In an effort to turn Majuli – the world's largest and oldest inhabited river island located in Assam – into a plastic-free zone, researchers from the UK and Indian institutes have joined hands to implement a cleanup strategy. Getting rid of plastics is the first step towards a much broader idea of co-creating a strategy to sustain the island's culture and heritage, despite the ravages caused by seasonal floods.

With the funding support from the Department of Education, Northern Ireland, the researchers conducted a pilot project to find out specific scientific evidence and carried out an exhaustive analysis that was shared Majuli residents and officials to develop the survival strategy. Majuli is a unique site to understand the dynamic relationship between people, culture and environment. It oers insights into the persistence of a cultural heritage founded by Srimant Shankardeva (1449-1568 ADE) based on the clear principles of equality, egalitarianism, and manifested his philosophy in Satriya and Sankari dance forms. As an accomplished playwright, he developed his own classical theatre, music and art and over the years became the precursor of the Bhakti movement in India. In the middle of the mighty Brahmaputra, the island houses both the tangible and intangible cultural heritage. But they are already under constant threat as they are exposed to recurrent annual and unseasonal floods.

This fragile ecosystem adapted to the threats of earthquakes, flooding and erosion over the years. Now plastics have emerged as a new ecological threat. "Pollution is a growing concern in Majuli, with excess plastic being dumped in the river. We are aiming to initiate a carbon neutral island which will be free from plastics. Over the last six months, our team has been engaging with the district administration and schools in Majuli to implement plastics ban and identify alternative options for the people,” said M Satish Kumar, a professor at the Queen's University Belfast, Northern Ireland, United Kingdom and principal investigator of the project. The largest inhabited river in the world, Majuli has shrunk by half over the last 100 years due to climate change, rising water levels and earthquake impact. In the mid-19th century, Majuli was about 1,200 sq km in area; now it is barely 400 sq km. There used to be around 70 monasteries called 'Sattras' in Majuli but due to the island shrinking, there are now 22. They keep the age-old Vaishnavite tradition of Assam alive. "The biggest challenge is single-use plastics like polythene bags and water bottles, which are dumped into the river. We have been working with young people and local artisans to explore alternative indigenous materials that could be used as substitutes for plastics,” he said. It's not that there aren't any options. Traditional materials such as clay pottery and clay cups are useful as well as gogol indigenous plant-based products for daily household use. Water hyacinths and jute can be used for carrier bags, carpets and other household products. On the plus side, increased use of these products would provide a boost to cottage industries. "It is important that we continue to look at waste management and landfill sites.

But it is necessary that plastics are banned to re-airm a carbon neutral Majuli and protect the unique heritage of the island for years to come," he said. The Belfast-based researcher, who hails from Shillong in Meghalaya, told DH that a decision to ban plastics in Majuli is under the consideration of Assam Chief Minister Sarbananda Sonowal. Removal of plastics from Majuli is the first step towards what Kumar and his colleagues seek to achieve in the long run – protecting the cultural heritage of Majuli in a scientific manner. In the pilot project, the team of 20-odd researchers from institutions like British Geological Survey, Banaras Hindu University, Indira Gandhi National Centre for Arts, University of Calcutta and several non-governmental organisations collected primary data and finished the baseline work that is required to conserve the heritage.

They carried out primary data collection and listings of 22 Sattras and its influence on the inhabitants of Majuli; developed an inventory of architectural and spatial patterns, identified the list of movable heritage under threat from climate change, create the framework for codification of tangible and intangible cultural resources in existence since the 16th century and prepared preliminary reports on risk awareness profile for the Majuli community and plans for mitigation of risks. The first part of the work ended in March 2018, but Kumar insisted he would return to Majuli for further work that was discussed with the Chief Minister and district administration. The proposals include the establishment of a global heritage consortium for Majuli, to promote Majuli as a 'Living Heritage' and help establish a World Arts and Cras Training Centre in Majuli.

- https://www.deccanherald.com/national/indo-uk-team-preserve-cultural-684869.html, Aug 1, 2018

Over a thousand rockets belonging to an 18th-century Muslim warrior king have been found by excavators in an abandoned well in India's southern Karnataka state, an official said Friday. The excavation of the open well in Shimoga district led to unearthing of rockets and shells that were stored by Tipu Sultan for use in wars, according to the state's assistant director of archaeology. The powerful ruler was killed in the fourth Anglo-Mysore war in 1799 after a string of victories in battle against the British East India Company. He is credited with developing an early, indigenous rocket known as the Mysorean rocket, a prototype of British Congreve rockets used in the Napoleonic wars. These were the first iron-cased rockets used in the military, and experts say they paved the way for rocket use around the world.

The British eventually adopted the technology as well after being exposed to it during the wars. This later led to the development of the Congreve rocket. 'Excavation of the open well led to unearthing of over 1,000 corroded rockets that were stored during Tipu's times for use in wars,' R. Shejeshwara Nayaka told AFP from the site, some 385 kilometres (240 miles) northwest of state capital Bangalore. 'Digging of the dry well where its mud was smelling like gunpowder led to the discovery of the rockets and shells in a pile.' It took three days for the 15-member team of archaeologists, excavators and labourers to unearth the armoury and the ammunition. The rockets, measuring between 23 and 26 centimetres (12-14 inches), would be kept for public display at a museum in Shimoga.

According to archeological records, the fort area in Shimoga was a part of Tipu Sultan's kingdom and the rockets were used in the wars that the ruler fought against the East India Company. Tipu Sultan is credited with developing an early, indigenous rocket known as the Mysorean rocket, a prototype of British Congreve rockets used in the Napoleonic wars. Tipu planned, designed and crafted cylindrical iron tubes that would allow for great compression of the filled gunpowder and consequently, greater range (nearly 2 km). Tipu then fastened them to swords or bamboo poles to provide stability, that would, in turn, lead to better accuracy. Tipu Sultan wrote a military manual called Fathul Mujahidin in which 200 rocket men were assigned to each Mysorean cushoon (brigade).

Mysore had 16 to 24 cushoons of infantry. The rocket men were trained to launch their rockets at an angle calculated from the diameter of the cylinder and the distance to the target. In addition, wheeled rocket launchers were used in war that were capable of launching five to ten rockets almost simultaneously. These were the first iron-cased rockets used in the military, and experts say they paved the way for rocket use around the world.

The British eventually adopted the technology as well after being exposed to it during the wars. During the Anglo-Mysore wars of the late 1700s, Mysorean rockets were used by Tipu to great effect. British soldiers described the iron tubes of gunpowder mounted on swords of Tipu's army as 'flying plagues' After the fall of Srirangapattana in 1799, the British army found 600 launchers, 700 serviceable rockets and 9,000 empty rockets at Tipu’s fort. Many of these were sent to the Royal Artillery Museum in Woolwich (where two specimens are still preserved), inspiring it to start a a military rocket research and development program in 1801.

- http://www.dailymail.co.uk/sciencetech/article-6011951/The-1-000-rocket-cache-18th-century-Indian-warrior-king.html, Aug 1, 2018

In the rural heartland of Odisha resides a living workshop -- rich in art, craft and cultural heritage. Home to just 140 families, Raghurajpur is perhaps India's only village where every household is involved in producing handicrafts. Ten kilometres from Odisha's pilgrim town of Puri, the crafts village on the southern bank of the river Bhargavi is mostly popular for its vibrant "Pattachitra" or cloth-based scroll paintings displaying intricate details of Hindu mythological narratives and folktales. The villagers, said to have settled there since the construction in the 10th century of the famous Jagannath temple, produce other handicraft items like "Talapatachitra" or palm leaf engravings, tassar silk paintings, stone carvings, paper mash toys and masks, wood carvings, wooden toys and cow-dung toys. "No one can specify when these art forms came into being. We have been doing this for generations. My entire family is involved in making 'Pattachitra'. Me, my father, mother and younger sister... all of us do this," said Purushottam Swain, a young "Chitrakara" (painter), who recently completed his graduation. He said the traditional Pattachitra paintings are associated with the rituals of Lord Jagannath, Orissa's presiding deity, as the art originated from these ritualistic activities. But with time the art has been given a contemporary flavour due to demands of buyers. "Most of the buyers now-a-days hardly have any knowledge of, or regard for, mythological stories. They buy these paintings as mere decorative items. So, besides making the traditional Pattachitras, we also make scrolls based on contemporary incidents and sometimes give it a tribal touch," the artist explained. With Pattachitra emerging as an internationally celebrated art form, Swain said many of the artists from Raghurajpur also attend exhibitions in cities like Delhi, Kolkata and Mumbai to showcase and sell their work to a larger audience. Pattachitras are also unique because the five colours mainly used to paint the scrolls are natural and home-made. A piece of cotton cloth is first folded in multiple layers and polished with white chalk power and a paste of tamarind seeds to make it look like a shiny canvas. "There are five basic colours for Pattachitra painting -- white, black, blue, yellow and red. While the colour white is made from sea shells, the black is derived from kohl (an eye cosmetic). The rest of the colours are produced by grinding colourful stones," another artist explained. An iconic scroll with a picture of Lord Krishna and his consort Radha of the Vaishnavism tradition at veteran artist Umesh Rajoi's workshop is particularly eye-catching, where the bodies of the two deities are decorated with several miniature paintings of their "leela" (divine play). The artist said such Pattachitras are painted with a single hair brush and may take up to six weeks to complete. The popular Talpatrachitra is made on a pair of palm leaves that are first stitched together and boiled with neem leaves and turmeric to protect them from insects. The leaves are then dried and curved with iron needles. Other handicrafts, made on coconuts, beetle nuts and glass bottles, are vibrantly painted with acrylic colours and have both washable and non-washable variants. In an attempt to revive the ancient crafts of Odisha, the Indian National Trust for Art and Cultural Heritage (INTACH) chose Raghurajpur to be developed as the state's first heritage village and crafts village in 2000. But some artists allege that the central aid of Rs 10 crore for Raghurajpur's development has not been properly utilised. Though a crafts library, an interpretation centre, an amphitheatre and guest houses have been built in the village, some projects like building toilets for every household are still unfinished, they complain. Terming the handicraft as their only occupation, a number of artisans claimed their livelihood suffers due to commercialisation, with many businessmen and inhabitants of neighbouring villages misguiding tourists by selling Pattachitras made through the block printing technique. "Our business is suffering because a lot of other villages have started replicating our work. However, most of their works are not handmade. So businessmen in parts of Odisha also produce items like Pattachitra and palm leaf paintings in a large volume using block printing technique," Swain said. Echoing him, artist Alok Ranjan Sahoo said letters have been written to the local authorities informing them about the malpractices but so far all complaints have fallen on deaf ears. "We have lodged complaints with the local authorities but so far no substantial steps have been taken. Now the Odisha government has introduced identity cards for the Raghurajpur artists so that they can be authenticated while attending exhibitions and crafts fairs in other states," Sahoo added sitting in his humble workshop. (Milinda Ghosh Roy was in Raghurajpurat the invitation of the Odisha government. He can be contacted at [email protected])

- https://www.business-standard.com/article/news-ians/raghurajpur-a-living-workshop-of-handicraft-artisans-threatened-by-modernity-art-feature-118080200277_1.html, Aug 2, 2018

The Archaeological Survey of India (ASI) on Thursday presented the discoveries they claimed to have found at Vangchhia historical village in Mizoram's Champhai district, after an excavation that began in 2015. The ASI said that they have encountered more than 100 structures at different terraces of various shapes and sizes, including 207 menhirs, which were documented with proper measurement and many more discoveries are being archived. The discovery is considered very significant to throw light on the history of the Mizo community. The excavation at Vangchhia exposed a good number of menhirs, Mizo traditional and megalithic burial structures and one of the most profound discoveries is the water pavilion that comprises multiple circular and square holes. "We have explored fifteen terraces full of structures, but the discovered water pavilion still remains a mystery. The use of a water pavilion would determine that the culture is the same, which later developed into civilization", said Dr Sujeet Nayan, Head of the archaeological team. Dr Nayan said that in two years they have explored more than 60 to70 villages and while excavation, we discovered more and more hidden colonial past that could be remains of a full-fledged city. There is need for a more comprehensive study to establish a scientific chronology of the ancient culture of Mizoram, he added. The archaeologists also found human bones and antiquities from the burial sites at Vangchhia in 2015 and further excavation have unearthed samples such as potsherds dating back to 600 BCE (before common era) and circa 1400 CE to 1750 CE through C14 (radio-carbon). P. Rohmingthanga, a retired IAS who first noticed the heritage site at Vangchhia in 1973 said, " When I first saw it in while travelling by helicopter, it struck me and I thereby began taking initiatives to bring in an excavation team". Highlighting on the importance of the new discovery, he said that Mizos do not have recorded documents because of which, they lack in-depth knowledge of their history, but now with the excavation of archaeological remains there would a better understanding of the Mizo culture. Vangchhia is situated in Champhai district at least 259 kms away from Aizawl, near Indo-Myanmar border. With the vast heritage and cultural traditions, Vangchhia appears as a living museum, resulting into a tourism boon in the area.

- https://www.news18.com/news/india/potsherds-menhirs-and-a-lost-covilisation-discovered-in-mizorams-vangchhia-1831409.html, Aug 2, 2018

In the rural heartland of Odisha resides a living workshop — rich in art, craft and cultural heritage. Home to just 140 families, Raghurajpur is perhaps India’s only village where every household is involved in producing handicrafts. Ten kilometres from Odisha’s pilgrim town of Puri, the crafts village on the southern bank of the river Bhargavi is mostly popular for its vibrant “Pattachitra” or cloth-based scroll paintings displaying intricate details of Hindu mythological narratives and folktales. The villagers, said to have settled there since the construction in the 10th century of the famous Jagannath temple, produce other handicraft items like “Talapatachitra” or palm leaf engravings, tassar silk paintings, stone carvings, paper mash toys and masks, wood carvings, wooden toys and cow-dung toys. “No one can specify when these art forms came into being. We have been doing this for generations. My entire family is involved in making ‘Pattachitra’. Me, my father, mother and younger sister… all of us do this,” said Purushottam Swain, a young “Chitrakara” (painter), who recently completed his graduation. He said the traditional Pattachitra paintings are associated with the rituals of Lord Jagannath, Orissa’s presiding deity, as the art originated from these ritualistic activities. But with time the art has been given a contemporary flavour due to demands of buyers. “Most of the buyers now-a-days hardly have any knowledge of, or regard for, mythological stories. They buy these paintings as mere decorative items. So, besides making the traditional Pattachitras, we also make scrolls based on contemporary incidents and sometimes give it a tribal touch,” the artist explained. With Pattachitra emerging as an internationally celebrated art form, Swain said many of the artists from Raghurajpur also attend exhibitions in cities like Delhi, Kolkata and Mumbai to showcase and sell their work to a larger audience. Pattachitras are also unique because the five colours mainly used to paint the scrolls are natural and home-made. A piece of cotton cloth is first folded in multiple layers and polished with white chalk power and a paste of tamarind seeds to make it look like a shiny canvas. “There are five basic colours for Pattachitra painting — white, black, blue, yellow and red. While the colour white is made from sea shells, the black is derived from kohl (an eye cosmetic). The rest of the colours are produced by grinding colourful stones,” another artist explained. An iconic scroll with a picture of Lord Krishna and his consort Radha of the Vaishnavism tradition at veteran artist Umesh Rajoi’s workshop is particularly eye-catching, where the bodies of the two deities are decorated with several miniature paintings of their “leela” (divine play). The artist said such Pattachitras are painted with a single hair brush and may take up to six weeks to complete. The popular Talpatrachitra is made on a pair of palm leaves that are first stitched together and boiled with neem leaves and turmeric to protect them from insects. The leaves are then dried and curved with iron needles. Other handicrafts, made on coconuts, beetle nuts and glass bottles, are vibrantly painted with acrylic colours and have both washable and non-washable variants. In an attempt to revive the ancient crafts of Odisha, the Indian National Trust for Art and Cultural Heritage (INTACH) chose Raghurajpur to be developed as the state’s first heritage village and crafts village in 2000. But some artists allege that the central aid of Rs 10 crore for Raghurajpur’s development has not been properly utilised. Though a crafts library, an interpretation centre, an amphitheatre and guest houses have been built in the village, some projects like building toilets for every household are still unfinished, they complain. Terming the handicraft as their only occupation, a number of artisans claimed their livelihood suffers due to commercialisation, with many businessmen and inhabitants of neighbouring villages misguiding tourists by selling Pattachitras made through the block printing technique. “Our business is suffering because a lot of other villages have started replicating our work. However, most of their works are not handmade. So businessmen in parts of Odisha also produce items like Pattachitra and palm leaf paintings in a large volume using block printing technique,” Swain said. Echoing him, artist Alok Ranjan Sahoo said letters have been written to the local authorities informing them about the malpractices but so far all complaints have fallen on deaf ears. “We have lodged complaints with the local authorities but so far no substantial steps have been taken. Now the Odisha government has introduced identity cards for the Raghurajpur artists so that they can be authenticated while attending exhibitions and crafts fairs in other states,” Sahoo added sitting in his humble workshop. (IANS)

- http://odishasuntimes.com/raghurajpur-a-living-workshop-of-handicraft-artisans-threatened-by-modernity/, Aug 3, 2018

