Literary meets lack pride or any objective: Kotiganahalli Ramaiah,

K Narasimhamurthy,Kolar,May 9, DHNS:

Annual literary meets have become a mere ritual and lack of awareness about objectives of holding such events is evident in such meets, said Kotiganahalli Ramaiah, chairman of the Adima cultural organisation, who will chair the 11th district-level Kannada Sahitya Sammelana.

Following are the excerpts from an interview with Ramaiah: Your message as chairman of the literary meet. I would like to share the knowledge I got from approaching ‘culture’ from the margins of society that deviates from popular mainstream models of understanding culture and changes in society. I have got a forum for it as a chairman of the literary meet. All that I want to achieve is to make at least a few people aware of sorrows of the people rooted in the soil. On the literary tradition of the district... The marginalised section of society that we belong to have contributed immensely to history and literature of the district. But, they have not been documented and have been pushed into oblivion deliberately. There is not a single work on the contributions of Gudigara community. We (the marginalised) need to write our history. About literary meets... The literary meets being organised these days don’t invoke pride of people about their language and culture, instead, they are observed like a death anniversary. Such events have become occasions to meet friends and buy books. Otherwise, they serve no purpose, as long as they lack perspective and objectives. In Adima, we treat every conference as celebration of literary meet. The literary meets should inspire people to read works of great writers like Pampa at their home, if not with an academic seriousness. Vision of literary meet... I don’t have a fixed notion of literary meet. But, I believe, it should educate youth, prevent destruction of the tradition and culture of local society (region) and help youth to prevent cultural amnesia. On Sammelana chairman’s speech... Speeches of chairmans of the past 10 literary meets should be studied. Each should be a manifesto. And, if they are not implemented, the Sammelana would have no relevance. And, about the Sahitya Parishat... I don’t have special attachment with the Parishat. I’ve not participated in any of the programmes held by the Parishat. But, I was one of those who led the ‘Bandaya Sahitya’ movement. I have deep respect for the literary tradition built by the Parishat over the years and for the makers of literature of the past.

Kolar troupe to stage play in Columbia

Kolar, July 13, DHNS :

A troupe from Adima Living School (Adima Jeevakala School), started recently in a hut in Paparajanahalli, atop the Shivagange Hills of Teralli on the outskirts of Kolar city, is all set to present ‘Ekalavya Uvacha’, a multilingual play at Bagota in the South American country of Columbia.

The play is based on ‘Ekalavya Uvacha’, by Hindi writer Kuldeep Kunal. It is scripted and directed by Satyabrata Raut, acclaimed playwright and member of the Department of Scenography, University of Hyderabad. The play is also an attempt made by an international project by Columbia to study Indian epics, with assistance from Adima Living School. At a press conference Kotiganahalli Ramaiah, the visionary behind Adima, explained that the play was an attempt to run a parallel between the story of the tribal prince Ekalavya, who cut his thumb at the demand of his guru Drona, and several aspects of contemporary Indian society. Ramaiah has penned lyrics for the Kannada version of the play. He is also narrating tales from the Mahabharata to artiste who will be performing the play. “I have prepared myself by studying the original Mahabharata written by sage Vyasa as well as several other versions,” said Ramaiah. The play will be presented in two forms. The version to be performed in Columbia would have only five actors. The other version would have as many as 15 performers. Shades of India The play would include shades of traditional India as well as facets of contemporary India. Music, which would play an important role in the entire performance, is to be directed by Bhushan Bhat. The five members of the team to present the play in Columbia would multitask doing the backstage work. Playwright Satyabrata Raut would himself play the role of Ekalavya and also plan the lighting for the play. Music director Bhushan Bhat would perform the role of Ekalavya. Singer D R Rajappa, who is also the production manager for the play, will perform as sage Vyasa. The role of Ganesha as well as Arjuna would be performed by Rajesh Kundar and Anjali would play Shakthi and Drona will be played by Charan. The play is multilingual, mainly using English and Hindi. Raut would arrive at Kolar in a few days for the pre-planning of the play. “We hope to present the play in not just Columbia but also the neighbouring nations. The effort to contemporise an epic like the Mahabharata would certainly bring fame and laurels to both Kolar and Adima,” hopes Bhushan Bhat. The expenses to go to Columbia for the troupe is about Rs 10 lakh. The troupe has sought the support of various organisations and associations to raise funds. Efforts to get the support of Department of Kannada and Culture did not bear any results, says Ramaiah. The play was performed at the National Theatre festival in June at Begusarai in Bihar. On July 25, the play is scheduled to be staged at Bagota in Columbia at the El Cultural Teatro festival.

