National Flag Day: A Tribute to India’s Pride and Heritage

By
Cscope Staff
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National Flag Day-01

Do you know when our national flag celebrates its birthday?

India’s national flag–“Tricolor” is not just a flag or simple piece of fabric, it is the pride of every Indian citizen. To understand its significance deeply, we celebrate the birthday of our national flag on July 22, as National Flag Day. This year this day will be celebrated on Tuesday.

History of National Flag Day?

In 1906, at the National Convention of the Indian National Congress, Pingali Venkayya, the creator behind India’s national flag, strongly asserted that India should have its own national flag. His passionate call for a symbol of unity and identity deeply resonated with Mahatma Gandhi, the father of the nation, who wholeheartedly supported the idea.

Subsequently, Venkayya took the task of preparing the design of the public flag, for which he first observed and studied the flags of 30 different countries. Based on that, he initially created a flag in which Red color was included for Hindus and green color for Muslims. But, that flag did not get the acceptance of the panel.

Later, Gandhiji recommended that Venkayya include the white color in the flag. Hansraj, a prominent leader of Punjab, suggested adding a chakra[wheel] as a symbol in the flag. 

Eventually, in 1931, the Indian National Congress unanimously accepted that flag made of saffron, white and green colors at the All India Conference of Karachi. Originally, there was a spinning wheel in the center of the flag, which was later replaced by the Ashoka Chakra.

Meaning of Colors in the Flag

  1. Saffron indicates strength and courage.
  2. White symbolizes peace and truth.
  3. Green depicts evolution and serenity. 
  4. The blue-colored circular wheel “Ashoka Chakra”, also known as Dharma Chakra has 24 spokes that represent the virtues or principles not the religion[Dharma].

Why is July 22 is Celebrated?

On this day in 1947, the Constituent Assembly accepted the current tricolor as India’s national flag, and this decision declared by former Prime Minister Pandit Jawaharlal Nehru himself. This important event happened just a few weeks before India got independence from British colonial rule on August 15, 1947. It marks a historic milestone in India’s history.

Objective of National Flag Day

National Flag Day is about honoring its spirit. It’s main objectives are:

  • Boost the sense of national togetherness and integration.
  • Teach the public, students and younger generation about the legacy, importance, value and symbolism of the national flag.
  • Cultivate a sense of nationalism, respect and pride towards the national flag.
  • Inspire future generations to maintain the values of the national flag, secularism, which the tricolor represents.

How is National Flag Day Celebrated?

Schools and colleges across the country arrange various programs to highlight the glory and history of our national flag:

  • The Tiranga is hoisted with at most respect.
  • The national anthem is sung. 
  • Students give speeches and raise slogans in honor of the flag. 
  • Cultural programs and competitions like flag-making are also organized.

Takeaway

Instilling the value of the national flag from a young age ensures that tomorrow’s leaders carry forward its legacy with pride. But in order to do this, it is crucial to comprehend the significance of National Flag Day, as it will strengthen patriotism and honor, and admire the thousands of people who gave their lives to protect the nation’s independence.

Banavasi: Exploring Karnataka’s First City and Must-Visit Attractions

By
Tasneem Sariya
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Banavasi-first-city-in-karnataka-00
Image Courtesy – Unexplored India

When you think of Karnataka, chances are Banavasi may not cross your mind. A small town situated near Sirsi, most people often miss its historical and cultural significance. But Banavasi is one of the oldest towns of the state, estimated to be in existence since 4000 BC. It is called ‘Vanavasaka’ in the Mahabharata, however, it came to prominence during the rule of the Kadamba dynasty. It was the capital of the kingdom and hence also owns the distinction of being the first capital of ancient Karnataka. 

Banavasi Location and History

Location-and-History-of-Banavasi
Kadamba Dynasty Map – Wikimedia

ಆರಂಕುಸವಿಟ್ಟೊಡಂ ನೆನೆವುದೆನ್ನ ಮನಂ ಬನವಾಸಿ ದೇಶಮಂ – ಆದಿ ಕವಿ ಪಂಪ

“Amidst the pain of a lance, his heart still beats for Banaasi, as if it were the only solace”. Above line is derived from Aadi Kavi Pampa’s “Papma Bharata” written during 10th century which explains the poets love for Banavasi.

Banavasi, located on the banks of River Varadha is 24 km from Sirsi and can be reached while driving on SH 77. Local buses ply regularly from Sirsi to Banavasi. Sirsi is well connected to Bengaluru through public transport. Banavasi is 100 km from the district center, Karwar and around 350 km from Bengaluru. Haveri, 70 km away is the nearest railway station. 

Ruled by the Kadamba dynasty from the 4th to 6th century AD, the town is tucked in the beautiful Western Ghats. However, Banavasi exudes an aura of old-world charm and is a divine abode of some of the most ancient temples of south India. The Madhukeshwara Temple is the main religious hub, manifesting the intricate and detailed sculpting and architecture of earlier times. Besides, the calming natural beauty, rustic ambiance and culture of the town, make it an interesting and unique destination. 

List of Banavasi Attractions 

Though Madhukeshwara Temple is the main attraction of Banavasi, Jain and Buddhists religious temples are also found here. Besides, the natural landscape also offers some great tourist spots to visit. 

Attractions near Banavasi Details
Madhukeshwara Temple A 9th-century Shiva temple with a honey-colored lingam, 7-feet Nandi bull, and stunning stone pillars. Famous for its historical and architectural significance.
Pampa Vana A forest dedicated to Adikavi Pampa, Karnataka’s first poet. The temple here is believed to be the original site of the Madhukeshwara temple.
Gudnapur An archaeological site 5 km from Banavasi with a pillar detailing the origins of the Kadamba dynasty and a temple built by King Ravivarma.
Sahasralinga A unique site 15 km from Banavasi across the River Shalmala, featuring hundreds of Shiv lingas carved into rocks, offering a picturesque and serene experience.
Gudavi Bird Sanctuary A 25 km drive from Banavasi, home to over 190 bird species, including migratory birds that visit in winter.
Unchalli Waterfalls Located 35 km from Banavasi, these waterfalls can be accessed by a thrilling trek through steep paths.
Treks & Trails Explore Banavasi’s surroundings through various trekking routes such as the Banavasi to Yana Trail and Kadamba Trails.