The caves of Gufkral are one of the oldest in Kashmir and some estimates trace their origin to 2000-3000 BCE. For the family of Nisar Ahmad Kumar living in Gufkral Tral, the caves in the courtyard of their homes are a problem. They are open invitation for wild animals-bears and porcupines in particular. The dangers of collapse add risk to anybody particularly children venturing there. To deal with the dangerous dusty caves, which they claim are their hereditary property, they did what a normal person concerned with the safety of his family will do, they simply erected a wall to seal off the cave. Everything looks normal, however there is one catch, neither the caves are ordinary nor the family of Kumar who represent a unique family lineage. The caves of Gufkral are one of the oldest in Kashmir and some estimates trace their origin to 2000-3000 BCE. Even the name of the area Guf (cave) Kral (Potter) comes from these caves. The caves have an enormous archeological value, but the lack of interest from either the state archeological department or the ASI have put the site on a path, which will only hasten their destruction. According to some historians Gufkral is the place where the first men reaching the valley on early neolithic period settled. The area was first explored in 1962-1963 by the Frontier Circle of the Archeological Survey of India. And later it was excavated by an ASI team led by A K Sharma from 18 August to 20 October 1981. The excavation revealed five periods of occupation at the site ranging from Aceramic neolithic to Megalithic and Historical period. The findings include copper bangle, copper pin, stone celts, stone points, ring stone, pounders, querns, bone tools, awls, scape, piercer, polished bone needle, beads, terracotta marble etc. The Gufkral findings also indicated that in the Kashmir valley wheat, barley and lentils had a much earlier antiquity than did rice, which the staple food of Kashmiris in the valley today and which is grown extensively all over the valley. According to the findings published in the paper GU'fkraI 1981: An Aceramic Neolithic Site in the Kashmir Valley, “For the first time it has been firmly established that in the Kashmir Valley there was also an Aceramic Neolithic Period before pottery was introduced, It is in this period that the process of domestication of selected species of animals was attempted. People also recognized the food value of various grains as wheat and barley and had started collecting them. Bone and stone tools were manufactured. People lived in the open and in huts with floors sunk into the loessic deposits in order to protect the dwellers from gusty freezing winds. They kept the floors tidy and beautiful by painting them with red-ochre. Their main occupation was hunting.” In his findings Sharma hinted that the site can reveal number of surprises if the excavation is resumed. “One season's limited dig at Gufkral has filled some of the gaps in the cultural sequence of Kashmir and has definitely pushed back the antiquity of the Neolithic Culture in the Valley… From the size of the mound it appeared that Gufkral might reveal a fairly vast settlement.” There used to be number of caves on the slopes of the 35 m high mound, when Sharma started the excavation. The caves were both single and multi-chambered with pillars. A few caves, which are in good condition are used by potters for storage purposes. “My grandfather Haji Ghulam Mohammed Kumar used to live in these caves and even my father was born in one of these caves” said Nisar. “They have lived in this cave for almost forty years. Later they shifted to the adjacent house.” Regarding the government interest in the caves, Nisar says that few years back some officers had visited the village and inspected some of the caves and after that they have heard nothing from them. “Maybe it is something valuable for them but for us they mean nothing. We use a couple of caves for storing charcoal or pottery and rest is not used that is why they became magnet for wild animals and we had to seal it,” said Nisar. “My grandfather died few years back and since then the interest in caves have gone down.” Nisar remembers that his grandfathers used to speak about the caves and how for decades they have sustained them. “Even now in winters I usually shift to one cave that is well preserved. I live their as it is warm during winters and cold during summers,” said Nisar. Behind the few houses that have popped up more or less in the last decade, lies the narrow path to the top of the Karewa. On the eastern side, almost on its edge, lay number of megaliths. The 6ft by 21 ft stone slabs are locally known as Shahmar Pals (snake stones). “Gufkral is one of the few places where megaliths is found. This site is almost of the same era as of the Burzahom,” said Dr Ajmal Shah an archeologist. “Although no concrete theory determines the use of these megaliths, but at many places we have found that megaliths were erected at the place where somebody was buried. So it is a kind of ancient tombstone for important people. At Burzahom we found a skeleton beneath the megalith. In Gufkral unfortunately no megalith is in erect position and all have fallen down.” The megaliths of Gufkral are termed as the oldest not only in Kashmir but in entire North India. “Here megalithic phase started from around 1700 BC and continued till 700 BC. So it is not only earliest also continued till late. In other places megalithic phase ended in 1200 BC,” said Ajmal. “The most important aspect of Gufkral is that it is here that iron was introduced in Kashmir. We have earliest evidence of use of iron from Gufkral.” Regarding the families, Ajmal says that it is a unique place where people have continuity of their craft for centuries. “It is such a unique place where we find continuity of culture despite so many changes around,” said Ajmal. Sharma too in his report has written that few megalith have rolled down upto the river where potters wash clothes on them. The army camp that came up on the archeologically rich karewa somewhere in 2000s has also not helped in the preservation of this historic site. Now that part of the Karewa and even adjacent area is out of bounds for anybody. The army personnel had cemented one of the megaliths that has vaguely human features and put a green cover on it. “They call it Pir Baba and regard it in high esteem,” said a local. The camp is adjacent to these megaliths adjacent to which is also a helicopter pad. Secondly a school, water storage tank and a Tourism hut have been built on the Karewa without any NOC from archeology department of ASI. Nobody knows what do they get when they dig for the foundations. Nisar says that they usually found old pottery material and other items which they usually discard. Over the years the rise in the number of houses around the site has put enormous pressure on the caves. The satellite picture of 2000s shown only a few houses in the village and almost none of them near the caves. But today some of the houses are almost built on the caves. A team of INTACH recently visited the site and termed it as the most endangered neolithic site in entire India. “There is rampant encroachment, vandalisation and increased pressure from habitation. A family has encroached the caves and sealed them. There is no outside archeological evidence left and there is no public access to them,” said Salim Beg state convener of INTACH. “I have seen huge encroachments at various such sites in India, but never have I seen such massive encroachment, and 100 percent abandonment by ASI and state government. Prior to the visit INTACH tried to get reference of the site from ASI and Department of Archives, Archeological and Museums but could not get anything as all conveniently have abandoned it. “ASI has explored this site but they have not notified it. The local department conveniently washes its hand of the site terming it property of ASI. In reality State has its own act and it can explore it. Even a local Tehsildar can protect it under the act,” said Beigh. “This is the prehistoric site where excavation has been done and there is proof of its importance and yet it stands abandoned. Given its present situation it is the most endangered identified prehistoric site in India.”

- https://www.greaterkashmir.com/news/op-ed/gufkral-the-endangered-legacy-of-cavemen-metallurgists-and-shahmar-pals/292354.html, Aug 3, 2018

The Indian National Trust for Arts and Cultural Heritage (INTACH) conducted a quiz competition on Quit India Movement and glorious Indian heritage. The competition is for school children, as part of the INTACH‘s initiative to promote awareness about our rich culture and sacrifices that our ancestors have made for independence. The function was held at Kendriya Vidhayalya 1, Jalandhar cantt. Maj Gen Balwinder Singh, VSM (Retd), Convener INTACH Doaba Region organised the event. While speaking at the occasion, he said the youth of today should participate actively to preserve our rich culture, thus imbibing rich values and making our country the best in the world. While talking to participants and invitees, he reiterated the need for our young generation to contribute selflessly to ensure making a better India. Around 75 teams from 15 schools participated in the event. Tarpan Soni and Vatsal Khanna of Police DAV School bagged the first prize. Chandan and gaurav of Kendriya Vidyalaya Sarai Khas bagged second position. Mandeep Singh and Mohit of the Army Public School bagged third position and Saniya Arora and Abhinav Singh Khera of the Police DAV School bagged fourth position.

- https://www.tribuneindia.com/news/jalandhar/intach-organises-quiz-contest-on-quit-india-movement/633535.html, Aug 6, 2018

Recruitment for setting up of the Vijayawada branch of the Indian National Trust for Art and Cultural Heritage (INTACH) has commenced. The students of History and Archeology are eligible to apply for the jobs. “We are going to recruit 50 students to begin with and eventually we will hire 100 personnel from across 13 districts. We want the students to be from varied backgrounds and places so that they will have knowledge about each place in each district. Whether it is the role of a tour guide or that of a surveyor of heritage sites, one needs to know the place intimately so that one can work effectively,” said M Gopal Krishna, INTACH AP convenor. INTACH had announced in a recent press meet that it would put in place a branch in Vijayawada, AP, to take up works of excavation and to preserve the heritage sites in the State. “We have personnel already working in seven of the 13 districts. We need to recruit for the rest, as the Vijayawada branch is going to come up soon,” said Gopal Krishna. INTACH is also roping in JIGNASA, a students’ organisation, for promotional events. “We are going to have a multi-cultural fest in Amaravati to promote the preservation of multi-cultural heritage sites in the State. Our organisation has many clubs and hundreds of students are part of those. They will participate in the fest,” said B Chirag, head of JIGNASA.

- http://www.newindianexpress.com/cities/vijayawada/2018/aug/05/intach-to-recruit-hundred-for-upcoming-city-branch-1853402.html, Aug 6, 2018

If things go as planned, demolition of heritage structures, like scenes witnessed at Shaukat Mahal and Zeenat Manzil, could soon be a thing of the past, as the state government is mulling to give transferable development rights (TDR) to private owners of such heritage properties, according to sources. According to Indian National Trust for Art and Culture Heritage (INTACH) listing of heritage in Bhopal, there are 374 structures of importance which are under immediate threat and need conservation. The issue of TDR would be for private property owners who undertake restoration of their heritage. In turn, the private owners would be issued TDR, a certificate given floor space index (FSI) as compensation or benefit. Now with the TDR, the owner can encash the certificate that will allow him or a third party to construct additional built-up area anywhere in the city. “Bhopal has hundreds of heritage structures that need conservation. Most of these properties are in the walled city. The owners do not have the money to undertake restoration. TDR allows for heritage conservation and at the same time incentivise the heritage owner,” said urban development consultant MK Patel. He cited similar interventions by government that led to Ahmedabad becoming India’s first world heritage city. TDR policy will reduce the burden on the civic body, besides reducing the cost of project. It includes interventions like road widening and acquiring of land. Private builders could also be roped in for development of proper housing along 700 plus slums in the state capital. Similar draft initiative has also been proposed for Indore, said sources. The land losers can avail of the TDR in cases of road widening. “For slum dwellers, the concept is to form corporative society in the name of beneficiaries. The developer will have to pay a fixed monthly rent amount to the displaced until the development is complete. It pushes the developer to complete the project in time and take care of the displaced families. Once the project is complete, the TDR is issued to the developer which can be applied in other projects to get additional FSI or built-up area,” Patel explained. Over the last few years, Bhopal Municipal Corporation (BMC) and the district administration have delayed cash compensation to owners who have lost their assets for development work. It includes displaced housing for hundreds along the BRTS and more recently for smart road development. “Heritage conservation is vital. If government does not take measures to protect our history, much would be lost in the next decade,” said conservationist Pooja Saxena. Many conservationists have also advocated that BMC should adopt INTACH listing as is and declare the structures as heritage. It would make it impossible to demolish such structures in future. BMC heritage cell has not been convened for over three years.

- https://timesofindia.indiatimes.com/city/bhopal/mp-finally-a-step-forward-to-save-heritage/articleshow/65286813.cms, Aug 6, 2018

On a sultry May afternoon, a group of students makes its way silently through Pune’s Raja Dinkar Kelkar Museum, occasionally taking notes. There are ornaments, war weapons, sculptures and art — spread over eight galleries — that founder and collector Kelkar acquired during his travels. But it is the extraordinary collection of musical instruments that has these visitors enthralled. Intach Pune chapter’s coordinator, Supriya Goturkar-Mahabaleshwarkar, is leading the students, giving them a sense of the range of instruments on show. Tat or string instruments like the the tanpura or sitar; ghan or percussion instruments such as cymbals or ghungru; sushir, wind instruments such as flutes or shehenai, andavanaddha or membrane-based percussion like the tabla or drums. The first one to catch my eye is a peculiar 28-stringed taus, shaped like a peacock, and played with a bow. Taus, which means peacock in Persian, can be traced back to Punjab, some 250 years ago, where it accompanied devotional music or kirtans. A little ahead is another string instrument, this one shaped like a crocodile. I learn that the magara yazh, once popularly played in Tamil Nadu, figures in Tamil poet Thiruvalluvar’s Thirukkural: ‘Judge a person by his deeds: the straight arrow is destructive and yazh, the bent musical bow, is sweet,’ he writes. In fact, the instrument’s significance resonates as far as Sri Lanka, where legend has it a king, delighted by the way a blind man called Panan played the yazh, gifted him a piece of land. In fact, Jaffna is also called Yazhpanam after the man and his music.

Take a bow

Starting 1920, Kelkar began collecting pieces of artefacts and instruments from the remotest villages. By 1960, his collection had over 15,000 pieces: terracotta pots, lamps, even nut crackers. The mayur veena, a wooden veena in the form of a peacock and embellished with silver, launched Kelkar’s journey as a collector, says Sudhanva Ranade, museum director. Of the 500 instruments originally kept here, only 200 remain because of the lack of space. But these are fascinating enough — a veena made of ostrich egg, another shaped like a tortoise, a panchamukha vadyam, a metal drum with the five faces of Shiva once used in the temples of South India, and more. Taking pride of place is a sarinda, a string instrument made of wood and shaped somewhat like a guitar. It once belonged to the noted Marathi writer and Hindustani classical musician, the late Pu.La. Deshpande, who played this instrument in the song ‘Itech Taka Tambu’ in the 1953 Marathi classic Gulacha Ganpati. Deshpande, who knew of Kelkar’s passion, gifted him the sarinda. I notice that the wooden handle, which holds around 30 strings, is ornate with floral patterns. The sarinda is said to have originated from a fiddle called dhodro banam used by the Santal tribal community in central, north-western and eastern India. The gallery tells the stories of instruments, and the musicians too. It showcases instruments used by 22 famous artists: Pandit Bal Gandharva’s tambori, Ustad Kadarbaksha Khan’s sarangi, a tabla that belonged to Ustad Alla Rakha, and a pakhawaj owned by Pandit Ramshankar Das.

Famous notes

Acquiring these is not always easy — they are precious family heirlooms. “It was difficult for Kelkar to convince people and assure them that the musical instruments would be safe in his museum. There are a lot of emotions attached to them,” says Ranade. The Kirana gharana is represented by three tanpuras that belong to Gangubai Hangal, Sureshbabu Mane and Sawai Gandharva. The museum is now trying to acquire one from Bhimsen Joshi to complete the collection. Many instruments needed much attention, explains Ranade. “Some came with a broken string or needed polishing.” As the museum works on restoring the instruments, Ranade says much still remains to be done. “The entry fee is ?50 and we receive a footfall of three lakh visitors a year, which isn’t enough to do more. Touch screens, interactive displays and books on each instrument would help visitors learn more.” Ranade hopes for government funding, but getting money for museums is a daunting task. As Ranade says, “The museum sector is not yet on any priority list.” Intach Pune has helped significantly, teaming up with the museum not only for these heritage sessions, but also with plans for a catalogue and an interpretation booklet for visitors. “We also want to record and document the sounds of some of these rare instruments,” says Mahabaleshwarkar.

- https://www.thehindu.com/society/a-veena-shaped-like-a-tortoise-vies-with-one-shaped-like-a-peacock-in-this-pune-museum/article24592527.ece, Aug 6, 2018

Seventy-year-old Vishnu Bhargava moved to DLF Phase 2 from New Delhi on March 25, 1993 with his wife, two daughters and a son. He remembers the precise date because for him, moving to Gurugram was nothing short of a dream. “I was moving to my own house here from a rented place in Greater Kailash 1, and Gurugram (Gurgaon at the time) was a quaint suburb and surprisingly, very safe,” Bhargava recalled. One of his fondest memories from 25 years old is looking out at MG Road from the balcony of his house to see if any car was approaching. “You could see the MG Road Junction from my house at that time. There were no buildings at all,” he says. According to heritage conservators and restorers, more than a decade ago, the MG Road stretch was home to 18th century monuments called ‘pyau’. The Dhauli Pyau was where the Dhronacharya Metro station is located today. It was restored and maintained by the Haryana chapter of the Indian National Trust for Art & Cultural Heritage (INTACH) since 1998, and was razed during a land acquisition drive for the Metro by the Haryana Urban Development Authority in February 2007. Another such monument, the Nimbuwali Pyau, was where the mall mile exists today. Navin Piplani, conservation architect, said, “The pyau used to fall on the ‘shahi raasta’ from Mehrauli to Jaipur. Travellers on the route would halt for breaks near these pyaus. I have spent many a Sundays around these monuments too. I remember there was a small tea shop near one of them.” History buff Sohail Hashmi too remembered how he used to visit mango orchards in Chattarpur on MG Road every summer as a child. “I largely remember MG road as a nondescript one. However, on further proceeding on the road towards Gurugram, one would see an area which used to be known as Dhauli Pyau,” said Hashmi. Today, the Mehrauli-Gurugram Road, popularly known as MG Road, has been branded as a notorious road in the gentrification capital of India. A 2.5 kilometre stretch of the road is dotted with malls, pubs and eateries, so much so that the road has been branded as the ‘Mall Mile’. In July, Gurugram police raided four pubs and arrested 17 bar owners on charges of immoral activities. Residents of MG Road have been taking to the streets to protest against the rising crime graph in the area. Residents said that the early 2000s was when MG Road started turning to what it is today. Before that, it was a single road lined with trees on both the sides. “The malls came up here by 2004. We were initially elated because we didn’t have to travel two kilometres just to buy bread anymore,” said Bhargava. However, he added, due to the emergence of retail economy and corporate offices, people started getting richer and economic divisions in the society led to an increase in thefts. “This created big gangs whose members would frequent the bars on MG Road,” he said. Mukta Naik, urban planner and senior researcher with the Centre for Policy Research, moved to Gurugram in 2004 –around the time when malls were sprouting across MG Road. She said that malls used to be a novelty back then and that people from New Delhi would visit Gurugram’s malls. “They were a new attraction for families who could eat and shop under the same roof. There wasn’t much of a pub culture back then. All the illegal activities that one keeps hearing about didn’t start happening overnight. The authorities should have been vigilant about these things. They grew slowly. Initially, Sahara mall used to be notorious for these happenings. Gradually, one started hearing about other malls,” she said. ‘The malls are here. But where are the people?’, were some of the concerns newspapers and residents of Gurugram were echoing around 2002. Scientist Sanjeev Kumar Saxena who was born in Gurugram said that even though the malls had arrived, poor connectivity to New Delhi was still an issue. “But soon after, these malls, accompanied by the pubs, became a hangout for families. People were really happy back then,” Saxena said. He stressed that there has to be some attempt to bring back the lost glory of the road, and recommended turning a part of the road into a designated walking track. However, Naik said that while it was important to curb illegal activities, this did not have to come at the cost of the city’s nightlife. “Gurugram has a lot of money and multinationals. Global cities across the world do have nightlife and that nightlife does lead to a situation where unknown people may go to a pub and end up walking out of it together. Maybe we are trying to impose a morality code of a very conventional kind. That’s something we need to question,” said Naik. ACP (retd.) Ramesh Pal recalled that the situation got worse around 2005 when people from New Delhi started frequenting the malls on MG Road as they were serving liquor till late night. “Some of these bar owners had political connections. So due to political pressure, the police could not do much despite trying to curb their activities,” Pal said. Sociologists say that it is natural that not everyone is satisfied with the rapid pace of the development in their neighbourhood. Shantanu Roy, a 35-year-old sociology teacher at a private school in Gurugram, believes that residents are emotionally attached to their neighbourhoods. “Having a bar or a pub in your locality can represent the ultimate inconvenience. The one thing people don’t want next door is a bar. That way, certain spaces can be divisive or inclusive. The difference between certain groups of people in an area can lead to self segregation in the use of particular spaces.” The bar owners of MG Road have already started searching for spaces in other areas of the city such as Golf Course Road and Sohna Road to set up shop, according to sources familiar with the matter. Roy said there isn’t much time before other residential spaces too start having inconveniences with the rapid urbanisation.

