Pandit R K Bijapure Maha Meru of Samvadini Harmonium

4:30 PM Posted by ukmad

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Written by Shridhar Kulkarni & Ravindra Katoti-

Pt. R. K. Bijapure, an octogenarian, who is also popularly known as Shri. Rambhau


Pandit R K Bijapure

Bijapure, hardly needs any introduction in the music circle. Over the past six decades he has been an extensively famous persona among the music lovers all over India. As an outstanding solo performer, as an accomplished accompanist, as a versatile teacher, as a good music director, as a great institution builder and above all as a humanitarian Pt. Bijapure is a towering multi-dimensional celebrity. At 93 he still is charming as ever.



Education & career:



Born in 1917 at Kagwad (Belgaum district, Karnataka state) Pt. Bijapure developed inclination towards music due to his father late Shri. Kallopant Bijapure, a dramatist and a composer. His compositions were played on harmonium / organ and presented on the stage by another famous harmonium player late Shri. Annigeri Mallayya. As a child Shri.Rambhau was fascinated by the melodies of harmonium and showed a lot of interest in learning the art of harmonium playing. Shri.Annigeri Mallayya took the young Rambhau under his wings and taught him the basics of harmonium playing. Keen to learn further, Pt. Bijapure took advanced training in harmonium from Pt. Rajwade, Shri.Govindrao Gaikwad and Pt. Hanmantrao Walwekar of Dharwad. But for some voice problem Pt. Bijapure would have become a great vocalist as his wish was to become the one. However, this did not deter him from taking lessons in vocal music from stalwarts like Pt. Ramkrishnabua Vaze, Pt. Shivrambua Vaze, Pt. Kagalkarbua, and Pt. Utturkarbua. In fact, systematic training in vocal music helped him in developing his own style of ‘gayaki ang’ in playing harmonium solo.bijapurre1


Pt. Bijapure is a Sangeet Visharad (Vocal) and Sangeet Alankar (Harmonium) both, conferred upon him by Akhil Bharatiya Gandharva Mahavidyalaya. He has also to his credit a shikshak sanad. In his long music career he has worked as a music teacher in Belgaum, as music director and Harmonium accompanist in Shri.Venkobrao Shirahatti’s drama company, as a harmonium accompanist in HMV, as an examiner for Akhila Bharatiya Gandharva Mahavidyalaya- Mumbai, and the examinations conducted by the Government of Karnataka.

Performances:

After deciding to take-up harmonium as sadhana of his life, Pt.Bijapure never looked back.

With firm determination, continuous riyaz and profound thinking about the technique and presentation of harmonium playing (solo as well as accompaniment) Pt. Bijapure developed his own inimitable style. His solo performance is marked by clear, smooth and unbroken flow of



swaras in all the octaves and at different layaas, control over the air-flow (bhaata) and its apt use to express the bhavas in the exposure of a raga. Pt. Bijapure’s solo performances are real treat for the rasikas as they include all the major forms of classical music namely - Vilambit khyals, drut bandishes, light classical compositions, natya-geets and the like. – All played with equal ease, and eloquence. He has rendered his solo performances in all major music centers of the country including Pune, Hyderabad, Bangalore, Kolhapur, Hubli, Dharwad and on AIR. During the Festival of Russia in India, a Russian delegation was mesmerized after listening to Panditji’s solo. They specially recorded on the video his swift finger movements on harmonium keyboard.bijapure

As an accompanist he is undisputedly second to none. He has developed a unique style of accompaniment by showing his identity while complementing the main artistes and using the pauses available in between to add charm to the concert. Building a continuous rapport with the audience is another feature of his presentation. In his music career so far, he has accompanied almost all the leading vocalists of major Gharanas of Hindustani classical music. Illustratively,

Pt.Ramkrishnabua Vaze, Pt.Shivrambua Vaze, Pt.Kagalkarbua, Pt.Sawai Gandharva,

Pt.D.V.Paluskar, Pt.Utturkarbua, Ustad Amir Khan, Ustad Bade Gulam Ali Khan, Dr.Gangubai

Hangal, Pt. Bhimsen Joshi, Pt. Basavraj Rajguru, Pt. Mallikarjun Mansoor, Pt. Kumar Gandharva, Smt. Manik Verma, Smt. Kishori Amonkar, Smt. Malini Rajurkar, Dr. Prabha Atre etc.

