation, and more. Distinctively Dakhni features – ones that set it apart from north Indian Urdu – are generally common across these varieties too: function words like ku, the –ān plural marker, the usage of nako for negation, framing reported speech with kate, the pronunciation of Arabic and Persian q as kh, and more, feature across the Deccan. That said, regional dialects can be quite distinct.
A characteristic feature of Banglori Dakhni is the high frequency of the word particle so, used at the end of sentences. The word is meaningless by itself and is primarily used to add emphasis. Another feature, this one clearly an influence from local languages, is the usage of mā and bā as an expression of familiarity which can also intensify a command or question. The dialect also features distinctive word forms like manje corresponding to Standard Urdu mujhe, as well as tumnā and āpe corresponding to Standard Urdu tumko and āp.
Dakhni’s linguistic diversity is, to a large extent, influenced by the different languages its speakers are surrounded by, languages part of their daily social environment. In Bengaluru, these languages are, as we’ve seen, Tamil in the Cantonment, Kannada elsewhere. These languages have also influenced the prosody of local Dakhni, lending it a certain rhythm and cadence. This adds a fascinating extra layer to Dakhni’s existing linguistic variation, as exploring its dialects necessarily involves looking deeper into each speaker community’s own language contact dynamics with its neighbours.
Dakhni’s prestige in Bengaluru
All Dakhni speaking communities across the Deccan are characterised by their usage of Standard Urdu, based on north Indian literary varieties, as their written and formal language. This binds them to the larger Urdu literary sphere and its developments, centered firmly in far off north India. In addition to not being a lingua franca in the city, Dakhni in Bengaluru also lacks the prestige it does in Hyderabad, something that has a direct, conspicuous effect on the way Dakhni speakers choose to use their language in public.
Urdu was a key element in the formation of Hyderabad’s urban culture and Dakhni became central to the city’s very identity; the language never played play a similar role in Bengaluru’s own development. Speakers in Bengaluru often choose to moderate the “thickness” of their Dakhni, adapting it to a form closer to Standard Urdu while interacting with people from other communities, often subconsciously. This is especially pronounced in commercial interactions with north Indian speakers of Hindi, where Dakhni speakers accommodate their speech variety to be more intelligible.
In many ways, this serves to further reduce the presence of Dakhni in the city, diminishing its visibility while reinforcing the common assumption that Dakhni is “just broken Urdu”. This is in stark contrast to the situation in Hyderabad, where Dakhni is used freely in public, even among non-native speakers; Standard Urdu is only resorted to when the other party doesn’t understand uniquely Dakhni word forms and sentence patterns.
In the Cantonment however, with its distinct settlement history and demographics, Dakhni can be widely heard in public communication, and the language enjoys a higher level of prestige. Speakers in the Cantonment do not see as much need to adapt to Standard Urdu in public communication as elsewhere in the city, and Dakhni, even its thicker versions, can easily be heard.
Unfortunately, speakers of Banglori Urdu are often ridiculed by speakers of Hyderabadi Urdu for the many characteristically Bangalori features of their Dakhni, a good example of how linguistic hierarchies of prestige can – and do – exist even within non-literary languages.
Institutional support for Dakhni in Bengaluru
In addition to its presence in the city, Dakhni also enjoys support from various local institutions. While admittedly, most of them primarily focus on the growth and study of Standard Urdu, they also do their part for Dakhni. One institution is the Karnataka Urdu Academy, whose mandate includes the promotion of Dakhni Urdu. The Academy gives cultural events featuring Dakhni some backing.
The Academy also publishes Standard Urdu and Kannada editions of classical Dakhni literature to bring these works to a wider audience. Notable among these is the Kannada translation of Ibrahim Adil Shah II of Bijapur’s Dakhni masterpiece, Kitāb-e-Nauras.
Another important institution is Bangalore University. Its Department of Urdu has been carrying out important research on Dakhni, most notably under its former Head of Department Professor MN Sayeed, a prominent scholar of Dakhni who personally initiated many students – many of whom are now professors of Urdu specialising in Dakhni in their own right – into the field of Dakhni research. Classical Dakhni literature is even taught in the University’s MA Urdu course. Prof Sayeed, now retired, also runs his own dedicated centre for Dakhni research, the Centre for Daccani Studies. Even now, at the age of 79, he continues to do important research on classical Dakhni poetry.