- https://www.hindustantimes.com/gurugram/gurugram-s-mg-road-from-a-monument-hub-to-notorious-mall-mile/story-w0u9ro2vWhglOzMpVyfgkO.html, Aug 6, 2018

About 140 years after a British archaeologist discovered a 2,000-year-old sarcophagus at Pallavaram, the six-feet long artefact has been found smashed at Government Museum in Egmore. The ancient earthen tomb with 10 legs was one of the first major discoveries made by British archaeologist Alexander Rea in 1888, which revealed the existence of a megalithic culture in Pallavaram on the outskirts of Chennai. The country's second oldest museum has no record of the sarcophagus, though the transportation of the antique piece from hillocks of Pallavaram to the Government Museum was documented by Alexander Rea. Museum sources told TOI that the sarcophagus was broken more than ten years ago. A museum curator said, “Once during a visit to the museum strong room, I found shreds of terracotta which appeared to be broken legs of a sarcophagus. After some inquiries I found the piece broke when someone tried to lift it.”In the absence of any record of the sarcophagus, the museum made no attempt to repair the broken piece or to ascertain the object. “We do not have a sarcophagus of this size in our inventory of prehistory artefacts,” said the curator. The Journal of the Asiatic Society of Bengal narrates how the first superintendent of the southern circle of ASI, Alexander Rea, moved the sarcophagus from Pallavaram to the Egmore museum by rail and cart in 1888, when modern transportation was a rarity in the country. “We have no record of the sarcophagus from Pallavaram,” said the curator. The museum, however, has a sarcophagus that, as records show, was discovered by Alexander Rea at Perumbarai of Kancheepuram district. Mystery shrouds past in sealed strongrooms of govt museum That the government museum in Egmore has a jaw-dropping array of about 11,000 ancient and priceless artefacts on display is a given. But what is not known is that the building sits over nearly 1 lakh items of civilizational and cultural importance, and that all of them are kept in strongrooms, a senior museum official not willing to be named said. The museum administration has kept every small and big ageless curio relating to Tamil civilisation – ranging from stone tools used during prehistoric period to iconic bronze idols of the Cholas – in these sealed rooms. While the collection is an archaeologist’s dream, the way they are kept away from neutral scrutiny must be a conservationist’s nightmare. Recently, museum managers had smashed a more than 2,300-year-old sarcophagus inside one of the strongrooms. The incident came to light only after TOI shot probing queries to authorities. When TOI visited the museum two weeks ago, several stone idols and wood carvings — some from the Pallava period — were found kept in a small shed behind the museum galleries, shrouded in a thick blanket of dust. Besides this, more than 200 antique pieces of different sizes were seen bundled over each other in a dingy room. Drawing inferences from all these facts it cannot be said with certainty that the artefacts in the strongrooms are well-preserved. Museum authorities, however, said every effort was being made to conserve the artefacts in three strongrooms. The claim does not cut ice with heritage enthusiasts. S Vijaykumar, co-founder of Singapore-based India Pride Project, an organisation working towards retrieval of stolen idols from India, said as per media reports, there were at least seven theft attempts at the museum in the last 20 years. “Despite these break-ins, museum authorities said nothing was lost except for a replica of a Roman coin from the numismatic section. (The robbers exited via the bronze gallery). A recent theft was related to meteorite stones kept on display. A thorough audit of the acquisition register and physical tallying have to be done,” he said. Just two armed policemen guard the museum’s bronze gallery. Sources said the museum is under the surveillance of 122 CCTV cameras, adding it has a minimal presence of private security guards after the visiting hours. Though museum curators claim an annual audit is conducted to ensure artefacts are intact, former archaeology officer and secretary of Madurai-based Pandya Nadu Centre for Historical Research C Santhalingam wondered why the audit report has never been made public. “It is a government museum and the list of entire collection at the strongrooms should be in the public domain,” he said. When contacted, Pinky Jowel, the director (in-charge) of the museum, said an app was being developed to promote the facility globally. “It will have security features to count the number of times a person visits the gallery. This would give a clue on the purpose of their visit,” she added.

- https://timesofindia.indiatimes.com/city/chennai/mystery-shrouds-past-in-sealed-strongrooms-of-govt-museum/articleshow/65284685.cms, Aug 6, 2018

A five-foot-tall idol of Lord Brahma was found while digging pits for planting saplings at a coconut grove near Thiruvaiyaru in Thanjavur district on Monday. The idol was unearthed at Veerasingampettai in 33-year-old Rajarajan’s land. He had engaged a contractor to dig pits. The operator of the earth mover felt something was stuck and when they dug further they found the idol. They brought it out and examined it and realised that it was a Brahma idol with four faces. Rajarajan informed village administrative officer (VAO) Rajeshkanna, who in turn alerted Thiruvaiyaru tahsildar Latha. A team of revenue officials and personnel from Nadukavery police station arrived at the spot and conducted inquiries. The idol was handed over to revenue authorities, who in turn alerted the archaeology department to determine its age.

- https://timesofindia.indiatimes.com/city/trichy/five-foot-stone-idol-unearthed-near-thanjavur/articleshow/65298975.cms, Aug 6, 2018

A unique Neolithic site has been found at Nagaruru in Kurnool district, which has the potential to open newer areas of research on ancient man’s settled life. After the Palaeolithic and Mesolithic periods, marked respectively by hunting and gathering food, the Neolithic man led a settled life by producing food. Yadava Raghu, an archaeologist and an academic consultant in the Department of History and Archaeology at Yogi Vemana University, Kadapa, found traces of Neolithic culture at Nagaruru village in Aspari mandal, located 11 km south of Adoni (Yadava Avani), one of the historical towns in Kurnool district. As the earliest discovery of Neolithic tools in South India was made by Meadows Taylor in 1842 in Lingasugur in Raichur district of Karnataka, the adjoining Kurnool district of Andhra Pradesh is also believed to be one of the richest prehistoric zones, deserving enough attention on early man’s activities. The Neolithic man used polished stone axes, which are the salient features of the age. Neolithic people settled on tops of granitoid hills or on levelled terraces on hillsides or in the valleys. The Nagaruru site also reveals the nature of Neolithic occupations, as it is located at the granite foothills of Thimmappa Mettalu on the banks of the brook ‘Eedulavanka.’ The researcher, along with B. Bhogeswarudu, a school assistant (social teacher) at the Nagaruru ZP High School, visited this unknown site and collected various stone tools, claimed to date back to 2900 BC – 1000 BC. The tools include polished triangular axes of sizes measuring 8.2 cm to 15.8 cm in length, axe celts, adzes, chisels, rubbing/mill stones, grinding trough, terracota beads and stoneware marbles. “These stone tools were made of dolerite intrusions and granite stone. The pottery shreds also collected here is predominantly handmade red, black, buff brown ware, red slipped ware and black slipped ware. Bones and animal teeth were also collected,” Dr. Raghu told The Hindu , remarking that this site surpassed similar sites in terms of the huge number of tools stumbled upon here.

Telugu inscription

Iron stones and slag in the site, which show cultural continuity from Neolithic to Megalithic culture/iron age culture (B.C. 1000 – B.C. 300), were also observed. “One Telugu inscription belonged to the early medieval period also found in the nearby Someswara Swamy temple is yet to be studied,” he said. This way, this site is believed to be a good example of cultural continuity from prehistoric period to protohistoric and historical periods.

- https://www.thehindu.com/todays-paper/tp-national/tp-andhrapradesh/neolithic-site-discovered-in-kurnool-district/article24610716.ece, Aug 6, 2018

A five-foot-tall idol of Lord Brahma was found while digging pits in a coconut grove near Thiruvaiyaru in Thanjavur district of Tamil Nadu on Monday. The idol was unearthed while Rajarajan, 33, of Veerasingampettai engaged an excavator to dig pits in his coconut grove to plant coconut saplings. The operator of the excavator felt that something had stuck the bucket of the excavator while digging a pit. Rajarajan asked the driver to dig further. When the pit was widened, they found the idol. They brought the idol out of the pit and examined it. They realised that it was a Lord Brahma idol with four faces. What Kaba stone is considered to be ?The way you all go there to offer prayers is similar to offering prayers to the idols.Yogibkk Rajarajan informed village administrative officer (VAO) Rajeshkanna, who in turn alerted Thiruvaiyaru tahsildar S Latha. A team of revenue officials and personnel from Nadukavery police station rushed to the spot and conducted inquiries. The idol was handed over to the revenue authorities, who in turn alerted the archaeology department to determine its age.

- https://timesofindia.indiatimes.com/city/chennai/lord-brahma-idol-unearthed-from-coconut-grove-in-tn/articleshow/65294326.cms, Aug 6, 2018

Jayalakshmi Vilas Palace, which houses one of the oldest folklore museums in the country, will soon get a facelift. The University of Mysore (UoM) has decided to restore the 113-year-old heritage structure. The Palace, which was constructed in 1905 during the reign of Nalwadi Krishnaraja Wadiyar for princess Jayalakshmi Ammani, is in a dilapidated state and is badly in need of restoration. The Palace, which is located on the Manasagangothri campus of the university, was handed over to the varsity during the tenure of poet Kuvempu as vice-chancellor in 1959 to establish a postgraduate centre. The Palace, which is spread over six acres, has three wings and one of them was restored in 2002 by Infosys Foundation at a cost of Rs 1.17 crore. The Palace is constructed using lime mortar, wood and iron. According to sources, the building has been leaking during rainy season in the last five years and the seepage was heavy this time as the city received more than normal rainfall. Restoration work is the need of the hour to preserve the monument. “The Indian National Trust for Art and Cultural Heritage (INTACH) has prepared a detailed project report and the tender process is underway. As the Assembly election model code of conduct was in place, the tender process was delayed. The works should be taken up by professionals as the palace is a heritage structure,” he said. The work on the walls, roof and floor will be taken up. The original style and design of the structure will be retained . No artefact or precious item will be damaged in any way, he said.

- https://www.deccanherald.com/state/113-year-old-jayalakshmi-vilas-685995.html, Aug 7, 2018

A 16th-century sculpture of a couple carved in high relief on local limestone was noticed at Kolluru, a submerged village in Pulichintala Reservoir of Bellamkonda Mandal in Guntur district, according to Dr E Sivanagi Reddy, CEO, the Cultural Centre of Vijayawada and Amaravati (CCVA) on Monday. He said that basing on the information given by locals, he rushed to Kolluru village, as part of ‘Preserve Heritage for Posterity’, a scheme launched by the CCVA. Dr Reddy said that it was found in a locality called Panthulugari Polamu, about 3 kms away from the village. The sculpture depicted with a couple, probably a local ruler and his wife wearing the dress and ornaments and represents the Vijayanagara style of art datable to 16th century AD, said Sivanagi Reddy. He requested the government to shift the sculpture to the rehabilitated village or Guntur Museum based on its historical significance.

- http://www.thehansindia.com/posts/index/Andhra-Pradesh/2018-08-06/Sculpture-of-16th-century-found-at-Kolluru-in-Guntur-district/403780, Aug 7, 2018

The Indian National Trust for Art and Cultural Heritage (INTACH) has called for transforming heritage buildings in Rajasthan into “economic assets” for the society. Economic benefits could be derived from these properties as an alternative to paying for their upkeep on a regular basis. INTACH chairman Maj. Gen. (Retd.) L.K. Gupta said here that the demolition of heritage buildings would contribute to global warming. He said an exercise had been launched for mapping of natural heritage in Thar Desert with the participation of local communities for modern planning.

Heritage protection

Addressing a State-level meeting of INTACH here, Maj. Gen. Gupta said the trust was working for protection of natural heritage, geo-heritage, water bodies, stepwells, sacred groves, wall paintings and rock paintings. “The mapping of natural heritage in the Thar desert area will build up the capacity of local communities. Since they have a better knowledge of their resources, their techniques should be documented and implemented for modern planning,” Maj. Gen. Gupta said.

- https://www.thehindu.com/todays-paper/tp-national/tp-otherstates/intach-bats-for-heritage-buildings/article24628322.ece, Aug 8, 2018

Restoring a heritage structure is a challenging task, one that requires the restorer to safeguard the original architectural style and the integrity of the building. Most people, however, are unaware of the work that goes into conservation architecture. It is with this in mind that the Bengaluru chapter of Indian National Trust for Art and Cultural Heritage (INTACH) is organising an open house on Saturday to create awareness about heritage conservation and restoration. The venue is Chamarajpet where around 15 craftsmen will be refurbishing the century-old Fort High School. Participants will not only get a chance to interact with the craftsmen, but also get hands-on experience of working with lime and mortar, which is being used to restore a portion of the building. This event is significant in the the light of recent instances of cement being used to replace the lime and mortar on heritage structures that are undergoing a makeover. The restoration in the UVCE campus and two fern houses within Cubbon Park drew flak for the way the work was being restored. “The use of cement on a lime and mortar building is detrimental to a heritage structure. We wanted to create awareness about heritage and conservation. The best way to do it is to bring people to a restoration site and let them have a hands-on experience,” said Pankaj Modi, conservation architect and co-ordinator for Fort High School restoration work. Experts will talk to participants about the architecture of the heritage school and show how INATCH studied and documented the building. “People will be allowed to try lime plastering and work with traditional tools,” Mr. Modi said. The event is open to all. Work on a portion of building. The restoration of Fort High School, which began in April this year, is being undertaken by INTACH at a cost of ?2.5 crore. “Right now, work on one portion of the building is currently under way. Craftsmen are undertaking plastering and reconstruction of the ornamental features of the building. Work on the roof will be taken up after the monsoon,” said Mr. Modi. The Colonial-style structure was built during the time of Krishnaraja Wadiyar IV, the erstwhile Maharaja of Mysuru. It has a central courtyard with rooms opening out on all sides. The ornamental features and detailing, such as cornices, wooden fascia, arched doors and windows, are in typical Colonial style.

- https://www.thehindu.com/news/cities/bangalore/head-to-fort-high-school-to-learn-about-heritage-restoration/article24626154.ece, Aug 8, 2018

On National Handloom Day, Sahapedia looks at some of the dedicated weaving communities of India, whose lives and livelihoods intertwined in the very patterns that they create. The fact that India has a rich handloom tradition is not unknown. From Kani in Kashmir to Kasavu in Kerala, from Gujarati Patola to Manipuri Phanek — India is home to many handloom traditions. These colourful, handwoven fabrics are not only an integral part of our heritage, but have extensively contributed to the lives of the people engaged in the creation of them. These are communities that, historically, have been dedicated to the handloom industry, with their lives and livelihoods intertwined in the very patterns that they create. On National Handloom Day, we look at some of India’s prominent weaver communities.

JULAHA

This community derives its name from the Persian ‘julah’, which means a ball of thread. Many Julahas themselves associate the words ‘jaal’ (net) and ‘jils’ (decorated) to the name of their community. These artisans are known to incorporate of bold colours in their weaves. Mostly found in Punjab, Haryana and Delhi, Julahas are spread across other regions as well, such as Rajasthan, Uttar Pradesh, Uttarakhand, Himachal Pradesh, Jharkhand, Bihar, Jammu and Kashmir, and Maharashtra. In fact, the term Julaha is often used as an umbrella term for weavers as well. Most of them are Hindus, while there are also Muslim Julaha communities like called Ansari or Nurbaf. Punjab and Chandigarh is populated by members of this community who follow Sikhism (also called Ramdasis), and many are animists, who worship their ancestors. Regardless of the different religious associations, most Julahas are followers of Kabir, and a few have even gone on to embrace the teachings of the Buddha.

ANSARI

The Ansaris trace their history back to the hijri, when the Prophet Mohammed migrated from Mecca to Medina. The literal meaning of Ansar is ‘supporters’, and as the name suggests, Ansaris were those who helped and supported the Prophet in his travels. A huge Urdu-speaking community, the Ansaris (also known as Momin in Maharashtra) are found throughout South Asia, especially in North and West India (with Varanasi as their centre), Sindh in Pakistan and Terai in Nepal. Besides Urdu, these craftsmen also speak the local dialects, or a mixture of the two — for instance, the Ansaris in Rajasthan speak a curious mix of Urdu and Hindi called Madri. Primarily an urban community today, most Ansaris are politically active in Bihar, enjoying great social and financial mobility. On the other hand, many are working as unskilled labour manufacturing bidis for a living. In Rajasthan, Gujarat and Maharashtra, they are still engaged handicraft — weaving gold and silver zaris; they also excel in weaving the famous Banarasi brocade, and have been given Geographical Indicator (GI) rights to safeguard their interests.

SALVI

Deriving its name from ‘sal’, meaning ‘loom’, the Salvi community is also called the Patiwala or the Patua community. Primarily found in Rajasthan and Gujarat, the Salvis are most recognized as creators of the famous Patan Patola weave from Gujarat. This complex textile combines the processes of tie-and-dye with weaving to make Ikat. They are particularly well-known for making an indigenous variant of the complicated double Ikat, in which the warp and weft are tied, then resist-dyed carefully before being put on to the loom. Like the brocade sari weavers, the Salvis too have been given GI rights for the Patan Patola. This endeavour has not only made it easier for the original (made with 8-ply silk in Patan) to be distinguished from its copies, but has also encouraged the community to strive to retain their heritage.

PANIKA

Also known as Panka and Panikar, the Panika are a Hindu community of weavers who are found in Chhattisgarh, Jharkhand, Madhya Pradesh, Odisha and Uttar Pradesh. A socially and economically backward community, they are known to be Kabirpanthis and even Sakta (Shakti) worshippers. Their sole means of sustenance is the handwoven cloth called Pata, which is a thick handspun cotton. However, over the decades they have also developed a unique weave that is a combination of cotton and silk. They only use natural dyes, usually made from the roots of the ‘aal’ tree (Indian mulberry) in shades that range from deep reds to dark browns. The designs are influenced by the tribal customs of the Odisha-Chhattisgarh region.

DEVANGA

Primarily from India’s southern regions of Tamil Nadu, Karnataka and Andhra Pradesh, the Devanga community is known for its super-fine quality of cotton textiles. Members of this caste claim to have descended from the Hindu sage, Devala. According to mythology, Devala Maharishi was supposedly the first one to weave a cotton cloth and present it to Lord Shiva. A part of the community, which lives in Chhattisgarh, is also said to have originally woven various textile products from Kosa silk, which is now mostly made in Champa. Traditionally, men are engaged in weaving the loom, women in dying the yarn and spinning the thread. Their weaves are mainly used by the lower caste communities and tribals of the region.

PADMASHALI

Also spelt as Padmasali, people of this community are identified by different names in various regions of India. The name Padmashali comes from two words — ‘padma’ that means ‘lotus’ and ‘shali’, which means both ‘weaver’ and ‘spider’. This Telugu-speaking, Hindu community is largely found in Andhra Pradesh. It is a sub-caste of the Devanga community, which split after religious differences. The Devanga community are followers of Shiva while Padmashalis follow Vishnu. This community claims to have descended from Markandeya rishi. According to mythology, Markandeya supposedly wove the first fabric from the fibres of the lotus flower to clothe the gods. Currently, members of the Padmashali community and its various sub-categories weave cloths using materials ranging from cotton to silk.