Building an Institution:

Pt. Bijapure has painstakingly collected a large repertoire of Hindustani music including a wide range of cheezes, bandishes and compositions from his Gurus. He is too generous to distribute this invaluable wealth among the desired and deserved ones. Towards this end he started “Shri Ram Sangeet Mahavidyalaya” in 1938. Over the last six decades he developed the institute single handedly without any aid from the Government or private bodies. More than 10,000 students have gained under his tutelage. ‘Sir’, as Panditji is lovingly called by his students, is very compassionate towards poor, handicapped and helpless students. He teaches such students free of cost.

Today many of his students have established their names in the field of music. Dr.Sudhanshu Kulkarni - Sangeet Praveen (equivalent of doctorate in music conferred by Gandharva Sangeet Mahavidyalaya), Shri. Ravindra Mane - Sangeet Alankar, Shri. Ravindra Katoti – Sangeet Alankar, Smt. Kunda Welling – Vocalist AIR Mumbai, Shri. Shridhar Kulkarni - Surmani, Smt.

Manik Panditrao, Smt Archana Belgundi, Smt. Rohini Kulkarni, Smt. Asha Joshi, Smt. Aparna

Chitnis are among the several students of Pt. Bijapure who are committed to carry forward the legacy of their revered Guru to the next generations.


Awards & Recognition:

Recognizing Pt. Bijapure’s achievements, innumerable felicitations, several awards and titles have come his way. Major among them are: “Karnataka Kala Tilak” Puraskar conferred bySangeet Nritya Academy in the year 1985, “Nadashree” Puraskar given by Hindustani Sangeet Kalakar Mandali, Bangalore in the year 1992, “Sangatkar Puraskar” conferred by Gandharva Mahavidyalaya, Pune in the year 1999, “Rajya Sangeet Vidvan” at the Dasara festival held in Mysore in the year 2001. On 25th July 2003, he was awarded the prestigious “T.Chowdaiah

Prashasti” instituted in memory of Violin Maestro Shri.T.Chowdaiah, by the Government of Karnataka at the hands of honourable Chief Minister. Akhil Bharateeya Gandharva Mahavidyalay Mandal conferred upon him the title “Mahamahopadhyay” in the year 2006. Lahari Recording Company, Bangalore has published two of his CDs, featuring his classical solo performances. Leading Kannada writer Shri.Shirish Joshi recently published his autobiography in Kannada titled ‘Swarayana’.


Even at the age of 91, this Maha Meru of Samvadini is very busy with his performances, music classes, entertaining unending stream of visitors and artistes at his residence “Ram Niwas”.


Address:


Pt. R. K. Bijapure,


“Ram Niwas”, Hulbatte Colony, Shahapur, Belgaum (Karnataka).







Shreedhar Kulkarni a vocalist of ardor

10:18 AM Posted by ukmad

shreedharShreedhar was born in a family where music was the soul. All the family loved music. Shreedhar got his first music lessons from his mother who herself is a harmonium player. He was later groomed under the guidance of Pt.Rambhau Bijapure of Belgaum, who is a leading Harmonium player in the country.

In the recent past Shreedhar is taking advanced training in Khayal Gayaki from Pt.Yashawantbuwa Joshi, one of the senior vocalists of the Gwalior Gharana.

He did his schooling from B.K.Model High school and then completed his Bachelor’s degree in Science from R.L.Science Institute in 1991.

Shreedhar has been giving public performances, since his childhood. At the age of five he was well known for the rendition of Geet-Ramayan, the epic written by Shri. G. D. Madgulkar and music by Bapuji (Sudhir Phadke). People used to applaud whenever young Shreedhar rendered light classical songs, bhajans, etc. in his melodious voice, with amazing perfection of swar and taal.

With proper guidance and regular riaz he gained precision, enriched his collection of songs and acquired mellowness in his staging. His open mind and politeness are the additional qualities.