Be rational, and not conventional, writers told

Bangarpet, June 18, DHNS :

Kotiganahalli Ramaiah’s advice at 11th district literary fest

A writer should always analyse the changes taking place around him rather than accept convention blindly, said writer Kotiganahalli Ramaiah. He was delivering the presidential address at the 11th District Kannada Literary Fest at the Government Model Higher Primary School, Bangarpet, on Saturday. Observe and follow A writer should observe changes in society and then follow his conscience. He should also oppose any disturbing feature. “Only then would rationalism surpass the boundaries of imagination,” Ramaiah added. He also said this was the reason that held him from attending the inaugural ceremony that included a procession of girls carrying 102 kalasas. “I was withheld by morality.” Ramaiah arrived for the fest towards the end of the inaugural ceremony. Although the hosts had failed to provide the president transport and to wait till he arrived to begin the programme, Ramaiah blamed himself for his delay, thereby preventing any controversy. Mirror to the writer Any work of writing reflects not only the writer’s or poet’s creativity. It is also a manifestation of the environment he/she grew up in, the writer’s intelligence and even response to any issue, he said. “On the one hand, the writer brings out the story matter through the work, but on the other hand, the work of writing itself unravels secrets about the writer. Therefore, a writer should be introspective in every way, at every step,” warned Ramaiah. Referring to the importance of moving beyond convention, he said a writer should first develop his own point of view and also the habit of accepting what is new. “Otherwise, no number of such literary fests will prove useful. After all, nobody prefers stale food,” he said. Ramaiah expressed his ire over being requested to pause as the hosts wished to felicitate M Narayanaswamy, the Bangarpet legislator, who was leaving. “This is an act of disrespect towards the president of the fest,” he said and continued his speech. Change timings Referring to the timings at the literary fest, Ramaiah said it was necessary to change the convention of having the presidential address just before lunch hour. “It is unfortunate that the address is timed such that the people attending the fest will think of food rather than pay attention to the speaker, who would be speaking on important issues,” he rued and ended his address. Ramaiah, however, said that anyone with questions and doubts regarding his speech at the fest could contact him. ‘Learn from farmers’ Kotiganahalli Ramaiah reminded that Kuvempu advised society to revere the plough and its bearer. “Everyone, from politicians to the common man, should learn from the farmer. Today, however, we remember farmers only when we listen to the poem ‘Negila Yogi’, rued Ramaiah. He also said this was a distress signal for everybody. Even writers have forgotten that Kolar is no longer a land of gold mines. He said the Kannada Sahitya Parishat was created on the lines of a victorious democratic setup. “The Wodeyars of Mysore started it, symbolising an equal status for kings and writers. This background of the Parishat should never be forgotten,” he warned.

Kotiganahalli Ramaiah 
President of Adima

Usually, the moonscape of the Shathashrunga Mountains near Kolar is the haunt of weekend rock climbers and couples from Bangalore willing to make the 68km trip for a few hours of privacy. However, starting January, an entirely different set of people will hoist themselves up the volcanic boulders of this range – the Adima Film Club will screen the works of Kurosawa, Polanski, Kubrick, Godard, Fellini, Bergman, Truffaut, Ray and Kasaravalli to rural audiences, and later engage them in discussions about the films, in Kannada.

“The idea is to get a group of 50 to 100 people who can come every month,” said Chalam Bennurakar, filmmaker and coordinator of the film club, when we met him at his home in HBR Layout. It isn’t just the unreal locale that sets this film club apart, he told us. “I have been involved with the Bangalore Film Society and many other film clubs,” Bennurakar said. “My experience has been mainly with urban audiences. With Adima we are trying to reach people from the rural and Dalit background. To see what it would be like to discuss these world classics with them.”