In associating Dakhni with Hyderabad, a lot of the valuable work and research being done on the language in Bengaluru at these institutions and more, particularly relating to developments in Karnataka, is overlooked.
Dakhni as part of Bengaluru’s urban fabric
It’s easy to forget that south India’s cultural diversity – and by extension, its linguistic diversity – applies to its urban centres as well. Most residents of Bengaluru know of the city’s multilingualism, as a city with a shared Kannada, Tamil, Telugu, and Urdu heritage; Bengaluru’s multilingualism is an integral part of their lived experience in the city. However, in defining local Dakhni in relation to Standard Urdu, the unique features that make the Bengaluru dialect what it is as well, as its own history, are ignored. This is even if they know of Hyderabadi Urdu and acknowledge it as distinct from Standard Urdu.
Appreciating Bengaluru’s variant of Dakhni for its place in the city’s urban fabric, for its history in the city, and its patterns of usage, can offer Bengalureans deeper insights into their own city’s rich diversity, how the city – especially the Cantonment – developed over the centuries, and how different communities navigate communication in Bengaluru. Doing so can also help Bengalureans develop a broader awareness of their own city and the various facets of its very identity. Plus, as translation efforts have shown us, understanding modern Dakhni can serve as a link to understanding the courtly Dakhni poetic tradition of the Deccan Sultanates better.
Karthik Malli is a Bengaluru-based communications professional with a keen interest in language, history, and travel. He tweets at @SandalBurn, and posts on Indian languages at @TianChengWen.
source: http://www.thenewsminute.com / The News Minute / Home> Karnataka / by Karthik Malli / September 13th, 2019
Bengaluru, KARNATAKA / New York, U.S.A / Mumbai, MAHARASHTRA :
Rummana Hussain’s conceptual artistic imprint on the state of India is relevant now more than ever. Dealing in the currency of feminist expression, postcolonial thought and perennial ideas, Rummana’s India is both doubly colourful and doubly dark.
In an inaugural show in its new West Village location, New York’s Institute of Arab and Islamic Art presents The Tomb of Begum Hazrat Mahal an exhibition encapsulating Rummana Hussain’s artistic ruminations about the space our bodies occupy in present and past through one of India’s most prominent Muslim woman.
Bangalore-born Rummana Hussain (1952-1999) was a pioneer in conceptual and performance-based political art in India during the 1980s and 1990s.
She was part of the Sahmat collective, a platform for liberal, secular engagés multidisciplinary artists including Safdar Hashmi, Bharti Kher, and Manjeet Bawa among others.
In this recreation of The Tomb of Begum Hazrat Mahal (1997), the respectful visitor enters a one-room shrine.
“In seeing The Tomb of Begum Hazrat Mahal today, I remembered Hussain’s bold feminist reclamation of her Muslim body through the reincarnated aura of Begum Hazrat Mahal to question monolithic identity, national narratives, and systemic marginalisation”
Various objects signify a site of lamentation, pride, and remembrance.
On the floor, occupying a central location, 12 votive-like papaya halves sit atop a mattress of uncooked rice, evoking both an altar to womanhood and fertility, and a symbolic funerary pyre.
In front of them stands an installation of offerings comprising amulets, dried roses, shells, and incense sticks, tied in a rope.
Against the three other walls is a calligraphic sculpture from rusty metal that reminds of a sacred spell and the embodiment of time, and an image frieze of detailed black and white triumphant photographs showing a woman’s arms, wrists, and hands.
In one of these frames, a woman raises her fist up as if calling others to join in. In another, she holds an ominous knife. Images of flames are interjected between the simulacra of archives.
The room is devoted to a woman, an invisible physical body which radiates from each of the static objects. Begum Hazrat Mahal (1820-1879), née Muhammadi Khanum, was born into a poor family.
