Aldovia Resort & Convention honoured with prestigious WORLDCOB Business Awards in Vienna

Aldovia Resort & Convention, Swiss Town, Bengaluru, has received prestigious international recognition from the World Confederation of Businesses (WORLDCOB), Houston, Texas, in the United States of America, at The Bizz Awards 2026, held at the InterContinental Wien, Vienna, Austria, on August 25.

The international event brought together leading business establishments and industrial houses from several countries, with 33 awards presented across various categories. Aldovia Resort & Convention was selected following the recommendation of WORLDCOB’s evaluation committee, recognising its standards of business excellence, leadership, and hospitality based on OTA and review aggregators’ statistics.

Among the principal honours, Aldovia Resort & Convention was conferred the “World Business Leader” award, recognising the organisation for consistently demonstrating business excellence. It was also conferred the “Recognition of Inspirational Company”, upon the recommendation of WORLDCOB’s evaluation committee.

The Vienna recognition also extended to members of Aldovia’s leadership team. Nigel Rufus Colaco was honoured as a “World Leader Businessperson” for consistently demonstrating business excellence, while Randal Shawn Colaco received the “Excellence in Business Leadership” recognition. Balaji Mukunda received the “Excellence in Business Management” award for his consistently demonstrated business excellence management.

The honours assume special significance as the Aldovia brand enters a new chapter in its hospitality journey. Formerly known for two decades as Clarks Exotica Convention Resort & Spa, the landmark property has evolved into Aldovia Resort & Convention, carrying forward the vision of its property owner and founder, Dr Ronald Colaco. The change of brand was opted following the acquisition of the Clarks Exotica brand in Delhi, Jaipur, and other states by the Tata Group, as Dr Ronald Colaco wanted to retain the property and hotel ownership under the new brand Aldovia Resort & Convention.

A pioneer in integrated township development and hospitality, Dr Colaco has played a leading role in developing landmark international standard projects including Hollywood Town, Swiss Town, Oval Reef, Serene Gardens, and Parkland View. His vision for Aldovia is founded on the belief that true luxury extends beyond physical excellence to grace, warmth, emotion, and meaningful human experiences.

Spread across 70 acres near Kempegowda International Airport, within a self-developed township in an approximately 300-acre property offering three swimming pools and various indoor and outdoor sports facilities, Aldovia combines luxury hospitality, large-scale conventions, weddings, corporate gatherings, leisure, wellness, and recreation. Aldovia Resort & Convention offers a total of 11 indoor banquet halls, of which the flagship Ocean Convention Centre happens to be the largest indoor convention centre attached to a five-star hotel in South India. It also offers multiple event venues, one Oasis-formal bar, three separate restaurants—multi-cuisine Ambrosia, pan-Asian Shogun, and Mediterranean grills Ember—and one café, Mirage. Besides a health and wellness spa offering Ayurvedic therapies, aromatherapy, and modern wellness practices, its extensive landscaped grounds and recreational facilities have established the destination as a significant hospitality and convention venue in Bengaluru.

The 2026 recognition adds to the property’s longstanding association with WORLDCOB honours. The organisation had earlier received recognition at The Bizz Awards in Muscat, Oman, in 2015, and at The Bizz 2017 Peak of Success Awards in Dubai, UAE, including recognition as an inspirational company.

For Dr Ronald Colaco, the recognition represents more than business achievement. Over more than three and a half decades, his professional journey has been accompanied by extensive philanthropic and social initiatives across numerous sectors, including contributions towards education, healthcare, public infrastructure, and community welfare.

The latest international honours reinforce Aldovia’s new identity and its commitment to building an Indian hospitality brand distinguished by excellence, purpose, and gracious service.

“This international recognition is not merely an award for business success; it is a recognition of the people, values, and purpose behind Aldovia. Our endeavour is to create a destination where excellence is expected, hospitality comes from the heart, and every guest carries back an experience of genuine warmth and grace,” the management stated reiterating, “Aldovia is where grace finds you.”

source/content: daijiworld.com (headline edited)

Take note: B’luru’s Keziah Thomas on winning big at the World Film Festival

City-based composer Keziah Thomas, who recently won two awards at the World Film Festival in Cannes, shares what went into the music and how global recognition alongside living in Bengaluru influenced her as an artiste.

A child sits between two arguing parents, surrounded by a tension he cannot escape. There are no easy words for what he is feeling, but in Milo, the music says it for him. That emotional space is where Bengaluru-based composer Keziah Thomas found herself while scoring the animated short – figuring out how a melody could carry deep emotions like fear, hope and the pain of uncertainty. Her work on the film has now earned her Best Soundtrack and Best Composer of the Future at the World Film Festival in Cannes.

