A fountain is also situated in the Raja Seat’s garden.
Paddy plains between the coffee and cardamom plantations, vehicles, and the settlements on the adjacent hill are other attractions of the Raja Seat.
Raja Seat is one of the most famous tourist hotspots in the Madikeri town of Kodagu, Karnataka. According to the Local 18 Karnataka, there is a pleasant atmosphere in Raja Seat, the whole day. This culturally significant site has been constructed on the border of Madikeri town.
After the British rule had ended, the coffins of the natives were moved to different places and a garden was developed there. A moat (deep and wide trench around the rampart of a fortified place (such as a castle) that is usually filled with water) and a garden are situated on both sides of this tourist attraction. Features like the tall mountain peaks and the trees growing on the slopes between them add to the charm of the Raja Seat.
Paddy plains between the coffee and cardamom plantations, vehicles, and the settlements on the adjacent hill are other attractions of the Raja Seat. If you visit this site early morning, you will witness the paddy field covered with a dense fog. The trees on the hills are covered with a mist (a cloud made of very small drops of water in the air just above the ground, that makes it difficult to see).
A fountain is also situated in the Raja Seat’s garden. Ziplining sports are a major source of attraction as well for the children and elders. Zip lining is an action-filled recreational activity that involves riding a steel cable on a protective seat or a belt. In this sport, the people have to ride between two points and generally on a valley that exhibits spectacular scenery. There is also a play park for the younger children. An interesting fact related to Raja Seat is that it was once a British colony.
Raja Seat was known as the place where the King and Queen enjoyed the view of the sunset during the time of King Chikka Virarajendra. During British rule, a grand pavilion with four arches was built here using cement and tiles.
Visiting Hours – Monday to Sunday 9 am to 5 pm
source: http://www.news18.com / News18 / Home> News> India / by Newsdesk, Local18, Bengaluru / July 29th, 2024
The entry can be made without partition being effected among them, or an 11-E sketch obtained as regards area falling to the share of each individual family member, the court added.
The Karnataka High Court upheld the amendment brought to the Karnataka Land Revenue Act, regarding the entry of names of all family members of Kodava families in land records as occupants of the land, including Jamma Bane land.
The entry can be made without partition being effected among them, or an 11-E sketch obtained as regards area falling to the share of each individual family member, the court added.
Noting that there is no violation of law in bringing the amendment, Justice Suraj Govindaraj passed the order while dismissing a batch of petitions filed by Brigadier Maletira A Devaiah (retired) and others, questioning the legality of the amendment in terms of Section 20(2) of the Karnataka Land Revenue (III) Amendment Act 2011.
By way of amendment, the names of all members of the family would be entered into Column 9 of the RTC to recognise the rights of the entire family with respect of property owned, including Jamma Bane land.
The High Court directed the Kodagu district administration to issue a circular giving clarity and stating in detail the due process for entering names of joint family landowners into revenue records in terms of the amendment.
The petitioners have contended that the customary law of Kodavas restricts them from alienating the joint family property and there is no individual right for any member of the family in the joint family property.
The state, by way of the impugned amendment, has done away with the culture of Kodavas, thereby violating Article 51-A(f) of the Constitution, they claimed.
source: http://www.newindianexpress.com / The New Indian Express / Home> Karnataka / by Express News Service / August 03rd, 2024
In Kodagu, this performance is called theray. The performer readies himself with a colourful costume, (often red) and intricately done facial makeup along with head and neck accessories. Sometimes he wears a mask during the act.
Kuliya theray in Kadiathur village. Credit: Aiyuda Prasad Ponnappa
In southwestern India, the belief in gods and spirits ritually possessing a ceremonial performer who behaves as an oracle is common. Spirit worship is prevalent in Tulunadu (Udupi, Dakshina Kannada and Kasaragod), Kodagu and North Malabar. A performer in face paint and colourful costume invokes a deity or spirit into themself and then prances around, reminiscent of a Yakshagana or Kathakali dance performance.
This sort of ritualistic dance ceremony is known as kola or nema in Karnataka (especially in Tulunadu) and as theyyam in Kerala. The Tulu-speaking people in the Mangaluru region also call the practice bhuta aradhana, meaning spirit worship.
In Kodagu, this performance is called theray. The performer readies himself with a colourful costume, (often red) and intricately done facial makeup along with head and neck accessories. Sometimes he wears a mask during the act. There are members of a few communities from Kerala now settled in Kodagu (such as the Maleya, Banna or Panika), who perform theray.