She was sold and entered the royal harem of art-loving Wajid Ali Shah, the last king of Awadh, a kingdom that occupied the area of the present-day northern Indian state of Uttar Pradesh. Trained as a harem attendant, she would eventually rise to become the king’s concubine – one of his favourites. Beyond her charms, Begum Hazrat Mahal owes her entrance on the historical stage foremost to her political prowess and courage.
The British-owned East India Company operated in Awadh since the early 19th century. The Company increased its grip in 1856, when it directly seized control of Awadh, citing poor governance and the need to uphold the rule of law to justify their annexation (an excuse known as the “Doctrine of Lapse”).
A Chief Commissioner was rapidly appointed. This caused the king to leave Lucknow and seek refuge in Calcutta. The Queen Mother of Awadh petitioned Queen Victoria in person for her son’s rights, in vain. Wives, including Begum Hazrat Mahal were left behind in occupied Lucknow.
After this brutal annexation, discontent grew in several parts of India against the British and the interference of the Company, culminating in a mutiny and revolt in May 1857. Rebels looked to Awadh’s Crown Prince as a successor to his absent father when they captured Lucknow.
But Birjis Qadr, the son of Begum Hazrat Mahal and Wajid Ali Shah, was still a child then, too young to assume power. In his stead, Begum Hazrat Mahal took over Awadh’s revolutionary affairs, actively leading the armed revolt during her regency, towards the reinstatement of Indian rule over Awadh in July 1857.
She continued resisting British rule well after the retaking of Awadh by the occupying troops in 1858, as she refused various offers of collaboration. She died in exile in Kathmandu, Nepal, as an unwavering freedom fighter. Today, a humble stele near Kathmandu’s Jama Masjid marks her tomb.
Rummana Hussain, Living on the Margins, 1995, performance at the National Centre for Performing Arts, Mumbai
When Rummana Hussain first showed The Tomb of Begum Hazrat Mahal to the public in 1997, it was during a period marked by the tragic aftermath of inter-communal violence.
During the 1980s, radical Hindu nationalists campaigned to build a temple on the site believed to be the birthplace of Rama, where a mosque had been erected since the 16th century.
They took to the streets of Ayodhya, Uttar Pradesh, en masse in 1992. Security lost control of the crowd which eventually stormed into the site, demolishing the mosque.
This ignited weeks of violent clashes between Hindu and Muslim communities, causing the deaths of thousands. A later investigation on the destruction of Babri Masjid in Ayodhya pointed out the responsibility of leaders and supporters of the right-wing Bharatiya Janata Party (BJP), the political party of India’s incumbent Prime Minister, Narendra Modi.
Babri Masjid launched a turning point in Hussain’s artistic journey towards a more intimate, politically-conscious form of expression. In Dissected Projection (1993), she explored the multilayered meaning of ruins and dislocation through an allegorical work that exposes a fracture, a shattered piece of terracotta.
In her show Multiples and Fragments (1994), Hussain engaged with historical and domestic oppression in an installation of pigmented pieces of fabric on a clothesline, to denounce the colonial extraction of indigo in India and unpaid housework traditionally performed by women and girls. Labour is always physical and violence first hurts the most vulnerable.
In her 1995 performance Living on the Margins, Hussain screamed while holding papaya halves, shapes that represent a universal vessel and the female anatomy.
Her works have been exhibited in the India Pavilion of the Venice Biennale in 2019, and in multiple institutions across India, Canada, Australia, Mexico, the United Kingdom and the United States during her lifetime and posthumously.
In seeing The Tomb of Begum Hazrat Mahal today, I remembered Hussain’s bold feminist reclamation of her Muslim body through the reincarnated aura of Begum Hazrat Mahal to question monolithic identity, national narratives, and systemic marginalisation. She wanted to say, we can turn the hate in love, we can turn the oppressed, the victims, into heroes they will one day celebrate. We can tell our own stories. They matter.
Outside, scores of brunch-goers live, love, laugh. If it’s dissonance we are meant to acknowledge, I acknowledge it. I closed my eyes in the silent white cube of the Institute of Arab and Islamic Art and saw images of the relentless violence and bullying Muslim women continue to face in Narendra Modi’s India.