Interestingly, the 22-year-old approaches music long before the first note is written, as she shares, “Before I write any music, I spend time understanding the characters, the emotional arc and what the film is really trying to say beneath the dialogue.” This approach became particularly important while working on Milo, which follows a young child caught in the middle of his parents’ constant arguments. Thomas also had several conversations with director Dillon Sharp about the story and the emotional direction he wanted to take.

She also believes animation presents a different relationship between image and music because the score can carry much of the emotional storytelling. And for Milo, she wanted the music to have its own identity but rooted in the story. I recorded myself humming a simple melody, which became the main motif and emotional thread connecting the entire film. I then manipulated those vocal recordings by stretching, reversing, and transforming them into different textures and colours to reflect the changing emotions throughout the story,” she says.

But one particular scene pushed that idea further, bringing two worlds together. The music had to move from something hopeful and ethereal into something much darker, without making the transition feel abrupt. “The emotional shift had to feel completely seamless – it couldn’t sound like one cue ending and another beginning. Finding that balance took a lot of experimentation, but it ended up being one of my favourite moments in the score,” she says.

Even with a distinct musical identity, Thomas also sees film scoring as a collaborative process. “I believe my job is to serve the film first. Every composer brings their own artistic identity, but I never want my style to overshadow the story and vision the director has. If a director asks for a rewrite, I don’t see it as a setback. Those conversations lead to even stronger ideas than the original,” she says.

Thomas’ relationship with music began in Bengaluru when she was seven, creating simple melodies on the piano. By 14, she explored different instruments and musical styles. She moved to Boston in 2023 to study at Berklee College of Music, and now she doesn’t separate the two cities when she thinks about where she is today. “Bengaluru is where I built my entire musical foundation and Berklee is where I refined my craft as a composer,” she says.

The Cannes recognition has given that journey another kind of validation. Not simply because of what the awards mean professionally, sharing, “It made my dreams feel real to people who once doubted them. That’s been a very rewarding part of this experience as well.”

However, while technology has made international collaboration and global platforms accessible, she believes India still needs to change the way it views creative careers. “Many people still don’t see it as a viable profession, which means a lot of talented young musicians are discouraged from pursuing it. If that mindset begins to change and more families and institutions support creative careers, we’ll see many more Indian composers making their mark internationally. The talent is already here, we just need more people to believe that this path is possible,” she says.

Now, she looks forward to film and television scoring, collaborations with filmmakers around the world and, ultimately, stories she genuinely connects with. “I want to contribute to stories that bring a change in the viewers. Because my hope is to create music that not only supports a film but leaves a lasting emotional impact on the audience.”

source/content: newindianexpress.com (headline edited)

Mysuru’s wildlife photographers receive EFIP distinction

Mysuru’s wildlife photographers S.R. Madhusudhana, V. Sheshadri and M.R. Bhaskar, who were honoured by the Federation of Indian Photography (FIP) with EFIP (Excellence FIP) distinction recently.

To get the EFIP distinction, one must have 300 acceptances and over 50 national or international prizes.

source/content: starofmysore.com (headline edited)

Shubha Mudgal leads Bengaluru’s Jackfruit Festival with 194 young musicians from across India

Helmed by Bhoomija Trust, the eighth edition of Jackfruit Festival brings together 194 young performers for three days of performances, workshops, and outreach programmes.

A couple of years ago, during a rehearsal for Jackfruit — the annual festival dedicated to music by children — festival director Shubha Mudgal was greeted by two young drummers. “I still recall two young boys from rural Maharashtra running towards me with their drums as I arrived at the venue. They started drumming to welcome me for the rehearsals. As they were drumming away, the other children were mesmerised and were drumming on their knees,” says the renowned singer and Padma Shri awardee of the festival that celebrates young musicians (under the age of 16) from across the country.

With the eighth edition all set to launch next week with 194 children, the Jackfruit Festival helmed by Bhoomija Trust is held in collaboration with Prestige Centre for Performing Arts (PCPA) and the Indian Music Experience (IME). The line-up this year includes Jackfruit Songsters, which will bring together 150 children from across India in an ensemble performance of popular songs; Musicking into the Future, which will showcase exceptional child prodigies (under 14) from across India; Kamaal Dhamaal, helmed by percussionist Aneesh Pradhan, which will feature 40 young drummers from across the country; and a series of workshops and outreach programmes.