KOSHTA

Koshta, or Koshti, is a Marathi and Telugu community of Hindu Kabirpanthis and Lingayats. Artisans of this community are spread over north and Deccan India, in the states of Uttar Pradesh, Bihar, Madhya Pradesh, Chhattisgarh, Maharashtra and Andhra Pradesh. They speak their distinct Koshti language, with words borrowed from Sanskrit, Marathi, Khari Boli, Bundeli, Chhattisgarhi and variants of Hindi. A sub-category of the Padmashali and Devang communities, the Koshtas also believe they are descendants of Markandeya rishi. One lore associated wiith them is that when the deities were pleased with Merkandeya rishi for the cloth he produced, the sage was given the hand of Surya’s daughter in marriage as a reward, with a giant and a tiger as dowry. But the giant was unruly, and Markandeya killed him. It was with the bones of the giant that the saint fashioned the first loom. The Koshtas have been long known for their silk-bordered cloth — a white cloth with red silk border.

KASHMIR KANI WEAVERS

The word ‘Kani’ means ‘wooden bobbins’ or ‘small sticks’, and corresponds with the intricate and arithmetic-based weave from Kashmir. Kani weaving requires immense skill and patience as the famous Kashmiri shawls are woven into intricate patterns, with coloured threads woven on a meticulous, coded motifs drawn by the master craftsman. To achieve this, weavers need to be really good in math as Kani weaving follows an arithmetical graph. Traditionally, women were not associated with this craft. However, today, many looms, which have today become mechanised, employ both young boys and girls. Since Kani shawls are highly coveted, they have been given a GI status to safeguard not just the weave but also the community. While these are some of the main handloom communities of India, this list is by no means exhaustive. Owing to technological advances and increase literacy, many weavers are either shifting to power looms or leaving the profession entirely. However, the state and central governments have been trying to encourage more and more members of these communities to continue the handloom tradition by creating various avenues for the exposure of the textiles and recognize their skills through awards and providing them GI rights.

FOOTNOTE

Navina Lamba is associated with www.sahapedia.org, an open online resource on the arts, cultures and heritage of India. Sahapedia offers encyclopedic content on India’s vast and diverse heritage in multimedia format, authored by scholars and curated by experts - to creatively engage with culture and history to reveal connections for a wide public using digital media.

- https://www.thehindu.com/news/cities/bangalore/head-to-fort-high-school-to-learn-about-heritage-restoration/article24626154.ece, Aug 8, 2018

To Showcase the beautiful silk heritage, an exhibition titled 'Mudmee: A Shared Silk Heritage', will be organised by the Royal Thai embassy, New Delhi, in collaboration with the National Museum and Thai Khadi Research Institute, Thammasat University. The art show will feature around 50 pieces of old and new Mudmee silk from Thailand, and a few dresses and accessories made from Thai Mudmeesilk, along with a selection of Indian Ikat silk from the collection of the National Museum. It will be inaugurated by H E Chutintorn Gongsakdi, Ambassador of Thailand, and Dr B R Mani, Director General, National Museum, New Delhi on August 10 and will be on view till September 25.

There will be a special lecture and gallery walk by Dr Anucha Thirakanont, Director of Thai Khadi Research Institute and curator of the exhibition at the opening evening. Entry is free on the opening evening whereas a museum ticket is required on other days. Thailand and India have shared a long history of textiles. Various types of textiles were imported from India to Siam for the local market and royal court use since Ayutthaya period (14th – 18th Century).

including block-printed or painted cotton (chintz) from Masulipatnam, silk brocade from Banaras, and patola (double ikat silk) from Gujarat. Siamese had commissioned Indian-made textiles with Siamese royal patterns exclusively for the royal court, usually with the flame motifs, as seen in traditional Thai paintings and architecture. At the same time, textiles with simplified or mixed patterns of Indian taste were produced for the general Siamese public. These Indian-Thai patterns and motifs can still be seen in the Mudmee silk in Thailand today.

- http://www.millenniumpost.in/features/national-museum-to-showcase-rich-silk-heritage-313351, Aug 9, 2018

A museum is a haven for people who appreciate art, history, and architecture. Even if you are not one of them, still it’s one of those places in any city that brings you closer to it. Museums enable a better appreciation of various groups and cultures. The experience you get from observing something in person can be way more stimulating than just reading about it in books. Experience the city beautiful to its fullest by visiting these museums and exploring the city’s architecture and history. So, in case you are in or around Chandigarh, these are the museums you must surely check out:

1. Government Museum and Art Gallery
The government museum houses approximately 10000 artifacts and is one of the most premier galleries in the whole country. It consists of other museums and galleries within it like Art Gallery, Natural History Museum, Chandigarh Architecture Museum and National Gallery of Portraits. It came into existence during the country’s partition in 1947 and was designed by French architect Le Corbusier. You can explore various Gandhara sculptures, ancient Indian sculptures, Indian miniature paintings, Medieval Indian sculptures, metal sculptures, epigraphy. The light and sound show held here on Fridays, Saturdays, and Sundays are a complete delight.

Address: Jan Marg, Near Matka Chowk, Sector 10C, Chandigarh, 160011 Visting hours: 10 a.m- 4:40 p.m (Monday closed)

2. International Dolls Museum
The doll museum houses an impressive collection of more than 250 dolls and is a delight, especially for children. The collections showcase dolls from all around the world including Germany, Netherlands, Korea, Spain, and Russia. It’s a treasure house for children and they are sure to be left fascinated! For fun detailing, there is also a toy train here which is sure to impress the little ones. With the variety of dolls and puppets it houses from across the globe, it sure is a place worth a visit.

Address: Bal Bhawan, Udyog Path, Sector 23B, Chandigarh, 160023
Visting hours: 10 a.m- 4:30 p.m (Monday closed)

3. Chandigarh Architectural Museum
It ‘s a well-known fact that Chandigarh is the first planned city in our country. And this particular museum tells the story of Chandigarh’s planning and development over the years. Using photos, letters, models, newspaper reports and architectural drawings, this place gives one a great insight into how the city took its shape. Address: Museum and Art Gallery, Sector 10, Chandigarh, 160011 Visting hours: 9 a.m- 4:30 p.m (Monday closed)

4. Le Corbusier Center
This museum was set up by Chandigarh administration at the office of Swiss- French architect Le Corbusier. Almost 6 decades ago, this was the place from where architect Le Corbusier, designed the concept of the whole city. One will find fascinating drawings, sketches, letters, and documents of Le Corbusier and interesting insights and anecdotes on urban planning in the museum. It is a great place to acquaint oneself with the rich cultural heritage of the city and deserves a visit. Address: Old Architect Building, Sector 19B, Madhya Marg, Chandigarh Visting hours: 10 a.m- 5p.m (Monday closed)

5. High Court Museum The museum has recreated an old courtroom with stamps, sofa, typewriter, calendar to give you an essence of how courtroom looked in the older times. It houses important historical court records like Bhagat Singh trial at Lahore, the arrest of Pandit Jawaharlal Nehru, handcuffs of Nathuram Godse, a signed copy of India’s original constitution and variety of historic stamps. So if you are someone who likes to connect with history, make sure you include this place in your checklist! Address: Capitol Complex, Sector 1, Chandigarh

Visiting hours: 9:30 a.m- 5p.m
6. Natural History Museum This museum is full of interesting sections like the evolution of man, dinosaurs fossils, nature in art and many more. There are manuscripts and exhibits in this museum showcasing history since the Indus valley civilization to the present day. The Cyclorama – Evolution of Life – is first of its kind in Asia, and has 14 paintings illustrating the origin of the earth, the evolution of life from unicellular organism to multi-cellular plants and animals through various periods. Address: Sector 10C, Madhya Marg, Chandigarh

Visiting hours: 10 a.m- 4:30 p.m (Monday closed) 7. Rag Dolls Museum

A newbie in the list of museums in Chandigarh, Rag Dolls Museum is a tribute to visionary creator of Rock Garden, Sh. Nek Chand. The museum houses rag dolls created by him among other collections. There are over 200 different rag dolls. This Chandigarh museum that was inaugurated on the second death anniversary of Nek Chand. Location: Phase 3, Rock Garden, Sector 16, Chandigarh

Timings: 9 am to 7 pm (All Days Open) Chandigarh, as a city is quite interesting and there is a lot to explore here. So, be a tourist in your own city, visit these museums which give you a deeper insight into the city’s development and culture.

- https://chandigarhx.com/museums-chandigarh-you-must-explore/, Aug 9, 2018

Indian National Trust for Art and Cultural heritage (INTACH) Belagavi Chapter will organise a Heritage Quiz in Belagavi on August 17. Questions will be based on the heritage and culture of India, and the quiz aims to increase awareness on heritage among schoolchildren. It will begin at Bharatesh Education Trust near Belagavi Fort at 10 a.m.

- https://www.thehindu.com/todays-paper/tp-national/tp-karnataka/intach-quiz-in-belagavi/article24649592.ece, Aug 10, 2018

This Independence Day, the Spanish mosque at Begumpet will be open for people from all religions. This historic mosque, which is a marvel of Moorish (Islamic Spain) architecture, never fails to attract the attention of thousands of people, who pass through SP Road in Begumpet. But many people, particularly non-Muslims, do not venture into the premises believing that they won’t be allowed to enter. For the first time in over a century, the mosque will be open to all for a guided tour on August 15 from 10am to 7pm. Not only one can have a closer look into its architecture and calligraphy, but also know how the Namaz (prayers) is held five times a day.

The real name of the mosque is Jama Masjid Aiwan-e-Begumpet (congregational mosque of Begumpet). Due to its unique architecture, the mosque over the years has come to be known as Spanish mosque. The opening of the Spanish mosque for the public cutting across faiths comes close to the decision of the management of Quba mosque at Nanalnagar organising a ‘visit my mosque’ programme. “On this Independence Day, it is with great pleasure that we invite you to the ‘Visit My Mosque’ programme at Jama Masjid, Aiwan e Begumpet, (Spanish Mosque), Hyderabad,” read an official invitation card, adding that “On this sacred national day, we open our mosque to our fellow Indian brethren, who will join us as we conduct tours of our mosque and provide them information about the meaning of Azan (call to prayer), Wudhu (ablution) and Salat (prayer).” The mosque received INTACH Heritage award in 2010. “Work on Spanish mosque was started by Paigah noble Sir Vicar-ul-Umra in 1887 and was completed in 1906 by his successor.

It is distinctive in many ways. Inspired by Moorish architecture of Spain, it also incorporates Turkish elements in its design, including Turkish calligraphy decorating its interiors,” said INTACH Hyderabad convener, P Anuradha Reddy. The mosque committee said this step is to welcome people of different faith and help promote national integration and harmony.

- https://timesofindia.indiatimes.com/city/hyderabad/on-independence-day-spanish-mosque-in-begumpet-to-open-for-people-of-all-faiths/articleshow/65346575.cms, Aug 10, 2018

The Indian National Trust for Art and Cultural Heritage (INTACH) will organise a two-day exhibition on the heritage of Indian sari, Dhage ki Dharohar, as part of the Independence Day celebrations. Divya Shivaram, chief executive officer of the Cantonment Board, will inaugurate the event at the Bharatesh Central School in Halaga near the Suvarna Soudha on Monday. INTACH members and students will bring in over 40 types of saris from across the country and speak about their unique features. They include Muga, Kanjivarams, Paithani, Kanchi, Patola, Pochampalli, Kashmir silk, Lehariya, Bandhni, Ilkal, Pattu and Odisha silk. Most of them are completely handmade. Boards explaining their heritage will be put up near the products.

Later in the day, experts will demonstrate different kinds of drapes of saris. Students will screen films on the heritage of the sari and the way it evolved over the years. They will speak about the Geographical Indication certificates that have been awarded to various types of saris. A special section will be devoted to saris woven in Belagavi, like the Wadagaon and Gokak. Some students will set up stalls to sell locally made cotton saris. Members of Parampara, INTACH Heritage Club at Bharatesh Central School, will organise the event. It is among the seven Parampara clubs started by INTACH Heritage Education and Communications Division (HECS). INTACH Belagavi Chapter has organised teachers training programmes, heritage walks, conducted national-level competitions, seminars and exhibitions and released a book. A new book on Architectural splendours of Belagavi by member Smita Surebankar will be released soon.

INTACH chairman Major General L.K. Gupta launched the Belagavi Chapter in 2016. Retired judge Jinadatta Desai is the convenor of the local chapter and Vinod Doddanavar and Meena Mohite are co-conveners. INTACH was founded in 1984 in New Delhi with a vision to spearheading heritage awareness and conservation in India. It is counted among the world’s largest heritage organisations, with over 200 chapters across the country. It operates through various divisions such as Architectural Heritage, Natural Heritage, Material Heritage, Intangible Cultural Heritage, Heritage Education and Communication Services (HECS), Crafts and Community Cell, Chapters, INTACH Heritage Academy, Heritage Tourism, Listing Cell and Library and Archives and Documentation Centre.

- https://www.thehindu.com/news/national/karnataka/intach-to-showcase-heritage-of-indian-sari/article24672893.ece, Aug 13, 2018

The over a century-old Jama Masjid Aiwan-E-Begumpet here will be thrown open to people from all religions this Independence Day for a guided tour, a move aimed at promoting inter-faith harmony. Popularly known as the ‘Spanish Mosque’ for its Moorish architecture, the heritage masjid, for the first time, has invited people from all religions to visit it on August 15, between 10 am and 7 pm, as part of the ‘Visit My Mosque’ programme, an official said. The 112-year old historic mosque in Begumpet area, maintained by the Paigahs, an aristocratic family, was built in 1906 and known for its intrinsic beauty and unique architectural style blending Moorish and Turkish features. “We invite people from all religions to attend the ‘Visit My Mosque’ programme.

This initiative promotes national integrity and communal harmony and it is an opportunity to meet, share and experience the values and culture of the Indian Muslim community,” M A Faiz Khan, a member of the Paigah family and ‘mutavalli’ (caretaker) of the mosque, said. Commissioned by Paigah noble Sir Viqar-ul Umera after his European tour of 1887 during which he was inspired by the Moorish architecture of Spain, it was completed by his successor. The mosque received the Intach Heritage Award in 2010. “In today’s world there are lots of misconceptions... Unfortunately barriers are being created and so we would like to undo that and bring people together... This is to promote brotherhood and all are welcome,” Mr. Khan told PTI. He described it as a landmark monument and one of the unique mosques in the country.

Apart from feeling the structural beauty of the monument, they wanted the people to know what actually happens in the mosque, he said. Mr. Khan said it would be an interactive guided tour and people can seek clarifications. “People can share good time, discuss out the things and feel good about it especially on our Independence Day. Presently this programme is for one day,” he added. Indian National Trust for Art and Cultural Heritage (INTACH), Telangana, co-convenor P Anuradha Reddy said the mosque was distinctive in more than one way. The mosque’s design incorporated Turkish elements, including Turkish calligraphy which decorated its interiors, she said.

Describing it as a fascinating architectural gem of the city, she said the mosque has a fairy-tale appearance with unique minarets and a matching dome. Ms. Reddy said she had visited the Masjid-e-Quba in Mehdipatnam here in June this year as part of the ‘Open mosque programme’. On ‘Spanish Mosque’ opening to all faiths on Independence Day, she said “It is a good idea... People of all communities can learn about each other. It is happy thing for other people to go and recognise it’s beauty”.

- https://www.thehindu.com/news/national/andhra-pradesh/spanish-mosque-in-hyderabad-to-open-for-all-on-independence-day/article24670054.ece, Aug 13, 2018

As per the elephant census 2017, the number of wild elephants in India is 27,312. Status of elephants is a direct indicator of the status of the forests. Did you know that the requirement of food and water for elephants are very high and, therefore, their population can be supported only by forests that are under optimal conditions; thus, the status of elephant can be the best indicator of the status of the forests?

Exactly what Project Elephant informs you.
Here’s how.
While playing, if it is itchy or even angry, elephants in the wild tend to knock down full-grown, mature trees of the forests. This, in turn, helps other plant species to grow in that space created and, also, provides food for other animals and insects. Partially digested seeds embedded in the elephant dung becomes good manure for it. Elephants have been instrumental in propagation of several species of plant in this manner for ages. Today, i.e. August 12, 2018 has been marked as World Elephant Day, dedicated to the preservation and protection of the world’s elephants. This can be a good day to know about the elephants that have co-existed with humans for so long.

From ‘elephantine memory’ to a ‘white elephant’, it is part of our almost daily usage. Similar phrases abound in almost all Indian languages, for eg. gajagaamini (gait like an elephant) in Sanskrit and several Indian languages to haathi ka bacha for a fatso in Hindi. Then, there are those symbols. From the iconic mascot ‘Appu’ of the 1982 Asian Games to several popular Hindi and other language films espousing friendship between humans and elephants to occupying pride of place as India’s National Heritage Animal, elephants are an important part of India’s collective psyche. And of course, much before the contemporary symbolism, we have had hundreds and thousands of elephants intricately carved in stone lining the exteriors of scores of temples across India.

And perhaps the oldest reference comes from the Indian mythology where we find mention of a white elephant, Indra’s Airaavat, as one of the 14 ratnas that came out during Samudra Manthan. And yet, since 1986, Asian Elephants Elephas maximus is, in a way India’s identity, have been listed as Endangered in the International Union for Conservation of Nature (IUCN) Red list. Last few years have been especially problematic. In India, the numbers have been dwindling steadily even when we have almost 55 per cent of total world elephant population of this category.

As per the elephant census 2017, the number of wild elephants in India is barely 27,312. Of the states, highest number of elephants are found in Karnataka (6,049), followed by Assam (5,719) and then Kerala (3,054) and Tamil Nadu (2,761). The number of captive elephants is between 3,000 to 4,000. And then, there is this typical category of elephants that India has – the temple elephants. Kerala has the highest – 120, followed by Tamil Nadu – 42.
Cause of worry
But all is not well on the elephant front in India. The resource requirements of India’s growing human population has led to the destruction and fragmentation of wild habitats across the country, depleting the area available for elephants to roam. The traditional migratory paths of the wild elephants have been adversely impacted. This naturally increases the instances of elephants dying unnatural deaths and, also, of the man-animal conflicts, experts point out. Out of the 88 identified elephant corridors in India, 21 have railway tracks running through them.

The knowledge of these corridors is passed on between elephants from generations to generations, thus walking through these corridors is a natural instinct for these majestic animals. As the resources in their fragmented pockets become scarcer, these elephants are pushed to cross railway tracks in search for food often to meet their fatal end.