In this reconstituted tomb, it’s hard to feel alone. Around me swarmed many other ghosts, of ordinary Muslim women – from Afghanistan to Iran and beyond – crushed and slain in their contemporary defence of freedom and justice against oppressors. Many have been killed in their fight.
A shrine calls for a quiet prayer, I realised.
Farah Abdessamad is a New York City-based essayist/critic, from France and Tunisia.
Dr. Azra Nalatwad’s forefathers were from a tiny town named Karnul in Andhra pradesh and had migrated to Karnataka. Behind her success of becoming a doctor is an incredible story of hard work and grit that lifted a poor family of weavers to a family of doctors. Dr Azra Nalatwad shared her and her parents’ inspirational story with Awaz-the Voice.
“My parents were extremely hardworking, poor, and struggled to make ends meet, particularly my father, Abdul Khader Karnu used to manually weave traditional saris through wooden looms, as machines had not yet arrived at that time. During his early 20s, after a lot of labour, he would make one saree.”
His family was living hand-to-mouth existence. Though Abdul Khader struggled with poverty, he dreamed big – he was determined to become a doctor. Without any prodding or help, he studied by himself while weaving sarees. Back then, there was no societal help, counselors, or family push to improve his lot. With sheer grit, he started to excel in his studies. He was so brilliant that he was sponsored for his studies in a boarding school. During holidays, he would return home and help with the business of his father and brothers.
“With great tenacity, he finally finished his studies to complete his MBBS and achieved his goal of becoming a doctor, specializing as an ENT physician. He was the first in the family to be so. Our father paved the way to help us all come up as a family.”
Her mother was a schoolteacher when she married Abdul Khader, who persuaded her to complete her MBBS and she became a gynecologist.
Dr. Azra who teaches anatomy at Karnataka Medical College says, “On seeing my parent’s hard work and toil, I resolved to study hard as well. Early in my school days, I wanted to become a doctor. So, I focused on getting admission to MBBS, which I managed to get in the area without going to a hostel to my relief.” Dr. Azra says that her life was made smooth due to the hard work of her parents.
Describing the life around her, she explains, “Around my neighbourhood, most of the girls would do some BST course, and then get married, but my parents spurred me on to do something significant and not hurry to get married. My parents always had a vision that we as a family should not just study and stay at home to be engrossed and wrapped up only in our lives but use our enlightenment to serve the community.”
Dr Azra Nalatwad during her PG course
Azra’s family is a family of doctors. “My eldest sister is a dentist, her husband is a Pathologist (MD) and younger brother Dr. Adil is a neurosurgeon, his wife is a doctor with MBA and MBBS degrees.”
Interestingly, Azra’s husband is the only non-doctor in the family and it was deliberate. She explains: “When it was time for me to get married, my father told me that since there are many doctors in their family, it was better to find my prospective husband in another field. As a family, our conversations revolved around patients and their cases, so my father felt it would be better to get a non-medical groom.”
She married an engineer who working with one of India’s leading software companies.
To follow their father’s advice to his children that they must pay it back to society, Dr. Azra says, The siblings often organize free health checkup camps at Gulbarga.” (Gulbarga is now known as Kalaburagi and has developed to become a city).
She continued, “After writing my entrance test for the post-graduation, my father encouraged me to take the course wherever I get it. He taught me never to throw away opportunities. I was selected for anatomy and it took me to teaching. I did a course to learn ultrasound technology, and in the hospital where my mother was working, I was appointed as a sinologist.”
Dr. Azra Nalatwad’s father died during the COVID surge. “He continued to see patients even during the pandemic; never isolated them and eventually caught the virus and succumbed to it while during his duty in Gulbarga.”
Azra worked at different places like Kadapa in Andhra Pradesh, Ernakulam in Kerala and now she is in Bengaluru. Mother of two growing-up boys, she travels in her car from Bengaluru to Kolar daily for her anatomy teaching classes.
She explains, “I took up the teaching line in anatomy and was interested in ultrasound, so I went towards the clinical side for one and a half years, I also worked in Manipal Hospital as a senior resident doctor. Night duties in the hospital became problematic with my son as my mother-in-law was not there with me, so I quit that job and came back to teaching.”