Gayathri Krishna, Managing Trustee, Bhoomija Trust, still remembers the day she reached out to Shubha to gauge her interest in being the Jackfruit’s festival director. “She said yes immediately! Shubha really does her research on children in the music sphere, and ensures the right children are brought to the festival alongside a range of musicians. This year is the first time we are featuring a song she has composed in Jackfruit Songsters.” She adds, “What I love the most about Songsters is the diversity it brings to the fore. We ensure 50% of the children are from underprivileged backgrounds. I am always looking forward to the children who will be coming together and creating magic on-stage.” 

For Shubha, who has been associated with the event for four years, her focus has been on two key areas: performance and music education. “My job as a curator is made easy given the massive musical talent in India and the immense diversity in our country,” she says, adding, “It is exciting to come across children from varied backgrounds, languages, and skillsets. They display extraordinary maturity in using music to express so many things.”

For her, it is not just the voices that are important but the committed gurus and guardians behind the children. “Our direction is clear; the parents and gurus both have to be in approval of the child performing. We always speak to guardians first, and ask them to get the guru’s approval. We don’t want to put undue pressure on children and always speak to their gurus to understand what the child is comfortable with, if they are ready to perform in a group, and many other parameters.”

Finding and shortlisting young talent from across India is no mean feat, and is a process that runs through the year. “It has been a great learning experience for me. I am an avid listener, and so is my husband Aneesh, so we always have our eyes out for young talent. Our accompanying artistes share information about children they find online; we work with organisations like People’s Archive of Rural India (PARI); we reach out to gurus whom we know are teaching young children; and even parents reach out to us directly,” explains Shubha, who adds that inclusivity is key as the children come from diverse backgrounds. “We have children from elite urban schools, from music schools in remote parts of the country, and children coming from far-flung villages.”

As for Jackfruit Songsters, directed by Shubha and Aneesh — which was launched at last year’s edition — it will bring together 150 children from across India. The production will feature songs by musicians including B Jayashree, Vasuki Vaibhav, Mohammad Muneem Nazir/ Alif, Rajib Das, Dhammrakshit Randive, Asinta Asur, Roshni Asur, and Lata Kunjwal, who will also mentor the children and conduct them on stage. “There are many children whose guardians spend time and money to get them to learn music, but they lack the avenues to showcase their talent. To overcome this, we launched the initiative last year and reached out to schools to send their children. It is lovely to be introduced to another language, State, and learn stories from songs. We bring in experts in different languages and forms of music, and rehearsals are held remotely and in-person,” says Shubha.

It was also Jackfruit Songsters that paved the way for music becoming part of the regular curriculum at a few schools in the city. “As a part of Jackfruit’s outreach programmes, we started sending teachers to schools to train children for Jackfruit Songsters. These schools work with children with special needs, visually impaired youngsters, and children who are not able to afford music lessons. Over the years, Bhoomija Trust has worked on making these classes a regular part of their school curriculum,” adds an elated Shubha.

While watching the children during the final performances is heartening, Shubha believes it is the process of getting them there that is closest to her heart. “It is something I have been witnessing for a long time; watching children who are total strangers to each other come together and create magic. Watching them rehearse together, be in awe of each other’s talent, and use the language of music to converse is extremely satisfying.” 

August 21-23 at Prestige Centre for Performing Arts (PCPA) and Indian Music Experience (IME). Tickets on bookmyshow.com

source/content: thehindu.com (headline edited)

Unsung heroes | Doctor who quit private jobs to bring free healthcare to doorstep

A 2010 road accident in Bengaluru changed the life of Dr Sunil Kumar Hebbi, who says he has treated 1.5 lakh poor patients at his travelling clinic.

Somewhere in Bengaluru now, this van may be pulling up outside a slum or construction labourers’ shed. Inside the vehicle is a folding chair, a table, a glucometer, an oxygen tank, a BP monitor, an ECG machine, and a doctor who has turned his van into a travelling clinic.

Meet Dr Sunil Kumar Hebbi. For more than a decade, he has quietly redefined what it means to bring healthcare to people who cannot reach it themselves.

Dr Hebbi, son of a farmer couple from Mamadapura village in Karnataka’s Vijayanagar district, has been making the rounds in and around Bengaluru and in rural areas, providing healthcare to the poor who cannot afford hospital costs. A staunch advocate of “right to health”, Dr Hebbi wants to see hospitals serve the public rather than run for profit.

Dr Hebbi started working at private hospitals in Bengaluru after completing his MBBS from the Vijayapura Medical College in 2007. “When I joined the hospitals, there were free health camps. I used to be part of the hospital staff who conducted health checkups at the camps. But the hospitals encouraged unnecessary admissions and surgeries,” he recalls.

“It was also a time when Yashaswini cards were introduced by the state government and the hospitals wanted to make the most of it. They were recommending surgery even if it was not necessary,” he says.