Madhukeshwara Temple

Banavasi-first-city-in-karnataka-01
Image – Rajeev Rajagopalan/Flickr

Madhukeshwara Temple is the main attraction of Banavasi. Dedicated to Lord Shiva this temple was built in the 9th century CE. Its most fascinating features are the honey colored lingam, the 7 feet tall Nandi bull, the stunning stone pillars and more. In fact, the color of the lingam is what gives the temple its name. The uniqueness of the temple lies in not only the larger structure, but also in the little details. For instance, the statue of the Nandi Bull has its head tilted where one eye is looking at the garba griha where the lingam is located. The other eye seems to be looking at the Parvati Temple, situated adjacent to Madhukeshwara Temple. 

The temple also houses the statue of the Adi-Madhava which several people believe was the original or first deity of the temple. Till date devotees worship this statue first before heading into the Shiva lingam. The Madhukeshwara temple was commissioned by Mayura Sharma, a Kadamba King. However, several renovations, additions and extensions have been made to the temple complex over the years, during the Chola, Chalukyas, Hoysalas, Sonda dynasties. The navranga, polished pillars, stone cot in the temple courtyard, sandalwood chariot and half Narasimha and Ganapati statues are features that might have been added in the later years. 

Madhukeshvara_temple_at_Banavasi-2
Madhukeshwara Temple – Wikimedia

The kalyana mantapa or triloka mantapa is architecturally splendid. The other mantapas or mandapas worth seeing include the Nritya Mandapa, the Darshana Mandapa and the Astana Mandapa. The sandalwood chariot or rakta chandana is believed to have been donated by Ramachandra Nayak in the 17th century. It till date is one of the tallest temple chariots in Karnataka. 

During the Kadambotsava Festival, several devotees make their way to the temple. 

Pampa Vana

Adikavi Pampa is considered as the first Kannada poet in Karnataka. He is credited with writing epics, such as Vikramarjuna Vijaya, Adi Purana and Pampa Bharata. This renowned poet was the court poet of Vemulavada Chalukya who wrote his most famous works in Banavasi. The Pampa Vana is a forest dedicated to the great poet. Inside this small forested area, that also houses a children’s park, there is another ancient temple called Adi Madhukeshwara. Though there is a single lingam inside the temple, devotees believe that the Madhukeshwara temple was first built here. However, it was shifted to its current location later. There is a navranga, shikhara and pillars in different architectural styles that can be seen in this temple. It is local belief that during drought or low rainfall, devotees pray here and within a week they are blessed with rainfall. 

Gudnapur

5 km from the town of Banavasi is the village of Gudnapur. Gudnapur is an archeological site that once held the origins of the Kadamba dynasty. There is a pillar also called stambha shasana, that stands here with inscriptions that bring to light the genealogy and origins of the dynasty. Built by King Ravivarma, the pillar also bears documentation about the temple, harem, and dancing halls that once stood here. However, besides the pillar, there are a few Jain Tirthankar statues and a large lake or tank constructed by the king for agriculture. The Bangareshwar Temple is located in the middle of this water body. 

Sahasralinga

Sahasralinga-near-Banavasi

15 km from Banavasi, one can find an interesting site across the River Shalmala. There are hundreds of Shiv lingas, beautifully carved into the rocks on the river. These stunning carvings might have been done by different kings across the years as acts of devotion. The captivating carvings along with the serenity of the river and surroundings, makes it a popular attraction of Banavasi. This is a great spot for photography too. 

Other Tourist Sites near Banavasi

Besides temples and religious structures, Banavasi also has natural attractions. 

Gudavi Bird Sanctuary

25 km from Banavasi, lies the quiet Gudavi Bird Sanctuary. The forest cover and wetlands provide the perfect shelters for birds of different species. Around 190 avian species are found here including egrets, cormorants, herons and more. Migratory birds also come here in large numbers during the winters. 

Unchalli Waterfalls

Also known as the Lushington Falls, the Unchalli waterfalls are 35 km from Banavasi. The fall can be accessed after an adventurous trek that trails on steep and narrow pathways. 

Treks & Trails

Travelers can embark on thrilling trekking routes to explore the surrounding areas of Banavasi. The Banavasi Trail starts from Madhukeshwara Temple to Gudavi Bird Sanctuary. En route watch the local artisans at work, visit Pampa Vana and the pineapple farms. 

The Banavasi to Yana Trail takes travelers to the splendid Yana caves. They can explore the Unchalli Falls, Sahasra Linga and Marikhamba Temple.

The Kadamba Trails takes visitors on a cultural and historical route of the dynasty while to enjoy the rushing waters the Jof Falls Trail is popular.

Agriculture and Culture

Agriculture and Culture Banavasi

Banavasi is essentially an agricultural town. The famous pineapple farms steal the limelight. However, there are many other crops grown here including bananas, areca nuts, rice and more. Also, an art gallery called Varnaloka in the town displays exquisite arts and crafts of the region. One can buy sandalwood creations, Yakshagana masks, baskets, sculptors, carved items, temple requirements etc. 

Autumn, winter and spring are the best months to visit Banavasi. Besides, there are a few eco-friendly guesthouses and places of stay. The ‘khanavalis’ are little eateries that serve authentic delicious local cuisines, which have a generous serving of chutneys and powders. 

Takeaway

Banavasi is not the fast-paced tourist destination that is packed with world-class tourist attractions to visit. On the other hand, it is steeped in natural beauty, biodiversity and a rich history and culture. For a bit of quiet, peace and soulful endeavours, Banavasi is a uniquely good choice.

FAQs about Banavasi

Question: What is Banavasi famous for?

Answer: Banavasi is famous for the Madhukeshwara Temple, a historical 9th-century Shiva temple known for its beautiful architecture and cultural significance.

Question: Where is Banavasi located?

Answer: Banavasi is located in the northern part of the state of Karnataka, India, in the Uttara Kannada district.

Question: What is the historical importance of Banavasi?

Answer: Banavasi was the capital of the Kadamba dynasty in the 4th century CE and has significant archaeological and historical landmarks.

Question: What can tourists do in Banavasi?

Answer: Tourists can visit the Madhukeshwara Temple, explore ancient temples, enjoy scenic landscapes, and learn about the history of the Kadamba dynasty.

Question: How can I reach Banavasi?

Answer: Banavasi can be reached by road from the nearby towns of Sirsi and Karwar, with good connectivity through buses and private vehicles.