Equipped with all these, Shreedhar has travelled widely giving music performances - Mumbai, Bangalore, Goa, Hyderabad, Dharwad, Hubli, Karkala, Kundgol, Cochin, Savantwadi etc. to name but a few. His recitals are regularly telecast on Udaya TV.

Clear and precise swar lagav, portrayal of all the features of a raga and its angas including aalaap and different patterns of taans, fluency in all the three octaves, etc. are the main features of his presentation.shreedhar-1

Recognizing his talent, several awards have come Shreedhar’s way at various music competitions. Sur Singaar Samsad was conferred upon him “Surmani” title. Without becoming complacent Shreedhar is going ahead, with firm determination to attain new heights in the realm of Hindustani classical music. As a rising star, he deserves every appreciation and recognition.

Some excerpts of his interview:

1. Do you remember your first performance?

Shredhar: I don’t know where, but my first performance was at the age of 5. My mother tells me that.

2. You got your talent groomed by Pt.Rambhau Bijapure some experiences with the great master.

Shredhar: Well, he is a popular person and I need not tell about him as a person. But as a Guru, he is an exceptional person. He has accompanied almost all the top ranking vocalists of yesteryears. He has accompanied Vocalists of all schools (Gharanas) of Indian Classical Music and has thought over the different aspects and varieties of styles. His experience is open to all his disciples. Though he does not sing, his fingers work that magic. I never felt that I was not learning under a vocalist. He made the Harmonium sing. He is a very patient Guru. He accompanied me on the Tabala for hours together during my practice. Now I feel that I should not have made him play Tabala for me. But then I was young and I didn’t realize that. He prompted me to develop my own thinking, provided me all the support whenever I needed that. He helped me develop my ideas regarding good and bad in music and helped me walk on a path that lead towards a glittering goal. No words can express my gratitude towards him.

3. Who discovered that you could sing well?

Shredhar: My mother came to know that I was good at singing. On my way to home, once I overheard a song in GeetRamayan and began repeating the first line at home. I don’t know how good that was. But my mother says that I sang really well.

4. Has being in Belgaum helped you in your musical career or do you think otherwise?

Shredhar: In a way, yes, it has. Belgaum life is not very busy. It certainly provides a leisurely time to practice. The other way, it deprives you of the chances of getting heard more number of times. I feel that having an ample time to practice is necessary before you begin getting exposure. (Which I have begun getting now.)

5. What are your thoughts on the young generation being taken away with rock and pop?

Shredhar: I don’t think they are being taken away. Classical music has never been for masses. Only a certain percentage of people having a deeper sense of music get attracted to any classical music (Indian or Western). Rock and Pop music are not bad at all. Being attracted towards any kind of music is a good sign. The only thing is the young generation should try their best to understand the meaning of music. They should try and sense the depth of music. They should consider music as a universal-language. Music is a performing art that pleases the mankind. Appreciating different forms of arts is perhaps a great quality of human brain.

6. Your thoughts on the upcoming talent in Belgaum how can one groom oneself being here.

Shredhar: Like I said earlier, Belgaum is a small city and one is not compelled to lose more time in commuting. One need to get a good guidance, getting a good Guru in Belgaum has now become difficult.

7. What is that you wish Belgaum had for music lovers like you?

Shredhar: Acoustically engineered hall for around 250-300 people for concerts.

8 You tour so much which is your favorite place and why?

Shredhar: I feel that Konkan region is rich as regards to audience. They are simple people who try to understand music without having any prejudice of any kind.

9. Your future plans?

Shredhar: To practice more, to reduce the number of mistakes, to improve my understanding of music, widen my view of good music so that the goal seems farther away.

10. Some memorable moment or experience when on tour or performing?

Shredhar: Once or twice I have had an overwhelming experience when aged men touched my feet saying that I had something divine within me. I don’t believe that, I know that I am nothing, but their words brought tears in my eyes.

Bad experience; people chatting during concert sometimes, even turning their backs to me. They take music very casually.

11. What is the best thing about Belgaum you like?

Shredhar: Same as mentioned earlier, ample time to groom oneself. Not possible in bigger cities. People in Small cities build good relation with each other and support each other as well.