Result: since 1987 to July 2017, 266 elephants have lost their lives.
On Friday, August 10, 2018, in an answer to a question about elephant deaths in Assam, the government confirmed that as many as 100 elephants have died unnaturally from year 2013 to 2016 with the number being as high as 31 in 2016 compared to 23 in 2013, 26 in 2014 and 20 in 2015. The government also agreed that “construction activities, deforestation, have adversely affected the natural habitat of elephants. Fragmentation and Deforestation is severely affecting the animal including the elephants. The total estimated area under encroachment in the notified Reserve Forest and Protected Area in Assam is about 3,555 sq. kms. (13.29 per cent of the total notified area). This has also affected the habitat of elephants by way of fragmentation.” But it is not just Assam.

Adjoining north Bengal is no safer. As per a media report, a female elephant and its calf were mowed down by a passenger train in Jalpaiguri district in July 2018, taking the number of elephants killed by speeding trains this year to four and the toll since the tracks were changed to broad gauge in 2004 to 68. “Poaching for captivity is also a serious threat faced by Asian elephants. The rich cultural and natural heritage of India attracts a substantial footfall of tourists every year. For most tourists, interaction with elephants tops their bucket-list item and sadly, misinformation often leads them to places where captive elephants are used to lure and extort money from tourists.

The sad truth of captivity that a baby elephant is poached from the wild at a tender age of 2 from its natural habitat and familial herd is cleverly blanketed with ‘joy’ of checking one item off your bucket list!” according to Wildlife SOS, the charity that has been running a one-of-a-kind Elephant Conservation and Care Centre (ECCC) since 2010.

Another major crisis on our hands is human-elephant conflict. As more and more forests are being destroyed to create space for new agricultural lands, it comes as no surprise that incidents of crop-raiding, destruction of property and loss of human lives have escalated. “However, such conflicts are avoidable — with the help of scientific wildlife tracking techniques and rigorous community engagement and sensitisation, a safe space for both farmers and elephants can be created. This is an important piece of puzzle towards elephant conservation!” Kartick Satyanarayan, co-founder & CEO of Wildlife SOS, says.

Gaj Mahotsav in Delhi
Precisely to raise awareness for the conservation efforts necessary to protect and preserve our national heritage animal across the country, leading wildlife conservation NGO, Wildlife Trust of India (WTI) launched a ‘Gaj Yatra’, a nationwide campaign with Union environment, forest and climate change minister Dr Harsh Vardhan last year. In continuation of that, there is going to be the first edition of ‘Gaj Mahotsav’ — a four-day-long festival celebrating the majestic Asian elephant from August 12-15, 2018 at Delhi’s Indira Gandhi Centre for Arts (IGNCA). Artists from across the country have created 101 life-sized elephant art pieces representing the 101 elephant corridors of India. The festival is being organised in association with the ministry of environment, forests and climate change (MoEF&CC), in partnership with the International Fund for Animal Welfare (IFAW) and United Nations Environment. Vivek Menon, executive director & CEO, Wildlife Trust of India, says, “While policy makers have realized the urgency of the situation and are taking remedial steps, there is an immediate need for a much bigger, stronger and comprehensive policy change to prevent a sharp decline in the elephant population.

Additionally, people need to be more sensitised to the plight of the elephant and view the animal as the victim and not an adversary, to prevent any further deaths arising from animal-human conflicts.” Reiterates Kartick Satyanarayan, “It has now become the norm to open the newspaper and read horrifying news of elephants dying due to unnatural, anthropogenic reasons. This normalisation of unnatural deaths of elephants in India is alarming to say the least. The survival of Asian elephants today lies in the hands of us — conservationists, policy-makers, practitioners and local communities alike.” We need to understand clearly that human existence is intricately linked with the existence of these elephants. If not for them, for own survival, humans need to be sensitive about elephants. As rightly pointed out by experts, elephants’ future in the wild is so fragile right now – any setbacks could be catastrophic.

- https://www.dailyo.in/variety/world-elephant-day-2018-why-saving-elephants-is-as-important-as-saving-tigers-human-animal-conflict/story/1/26023.html, Aug 14, 2018

Apart from being the Independence Day, August 15 means a lot more to those have a close association with the District Collector’s building in the city. Come Wednesday, the Collectorate will not only celebrate the 72nd Independence Day but also the 105th anniversary of the grand old building. History says the building was commissioned on August 15, 1913, exactly 34 years before the country achieved independence from the British rule. “It’s just a coincidence that the building was commissioned on August 15 and it has nothing to do with the Independence Day,” says Edward Paul, a member of Indian National Trust for Art and Cultural Heritage (INTACH). As per a letter written by the then Chief Engineer of Public Works Department, C. A. Smith, the building was ready by August 13, 1913, and formally occupied two days after by the then District Collector L.T. Harris.

Making an observation, the Chief Engineer, in his report, had also mentioned that the building would face water problem. Being perched on a hillock, it would be difficult to supply water from the water tanks located in the lower town against gravity. And that is how the Maharanipeta water tank was envisaged. Many say that the building, which has already served as the citadel of district administration for more than a century, was built by a British construction firm Gannon and Dunkerley. However, historians at INTACH say that the architecture and design was finalised by architects in Madras Presidency and the construction works were undertaken by some local contractors under their supervision. Members of INTACH say that Gannon and Dunkerley had built the present NGGOs building, which is located adjacent to the Collector’s building and it was inaugurated in 1945.

Heritage structure
The building that was built at a cost of around ?3.5 lakh then is more famous for its architectural design. The ‘E’ shaped structure, with its wooden Burma teak flooring and hand railings, is a replica of medieval Gothic architecture. Though it remains an attraction for the heritage enthusiasts, then Chief Engineer Murray was not happy with its appearance. In his report, he had expressed displeasure over the placement of horse stables on the west side saying that it had hampered the view. The district administration has already notified the building as a heritage structure and recently has installed a thematic lighting scheme too.

First Collector Until 1794, Vizagapatam, as it was then known, was called a factory under the East India Company rule, and there was a ‘Chief of Vizagapatam’ overseeing its administration. In 1794, Vizagapatam was divided into three divisions with three Collectors posted. It was only in 1803 that Vizagapatam zilla or district was formally named and L.G.K. Murray was appointed as the first District Collector.

- https://www.thehindu.com/news/cities/Visakhapatnam/105-years-old-and-still-going-strong/article24683153.ece, Aug 14, 2018

Artists skilled in stone carving have been roped in to restore the iconic Chhatrapati Shivaji Maharaj Terminus (CSMT) in Mumbai to its past glory, a Central Railway official said. The 130-year-old majestic building, a UNESCO recognised world heritage site, has been chosen among 10 places to be upgraded and restored under the government's 'Swachh Bharat Mission'. The building houses the Central Railway's headquarters and also platforms of suburban and long distance trains. The total budget of the restoration project is Rs 51 crore and the State Bank of India's CSR arm SBI Foundation has committed Rs 10 crore for conservation of the building, located in south Mumbai. "The conservation and restoration of this heritage building is underway as per the international norms and methodology, and skilled artists have been roped in for the stone carving work," Central Railway's chief spokesperson Sunil Udasi said yesterday. The works include landscaping and restoration of the CR general manager's office located in the CSMT premises, facade of the Old Annexe building and the structure's compound wall, he said. "The Indian National Trust for Art and Cultural Heritage (INTACH) has been appointed as a consultant for the project," Udasi said. The prestigious J J School of Arts here has been entrusted with the task of doing centralised air-conditioning of CSMT and the Central Building Research Institute, Roorkee, has been asked to give a report on how to maintain the strength and stability of the structure, he said. The CSMT is the second most photographed monument in the country after the Taj Mahal at Agra in Uttar Pradesh, Udasi said. It was designed by British architect F W Stevens in Victorian style well aided by traditional Indian themes in 1878. Originally named as the Victoria Terminus, it was built at a cost of around Rs 16 lakh. The structure, which took nearly 10 years to be constructed, gave the 19th century Mumbai its gothic city look. )

(This story has not been edited by Business Standard staff and is auto-generated from a syndicated feed.)

- https://www.business-standard.com/article/pti-stories/central-rly-takes-up-restoration-of-csmt-heritage-building-118081400178_1.html, Aug 14, 2018

In the face of government apathy, volunteers have begun collecting these Veergals from villages around Pune and intend to preserve them without any help from officials. Upset at the negligence shown by the government towards memorials built in memory of thousands of soldiers who lost their lives in war, two groups of youths from the city have decided to take matters in their own hands. These 20 youths have now started locating these monuments — called Veergals or martyr stones - and working towards preserving them without any help from the authorities. In the first week of July, having come upon some Veergals during a trek in Mulshi, the two groups - called the Swarajyache Shiledar and Raigad Pariwar — started the Veergal Conservation Campaign in villages around Maval, Mulshi and Haveli. They spend every weekend trying to locate these monuments that are either lying in woeful condition or have been buried. Built by the families of these unknown soldiers, or sometimes by local villagers, Veergals are found in abundance in many of these villages.

The majority were erected between the 5th and 13th centuries AD during the rule of Yadava and Shilahara dynasties. Many of these Veergals bear carvings, depicting incidents from the life of the soldier to whom they are dedicated. These could be the stepping stones to a treasure trove of ancient history, but their condition is truly deplorable. The group members have found many such monuments scattered in the villages around Pune, being used as washing stones, as boundaries between houses or as objects of worship, with sindoor applied on them. Speaking to Mirror, Mangesh Navghane, an MCom student and one of the volunteers, said, “We were on a trek in Mulshi and visited atemple at Walen village near Paud.

Here, we saw several Veergals scattered — on the roadside on farms, open land, forest areas etc. Locals seemed scarcely aware of them, though the stones symbolised the heritage of their own village. We then ran a search online and realised their significance. We knew we had to do something.” “So far, we have located over 70 such Veergals near Mulshi alone. They are still in good condition and we are now working on spreading awareness among local villagers about their archaeological and historical importance. People have started calling us whenever they find such stones,” he added. Vaibhav Salunkhe, another volunteer, who is a mechanical engineer, further said, “The condition of these monuments is pathetic and there is absolutely no effort from the government to preserve them. We are now spending our weekends locating such Veergals and shifting them to safer places.” Commenting on the carvings, Anil Kadu, an interior designer, added, “We found that most of the stones commonly have symbols like the sun, the moon, a pot of nectar, or even a battle scene — each stone has different scene.” Elaborating on the potential of the Veergals to unlock new tales, civil engineer and volunteer Sunil Gore said, “Each Veergal is different. Every one of them tells the story of the particular unsung hero, whose name is not carved. We are expecting researchers to give these stones some attention as each stone also narrates the story of the village and socio-political history of that time." Emphasising on the importance of preserving these stones, Indologist Saili Palande Datar said, "These Veergals are evidence of events between the 5th and 13th centuries AD, which is largely missing in the history of ancient India due to manuscripts not being available. These stones depict the socio-political and environmental conditions (prosperity or drought) and trade, too.” “Some of the stories carved into the stones show brave men and women who perished while defending the interests of the village such as while fighting bandits who attempted to steal cattle, or invaders who abused women. The ancient system of sati, too, has been found in many of them. These stories must be preserved,” added Datar. When asked about the government’s apathy towards Veergals, Vilas Wahane, assistant director of the state archaeology and museum department, admitted that there is no policy to protect or preserve these monuments. “Such efforts by youths are a welcome move as it signals public participation. We are trying to create awareness among the villagers to protect these stones as they are truly living history in their own right. We had carried out a drive to bring these abandoned Veergals to safe spaces such as nearby temples,” he said.

"In Maharashtra, these Veergals often carry inscriptions displaying a variety of adornments, including bas-relief sculpture panels, frieze, and figures on carved stone. Some stones may have inscriptions at the bottom with a narrative of the battle. The number may be beyond 45,000 in the state alone, but the department cannot preserve each stone due to limitations,” was Wahane’s vague conclusion. These Veergals are evidence of events between the 5th and 13th centuries AD, largely missing in the history of ancient India due to manuscripts not being available.

- https://punemirror.indiatimes.com/pune/cover-story/20-city-youths-leave-no-stone-unturned-to-preserve-memorials-of-unsung-soldiers/articleshow/65393299.cms, Aug 14, 2018

Are plastic food wraps standing in your way of adopting an eco-friendly lifestyle? Fret not; beeswax wraps are the perfect solution for you. These organic wraps can keep your fruits, vegetables and other cooked food fresh for days while being perfectly reusable. Used with care, a good-quality beeswax wrap can last for 6 to even 12 months. In addition, these are perfectly biodegradable.

Hoopoe On A Hill is a social entrepreneurship venture partnering with the aboriginal Paliyan tribes of Kodaikanal in Tamil Nadu to sell exotic varieties of wild, unadulterated honey and pure beeswax. The latest addition to their product list is the quirky-patterned organic beeswax wrap that protects your food as well as the environment. In a conversation with The Logical Indian, founder Priyashri Mani shares the journey of Hoopoe On A Hill in between explaining why we should opt for beeswax wraps.

About Hoopoe On A Hill
Hoopoe On A Hill started in 2014 when the founding members Priyashri Mani and Nishita Vasanth were assigned a project by INTACH Delhi to conduct a survey on the tribes of Palani Hills, for documenting their story and oral histories. These people were still holding on to primitive methods of honey-gathering as their livelihood. Amazed by their indigenous ways of honey-harvesting and the unknown flavours of wild honey, the duo purchased some of their products. Soon, Hoopoe On A Hill was born, who are exposing the forest community to an urban market with high demand for their unique products. Priyashri also clarifies that they are not a social welfare organisation employing the Paliyans, instead “we are providing them with a market to sell the honey, and in the process, we are also buying rare forest honey from them. So it’s a win-win situation for both."

Rampant deforestation and machine-based methods of honey and beeswax extraction have led to a habitat loss for the bees. “The Paliyan Adivasis possess a keen knowledge about the forests and the animals. They collect the honey chamber and beeswax in sustainable ways, using their century-old traditional mechanism of honey-gathering where not much harm is done to the bees or the hives."

How the beeswax wraps came into being
"We started buying the honey from these people, and then we processed and marketed it. Last year, they approached us asking if we are willing to buy some beeswax along with the honey," Priyashri tells us. A strict advocate of eco-friendly living and recycling, the HOH team was brainstorming for ideas to use the beeswax innovatively to incorporate it in daily use, apart from making candles or cosmetic products.

At first, with so much of beeswax now in our hands, we were not sure what exactly to do with it. After a whole lot of research into the historical uses of beeswax, we came up with the idea of beeswax wraps. After some experimentation, the product was launched 3 months ago, and we are overwhelmed by the response,’’ narrates Priyashri.

"If you put a sliced lemon or apple in the fridge without any covering, these will soon turn dry and start to brown. The beeswax wrap completely prevents this." Priyashri explains, “We source a very specific type of 100% food-safe cotton fabric to line the wax on. On that, we paint colourful patterns that would add a pop of colour to your kitchen or make your lunch-box more exciting."

Why beeswax wraps are better than plastic wraps
We often tend to microwave frozen food covered in cling film wraps. That is when harmful components of plastic, including the infamous hormone-disrupting phthalates, leach out into the food, report researchers at Johns Hopkins University. Long-term consumption of such food may lead to sterility, affect foetal health and can also cause cancer. Add to that, the enormous amount of plastic waste these food wraps are generating per year and their endless environmental hazards. This is where the beeswax wraps by HOH come in.

These wraps work superbly as a greener alternative for cling film or Saran wraps. Traditionally used for storing perishable food items like cheese and bread for months, beeswax has exceptional anti-fungal and antimicrobial properties, aside from a pleasant natural aroma. Completely biodegradable, they do not fill your trash can. Reusability is the biggest advantage of the beeswax wraps. The used wraps can be washed under cold water and dried, and they are ready to reuse. One HOH wrap can last up to 6-8 months depending on the frequency of usage. Moreover, the wraps have an eye-catching aesthetic appeal with their colourful designs and quirky motifs.

Though working on a small scale, Hoopoe On A Hill has turned many heads lately with their beeswax wraps. With the increasing demand for a replacement for plastic, beeswax wraps are gaining popularity in the global market. HOH is pioneering this initiative in India.

- https://thelogicalindian.com/my-social-responsibility/beeswax-wraps/, Aug 16, 2018

The Fort Museum at the secretariat complex, which is a trove for colonial artefact collections, is likely to get its own prehistory gallery, like the Government museum in Egmore. The Chennai Circle of the Archaeological Survey of India (ASI) will be approaching their headquarters seeking nod to establish an exclusive gallery to exhibit megalithic artefacts unearthed in the state. According to ASI Chennai Circle’s superintending archaeologist, A M V Subramanyam, Tamil Nadu has rich megalithic sites. “Setting up a prehistory gallery is a policy decision. We would be writing to the director general of ASI on displaying the available collections,” he told TOI. ASI has a collection of artefacts such as potteries, beads, stone tools, etc.,

that were excavated from different megalithic sites including Adhichanallur in Thoothukudi and Siruthavur in Kancheepuram district. These antique pieces would be part of the exhibits at the prehistory gallery. Former archaeological officer and secretary of Madurai-based Pandya Nadu Centre for Santhalingam, said the prehistory gallery at Government Museum in Egmore houses all artefacts dating to more than 2,500 years. “The sarcophagus excavated from Pallavaram and antique pieces unearthed at Adhichanallur belong to the 3rd century BC. Some argue that they could be older. So, they can be categorised as prehistoric antiquities,” he said. Meanwhile, a temporary exhibition on the megalithic sites of Tamil Nadu displaying the archaeological findings in the state was also inaugurated at the Fort Museum on Thursday.

A 2,300-year-old sarcophagus, recovered from the hillocks of Pallavaram by the ASI last year, was one of the exhibits.Subramanyam said the sarcophagus is the first prehistoric artefact to make it to the Fort Museum. “The purpose of exhibiting the sarcophagus is that the valuable ancient artefact should not remain in the store rooms,” he added. The Fort Museum functioning from 1948 has a wide range of collections belonging to the British era. The two storeyed heritage structure has ten galleries exhibiting arms and ammunition, medals, textile, porcelain, statues, paintings, coins and cannons traced back to the pre-Independence period. According to sources, the museum has 474 antique pieces related to the colonial period put on display. Between 50 and 70 persons visit the museum every day, with a little higher footfall on weekends.

- https://timesofindia.indiatimes.com/city/chennai/fort-museum-plans-prehistory-gallery-for-its-relics/articleshow/65431498.cms, Aug 17, 2018

Photographs of pre-historic paintings and carvings on rocks from five continents - Asia, Africa, Australia, Europe and America - will be exhibited at a two-day event, The World of Rock Art Exhibition 2018, at the Indira Gandhi National Centre for the Arts in collaboration with Bihar Museum on the museum premises on August 18 and 19. Visitors will be able to see more than 100 photographs of the pictographs and petroglyph (petroglyphs and pictographs represent two distinctive methods for producing rock art.