CBSE Introduces Mandatory Art Projects for Classes I–X Starting 2025–26

By
Cscope Staff
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CBSE Introduces Mandatory Art Projects for Classes I–X Starting 2025–26-A

In a significant shift towards holistic education, the Central Board of Secondary Education (CBSE) has mandated a rule for all students from class 1 to class 10 from the academic year 2025-26. As per the new circular, all students from class 1 to 10 will have to do art-integrated projects, and the students of class 10 who will not follow this protocol, will not be able to receive their admit cards.

Currently, everyone is surprised due to this new norm, but now schools will have to upload their art-integrated project details on the “Kala Setu Portal” compulsory.

By implementing this rule, the board does not want to put any pressure on the children in any way. Rather, the purpose of bringing this rule is to ensure that students should get acquainted with Indian art and culture and all schools should promote art, culture and creativity. Students will have to showcase their innovation and originality by adding their Indian art to this.

The art-integrated project will be given to the students of 9th and 10th with the goal of enhancing their understanding of the subject. Along with this, the rule has been implemented with the motive of making the students studying in the junior section understand what an art-integrated project is. 

“Ek-Bharat, Shreshtha-Bharat” ideology:

The art-integrated project should be based on the art and culture of the state or union territory that CBSE has paired with the school under “Ek Bharat, Shreshtha Bharat” Abhiyan. For example, Sikkim has been paired with Maharashtra, so students from Sikkim are expected to develop their projects based on the art and cultural tradition of Maharashtra. 

Guidelines and Important Considerations:

  1. All schools will have to keep in mind that whatever projects they do, should not harm the environment. They should be environment friendly. 
  2. It is very important to take special care that locally available resources should be utilised in the projects. 
  3. No additional financial pressure will be put on any child. Children can use low-cost and recyclable materials.
  4. Detailed research and cultural connections are compulsory. Textbook content should not be repeated in decorative form. 
Aspect Details
Mandatory for Classes I to X (2025–26 session)
Submission Platform Kala Setu Portal 
Requirement for Admit Card Completion and upload of the project are prerequisites for Class X students
Environmental Guidelines Use eco-friendly, locally available, and recyclable materials
Financial Considerations No additional financial burden on students or parents
Cultural Integration Projects must incorporate detailed research and cultural connections
Objective Enhance understanding through creative expression and cultural engagement
“Ek Bharat Shreshtha Bharat” Pairing States paired for cultural exchange (e.g., Maharashtra with Sikkim)

Reaction from Educators:

About the art integration program, the Principal of Delhi Public School commented, “Such a rule aims to boost cultural awareness. We have already built a couple of theme-centered topics and are currently working on project collaborations with Telangana schools.”

Overall, this step taken by the CBSE board will teach today’s younger generation and the coming generation to think, visualize and feel, and this will bring a revolution in the educational sector and will also boost both the interest and imagination power of the students.

Bhawnao ka Backpack: A Story of Emotional Discovery – Book Review

By
Manju Chellani
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Bhawnao-ka-Backpack-01
Image courtesy – Bhawnao Ka Backpack

The universe is harmonious. Its synchronicity is unfailing and boundless. Since the past some time, we humans have learnt to celebrate our privilege of concurrently flowing in the ocean of our culture, our heritage of countless centuries; and of swimming in the sea of knowledge and opportunities the entire world offers. And bingo…here comes a book of poetry with some prose-content, written bilingually in Hindi and English. The pages (even Kindle ones!) are sprayed with saundhi mitti ki khushboo (the fragrance of soil after rain) – uncompromisingly Indian – but also transport you to forever horizons of emotions, convictions and desires which belong to Everyheart. 

This was my first thought while I was reading bhawnao ka backpack (the backpack of emotions), by Garima Srivastava, a few days back. Garima is a Delhi-based poet with a background in education and library services. She has been writing passionately for many years for different platforms and purposes. She published this book now to reiterate that “Passion is for Purpose” (pg. 11), as she describes in the Introduction. Passion is a trait she has inherited from her parents, both of whom are well-known poets and also authors. They, other family members, and friends, encouraged her to fulfill its purpose after she had filed away numerous of her writings neatly into her “backpack”. But, as she puts it, the writings shook her awake and demanded the right to be seen and heard (pg. 9-10). She decided to give them all the hearing they deserved. The result is this full-blooded book in Hindi and English. 

Each of the poems has a “prologue” or a prose-introduction which discusses its genesis; thus inextricably connecting the poetess and her readers. And as Pratap Somvanshi, the Managing Editor of Hindustan Hindi Daily, puts it in the Foreword, connecting one’s self to that of others in the world around one – this is perhaps the loftiest objective of poetry. This observation of the eminent poet, Octavio Paz, he feels, is the litmus test of any poetry. And Garima’s poems, he finds, are now passing that test with flying colours. Because the saga of each poem is the saga of life for all of us. In another Foreword, Naresh Shandilya, the famous poet, dramatist, critic and editor, finds the following lines to be representative of Garima’s connection to the secrets lurking inside all human souls. “The sea is just an illusion/Indeed it is our life./ Engulfed in dubious pleasures/Where nothing is for sure” (pg. 107-108; quoted on pg. 8).  

This is what I also found endearing about her book. It speaks very matter-of-factly about the heart and its passions, desires, fears, losses and everything else between heaven and hell. It makes you feel relieved about being human; and caring about things no one else seems to give a penny for. It points out with a compassionate finger the masks all of us feel compelled to wear. For instance, some of us reading this may be authors. In her very first poem of the collection: Lekhak (writer), Garima says: “Teri abhivyakti to padkar/Kuchh bojh mera bhi halka hai/Aur bad jaate hain kadam mere…Kyun paakar teri rachna ko/Main khud se hi mil jaata hoon” (After I have read what you express in your writings/My burden has got a little lighter/And my steps move forward…After I have got to know your creation/Why do I get to meet myself?) (pg. 18).

Similarly, the poetess has got under many skins such as that of an all-consuming love which is not necessarily romantic; a woman in her “Soft, Gentle, Kind” incarnation and a woman in her Shakti incarnation; sublime but unrequited relationships; loneliness behind perfect pink-and-white faces; one-sided passion; and also passion which is shared; the sea battered by continuous environmental degradation; mother-daughter relationship; and so many others. In the same vein, amidst the aftermath of what has taken place in our country recently, the poem: Wait for Me strikes a deeply heartfelt reverberation. It is in the form of a soldier’s letter to his wife. This soldier was called for duty on the war-front just a little after his marriage. “For you, I risk scorching sand/For you, I’ll brave the borders/for you I’ll wait/for me you’ll crave/but we will be together” (pg. 73-74). I doubt if any eye will remain dry after reading this expression of love which is so duty-bound and so enduring. However, my personal favourite is Krishna whom the poetess invokes as the savior of all the Kurukshetras of past, present and future; not just of the Dwapar yug. 