Usually, one person who sings accompanies the performer, and another holds a wooden fire torch. During the ritual movements, the performer holds a mirror to his face and sometimes sits on a stool.
When a Kodava, or a Kodava speaker, is possessed, speaks as an oracle, and does not wear the theray costume and mask, he is called a thiralekaara and the performance is called a thirale.
Chaundi theray in Heravanad. Credit: Aiyuda Prasad Ponnappa
Popular deities like Chaundi (Chamundi) and her brother Vishnu Murthy are invoked during these performances. Vishnu Murthy represents a form of Narasimha, the half-man and half-lion.
During a Chaundi theray, the performer wears a long grass skirt and is dragged through a heap of burning coal. It was believed that this performance had the power to save devotees from smallpox and other diseases. The costume is painstakingly crafted with coconut fronds, making the appearance of the performer both subtle and dramatic.
There are also the five companion gods such as Kala Bhairava, Karibala, the young mischievous boy Kuttichatha, the comical girl Nuchchute and Kuliya. Pashana Murthy is another spirit-deity worshipped in Kodagu. Sometimes, a deity named Thotha is invoked before other performances. These are gods associated with the Malabar region who have been adopted into the spiritual pantheon of Kodagu.
Distinct deities
Interestingly, there are at least two animal spirits peculiar to Kodagu. There is the ‘Yeth theray’, where a bovine spirit is called upon and the ‘Nari puda theray’ where a tiger’s spirit is invoked. These are similar to the Panjurli boar spirit-related rituals of Dakshina Kannada, which are also performed in parts of Kodagu.
The therays take place annually or once every few years. Very often, they are organised by a person who made a vow to do it in exchange for divine grace. Few clans (like Nadikerianda, Iychettira, Bollepanda, etc) arrange these events in their ainmanes (ancestral homes). Most villages conduct therays in their village yards.
Kaliat Ajjappa
Kuliya theray in Kadiathur village. Credit: Aiyuda Prasad Ponnappa
Another spirit invoked during the therays is that of Ajjappa, who is widely regarded as a local hero. His mention can be found in the Manual of Coorg (1870), where Reverend G Richter mentions ‘Kalyatanda Ponnappa, or simply Kaliat-Achchappa’ of Naalnaad. He is remembered in folk songs, and worshipped by the people of Coorg.
Ponnappa was much admired for his marksmanship and feared for his prowess in occult magic. His popularity grew and soon, he became the leader of Naalnaad. The legend goes that Karnayya, the head of the neighbouring region, was raising a secret army against the Haleri dynasty’s king at that time. Karnayya wanted Ponnappa to join forces with him. But Ponnappa refused and acknowledged the Haleri king as his overlord.
Alerted to Karnayya’s plans, the king assigned Ponnappa the task of countering him. Ponnappa was given the king’s weapons and an army of 500 men. He was able to counter Karnayya successfully.
But eventually, Karnayya tricked his way into drugging and cornering Ponnappa. The hero managed to fight off his enemies, despite being outnumbered. It is believed that Ponnappa invoked the ten spirits of the netherworld in the battle. However, he was mortally wounded by the arrows.
Despite his injuries, he limped and dragged himself to the nearby shrine. He remained there for some days where he later breathed his last. The place where he died is revered as a sacred spot even to this day.
The king pursued Karnayya relentlessly and finally defeated and killed him.
This period can be dated to the time of Vira Raja’s reign (circa 1600), when some of the Kodagu Nayakas, such as Karnayya, were subjugated and put to death. From that time onwards, the Haleri dynasty was firmly established in Kodagu.
Kaarana (ancestral spirit) theray of Mandaneravanda clan in Palur village. Photos by Aiyuda Prasad Ponnappa
It was after his death that Kalyatanda Ponnappa was called Kaliat Achchappa or Kaliat Ajjappa. In Kodagu, there are several shrines dedicated to this folk hero. One of the most famous among them is his samadhi (memorial) near the temple of Makki Makki Sarthavu. This spot is claimed to be the place where he passed away.
source: http://www.deccanherald.com / Deccan Herald / Home> India> Karnataka / by Mookonda Kushalappa / January 18th, 2024
Loss of habitat and knowledge could adversely impact diets of tribal communities living in Western Ghats .
