Memorable events related to food

Manipal - late 1990s

Between 1997-2000, our families had a chance to come together due to thread ceremonies of all male cousins. We had a gala time every summer vacation and the food memories from this time were beautiful.

The gobi manchurian, parcelled in banana leaves and brought home by uncle from a restaurant named Dwadashi in Kalsanka, Udupi. (closed now), was loved by all, due to its unique taste and aroma which is hard to find these days. We also had savoured a lot of Gud Bud ice creams in these days at multiple places, most notable one being at Lakshmi Soda Stall in Karkala. They used to prepare their own ice cream and it was fabulous in those days. Also to mention the soda sherbet, made with freshly prepared soda right out of the machine.

One day, the senior folks had also pulled off a tandoori party, grilling chicken on top of Srikar mam's terrace. It was a bit over charred, and not sufficient for our hungry bellies, but a memorable experience indeed.

We had also tasted Chole Bhature for the first time when all ladies of the house worked hard and prepared it under Meera Baliga akka's guidance.

The most fabulous Biscuit Ambade were enjoyed during the year of Pratap's thread ceremony, the ranpo maam had made such amazing light and crispy ones that i ended up eating 6 big ambades.

NSS Camp

We had been to the same village in 2007. The village is named Songarh and located in Raigad District, MH. The quality of food served in 2008 was on the other end of the scale compared to the one in the previous year. I remember seeing the men prepare the food on openfires, chopping cabbages with steel glasses etc. to prepare the stir fry, which was very lovely. Also got a taste of bhareli vangi made with small brinjals cooked on coal fire.

From the camp in 2007, only two food experiences are worth sharing. One is the amazing kanda poha made by he ladies in Kasarmalai. The poha was well made, fluffy and topped with freshly grated coconut and fried peanuts. We even got second helpings, which made us very happy, hungry that we were after having walked a good deal that morning. Another was the amazing chai and Parle G biscuits we had in a dhaba when Shantaram, Parikshit, Nikhil and I had gone to a nearby village for a small demo in the village school.

Here, one of the teachers had asked us what was being served to us for food and remarked that the non-veg is made very well in these sides, particulary Kombdi Wade - Chicken curry served with fried rice wadas. Interestingly in my last NSS camp of 2009, i tasted his in a village near Sai, located on a hilltop, which was a memorable experience in the cold winters of December.

Delhi-Sonepat-Chandigarh - 2012

This was the first time i travelled by Rajdhani express for Mitesh Sharma's wedding. The food was amazing on the train, along with the company.

Once we reached Hz. Nizamuddin station, we headed to Shashi's place where we had awesome noodles and manchurian prepared by his neighbour. Then we headed to Nishant Trisal's place in Rohini, via the Delhi Metro. Nishant's mom had made a lovely Kashmiri lunch for us, having palak chaman, nadru yakhni and authentic dum aloo. Also, awesome rajma curry and shahi paneer with the best paneer i have ever eaten. Superb rice and soft phulkas to eat these with. We were served kahva after the lunch and it is one of the most memorable experience i have had in this life.

In Chandigarh, the food was standard. For the reception in Sonepat, i enjoyed golgappa with varities of pani to be eaten with for the first time. The Soya Chanp kababs was out of the world and i was shocked that it was not chicken.

We also visited Delhi in that year and enjoyed deep fried parathas with banana chutney and lassi at Chandni Chowk, Kachaalu chat at Palika bazaar and amazing rasgulla and rasmalai a haldirams, chandni chowk.

Maitri Farms - 2015

During my first week on the farm, the helper was away due to his father's demise. We had to work on the farm in the day and cook at night. This was my first experience cooking on wood fire. I helped Jeetu, a villager who was there to help us, prepare a delicious stir fry with dried prawns. Then Shreesh, the farm owner, and I worked together to make the chapatis. Those were huge chapatis and fulfilling on our empty bellies.

Each morning and evening, black tea prepared with lemn gradd and lots of sugar was served. A British guy named Zeke Marshall had mastered it. It was amusing to seee him prepare it for all of us.

Once the rains had started, Jeetu would get mud crabs aka chimbori, from his rice farm. We too had ventured out in the night to collect them from the farm we were in, and got small ones. With these, amazing crab curry was prepared one afternoon, by the helper's wife. She had one day prepared amazing chapaties, gawar beans stir fry and thecha with garlic and green chilly. It was the best item i had eaten during my farm stay.

