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More than 50 per cent campus recruiters face challenges with the existing hiring process, according to a survey on Tuesday.
The survey, titled ‘Campus Hiring 2019-20: Challenges, Trends & Best Practices’, by talent assessment company Mercer|Mettl, said the biggest challenges the organisations faced were building pre-placement connect and brand visibility with students. 55.41 per cent organisations termed it a challenge.
Similar number of organisations also said shortlisting the right set of campuses was a challenge.
“Through our latest report, we intend to highlight the existing and emerging trends that are shaping the campuses hiring landscape. The insights can help companies bridge the gap between the old and the new mechanisms, enhancing the rate, scale and quality of the talent they onboard,” said Siddhartha Gupta, CEO, Mercer|Mettl.
According to the report, 54.14 also voted logistics management and coordination with multiple campuses for multiple rounds as a challenge. 45.22 per cent ascertained that administration of right screening assessments for filtering candidates for interviews was a problem area.
Lastly, 38.85 per cent organisations said lower offer rollout to joining rate is a major concern.
The report also emphasises how the use of technology could turn out to be a game-changer for defining efficiency and scalability in recruitment through shortlisting target campuses, building pre-placement engagement, shortlisting resumes, rolling out screening assessments, and conducting interviews.
Organisations that revamped the campus hiring methodologies by integrating innovative technologies into the process fared better than peers, the study said. Organisations that leveraged campus intelligence to enhance hiring strategy were able to increase their onboarding rate to 75 per cent, the survey said.
The study recorded responses from over 400 campus recruiters across sectors, including IT, manufacturing, healthcare, government, construction, entertainment and retail. (IANS)
Today, fountain pens are seen as aesthetic souvenirs. In fact, in today's time, if someone uses fountain pens, they are seen as 'superior' or 'royal'. Interestingly, there exists an astounding story behind the usage of fountain pens.
It is believed that the first mention of the fountain pen was in the year 973, when Ma'ād al-Mu'izz, who was the caliph of the Maghreb region of Northwest Africa, asked for a pen that would keep his hand clean while using it and would not leave ink marks. So, al-Mu'izz's wish was fulfilled when he received a pen that held the ink inside and could also be held upside-down without spilling the ink. Though, it must be noted that we are not quite aware of how this pen looked or worked.
On the other hand, the next mention of the fountain pen was made in the 17th century, when a German inventor named, Daniel Schwenter invented a pen made from two quills. Interestingly, one quill was placed inside the other in a way that it held the ink, and later on, it was closed with a cork. Furthermore, the ink left the reservoir through a small hole which eventually led to the nib.
By the early 18th century, such pens came to be known as “fountain pens", the name which is still being used. In fact, the first English patent for a fountain pen was issued to Frederick Fölsch in May 1809.
With the advent of time, many patents were released for fountain pens and many designs came into being. As a matter of fact, in the 1940s and 1950s, fountain pens retained their dominance over ball-point pens because the latter were expensive and prone to ink leakages.
Today, though fountain pens are sold and bought, they are used only for the purpose of signing valuable documents. Also, because of the ancient history of fountain pens, they are now considered a “status symbol" in society.
Keywords: Fountain Pens, History of fountain Pen, Stationery, Art, Renaissance.
During the festive season, kitchens are filled with people trying to find a space for them to work, while they contribute to the eventual feast. In India, festivals are one of the most important things that bind families and friends together over food. Diwali is of those festivals that apart from being known for the colors and lights, is known and remembered by the elaborate dishes that each family doles out.
In Karnataka, parts of Gujarat and Maharashtra, and South India in general, making obbattu/ holige/ puran poli is a festive ritual. Known as Holige, more popularly in Kannada, this dish is eaten as a dessert because of its sweetness but can be eaten as a meal in itself because of its nutritious value.
Holige is traditionally a flatbread filled with jaggery, coconut, chickpeas, or channa dal. Sometimes, it has vegetables and fruits. It is popularly made to celebrate Ugadi, the Kannada new year but is also eaten during Diwali. Making Holige involves multiple steps and be incredibly fun to do when done together as a family.
The ingredients laid out to begin cooking holige Image credit: Wikimedia Commons
Making Holige is very similar to making parathas. A sweet filling consists of smashed dal or chickpeas seasoned with spices like cardamom, which is rolled out. a maida-based dough which will make the outer covering is rolled into a thin circle. After cooking the dal with jaggery, it is placed in the centre of the dough and cooked until it resembles a paratha. The marbling on the dough with a characteristic yellow background is the typical Holige. Ghee is smeared at every stage and at every turn of the Holige on the pan to ensure that it holds its shape.
Holige is made only one at a time and eaten immediately off the stove as it tends to exude a lot of moisture. This comes from the melted jaggery and ghee. Holige makes for an extremely delicious dessert and is perhaps one of the most awaited festive specialties. Depending on the state it is made in, it is served with varying accompaniments.
Keywords: Holige, Diwali festival, Dessert, Obbattu, Karnataka, the festive season, Kannada new year
Kerala Kalamandalam that teaches the globally recognized art form of Kerala -- Kathakali, has for the first time in its history of 90 years, admitted girl students.
In class VII of Kalamadalam, out of 10 students admitted, 9 are girl students for its Kathakali course. Kathakali is a highly masculine art form with even the female characters being portrayed by men. The attempt is being welcomed across the world.
However several women had started practicing Kathakali in 1970 and 1990 and K.K. Gopalakrishnan, renowned art critic of Kerala in his research book, 'Kathakali Dance - Theatre', said that some women from foreign countries had trained for some short-term courses in Kerala on Kathakali.
Most of these performing women artists were either trained privately by Kathakali masters but this is the first time that Kalamandalam is taking in girl students for its long-term programme.
T.K. Narayanan, Vice-Chancellor, Kerala Kalamandalam told media persons that giving admission to girl students in Kalamadalam was a demand for several quarters since long and that this academic year the governing body has decided to give admission to girl students in a full-time programme at Kalamandalam.
Training at Kalamandalam from school days would expose the students to the teaching and guidance of experts and a diverse pool of teachers of the institute who have huge exposure and deep knowledge of the subject. (IANS/JB)
Keywords: Kerala culture, Kathakali, Dance Culture, kathakali Tradition, Kerala Kalamandalam