Yashaswini is the government’s low-cost health insurance for rural workers, farmers, and cooperative society members. It covers cashless surgery.

Dr Hebbi says he saw more business and less healthcare in the private hospitals. “I come from a village. My parents are farmers. I have seen the hardship suffered by people who cannot afford treatments. But here, hospitals were cheating them for money. I did not want to be part of that,” he says.

By then, Dr Hebbi had started treating poor patients in his village and in Bengaluru during his free time. But one incident changed his life. In 2010, he witnessed a road accident on Hosur Road at night. He stopped, administered first aid, and got the victim to the nearest hospital. He also helped the hospital staff with emergency care.

“After a couple of days, the mother of the accident victim called me up and said she wanted to meet. She said she wanted to thank me in person. I asked her to come down to my clinic. She was about my mother’s age. She came and fell at my feet, thanking me for saving her son… It moved me very much, and I decided to turn my car into a clinic where I can help patients,” he says.

Partnering with old-age homes, slum communities

Dr Hebbi transformed his Mobile Dr Clinic, launched in 2010, into the Matru Siri Foundation, which partners with old-age homes, government schools, and slum communities. Nearly every weekend, he runs free medical camps, screening dozens of patients while referring more serious cases to specialists at government hospitals. He works largely with volunteer doctors and funds much of the effort through his regular practice, charging patients no more than a token fee even when resources are stretched thin. Most importantly, Dr Hebbi serves in areas of natural calamities. Be it the Kodagu landslide, Chennai floods, or Kerala floods, Dr Hebbi does his bit.

However, even as Dr Hebbi was conducting camps for patients in Bengaluru and other parts of the state, reaching out to patients became necessary during the Covid pandemic.

“Usually, I used to get calls from people to hold health camps. But during  Covid-19, people would phone me requesting treatment. I had to rush to houses and treat patients. It was overwhelming, but I am satisfied that I could help poor people who are in need,” he says.

Several other doctors join Dr Hebbi’s network during their free time. “I just took the first step, and a lot of doctors have joined hands with me. In fact, when I go out to treat patients in rural places, volunteers step in. There are people who donate money for the cause. They tell me not to reveal their names,” he says.

Dr Hebbi is credited with having treated more than 1.5 lakh patients since his mobile clinic was established. “I could have done much better. I was also involved in activism against corruption in government hospitals and against private hospitals cheating people. I have several FIRs against me and also received death threats. I have now come out of the activism space and am continuing to conduct camps for poor patients,” he says.

More than 200 medical volunteers and 500 non-medical volunteers are now part of the Matru Siri Foundation, according to Dr Hebbi.

source/content: indianexpress.com (headline edited)

Three from Karnataka win National Teachers’ Awards

Three teachers from Karnataka, including a government school headmistress from Shivamogga district, have won the National Teachers’ Awards for 2026. They will be honoured at a ceremony at Vigyan Bhavan in New Delhi on September 5.

The Department of Higher Education has selected 21 faculty members from across the country for the award. Among them are Shivani V. of Karnataka Samskrit University, Bengaluru, and Vishwanath H.S. of MEI Polytechnic College, Bengaluru. The award carries a cash prize of ₹50,000 and a silver medal.

The Department of School Education and Literacy has announced awards for 48 teachers, including Ratnakumari, in-charge headmistress of the Government Higher Primary School at Samatagaru in Hosanagara taluk of Shivamogga district.

Ms. Shivani, Professor and Head of the Department of Vyakarana at Karnataka Samskrit University, has been associated with the university since 2015. A native of Keralam, she is known for her efforts to bridge traditional knowledge and modern technology. She has worked with IITs in the field of machine translation, and her department developed Sambhasha, a website that serves as a centre for Shastric studies.

Ms. Ratnakumari, who has more than 30 years of teaching experience, is known for using innovative methods to make learning more effective. She believes in engaging students through activity-based learning on campus.

Speaking to The Hindu on Saturday, Ms. Ratnakumari said, “I believe I have been chosen for the award in recognition of the work done by our team, with the support of parents, villagers and officers of the department.”

source/content: thehindu.com (headline edited)

Oxford Professor visits Dr. S. Radhakrishnan’s bungalow, Oriental Research Institute in city

Prof. Diwakar Acharya, Spalding Professor of Eastern Religions and Ethics at University of Oxford, England, visited Dr. S. Radhakrishnan Centre for Philosophy and Indian Culture, University of Mysore, at Saraswathipuram in the city this morning.

Prof. Diwakar is holding the same position Dr. S. Radhakrishnan held during his stint at Oxford University between 1936 and 1952. His visit to the Centre for Philosophy and Indian Culture assumes significance as Radhakrishnan’s bungalow houses the Centre.

