by Shreevyas

The mural has been split into 3 parts.
The 1st part of the Mural depicts the story of  Bengaluru name origin and its king.
The 2nd depicts the map of "Bengaluru Pete" and the 3rd part depicts the various markets inside the Pete.
It attempts to depict the story of King veera balla's hunting bouts and the old women whom he stumbled upon who offered boiled beans "Bendha kaalu" and the place came to know as "Bendha kaalu ooru"


by Abhijeeth Rao


This mural represents how one community from various backgrounds is preparing one garland at the KR market. These garlands made at KR market then are sold to vendors all across the city, thus travelling to every corner.

by Geethanjali A.R, Yash Bhandari and Puia
B entry
Panel 1 out of 5

The rounded lantern unveiled , the lonely streets welcome footsteps, jasmine buds tossed join the horizon, “Govinda”, I settle at my balcony, a mountain of dancing  flowers surrounded by a swarm of human-bee-ings, as the drums roll ;“Govinda”, where does it come from, where will it lead, I wish to follow the path wherever it may go.
 
This mural is a visualised experience of the journey of the 10th night of the Pete Karaga from Dharmarayaswamy Temple to Hazrat Takwal Mastan Darga caught in between the softness of the clouds , jasmine fragrance and the hard ground.

by Geethanjali A.R, Yash Bhandari and Puia
B entry
Panel 2 out of 5

The rounded lantern unveiled , the lonely streets welcome footsteps, jasmine buds tossed join the horizon, “Govinda”, I settle at my balcony, a mountain of dancing  flowers surrounded by a swarm of human-bee-ings, as the drums roll ;“Govinda”, where does it come from, where will it lead, I wish to follow the path wherever it may go.
 
This mural is a visualised experience of the journey of the 10th night of the Pete Karaga from Dharmarayaswamy Temple to Hazrat Takwal Mastan Darga caught in between the softness of the clouds , jasmine fragrance and the hard ground.

by Geethanjali A.R, Yash Bhandari and Puia
B entry
Panel 4 out of 5

The rounded lantern unveiled , the lonely streets welcome footsteps, jasmine buds tossed join the horizon, “Govinda”, I settle at my balcony, a mountain of dancing  flowers surrounded by a swarm of human-bee-ings, as the drums roll ;“Govinda”, where does it come from, where will it lead, I wish to follow the path wherever it may go.
 
This mural is a visualised experience of the journey of the 10th night of the Pete Karaga from Dharmarayaswamy Temple to Hazrat Takwal Mastan Darga caught in between the softness of the clouds , jasmine fragrance and the hard ground.

by Geethanjali A.R, Yash Bhandari and Puia
B entry
Panel 5 out of 5

The rounded lantern unveiled , the lonely streets welcome footsteps, jasmine buds tossed join the horizon, “Govinda”, I settle at my balcony, a mountain of dancing  flowers surrounded by a swarm of human-bee-ings, as the drums roll ;“Govinda”, where does it come from, where will it lead, I wish to follow the path wherever it may go.
 
This mural is a visualised experience of the journey of the 10th night of the Pete Karaga from Dharmarayaswamy Temple to Hazrat Takwal Mastan Darga caught in between the softness of the clouds , jasmine fragrance and the hard ground.

by Osheen Gupta

Chickpete’s history along with the weaving past and present of Cottonpet, Nagarathpet and Cubbonpet, outlines a rather interwoven amalgamation of a blurred-past of guilds and artisans coming together and slowly vanquishing from the picture; as the interdependency of communities, as that of Devangas; (from genealogy of yarn into fabric) has been unsewn from the fabric of one huge umbrella of textile production, in some ways.
With the coming of the newly mechanised Powerloom clusters, majorly in Belgaum and Gadag Betgeri, Horizontal, the producer-customer relationship has taken center stage while the handloom craft as an occupation, is becoming austere. 
The  majority  of  the  weavers  start  their  business  with  the  self-finance.  They don’t  have  adequate  supply  of  finance  to  modernize  their  powerlooms which is necessary for greater productivity and better quality of fabric.
Moreover, they don’t have  sufficient  capital  to  pile  up  the  stock  of  raw material  when  the  prices  are  low. Because  of  this,  they  purchase  the  yarn  at  higher prices  and  sell  the  cloth  at  lower prices, which results in losses. This also led to the innovation of Room and a Loom, wherein looms started being placed in houses.

In a nutshell, the labourers from the weaving and selling process today, have been facing recurrent obstacles by way of poor infrastructure, obsolete technology, and lack of marketing support. This fabric’s status in today’s world, seems at tangents with the history around what an intensive labour and a piece of silk fabric truly undergo, before being prettily displayed in a retail saree shop; with silk often being worn at occasions of celebration.

The abandoned templates near Chickpet, became the primary area of my muse, which led to the building up of the narrative for my piece. These computer-generated punched cards with holes, used as a template for the powerloom weaving, have a stark similarity to what a morse code would look like.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               



by Osheen Gupta

Chickpete’s history along with the weaving past and present of Cottonpet, Nagarathpet and Cubbonpet, outlines a rather interwoven amalgamation of a blurred-past of guilds and artisans coming together and slowly vanquishing from the picture; as the interdependency of communities, as that of Devangas; (from genealogy of yarn into fabric) has been unsewn from the fabric of one huge umbrella of textile production, in some ways.
With the coming of the newly mechanised Powerloom clusters, majorly in Belgaum and Gadag Betgeri, Horizontal, the producer-customer relationship has taken center stage while the handloom craft as an occupation, is becoming austere. 
The  majority  of  the  weavers  start  their  business  with  the  self-finance.  They don’t  have  adequate  supply  of  finance  to  modernize  their  powerlooms which is necessary for greater productivity and better quality of fabric.
Moreover, they don’t have  sufficient  capital  to  pile  up  the  stock  of  raw material  when  the  prices  are  low. Because  of  this,  they  purchase  the  yarn  at  higher prices  and  sell  the  cloth  at  lower prices, which results in losses. This also led to the innovation of Room and a Loom, wherein looms started being placed in houses.

In a nutshell, the labourers from the weaving and selling process today, have been facing recurrent obstacles by way of poor infrastructure, obsolete technology, and lack of marketing support. This fabric’s status in today’s world, seems at tangents with the history around what an intensive labour and a piece of silk fabric truly undergo, before being prettily displayed in a retail saree shop; with silk often being worn at occasions of celebration.

The abandoned templates near Chickpet, became the primary area of my muse, which led to the building up of the narrative for my piece. These computer-generated punched cards with holes, used as a template for the powerloom weaving, have a stark similarity to what a morse code would look like.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               



By Anpu Varkey

Fragrance

by Diya Pinto

The mural at Chickpete is about the theory of movement in different layers that surround Chickpete. Before Chickpete was a market, it was a garden, before a garden it was a battlefield and before a battlefield, it was a lake. This mural signifies the coming together of the metro (which is the newest form of movement) along with the lake (the oldest form of movement) and how they coexist in today's world, despite the constant changes, above and below ground. The cow signifies the movement above ground, as it is one of the oldest reared animals in Karnataka and olden day/ Tipu Sultan's mysore. They were prestigious animals who helped us win wars, tend to our lands and feed us. The cow is still used today (and dearly worshipped), as are the ox and bulls; it is a tribute to the work put into rearing them and the work they put out for us. They symbolise the hard work of the people and animals, the movement above ground.

by Abhimanyu Ghimiray

Who is Chickpete? What makes Chickpete? 

By
 

By Ullas Hydoor