Soaring pollution levels, crippling floods, quivering Richter notes to scores of environment laws awaiting their implementation - this, in short, was India's environmental standing this year. As alarming as the climatic challenges posed to the nation have been, India is still found struggling to find the right laws to fight climate change, experts say.

India witnessed a challenging year in terms of its environmental conditions, starting the year with a title its capital city New Delhi earned last year - the world's most polluted city according to the World Health Organization - which it retained this year as well. Delhi and cities surrounding it have surpassed the pollution levels of Beijing, which was the most polluted in the world until Delhi took its spot.

Pollution surfaced in unexpected ways - like a lake in Bengaluru turning toxic and frothy with the industrial pollutants being mixed with the water. This incident caught not just national attention but that of the whole world. The country's northern part was known to have exceeded pollution levels at many times of the year, which should have triggered a 'red alert' had it been in another country, according to the environmental organization Greenpeace. "If India had an air quality monitoring system as robust as that of Beijing, a large portion of North India would have been on red alert for as many as 33 days," the NGO said recently, pointing to the necessity to establish stronger air monitoring systems across the country.

Even before the start of winter, which usually greets the Northern states with hazy skies and smog covered days, the entire belt of Punjab, Haryana, Delhi and Chandigarh choked in smoke due to the paddy field fires - the smoke affected the country's climate for weeks, according to environmentalists. But, according to Delhi-based environmentalist Vikrant Tongad, the year also saw the issue of air pollution being heard on a national and global level.

"The year saw some initiatives which were much needed to be addressed: like methods of tackling air pollution, making clear India's stand to fight climate on a global level et al, but solutions for the issues still remain to be found," Tongad told IANS.

Tongad said India never had such an "active" stance at the crucial UN Climate Change Conference, in standing up for the developing countries, as it had this year at the 21st Conference of Parties (CoP 21) held in Paris, he said. There are however some gaps in the deal signed, he added.

India, which had committed to cut its greenhouse emissions up to 35 percent by 2030, also pioneered the alliance of 120-odd nations to form the grand solar alliance, a move to harness solar energy better. India also bore a stern face in saying that the developed nations must contribute their part to reducing emissions and raising $100 billion a year to help developing ones.

Indian interlocutors, who have been holding pride for introducing the terms "sustainable lifestyle" and "climate justice" to the preamble through Prime Minister Narendra Modi, have received criticism from the Centre for Science and Environment (CSE) and other environment bodies for having no operational parts of these terms in the text, and hence no commitments.

CSE also felt that India will be under constant pressure to take more of a burden for mitigating climate change by 2020 and beyond, especially when the next review of all the nationally-determined contributions of countries take place.

As India made these commitments in Paris, the country's northern states remained fighting smog, while a majority of southern ones battled extreme untimely torrential rains that led to huge floods.

The rains, which lasted for over a week, lashed Chennai and other areas of Tamil Nadu and Andhra Pradesh. Besides drowning a major portion of Chennai in flood water, many parts of Tamil Nadu were severely affected due to flooding. These rains, which were the heaviest Tamil Nadu received in over a century left at least 169 people dead in the state, and 54 dead in Andhra Pradesh. With public transport, residences, office buildings and crops affected, Tamil Nadu has been struggling to get life back to normalcy.

Union Minister for Forests, Environment and Climate Change Prakash Javadekar termed the floods as "not a part of climate change" and said that they were a "localised event" and a "natural calamity,” which the environmental groups rejected. According to CSE, "unregulated urbanization and climate change-induced extreme weather" were the reason behind the flood crisis in Tamil Nadu and other states.

But this year it was quite commendable to see Indian courts taking active stand in pushing for cleaner air and to act against pollution, Tongad added, referring to the Delhi High Court asking the Delhi government to take stricter steps to battle the city's pollution. "It seems we are living in a gas chamber," the court had said, asking the Delhi government and the Centre to immediately act on reducing pollution in and around the capital. The Supreme Court's recent decision to ban diesel vehicle registrations in the National Capital Region for three months and surrounding towns is also a much needed move, to fight a large amount of pollution caused by diesel vehicles, environment groups said.