Dr. Radhakrishnan, who had served as the second President (1962-67) and Vice-President of India (1952 to 62), taught Philosophy at the Mysore Varsity from 1918-1921, before moving to Calcutta University and occupy the top offices of the country in later years.

Speaking to Star of Mysore, Prof. Diwakar said, “Yes, I am truly delighted and feel very fortunate to visit this place of great learning and outstanding heritage conservation. For me, this is like a pilgrimage — an academic pilgrimage.”

“I am especially delighted because, due to my schedule, this visit was brief, but would love to return and explore possible avenues for mutual collaboration and academic excellence,” he said hinting at his future plans.

He further explained, “I am at the University of Oxford, heading a group of students and friends in developing the Sanskritic Society. We have the ambition of establishing the Bharati Bhavan to promote the culture of Sanskrit and the Indian Knowledge System.”

He appealed to join hands towards building both national and international networks, as together one can reinvent the field of classical Indian studies by integrating history, epigraphy, Sanskrit studies, cultural studies, heritage conservation, philosophy and perhaps also exploring new opportunities in the field of cultural tourism.

Earlier, Prof. Diwakar also visited Oriental Research Institute (ORI), where he was greeted by its Director Dr. D.P. Madhusudhanacharya. Former IAS Officer Anupam Suman, Research Scholar Sushant Bhattacharya, G.N. Shrinivas, Treasurer at IIT Alumni Centre, Bengaluru and Startup Mentor at ACSEL, Philosophy Professor Prof. Sheshagiri Rao, ORI Research Assistant Dr. Diddigi Vamsi Krishna and others were present.

source/content: starofmysore.com (headline edited)

Digitising Kannada: A work in progress

From electronic typesetting to ASCII-based proprietary fonts to Unicode to AI-enabled translation, Kannada has come a long way in its digital journey. But Indian languages face unique challenges in today’s fast-evolving tech landscape, writes Shilpa Elizabeth.

C.S. Yogananda, founder of Sriranga Digital Software Technologies, remembers a funny instance of coming across a post on X around two years ago. Originally written in Kannada, the post, after machine translation, took on an entirely different meaning.

In Kannada, he wrote ‘ಸಹಾಯ ಮಾಡಿದವರನ್ನ ಮರೀಬಾರ್ದು (Sahaya madidavaranna mareebardu), which translates to ‘One should not forget those who helped’. X’s default translation in 2024-25 read, “Kill those who helped you.”

In yet another instance of hilariously wrong machine translations, a Bengaluru-based journalist recollects how when she used the “translate page” option on a Kannada website to read the content in English, an MLA’s name was translated as “ready to eat.”

The quirks of automated translation often make for amusing anecdotes. But it doesn’t take much time for things to take a more serious turn, especially when mistranslations appear as errors in documents like land records or voter ID, leading to documentation inconsistencies and larger consequences.  

From electronic typesetting to ASCII-based proprietary fonts to Unicode to AI-enabled translation, Kannada has come a long way in its digital journey. However, a deeper look shows that lacunae still persist: some of it translating into real life problems for many, others resulting in the homogenisation of a language and culture that is richly diverse.

A pioneering effort

Kannada’s digital journey began fairly early. In fact, it was the second Indian language to be electronically typeset, after Hindi, in the 1970s, notes K.P. Rao, a pioneer in Indian-language computing. He was instrumental in creating a digital font or set of glyphs for the Kannada characters.

The Hindu archives from 1976 show how scholar I. Mahadevan wanted to publish a digital concordance of over 9,000 Indus Valley seals. But computers and printing systems were designed for English, and digital fonts didn’t exist either for Indus Valley script or for any Indian languages. The archives show all the basic symbols in the Indus script were drawn by an artist and the same were microfilmed. The films were prepared by Tata Press, Bombay, where Rao used to work then.

The same system was soon adapted to print Kannada on an experimental basis at Tata Press, Bombay, in the early 1970s, says Rao. Both these efforts were experimental and worked by substituting language glyphs for English-language characters, he adds.

But these early systems were only a workaround, where English letters were simply replaced with Kannada characters. This allowed Kannada text to be printed, but computers could not still process Kannada as a language.

Typing Indian scripts, which have far more character combinations than English, was a huge challenge. While English uses 26 letters that are typed one after another, Indian scripts such as Kannada have hundreds of character combinations created by joining consonants, vowels and other symbols. Fitting all of these onto a keyboard was far from straightforward, unlike in English.