At the heart of any film club is a decent-sized library of movies, and Bennurakar and his friends have already cleared this first hurdle. “We have 8,000 movies in our database,” Bennurakar said, pointing to eight one terabyte discs neatly lined up in a bookshelf behind him. “These are mostly world classics starting from movies by the Lumière brothers and up to recent Korean and Taiwanese cinema. Most of these were sourced from a group of film lovers based in Berlin called OXDB. It completely violates all copyright laws,” he added. “We think of ourselves as a copy-left organisation.”

The club will begin proceedings next month with a world cinema festival held over two days, where apart from a selection of international films, movies like Pather Panchali by Satyajit Ray, Subarnarekha by Ritwik Ghatak and Samskara by Pattabhirama Reddy will be screened. “In the ’70s, ’80s and the early ’90s there was a lot of energy in the cultural arena. Literature, theatre, cinema and politics fed off each other, and it was a dynamic atmosphere,” Bennurakar said. “A lot of new experiments were happening. There used to be regular film appreciation courses and festivals all over the state, where you could find thousands of people attending. Even small children, who were cattle grazers, would talk about Rashomon. Unfortunately, that kind of thing doesn’t happen anymore. Adima is an effort to renew ourselves and get out of the limbo that we have gotten into.”

The film club is one of many activities organised by the Adima Sanghatane, a trust whose stated objective is to seek the “lost wisdom of our past”. The trust organises Hunnime Hadu (songs of the full moon) – a meeting every full moon night where people come to the Shathashrunga mountains to read poetry, watch a play, listen to music and share a simple meal.

When we caught up with the president of the trust, Kotiganahalli Ramaiah, in the shadow of a large boulder, he was smoking a cigarette, sipping on coffee and breathing fire. “Earlier the British and the Mughals used to cut off the hands of craftsmen. Similarly, cultural practices, especially of the suppressed classes in society were also deliberately submerged,” he fumed. “But the roots of this culture are still healthy today, though below the surface. Ours is a collective search for these roots. This movement is what we call Adima.”

Adima Film Club will not be restricted by the boundaries that typically limit film clubs in cities, according to Ramaiah. “Film societies in cities tend to cater to urban sensibilities,” he said. “We, however, are looking to engage with all kinds of people – those living in villages, school students, coolies, pickpockets, professionals, the rich and the poor.” Providing these people with access to world cinema is a first step. Ultimately the film club hopes to nurture a new sensibility and aesthetic.

But it will be nothing like the Navya movement in Kannada literature, which, in turn, influenced the new wave in Kannada cinema, Ramaiah was quick to add. “That was a hypocritical and irresponsible movement,” he said. “You are welcome to read and digest Kafka, Camus and Sartre. But after that if you churn out carbon copies of what you have read, you cannot call it a movement. The new

wave fizzled out because it was monopolised by a few individuals. They only wanted to glorify their own constructs and that is why they made cinema. That is why it didn’t grow and it doesn’t exist today.”