Shri. Prabhakar H. Shenoy | The Sun which set 2 years ago

I have wanted to write about my late Pitashri, since the time of his passing away in 2021. A few lines to summarize his life for posterity and hoping that i will write about his life at length very soon.

His was the life of an upright man who never begged anyone, believed in hard work, despite being aware that one gets only what one is destined to.

In his younger days, he was a sportsman, but his heart ailment put an end to it. Also made it hard for him to secure a job, which paved the way for him becoming a self made business man, who also helped set businesses for others as well.

He had an active life, despite his heart issues, major surgeries, falls etc. He lived a life more active than an average youngster of today. 

He was skilled in both speech and writing and had a beautiful handwriting carefully cultivated. I have always been proud that my father wrote beautifully, in neat cursive style, and his signature was gold standard for me.

He was adept at bonding with kids and telling them stories, but when enraged, the same kids would shit in their pants looking at his gaze. Same goes for erring adults whose evil intentions were kept in check by his aura and efforts.

He was ably supported by a just, sweet dharmapatni, who helped him run his home and took great care of his health and nurtured 3 kids with love. She prayed hard, saved money, fed him good, healthy food and provided the oil to smoothly run the machinery of their lives.

He had been cheated amply by those he trusted and believed in, but rewarded amply by the Almighty. Yet he was a man of few needs and lived simply till his end, never trying to indulge in luxury or showoff.

Our Yoga Guruji, Shri. Mahavir Sainik ji, had mentioned to me with tears in his eyes, first time we met after the passing away of dad, that my father was a mad man for the world, whose goodness and sanity could only be identified by another mad man like him. By mad man, he actually meant a very grounded person who was easily misinterpreted in popular understanding.

My father believed in the inherent goodness of people, and had consideration for their comforts and pains as his formula while dealing with them. He never called anyone when he felt they may be ill disposed and considered about time of the day when they may be having lunch or sleeping, unlike most people who are only bothered about their objective while calling on phone.

He was very fond of singing old hindi songs, bhajanas and blessed with a beautiful voice and skilled on the harmonium. His guidance and training set the basis for the music we are able to create and enjoy.

Prabhakar and Suman · Prabhakar - Jalte Hain Jiske Liye

Over the years i had realised how good looking he was and he was becoming more sweet like a ripening mango, as he grew older.

We have served him from the time we were kids and my times spent massaging his feet and talking to him about everything under the sky are the times i miss the most. I can recall his face and his voice, whenever i feel like hearing or seeing him.

I am sad about how destiny planned his end, and wished that it could have been a better ending, but believe that he cleaned up all his karmic baggage he had to burn in this lifetime.

He will surely have a great next janma, in a healthy body, happy, virtuous and wealthy family.

The Sun set 2 years ago, but left enough light to guide us for the rest of our life. Miss you Annu...:(

Thayumanavar Shloka. For the Garbhini...:)

हे शंकर स्मरहर प्रमथादिनाथ

मन्नाथ साम्ब शशिचूड हर त्रिशूलिन् |

शम्भो सुखप्रसव कृत् भवमे दयाळु 

श्री मात्रुभूत शिव पालयमाम् नमस्ते ||

Audio

Translation

Hey Shankara, the Lord of the Pramatha GaNas, and who takes away all pain on simply thinking of Him.

The conquerer of Manmatha (Man naatha), Saamba, wearing the crescent moon (Shashi) on his matted locks bundled into a bun, and holding a Trishoola

Hey Shambho, the kindest one, please grant me an easy delivery.

I pray thus to Shiva, who came in the form of Mother (Taayumanavar), to protect me.

Application - 

1. Imagine getting this shloka from Shiva Himself, as a Guru before starting. 
2. Recite this on Mondays, 11 times, praying to Lord Shiva to protect you and your unborn child.

Notes:

• Pramatha GaNas - The retinue (gaNas) of Shiva who can cause pain and suffering. Invoking Shiva as their lord, so that the unborn is protected from evil influences, attributed to these gaNas.
• Manmatha - Kamadeva, who was burned down by Shiva.
• Saamba - Amba Sameta, Sa Amba - The one with Amba i.e., Parvati Mata. Shri. Krishna also had a son named Saamba, born to his queen Jambavati, and acquired post intense tapas to Shiva.
• Taayumanavar - A form of Shiva worshipped in Tiruchirapalli. 
• The legend of the temple is here, hence association with easy delivery. Matrubhoota Shiva is a Sanskritized name for Tayumanavar. Taayi is mother. 