12. What are your thoughts on this website?

Shredhar: I came across this site very recently and I have yet to go through it. But the site has a host of information and could prove to be of great help for those seeking information about Belgaum.

See Shreedhar’s Concert videos

http://www.youtube.com/watch?v=NGxV5O-msjI
http://www.youtube.com/watch?v=J7Cu3s4Xqic
http://www.youtube.com/watch?v=1WlhogmwH_Q

Address for correspondence:

Shreedhar Kulkarni, 1519, Maruti Galli, Belgaum – 590 001.

e-mail: raageshree@gmail.com

New generation Sitar player Sanjay Deshpande Ragas 2 Rock Stars of Belgaum

10:50 AM Posted by ukmad


sanjaydeshpandeSanjay Deshpande is a multifaceted and versatile sitar player who is known for presenting a variety of music forms on his Sanjaykhani Sitar, straight from very authentic Indian classical khayal, Indian evergreen film songs to fusion rock called Ragas-2-Rock! And to be proud he is from Belgaum.

Disciple of Late Pt. Vishnupant Dharmadhikari; an Esraj (Dilruba) Exponent of Gwalior tradition. Sanjay Deshpande is one of the leading Sitar players of the younger generation. He is performing Hindustani classical music and composing light music since 1979. Sanjay Deshpande is the pioneer exponent of "Khayal Ang" on Sitar. He has made major changes in Sitar instrument as well, thus facilitating for playing not only Hindustani, but any music on Sitar. This Sitar in being popularly named as "Sanjaykhani Sitar"by the Sitar makers.

Sanjay Deshpande was not known as a Sitar player 12 years ago. He was better known as a keyboard player from the famous Indian film music group- Melody Makers. Sanjay started his career as a professional musician in a group called Musical Stars (Melody Makers' youngsters' group) along with today's leading artists on the big and small screen -Johny Lever, Sudesh Bhosle etc. . He also accompanied famous Indian playback singer late Kishor Kumar for his stage shows in India and abroad. As he had a least attraction towards the silver screen, Sanjay always felt that his true field was classical music only? He was well aware that success in the light music field was quicker but a shorter one, and to become successful artist in classical music one needs a lot of Riyaz and patience, which he was prepared for.

Today he has emerged as one of the front benchers of the younger generation clan; his career span is quite wider- From Hindustani classical - film music to pop, and "Rock-n-Raga - a new concept in music.

In the year 1995, Sanjay was felicitated with "Late Trimbak Daji Joshi Award" by Akhil Bharatiya Gandharva Mahavidyalay, Mumbai, for securing first rank in Sangeet Visharad, with Sitar as subject. Sanjay also accompanies famous music group the Melody Makers from Pune, as a Sitar and Keyboard player for selected prestigious showsHis first audio cassette of his Sitar recital "The Singing Sitar" was released in 1993, through Super Star Audio Cassette Company, which won great applause and was appreciated by noted music critics and national news papers. He presented weekly Sitar concerts and lectures for selected European audiences at Belgaum, through Image Holidays, England, and prestigious concerts for Kerkar Art Complex, Goa.

Sanjay is also a composer. He has been composing Gazals, Devotional songs, light classical songs, radio and TV commercials since 1984. Till date, there are more than 40 commercial cassettes recorded, composed, arranged and played by him, which include instrumental music devotional, folk and classical compositions. Sanjay is in to the fusion of Rock and Indian classical. He comes with a unique concept of Rock-n-Raga. Very recently, a noted music company from Pune, Alurkar Music House has released four albums of Sanjay's Sitar of Evergreen Film Songs on Sitar- 'Melodies & Memories'.

Sanjay Deshpande conducts special lecture cum demonstrations on the subject "Vocal music and Sitar". He has also been performing examinership for various exams conducted nation-wide, by Akhil Bharatiya Gandharva Mahavidyalay Mandal, Mumbai. Sanjay is also an accredited artiste of All India Radio. We can regularly listen to his radio concerts from AIR Dharwad. Alongwith, Sanjay has also given concerts of TV channels like Panaji Doordarshan, Udaya TV and ChandanaChannel (Bangalore Doordarshan) as well. His performance has been widely acclaimed by the famous artistes and Critics as well. Off late, Sanjay is also into fusion music comprising Indian Classical and Rock music. He presents this concept under the title Rock-n-Raga. One more specialty of this programme is that all the music on the stage except live Sitar and Tabla is virtual. So far, Sanjay has given many successful Sitar concerts in major cities of the country through festivals Music circles in many places in India.