“Fortunately, a good number of computer enthusiasts started working on the problem of putting Indian-language text into computers around this time,” says Rao, recollecting names like R. Kasturi Rangan and Vishweshwar Dixit. However, the non-standard layout of keyboards continued to pose a challenge.

From phonetic input to Unicode

In the early 1980s, Monotype India’s Bengaluru office developed a phonetic input system, where, instead of creating a separate key for every character, users typed words as they sounded on a standard English keyboard, and the software converted them into the correct Indian script.

This became the basis for one of the earliest Indian-language typing systems. “This led many Bangalore computer hackers to take up the wider range of input and output problems across languages,” says Rao.

In the 1980s, with manual typesetting giving way to desktop publishing or DTP, more Indian language fonts, page layout software and publishing tools started coming into the picture. Software such as Sediyapu by K.P. Rao, Baraha by Sheshadrivasu Chandrasekharan, and later Nudi by Kannada Ganaka Parishad brought Kannada typing to personal computers and government offices.

U.B. Pavanaja created the first Kannada programme called Kannada Kali in 1993 and the first Kannada website named ‘Vishva Kannada’ in 1996. “After Hindi and Marathi, it was the third Indian language to go online,” reminisces Pavanaja.

However, every software developer used their own font systems. In other words, Kannada text was essentially treated as pictures. If the recipient computer or operating system did not have the same font installed, the text appeared as gibberish.

From printable to digital

It was the entry of Unicode that elevated Kannada from ‘printable’ to ‘digital’. Unicode assigned every Kannada character a universal code understood by all modern computers. This meant that the language would appear correctly across computers, could be searched, copied and pasted, indexed by search engines and be exchanged across operating systems, among other things.

“It helped with standardisation and platform independence,” says Pavanaja.

Several technologies such as speech-to-text, Optical Character Recognition, and AI followed taking ahead the digitisation of the language.

Absence of data

Today, the problems of Kannada digitisation have moved away from keyboard layouts and fonts to more nuanced, yet complex, challenges. According to linguists and technologists, one of the most persistent problems today is the lack of a large, high-quality, annotated Kannada corpus.

“AI systems can only learn from the data they are trained on. Without a rich corpus, technologies such as machine translation, speech recognition and text-to-speech will always lag behind English, which has had a 30- to 40-year headstart in building such resources. Kannada has a substantial amount of digital content, but much of it has not been systematically cleaned, annotated or organised for AI,” says Yogananda, a prominent mathematician who has played a major role in Kannada computing, typesetting, and digital archiving.

Sriranga Digital Software Technologies, the organisation founded by him, has been digitising many Kannada books, magazines and literary works over the last two decades.

The team also developed one of the earliest Kannada OCR systems around 2008-09 to make scanned texts searchable. Yogananda, however, notes that scanning books is only the first step. The next stage is to convert this material into clean, structured datasets that AI systems can learn from.

Linguistic challenges

The complex characteristics of agglutinative languages like Kannada (where thousands of variations are created by adding prefixes, suffixes and markers onto a root word) pose unique computational challenges.

The grammar rule of “sandhi” is an example. When mane + alli becomes maneyalli, a new ‘y’ is thrown into the mix to bridge the vowels, which confuses AI and uses up more computational power. Further, if a slang or typo makes it to the sentence, it could lead to misinterpretations by AI and crank up the computational costs.

Yogananda points out that such complexities of the language make it harder to build language models for Kannada than for languages with simpler morphology, and increases the need for carefully annotated datasets.

Apart from linguistic differences, Pavanaja notes that the current AI systems are still largely shaped by Western ways of thinking, both linguistically and culturally. While India has begun developing its own large language models through initiatives such as Sarvam AI, he feels these efforts are still far from the likes of Gemini, ChatGPT, Claude or Perplexity.

Interconnected issues

Community-driven sister organisations Sanchi and Sanchaya have played a critical role in preserving Karnataka’s cultural and linguistic heritage by developing digital tools, digitising literary work, archives and manuscripts, reviving Kannada typefaces and improving the accessibility of all of those making them open-access.

Om Shivaprakash H.L., who co-founded the initiatives, paints a picture of how problems related to absence of data, OCR, dictionaries and typefaces are all interconnected.

“Digitising books creates the historical data needed to build better OCR. Better OCR helps extract text from older books, manuscripts and inscriptions, which in turn contributes to richer dictionaries, corpora and language resources. These resources then become the foundation for grammar tools, spell-checkers, translation systems and AI applications.”

He further adds, “Many people think the problem is solved because tools like Google Lens can recognise printed Kannada. But that is far from enough. OCR still struggles with old books, manuscripts and inscriptions, where much of our linguistic and cultural heritage lies. AI can help, but only if it is trained on high-quality data. That data has to be created first.”