A tribal man foraging benne genasu or sweet potatoes. Photo: ATREE
During summers, members of the indigenous group Soliga form teams to collect honey. The honey bees make their hives in the cracks and crevices of rocky cliffs in the Western Ghats. Collection is not an easy task but the Soligas have centuries of experience and know exactly what to do. They hang from the cliff edges using ropes made from vines and bamboo to first smoke the bees away from the hive and then collect the combs in baskets. The work is done during the night, which makes it more difficult.
Indigenous groups Soligas and Yeravas have been living in the Cauvery Basin and the surrounding hills of peninsular India for thousands of years. A recent book has looked into the diets of these communities, giving fresh insights into the foods that these two tribes forage from the forests.
Honey is an important part of the diet for the Soliga people, who still forage large parts of their food from the biodiversity-rich Ghats. The Western Ghats are one of the world’s biodiversity hotspots, with over 5,000 flowering plants, 139 mammals, 508 birds and 179 amphibian species. Many of these are part of the diet of the tribal communities in the region.
Soligas, one of the oldest indigenous communities in the country, are the original inhabitants of Karnataka and live mostly in the Chamarajanagar and Mandya districts. The Yeravas, on the other hand, came to the state from Wayanad district in Kerala and settled in Kodagu district of the state.
The recently launched Forgotten Trails: Foraging Wild Edibles, authored by Malemleima Ningombi and Harisha RP, chronicled the foods that these two tribes forage from the forests. Such foods form around 25 per cent of the Soligas diet and around 30 percent of the Yerava diet, said Harisha RP, who is a conservation biologist at Ashoka Trust for Research in Ecology and the Environment or ATREE.
Women cook ragimudde (finger millet balls). Photo: ATREE
There is not much difference between the diets of these two communities other than that Yeravas use more tubers than Soligas. There are some 10-12 wild food plants that are unique to each community as they live in different landscapes, he added.
The Soligas and the Yeravas cook using the simplest of recipes — their sambar recipe is extremely similar — but the ingredients can change according to the season. The area witnesses four main seasons: Summer, monsoon, retreating monsoon and winter.
In the summers, they relish fruits like wood apples and mangoes and greens such as mushte soppu (Holostemma annulare), kaddi soppu (Jasminum sp) or anne soppu (Celosia argentea).
Mushrooms become part of the Yerava diet during monsoons, when they emerge overnight from barren land. Doddbidru or Indian thorny bamboo, shoots up during the rainy season too. The bamboo shoot sambar is consumed with much enthusiasm by the Soligas.
Cold and local multicoloured corn roasted over the fire used to be consumed often during retreating monsoons. However, this has become rare as communities have stopped cultivating the crop because it was frequently raided and destroyed by animals.
In winter, when warm foods are needed, the Yeravas, who work as labourers in coffee plantations, depend on the wild berries of various nightshade plants and edible ferns that grow along the streams.
The authors highlighted that the food that Soligas and Yeravas depend on for survival is now affected by changes in land use and shifting policies. Worse, traditional knowledge is steadily being lost as young people are migrating out. This knowledge is important for foraging for the right food.
For example, the Soligas have learned that bamboo shoots have to be uprooted and de-skinned with bare hands to ensure that they do not become poisonous. Similarly, the Yeravas know first, that all mushrooms are not edible and, second, that care has to be taken that they do not mature and get infested with insects. The skill of collecting the right ones at the right time is getting lost among the younger generation.
There have been efforts to ensure that the next generation understands the value of these plants. For instance, the Soliga community-run business ADAVI promotes the processing and value addition of some cultivated foods and nontimber forest products. The book has documented the wild plants in the area, along with recipes to prepare food from them. This, too, will help preserve and pass on traditional knowledge to the next generation.
The foraging trips help members of the tribe bond and help the next generation assimilate the skill. Foraging together, bonding, coexisting, laughing, arguing, taking risks, making do with what is found and sharing are what bring the community together, said the authors.
source: http://www.downtoearth.org.in / Down To Earth / Home> News> Food / by Vibha Varshney / January 14th, 2024
Sandooka Virtual Museum of Kodava Heritage and Culture, an informative and interactive platform for the community, the diaspora, researchers and knowledge-seekers, has been launched. One can access it on https://sandookamuseum.org/
The museum has been created with community participation and on the basis of research on existing knowledge of the history of Kodagu, traditions of the Kodava community and unique practices.
Presently, the museum boasts 54 stories categorised into nine themes:
Architecture, Arts and Crafts, Community Histories, Clothes and Jewellery, Cuisine, Customs and Rituals, Festivals, Landscape, Literature and Folklore. The website also includes a glossary of commonly used Kodava terms and a list of recommended books and website resources.