Sanjay has made major changes in the hardware of Sitar, to be suitable to play literally any music on Sitar in the view of making it a versatile and popular instrument globally outdating a conventional Sitar.

Any musical instrument is a medium of expression and we have to see whether the given musical instrument is capable of doing it or not. Sanjay feels that every Indian instrument is definitely capable of delivering any kind of music except the present Sitar, because of its present frets' structure. None of the other music than our Hindustani classical music follows the note structure similar to our Ragas; hence the instrument should have all the frets on the fret-board so that any note can be easily played without shifting any fret.

From the view of modifying the present Sitar, he redesigned the tuning, i.e. the strings structure, Bridge and refitted the remaining frets to be able to play almost any kind of music on Sitar.s_khani

Sanjay started playing Sitar, with traditional tuning, later switched over to Vilayatkhani tuning and recently arrived on to a combined type of tuning. Truly speaking, the Ga String in Vilayatkhani tuning gives a beautiful filling effect in between the hollow phrases but while playing the notation in lower notes, the improvisation is sometimes felt incomplete. In Ragas like Yaman or Bihag, where the Aroha or the ascending in the lower octave or Kharja starts from Ni, he felt that the lower Pa string is very essential. However, in the above tuning structure, playing chords will not be easily possible.

The major aspect in this new Sitar is a totally new concept in the design of the bridge. Sanjay introduced a bridge with convex curvature for the Sitar. The conventional bridge of the Sitar is a flat piece made of Deer horn or Rose wood, on to which, the strings travel.

Benefits of this new bridge are- one can play on any string, on any fret, which is not possible on conventional Sitar. Because all the strings run parallel to the curvature of the bridge, there is no problem of dis-tuning of note. Secondly- Playing mends becomes very easy, because after stretching the string, it flows as per the curvature of the frets and there is no obstacle to the string, because of the curvature of the bridge, which is not possible in the conventional Sitar because of the straight bridge. And the most important thing is that the bridge does not require frequent leveling (Zawari) thus increasing the bridge life. The material used for making this new bridge is the same conventional material only.

Previously Sitar had all the frets like been. This Sitar was called as Achal Thaat Sitar. Some artist removed the frets of komal Re and komal Dha as the Hindustani raga structure does not usually need both Re(s) and Dha(s) at a time, converting it to a Chal Thaat Sitar which is regularly in use today. Major draw back in this Sitar is that, one has to physically shift the frets of Re and Dha make them either shuddha or komal. As far as playing classical music on sitar , it seems fine . but If anyone wants to play any other type of music on sitar, it is virtually impossible to play because two vital frets are missing! Hence, he did the re-addition of frets making it a complete Sitar. Partner of a renowned Sitar maker firm- Naushad Mirajkar seemed completely satisfied with the changes. He has named the new millennium sitar as a Sanjay Khani Sitar.

He has brought a unique style of presentation of his own- The "Khayal Ang". He explains-" As the capabilities of this new instrument were not known or may be that the instrument may not be having the technical perfection to imitate Gayaki on it; the musicians should have simplified the Khayal Ang into simplified version of Gat -Toda. Therefore the Bandish became the Gat and the Taans converted to "Todas."

After many years, the new thought of rendition came and the suitable changes in the instruments also were done. Today the new generations of Sitar players are experimenting on the proper conversion of Sitar playing by improvising the Raga into vocal style, with the usage of parallel terminology applicable in vocal style, playing Drut Bandish on Sitar, instead of the traditional Razakhani Gat. Sanjay has converted, or rather re-moduled the flat term toda, as taans. and a modular and a compact structure of a typical presentation of the Bandish in a typical Raga with the Sthai, Antra, the Sthai Taans, Antra Taans and The Sampurna Taans in a variety of Alankaars.