This step has brought the whole nation's attention to fighting for a clean environment, he said. Following the Delhi High Court's orders, the Delhi government undertook the initiative in the capital to ration road space, allowing even and odd numbered vehicles to ply only on alternative days. But an initiative like this needs to be thought through, as it could lead to the people going for a second car, the National Green Tribunal said.

Instead of having laws which safeguard environment, the current government's attempt to amend the environment laws so as to allow better investments and bigger companies to be housed in the country is a scary move, environment activists said.

According to Environment Support Group, a Bengaluru-based trust which works to safeguard environment, the Draft Environment Laws (Amendment) Bill 2015, dated October 7, 2015 - which could perhaps be presented before parliament in the budget session - allows the government to "relax environment laws for better investments.” The draft, according to ESG, "pushes laws through the backdoor,” and has been proposed by private firms Ernst and Young and Amarchand and Mangaldas and Company, whose interests are majorly "economic and environmental,” said Bhargavi S. Rao, coordinator of the ESG.

"The country has been regressive in the past few years in terms of environment law amendments taking away right to participation from the communities. We have brought down our standards in terms of pollution tackling. Amendments which are being proposed could bring a disaster to the country. The amendments itself are violating environment principles in the name of development," Rao told IANS.

- http://www.indiawest.com, January 1, 2016

The new year brings with it fresh challenges for the planners, especially on the execution front that demands huge funding from private players.

In October 2016, cities across the world will come together at the United Nations’ Habitat III in Quito to decide on the priority areas for international development funding to cities over the next two decades and secure political commitment towards the cause of sustainable urban development. According to the UN, by 2030, Indian cities will have an estimated population of 583 million people, accounting for 18-19 per cent of the global increase in urban population base. Hence the contours of urban development that India unveils at the meet will impact global averages in terms of indicators such as access to sanitation, water supply and urban sprawl among others.

2015 marked a tectonic shift in urban policy not because it saw the launch of three major urban and housing missions by the NDA government six months ago with a central investment of Rs 4 lakh crore but due to the fact that much of these policies were tailored to generate a large chunk of financing from the private sector.

Only 20 per cent of the funding for the Smart Cities mission, 10 per cent of the funding for Pradhan Mantri Awas Yojana (PMAY) for constructing 2 crore affordable houses by 2022 and 50 to 33 per cent of funding for the Atal Mission for Rejuvenation and Urban Transformation (AMRUT) are to be met through central funding. The rest is to be infused by the states and urban local bodies largely through private investments. The returns on the private investors are to be claimed through increased user charges, revenue sharing models or through monetisation of public land. While it still remains to be seen as to how much private funds will flow in the urban sector, it has also raised several concerns about the safeguards to ensure inclusiveness for the urban poor in policy implementation. Already the ministry’s record in ensuring night shelters for the scores of largely migrant homeless population is abysmal—only 70 such new shelters have been made operational in 2015 despite.

While none of the newly launched three missions have yet taken off on ground, 85 of the 100 Smart Cities have submitted their plans, sanctions have been accorded to 474 of the 500 AMRUT mission cities and under PMAY, 4.23 lakh houses in 243 cities across 11 states have been approved.

The Prime Minister’s pet Swacch Bharat Mission is way below mark for urban areas as only a fraction of the year’s target of 25 lakh individual toilets and 1 lakh community and public toilets have been constructed so far. The same is true when it comes to achieving 100 per cent collection, disposal and processing of waste. Here too, of the total project cost of Rs 62,009 crore, the private investment targeted is to the tune of Rs 42,512 crore.

One of the significant let-downs of the year has been the failure to enact the much-awaited legislation to regulate all transactions between home-buyers and builders in the real estate sector. The revised draft of the Real Estate (Regulation and Development) Bill, 2015 was finally passed by the union cabinet in December. However with the Rajya Sabha seeing a near wash-out this winter session, the bill could not be introduced on the floor of the House.