This collection of prose-poetry is for all of us whose emotions and expressions are not bound by language. For all of us who want to listen to our heart and talk about it too. The book is available in both print and digital formats. Sized and priced moderately, it is Garima’s first book-offering to the world, spanning 31 poems. The easy switch between the Hindi and English languages throughout the book may frazzle some readers, but not the bravehearts! As Garima says in Words: “feel your words so they can love/wrap them on your soul/hoity-toity mindless lash/thrust a piercing hole” (pg. 45). Nothing else matters.

By the way, Garima is also a content-creator, who transmutes her poetry to words and visuals on @bhawnao_ka_backpack (Instagram), thus carving another way to connect with the world around her. 

Note: The image of the book-cover has been downloaded from: Amazon Website

Kochi-Muziris Biennale 2025: The Sixth Edition Unveiled – Save the Date!

By
Gauri Goel
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0

Kochi-Muziris-Biennale-2025

Kochi-Muziris Biennale 2025

Kochi-Muziris Biennale (KMB), South Asia’s longest-running continuously organized contemporary art biennale, is set to open its sixth edition, ‘For the Time Being’. Now under the management of the Kochi Biennale Foundation (KBF), the highly anticipated event will be open for 110 days from December 12, 2025, to March 31, 2026, offering a huge and thrilling experience to art lovers as well as the general public. 

The new iteration will reinterpret the experience of the biennale, moving beyond the traditional model of an exhibition to provoke a more networked and activated discursive practice among artists. With emphasis on process and mutual “friendship economies,” Kochi-Muziris Biennale ’25 will create a living space where art, artists, and publics interact intensively and deeply. Guests can be assured of an experience that brings together modern art and the Kochi high culture, in a city in which global and indigenous elements coexist in harmony.

Things to Know Information
Event Kochi-Muziris Biennale 2025 – 6th Edition
Theme “For the Time Being”
Dates December 12, 2025 – March 31, 2026 (110 days)
Location ndian Chamber of Commerce Building Mattanchery, Kochi, Keraleeya-682002 India.
Organizer Kochi Biennale Foundation (KBF)
Tickets Students & Children: ₹50
Senior Citizen: ₹100
Adult: ₹150
Weekly Pass: ₹1,000
Monthly Pass: ₹4,000
Tickets available online & at Aspinwall House
Website communications@kochimuzirisbiennale.org, 
kochimuzirisbiennale.org

A New Curatorial Vision

This edition of the KMB will be guest-curated by prominent multi-disciplinary artist Nikhil Chopra, with HH Art Spaces, which is an artist group based in Goa. Rather than repetition of the same old biennale routine, something new is being experimented with by Chopra. He is building the concept of collaboration and exchange. His work is founded on the idea that art could grow when individuals share as well as assist one another.

The sixth edition is conceived as a “living ecosystem” where each component, ranging from performances to artworks, resides, shares space and time, and resources that increase by being in dialogue with each other. This approach seeks to move away from the idea of a singular, central exhibition event, fostering an evolving, responsive, and alive experience.

Embracing the Body and Embodied Histories

KMB-2025-4-Nikhil-Chopra,-Curator,-Kochi-Muziris-Biennale-2025

Chopra’s curatorial note emphasizes an inquiry that begins with the body – “chemical, tender, marked by memory and intimacy.” Here, the body is understood as a terrain of time, an organ of labour, pleasure, and grief. From these bodies, things get processed and become other extensions, meaningful and refiguring reality. This stance asks for more presence of being and attempts to plant seeds towards a more awakened and compassionate future.

Biennale will also explore histories transmitted by the previous generations of human beings. These histories reside within and concurrent with our bodies, in memory, and in our mode of living. It is a project of establishing a deep connection among individuals, places, and moments. It asks us to remember, listen to, and acknowledge each other more through experience.

Beyond the Exhibition: A Diverse Programme

Besides the international exhibition, the KMB ’25 will also feature a rich programme aimed at fostering a diverse cross-section of people. The main verticals are:

Initiative Purpose
Students’ Biennale Providing space for nascent artists.
Invitations Joint collaborations and solo shows.
Children’s Art Stimulating thought patterns in young minds.
Residency Programme Facilitating artistic growth and exchange.
Collateral A series of solo events and exhibitions held in Kochi.

The Biennale will also include a complete schedule of performances, screenings, lectures, workshops, and films that are going to be taking place at some of the Kochi locations, an ancient seaport with a history of confluence of local and universal cultures.

A Dynamic and Immersive Experience

Nikhil-Chopra,-Curator,-Kochi-Muziris-Biennale-2025-with-Bose-Krishnamachari,-President,-Kochi-Muziris-Biennale
Nikhil Chopra, Curator, Kochi-Muziris Biennale 2025 with Bose Krishnamachari, President, Kochi-Muziris Biennale

KBF Chairperson Dr. Venu V had anticipated that the planning and organizational changes incorporated would help the event turn out to be a success in this edition. In his opinion, the Biennale would enable the commoner as much as the connoisseur to have a “dynamic experience.”

Nikhil Chopra’s performance and durational exhibitions were the focal point, stated Bose Krishnamachari, President, Kochi-Muziris Biennale. The audience is going to experience an immersive journey with breathtaking works of art, site-specific interventions, and more than sufficient space to interact with artists and other art lovers.

Takeaway

The KMB ’25 situates itself to take up the contradictions and weaknesses of our times, assuming that although art in itself cannot alter the world, cultural collisions can perhaps initiate a conversation and shatter tough silences, if only momentarily. Amidst an era overburdened with digital knowledge and marked by global uncertainty, the Biennale longs to confirm the dominance of liveness, being-there, and communion. 

Numerous live events, gestures, and debates will enliven the 110 days of the Biennale, engaging spectators in bodily, participatory experiences that confound a grid-based system of exhibition. The full list of artists for Kochi-Muziris Biennale’s sixth edition will be announced in October 2025.