Within the museum’s pages, visitors can explore a brief history of Kodagu in sections like ‘Residences of the Royals’ and the glossary. An outline map in the glossary provides context, illustrating the taluks of Kodagu, its location within Karnataka and its place in India.
The brain behind this ambitious project is Rathi Vinay Jha (Codanda), the erstwhile Chair of the India Foundation for the Arts (IFA). A retired 1967 batch IAS Officer, she served as the Secretary in the Ministry of Tourism, Government of India. In early 2022, IFA issued a call for proposals from multidisciplinary teams to develop the virtual museum.
Talakaveri (Talacauvery) – the birthplace of River Kaveri. [Photo courtesy: Kunjiyanda Mahesh Appaiah (Max)]
Stringent scrutiny
Numerous teams from various parts of India submitted their proposals.
The selection process involved the scrutiny of an esteemed jury, including Paul Abraham (Founder of Sarmaya Arts Foundation), Nick Merriman (Director of Horniman Museums and Gardens, London), Sara Ahmed (Founder of Living Waters Museum), Venu Vasudevan, IAS (former Director General of the National Museum) and Hemanth Satyanarayana (CEO, Imaginate).
Following a meticulous evaluation of presentations and interviews, a team led by art museum curator Lina Vincent emerged as the chosen one for the project. The team comprised the dynamic designer duo Upasana Nattoji Roy and Saurav Roy from SWITCH. I was honoured to be invited to spearhead the Research and Coordination for Virtual Museum.
Our team came together in early 2022 and the ensuing two years have been both hectic and gratifying. Our efforts were complemented by a dedicated group handling media resources, including Aiyuda Prasad Ponnappa (videography), Clare Arni (photography), Kalpit Gaonkar (drone videography), Kunjiyanda Mahesh Appaiah aka Max Machu (videography), Chenanda Rohan Ponnaiah (videography), G.S. Bhavani (photography), Dr. Bishan Monnappa (photography) and others. Hasan Shahrukh spearheaded website development, with Samarth Gulati focusing on the front end and Gaurav Nagar on the back end. Additional support came from associates such as Nitya Devayya, Dhriti Belliappa, Nigel Gomes and Christina Dedhia.
The IFA team overseeing the project included former Executive Director Arundhati Ghosh, Executive Director Menaka Rodriguez, members Darshana Dave, Ritwika Misra and C. Suresh Kumar
IFA Advisory Board, consisting of Rathi Vinay Jha, Cheppudira P. Belliappa and Hemanth Satyanarayana, provided valuable guidance.
The editorial advisors, namely Dr. Boverianda Nanjamma Chinnappa, Cheppudira P. Belliappa, Dr. Kodira Monnappa Lokesh and Dr. C.C. Sowmya Dechamma, contributed expertise to the project.
Recaero India predominantly funded the initiative, while Anuraag, a Virajpet-based NGO, played a crucial role in supporting payments to artists, folk singers, dancers, craftsmen and facilitating media documentation.
A bride & a groom in traditional attire. [Photo courtesy: Deepthi Puttichanda]
A comprehensive repository of information
The Sandooka Virtual Museum of Kodava Heritage and Culture stands as a comprehensive repository of information on Kodavas. In the Kodava language, a ‘sandooka’ is referred to as ‘chandooka’, akin to a traditional wooden trunk or chest found in Indian homes.
Our documentation efforts included capturing the ‘Kail Podh’ festival of weapons at the Baduvamanda ancestral house in Kavadi, festival sports at Puliyeri village green near Ammathi, the harvest festival ‘Puthari’ at the Padeyanda ancestral house, festival dances at Biddatanda Vaade and Kokeri Bhagwathy temple, and the annual ‘theray’ (a shaman ritual of Kodagu similar to ‘theyyam’ and ‘kola’) at the Nadikerianda ancestral house in Karada
While a substantial population of Kodavas still resides in Kodagu, tens of thousands have migrated to places like Mysuru and Bengaluru. Additionally, Kodava diaspora is seen outside Karnataka in various parts of India and extending to international locations such as Singapore, the Middle East, Europe, the United Kingdom, Africa, Australia and the Americas.
A picture of ‘theray’ ritual.
To maintain cultural connections, Kodavas have established regional Kootas or Associations, where members gather annually, often during festivals. Kodava Samajas in villages, towns and cities organise Kodava weddings and other social events.