The next year will be crucial for defining the contours of urban development in the country as each of the missions launched this year will start taking shape on ground, especially the much-hyped Smart Cities which looks at application of technology to infrastructure and service provision. By the end of January, 20 Smart Cities will be chosen for priority funding from amongst those who have submitted their proposals. Under the Heritage City Development and Augmentation Yojana (HRIDAY), infrastructural will be provided to 12 chosen heritage cities including Amritsar, Agra, Mathura, Varanasi, Dwarka (Gujarat) and Puri. The year will also be the litmus test for seeing whether the model Rental Housing policy will have any impact on the entirely unregulated rental sector. “It is only in 2016 that we be able to test the waters with regards to whether we are able to mobilise resources from the private sector. As of now it looks difficult in case of AMRUT, but we are banking on it for the Smart Cities and Housing missions,” said a ministry official.

Smart Cities: Plans and their vision statements In December 2015, ninety-five of the 100 Smart City candidates submitted their plans to the Ministry of Urban Development. Within a month, twenty of these will now be chosen for priority funding. While the detailed plans are yet to be unveiled, the vision statements submitted by some of the cities captures the main thrust of their plans. The crux of most of these plans revolve around the same buzzwords: clean, green, economic hub, eco-tourism etc. Listed below are a few examples:

NDMC: Become a global benchmark capital city Chandigarh: Innovative, economically vibrant, accessible. Aligarh: Economically vibrant, environment-friendly city that conserves heritage Dahod: Multi-functional activity hub for tribals Ludhiana: Stress on promoting bicycles as transportation mode

Biharshariff: Tourism gateway

Bilaspur: To emerge as the cultural capital Gandhinagar: An institutional hub with a diversified economic base that provides an equitable setting for all to live

Rajkot: Sustainable, affordable, resilient and technology driven Surat: Equal access to best quality physical and social infrastructure and efficient mobility through state-of-the-art technology.

Dharamshala: To be a smart, sustainable and resilient city with a global imprint and enhanced quality of life for its residents.

Ranchi: To develop as an industrial centre through inclusive growth Mangaluru: To be a clean and green port city Hubbali-Dharwad: To be the growth engine of North Karnataka Kalyan –Dombivili: Facilitate a convenient living habitat for its citizens with excellent transit facilities Bhubaneswar: Promote responsible governance through participatory decision-making and open access to information and technology.

Oulgaret (Puducherry): Focus on tourism and green industry and the concept of ‘work-live-learn-play’ environment. Udaipur: Has coined the concept of ‘Eternal Udaipur’ wherein it will build further on its status as a lakeside heritage city

Tiruppur: To be a textile and apparel smart city

Dehradun: To establish the city as eco-friendly knowledge hub of the region Agra: To further consolidate as a world class heritage city with increased economic opportunities for all citizens. Saharanpur: Promoting and developing local arts and skills

- The Indian express, January 2, 2016

An exhibition on contemporary architecture in India will look at the profession through a historical and critical lens.

On the gate of National Gallery of Modern Art (NGMA), Mumbai, is a banner that reads: Does architecture matter? If you stop to stand and stare long enough to find an answer, you might realise that it clearly has fallen through the gap between heritage conservation and real-estate mechanics. It is this idee fixe that has prompted architect and academic Rahul Mehrotra, poet and cultural theorist Ranjit Hoskote, and editor of domus India magazine Kaiwan Mehta to curate “The State of Architecture: Practices and Processes in India” (SOA), a project by the Urban Design Research Institute in Mumbai.

The focus of the three-month-long exhibition (begins January 6), is post-Independence architecture, with a special emphasis on the last 20 years. Inside NGMA and at galleries in Kala Ghoda, this festival of architecture will explore the ambition of the profession, its relevance in society and the manner in which it is perceived. The curators have made a conscious choice to lift the discussions outside eye-candy private projects and focus on public buildings and how they affect the landscape. “We have identified a club of 10 buildings that have made a shift in the way architecture can be understood. Among these are Charles Correa’s Gandhi Ashram in Ahmedabad and Tara Housing in Delhi, the Embassy of Belgium in Delhi by Satish Gujral, the Indian Institute of Forest Management in Bhopal by Anant Raje and Raj Rewal’s Hall of Nations in Pragati Maidan. Some have been celebrated while others not so much,” says Mehta.