ಕೋಟಿಗಾನಹಳ್ಳಿ ರಾಮಯ್ಯನವರ ಪದ್ಯ

ಬನ್ನಿ 'ಆದಿಮ ಲಿವಿಂಗ್ ಟೈಮ್ಸ್'ನ ಜತೆಗೂಡಿ

ಬಂಧುಗಳೇ.. 'ಆದಿಮ ಜೀವ ಕಲಾಶಾಲೆ' ಕೋಟಿಗಾನಹಳ್ಳಿ ರಾಮಯ್ಯನವರ ಕನಸುಗಾರಿಕೆಯ ಚೆಲುವು. ಆ ಮೂಲಕ ಅವರು ಕಾಣಲು ಹವಣಿಸುತ್ತಿರುವ ಲೋಕವನ್ನು ಮತ್ತದರ ಸೌಂದರ್ಯವನ್ನು ನಾವು ಅವರ ಜತೆಗಿದ್ದುಕೊಂಡೇ ಕಾಣಲು ಸಾಧ್ಯ. ರಾಮಯ್ಯನವರು ಕಳೆದ ನಾಲ್ಕೈದು ವರ್ಷಗಳಿಂದ 'ಆದಿಮ'ದ ಮೂಲಕ ನಮ್ಮೆದುರು ನಿಂತು ತಮ್ಮ ಆರ್ದ್ರ ಹೃದಯವಂತಿಕೆಯ ಪ್ರೇಮದ ಬಾಹುಗಳನ್ನು ಚಾಚಿರುವುದನ್ನು ಸುತ್ತಲಿನ ಹಿಪೋಕ್ರಸಿಗಳ ನಡುವೆ ನಾವೆಲ್ಲರೂ ಕಾಣದಾಗಿದ್ದೇವೆ. ಅವರು ಇತ್ತೀಚೆಗೆ ಒಡನಾಡುತ್ತಿರುವ ಕಾವ್ಯ ಅವರ ಕನಸುಗಾರಿಕೆಗೆ ಪ್ರಬಲ ಭಿತ್ತಿಯನ್ನು ಒದಗಿಸಿಕೊಟ್ಟಿದೆ. ಆ ಕನಸುಗಳಲ್ಲಿ ನಾವೂ ಪಾಲುದಾರರಾಗಲು ಇಲ್ಲೊಂದು ಪ್ರಯತ್ನ ನಡೆದಿದೆ. ಅದು ಈ ಬ್ಲಾಗ್... ಇಲ್ಲಿ ನಿಮ್ಮ ಎಲ್ಲ ಮಾತು, ಹಾಡು, ಹರಟೆ, ತಲ್ಲಣ, ಪರಿತಾಪ, ಸಿಟ್ಟು, ಸಿಗ್ಗು, ಪ್ರೀತಿ... ಎಲ್ಲದಕ್ಕೂ ಜಾಗವಿದೆ. ಬನ್ನಿ 'ಆದಿಮ ಲಿವಿಂಗ್ ಟೈಮ್ಸ್'ನ ಜತೆಗೂಡಿ.
-ನಿಮ್ಮ ನಿರೀಕ್ಷೆಯಲ್ಲಿ
ಹುಲಿಕುಂಟೆ ಮೂರ್ತಿ

ರಾಮಯ್ಯನವರ ಹೊಸ ಪದ್ಯ

ನಮಸ್ಕಾರ.. ಕೋಟಿಗಾನಹಳ್ಳಿ ರಾಮಯ್ಯನವರು 'ಆದಿಮ'ದ ಮೊದಲ ನಾಟಕವಾದ 'ಏಕಲವ್ಯ ಉವಾಚ'ದ ತಂಡವನ್ನು ಕೊಲಂಬಿಯಾಗೆ ಕಳಿಸಲು ಪಡುತ್ತಿರುವ ಶ್ರಮವನ್ನು ನಾವೆಲ್ಲರೂ ಅರ್ಥಮಾಡಿಕೊಳ್ಳಬೇಕು.

ಈ ನಾಟಕ ಪ್ರದರ್ಶನದ ಹಿನ್ನೆಲೆಯಲ್ಲಿ ಬೆಂಗಳೂರಿನಲ್ಲಿರುವ ರಾಮಯ್ಯ ಈ ಕೆಳಗಿನ ಪದ್ಯವನ್ನು ಬರೆದಿದ್ದಾರೆ

ಆಹಾ ಎಂಥಾ ಪಾಠವಯ್ಯಾ..
ಉಳಿವಿನ ಕೊನೆಯರಸಿ ಬಂದರೆ
ಅರಸಿಯರ ಅಂತಃಕರಣ ಕಾಣದೆ..
ಅರಸರ ಅರಸಹೀನತನ ಕಾಣದೆ..
ಸಿರಿತನಕ ಗರ ಬಡಿಯದಿರಲಿ ಎಂದು ಬಯಸಿದೆ
ಯಾವ ಮನೆಬಾಗಲಿಗೆ ಹೋಗದಿರುವಂತೆ
ಯಾರ ಎದೆಕದವನ್ನು ತಟ್ಟದಿರುವಂತೆ
ಎಚ್ಚರಿಸಿತು ಒಳದನಿ
ಥ್ಯಾಂಕ್ಸ್ ಬಂಧುಗಳೇ.. ಕೈಹಿಡಿದು ನಡೆಸುವ ಶಕ್ತಯಿರುವವರೇ...
ಶಕ್ತಿಹೀನನಾಗಿದ್ದರೂ ನಿಮ್ಮೊಳಗಿನ ಶಕ್ತಿ ಇರುವವನೊಬ್ಬ
ಕೈಹಿಡಿಯುವವನೆಂಬ ನಂಬಿಕೆಯೊಂದಿದೆ ನನಗೆ
ನಿಮ್ಮ ಎದೆಕದದಾಚೆಗಿನ ಒಳಗೆ...