A beautiful Krithi on Matrubhoota Shiva, the lord of Tiruchirapalli, by Kum. Sivasri Skandaprasad. 

This krithi has a reference to the story. (vaiSya jAti strI vEsha dharaNaM)

Daiva Gudi | The Shanbhogues/Shenoys of Kaup

Shri. Ganapayya Shanbhogue(Ganapati Shenoy) was a wealthy man in Kaup, a small penta (market) in South Kanara. His father, Shri. Rukmayya Shanbhogue, moved to Kaup from either Mulki or Kadekara and settled here with his family This Rukmayya is the individual from whom today's Kaup Shenoy's trace their descent from. 

Among the sons from Rukmayya's second wife, Ganpayya had acquired wealth and status through hard work and Gods grace, in this land of the Tuluvas which had been kind enough to accomodate his persecuted Konkani Saraswata Bandhavas. Ganapayya held a good deal of lands and was a devout and proud man. 

One day, while returning home, he heard a voice as though someone was following him and trying to speak. He disregarded it as machinations of his mind due to the approaching dusk, but it continued and increased with the passage of time. With his awareness of the adrusta jagata, he reached out to a daivagya who, with the help of his incantations, revealed that Vyaaghra Chamundi or Pilichandi, the sthaana devata or Daiva of the lands he had acquired, was asking for a shrine for him and his 12 parivara daivas, as a token of gratitude for taking over the lands which the Daivas had been protecting from Ages. Ganapayya complied, demonstrating sensitivity to both divinity and local practices of the Tuluvas, and built a Daiva Gudi, which became a center of reverence for all his descendents, till this day. 

Pili Chandi Daiva Mask (silver)

Generations passed on, the lands changed hands by inheritance and the land having the Gudi went out of the entitlement of the Shenoy's. It had come in the share of Ganapayya's son Madhava and was lost due to some debts owed to a Jaina moneylender. Madhava did not have a paisa to his name nor a place to stay. He died after a few years in marriage, leaving his wife Lakshmi and two young sons, Hari and Ananta, in penury. Lakshmi used to stay with her sons in a corner in Kaup Venkatramana Devasthana, the center point for all the Amchigele mandali in Kaup pente. She brought up her kids, doing odd jobs like cleaning utensils and helping around. 

Smt. Kaup Laxmi Madhava Shenoy

Hari(appa), the elder son, realised that it was time he had to take on responsibilities of the elder one, and at the age of 13, moved to Bombay, the hub of all commerce and possibilities. He worked in Vasudev Ashram, a successful eating place in Bombay, established by Vasudev Shenoy, Hari's distant cousin. Here, young Hari worked very hard to earn money, experience, network and respect. He was involved in both unskilled labour as well as skilled tasks like cooking and learning the nuances of the food business. His public relations and skills honed over 8 years of service, won him the admiration of many of Vasudev Ashram's customers, particularly of one Mr. Koppikar. Looking at Hari's acumen, he told him of an opportunity to run a canteen at Nair Hospital, which was under Mr. Koppikar's cousin, who had some difficulties managing it. After getting an approval from Vasudev Anna, Hari started a fresh venture of applying his cooking and administrative skills and run the canteen at Nair hospital. 

Business was brisk and Hari was enterprising enough to sell packed eatables prepared in the canteen kitchen, which was a hit with employees of the hospital. Here, Mata Lakshmi started smiling on Hari and poverty slowly started becoming a thing of the past. (check ps for the brief story of Hari from here on.) 

Shri. Kaup Hariappa Shenoy

Having acquired wealth, he came back to his homeland and acquired the lands lost in debt. The Daiva Gudi built by Ganapayya, two generations ago, was in shambles and Hari renovated it and provided the needed Gaurav to the Daivas who had been kind to him and his ancestors. He provided land and ample resources to a Tuluva named Shri. Kotian to sustain himself, so that he could take care of the affairs of the Gudi, the cultivable lands and himself. Each year, he was provided with ample resources for the regular pooja and other responsibilities of the Gudi.