However, the Kodava diaspora faces challenges in preserving their native language and culture. As generations pass, certain traditions risk fading away. Recognising this need for preservation, Sandooka Virtual Museum of Kodava Heritage and Culture acts as a bridge, documenting and safeguarding cultural heritage for future generations worldwide.
Cherishing our legacy
Kodavas are a small community with a vibrant heritage and unique traditions. Kodagu and the Kodavas have always raised the curiosity of not just our own people but of scholars and visitors across the world. Today, with access to technology we can send a message across to our diaspora and the world about our land and its culture. Sandooka Virtual Museum is a repository of such online information on Kodava heritage. Let us cherish our legacy and celebrate our achievements.— Rathi Vinay Jha (Codanda), erstwhile Chair of the India Foundation for the Arts (IFA)
source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / by Mookonda Nitin Kushalappa / January 09th, 2024
The invigorating aroma of the coffee blossoms carried by chilled breeze, the midnight green ambience along the loopy roads… it is not just the abundant natural beauty that makes Kodagu a distinct place. Its people — the Kodavas — with discrete culture and heritage, boost the glory of this coffee land.
Be it the language (Coorgie), cuisine, attire or rituals, Kodava culture moves away from the humdrum reckoning a distinct ethnic identity. And safeguarding this ethnicity while preserving their way of life is the architectural legacy known as the ain mane or ballya mane.
Ain Manes (ain in Coorgie translates to original) are the ancestral heritage homes of the Kodavas that reflect the eminence of a sanctum sanctorum. With quintessential framework, an archetypal heritage home comprises traditionally-carved wooden , bricked white and red walls, intricately-carved wooden doorways and windows. With a typical style, each of them has an unmatched old-world charm.
Every corner of the house is given a name and holds mythical importance. With two types — the othe pore (single roofed house) and mundh mane (courtyard house) — the traditional features of ain manes include kannikamba (a sacrosanct pillar), kayyale (verandah), aimaras (wooden slabs in the verandah), machi (wooden ceiling), mundh (open courtyard) and kannikombre (worship room). Most of the ain manes have kaimadas – a sacred shrine built to worship the ancestors. Since the existence of nuclear families, there were outhouses built around the premises called ale pore.
While the interiors reflect somber and subdued beauty, its exteriors manifest valour and strength. As Chakku Chengappa, a member of Nadikerianda clan, explains, “Hidden and safeguarded amidst the estate were the fort-like structures of ballya mane (ballya means huge); built in this manner to prevent an ambush from enemies. The entrance to the ain mane has many sections. There is a long curvy oni (alley), bakka pare and ala pare (extensions of the alley), which lead to the verandah.”
Nonagenarian Nadikerianda Muthamma adds, “The Kodava women were known to be beautiful, and this is why ain manes needed to be protected at the time of British rule. However, today the ain manes play an important role in reuniting families.”
“Much more than just a roof over the head, ain manes are an important part of the tangible heritage of the native community of Kodagu,” write Boverianda Chinnappa and Nanjamma in their book Ainmanes of Kodagu. Built in the ancestral or the jamma land the ain mane is a binding force that is a pillar of strength — both literally and figuratively. Many findings state that the inception of the concept of ain mane dates back to eighth century.
The origins
“The early settlers of Kodagu stayed in forests as a family. Due to feudal fights, it was common for people with the same bloodline to stay together in a small thatched hut. These settlements grew in size and became stronger, which made the ruling king seek their support. In return, the king gifted them land, which is the jamma land. As their living conditions improved, they built a strong fort-like structure on the jamma land, which came to be known as ain mane or ballya mane,” explains Boverianda Nanjamma.
However, the architectural style takes its root from Kerala. She adds, “Kodagu grew paddy abundantly but depended largely on Kerala for other commodities. During the travel for exchange of commodities, the Kodavas were pleased by the Kerala architectural style and there flowed workmanship from Kerala to build the ain mane.”
While there are over 900 clans in existence in Kodagu, not all of them have an ain mane. Nanjamma explains, “During the research work for our book, we found out that many deteriorating ain manes were never rebuilt.” According to their findings, only 40% of the ain manes were renovated keeping the tradition intact and the rest did not see the light of the new era.