-ಕೋಟಿಗಾನಹಳ್ಳಿ ರಾಮಯ್ಯ

ಆದಿಮ..

ಕಳೆದ ಮೂರು ದಶಕಗಳಿಂದ ವಿವಿಧ ಸಾಮಾಜಿಕ ಆಂದೋಲನಗಳಲ್ಲಿ ತೊಡಗಿದ್ದ ಕೆಲವು ಗೆಳೆಯರು ನಮ್ಮ ಸಂಸ್ಕೃತಿಯ ಜೀವಪರ ಬೇರುಗಳನ್ನು ಅರಸಿ ನೀರೂಡಿಸುವ ಕನಸು ಕಂಡರು. ಅದರ ಫಲವಾಗಿ ಕೋಲಾರ ಜಿಲ್ಲೆ ಅಂತರಗಂಗೆ ಬೆಟ್ಟದ ಮೇಲೆ ಜಿಂಕೆ ರಾಮಯ್ಯ ಜೀವತಾಣದಲ್ಲಿ ಆ ಗೆಳೆಯರು ಕೂಡಿ ಆರಂಭಿಸಿದ ನಡಿಗೆಯೇ ಆದಿಮ.

ಇರುವೆಗಳು ಗೂಡು ಕಟ್ಟುವ ಹಾಗೆ ಹತ್ತಾರು ವರ್ಷಗಳ ಕಾಲ ಎಷ್ಟೋ ಮಂದಿ ಸಮಾನ ಮನಸ್ಕರು ದಿನಕ್ಕೊಂದು ರೂಪಾಯಿಯ ಹಾಗೆ ಸಂಗ್ರಹಿಸಿದ ಮೊತ್ತವೇ ಆದಿಮದ ಮೂಲ ನಿಧಿ. ಆ ಹಣದಲ್ಲಿ ಮೊದಲಿಗೆ ಮಣ್ಣಿನ ಕುಟೀರವೊಂದನ್ನು ಕಟ್ಟಿಕೊಂಡು ಆದಿಮ ತನ್ನ ನಡೆ ಆರಂಭಿಸಿತು. ಆಗಿನಿಂದ ಜಾತಿ ಮತ ಅಂತಸ್ತುಗಳಾಚೆ, ಹೆಚ್ಚಾಗಿ ಮಕ್ಕಳ ಚಟುವಟಿಕೆಗಳ ಸುತ್ತಲೇ ಆದಿಮ ಸಾಂಸ್ಕೃತಿಕ ಎಚ್ಚರದ ದಿಕ್ಕಿನಲ್ಲಿ ಹೆಜ್ಜೆಗಳನ್ನಿಡುತ್ತ ಬಂದಿದೆ. ನಿರ್ಲಕ್ಷಿತ ಸಾಂಸ್ಕೃತಿಕ ಸಮುದಾಯಗಳ ಅಂತರಂಗದ ಚಿಲುಮೆಯಾಗಲು ಯತ್ನಿಸುತ್ತ ಆ ಸಮೂಹದ ಘನತೆಯನ್ನು ಎತ್ತರಿಸುತ್ತ ಬಂದಿದೆ.



ಸದ್ಯದ ಹಲ ಬಗೆಯ ಬಿಕ್ಕಟ್ಟುಗಳಿಗೆ ನಮ್ಮ ಸಾಂಸ್ಕೃತಿಕ ಬೇರುಗಳಲ್ಲೇ ಜೀವಪರ ಉತ್ತರಗಳನ್ನು ಹುಡುಕುವುದು ಆದಿಮದ ಆಶಯ.