In an interview in domus India (December 2015), Mehrotra says, “The exhibition is both a historic unfolding as well as critical deconstruction.” There are three parts to it: data on education and media representation, and issues that face architects today; a historic overview, moving from the agenda of nation-building to regional obsession in the ’90s; and a registry of emerging practices, which includes 80 projects from around the country by architects under 50.

In addition, multiple satellite events across Mumbai include exhibitions, seminars, talks and film screenings. In March, for the first time in India, there will be the award ceremony of the Curry Stone Design Prize, which honours innovative design projects that address social justice issues. Architects from South Asia will arrive for the closing of the exhibition on March 20. Every week, there will be keynote lectures by multiple speakers including economist and writer Pratap Bhanu Mehta, architects BV Doshi, Romi Khosla, Brinda Somaya, Charles Benninger, Hafeez Contractor and Sen Kapadia, among others.

While “Vistara”, a travelling state-sponsored exhibition in the 1980s presented India’s rich architectural heritage, as did the “Architecture of India” exhibition(1985), SOA looks at contemporary projects. “It is a critical stocktaking of the role of the architect in India,” says Mehta.

Khosla, who will speak on Asian Modernism, says, “Currently, we neither have critics nor state patronage, which can lift the quality of architecture in the country. I would like the public to be severely critical of the profession and say that there is no great building and let architects introspect, can we remedy that? We might come away from the exhibition saying it’s all mediocre work which looks all European and American. But it might be a lesson in knowing that our architects should be sensitive about being Asian. If there is anything that the exhibition might show, it is that our compass is pointing the wrong way.”

- The Indian express, January 3, 2016

The first Srimanta Sankaradeva International Festival, comprising a range of events to showcase Sattriya culture and Sankari heritage, began here on the premises of Srimanta Sankaradeva Kalakshetra on Saturday.

The inaugural day of the six-day festival began with an exhibition depicting Sattriya culture and artistry formulated and propagated by 16th century saint and social reformer Sankaradeva.

An international seminar on the Bhakti Movement, with special focus on Sankaradeva, was the top draw. It was attended by French scholar Mathias Colouvn who spoke on Sankaradeva's influential scholastic contribution.

"It is indeed a matter of great pride for us to host a range of scholars and researchers who have spent much of their time understanding Sankaradeva and his contribution to society. Mathias Colouvn expressed his happiness to be here. He also said it was a learning experience for him to be here," said Surjya Hazarika, vice-chairman of Srimanta Sankaradeva Kalakshetra Society.

The seminar brought together 200 participants who read out papers on themes like Vaishnavite and Sankaradeva literature in the context of medieval India, the humanist approach of Sankari literature, art, music and paintings.

For the first time, a bhaona (play conceptualised by Sankaradeva) will be performed in French by a French theatre group from Paris at Srimanta Sankaradeva Kalakshetra on January 3. The performers will present a rendition of 'Parijat Haran', an Ankiya Nat (one-act play), under the tutelage of Bhabendra Borbayan, an exponent in this field.

- The Times of India, January 3, 2016

The Archaeological Survey of India (ASI), New Delhi, has brought together different hairstyles from over the ages from paintings, stone sculptures, wood-carvings, etc., and compiled them under the title Kesa-Vinyas — Hairstyles in Indian Art.

Besides hairstyles, it has also collected data on combs, kalibangan (Rajasthan), copper mirrors and rakhigarhi (Haryana) dating back to the Harappan period and on other tools used in hairstyling. Ancient texts have enumerated intricate and creative hairstyles and coiffure. The different styles are also mentioned in the Vedas, like opasa, kaparda, kurira, kumba, siman, pulasti, stuka, kesa, sikhanda, sikha, etc.