She however loves her teaching job, “The new generation of doctors do not talk to their patients because of the long queues of people waiting to see them and they want to see as many patients as possible in a day, so impatiently, they quickly write something out for the patients and push them out to directly go for CT scans, ultrasounds without noting the signs and symptoms in the patient. There is no personal touch or caring. Once again, after their illness is diagnosed, they do not convey to the patient properly what was the problem and what steps to take, nor do they serve the patients their options. The doctors need to show them different modalities of treatment which and required them to communication properly.
“Therefore, I encourage my students to develop doctor-patient communication skills with more empathy and compassion, some emotional attachment is necessary. A patient needs to feel trust in a doctor to return to them. In the early days, a patient would only go back to their favourite doctor holding him in great esteem. These days it is sad to see patients changing the doctor midway during the treatment while complaining that the previous one was noncommittal and indifferent or even rude. These days, most of the doctors are cold and detached.
Dr Azra Nalatwad at the hospital (wearing a black Abayya)
She says her students are becoming aware of the bad doctor-patient cases as newspapers report about incidents of people assaulting doctors. “We guide them so that they will not learn through bitter experience but rather as we say, prevention is better than cure, so we teach them that when they are checking female patients, they need to take their consent and explain why they need to touch her body.”
I tell students, “You suddenly cannot ask her to lift her clothes without her consent, even if one is checking the wrist, the patient needs to be informed what the doctor is doing.” Thus, we teach our students to inform the patient before doing even a tiny procedure or even checking the pulse or temperature as a form of respect between the doctor and the patient and leave the lines open for good communication. Just directly touching the patient does not work nowadays. Teaching is a great responsibility where one does not just teach and go but has to inculcate empathy, sensitivity, communication skills, and other qualities in our students.”
Brightening up, she said, “One thing I am looking forward to is I am going to open my clinic very soon working as a family physician, serving my residents, and treating small illnesses, which do not require complicated procedures.”
She continued, “Why I want to start my clinic in Bengaluru is to ease the burden of the poor in a modest area. Nowadays, for simple sicknesses, people are going to big hospitals and get embroiled in unnecessary expenses and procedures. The OPD fees will be more than Rs. 500 or Rs. 750, an outrageous amount not required for small illnesses which is ripping the pockets of the poor. Things like a common upper respiratory tract infection, ear pain, or other little illnesses do not need an OPD visit but rather a small affordable clinic with a small fee such as Rs. 50 or Rs. 100 to make it very light and easy for them.”
She explained, “In big health centers, there is a lot of corruption going on where they hoodwink patients into paying large amounts of money for unnecessary tests, procedures, and treatment. I feel if I can help the poor in a smaller way such as this evading all the bribing that happens in big clinics and enabling health care at their doorsteps, figuratively. I want to ensure that they get immediate help and cure for their illness without running to mega hospitals to give large amounts of money which they cannot afford, to get treated.”
To pay tribute to the man who worked hard and changed his destiny, Dr Azra says she would name her hospital after her father. That she says would take a little time. Right now, besides taking care of her parents-in-law and husband, she has to look after her 12-year-old son and four-and-a-half-year-old daughter.
Rita Farhat Mukand is an independent writer
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Rita Farhat Mukund / May 14th, 2024
Vartha Bharati Kodagu District Special Correspondent K.M. Ismail Kandakare has been selected as the recipient of the prestigious PaGo award by the Dakshina Kannada District Working Journalists Association this year. The award-winning report, titled ‘Give way or give way to death,’ was published in the ‘Vartabharati’ newspaper on April 6, 2023.
The selection committee, comprising Senior Journalist Keshav Kunder and Journalism Lecturer Guruprasad T.N., chose Kandakare’s report for its quality and impact. The award includes a cash prize of Rs. 10,001 along with a souvenir.
Kandakare, who holds a certificate course in Diploma in Journalism from Karnataka Open University, has previously been recognized for his journalistic contributions. He has received the Best Sports Reporting Award from both the Kodagu District Working Journalist Association and the Kushalanagar Taluk Working Journalist Association. Additionally, Kandakare’s debut work, ‘Mariam,’ was published in 2021.