FAQs on Kochi‑Muziris Biennale 2025

Question: When will the 2025 Biennale take place?

Answer: It runs from December 12, 2025 to March 31, 2026.

Question: What is the theme of Kochi Biennale 2025?

Answer: Titled “For the Time Being,” it envisions the Biennale as a living ecosystem.

Question: Who is curating this edition?

Answer: Multidisciplinary artist Nikhil Chopra with HH Art Spaces are the curators.

Question: What programs will the Biennale feature?

Answer: Expect exhibitions, talks, performances, workshops, film screenings, plus Students’, Children’s, Invitations, and Residency programmes.

Question: Is Aspinwall House confirmed as a venue?

Answer: The Kerala government is acquiring Aspinwall House to secure it as a heritage venue for the Biennale.

Hyderabadi – Hum Aiseich Bolte! [Infographic]

By
Manasi
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35
Hyderabadi-Language
Photo by Shiv Prasad

Hyderabadi Language

Hyderabad city holds a unique position in India as a melting pot of Hindu, Muslim, Andhra and Telangana cultures. Evidently, “Hyderabadi Hindi” gains its unique flavor from the amalgamation of Urdu, Hindi and Telugu. The best part about being a Hyderabadi is to experience a lifetime of hilarious hindi conversations.  Over the years, the language has gained such significance that it becomes difficult to relate to the place without it. We have our own Johnny here, who is called ‘Haula’ (dumb-head or stupid). Anybody who reflects this ‘haula’ quotient in a conversation is believed to be suffering with ‘haulapan’! “Haulepane ki baatan mat karo yaaron!” (Don’t be stupid or don’t talk stupidly). Note, ‘yaaron’ can be applied for both singular and plural!

India Infographics - hyderabadi-hindi

Understanding the Hyderabadi Slang

The concept of singular-plural is completely different in Hyderabad. Here there is no need to put an ‘s’ suffix at the end of the word to make it a plural. The conventional ‘s’ is replaced by ‘aan’, for example – bottlaan, phoneaan or logaan. “Uno pani ke bottlaan leke araa!” Ironic part is, once you stay here for a few days, you feel out of place if you have to refer to plurals with an ‘s’ especially when you are talking in Hindi.

Hyderabadi hindi

If you go to a store in Hyderabad, you would be addressed with a blunt, “Kya Hona?” meaning, what do you want? Here ‘chahiye’ is conveniently replaced with ‘hona’; a hyderabadi invention used invariably in all sorts of conversations. A yes or a no here, cannot be expressed in a simple ‘haan’ or ‘naa’, it has to be conveyed through a ‘hau’ or a ‘nakko’ with a typical accent!

What Makes Hyderabadi Slang Special?

Hyderabadi-People

The universal time continuum does not apply to you when you are in Hyderabad; if you hear a Hyderabadi saying, ‘Haan main parson vahaan gaya tha’ (I went there, day before yesterday). Don’t be surprised to know that the same sentence can either mean he had been there the day before yesterday or probably a decade ago! Never believe a Hyderabadi if he says that he’ll be there by sharp 9, he will not leave for his destination until it is 9:15. However this attitude is changing, as people finally have to!

How Hyderabadis use the Slang

Hyderabadis don’t possess a great sense of direction either. According to them, all places are either situated on a straight road or involve a million gullys to turn into. If you have lost your way in the city, it’s not a bright idea to ask for the route, all you would come across is ‘seedha jayo ekich road hai’ irrespective of the fact that your destination is completely in the opposite direction! I remember a conversation with a passerby, he directed me by saying, “Aap sidha jayo, left mein do turna aathi, wo nakko lo, uske baad ka right maro!” (Go straight, you’ll come across two left turns, don’t take them, take the right turn after that!)

hyderabadi dialogues - The Angrez Movie

Asking a question in Hyderabadi Hindi is not as simple as saying a ‘kyun?’; the right terminology is ‘kaiku?’ Most of the people here possess a take it easy attitude. If you forget to do a certain thing, you would be consoled by your friends with a “lite le yaaron!”. If you remember, there was a Govinda song which went, “Mein poti pataunga magar hallu hallu”. It is a famous slang used for slow in Hyderabad.

How Non-Hyderabadis Cherish the Slang?

Despite its absurdity, this dialect is cherished by people of all walks living in Hyderabad. It gained immense prominence after the release of the comedy film, ‘The Angrez’ where all the characters spoke in a Hyderabadi dialect. It was followed by numerous other films like, ‘Hyderabad Nawabs’, ‘Hungama in Dubai’, ‘Well Done Abba’ etc. Once you get acquainted with this unique Hindi dialect, you would stand to realize that it is humorous in it’s own way. However, the dialect is dying due to the establishment of various corporate offices around the city. It is being influenced by American culture to a large extent. Yet, Hyderabadis always have and always will enjoy a conversation in Hyderabadi Hindi over any other language!

Words and phrases that you need to know to survive in Hyderabad:

List of Famous Hyderabadi Slang

Hyderabad Slang Meaning in English
Hau Yes
Nakko No
Kaiku? Why?
Mereku Me
Tereku You
Potti Girl
Potta Boy
Mama Dude/Bro
Zara Hallu chalo Go slow
Hona bolke On purpose
Uno kya kathe? What did he say?
Kya hona? What do you want?
Kya mein haula dikrhoon tereku? Do I look like a fool to you?
Khali Peeli Simply / just
Dimakh Kharab mat karo! Don’t irritate me
Lite lo yaaron! Take it easy
Bawa ki road samjhe? Have you lost control?
Chindi chor Small-time thief/cheapskate
Over kar dere Acting too smart

Takeaway

Hyderabadi slangs are not just words it’s the emotion of the people in the form of verbal expression, the language pokes a pinch of humour in its accent and kindles a funny emotion within. Though the language has its roots in Urdu, Telugu and Marati it have created its own blend that reflect the deep culture of Hydrabadies. Learning some words from the list will empower you with readymade punch to your chit-chat with friend and family.

Check out our story on Hyderabadi Haleem
Wiki The Angrez
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FAQs on Hyderabadi Slang

Hyderabad-Old-City

Question: What is haula Hyderabadi slang?

Answer: In Hyderabadi slang, Haula refers to someone who is foolish, silly, or acting crazy.

Question: What is awesome in Hyderabadi slang?

Answer: Some of the awesome Hyderabadi slangs are haula, Mama, Khali Peeli, Chindi chor, Zara Hallu chalo, and Dimakh Kharab.