Ragas-2-Rock is a unique combination of the Rock with a blend of Indian Classical Music enjoyable to the lay and younger generation audience is Ragas-2-Rock!sanjaydeshpande1

Ragas-2-Rock is a concept where one can enjoy all sorts of music from the age old ventures, the golden songs of Indian Cinema to the latest ones from Bollywood. This programme creates a magic on the listener and all sorts’ of audience enjoy this show with great applause.

For a glimpse of this programme, do click on the below mentioned link.

The debut album Rock-n-Raga wherein Sanjay Deshpande has written, composed and sung all his own English numbers is released by Alurkar Music House, Pune, India, and is available in India and the USA. This album is also available for online purchase through www.wwservice.com andwww.cdbaby.com.

Samples of his Film song sitar instrumentals:

Tere sur aur mere geet - Gunj Uthi Shehenai

Baiya na dharo - Dastak

Megha chhaye Sharmilee

Laga jaa gale - Woh kaun thi

Isharo isharo maen - Kashmir ki Kali

Dheere dheere machal - Anupama

Sanjay Deshpande, Bhima Shankar, #199, Shiv Basav Nagar, Malmaruti Extension, Sector No. 2, Belgaum* (Karnataka State, India.) – 590010. Phone: +91-831-2470009.

One should have a nose to smell the news- Vijaykumar Patil Principal Correspondent THE HINDU- They get u news

7:29 AM Posted by ukmad


They get u news: A new series of interviews of news reporters from Belgaum.
The first one in this series is Mr. Vijaykumar Patil Principal Correspondent of THE HINDU.
“You can make a story on whatever you see, listen and smell; one should only have a nose to smell the news. Never be part of yellow journalism as it is the greatest sin not only against the profession but also the society.” Vijaykumar Patil said.
A native of Bidar, Vijaykumar is a Bachelor of Engineering with Specialisation in Electronics & Communication. Born in 1960 both his parents are in the field of journalism. His father, Vishwanath Baburao Patil is a noted journalist & served The Hindu for a long time. His mother, Amrit served as a Managing Editor of the Hindi daily newspaper “DAMAN” from Bidar.

He was the Principal of R.R.K. Samithi’s Industrial Training Institute, Aurad Bidar from June 1, 1984 – August 31, 1985. He then served as EDITOR for INDEPENDENT SPIRIT and English Daily from 1988 to 1992 at Bidar at the same time he also worked as a STRINGER for PRESS TRUST OF INDIA & INDIAN EXPRESS. From 1992 to 2004 he served as a part time correspondent for Times of India, Gulburga.

Vijaykumar was the first journalist interview with R.Venkataraman, Former President of India for THE HINDU on June 29, 1999. He has been an invitee delegate at All India Fact Finding Committee on Godhra-Gujrat Violence, UNESCO sponsored Conference on ‘Alternative Schooling’, National Level Indian Classical Music Competitions, National Conference on “Role of Media in Restoring Values in Society”, State Level Workshop for Hindustani Classical Music Review Writers.

He also regularly contributes articles on Educational/Career issues, Reviews on Hindustani Classical/Light Music, Drama, occasionally on books in THE HINDU.
He has won Karnataka State Government’s “Cash Reward” for investigative stories on “Anti-Veerappan (Forest brigand) Operations” & ‘Best Journalist Award’ for the Year 1989-90 presented by Lions Club of Bidar.

He is interested in Political and Electoral analysis; Development, Panchayat Raj, Environment, Human Rights, Child and Women Rights/Labour, Education, Health, Reviews on Hindustani classical music and Theatre. A multifaceted personality with wide range of interests and good command over English has made him mark for himself a great place amongst the crowd. He knows Gujarati, English, Hindi, Kannada, Marathi and Telugu.
He has a daughter who is software professional and his son is Commercial pilot in USA.