Apart from his journalistic endeavors, Kandakare is also involved in football, serving as both a player and coach. He currently works as a referee for the Karnataka State Football Association.
The award ceremony is scheduled to take place on May 9 at 11 AM at the Mangalore Press Club. Mangalore University Vice-Chancellor Prof. P L Dharma will present the award, while senior journalist Chidambara Baikampadi will deliver a speech as the guest speaker. The event will be presided over by Srinivas Naik Indaje, the president of DK District Working Journalists’ Association, with Jitendra Kundeshwar, the general secretary of the association, coordinating the proceedings.
source: http://www.english.varthabharati.in / Vartha Bharati / Home> Karavali / by Vartha Bharati / May 04th, 2024
The 2023-24 ESL results have been unveiled, showcasing Fatima Samiha’s remarkable achievement. Hailing from Chikkamagalur district, Fatima, a student of Sri Sadguru Vidyamandir in Basarikatte, chose Sanskrit as her primary language and achieved a perfect score of 125 out of 125 marks in the subject.
Her exceptional performance extends across other subjects as well, with scores of 99 in Kannada, 94 in English, 83 in Mathematics, 69 in Science, and 100 in Social Science, resulting in an impressive overall score of 590 out of 625 marks, equivalent to 94.4%.
Fatima is the daughter of Muhammad Rafiq from Chikkamagaluru and Selikhat Begum from Panemangalore.
source: http://www.thehindustangazette.com / The Hindustan Gazette / Home> News> Latest News / by The Hindustan Gazette / May 12th, 2024
Ayesha Aynain, a student of SDM College in Mysuru, secured a silver medal in Khelo India National Wushu Championship held at Jammu & Kashmir in March. She is trained under coach M.K. Asif.
Ayesha Aynain is the daughter of Ejaz Pasha and Hajira, residents of Agrahara in city.
source: http://www.starofmysore.com / Star of Mysore / Home>News> Sports / by Star of Mysore, headline edited / April 21st, 2024
The last rites of soldier Javed Abdul Khadersab, who was martyred at Pokhran in Rajasthan were performed at the Muslim burial ground here on Thursday, with all military honours.
Thousands of residents paid their last respects to the soldier at the Mahatma Gandhi stadium amid chants of ‘Bharat Mata Ki Jai,’ and ‘Javed Amar Rahe’.
The mortal remains of the soldier arrived in the town in the afternoon by road from Bengaluru. Prayers were offered at the Idgah maidan.
District incharge Minister S S Mallikarjun, MLA S S Shivashankar and MLC Abdul Jabbar were among those present.
Javeed had served in the Army for 14 years. He is survived by his wife, and two daughters. DH Photo
source: http://www.deccanherald.com / Deccan Herald / Home> India> Karnataka / by DHNS (headline edtied) / February 15th, 2018
The actor-turned-director will also play the lead role, alongside Brahma.
Afzal
Afzal, known for his journey from journalism to acting and his recent venture into film production with VIP, is now stepping into the director’s role with his upcoming project, Hosathara.
Not limiting himself to direction, Afzal has also penned the story and screenplay for the film. Additionally, he will play the lead role alongside Brahma, who is also part of the principal cast.
Produced under the banner of Jai Vijay Productions, Hosathara marked their first production venture. The film promises to offer a fresh narrative infused with elements of love, suspense, thriller, and a sprinkle of comedy.
The pre-production phase has just commenced, with plans to feature three melodious songs, with music composed by Raju Emmiganuru and background score by Anthony Poyanoo. Action stunts will be composed by Ultimate Shivu. The makers have roped in Rajeev Ganeshan as the cinematographer, with Sukkku choreographing the dance sequences.
Incorporating cutting-edge technology, the makers have collaborated with JHJ Studios in America for VFX. Afzal, who has brought in a set of skilled technicians for the project, plans to reveal the rest of the cast and crew in the upcoming days.
source: http://www.newindianexpress.com / The New Indian Express/ Home> Kannada / Express News Service / April 22nd, 2024