Today, there are over 400 ain manes in existence and each of them belongs to a patriarchal clan, which is recognised by unique family names known as mane pedas. They bustle with ritualistic celebrations during festivities including Putthari, Kailpodh and annual kola (spirit dance). “The annual hockey matches conducted between families shed light on the revival of ain manes,” opines Kayapanda Shashi Somaiah, a journalist in Kodagu. Nonetheless, the revival of the ain manes are not just a process of renovation of age-old structures but also a resurgence of Kodava culture.
Unity in diversity
The Kundyolanda clan, which has 35 families, has its ain mane in Kolakeri village that was recently renovated to its pre-eminence. The rituals followed in this ain mane are uncompromising and many. “It is a family temple for us. We strictly adhere to the rituals and it is mandatory for women to wear traditional Coorgie saree and vastra (veil) over the head while entering the house. Apart from this, there are various other restrictions followed religiously in the ain mane,” explains Kundyolanda Dinesh, owner of a hotel.
They have a 400-year-old othe pore ain mane with 14 rooms, but there is no one residing here. However, it is made sure that lamps are lit twice a day and the house is maintained meticulously. “Each nuclear family of the clan takes turn to maintain the house and no one can back out from their duties,” he explains.
The Nadikerianda clan, with over 40 families, has a mundh ain mane in Karada village, which bustles with ritualistic activities during the festivals. A diligently maintained heritage home, it reflects the glory of the past and is keeping alive the the culture and traditions. A 350-year-old house, it has a kaimada and a snake shrine in its premises. With 10 rooms, it has a beautifully-carved wooden window frame and a small wooden post box at the entrance. The huge mundh open to the skies is supported by four wooden pillars — all carved differently.
The Arapattu Mukkatira clan has their ain mane in Kadanga village. With 13 rooms, the uniqueness of this ain mane is that it has two mundhs and two kayyales. A 300-year-old structure, it is said that the temple treasure from the village Bhagavathi Temple was locked safely in a wooden treasure box kept in the attic of this ain mane. This wooden treasure box still lies in the attic. “We are a clan of 45 families. The age-old rituals are still in practice here. The renovation of the house is soon to take place with help from all the family members,” explains Katty Uthappa, deputy manager of a bank.
The Biddanda family has the ain mane built in the property gifted by King Veeraraja in 1795. With eight partitions in this mundh mane, there is a kaimada close by and the pictures of ancestors of eight generations can be seen hanging on the wall at the entrance. “One of our ancestors, Sarvakayaka Bopanna, was very close to the king. His (Bopanna’s) tombstone is right next to King Veeraraja’s tombstone,” explains Biddanda S Ganapathi, a retired navy officer.
The ain manes are a matter of pride to the Kodavas and are unique to their ethnicity. This uniqueness in architecture has been adopted by many resorts in Kodagu that woo the tourists. However, ain manes do not just demonstrate pride but bespeak culture. They are the souls of Kodava rituals, and their revival provides a surety to Kodavas’ customs and legacy.
source: http://www.deccanherald.com / Deccan Herald / Home> India> Karnataka / by DHNS / January 24th, 2017
A Temple that was submerged after the construction of the picturesque Chikklihole Reservoir in Kushalnagar Taluk of Kodagu district has emerged from the waters, thanks to the dry spell and the failure of monsoon. People are coming to see the Temple in hordes and the place has become a picnic spot and a weekend getaway.
The Shiva Temple, constructed in 1983, has become accessible to people after 40 years. In April 2017 too, the Temple was visible for a brief period but was soon covered in water as it rained in June that year. This time, however, people have a chance to see the Temple till the next normal monsoon which is scheduled to start in June 2024
The Temple, located right in the middle of the Chikklihole Reservoir is visible along with the sanctum sanctorum and the pillars on the sides. There is a small well that was used as a source of water for the Temple before the Reservoir was constructed. Apart from the Shiva Temple, there are structures dedicated to Lord Ganesha and Nandi.
Clear warning, say residents
Clear warning, say residents
The re-emergence of the Temple six months before the onset of monsoon season is causing concern among locals about the potential implications and raising anticipation of a looming water crisis. This situation suggests a possible worsening of the water scarcity issue within the Cauvery basin. Usually, in December, the water inside the Chikklihole Reservoir does not dry up like it has happened this year. The current circumstances serve as a clear warning, say the residents.
Unfortunately, this year, due to inadequate rainfall in Kodagu, the Cauvery River did not flow vigorously, resulting in a water shortage in the Reservoir. The Chiklihole Reservoir, constructed for irrigation and agricultural purposes, saw water flowing into it in the initial months and excess water was discharged. As a result, the Reservoir lost its storage capacity as it did not rain beyond the initial months.