“Probably no other country has had so much imagination, thought and artistic genius applied to the art of hairdressing. Not only the common man, but gods and goddesses, semi-divine figures and nayi-kas have also been identified with their peculiar hairstyle,” an ASI official said. Siva and Parvathi wore matted hair, or jata, while Karttikeya has a tri-sikha kind of coiffure. Buddha himself is shown with curly hair in the early arts while wavy hair is a speciality of the Gandhara School of Art.

Satpatha Brahmana and Asvalyana Grihyasutra mention that the loose topknot was a sign of mourning. Buddhist literature Chullavagga Jataka and Milindapanho have fine descriptions of toilet procedure. Natyasastra, meanwhile, mentions that women adopted hairstyles according to diverse geographical regions.

Amaravati (Andhra Pradesh) sculptures reveal a variety of hairstyles of the Satavahana period. Both men and women appear in the reliefs with different hairdos.

The stupa at Kanganahalli (Karnataka) depicts many scenes of worship wherein diverse types of hairdos are delineated.

The Ajanta murals too portray a large variety of hairdos. Royals, peasants, warriors and foreigners have different kinds of hairstyles.

In Deccan, women were very fond of styling their hair. The hairstyle of women of the lower classes (even those belonging to the menial orders) or peasant women could be as elaborate as those of upper-class women. During the Vijayanagara period, there was a decline in art, though it was full of exuberance. Aesthetics of the long-braided traditional South Indian lady’s sculpture amaze everyone till today.

- The Asian Age , January 3, 2016

A team of historians and archaeologists has set off to unearth the mystery revolving Chandravati, an ancient city, which had been the capital of the Abu branch of the Parmars. Chandravati popularly known as Chandroti is today a small village situated to the south of the Abu Road station on the Ahmedabad-Delhi route located on the main highway.

The third consecutive season of excavation at Chandravati near Abu Road has begun which is a joint project of JRN Rajasthan Vidyapeeth, Udaipur and department of archaeology and museums. This is the final season of excavation and archaeologists are elated at the success of the first two seasons where quite a number of interesting material, including idols, charred grain pieces, pottery etc had been discovered.

"In the on going field season the team will focus on the planning of royal area, protected by double fortification, besides site catchment studies," said Prof J S Kharakwal, the project incharge. The excavation team has, in the last two field seasons discovered three forts, about half of dozen watch towers, located to the south and east of the township, remains of thirty three temples temple groups, several water structures and a large number of residential structures. The close examination of the township has revealed that the craft area is located on the southern margin of the settlement along the river Sevarni.

"In the last field season as many as five different structural phases belonging to three cultural stages were identified at the site. The site has about 10m cultural deposit," Kharakwal informed. The cultural material indicate that the settlement begun around 7th century and turned into a very large settlement (about 50 hectare) around 10th-11th century when it was a capital township. A few radio carbon dates have already been obtained from Birbal Sahni Institute of Palaeobotany (BSIP) which range between 7th to 16th century AD. Presently, a team constituting K P Singh, Kul Shekhar Vyas, Narayan Paliwal, Rohit Menaria and Prakash Dangi are working on the site.

"In 1024 AD, Chandravati was attacked and plundered by Mahmud Ghazni when he passed through Rajasthan to attack Anahilavada. The remained city of Chandravati was destroyed more by the vandalism at the time of building the railway track between Mawal and Abu road," said Mubarik Hussain, Superintendent of Archaeology Department.CAPTION- Residential structure unearthed during the earlier excavation at Chandravati near Mount Abu

- The Times of India , January 3, 2016

They were leaders in building the early foundation of the Zoological Survey of India (ZSI) and broke the gender barriers. The contribution of women scientists - all 100 of them - in Zoological Survey of India (ZSI) has been documented on the occasion of the centenary celebrations of the research institute.

ZSI, which was established 1916 and is headquartered in Kolkata, has decided to highlight the role of women as one of the key themes of the centenary celebrations.

"We have decided to write their stories permanently in history and honour their legacy in the best possible way so that young women get inspired to pursue careers in science," said K Venkataraman, former director of ZSI who initiated the project with the help of Kailash Chandra, director-in-charge, ZSI.