Petroglyphs are carved or pecked into an exposed rock surface, while pictographs are painted onto those surfaces) at the exhibition apart from replica of the rock art besides getting a chance to see a 30-minute documentary made on the rock art by the centre, said additional director in-charge (administration) of Bihar Museum Ranveer Singh Rajput. "This is the first time such an exhibition is being organised in Patna. Bihar is the 15th state where this exhibition is being organised by Indira Gandhi National Centre for the Arts. In 2012, the centre had put up an international rock art conference in which experts from five continents had put up exhibits of the rock art.

However, a majority of the exhibits are from Asia, including India. The rock art found in the caves of Ladakh, Uttarakhand, Rajasthan, Chhattisgarh, Jharkhand, Karnataka and others will be on display," said Rajput. "The rock art exhibits from Tamil Nadu would be among the attractions at the exhibition. The rock art has been found on burials in Tamil Nadu. The deceased used to be buried and stone-made boundaries used to be created on which one can find rock art. Residents can also find this rare exhibit in this exhibition. The rock art defines the thinking and lifestyle of primitive men. It defines artistic, cognitive and cultural genealogy of humankind of primitive era. So this exhibition definitely stands out among the other exhibitions," he said.

Exhibits related to the rock paintings of Bhimbetka rock shelters in Madhya Pradesh, which has received the Unesco World Heritage tag, will also be present in the exhibition. A special lecture on rock art by experts will be an added attraction besides a workshop in which children would be told about intricacies of rock art and then they would be asked to use their imagination to draw on canvas. The tribal community living in various part of the country who are painting the rock art in their own forms have also been included among exhibits. The aim behind exhibiting their painting is to show rock painting from primitive time to present time," added Rajput.

"Those who would participate in the children workshop would get a participation certificate from Indira Gandhi National Centre for the Arts," said Rajput. Patna University vice-chancellor Rash Bihari Prasad Singh would inaugurate the conference at 5pm at Bihar Museum on August 18. The inaugural event would be presided over by former director of museums, Bihar, Umesh Chandra Dwivedi.

- https://www.telegraphindia.com/states/bihar/photographs-from-five-continents-set-to-rock-bihar-museum-252593, Aug 17, 2018

A two-day workshop for schoolteachers on heritage education and communication began in the town on Friday. The workshop, first of its kind in the Nilgiris, was conducted by the and (INTACH), Nilgiris chapter. Over 30 teachers from 18 schools, including government schools, from across the Nilgiris took part in the workshop. Principal director of Heritage Education and Communication Service (INTACH) Purnima Datt conducted a session on techniques on the first day of the workshop. The technical session covered cultural heritage, built heritage, material heritage and living heritage. Speaking on the occasion, convener of INTACH (Nilgiris chapter) Geetha Srinivasan said, “It is a path breaking workshop for teachers in the Nilgiris. This is to create awareness among the teaching community.” She said, “To kindle young minds, heritage clubs will be developed in schools in the Nilgiris. Hence, this workshop for teachers would help in the process.” Stating that connecting young people to heritage factors is very difficult, Purnima said, “It is the parents and teachers’ responsibility to instill at least a little bit of our own heritage.” She said, “We talk about our fundamental rights but not much about our fundamental duties. Our fundamental duties include taking of our identity, our natural heritage and cultural heritage.” “The objective is, in the past two centuries, we have been witnessing a lot of destruction of our heritage which is thousands and thousands of years old,” said Suresh, president, INTACH, Tamil Nadu. He added, “Like nature club, arts club, music club, schools could have heritage clubs too.” With a field trip to heritage sites in the Nilgiris and interaction sessions the workshop will conclude on Saturday.

- https://cantoncaller.com/workshop-for-schoolteachers-on-heritage-education-begins/114348, Aug 20, 2018

The art of storytelling is, perhaps, as old as time. The prehistoric cave paintings of Bhimbetka can be safely assumed to be the first attempt at a graphic novel in India. The scenes of hunting and warfare are still preserved, deep in the niches of the caves. Estimates suggest that the oldest paintings in Bhimbetka caves can be as old as 15,000 years. When we talk about Indian storytelling, we cannot ignore, Panchatantra, one of India’s greatest contributions to the art of storytelling. It is perhaps the only secular literary work that can truly claim to be a world heritage. Widely accepted to have been composed few centuries before Common Era, Panchatantra has become the most widely read Indian text between Java and Iceland. The original Sanskrit text has been translated into Persian, Arabic, Hebrew, Syriac, Latin, Greek, German, English, Spanish, etc. The text travelled from India to Europe much like all Indian knowledge did, through West Asia. Panchatantra uses metaphors and substitutes to tell a story. The use of animals, who talk, think and act like humans is a clever play to relate the acts and nature of humans to that of animals. The anthropomorphism of Panchatantra strikes a chord of similarity with many modern works. The talking lion in The Chronicles of Narnia, an entire jungle full of talking animals in the Ice Age and of course the talking pigs of Animal Farm. Not many people might know, but the Panchatantra was compiled as a teaching manual for young princes by Vishnu Sharma, at the age of 80 years. Not much is known about the place of origin of the book. Indologist Johannes Hertel, in his work The Panchatantra – Text of Purnabhadra (1912), traces the origins of the text to Kashmir. Arthur William Ryder, a Sanskrit professor at University of California, Berkeley also translated Panchatantra in English from the 12th century manuscript of Purnabhadra. In the introduction of his work (The Panchatantra: Purnabhadra’s Recension of 1199 CE) he said, “The Panchatantra is a niti-shastra, or textbook of niti”. He also laments about the lack of vocabulary in western languages for Sanskrit words like niti. In the introduction section he further writes, “The word niti means roughly “the wise conduct of life”. Western civilisation must endure a certain shame in realising that no precise equivalent of the term is found in English, French, Latin or Greek. Many words are therefore necessary to explain what niti is, though the idea, once grasped, is clear, important, and satisfying.” The stories of Panchatantra are widely read to children as stories with a moral. However, Ryder describes Panchatantra as Niti Shastra, which makes it equally interesting for adults. It was perhaps its universal appeal that led to its translation into multiple languages across the world. Long before the work was translated into foreign languages, it was widely borrowed by people within India. The Jataka Tales, which are the stories of Buddha’s previous lives, is heavily influenced by Panchatantra. So influential were the Jataka tales that many Buddhist sects (Mahasamghika Chaitika) accepted them as Buddhist canonical literature. The Jataka tales travelled to Central Asia, Tibet, China and Japan with the spread of Buddhism. The Jataka Tales and Panchatantra hold immense sacred value in modern day Japan. So much so that the Christian missionaries in Japan used them to convert people to Christianity. They used the translations of the Jataka tales to convince potential recruits that Buddha himself was originally a Christian. The first West Asian translation of Panchatantra was made in Pahlavi, or Middle Persian in the 6th Century (550 CE). Borzuy, a Persian physician visited India and took a copy back with him. The episode of Borzuy coming to India and his chance encounter with Panchatantra is mentioned in Shah Nama. According to Shah Nama (English translation by Professor Reuben Levy), Borzuy went to India in search of a resurrecting herb (he probably heard about the Sanjivani herb). He obviously did not find the herb. However, he met a sage who explained to him the metaphor of the herb. According to Shah Nama the sage said, “The herb is the scientist; science is the mountain, everlastingly out of reach of the multitude. The corpse is a man without knowledge, for uninstructed man is everywhere lifeless.

Through knowledge man becomes revived.” The sage then introduced him to Panchatantra and the wisdom within. Francois de Blois (professor and research fellow at University College London) in his work, Burzoy's Voyage to India and the Origin of the Book of Kalilah wa Dimna, has carried out a detailed research on how the Panchatantra and other Indian stories like Mahabharata influenced the Kalilah wa Dimna (Arabic translation of Borzuy’s work). Blois comes across two versions of how Borzuy came to know about Panchatantra. One is the story of Shah Nama and the resurrecting herb and the other is a version where the book itself is well known in Persia and the king orders Borzuy to travel to India and bring the book. We are not sure about the actual circumstances under which Borzuy came to India and translated Panchatantra. What we know is that it was translated into Pehlavi. The original Pehlavi work is now lost, an Arabic translation, by Ibn al-Muqaffa, did survive. The translation of Panchatantra in Arabic (Kalilah wa Dimna) is counted among the earliest classical works in Arabic prose. The 8th Century Arabic translation proved to be the base text for all future translations. The German translation, Das Buch der Beispiele, of the Arabic work was one of the first to be printed at the Gutenberg’s press along with the Bible. Not only did Panchatantra travel to Europe and Southeast Asia as translated text and retelling, it also had a profound impact on the way literature developed in the Middle East and to some extent in Europe. The Panchatantra stories are not standalone episodes with a set plot. They are stories with multiple sub-stories. This format of having sub-stories within the main story is not new to Indian literature. The ancient epics, the Ramayana and Mahabharata have a similar format where the main story is supplemented by many, smaller sub-stories. The concept of introducing questioning as the basis of a story is another Indian concept that we see both in Panchatantra and in later work like the Betal Pachhisi. The story within a story has been borrowed in Arabic works like the One Thousand and One Nights where sub-stories are introduced or one long story is broken down into smaller parts (Sindbad the Sailor). Modern literature of Europe too saw Panchatantra’s influence in the works of writers like Jean de La Fontaine, in 17th century France. His collection of stories known as La Fontaine’s Fables is considered to be classics of French literature. For his oriental stories he drew heavily from Panchatantra and used animals as characters. In the introduction of his second book, Fontaine writes, “I think that it is not necessary to mention the sources from where I took this last part of these stories, but I say as the recognition of gratitude: "Mostly I owe the Indian wise "Bulba" (a reference to the imagined author of Panchatantra), that his book has been translated into all the languages". The use of animals to convey stories of morals, satire, political messages has not really ceased since Panchatantra. The famous cartoon character Mickey Mouse, first created in 1928 falls in the long line of animal characters used to tell stories. Today the Panchatantra has been translated or adapted in more than 50 foreign languages and has more than two hundred versions. In India alone it has been translated into every Indian language, which has its own version of the stories. Panchatantra is truly a gift to the world from India. Vijender Sharma is an aviation business consultant by profession, with a deep interest in Indian history. He tweets at @indichistory.

- https://swarajyamag.com/culture/panchatantra-indias-gift-to-the-world, Aug 20, 2018

The week-long celebrations that are in honor of the city will include a slew of cultural and technological events to sensitise public about the historic city in India. Home is where namma Madras is. On this Madras Day on August 22, Tamil Nadu’s capital city celebrates its 379th birth anniversary. Madras Week started off as Madras Day 15 years ago to celebrate the founding of the city on August 22, 1639. The event has now become a Madras Month judging by the programming last year. The celebrations this year are are scheduled to be spread throughout August and will go into the first week of September. To commemorate which, Madras Week celebrations will be in full swing during August 22-28. S Mutthiah, renowned historian and one of the people responsible for creating the day, had said that the primary motive of celebrating Madras Day was to focus on the city, its past and present. Chennai is home to beautiful imperial architecture, intricately designed temples and famous beaches. And the week-long celebrations paying a tribute to all that will include heritage walks to the city’s beautiful architectural wonders, food festivals, film screenings and public performances. Click through to see the beauty that is Chennai. A college student who recollects the Madras Week celebrations last year, said, “I had spent all my 22 years of life at Chennai, but was unaware of its rich heritage. The Madras Week celebrations sensitised me about the history behind epic buildings and the surprising facts about the city.” Art and photographic exhibitions would be organised by hotels and bookstalls, besides organising food festivals with Madras cuisine as the theme. Various organisations will be active participants – Madras Naturalists’ Society, the photography group Nizhal, Observer Research Foundation, the Roja Muthiah Research Library, the CP Ramaswami Aiyar Centre, The Press Institute of India, the Indian National Trust for Art and Cultural Heritage (Intach) Chennai Chapter, Cycling Yogis, Doshi Housing and Yocee. MADRAS WEEK PROGRAMS SCHEDULE JULY – AUGUST – SEPTEMBER 2018 INTACH, Indian National Trust for Art and Cultural Heritage, a non profit organization is dedicated to preservation and conservation of our heritage to bequeath it to the younger generation to enjoy and comprehend in depth Indian history and culture. To achieve these goals, they organize walks, exhibitions, awareness programmes, workshops to create awareness of our tangible and intangible heritage. INTACH Chennai Chapter’s bouquet of programs for this year’s Madras Day Celebrations run from late July to early September and is as follows. There will be something of interest to everyone across age groups. On the 14th July INTACH Heritage Club was inaugurated at ‘Anjuman Tarana’ girls’ school for students. On the 20th July there will be a Talk by Sheela Balaji on “My Journey on the Heritage Rice Trail”. On the 27th July the Chennai round of the INDIA HERITAGE QUIZ 2018 will be held at Vidhyodaya School, T Nagar. Chennai winners will go on to the Zonal finals. On the 19th August the Madras High Court walk will be led by Mr. N. L. Rajah. It will cover the grounds, Buildings and the Museum of the High Court and will be free of charge. On the 27th August a session on Environment and Waste Management – Plastic recycling, composting etc., will be held for school children. On the 30th August Talk on “Paper Jewels – Postcards from the Raj” by Omar Khan will cover a 500 vintage Postcard Tour of India, Pakistan and Sri Lanka with a Book release by Mapin Publishing. On the 6th & 7th September a Training workshop for school teachers will be conducted on Heritage to create awareness among children. Other events to look forward to Walk of Theosophical Society at Adyar. Walk of the Marina. Book reprint release – Madras the Architectural Heritage on INTACH publication. Collage work by school children on Anti-Plastics and creating a green environments. At the Press Institute of India, CPT Campus, Taramani August 20, Monday, 5pm: Rediscovering the graceful arch bridges of Madras. A presentation by D. Hemachandra Rao August 23, Thursday, 5pm: Agni Vasantham – Audience with Aravaan in the streets of Chennai. A presentation by Meenakshi Madan August 24, Friday, 5pm: A peep into the 2000-year-old Sangam Age through Bharathanatyam. A lec-dem by Lakshmi Ramaswamy. August 25, Friday, 5pm: Gujili Ilakkiyam – Voice of the Madras Layman. A lec-dem by Nivedita Louis.

- https://www.indianspice.co.za/2018/08/chennai-is-a-city-madras-is-the-emotion/, Aug 21, 2018

“BG Steam Locomotive WP 7200 chugged into Farrukhnagar near Delhi. A special weekend steam service will soon commence between Garhi Harsru and Farrukhnagar”. Gurugram residents will be happy to know that this is not a British Period rail service announcement from the past, but last week’s statement by Mr Subrato Nath, the executive director (heritage), Railway Ministry. For those of us who are yet unaware of Gurgaon’s significant industrial heritage, Garhi Harsaru is a historic, neighbouring town and railway station along the road from Gurugram to Patuadi, falling very much within the important heritage zone of Pataudi, Sultanpur sanctuary and Farrukhanagar. Garhi emerging from the term ‘Garh’ in Hindi represents a small fortress. Garhi Harsaru is named after the Chauhan Rajput ruler Harsh Dev Singh who was one of the sons of Raja Sangat Singh Chauhan. Raja Sangat was the great grandson of Chahir Deo, brother of famous Rajput King Prithviraj Chauhan. Harsh Dev Singh Chauhan moved into the area of Gurgram in the late 18th century as a zamindar descendent from the Chauhan family and took over the area of Garhi Harsaru. But, it was during the British period that Garhi Harsaru came into prominence with the salt trade. In February 1873, the railway line from Garhi Harsaru to Farrukhnagar was specially developed to transport salt from Farukhnagar and Sultanpur to Delhi. Passenger trains started on this track much later, after 1947. The meter-gauge railway track and the two stations at Garhi Harsaru and Farrukhnagar were built by the British in February 1873, specifically for salt trading.

This was also part of the longer salt trade rail track, linking its Sambhar salt pans in Rajasthan to Rewari and Delhi. Lord Mayo had visited the rest house at Garhi Harsaru and such colonial structures along with the station buildings make an interesting heritage ensemble of the British Period. In 1981, Garhi-Harsaru station saw international recognition, when a scene from the film Gandhi—of a rail station in Africa was shot here, and Richard Attenborough and Ben Kinsley arrived to shoot it. The famous incident of Mahtama Gandhi’s life, when he was unceremoniously deboarded from a first-class coach in South Africa, was shot at our own Garhi Harsaru station. A temporary shed in front of the station building was made to transform the Garhi-Harsaru station into the station at Pietermaritzburg, South Africa, from 1893. This rail track was also part of the important Rajputana Malwa railway line. For many years, the meter-gauge railway line was used to transport salt by steam engines. The converted broad-gauge track became operational in 2011. So, Garhi Harsaru is now a large inland container depot and serves as a hub for transshipment of containers from and to Mumbai Port and seaports on the west coast of the country. Private ports of Gujarat and large transporters have also constructed container depots here. Interestingly, the 18th century town of Farrukhnagar, linked to Garhi Harsaru, also flourished due to this salt trade. As recorded in the Imperial Gazetteer, “Sultanpur was the centre of salt production for use in Delhi and the United Provinces till the late 19th century, annually exporting 6,80,000 maunds or 18,350 tonnes (1 maund = 37kg approx.) over the Rajputana-Malwa Railway. Salt was produced by extracting brine from about 40 wells, using bullocks, and drying it in open plots. Since salt was one of the major sources of government’s revenue, the office of the Salt Superintendent at Sultanpur supervised the levy of Rs 2 per maund. With the “levy of the heavy salt tax and acquisition of the Sambhar Salt works in Rajasthan by the British, the Sultanpur salt became uneconomical. By 1903-04 the salt industry was struggling for survival with salt export having fallen down. Finally in 1923, the British shut down the office of the salt superintendent at Sultanpur, had all the mounds of salt thrown back into the wells and shut down the salt industry leading to considerable economic misery to the people.” The decision of the Railways Ministry to develop Garhi Harsaru-Farrukhnagar section is a great opportunity to augment the ongoing heritage awareness and activities around Gurugram, Farrukhanagar and Sultanpur sanctuary. The railway authorities aim to restore the heritage importance of both stations and develop the 11-kilometre stretch to improve tourism in this unexplored section. We can possibly imagine this heritage route in future when families with children can make weekend trips, learn about the history of the Railways and salt trade in India, walk through the streets of historic Farrukhnagar and its monuments and experience the Sultanpur bird sanctuary—all in a single trip. Collective efforts of various government departments and NGOs– railways, local bodies and INTACH, with its heritage walks, can definitely make this possible. In the long term, this route can even be linked to the already active Rewari Rail Museum with its stimulators and the Sambhar Salt Heritage Trail. (Shikha Jain is state convenor, INTACH Haryana Chapter and member of Heritage Committees under ministries of culture and HRD. She is co­editor of book ‘Haryana: Cultural Heritage Guide’; director, DRONAH (Development and Research Organisation.)