Given that many government institutions still use legacy ANSI fonts instead of Unicode, a large amounts of government data remain invisible to search engines. “If official documents cannot be searched or indexed, valuable knowledge and good governance practices remain inaccessible,” he notes.

While typing has become easier, Shivaprakash highlights that spell-checkers, grammar checkers and other language technologies are still underdeveloped for Indian languages including Kannada.

Real-life issues, linguistical divide

Stakes are much higher when transliteration errors make their way into government documents. In records such as voter ID cards and Aadhaar, details entered in English are often automatically rendered in regional languages. Many a time, this results in errors.

“My name is Pavanaja Ubaradka Bellippady. But they have entered it as Bellippaddy in Kannada in the voter card. Now SIR has begun. My name on the Aadhaar and the voter ID does not match,” worries Pavanaja, who has already faced difficulties accessing government services owing to name mismatch.

Garbage typing and incorrect rendering have contributed to mistakes in land records during digitisation efforts.

“Correcting mistakes in Karnataka’s land records requires lengthy legal and administrative procedures, making these errors especially serious. These as examples of the linguistic digital divide, where seemingly small technical issues ultimately affect citizens’ identities, property records and access to public services,” says an expert who didn’t wish to be named.

Government initiatives

Project Vaani, an initiative by IISc and ARTPARK, aims to capture India’s diverse languages, dialects, and speech patterns and build an open source corpus of 1,50,000 hours of natural speech data from around 1 million people across nearly 800 Indian districts.

The team has completed two phases of the project, covering 165 Indian districts, 156,534 speakers, and 105 languages.

Project Vaani is being carried out under MeitY’s Bhashini. The other prominent government and publicly funded initiatives in Indian language technologies include the Technology Development for Indian Languages (TDIL) programme, C-DAC’s GIST technologies, AI4Bharat at IIT Madras, and BharatGen. These span machine translation, speech recognition, text-to-speech, multilingual AI models, digital public infrastructure and open datasets for Indian languages.

In Karnataka, Kannada Development Authority Chairman Purushotham Bilimale says that KDA has submitted a proposal to the State government to create an archive of folklore and oral traditions and has requested ₹2 crore for the same. The government is yet to respond. “The State government has given almost ₹1 crore to Mysore University to digitise some of the manuscripts. There are also entities, such as e-Kannada, which is now looking into digitisation,” Bilimale notes.

The e-Kannada project, formulated by the Department of Personnel and Administrative Reforms and the Kannada Development Authority (KDA), was formed in 2006 under the Centre for e-Governance to bridge the gap between Kannada and digital advancement. Initiatives including the e-Kannada Learning Portal, Padakanaja, transliteration tools, spell checker and e-Kalika Kannada Academy, among others, were set up as part of the project.

Community- and market-driven

Experts, however, feel that most of the progress in digitising Kannada has been driven by volunteer community and market.

“It is worth noting that, for much of this period, it was not government or government institutions that helped develop Kannada linguistic technology — it was the effort of private individuals, contributing and refining these tools and making them freely available to users,” Rao notes.

“Universities, government departments and research institutions should have taken the lead in creating open datasets, language tools and digital resources. Instead, much of this work has been carried out by volunteers,” argues Shivaprakash, who adds that many of the datasets also remain inaccessible for researchers.

“If publicly funded institutions generate language data, it should not remain behind paywalls or in isolated repositories,” he demands.

Sustained effort missing

Around two years ago, KDA announced plans to launch Kannada Kasturi, a proposed alternative to Google Translate. While the work seems to have been completed, it has not been launched yet for reasons unknown. This underscores a criticism that people like Pavanaja have often been raising – that governments repeatedly launch new projects instead of strengthening and sustaining existing ones.

Kanaja, the Karnataka government’s digital knowledge repository, developed the Karnataka Knowledge Commission. Although the website still exists, Pavanaja says very little new content has been added over the years. According to him, the portal also crashed multiple times, resulting in the loss of several years of data. While old back-ups were restored, a significant amount of content could not be recovered, he says.

According to him, a large part of corpus-building, in India, has been driven by private companies such as Google and Microsoft rather than the government.

Foundational datasets

Shivaprakash, however, cautions that while AI-powered translation and chatbots are useful, they should not be mistaken for complete language development.

“They are built on data created by others. If we fail to build the foundational datasets, dictionaries, corpora and language tools ourselves, we risk depending entirely on proprietary technologies.”

Karnataka is a treasure trove of an enormous amount of knowledge in old books, manuscripts, inscriptions and family collections that have never been digitised. But as these materials deteriorate, we risk losing them permanently.