The number of women embarking on science careers has been there, but it wasn't until now that they were acknowledged in such a significant way.

"One of the factors that inspired more women to pursue careers in science has been examples of successful women who have done the same. We can see other men 20 years down the line, but for women it is more of a fog. They may not know anyone who has gone that road, or at least no other women. So they cannot visualize where they are going to go. If you plan to have children, but don't see any women who have gone that path, you may not be sure it's possible," said ZSI scientist Dhriti Banerjee, who has co-authored the document along with scientists Debashree Dam and and Nivedita Saha.

Titled 'The Glorious 100-women's Scientific Contribution in ZSI', the document shows how women scientists significantly contributed to studies related to different animal groups - from protozoa to mammalia - and successfully explored their all possible habitats from the ocean floor to difficult mountainous terrain.

The journey of women at ZSI started in 1949, more than three decades after the inception of ZSI in 1916. Mira Mansukhani was the first woman to join ZSI in 1949. She created history in an organization which was largely dominated by men.

"Our work will help give out the message that women are equal partners in social and scientific development and nation building. The success stories of the 100 women in scientific research will inspire and motivate the young girls to come forward and play an active role in conservation and promotion of our natural heritage, flora and fauna through modern scientific means," said Dam.

"The documentation will be a source of inspiration to other organisations and help overcome gender and cultural barriers that hit women's education and participation in science," added Saha.

- The Times of India , January 3, 2016

The Airport Authority of India will generate 100 megawatt power from solar energy to light up the under-construction Ajmer airport at Kishangarh. In this regard, the AAI's technical team recently earmarked an area to install the solar cell plates recently. "The solar electricity generated will be given to the Ajmer Vidyut Vitran Nigam Limited which in turn will provide it to the Ajmer airport," said BK Tailang, airport director, Jaipur, who is incharge of the Ajmer airport.

The electricity produced here would be sufficient to run the airport initially. A technical team has inspected the area and found it suitable to install a solar plant. Meanwhile, considering the scarcity of water in Kishangarh area, the AAI is building a water harvesting system. TNN

"The new airport will witness some 'experiments' to ensure that it produces its own resources," said Tailang. The authorities have roped in IIT-Bombay for developing a modern sewage treatment plant for re-use of water.

The availability of water is a prime concern for the AAI as the groundwater table in Kishangarh is very deep and the quality of water is also not good.

The Ajmer airport will have a building management system which will automatically light up the room sensing presence of passengers. "As part of our social responsibility, we will develop some facilities in nearby villages too. We will develop toilets under Swachh Bharat Abhiyan," said Tailang.

- The Times of India , January 3, 2016

Local resident and activist Lokesh Ohri is relentlessly working to make residents of Dehradun realise the importance of the city’s heritage sites though heritage conservation has taken a backseat in the din of infrastructure development.

At a time when development versus conservation debate is going on, Ohri, an anthropologist, says safeguarding the heritage of Doon is important and this can be done only when people relive their link to the heritage sites in and around them.

He expresses concern at the government apathy towards heritage sites and says there is little understanding of the difference between archaeology and heritage and both are different. “While the Archaeological Department has the mandate to discover and unearth historical structures, heritage is something else and is linked to conservation,” Ohri says.

Ohri taking a dig at public representatives of the region says they are least concerned about protecting the Dehradun heritage. “Conservation is always taken as anti-development while that is not the case,” he adds. Ohri admits that the talk about conserving heritage in Dehradun against the onslaught of unplanned development is certainly challenging and is like fighting a losing battle. However, he adds even a few committed Doonites can pave the way for a new direction of heritage conservation.

Ohri, who is credited with initiating heritage walks in Dehradun, says it is an effort to apprise people about heritage sites in Dehradun, which are often ignored by Doonites themselves. “I have friends who say that they visited the Sahastradhara waterfalls more than a decade ago,” he says, adding that this mindset needs to be changed. Ohri has authored a book titled “Been There, Doon That?” featuring 10 walks to explore the heritage of the Doon Valley. The book reveals some key historical facts about Dehradun. It informs the readers about the famous Jangam Shivalaya at Paltan Bazaar that houses a rare black stone idol of Lord Vishwanath. It reveals legendary singer Cliff Richards’s childhood days in Dehradun or as to how Hathibarkala got its name due to the presence of banyan trees.