ಆ ನಿಟ್ಟಿನಲ್ಲಿ ಆದಿಮ ಮಕ್ಕಳ ಸುಪ್ತ ಪ್ರತಿಭೆಗೆ ನೀರೆರೆದು ಅಗತ್ಯ ತರಬೇತಿ ನೀಡುತ್ತ ನಮ್ಮ ದಿಕ್ಕೇಡಿ ಆಧುನಿಕ ಜಗತ್ತಿನ ಸವಾಲುಗಳಿಗೆ ಅವರನ್ನು ಸಜ್ಜುಗೊಳಿಸುತ್ತಿದೆ. ಈ ನಡಿಗೆ, ಹಾಡು, ನೃತ್ಯರೂಪಕ, ನಾಟಕ ಮುಂತಾದ ಸಮೂಹ ಕಲೆಗಳ ಸಂಭ್ರಮದ ಮೂಲಕ ಸಾಕಾರಗೊಳ್ಳುತ್ತಿದೆ.

ಎಳೆಯರಷ್ಟೇ ಅಲ್ಲದೆ, ನಿರಂತರ ಸಂವಾದ-ವಾಗ್ವಾದಗಳ ಮೂಲಕ ಎಲ್ಲದರಲ್ಲೂ ಸಾಂಸ್ಕೃತಿಕ ಎಚ್ಚರ ತರುವುದು ಆದಿಮದ ಕಾಳಜಿ.

ಬನ್ನಿ, ಜೀವರಕ್ಷಣೆಗೆ ಸಮನಾದ ಈ ಪಯಣದಲ್ಲಿ ಜೊತೆಯಾಗಿ ಹೆಜ್ಜೆಯಿಡೋಣ.

ಹುಣ್ಣಿಮೆ ಹಾಡು- ಆ ಬೆಟ್ಟದಲ್ಲಿ ಬೆಳದಿಂಗಳಲ್ಲಿ......

ಪ್ರತಿ ಹುಣ್ಣಿಮೆ ರಾತ್ರಿ ಬೆಟ್ಟದ ಮೇಲೆ ನಡೆಯುವ ಹುಣ್ಣಿಮೆ ಹಾಡು- ಆದಿಮದ ಬಹು ಮುಖ್ಯ ಸಾಂಸ್ಕೃತಿಕ ಚಟುವಟಿಕೆಗಳಲ್ಲೊಂದು.
ನಾಟಕ, ಹಾಡು, ಹಸೆ, ನೃತ್ಯ ಹಾಗೂ ವಿವಿಧ ಜಾನಪದ ಕಲಾ ಪ್ರಕಾರಗಳ ಪ್ರದರ್ಶನ- ಹೀಗೆ ಬಹು ವಿಧದ ಕಾರ್ಯಕ್ರಮಗಳು ತಿಂಗಳು ತಿಂಗಳೂ ತಪ್ಪದೆ ನಡೆಯುತ್ತ ಬಂದಿವೆ.
ಹುಣ್ಣಿಮೆ ಹಾಡು ಇಂದು ಜಿಲ್ಲೆಯ ಸಾಂಸ್ಕೃತಿಕ ಹೆಗ್ಗುರುತುಗಳಲ್ಲೊಂದಾಗಿ ಬೆಳೆದಿರುವುದರಿಂದಲೇ ಪ್ರತಿ ಕಾರ್ಯಕ್ರಮಕ್ಕೂ ಸಾವಿರಾರು ಜನ ಸೇರಿ ಉತ್ಸಾಹದಿಂದ ಪಾಲ್ಗೊಂಡು ಹಬ್ಬದ ವಾತಾವರಣ ಸೃಷ್ಟಿಸುತ್ತಾರೆ.