Fast forward to the 90s. The cultivable lands and the one with the Gudi was usurped by Shri. Kotian and his descendants, thanks to the land reforms act of Smt. Indira Gandhi. Over a period of time, the Daiva Gudi was again an old building in the need for repairs and the Daivas were constantly bringing this to the attention of those who had stayed back in Kaup, during the Darshana sessions in the Hale Mariamma Temple close-by. Anyone considering to take the onus was bogged down by the seemingly impossible task of bringing all the descendents on common ground and getting their help to fund and complete the renovation. The cycle of time had done its damage, not only to the Daiva Gudi, but also the faith and sense of gratitude towards the lands which had given our ancestors a new lease of life. 

Having taken over the lands in an unrighteous manner, Shri Kotian eventually suffered losses in life. It is noteworthy that the Daiva still considered the descendants of Shri. Hari Shenoy as the true Dhani (land-lord) and would always ask for their presence in all darshana sessions. Hence, in order to mitigate the issues, Shri. Kotian had to bring it to the attention of Shri. Hari Shenoy's descendants, most of whom were away from Kaup, as their presence and contribution was equally required.

Finally in 2005, Shri. Raghurama Shenoy, Hari's 2nd son, being a resident of Kaup, determined that this item had to be completed. He was amply supported by his siblings in Manipal and Mumbai as well as Shri. Nagesh Shenoy and Shri. Ramaraya Shenoy, his paternal uncle and cousin, who shouldered much of the responsibilities in supervising and getting the reconstruction efforts completed in a satisfactory manner. In this manner, the stage was being set for the families coming together and completing the task.

The entire group of Shri. Ganapayya Shanbhogue's descendents eventually came together and jointly funded the renovation, along with Shri. Kotian and the construction was finally was completed in 2006. This was followed by many grand festivities. The Daivas were finally happy, having achieved their status, and brought the families close by. 

Many helpless souls of family members and non-family people who had passed on and taken shelter in the dilapidated daiva gudi, were identified with the help of Prashna Margam, conducted by Padubidri Sharma Master, and they were released and provided solace with the help of many rituals like Narayana bali, Tarpana etc.

The approach road to the current Gudi

The current Gudi

Daivas placed inside (representation, from another Gudi)

We as a family realised that our relations which our native lands should always be remembered and cherised, and the Daivas and Nagas are not just superstitions but actual deities with whom, our lives are entwined for generations to come. 

P.S. - Hari became a successful hotelier post 1940s, having acquired a place to start New Central Health Home in Girgaon as well as a hotel in Fort, the latter being inaugurated by Pandit Nehru himself. Hari also ventured into confectionary in 1951 and was the proprietor of Hurricane products, a confectionary unit close to JJ Hospital, which did brisk business in Gujarat, Goa, Maharashtra and Karnataka. 

New Central Health Home, Girgaon

Pamphlet of Hurricane Products, with information about Pt. Nehru inaugurating the new hotel in Fort, Mumbai

In the social sphere, he was a secretary of Kashi Mutt Sansthan. He visited Varanasi twice in his lifetime, to supervise restoration activity on the Kashi Muth premises, despite health issues and mounting responsibilities. He was a lover of Bhajana singing and among the founding fathers of Shravana Bhajana Saptaha in the premises of Walkeshwara Kashi Muth. 

He was also instrumental in starting a primary Kannada School in Banam Hall Lane, Girgaum, Mumbai, after a long struggle with the BMC.

During a litigation, he came in contact with Mr. Bijoor, who informed him about an old Balaji Temple in Fort, which belonged to the GSB Samaj, but was appropriated by other community members. He worked hard at restoring its ownership to the Kashi Muth Sansthan, which had been encroached upon, with the blessings of Srimad Sukratindra Tirtha Swamiji of the Sansthan. This temple was built originally by Shri. Rama Kamath, the legendary figure in Bombay's history, who reconstructed the present Walkeshwar Temple and donated land for Kashi Muth, Walkeshwar in 1715.

Balaji Temple, Fort, Mumbai

Srimad Sudheendra Tirtha, the former Mathadhipati of Kashi Muth, held Hari in high regard, and would always remember him whenever we used to visit His Holiness for mantrakshate. 

Politically he contested elections, provided his time, network and resources for canvassing leaders of Congress like S.K Patil, Morarji Desai etc. All these hallowed leaders were present in his funeral, when he passed on untimely in 1958. Around 3000 people are said to have attended his last journey to Chandanwadi/Sonapura Smashaana Bhoomi where he was cremated.