Question: What does “Nakko” mean in Hyderabadi slang?

Answer:It means “No” or “Don’t want”—a common way to refuse something.

Question: What does “Mereku” and “Tereku” mean?

Answer:“Mereku” means “to me” and “Tereku” means “to you”, used casually in everyday talk.

Question: What does “Lite lo” mean in Hyderabad slang?

Answer: “Lite lo” means “take it easy” or “don’t stress about it”.

Mouthwatering Sweet Dishes of Karnataka You Must Try

By
Gayathri Thatavarthi
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22

Sweet-Dishes-of-Karnataka-0

Karnataka Sweets

Sweet dishes are an integral part of Indian culture. Sweets are used to celebrate and commemorate every occasion in an Indian household- from birth to death. Besides, in a country as diverse as India, every region has its diverse array of sweet dishes. Karnataka, one of India’s most cosmopolitan states with its booming IT industry and industries has produced a number of unique sweet dishes- with regional as well as distant origins. 

Suggested Read – 27 Must Try Dishes from Karnataka Traditional Food for Your Taste Buds

List of Karnataka Sweet Dishes

Sweet Dish Region & Speciality
Mysore Pak Mysuru – A ghee-rich gram flour sweet invented in the royal kitchens of Mysore Palace during Krishna Wadiyar IV period.
Dharwad Peda Dharwad – Made from slowly simmered milk, this sweet has a caramelized texture and unique flavor.
Kai Obbattu Statewide – A festive flatbread stuffed with jaggery and coconut, commonly made during Ugadi and other festivals.
Hayagreeva Maddi Udupi – A traditional offering made of chana dal, jaggery, coconut, and ghee, often served in temples.
Karjikai Statewide – Deep-fried sweet dumpling filled with grated coconut, jaggery, and cardamom.
Cycle Khova Bellary – Named after its street-vending legacy, this milk sweet is rich, dark, and slow-cooked to perfection.
Kesari Bath Bengaluru & Beyond – A semolina (Rava) based saffron dessert flavoured with cardamom, ghee, and nuts.
Gasagase Payasa Malnad – Poppy seed kheer made with coconut and jaggery, served warm during festivals and functions.
Chiroti Statewide – Flaky layered sweet pastry dusted with sugar or soaked in Badam milk and cardamom syrup.

1. Mysore Pak

Sweet-Dishes-of-Karnataka-Mysore-Pak
Image – Wikimedia

The Mysore Pak is one of the most iconic sweet dishes of Karnataka. It was made by the royal chef of the Wadiyar royal family at the time, Madappa, when he was experimenting with ingredients to create a new dish for the erstwhile Maharaja of Mysore, Krishna Wadiyar IV, who had a sweet tooth. The Maharaja, impressed, granted him a sweet shop and since then, the dish has been a hit. The rich, heavy sweet dish is made of gram flour, tons of sugar and ghee, water and nothing else. The ingredients are cooked together meticulously for a long time, requiring a lot of patience and skill. It is most popularly made in the city of Mysuru and is well known across India and the world. 

2. Dharwad Peda

Sweet-Dishes-of-Karnataka-Dharwad-Peda
Image – Archana Mandape

The Dharwad Peda is also amongst Karnataka’s most well known sweet dishes. However, this GI tagged dish was not made by a Kannadiga, but a Thakur from Uttar Pradesh who migrated to Dharwad during a plague. The procedure to make it appears to be that of a standard Peda, but the special ingredient is Dharwadi Buffalo milk, with its unique characteristics. Besides, there seems to be something special about the procedure in which it is made- it is a trade secret passed from generations to generations within the Thakur family. The Dharwad Peda has a nearly 200 year old history and heritage which has been preserved for generations.

3. Kai Obbattu

Sweet-Dishes-of-Karnataka-Kai-Obbattu
Image Courtesy – Sudha’s Kitchen

Kai Obbattu or Kayi Holige is a variation of the obbattu/ olige/ bobbattu/ Boli/ Puran Poli, as it is called in different regions of India. The Kai Obbattu is made mainly in Karnataka, and has grated coconut added to the standard stuffing of Chana dal, ghee and jaggery inside the thin outer covering of maida. It is best enjoyed hot and slathered in ghee and is a great end to a meal. 

4. Hayagreeva Maddi

Sweet-Dishes-of-Karnataka-Hayagreeva-Maddi
Image Courtesy – Uma Raghupathi

Hayagreeva Maddi is a simple Udipi dessert made during festivals and celebration as an offering to the Gods. It is easy to make and is somewhat similar to the filling of obbattu. The dish is made of Channa dal, water, jaggery, nuts and spices which can be customized to one’s taste and preference. The ingredients are cooked for a decent while till everything is soft and well-incorporated. This is a simple and easy dessert and can be conjured quickly on any special occasion.

5. Karjikai

Sweet-Dishes-of-Karnataka-Karjikai-1
Image Courtesy – Suman Mathias

Karjikai is a sweet dish similar to gujiya or kajjikaya as it is called in other states. Karjikai is what it is called in Kannada, and is customised according to regional tastes. In Karntaka, Karjikai is usually filled with a mixture made primarily of Dal, coconut and jaggery, with spices added as per one’s taste. The mixture is encapsulated in a thin outer covering made of all purpose flour and is then deep fried in ghee, making a lip smacking dessert. Several variations of Karjikai exist, but this is the most popular version in Karnataka.

6. Cycle Khova of Bellary

Sweet-Dishes-of-Karnataka-Cycle-Khova-of-Bellary
Image Courtesy – foodincity via Karnatakafoodadda

The cycle Khova of Bellary has a very interesting name. The ‘cycle Khova’ gets its name from the several vendors who go from house to house on their bicycles, selling freshly made Khova from large containers strapped onto their cycles. Khova is made by cooking milk for a long time on heat, till it thickens and develops a caramelly brown colour, after which sugar is added for taste. The sellers of the cycle Khova of Bellary serve it fresh off the stove, in a simple yet ingenious serving plate of Sal leaves. The Khova of Bellary is not just a sweet dish, but an experience- standing under the shade of a large tree, scooping the moist, decadent Khova off of the Sal leaves is happiness at its simplest.