Thousands of farmers depend on the Chikklihole Dam for irrigation in the villages of Kushalanagar, Rangasamudra, Chikka Bettageri and Dodda Bettageri, Nanjarayapatana, Virupakshapura, Rasoolpura, Bollur, Basavanahalli and Guddehosur.
Even in hot summers these years, there was rarely a situation like the submerged Shiva Temple emerging from the waters. This year, however, the dam has become dry, exposing the structures beneath it.
150-year-old Temple
150-year-old Temple
The Shiva Temple was built 150 years ago by the Magdoor family, hailing from Kerala. The family migrated from the neighbouring region and were indulging in agriculture for a living. As the place had a special significance due to its spiritual nature, astrologers from Kerala were invited there. On the advice of the ‘thanthri’, the Temple was constructed with regular pujas and a grand Mahashivarathri and temple fair that used to be attended by thousands of people.
The Chikklihole Dam was built in 1983 when R. Gundu Rao was the CM to store and supply 0.18 tmcft (thousand million cubic feet) of water. When the Temple was submerged, the Government, honouring religious sentiments, ordered an alternative Temple to be built nearby. Many channels were constructed to take the water to the fields of tail-end farmers.
In 1993, the descendants of the Magdoor family constructed another Temple of Lord Vishwanatha nearby and consecrated the main idol of Lord Shiva from the old submerged Temple in it. The Vishwanatha Temple of Magdoor went on to become famous.
source: http://www.starofmysore.com / Star of Mysore / Home> News> Top Stories / December 10th, 2023
‘Bhakta Ratnakara Keerthane’, restored work of renowned Kodava writer, released.
Dignitaries release Appaneravanda Appachha’s ‘Bhakta Ratnakara Keerthane’ in Madikeri on Saturday. DH photo
Writer Bacharaniyanda Appanna has said that a chapter on the life of Kodava writer Appaneravanda Appachha should be included in school syllabus.
At a book release programme organised by Karnataka Kodava Sahitya Academy here, Appanna said Appachha laid foundation for literary activities in Kodagu.
Lauding the initiative of the academy to document the achievements of the writer in the form of a book, Appanna said such initiatives will bust the myth that the district still lags behind in literary field. Though most of the works are being brought out in Kodava, lack of adequate publicity has become an impediment in reaching literary lovers, he observed.
Study materials
Lauding Appachha as ‘Kalidasa of Kodagu’, Appanna said it is evident with most of the poems, plays and also theatre songs penned. The available study materials will help younger generation in getting a glimpse of the writer and his achievements, he noted.
Appachha’s works date back to over a century and he has written four plays in Kodava. One among them, ‘Bhakta Ratnakara Keerthane’, was facing extinction, but for the timely initiative of the academy. The work has got a new lease of life, he said.
Registrar of Kodava Cultural Study Centre, Mangaluru University, Kodeera Lokesh said, “Though the love for the land among locals is on the decline, there are very few who feel proud and also patriotic, speaking in awe about the contribution to defence forces in the country.”
The youths should take initiative in studying culture and tradition of the land. The academy is playing a key role in conserving the culture, by judiciously using funds provided from the government, he added.
Additional Deputy Commissioner M Sathish Kumar stressed on documentation of history related to Kodagu for history lovers. The available historical documents in the record room at deputy commissioner’s office can be digitised for the benefit of next generation, he suggested.
Works released
Researcher Biddanda Rekha Chinnappa’s book on ‘Swatantrya Poorva Kodagina Rajakeeya Parisiti (Politics in Kodagu During Pre-Independence Era), researcher Kambeyanda Deena Bojanna’s ‘Kodagina Mand Mane Kymada Mandgala Srimantha Parampare (The Rich History of Traditional Kodava Houses), Macchamada Gopi Seethamma’s ‘Neethi Joppe’ and journalist Ithichanda Ramesh Utthappa’s ‘Appaneravanda Appaccha Kavi Jeevanacharitre (Biography of the Writer) and Sirigandha Srinivasmurthy’s CD on ‘Kodava Bhashikara Samagra Dakaleekarana’ were released. Akademy chairman Biddatanda S Thammaiah, Madikeri Urban Development Authority Chairman Chummi Devaiah, writer Nagesh Kalur, deputy director (retd) S I Bhavikatti were present.
source: http://www.deccanherald.com / Deccan Herald / Home> Amp> Story> Content> 627810 / by DHNS / August 13th, 2017
Member of legislative assembly (MLA) and chief minister Siddarmaiah’s legal advisor, AS Ponnanna on Tuesday stated that possessing wildlife products with ancestral connections should not an offence.