ಆದಿಮ ನಡೆ- ತರಬೇತಿ, ಪ್ರಯೋಗ, ಪ್ರದರ್ಶನ
ಕಳೆದ ಸಾಲಿನಲ್ಲಿ ನುರಿತ ರಂಗಪಟುಗಳಿಂದ ಯುವಕ-ಯುವತಿಯರಿಗೆ ತರಬೇತಿ ನೀಡಿ ಆದಿಮ ಸಿದ್ಧಪಡಿಸಿದ ನೃತ್ಯ ರೂಪಕಗಳು ಮೂರು- ಹಕ್ಕಿಹಾಡು, ಕಿನ್ನರಿ ನುಡಿದೋ ಮತ್ತು ಅಣ್ಣಾ ಹಜಾರೆ. ಆದಿಮದ ಈ ಅರೆ ರೆಪರ್ಟರಿ ಐದು ತಿಂಗಳ ಕಾಲ ಅನೇಕ ಕಡೆಗಳಲ್ಲಿ ಯಶಸ್ವಿ ಪ್ರದರ್ಶನ ನೀಡಿದೆ.
ಹೀಗೆ ಪ್ರತಿ ವರ್ಷವೂ ಒಂದೊಂದು ಹೊಸ ತಂಡ ರೂಪುಗೊಳ್ಳುತ್ತದೆ.



ಚುಕ್ಕಿಮೇಳ- ಮಕ್ಕಳ ಬೇಸಿಗೆ ಶಿಬಿರ
1999ರಿಂದ ಚೌಕಿ ಸಂಸ್ಕೃತಿ ಕೇಂದ್ರದ ಮೂಲಕ ಪ್ರತಿ ವರ್ಷವೂ ಚುಕ್ಕಿಮೇಳ- ಮಕ್ಕಳ ಬೇಸಿಗೆ ಶಿಬಿರಗಳನ್ನು ಅತ್ಯಂತ ಸಾರ್ಥಕವಾಗಿ ನಿರ್ವಹಿಸಲಾಗುತ್ತಿದೆ. ಇದರೊಂದಿಗೆ, ಕನ್ನಡ ರಂಗಭೂಮಿಗೆ ಹತ್ತಕ್ಕೂ ಹೆಚ್ಚು ಹೊಸ ನಾಟಕಗಳು ಕೊಡುಗೆಯಾಗಿ ಸಂದಿವೆ.
ಇದೀಗ ಚುಕ್ಕಿಮೇಳವನ್ನು ಆದಿಮ ಕೇಂದ್ರದಲ್ಲೇ ಆಯೋಜಿಸಲಾಗುತ್ತಿದೆ.

ಆದಿಮ ಪ್ರಕಾಶನ
ಅರ್ಥಪೂರ್ಣ ಸಾಂಸ್ಕೃತಿಕ ಸಂವಾದದ ಆಶಯಕ್ಕೆ ಪೂರಕವಾದ ಮತ್ತೊಂದು ಚಟುವಟಿಕೆ- ಪುಸ್ತಕಗಳ ಪ್ರಕಟಣೆ. ಈ ನಿಟ್ಟಿನಲ್ಲಿ ಆದಿಮ ಪ್ರಕಾಶನ ಈವರೆಗೆ ಮಹತ್ವದ ಐದು ಕೃತಿಗಳನ್ನು ಹೊರತಂದಿದೆ:

1. ಆವರಣ ಅನಾವರಣ- ಎನ್.ಎಸ್.ಶಂಕರ್.

ಎಸ್.ಎಲ್.ಭೈರಪ್ಪನವರ ಕೋಮುವಾದಿ ಪ್ರಣಾಳಿಕೆಯ ಕಾದಂಬರಿ ಆವರಣಕ್ಕೆ

ಸಮರ್ಥ ಪ್ರತಿಕ್ರಿಯೆ. ನಾಡಿನ ಸಾಂಸ್ಕೃತಿಕ ವಲಯದಲ್ಲಿ ಹೊಸ ವಾಗ್ವಾದವನ್ನು

ಹುಟ್ಟುಹಾಕಿದ ಹೊತ್ತಗೆ.
2. ಕನಕ ಮುಸುಕು- ಡಾ.ಕೆ.ಎನ್.ಗಣೇಶಯ್ಯ

ಕನ್ನಡಕ್ಕೇ ವಿಶಿಷ್ಟವಾದ ಇತಿಹಾಸ ಸಂಶೋಧನೆ ಆಧಾರಿತ ಕೌತುಕಮಯ ಕಾದಂಬರಿ.
3. ಸಾಮಾನ್ಯನ ಸಂಕ್ರಮಣ- ಎನ್.ಎಸ್.ಹಾಲಪ್ಪ