7. Kesari Bath

Sweet-Dishes-of-Karnataka-Kesari_Bath
Image – Wiikimedia

Kesari Bath of Karnataka is a sweet dish widely made across Karnataka on special occasions. The dish is simple and is made of Rava, water, sugar, ghee and saffron, resembling Rawa halwa. However, the dish looks distinct as a natural yellow/orange colouring agent of some kind is definitely added- like saffron or turmeric. The dish is easy to make and is smooth, simple and delicious. While Kesari bath need not have a specific flavour, fruits and other spices like coconut can be incorporated. It is usually served with Khara bath, a savoury dish made of Rava, as breakfast in Karnataka, making up a breakfast combination called Chow Chow Bath.

8. Gasagase Payasa

Sweet-Dishes-of-Karnataka-Gasagase-Payasa
Image – Naoto Sato/Flickr

The unique Gasagase Payasa is made in Karnataka for special occasions as a dessert. It is made without dairy, with a base of ground poppy seeds, nuts and coconut. Base is then cooked along with jaggery or sugar and is topped with dry fruits and nuts roasted in ghee. Gasagasa Payasa has a soupy consistency and can be had as a refreshing dessert after a meal.

9. Chiroti

Sweet-Dishes-of-Karnataka-Chiroti
Image Courtesy – Bunts Recipe ( Bantera Attil)

Chiroti is a popular sweet snack made in Karnataka, Telangana and Maharashtra. This delicious snack is made by rolling ribbons of maida into a pinwheel, after which it is deep fried in ghee. Afterwards, it is sprinkled with sugar and enjoyed. Chiroti is a very popular and simple sweet snack, enjoyed by millions of people in the southern states and has a special place amongst Kannadigas.

Conclusion

Karnataka boasts a delectable array of sweet dishes that reflect its rich culinary heritage. From the iconic Mysore Pak, a melt-in-your-mouth fudge, to the fragrant and aromatic Obbattu, a sweet stuffed flatbread, and the delightful Kesari Bath, a saffron-infused semolina dessert, Karnataka’s sweet treats are a testament to the state’s diverse flavors and traditions. These sweets offer a perfect balance of sweetness and cultural richness, leaving a lasting impression on taste buds and hearts alike. If you have a sweet tooth, visit Karnataka to be surprised and fascinated at every corner!

FAQs on Sweet Dishes of Karnataka

Question: What are the famous sweet dishes of Karnataka?

Answer: Top sweet dishes of Karnataka are Mysore Pak, Dharwad Peda, Kai Obbattu, Hayagreeva Maddi, Karjikai, Cycle Khova of Bellary, Kesari Bath, Gasagase Payasa and Chiroti.

Question: Which sweet is named after a city in Karnataka?

Answer: Mysore Pak is named after the city of Mysore, which was once the seat of the Wadiyar-ruled Kingdom of Mysore.

Question: Which sweet is famous in Bangalore?

Answer: Mysorepak is the famous sweet in Bangalore you can get it from Nandini shops.

Question: What are the top 5 sweets in Karnataka?

Answer: Kesari Bath, Mysore Pak, Dharwad Peda, Kai Obbattu and Karjikai are the top five sweets of Karnataka

Question: Which place is famous for peda?

Answer: Dharwad, Karnataka – Renowned for the rich and grainy Dharwad Peda.

Hemant Joshi’s Drukkavya: Redefining Marathi Poetry Through Visual Art

By
Madhura Joshi
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2

Hemant-Joshi-Drukkavya

Poetry is not just read—it is seen, heard, and experienced. It transcends form and language, converging into a deeper field of meaning.

Drukkavya is the first of its kind—a book that blurs the boundaries between language and visual art. Created by artist and poet Hemant Joshi, Drukkavya invites readers to enter a space where words, images, and idioms converge. It is poetry not just meant to be read, but to be seen and experienced.

The juxtaposition of Marathi and English, the use of fragmented phrases, and abstract symbolism explore themes of cultural hybridity, perception, and the search for meaning. Joshi urges us to set aside our assumptions about what is seen and what is imagined.

As surrealist René Magritte once said: “An object is not so attached to its name that we cannot find another that would suit it better.” That philosophy is central to Drukkavya’s poetic language.

Hemant Joshi, a former creative director whose professional work spans sectors from finance to travel and international tech brands like Panasonic, brings decades of experience across media. A published Marathi poet—his previous book launched at Granthali, Bandra in 2023—he is also a visual artist whose work has been showcased in solo and group exhibitions at venues including Jehangir Art Gallery (Mumbai), Lalit Kala Akademi (Delhi), and other cities across India.

Drukkavya reflects his lifelong engagement with the intersections of language, image, and philosophical inquiry.

Within its pages, words bend, break, and reassemble, detached from fixed meaning and reimagined anew. It offers a rare dialogue between poetry and image—image as poem, poem as image—drawing from surrealist lineage while carving its own visual language. Inspired in part by Guillaume Apollinaire’s calligram: “Every image is a poem, and every poem is an image,” Joshi builds on a tradition that traces back to 1918, when Apollinaire first coined the term “surrealism”, influenced by Chagall and de Chirico.

If art history laid the groundwork, Drukkavya stands uniquely at the crossroads of visual poetics and Marathi language experimentation. In the way Geeta Vadhera brought Devanagari calligrams to the fore in the 1990s, Drukkavya suggests a new possibility: a Marathi visual poetry renaissance.

Drukkavya is more than a poetry collection—it is a quiet yet radical act of hybridisation. It reflects a maturing literary-visual consciousness in Marathi, while joining a global continuum of visual poetics. It deserves recognition not only as a literary work but as a significant artefact of contemporary art, design, and linguistic experimentation.

With its launch at NCPA and growing interest across art and literary circles, Drukkavya marks not just a milestone in visual poetics, but a beginning—a lens into how language might look, and how imagery might speak.

Tea Trails: Ooty’s Best Tea Estates for Tourists and Connoisseurs

By
Nagaraj
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0

Tea-Trails-Ooty

Situated high in the Nilgiri Hills, Ooty is a hill station that’s equally known for its stunning views and aromatic tea estates. With cool mountain air, mist-covered plantations, and rolling green slopes, it’s a haven for tea lovers and curious travellers alike. 

If you’re a connoisseur chasing rare brews or just want to sip something warm with a view, Ooty’s tea trails promise an unforgettable experience. So, if you’re ready to swap city noise for rustling leaves and the scent of fresh tea, this guide is just for you.