Author: Shrinath Prabhakar Shenoy, Hari Shenoy's grandson.

Sources: Shri. Kamalaksha Hari Shenoy, Late. Shri. Raghuram Hari Shenoy, Shri. Pundalik Hari Shenoy, Smt. Jayanthi P. Shenoy and Late. Shri. Prabhakar Hari Shenoy

Online Resources - 

https://www.bantwalbaliga.com/showtree.php?tree=8

https://www.geocities.ws/mks_us/family_tree.html

http://www.gsbkonkani.net/TEMPLES/FORT_TEMPLE.htm

Fireworks in Tanjore (1830)

For a generation which considered fireworks in India to be a recent phenomenon, the revelation on social media of how fireworks have been a part of Bharatiya celebrations from a very long time, was very delightful and intriguing to me.

While i was trying to do my own research, i came across  two paintings from Thanjavur(Tanjore), Tamil Nadu, dated 1830, currently stored in the Victoria and Albert Museum, London, with vivid depiction of fireworks.

Painting 1 - Shaivite procession at night(1830, Tanjore)

Source-http://collections.vam.ac.uk/
(click to see hi-res)

Shaivite procession at night preceded by an elephant and flag-bearers and followed by images of Ganesha on his rat; Subrahmanya with his two consorts, Valli and Devayanai, on the peacock; Shiva and Uma on the bull Nandi; and Durga on her lion. The scene is illuminated by fireworks and torches; among the crowd in the foreground are a firework seller, ascetics, musicians, including a group, on the right, with hand-cymbals. One in a volume of thirty folios depicting castes, occupations, methods of cultivation and procession scenes

Painting 2 - Northern Indian marriage procession(1830, Tanjore)

Source - http://collections.vam.ac.uk
(click to see hi-res)

Northern Indian marriage procession through the bazaar at night. The scene is illuminated by fireworks and torches. The procession includes the bridegroom on a white horse, torch-bearers, musicians and dancing girls carried on litters. From a volume containing thirty folios depicting castes, occupations, methods of cultivation and procession scenes

Details of Fireworks shown in these paintings

In both the paintings, we can see aerial fireworks, which look really beautiful. In the second one, we can also see what we call 'Anaar' today.

Following are closeups from the first painting.

Fireworks launched in the sky

By these fireworks specialists on ground

Notice the guy with the bunch of rockets in hand. The folks specializing in launching these missiles are doing so with bare hands.

Following are closeups from the second painting.

Here we can see ground as well as aerial fireworks

A look at the arsenal of fireworks. The cane baskets seem to contain the rockets stacked in inverted fashion. The two sticks with array of bamboo pipes seem to be a mechanism to launch another kind of fireworks. There is also a peculiar circular device seen in the back, which is also on the top of a pole. This seems to be a form of a Chakkar which rotates on the top of the pole, like the Zameen Chakkars we know today

These guys are the pyrotechnic specialists, who are launching all the different fireworks with bare hands. Looking at their garb, they seem to be Mahomeddans.

Shaheed/Martyr - Are these terms being used in the right context in modern Bharata ?

Dandavata to all our modern day Achaaryas on Facebook, who selflessly work at sharing their wisdom with upstarts like me. Their wisdom alone motivates us to study and share things for the common good of all Bharatiyas.

There are two instances which triggerred this post.

Referring to our brave soldiers, who lost their lives in the cowardly Pulwaama attack by the Jehaadis, as Shaheeds/Martyrs.

Referring to Head Constable Late Shri. Ratanlal, who was killed by the coward Jehadi stone pelters in Delhi, as a Shaheed/Martyr.

Let us take a look at the exact meanings of these words, before we get into discussion mode

Martyr - Note the religious connotation in the word

Shaheed -  A martyr for Islam

Some insights into Shaheed, from Devdutt Pattanaik

Source - https://devdutt.com/articles/hutatma-the-martyr-witness/ 

Having seen that these two oft used terms have religious connotations, one can only wonder how certain terms gain such widespread acceptance in our daily usage.

Anyone with sanity will now realise that we need better alternatives for these terms. Considering that English speakers never felt a need to create a new word for a person who lays down his life for a just cause, let us see if we have any valid alternatives we can use.

An alternative for us is from a not so remote episode. Note the last line which makes it clear what mindset Mr. Pattanaik and the modern discourse setting 'intellectuals' think of this as.