Some excerpts of the interview with Mr.Vijaykumar Patil:

1.       What made you join this field of news reporting?

V Patil:     I chose journalism as career even though I am a graduate in Electronics & Communication Engineering. I hail from a journalist family. My father Sri Vishwanath Baburao Patil is a seasoned journalist and served THE HINDU for long, besides being first in Karnataka to successfully run and edit a Hindi daily newspaper “DAMAN” published from Bidar. He was conferred Karnataka Press Academy Award, Karnataka Rajyotsava Award and TSR Award (Development Journalism) in recognition of his significant and valuable contribution in the field of journalism. My mother is also in the profession as Managing Editor of the daily. My graduation in engineering course is in fulfillment of my parent's desire. But, the instinct for journalism was developing in me since my early days, matured along with my age leading me to opt for journalism as a career. But, the main reason to embrace journalism was out of social anger, which is widely visible among all youth who refuse to accept social evils such as corruption, nepotism, negligence, terrorism, religious fundamentalism, castism, unemployment, exploitation and other issues resulting in social unrest.

 

2.      You work for an English paper of repute does it put pressure on you when you collect news.

V Patil :   Working for nationally reputed newspaper like THE HINDU is a matter of honor and pride. I have never felt ‘under pressure’ even though I (all journalists) work under the threat of a deadline. A journalist has a great responsibility to pass on factual and authentic information/news to the readers every day. Any analytical story or feature must be well substantiated instead of cooking up stories. Therefore, it is a matter of responsibility, no matter even if a journalist works for a small newspaper. There should not be any compromise on the element of responsibility.

 

3.      All ask me this Question; and I want to ask you this, how do you collect news?

V Patil:  Normally, a newspaper/correspondent is informed about events such as press conferences, functions, seminars, etc. organised by government and private organisations/institutions in advance. However, one has to be alert round the clock on various incidents happening in different fields, including crime, social, political and cultural. One has to develop a network of “sources”, which are reliable and trustworthy. There are some ‘trade secrets’ as well! But, what makes a difference between a Reporter and a Journalist, as I understand, the former communicates an event/information/news while the latter ‘reads between the lines’ thereby, he not only extracts a good news but also a thought-provoking story. Yet, without a nose for news, it is difficult to run the show.

 

4.      Working for an English paper in Belgaum, not much glamour there is not it.

 

V Patil:  Many enter the field of journalism because of glamour and easy access to power centers. It does not bother me whether a place is glamorous or not. If you look at issues and people’s problems, glamour will become irrelevant and vice-versa. Nevertheless, I am pained at the ‘intellectual vacuum’ and people’s indifferent attitude towards their own problems and issues, and leaving everything to self-serving politicians. There are few exceptions but of any significant consequence or impact. An intellectual atmosphere is complementary to the growth of journalism in a given geographical area.

 

5.      A notable event that has happened in your life while reporting?

V Patil: Many events in the life of a journalist are notable. When our reports/stories make an impact and evoke positive response from the concerned, like any other journalist, I too feel to have served the purpose to some extent. To be specific, the Karnataka Police announced cash award for my report in THE HINDU, which I was given understand that it influenced the then J.H. Patel government to change its mind on recommending presidential pardon for forest brigand Veerappan to the Centre. I take this opportunity to thank the present ADGP M.K. Srivastava who had enlightened me on certain legal argument, which formed strong basis for the report. During my initial years of service in THE HINDU at Mysore, I was lucky to get an opportunity to interview former President late R. Venkataraman, which was facilitated by Mr.Prasad, Sri Ganapathi Sachidhand Ashram, Mysore. I was told that it was his first ever interview to any national newspaper. I was thrilled when Lions Club of Bidar honoured me with ‘Best Journalist Award’ in my maiden year of journalistic career, which gave me a moral boost in those initial days of my career.

 

6.      You are not a localite from Belgaum, so does it make any difference in the way of collecting of news?

V Patil:  No. If you do not take sides, people will trust you. Newsgathering is also an art. I am happy that there are many in Belgaum who share information and their concerns with me for professional reasons, academic or topical discussion.

 

7.      What do you want to tell the upcoming youngsters who want to join this field?

V Patil:  There is much more to learn for myself. Sky is the limit in the field of journalism and one can come out with a good story on everything a journalist comes across under the sky. You can make a story on whatever you see, listen and smell; one should only have a nose to smell the news. One request, never be part of yellow journalism as it is the greatest sin not only against the profession but also the society. The field is challenging and thrilling, but with honour and reward come great responsibility, which must be exercised without bias and in a constructive way. Journalism would not have been termed as “fourth estate”, otherwise.