“Minority languages and dialects are especially vulnerable because much of their knowledge survives only through oral traditions or unpublished manuscripts,” Shivaprakash warns.

Technology alone cannot preserve a language, he points out. “Linguists, technologists, volunteers, universities, government agencies and language communities all have to work together. Digitisation is not just about technology; it is about preserving cultural memory.”

source/content: thehindu.com (headline edited)

Consumers can soon check for IndiCof logo before purchasing Indian coffee

Coffee Board of India (CBI) Secretary Kurma Rao M said on Wednesday that while there are international coffee standards, it was for the first time that India had released its own set of standards for Indian coffee, called IndiCof.

Consumers will soon be able to check for the Indian standard logo for Indian grown coffee before purchasing it. The Coffee Board of India, which released the standard logo, IndiCof, last year, is now extensively working on expanding it across all sectors and stakeholders.

Coffee Board of India (CBI) Secretary Kurma Rao M said on Wednesday that while there are international coffee standards, it was for the first time that India had released its own set of standards for Indian coffee, called IndiCof.

“This will take care of the entire coffee and the value chain. Since Indian coffee is unique and shade grown, there is a need for separate standards at each level covering production to sales.”

The set of standards was released last year, taking care of certification, the cost factor, sustainability, supply and value chain based on the Indian market, as well as Indian climatic and geographic conditions, and is different from international standards. “Now work on implementing them is being done,” Rao said.

He added that, presently, the standards for coffee production are being followed and work on the processing sector is underway.

Following this, a steering committee will be formulated, which will set the timelines for all stakeholders to follow, including the logo for consumers to look out for while purchasing coffee. The exercise for the processing sector will be completed within the next few months, he said.

He was speaking on the sidelines of the announcement of the India International Coffee Festival, organised by the CBI and Specialty Coffee Association of India, scheduled to be held from February 26 to 28 in Bengaluru, where international and domestic coffee growers, marketing companies and other stakeholders will participate.

Speaking on exports, Rao said that during the 2021-22 financial year, for the first time, export sales had touched USD 1 billion. In the last five years, it has continued to rise and in 2025-26, it was USD 2.083 billion.

There has also been a rise in value-added products during the same period, from 29% to 39%. He added that in the last four months, the export volume had also increased by 24%.

Explaining the current year’s export performance from April to July 2025-26, Rao said it was USD 765 million, which increased to USD 855 million in April-July 2026-27, showing an 11.82% rise.

The area of production has also increased by 7.5% in the last five years, from 3,47,000 tonnes in 2021-22 to 3,73,000 tonnes in 2025-26.

Pertaining to the post blossom period, with a 40% rainfall deficit, Rao said they had projected the production to be 4.04 lakh metric tonnes for 2026-27.

Rao said recent reports also showed a rise in domestic coffee consumption compared to exports. Further, to increase the sales, promotion and marketing of coffee, the Union government had undertaken a study in five countries, China, Germany, Canada, Chile and Algeria.

source/content: newindianexpress.com (headline edited)

Col Spoorthi Kulkarni of K’taka becomes first woman commander of BRO task force

Colonel Spoorthi Kulkarni, hailing from Hombal village in Gadag district, has achieved a historic milestone in the Border Roads Organisation (BRO). She has made the state proud by becoming the first woman commander of the 45 Task Force under BRO’s ‘Project Chetak’.

Born on May 26, 1989, Spoorthi is the eldest daughter of Ranganath Kulkarni and Geetha. Her younger sister, Sampritha Kulkarni, is also serving in the Indian Army as a major. Proving that neither a rural background nor gender can hinder success, she has become an inspiration to young women across the country through her dedication, courage, and determination.

Spoorthi completed her primary and high school education at Tontadarya, St John’s, and Vidyadana schools in Gadag. Following the demise of her mother in 2003, her father raised the children as a single parent. She completed her pre-university education in Pune and earned a civil engineering degree from Bagalkot. After successfully clearing the SSB exam, she joined the Indian Army as a lieutenant in 2011.

She is currently entrusted with the crucial responsibility of developing and maintaining strategic road connectivity along India’s western borders.

Expressing his joy, her father stated, “She bears the significant responsibility of developing and maintaining strategic road networks on the western border. It is a matter of immense pride for our district that she has become the first woman officer to command a BRO task force.”

In recent times, the BRO has increasingly entrusted women officers with frontline operational responsibilities. Earlier this year, colonel Shikha Bhadauria took command of the 32 BRTF under ‘Project Beacon’ in north Kashmir. With her new appointment on the western border, colonel Spoorthi Kulkarni now joins this distinguished league.

source/content: daijiworld.com (headline edited)