Those who died demanding Mumbai be made part of the Maharashtra State in 1960 were also declared martyrs, but they were not called shaheed. They were called ‘hutatma’, an uncommon Sanskrit word which means ‘sacrificing (huta) soul (atma)’. The creation of this new word for martyrdom reveals a shift from the Hindu discourse of letting go to the increasingly popular Hindutva discourse of clinging on.

Now look at how such terms too have been corrupted, due to the prevalence of Shaheed/Martyr.

Language used in civilization should be used to accurately describe ideas. Everyone communicating in a language should make an effort to check if the words being used are right or not. New terms can  be readily formulated using existing ones, if there are no words to describe something accurately.

Keeping this in mind, i suggest Hutaatma or Veer Balidaani should be used by Bharatiyas, to refer to anyone who lays down his life for a just cause.

UttishTha Bharata!!

Smt. Jayavanti Hirebet - A Tribute

First Encounter

Year - December 2015

Event - Sawai Gandharva Mahotsava

On the last evening, as usual, Pt. Upendra Bhat was performing and before starting off his rendition of Pt. Bhimsen Joshi's Bhagyada Lakshi Baramma, he had mentioned about a version by a lady named Smt. Jayavanti Hirebet, that he used to sing when young.

I was interested in finding if this version mentioned by Pt. Bhat was the one we too sang in our homes, and found it easily on youtube. It was slightly different from the version we sang, but it was no mistaking that my Grandma and her daughters had been inspired from here.

Second Encounter

I discovered the absolutely mesmerizing version of Endaro Mahanubhavulu, by Chittoor Nagaiah, from his super hit movie, Tyagaiah ('46), based on the life of Tyagaraja Swami. Slowly i realised that each and every song from this movie is a masterpiece. Most of them have been performed by Nagaiah garu himself, in his chaste and beautiful manner, as well as by B. Jayamma, who played the role of Dharmamba, Tyagaiah's dharmapatni.

Tyagaiah - Film Poster

The movie (thankfully available on youtube) has a scene, when Maharaja Sarabhoji enters his darbar, and is mesmerized by the performance of a Hindustani singer. The actress performing the song was both pretty as well as a proficient singer. Curiosity to find out about her, pointed out to one Jayavanti Devi from Mysore. A little more digging made me realise that she is none other than 19 years old Smt. Hirebet!!

Credits - Jayavanthi - Court Singer

As a court singer

I have snipped the scene, for anyone wishing to see it.

Also, the track for listening is below (with some basic improvements)



The association of Shri. Nagaiah and young Jayavanti seems to have been beyond this movie, as they had collaborated on an entire album containing her famous Kannada bhajanas, including the famous version of Bhagyada Lakshmi Baramma was recorded and composed by Nagaiah himself.

The version is here. Check the LP image carefully:)

About Smt. Hirebet

There have been many great artistes, whose lives have been not adequately documented and popularized due to many reasons. This is a humble attempt at sharing a little about her life, from material available online.

Jayavantidevi Hirebet (of ‘Bhagyada Lakshmi’ fame)

1927-2018

Sushama Arur, Goa

Jayavantidevi Dinkar Hirebet recently passed away in the month of May at the ripe age of 91 largely unsung and unheard at Pune’s ‘Athashri’, a home for the old. My brother, Prakash Burde, had visited Jayavanti at her Athashri house in Pune along with his daughter Aparna probably in 2010/11 where he had recorded an interview with her as he was prone to documenting music and musicians. In her last two decades,she spent her time in the serene and beautiful surroundings amidst the sound of birds. She would speak in Konkani to mainas and sparrows who were her regular visitors. After having tasted the glamour world in her younger days as a singer and an actor, in later life this smiling and soft-spoken lady had kept away from the hubbub. Born to Sitadevi and Shri Ramanand Padukone in Puttur, South Kanara district of Karnataka, Jayavanti had the privilege of being born in a highly cultured family. Shri Ramanand Padukone was known for the writing of humorous essays in Kannada. Her grandfather Narasingrao was a sculptor. Jayavanti’s uncle Shri Prabhakar was a profound singer, tabla and dilruba player. Their house was naturally a centre of literary, musical and dance activities and young Jayavanti was brought up in this atmosphere. Her two sisters too — Chandrabhaga Devi (who went on to become very famous) and Yashodhara — were dancers.