 

8.      Your son is a commercial pilot, was he never interested in joining you or your field?

V Patil:   No. To be a pilot has been his childhood ambition and as a father. I do not believe in imposing parents’ wish on children, rather allow them to explore out their own life. I have only tried to help him realize his dream with the blessings of my parents and support of brothers and sister; my wife, her mother, father, two brothers, my co-brother, “three” best friends, a national bank, which granted educational loan and the God almighty.

 

9.      What is that you like most about Belgaum?

V Patil:  Cosmopolitan nature of the local society, broadmindedness, hospitality.

 

10.   English papers are not widely read in Belgaum does that hamper the way you work

V Patil: Not much. Any difficulty in carrying out work is due to known professional constraints and not otherwise.


11.    The media always takes a bias stand towards one, it is said, your view on this.

V Patil:  I do not deny this in Toto. Any bias cannot be justified, as it only renders injustice to the section or an organisation or an individual against which it holds bias. Newspapers are here to present facts without any bias and prejudice in an objective way. The market pressures, questions on survival, personal desires to make quick money and win honours by hook or crook and other evils have sneaked into this profession as well. Unfortunately, unlike in the recent past when a newspaper was regarded as an intellectual organ and a catalyst of change, it is being treated as a ‘product’. However, there are newspapers, which remain committed to professional ethics largely. One should always look at the best in the profession instead of being carried away by evil influence of yellow journalism for the simple reason that no field in the society is free from corruption.

 

 12.   Your thoughts on what Belgaum needs so that it will be developed?

V Patil: One of the best aspects of Belgaum is that the developments and progress, whatsoever so far, is mainly due to local initiatives and visionary leaderships of few individuals. But, the society has been allowed to remain politically divided on linguistic issues by politicians, who seem to have exploited sentiments to serve their own cause more than anything else. Had they made a common cause, the city would have achieved much more progress than what we see today. The rich natural resources, educated and skilled work force, relatively better environmental conditions (although worsening due to urban expansion) comes to it great advantage but not properly utilised. Better late than never, it is high time that people and leaders come together to work for the progress of Belgaum to develop it into a second capital of Karnataka, virtually. There are a few success stories where good leadership motivated people to join hands and changed faces of their villages (eg.Jafferwadi and Hulikavi in Belgaum taluk); they are like oasis and shining examples of development, worthy of emulating.

To be specific, given the agrarian economy and rich natural resources in and around and congenial climatic conditions, there is good scope for agro-based industries, which will generate direct and indirect employment opportunities both in rural and urban centres in large number, and boost local economy. This will also prevent brain drain and migration-temporary or otherwise.

 But, I feel disappointed when I come across people with lethargic attitude and tendency to postpone ‘action’, which plays an invisible bottle-neck in the way of progress. No city or town can keep pace with progress if its citizens are lethargic.

 

 13.  Is journalism from corrupt practices?

A.   No. However, not all journalists are corrupt. However, like in other fields, there are best of the journalists, both professionally and character wise who remain committed to professional ethics. If the newspaper organisations/owners are strict, the menace of yellow journalism could be reduced to a considerable extent.

14. Are their any benefits or welfare programmes from Government?

A.  Railway Travel Coupons at 50% discount and once-in-a-year Rs.1000/- free coupons to travel in KSRTC buses, only.

15. Should journalists or journalism be brought under the purview of Lokayukta? Why the Income Tax department doesn’t take up investigations into assets of those journalists who have made quick riches?

V Patil:  Yes, after all, they are also part of the same system. If there is any case against a journalist being directly or indirectly involved in corrupt practice or has hand-in-glove with a government official or those holding public office, the law must treat him equally. The IT department is free to take up investigations to check unaccounted assets of journalists too.

 

16. Your thoughts on this website and how it could improve?

V Patil: First, I would like to congratulate you for your blog and your efforts to provide ‘All About Belgaum’ to people across the world. I have been watching your dedication involved in developing your website since beginning and there is always scope for further development. See for yourself, let our eyes browse the pages you have posted and you will know what more could be done to develop it. But, “authenticity” of any information displayed on website must be the highest priority, even while trying to be ‘first’ to inform about events and happenings.