- https://www.hindustantimes.com/opinion/heritage-train-service-may-revive-interest-in-gururgram-s-forgotten-towns/story-cBnvztbZd75h6hSzxnJNxH.html, Aug 21, 2018

The musical pillars of the Vittala Temple in Hampi, currently out of bounds for tourists, will soon come alive if you point your smartphone at it. So will the history of Nandi Hills, Devanahalli Fort, Belur-Halebid, Shravanabelagola, Gol Gumbaz and the Bahmani tombs. These are among the 20 heritage sites that will have virtual tours and augmented reality (AR). “The AR - virtual reality components are being implemented by private entities. As they work and conduct research with existing amenities, the department is finalising a master plan for these sites, which will include developing physical infrastructure and training guides,” said TK Anil Kumar, tourism secretary. “Once a master plan is finalised for each site in about seven months, we will focus on creating and enhancing technological components at each site.” As a pilot, AR interventions are already active in heritage sites in the city such as Cubbon Park, Bangalore Palace, Tipu Sultan’s Summer Palace, Bangalore Fort, Lalbagh and some old structures on MG Road. The development of the 20 identified tourist sites is budgeted at ?120 crore, which includes technological and physical amenities. Vivek Jain, founder of AR platform FlippAR that is helping the tourism department with this initiative, said that with researched content in place, the team will identify specific areas of interest in every location. The venture’s free mobile application uses image and object recognition, matches realtime photos with the database to display information on the smartphone. It has 30,000 downloads on Android and iOS platforms. “Since most of these are Archaeological Survey of India (ASI)-protected sites, getting clearances for placing floor markers is taking time. Markers are areas where people can stand and activate AR on their smartphones,” Jain said. FlippAR is among the eight Bengaluru-based startups that were chosen last year by the tourism department to create solutions for various aspects of tourism — from food and fuel pumps en route, to accommodation and tech-led touristic experiences. Meera Iyer, convenor, Indian National Trust for Art and Cultural Heritage, Bengaluru, said that while the locations identified are already high on footfall, technology will provide additional impetus to improve visitor experience. “In Sannati, for example, you only see statues and panels of sculptures. Knowing what it means and how it looked years ago will help people engage with it better,” she said. “The department will, however, need to be clear on how exactly it plans to implement technology on-site and whether getting ASI clearances will be possible for the same."

- https://tech.economictimes.indiatimes.com/news/technology/20-heritage-tourism-sites-in-karnataka-to-get-a-layer-of-augmented-reality/65482413, Aug 21, 2018

In a bid to conserve and protect the heritage havelis of old Delhi, the North Delhi Municipal Corporation is going to organise a workshop to make people aware of their significance as well as procedures to undertake renovations. The workshop is being organised in light of reports of increasing illegal constructions at these heritage buildings. Some of the matters related to unauthorised construction at these properties are being heard by the Delhi high court. The workshop will take place at the Town Hall next month, in association with the Indian national trust for art and cultural heritage (INTACH). “The problem is that the people living in these havelis are either not aware about the procedure for making changes or they want to avoid the process altogether fearing refusal of the renovation plan. Moreover, the Delhi Development Authority’s (DDA) building bylaws don’t provide detailed information on the subject,” a senior north corporation official said. The Walled City has 783 heritage structures, including 229 historical buildings, indentified and notified by the state archaeology department. “The DDA’s building bylaws have a ‘heritage clause’, which says to take special permission from the heritage conservation committee before renovating listed structures, and inform about other restrictions. But they don’t highlight the positive points associated with heritage structures,” Swapna Liddle, convenor, INTACH, said. For example, owners of these structures can get a property tax waiver and convert residential structures into commercial if the purpose is to promote heritage through tourism, Liddle said. “As people don’t know about these provisions, they often undertake renovations without seeking permission from the municipality and the heritage conversation committee. Some of these structures have been changed drastically for commercial use,” a senior North Corporation official, not authorised to speak to the mediasaid. During the workshop, the MCD plans to share a booklet prepared by INTACH with all the advisories and precautions for making changes to these heritage structures.

- https://www.hindustantimes.com/delhi-news/north-delhi-civic-body-on-awareness-drive-to-renovate-havelis/story-Yiu4s4iCy9RQYLoJtzWKoO.html, Aug 22, 2018

With the state government according administrative sanction to demolish and reconstruct the famed Mahbub Chowk building near Charminar, structural engineers and heritage experts fear that excavation using heavy machinery will damage other heritage structures in the vicinity. Mahbub Chowk, a landmark market place of the Asaf Jah period, is dotted by historic buildings including the Chowk mosque, Chowk clock tower and Moti Mahal. The magnificent clock tower and the mosque that have been part of Hyderabad’s history and heritage were part of the well-designed market place of early and mid-Asaf Jah regime. Together with Lad Bazar, Charminar, Mecca Masjid and Charkaman, Mahbub Chowk formed a chain of heritage structures of old Hyderabad. The city civic body has decided to pull down the Mahbub Chowk building and reconstruct it. Heritage activists warn that digging deep into the earth or use of heavy machinery that causes vibrations would damage the clock tower and the mosque. Heritage rules state that there should be a gap of at least nine metres from the heritage sites for any underground excavation work. The clock tower was built in 1892 by prime minister Asman Jah. The mosque was built earlier by Khaja Abdullah Khan in 1817. Additions were made to the mosque by Nizam VI, Mir Mahbub Ali Khan, after whom the city square or market place was named. P Anuradha Reddy, convener of Hyderabad chapter of Indian National Trust for Art and Cultural Heritage (INTACH), said heritage sites around Mahbub Chowk building would be hit if a cellar is added to the proposed building. “It involves lot of digging and earth excavation close to historic sites. This will put sites in further peril if heavy machinery is used,” she said. Heritage experts also find fault with the “shoddy” restoration of the clock tower. They allege no scientific and technical restoration procedures were followed. Senior architect and engineer SP Anchuri, who is also a visiting professor of the School of Planning and Architecture (SPA), Jawaharlal Nehru Architecture and Fine Arts University, Hyderabad, said the restoration of clock tower will surely bring back the region’s glory. When one climbs on top of the tower, one can see a panoramic view of the rich cultural heritage of the city. He suggested that the repair programme must also be equally comprehensive. In the preservation of these markets, a scientific and holistic approach based on sound analytical models should be employed. “Proper development of understanding of the distress signs is of utmost importance,” he said, suggesting that the modern repair methods must be perfected in the laboratory before transferring it for field application. Anchuri said the government should involve structural designers to restore structural stability and life of heritage sites. There should be a comprehensive research programme. “Our Hyderabad heritage structures are reminders of civilization, which flourished in this great culturally rich region. These must be preserved,” he said.

- https://timesofindia.indiatimes.com/city/hyderabad/mahbub-chowk-revamp-triggers-fear-of-damage/articleshow/65528239.cms, Aug 24, 2018

With the state government according administrative sanction to demolish and reconstruct the famed Mahbub Chowk building near Charminar, structural engineers and heritage experts fear that excavation using heavy machinery will damage other heritage structures in the vicinity. Mahbub Chowk, a landmark market place of the Asaf Jah period, is dotted by historic buildings including the Chowk mosque, Chowk clock tower and Moti Mahal. The magnificent clock tower and the mosque that have been part of Hyderabad’s history and heritage were part of the well-designed market place of early and mid-Asaf Jah regime. Together with Lad Bazar, Charminar, Mecca Masjid and Charkaman, Mahbub Chowk formed a chain of heritage structures of old Hyderabad. The city civic body has decided to pull down the Mahbub Chowk building and reconstruct it. Heritage activists warn that digging deep into the earth or use of heavy machinery that causes vibrations would damage the clock tower and the mosque. Heritage rules state that there should be a gap of at least nine metres from the heritage sites for any underground excavation work. The clock tower was built in 1892 by prime minister Asman Jah. The mosque was built earlier by Khaja Abdullah Khan in 1817. Additions were made to the mosque by Nizam VI, Mir Mahbub Ali Khan, after whom the city square or market place was named. P Anuradha Reddy, convener of Hyderabad chapter of Indian National Trust for Art and Cultural Heritage (INTACH), said heritage sites around Mahbub Chowk building would be hit if a cellar is added to the proposed building. “It involves lot of digging and earth excavation close to historic sites. This will put sites in further peril if heavy machinery is used,” she said. Heritage experts also find fault with the “shoddy” restoration of the clock tower. They allege no scientific and technical restoration procedures were followed. Senior architect and engineer SP Anchuri, who is also a visiting professor of the School of Planning and Architecture (SPA), Jawaharlal Nehru Architecture and Fine Arts University, Hyderabad, said the restoration of clock tower will surely bring back the region’s glory. When one climbs on top of the tower, one can see a panoramic view of the rich cultural heritage of the city. He suggested that the repair programme must also be equally comprehensive. In the preservation of these markets, a scientific and holistic approach based on sound analytical models should be employed. “Proper development of understanding of the distress signs is of utmost importance,” he said, suggesting that the modern repair methods must be perfected in the laboratory before transferring it for field application. Anchuri said the government should involve structural designers to restore structural stability and life of heritage sites. There should be a comprehensive research programme. “Our Hyderabad heritage structures are reminders of civilization, which flourished in this great culturally rich region. These must be preserved,” he said.

- https://timesofindia.indiatimes.com/city/hyderabad/mahbub-chowk-revamp-triggers-fear-of-damage/articleshow/65528239.cms, Aug 24, 2018

The Indian National Trust for Art and Cultural Heritage (INTACH) has begun the process of listing Punjab’s heritage buildings, which were constructed before Independence. After preparing the list, INTACH will send it to the state government for a formal gazette notification, following which the next phase of the project i.e. conservation of these buildings will begin. While the project is currently in its initial stage, the detailed listing, including preparation of site plans, has begun from Jalandhar where around 300 buildings have been identified. Two of these building are under the care of the state government and 13 under the Archaeological Survey of India (ASI). General Balwinder Singh (retd), convener of the state chapter of INTACH, said: “There will be numerous such buildings in the entire state. We are starting from the scratch as a detailed listing hasn’t been done earlier and many of these buildings could be under private hands. Many are completely neglected or in ruins.” A team, including Shradha Arora, programme associate, INTACH Heritage Academy; Richa Pandey, research assistant; Navin Piplani, principal director; and Mallika Passi, conservation architect, is currently coordinating the training of students for the documentation of heritage buildings. Students of Lovely Professional University (LPU) too have been roped for documenting/listing of sites. Dr Narinderjit Kaur, head, architecture department, LPU, said: “We have got a huge task in our hands. The students have begun mapping the Nurmahal Serai, which will take a few more days. The listing of all buildings in Jalandhar is expected to take four to five months.”

- https://www.tribuneindia.com/news/punjab/intach-starts-listing-state-s-heritage-buildings/641902.html, Aug 24, 2018

As a part of Heritage Awareness Programme, Centre for History and Culture of Jammu and Ladakh Regions (CHCJLR), University of Jammu organised INTACH Heritage Quiz – 2018 here on Tuesday. The quiz was organised in collaboration with Indian National Trust for Art and Cultural Heritage (INTACH) – Jammu Chapter. About 120 students from various schools of Jammu participated in the written as well as oral rounds with variety of questions on the tangible – intangible, natural heritage of India, J&K State and Jammu region. Prof. Manoj Kumar Dhar, Vice-Chancellor, University of Jammu was the Chief Guest of the event, who appreciated the efforts of INTACH – Jammu Chapter and Centre for History and Culture of Jammu and Ladakh Regions (CHCJLR), University of Jammu for creating awareness amongst the younger generation. Prof Dhar awarded the prize to the winning team APS Jammu Cantonment of city round of ‘INTACH Heritage Quiz – 2018’ and also distributed certificates to all the participating teams. Prof Jigar Mohammad, Dean Research Studies, University of Jammu was the Guest of Honour who encouraged the students to connect with the heritage of the nation and with their cultural roots by knowing about the rich history of the nation. Others present on the occasion were S.M Sahni, Convener INTACH Jammu Chapter, Prof. Anita Billawaria, Director, CHCJLR and Dean Faculty of Social Sciences, Prof R.K Rampal Head Department of EVS, Prof Anil Raina, Prof Sudhir Singh, Abhimanyu, D.S Billawaria, Satwant Singh Rissam (Event Coordinator INTACH), Rajesh Sharma, Parmjit and Sapna.

- http://news.statetimes.in/ju-hosts-intach-heritage-quiz-2018/, Aug 28, 2018

The fifth edition of the INTACH Heritage Quiz Competition for schools was held at the Don Bosco Institute for Development Learning (DBIdl) on August 28 organized by INTACH Nagaland Chapter. A press release from INTACH Nagaland Chapter state convener, Sentila T. Yanger stated that over 60 students from various schools of Dimapur participated in the competition. After two series of competitions on written and oral rounds, team of Amunu Assumi and Onukunu Luho from Charis High Academy, Chumukedima emerged as the winners. The winning team will further proceed to the national round at New Delhi later in the year to represent the state in the national finals organized by the Indian National Trust for Art & Cultural Heritage –INTACH New Delhi.

- http://www.nagalandpost.com/intach-chapter-conducts-quiz-competition/180676.html/, Aug 28, 2018

The Delhi chapter of the Indian National Trust for Art and Cultural Heritage (INTACH) has prepared a detailed project report of Hastsal Minar, also called "mini Qutub Minar" and is awaiting permission from the state department of archaeology to restore it. A broken narrow staircase next to Rajesh Kumar’s house in Hastsal village leads to a dumping ground where hens run amok amid plastic waste and vegetable peels, surrounded by two-storey brick homes. In the centre stands a 17th century hunting lodge, with graffiti on its walls and pieces of its red sandstone fallen on the ground. This is Hastsal Minar — which looks similar to the Qutub Minar — and is believed to have been built by emperor Shah Jahan, and is in desperate need of restoration. “Officers come here and take stock of the damage, and then assure us that it will be restored, but nothing has happened. Once a block of red sandstone of the second-floor chhajja (balcony) fell…it’s still there on the ground. Luckily no one was injured at the time, but it can happen again…what if it falls on us or the house?” asked Kumar (52), who has lived in the house his whole life. The Delhi chapter of the Indian National Trust for Art and Cultural Heritage (INTACH) has prepared a detailed project report of Hastsal Minar, also called “mini Qutub Minar” and is awaiting permission from the state department of archaeology to restore it. “We have put Hastsal Minar in the list of monuments that have to be restored in 2018…it will happen this year,” said Vikas Maloo, Head of Office (Department of Archaeology). This is a state-protected monument and grade-I notified heritage structure, along with another 774 structures, as per the Urban Development department. Over the years, two-storey buildings around the monument have sprouted from the ground, and it has automatically turned into a dumping ground. Ajay Kumar, projects director, INTACH-Delhi said, “It’s in a terrible shape and as per the report, we just want to consolidate it so that it doesn’t decay any further. We will replace the red sandstone wherever it’s missing, clean up the building and remove the graffiti and secure the minar.” Hastsal Minar, built using lakhori bricks, stands tall at 16.87 metres on a raised platform, has three storeys, each with a reducing diameter, and is accessible through a narrow staircase. Just like the Qutub Minar, each storey is surrounded by an octagonal ring with red sandstone chajjas. The residents have always only seen the three storeys of the monument. Even early 20th-century historian Zafar Hasan documented it as a three-storey broken structure. He wrote, “Locally it is said that it originally consisted of five storeys and was crowned by a domed chhatri but the two topmost storeys subsequently disappeared…the statement that it was originally five-storeys high does not seem to be true, possibly it was topped by a chhatri which is not now existing”. For 11-year-old Vineet and Monu, the monument is a playground. “There is an underground tunnel from here to Bara Dari, the haveli a few houses away. My grandmother told me about how all the children used to climb to the top of the Minar and play there…no one lets us enter the Minar,” said Vineet, who was convinced till recently that this was the Qutub Minar itself. Kumar, the keeper of keys, is, however, awaiting restoration work to begin at the earliest.

- https://indianexpress.com/article/cities/delhi/delhi-hastsal-minar-mini-qutub-minar-facelift-shah-jahan-5329941/, Aug 28, 2018

The heritage walk from Vickramamangalam to Kovilpatti villages in Madurai, conducted for students in the city as part of ‘Heritage 2018’, the 7th edition of the heritage festival of Dhan foundation showcased the rich cultures of these villages. “Culture signifies our self-respect and dignity, which must be protected and preserved,” said Arvind Kumar Sankar, convener, INTACH, Madurai, who participated in the inauguration of the two-day programme. The aim of the programme is to instill interest in students to preserve their heritage, said M P Vasimalai, executive director of Dhan foundation. Villages performed cultural events and welcome the students and guests who came to their villages in Vickramamangalam and Kovilpatti. The exhibition put up by them showcased crops that are cultivated locally, herbs available there and their usage. “As a student of nursing, I have never had an opportunity to participate in an event like this, but after visiting the villages, I realised that the health and traditional diets and food have a close relationship,’’ said M Divya , a third year students at the CSI Jayaraj Annapackiam College of Nursing. A book on heritage of the Maruthoya Easwaram Udayar temple in Vickramamangalam village was released at the event and archaeologist Dr V. Vedhachalam said that the community should take part actively in participate protecting heritage structures in their villages. V P Kannan, member of the committee that was formed to protect the temple, said that details of sculptures of this temple, like eyebrows of the statues had been made with such details that the hair on the brow can be seen. “I don’t think sculpting like this is possible in the modern days, which is a big reason to protect the structure,” he said.

- https://timesofindia.indiatimes.com/city/madurai/heritage-fest-stresses-on-significance-of-protecting-monuments/articleshow/65546635.cms, Aug 28, 2018

Indian National Trust for Art and Cultural Heritage (INTECH) state Chapter organised a two-day photography exhibition on the life of the Maharaja at the auditorium of Ujjayanta Palace and State Museum yesterday. Opening the exhibition, Tribal welfare minister Mebar Kumar Jamatia said the people of Tripura still remember the contribution of Bir Bikram Manikya in the development of Tripura, and the BJP-IPFT government respectfully recognize it. "The royal family of Tripura has a long history which is unknown to many of us. The state government has taken initiative to build up new Tripura in coordination with the tribal and nontribal people beyond narrow communal politics,"Jamatia stated. Eminent personality and close associate of the Tripura Royal family, Mr Dhabal Krishna Debbarman said,“Maharaja was not only a good administrator but also a humanist, a foresighted person with strong sense of democracy. He was a poet with multifaceted talent.” Information and Cultural department of Tripura has also organised a workshop to revive the past of the Manikya Dynasty in Tripura as part of the celebration of 110th birth anniversary of Bir Bikram Manikya.