Jayavanti initially learned music from her mother, and later got trained in Carnatic music from B.G Ramnath of Madras. She was an ‘A grade artist’ on AIR Dharwad and Bangalore. She cut many records with HMV. Her popular songs are based on lyrics of great Kannada poets of Karnataka Unification Times or from Dasa Sahitya ( Kanaka or Purandhar) “Bhagyada Lakshmi Baramma”, “Tallanisadiru ele manave”, “Huva taruvara manege hulla taruva”, “Sadaa yen Hrudayadalli”, Kannada ace poet K.S Narasimha Swami’s poems “Hattu Varushada Hinde”, “Mattura Santeyalli”, and “Attitta Sulidavaru Neevallave?”. These lyrics were set to music and sung by her in 1948 and they continue to retain their freshness.

After her marriage to Dinakar Rao, she moved to Pune where she continued her pursuit of learning, took to Hindustani classical music and learnt to sing Marathi and Hindi light music (bhavgeet) from music director, Yashvant Deo, from 1950-60. She also honed her skills by learning from Babanrao Navadikar as well, another music director.

Jayavanti also had an opportunity to sing in Udayshankar’s internationally famed, exceptional dance-drama movie called ‘Kalpana’. She sang along with Devilal Samar, ‘Sadiyonke hosha me’ and probably ‘Bahti jaa’ too. Prakash who was bent upon identifying the female voice from this movie had got the answer!

Jayavanti was in a nostalgic mood the day Prakash and Aparna met with her. She pulled out a documentary made on her three years ago by the Karnataka Government. In this 40 min documentary, they depicted Jayavanti’s acting-singing role in the film, “Tyaagayya” ( poet laureate Tyagaraj during Tanjavur Maratha king Sarabhoji’s times) in which she had sung a ghazal. Directed by V. Nagayya in 1944, Jayavanti must have been a pretty lass of 17 years. Jayavanti reminisced, “There was strong opposition from my father for further music learning, but my uncle persuaded and took all the responsibility of training me. He bought a Dilruba and taught me to play.” The documentary showed her uncle playing the dilruba very efficiently. The making of the documentary, however, was quite stressful at the time as Jayavanti had recently lost her husband and her health was not very good at the time.

Jayavanti also shared some bitter experiences from her days as a singer with Prakash and Aparna. During the conversation, Aparna brought up the song ‘Saang Lakshman Saang’ sung by Geeta Dutt. Jayavanti had a story related to this song, written by Ga Di Madagulkar of Geet Ramayan fame. Jayavanti told them that Geeta Dutt used to come to learn Marathi songs along with her from Babanrao Navadikar who was a music director. Most of his songs were sung by Jayavanti and she had already done rehearsals for the ‘Saang Lakshman Saang’. But, at the last minute, HMV decided that Geeta Dutt would sing the song because she had star value!

Jayavanti did not take this setback personally because she knew Geeta Dutt was genuine who always felt guilty aboutsinging this song, and till the end she reiterated that the song belonged to Jayavanti. Jayavanti only rued the unfairness in the industry for some playback singers who did the rehearsals only to be replaced by a famous singer. Despite these hurdles, Jayavantidevi Hirebet, the melodious singer of Kannada light music did achieve welldeserved recognition when she was awarded with the prestigious first ever ‘Shishunala Sharif Prashasti’ in 1997 for being the early bird of Kannada Sugam Sangit. Akashvani Bangalore’s interview with Prakash Burde on Jayavanti Hirebet was later added to the documentary which was specially made for the occasion.

Jayavanti could have been a bigger name if she would have remained in Karnataka. Just when she was getting recognition as a singer she had to move to Pune, a transition which every woman faces after marriage. But she had no regrets, she said. She continued to sing in Kannada Associations and in Akashavani Mumbai, and will always be remembered as one of the pioneers of the tradition of singing Kannada lyrics.(Sugama Sangeet).

May Her Soul Rest in Peace.

Courtesy - Prakash Burde’s ‘Sangit Sarasi’

References-

1. http://www.kamat.com/database/janata/jayawanti_hirebet.htm 
2. http://www.kanarasaraswat.in/Admin/Master/MagzineDocs.aspx?MagzineID=a3d7a117-e594-4db6-a362-8ef6228e1541&FileName=2018%2008%20final%20issue.pdf