The Charm of Ooty’s Tea Culture

Rooted in the region’s colonial history, tea cultivation was introduced during British rule and has since become an essential part of the Nilgiris’ identity. The region’s high altitude, cool climate, and fertile soil create perfect conditions for growing some of India’s finest teas. 

As you stroll through the beautiful step plantations, you’re surrounded by a centuries-old tradition. Watch how delicate leaves are handpicked, carefully processed, and transformed into the brews we love. 

Visiting these scenic plantations becomes even more enjoyable when you have the comfort of an Ooty car rental to explore at your own pace. 

Must-Visit Tea Estates in Ooty

If you’re new to Ooty or even a returning traveller, these tea estates are definitely worth adding to your itinerary.

The Tea Factory & The Tea Museum

Just 5 km from Ooty town, The Tea Factory & The Tea Museum is a must-visit stop for anyone curious about the tea-making process. The factory offers an interactive walkthrough of each step, from plucking to packaging, making it both educational and fascinating. 

The museum adds an extra layer of depth, showcasing vintage tools and detailing the tea heritage of the Nilgiris. At the end of the tour, you get to taste a selection of local teas, allowing you to enjoy the region’s rich diversity of flavours. 

If you’re looking to pre-book a cab to visit tea estates, downloading the Savaari taxi service app will help you have a smooth experience.

Glenmorgan Tea Estate

Located away from the usual tourist crowds, Glenmorgan Tea Estate is an idyllic, serene spot surrounded by green forests and offering breathtaking views of a shimmering reservoir. One of the oldest estates in the Nilgiris, Glenmorgan takes you back in time with its heritage tea practices. 

The scenic journey to this estate makes it an adventure on its own, and hiring a reliable cab service in Ooty ensures a smooth ride while you take in the surrounding beauty.

Highfield Tea Factory

Set amidst eucalyptus groves, Highfield Tea Factory blends heritage with hands-on experiences. Dating back to the British colonial era, this estate offers guided tours through its factory, where you can see the full tea-making process. 

The climate and altitude contribute to bold, aromatic brews, especially their orthodox black tea and spiced blends. If you’re here to learn, sip, or just stroll through the misty fields, Highfield delivers both authenticity and atmosphere in one scenic visit.

Getting here is part of the charm, especially with the ease of an Ooty car rental to take you through those dreamy, winding hills.

Brooklands Tea Estate

Brooklands Tea Estate is all about staying close to the roots—literally. It uses time-tested, minimal-intervention farming techniques that allow the natural character of the leaves to shine through. 

The estate’s Nilgiri black tea is smooth, slightly brisk, and has subtle floral hints, while their green tea offers a clean, earthy finish. Less commercial and more local in vibe, it’s perfect if you’re looking for authenticity.

Just you, the gardens, and the soft crunch of gravel underfoot. It’s the perfect escape, made even smoother with a dependable cab service in Ooty to get you there without a fuss.

Stanes Tea Factory Welbeck Estate

Part of the historic Stanes Amalgamated Estates group, Welbeck Estate sits just outside Ooty and offers an authentic taste of the Nilgiris’ tea legacy. The estate follows traditional manufacturing methods, producing high-quality orthodox teas that are both rich and aromatic. 

Known for its sustainable farming and eco-conscious approach, Welbeck also crafts organic blends that appeal to modern tea drinkers. Its proximity to Ooty makes it a convenient yet enriching stop for anyone looking to explore a working estate with deep roots in South India’s tea culture.

Just tap into your favourite taxi service app and you’ll be there before your tea even cools.

Wrapping Up

Tea trails in Ooty are more than a tourist activity—they’re a deep dive into the culture and craft that defines the Nilgiris. Whether you’re a tea geek or someone just looking to try something new, these trails are refreshing, educational, and truly calming.

If you’re planning a smooth, scenic trip around the town and its outskirts, Savaari Car Rentals offers reliable chauffeur-driven rides that ensure you explore every tea estate at your own pace and comfort.

Rare Tagore Works Shine at AstaGuru’s ‘Collectors’ Choice’ Auction

By
Caleidoscope
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0
Indian Masterpieces Rabindranath-Tagore-A-SET-OF-35-HAND-WRITTEN-LETTERS-&-14-ENVELOPES
ENVELOPES – Rabindranath Tagore

AstaGuru’s recently concluded ‘Collectors’ Choice’ auction witnessed remarkable results for two rare and historically significant offerings by Nobel Laureate Rabindranath Tagore, reaffirming his enduring legacy and cultural resonance.

Lot no 5, an extraordinary archival lot of 35 handwritten letters with 14 envelopes that Tagore penned to sociologist Dhurjati Prasad Mukerji, sold for ₹5,90,00,000. Written between 1927 and 1936, the letters offered deep insight into the poet’s creative evolution, philosophical reflections, and transition from literary to visual expression.

Dhurjati Prasad Mukerji was a leading intellectual of his time and a pioneering figure in Indian sociology, associated with the Lucknow School of Thought. His academic work was deeply rooted in Indian cultural traditions, and his long-standing relationship with Tagore was based on a shared commitment to education, philosophy, and nation-building. The letters exchanged between the two are more than personal correspondence—they serve as rare historical documents capturing the exchange of ideas between two of India’s greatest minds during a transformative period in the country’s history.

Lot-20-Rabindranath-Tagore-The-Heart
The Heart – Rabindranath Tagore

The result is especially significant considering the lot was not a visual artwork but a manuscript-based archive and yet became the second-highest price ever achieved for a Rabindranath Tagore creation at auction. The collection’s emotional candour, combined with its scholarly value and provenance, captivated collectors and institutions alike.

Lot no. 2, ‘The Heart’, the only sculpture ever executed by Rabindranath Tagore sold for ₹1,04,52,210. This emotionally charged and deeply personal object not only expands the understanding of Tagore’s artistic practice but also offers a rare glimpse into his inner world during a formative period.

Commenting on the results, Sneha Gautam, Director at AstaGuru said,

“We are deeply honoured to have presented these rare and intimate creations by Rabindranath Tagore. The overwhelming response to both lots—particularly the extraordinary result achieved by the letters—reinforces the growing recognition of archival and manuscript-based material as valuable cultural artefacts. These works offer not just collectible value, but living, breathing connections to India’s intellectual and artistic heritage.”

With these historic sales, AstaGuru once again affirms its position as a leading platform for culturally significant treasures and continues its commitment to preserving and presenting India’s artistic legacy to a global audience.

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