ಸಾಮಾನ್ಯನೊಬ್ಬನ ಸ್ವಾತಂತ್ರ್ಯ ಹೋರಾಟ ಅನುಭವದ ಅಪರೂಪದ ದಾಖಲೆ.
4. ಕಾರಿಡಾರ್ ಕಾಲಕೋಶ- ಜೆಸುನಾ

ಹಿರಿಯ ಪತ್ರಕರ್ತ ಜೆಸುನಾ ನೀಡಿದ- ನಮ್ಮ ರಾಜಕೀಯ ನಾಯಕರ ದೈನಂದಿನದ ಆಪ್ತ ಚಿತ್ರಣ.
5. ಬ್ರಾಹ್ಮಣ ಧರ್ಮದ ದಿಗ್ವಿಜಯ- ಡಾ.ಬಿ.ಆರ್.ಅಂಬೇಡ್ಕರ್

ಕನ್ನಡಕ್ಕೆ:ಎನ್.ಎಸ್.ಶಂಕರ್. ಹಿಂದೂ ಚರಿತ್ರೆಯಲ್ಲಿ ಆಸಕ್ತಿ ಉಳ್ಳವರೆಲ್ಲರೂ

ಕಡ್ಡಾಯವಾಗಿ ಓದಬೇಕಾದ- ಅಂಬೇಡ್ಕರರ ಸ್ಫೋಟಕ ಸಂಶೋಧನಾ ಕೃತಿಯ

ಕನ್ನಡಾನುವಾದ.

******

ನಮ್ಮೊಂದಿಗೆ ನೀವೂ ಹೆಜ್ಜೆಗೂಡಿಸುವಂತಿದ್ದರೆ, ನೀವು
* ದಿನಕ್ಕೊಂದು ರೂಪಾಯಿ ಕೂಡಿಸಿ ನೀಡುವ ಮೂಲಕ ಆದಿಮದ ಸದಸ್ಯರಾಗಬಹುದು
* ಆದಿಮ ಕಾರ್ಯ ಚಟುವಟಿಕೆಗಳಿಗೆ ನಿಮ್ಮಿಂದಾದಷ್ಟು ಹಣದ ನೆರವು ನೀಡುವ ಮೂಲಕ ನಮ್ಮ

ಬಳಗದಲ್ಲಿ ಒಬ್ಬರಾಗಬಹುದು
* ಆದಿಮ ರೆಪರ್ಟರಿಯ ಪ್ರಯೋಗಗಳನ್ನು ಆಹ್ವಾನಿಸಿ ನಿಮ್ಮ ಶಾಲೆ/ಸಮಾರಂಭಗಳಲ್ಲಿ ಅರ್ಥಪೂರ್ಣ

ಮನರಂಜನೆ ಒದಗಿಸುವ ಮೂಲಕವೂ ಆದಿಮಕ್ಕೆ ನೆರವಾಗಬಹುದು
* ಆದಿಮ ಗ್ರಂಥಾಲಯಕ್ಕೆ ಪುಸ್ತಕಗಳ ಕೊಡುಗೆ ನೀಡಬಹುದು.

ನಿಮ್ಮ ಸಲಹೆ ಸೂಚನೆಗಳಿಗೂ ಸ್ವಾಗತ.

ನಮ್ಮ ವಿಳಾಸ:

ಆದಿಮ
ಜಿಂಕೆ ರಾಮಯ್ಯ ಜೀವತಾಣ
ಶಿವಗಂಗೆ, ಮಡೇರಹಳ್ಳಿ ಅಂಚೆ
ಕೋಲಾರ-563 101

ಫೋನ್: 08892769414

ಇ-ಮೇಲ್: adimaramaiah@gmail.com