MLA AS Ponnanna stresses importance of recognising the historical importance of heritage items. (Facebook/ AS Ponnanna)
Member of legislative assembly (MLA) and chief minister Siddarmaiah’s legal advisor, AS Ponnanna on Tuesday said that possessing wildlife products with ancestral connections should not be an offence.
Ponnanna’s statement came in reference to the stay order issued by the state high court in response to a notice served to Rajya Sabha member and actor Jaggesh by forest officials.’
Speaking to reporters in Madikeri on Tuesday, Ponnanna said that the forest ministry should instruct forest officers not to take any action against those who possess wildlife products until the high court delivers its verdict.
Ponnanna stressed the importance of recognising the cultural and historical significance of heritage items and expressed his belief that it is not appropriate to initiate legal proceedings against those who possess such items. “There is a need for forest officials to have a comprehensive understanding of the wildlife protection laws and urged the government to provide clear guidance to these officers,” he said.
The issue at hand pertains to the use of wildlife products traditionally employed by the people of Kodagu for generations. Ponnanna mentioned that he intends to meet with the chief minister and engage in discussions aimed at providing relief through the state government.
The ongoing legal actions taken by the forest department against individuals who possess wildlife products have instilled fear among hundreds of residents in Kodagu district. Given that the district is a hilly region known for its abundant wildlife and was once encouraged for hunting during the British colonial period, wildlife protection laws were only established in 1972. Prior to that, hundreds of landowners in Kodagu proudly displayed wildlife antlers and skins in their homes as a status symbol, he said.
In Kodagu, people showcased wildlife antlers and skins in their homes as a status symbol. “As I have possessed deer antlers for more than a century, I did not declare them with the forest department,” a coffee grower from Ponnampet in Kodagu told HT on condition of anonymity. He suggested that the state government should provide one more opportunity for individuals to declare their possession of wildlife products.
“The state government should act in accordance with the law. No concessions should be granted to anyone, nor should the possession of wildlife products be allowed,” wildlife expert KM Chinnappa told HT. He warned that if the government permits such practices, hunting could make a resurgence. Chinnappa emphasized the need to change our habits and strictly follow the law, which is enforced for the benefit of the people.
“We will not file suo moto cases or conduct checks in houses in Kodagu,” Madikeri DCF H Bhaskar told HT. He explained that the state government had previously given people a chance to declare their possession of wildlife products until 2003. Whether the state offers another chance for declaration or not, he added, it would be considered an offence.
source: http://www.hindustantimes.com / Hindustan Times / Home> News> Cities> Bengaluru News / by Coovrcolly Indresh, Mysuru / November 01st, 2023
The film, which begins with a narration, might come across more like a movie than a documentary, and Karumbaiah says it was a deliberate effort.
Bengaluru :
Thashwini Karumbaiah’s documentary film Kodavas – The Highlanders is a deep insight into the rich culture and heritage of Kodavas, renowned as a warrior clan. Hailing from the same community, the filmmaker wanted to document it in some way.
As a passion project, the film took more than two years to be made. “When the British came, they changed the name to Coorg, it is actually Kodagu,” says Karumbaiah adding, “As a Kodavati, I wanted to preserve our culture and attire and thought the best way to document all of it was in the form of a film.”
The film, which begins with a narration, might come across more like a movie than a documentary, and Karumbaiah says it was a deliberate effort. “I wanted to experiment with the documentary. Usually, documentaries are shot in a very different way but I come from a background where we do films and serials, so I wanted to make it cinematic. At one glance, people might feel there is a story behind every chapter. But it is a documentary,” says Karumbaiah about the film that was co-produced by Vaishno Studios.
Hailing from Kodagu, Karumbaiah has heard many stories in the family about the community.
However, the research for the film helped her discover many things that she had not known. “For example, when we started talking about battles that happened in Kodagu, we realised that a lot of them have gone unnoticed. It’s only orally been passed down from the older generations. We came across some of these stories which were interesting,” she adds.
Although the film started as a passion project with no commercial idea in mind, Karumbaiah is hoping to screen it at an international film festival next year.
source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Monika Monalisa, Express News Service / September 20th, 2023
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