- http://www.uniindia.com/exhibition-opens-on-last-king-of-tripura/states/news/1331183.html, Aug 28, 2018

Built in 1901, Ranbir Club was designed as skating rink, cultural centre In Sangrur, it is part of folklore how the wooden flooring of the skating rink at the heritage Maharaja Ranbir Club was procured from abroad, and how workers and carpenters came from China to install this unique architectural design towards the end of the 19th century. The district administration, however, has a different plan for the heritage club — opening a liquor bar, a move that has irked heritage lovers as well as residents no end. The club’s management —with the Deputy Commissioner as head — has signed an agreement with a liquor firm to open a micro-brewery. “The club was built in 1901 by Maharaja Ranbir Singh. It was designed as a skating rink and cultural centre. The aesthetic look has deviated due to the surrounding new building which is going to house the brewery,” says Karamvir Singh Sibia, chairman, Sangrur Heritage Preservation Society. The modifications in the club area have been done despite the fact that the main building has been designated as a heritage building under Sangrur’s Master Plan (2010-31). Once a building is categorised as heritage, it gets protected from new development and “construction or removal or cutting of any wall or part of the building is prohibited”. Dr Sukhdev Singh, Punjab convener of the Indian National Trust for Art and Cultural Heritage, had written to the DC that the original objective of the club was to conduct sports and cultural activities. “Opening a pub is contrary to the spirit.” Minister for Cultural Affairs and Tourism Navjot Sidhu, when contacted, said it was unfortunate that such a beautiful building was being turned into a pub. “The government is committed to preserving each and every heritage site. We will try to notify the building as a protected monument,” he added. “It’s disheartening as the president of the club instead of ensuring peace to the residents adjoining the club has allowed to open a bar in an illegal structure within the heritage building. The firm has been given a free hand to carry out renovations. All the representations have fallen on deaf ears,” says Jasinder Sekhon, who lives in the vicinity. For making changes in the building structures without approval, the Municipal Committee’s Executive Officer had last month even served a show-cause notice on the club’s management for violating Sections 195 and 195-A of Punjab Municipal Act 1911. But it was later withdrawn. However, Deputy Commissioner Ghanshayam Thori said the Executive Officer, in his letter dated July 25, had said that fresh approval was not required as it was internal deviation. “The Assistant Town Planner has given us in writing that it is not a heritage site. We have deposited property tax of the last three years, the sewage connection has been regularised, NoC of fire safety has been procured and also licence for a liquor bar. I will ask the general secretary of the club to look into the matter and sort it out legally,” he added.

(With inputs from Parvesh Sharma in Sangrur)

- https://www.tribuneindia.com/news/punjab/heritage-site-to-get-bar-sangrur-upset/643442.html, Aug 28, 2018

Two stone inscriptions dating back to 13th century of the late medieval period was discovered near Trichy. It reveals details on agreements signed between temple authorities and the then administrators. A team of epigraphist from Dr M Rajamanikkanar Centre for Historical Research stumbled upon the two inscriptions and also found a land measure with the label inscription at the Venugopalar temple of Uttamasili near Trichy. The present structure of the temple, which is at the distance of 12 km from Trichy on the Kallanai road, belongs to the later Chola period. Its two storeyed vimana and the sculpture of the former presiding deity are standing examples of later Chola art. “Among the two newly found inscriptions, the one engraved on the eastern wall of the mahamandapa of the main shrine belongs to the 8th regnal year of Maravarman Sundara Pandya of the second empire. “This 13th century record appears to be an agreement signed between the temple authorities and the administrators,” said a team member R Akila, adding that that the record mentions Uttamasili as a brahmin village situated on the south bank of Cauvery included under Vilanadu in Pandikulapathi Valanadu. “The administrators of Misenkili Nadu - included under Jayasinga Kulakala Valanadu along with the agriculturalists of temple and army lands- came to an agreement with the temple administrators regarding certain issues of Senkanivaynallur, a village donated in the name of the god,” said another member M Nalini. “It was accepted to undertake agricultural activities on all the seasons in certain areas of the village after deforestation,” she said. “Uttamasili was a brahmadeya (tax free land gift given to brahmins) named after the son of the great Chola king Parantaka-I in the early 10th century of the common era,” said director of Dr M Rajamanikkanar centre for Historical Research Dr R Kalaikkovan. The second inscription found on the north basement of the mahamandapa belongs to CE 1517 and is incomplete in nature. It has sanskrit words inscribed in grantha letters and praises Lord Ganapathy. A land measure was also discovered on the south base of the mahamandapa. It is marked between two plus marks and measures 2.18 m in length.

- https://timesofindia.indiatimes.com/city/trichy/13th-century-stone-inscriptions-found/articleshow/65555201.cms, Aug 28, 2018

A 16th-century tomb in the densely populated Savitri Nagar area is a rare unprotected monument identified for a makeover and protection by the Delhi government’s department of archaeology. Nobody knows who’s buried in the tomb, but its architecture suggests it belongs to the Lodhi era. Experts say this can be deduced from its unique ornamental features, and the tomb probably dates to 1507 when the nearby tomb of Shaikh Alauddin came up. The tomb’s structural condition is sound, but its interior has been serving as a makeshift godown and storage area. The government wants to take over, protect and conserve it under Delhi Archaeology Act, 2010. “This will be taken up under Phase IV of the government and Intach Delhi Chapter’s conservation plan. There are 19 buildings in this proposal and work will begin in a few weeks,” said an official. Most of the chosen monuments pose a challenge as they are mostly located in remote, densely populated areas, making conservation difficult. “The conservation work has also generated interest and awareness among communities living in the areas. In many cases, age-old encroachments have been removed with the support of local authorities. While the architectural documentations have become a wealth of information and documentary record, the process of conservation has trained masons, craftsmen in traditional building methods and also resulted in tremendous capacity building of all officials and professionals involved,” said an official. Detailed project reports are being prepared for these 19 monuments that involve comprehensive documentation, condition analysis and archival exploration. A detailed description and assessment of each monument is prepared along with estimates for the work. The document provides a thorough understanding of the monument and guides the conservation work. It also becomes a documentary record for the future.

- https://timesofindia.indiatimes.com/city/delhi/unknown-tomb-in-south-delhi-set-for-makeover/articleshow/65568537.cms, Aug 28, 2018

The State has 2,731 government schools that were established more than hundred years ago. Their condition today, however, belies Karnataka’s commitment to education then at a time when India was still fighting for Independence. A majority of the schools are in dire need of a facelift as well as an upgrade in their infrastructure. Many of these buildings’ roofs have developed cracks, and the dilapidated classrooms are not usable during the monsoons. Chief Minister H.D. Kumaraswamy had stated in his budget that these schools would be given a facelift in a phased manner. A sum of ?5 crore was allocated to improve a hundred schools and the government order was issued recently. However, when divvied up, each government school will get an average of ?5 lakh, which is not enough. The money allocated to improve these heritage buildings has been criticised by heritage experts and architects. Conservation architect Pankaj Modi said that ?5 lakh per school was a good start to carry out “urgent repair works in a building that required immediate attention”. He, however, pointed out that the deeper restoration work would require more funds. “Depending on the extent of the problem, a three to five classroom school would require funds ranging between ?15 lakh to ?25 lakh,” he said. A headmaster of a government high school, which has completed 100 years, said that the contractors had given an estimate of ?50 lakh to carry out restoration work of the school. “The school is in a shambles and nearly four classrooms cannot be used when it rains as the rainwater seeps in the classrooms. We are forced to combine classes and teach the students as children cannot be made to sit in the rooms,” he said. The restoration of Fort High School, which began in April this year, is being undertaken by INTACH at a cost of ?2.4 crore. Mr. Modi, however, said that the school was very large compared to other government schools as it had 28 classrooms, labs and an auditorium. Primary and Secondary Education Minister N. Mahesh said that they would also seek support of non-governmental organisations and elected representatives to give a facelift to these century-old buildings.

- https://www.thehindu.com/news/cities/bangalore/heritage-schools-in-dire-need-of-a-facelift/article24814186.ece

, Aug 29, 2018

The government has asked Delhi-based NGO, Indian National Trust for Art and Cultural Heritage (INTACH), to document the cultural heritage of Ganga from Gaumukh in Uttarakhand to Gangasagar in West Bengal. Under a plan, approved by the National Mission for Clean Ganga (NMCG), INTACH will document the river’s associated cultural narrative, including features like an annual calendar of events and rituals. This will cover archaeological, cultural and environmental heritage linked to the river and the people living along its banks. “The proposal seeks to develop an appreciation of the river as a cultural stream embedded in the soul of India, by documenting its associated cultural narrative,” said an official statement of the NMCG’s on its latest approvals of various plans relating to Ganga rejuvenation. Besides the INTACH plan, the NMCG in its executive committee meeting on Tuesday also approved projects worth nearly Rs 150 crore for Uttarakhand, Uttar Pradesh, Bihar and West Bengal under the ‘Namami Gange’ programme These projects include an Interception and Diversion (I&D) project for Rispana and Bindal rivers in Dehradun at an estimated cost of Rs 60 crore. Once executed, this project will tap 117 drains which currently carry untreated waste water. The development of ‘Ghats’ in Mirzapur, Uttar Pradesh was also approved at an estimated cost of Rs 27.41 crore under the Clean Ganga Fund. The project includes the renovation, extension and widening of the ‘Ghats’ as well as provision of amenities, landscaping and embankment construction. For Bihar, NMCG approved a 3.5 million litres per day (MLD) capacity sewage treatment plant (STP) for Sonepur at an estimated cost of Rs 30.92 crore. Besides, the executive committee also gave its approval to upgrade Ghats and crematoria at Katwa, Kalna, Agradwip and Dainhat in West Bengal at an estimated cost of Rs 8.58 crore.

- https://timesofindia.indiatimes.com/india/government-asks-delhi-based-ngo-intach-to-document-the-cultural-heritage-of-ganga/articleshow/65606427.cms

, Aug 30, 2018

‘Heritage Quiz 2018', which INTACH conducted for schools in Delhi-NCR to widen the scope of heritage education, attracted 88 schools and nearly 245 students. The quiz was conducted by the Heritage Education and Communication Service division of INTACH. According to a statement, Indian National Trust for Art and Cultural Heritage (INTACH)is conducting the Heritage Quiz 2018 for schools across the country. In the Delhi-NCR quiz conducted on Monday, the winners of the 'Delhi Finale Round' were Mira Model School and Delhi Public School, Mathura Road and they qualified for the next round. The winners were Cambridge School, Noida who would proceed to the National Finals. The certificates and award books were handed out to all the winners who had qualified for both, the Delhi and the Delhi-NCR finales by INTACH Chairman, Maj. Gen. (Retd.) LK Gupta.

- http://www.thehansindia.com/posts/index/National/2018-08-31/Heritage-quiz-attracts-88-schools-in-Delhi/408900, Aug 30, 2018

Students at the government schools had a field day on Wednesday as the institutes observed it as a National Sports Day on birth anniversary of Indian hockey wizard Major Dhyan Chand. “Kotla chapaki jumme raat ayi ae, jehra agge picche vekhe ohdi shamat ayi ae” sang students while playing “Kotla chapaki” the game that used to be played in the days of yore in almost every street of the state. There was nostalgia, excitement and chaos at the Government High School, Sarabha Nagar. Even though the open space was limited children played heritage games, including pithoo, rumal chukna, masaula ghodi, chakkar wali khoh-khoh, langdi tang, anna jhota, khoonja napna etc. Apart from that a mini marathon, painting competitions regarding energy conservation etc were also held on the occasion. Interestingly, at government schools in the city, as most of the students are kids of migrants, enjoyed playing games for the first time. “I liked ‘chooha daud, billi ayi’ as I caught my classmates easily,” said Priya, a Class VI student.

- https://www.tribuneindia.com/news/ludhiana/heritage-games-add-colour-to-nat-l-sports-day/644892.html, Aug 30, 2018

What would it have been like to be a vegetable-seller during Kempegowda's time or a teacher during the British rule? How did ordinary people go about their lives during the Hoysala and Vijayanagara periods? These were some questions put to a group of class VII students of Government Urdu School in Goripalya. For students, it was a novel experience to put themselves in the shoes of different characters and travel back in time. The special class on the city’s heritage and history was conducted by volunteers of the heritage conservation group Indian National Trust for Art and Cultural Heritage (INTACH). As part of a pilot project, the non-profit organisation is teaching the city's cultural and heritage history to children in this government school. INTACH plans to expand the project to other schools. “We have been conducting sessions in private schools, but we wanted to take it to children in government and aided schools too. With the help of Mantra4Change, an NGO working to improve quality of education, we identified the school in Goripalya. We have conducted two classes and the response has been great,” said Meera Iyer, co-convenor, INTACH. The idea behind the session is to familiarise students with the local history. “Textbooks talk about history in a larger context. The little histories of various places is forgotten along the way. We want students to know about these histories, of not just kings but also the common man. They should be able to identify with the place they are living in,” said Pallavi Murthy, an architect and INATCH volunteer, who has been teaching the children. INTACH has created a six-week module for the students, in which every aspect of Bengaluru's local heritage will be covered, including forts and places, lakes and natural history, geography and its people. Classes are conducted once a week. “The modules are being taught through the medium of games, scenario building and videos. We will also be discussing ways to conserve and preserve this history. After the six-week classes, the children will be taken on a field trip to the nearest heritage site,” said Ms. Murthy. Based on the feedback, INATCH plans to replicate the module in other government and aided schools. “We hope to instil better understanding of our heritage in children and the value of preserving it.”

- https://www.thehindu.com/news/cities/bangalore/going-beyond-kings-the-history-of-the-common-man/article24822538.ece, Aug 31, 2018

howcasing exhibits in fresh and interactive ways is bound to awaken the curiosity of a community, and encourage engagement. Alice Agarwal underlines the role of museums in cultivating an interest in, and preserving, our heritage

Windows To New Cultures

A visit to a museum is a search for beauty, truth, and meaning in our lives. Go to museums as often as you can.

-Maira Kalman

Museums — as a defined concept — originated around the 18th century. Their purpose then was to act as indicators of the glorious past of the European rulers. Soon, with colonisation, museums proliferated around the world and, with time, started shifting from being mere repositories of valuable objects and began practising a more systematic and researched approach to present their preserved collections. They gained popularity as trusted institutions that also provided training, workshops and much more around their focus topics. Today, a museum acts as the face of the community it represents and is a window to new cultures for the tourist. And, with the rapid growth of the tourism industry, there is an increased pressure on both the performance and growth of museums. This is really where the idea of ‘museum culture’ germinates. Almost every major city possesses one or more museums. And the shift in attitudes of people regarding culture and museums has rendered this era to be known as the second golden age for museums — the first one was in the 19th century. Local museums worldwide have morphed into community spaces and offer their visitors a window into the culture of the place and the identity of the locals. This creates a sense of respect for diverse viewpoints while sharing information and ideas honestly. The museum — its design and the practices that make it a trusted institution for the public — must hence address the expectations and needs of its people. The anomalous increase in the number of museums and expansion projects internationally over the last decade is definitely a good sign. Major organisations like the Archaeological Survey of India, the Indian National Trust for Art and Cultural Heritage have been working towards the conservation of India’s heritage. Some of the best museums in India like the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai, and the City Palace Museum, Udaipur, work hard and successfully at maintaining quality and authenticity, and aim to create captivating experiences in their space. But, the tourism potential of our country has not yet been exploited fully. And this is perhaps the reason why museums — which are treasure troves of information — in many cities still struggle to get their share of visibility. A conservation process is redundant without the participation and involvement of its community. City museums in India still battle to create a sense of value among the local citizens. While visiting most museums, both as an architect and a heritage manager, it was painful to see the number of visitors. I was the only one in most city museums I went to, even on weekends. Are our attitudes towards our heritage the problem — or is it the lack of awareness or maybe both? The magnitude of the problem is evident from the number of citizens who are getting into professions geared to protecting our heritage and museums. Improved research and creating a sense of wonder and curiosity through interactive exhibits that are both creative and relevant, are inviting more Indians into museums, and inspiring a sense of responsibility for the maintenance and conservation of cultural resources.

A Case For Dynamic Interactions

Museums should be places where you raise questions, not just show stuff.

-William Thorsell

Indian museums primarily rely on revenue through tickets for funds. Unfortunately, the word ‘museum’ automatically creates a mental barrier for some prospective visitors, who imagine an overwhelming and passive experience — something similar to a school trip they may have undertaken. A 2017 report called Culture Track by the marketing firm LaPlaca Cohen suggested that participants would much rather be entertained than educated, and that they preferred social interactions, as opposed to quiet reflection when attending cultural events like exhibitions. The study also found that 81 per cent of responders wanted digital experiences when visiting museums. To understand the role of design in any structure is to appreciate that dynamic spaces gain their meaning from the objects they host, the people who visit and the interactions that take place in them. So, even though designing a space of substance is a privilege, it also becomes a big challenge. Museums should be able to clearly address the context they are set in while catering to the intellectual and physical needs of their visitors.

Immersive Engagements

A museum is a place where one should lose one’s head.

– Renzo Piano

With the shift in the way museum professionals now think about visitor experiences, we work towards creating a vital dialogue between the museum and the community itself, to provoke and encourage more visitors in the premises. For a fellowship supported by the India Foundation for the Arts and the Tata Trusts, I am developing an exhibition for the Deccan College, Archaeology Museum. In the process, we are not only considering different ‘learning’ or sharing styles, but also displays that are friendly to the needs of people with disabilities to give them a more immersive experience. It will apply ‘experience design’ — the visitor’s experience will be curated from the moment they enter the venue right up to the moment they leave, allowing them to fully exploit all the features of this exhibition. Dr. Vasant Shinde, vice-chancellor at the Deccan College Deemed University, says, “A museum is not just a space to display objects, but is a place of learning. Visitors learn about their ancient heritage that includes culture, traditions and knowledge systems and their contemporary relevance. People’s participation in the process of conservation is integral, and we expect to encourage that through this exhibition.” What is important is to realise that a museum, through its design and interpretation, should allow the visitor to think. Visitor footfalls and engagement are directly related. Footfalls talk about the tangible — the number of people coming to the institute and the revenue. Visitor engagement, on the other hand, refers to the intangible — the willingness of an individual to learn something new and the tools one can use to motivate them. In practice, we spend hours studying and understanding our audiences and their needs; we are attempting to create better communication channels with the community for feedback, to apply more immersive and sensorial experiences and reach out to expand the museum-going community through events and workshops. It is also important to mention here that when we speak of communities, all the museums and heritage-related organisations need to collaborate and work together towards achieving the common goal of having aware and involved citizens.

- http://www.vervemagazine.in/arts-and-culture/putting-the-muse-in-museums, Aug 31, 2018