Lalji Prasad, a retired scientist from the FRI, recalls Dehradun of the seventies when trees outnumbered people. He says the city has changed a lot since then and even places such as Panditwari, Kaulagarh and Tapkeshwar that once gave a desolate look are thickly populated. Lalji Prasad, who is settled in Varanasi after retirement, says he still misses the greenery of Dehradun.

CP Sharma, who is in his late seventies, recalls how Doonites used to walk to their offices. Some had bicycles and there were only a few cars in the city. He remembers how his relatives questioned his logic behind constructing a house at Pragati Vihar in the early eighties as they thought the locality was outside the city. “Today, Pragati Vihar is a stone’s throw from the Vidhan Sabha,” Sharma quips. Citizens for Green Doon founder Dr Nitin Pandey says the old charm of Dehradun can be restored only by preserving its tree wealth. Trees are being felled in Dehradun at an alarming rate and it was surely to spell doom for the city.

He says there were times when even fans were a luxury in Dehradun as the summer used to be pleasant. But with the rise in temperatures, air-conditioners have become a necessity now. Pandey blames this on felling of trees.

- The Tribune, January 3, 2016

ese little geniuses can crack complex three digit arithmetic sums in seconds. In fact, they can even attempt as many as 70 arithmetic sums in just 5 minutes. Their trick is mental maths with the help of Abacus.

Meet Agastya Pratap Singh, Deepam Jain, Ashir Singh Chauhan, Daksh Bawane and Devansh Panthi who have won various national and international laurels at mental arithmetic competitions, the most recent being 12th National Mental Arithmetic Competition organized recently in Chennai by Aloha India, a subsidiary of Aloha International, Malaysia.

While Agastya is a Billabong High International School (BHIS) student, Deepam is a student of Sagar Public School. Ashir is a DPS Neelbad student, Daksh studies in Jawahar Lal Nehru School and Devansh is from DPS Kolar. All children are in Class 3 barring Daksh, who is in Class 6.

They are students of Aloha Learning Centre, Arera Colony where they are taught mental arithmetic for children between 6-13 years of age.

Jatin Mathur, director Aloha mental arithmetic programme, Bhopal told TOI, "UNESCO has added the Chinese abacus to its World Intangible Cultural Heritage list. We follow zhu shuan method of abacus to teach children."

Course instructor Swati Mathur said, "Mental arithmetic also helps memory skills of children in other subjects. It teaches a lesson in concentration, focus and self-control that shapes a child's personality."

The course comprises 8 levels of 3 months each and can be completed in 2 years. With mental Arithmetic, these children are able to solve addition, subtraction, multiplication, division, square, square root, decimals and percentage sums in a jiffy.

However, these children are not only doing sums at lighting speed but also helping parents save money in day-to-day lives. "I recently saved Rs 15 on grocery items the shopkeeper had added twice and mom had not noticed," said Daksh.

Devansh quips, "I am always given bills to add and check for discrepancies." Sanjay Panthi, Devansh's father, who is a scientist with AMPRI called it a useful programme as it develops both left and right centres of the brain.

These students were initially short-listed at the city level competition organized by Aloha in June, 2015 and thereafter, short-listed students took three-month dedicated neuro-linguistic programming (NLP) preparation camp. "They put in sheer hard work while preparing for national event," said Jatin Mathur, director. A team of 11 students from Bhopal participated recently in 12th National Mental Arithmetic Competition representing different levels and age-categories. Approximately, 1,000 students from 26 states across India participated in competition. The students, who brought laurels to the city are Agastya Pratap Singh (1st runner-up in level 4, category B, age 8 years) and Deepam Jain (2nd runner-up in level 4, category b, age 8 years), Ashir Singh Chauhan (2nd runner-up in level 5, category b, age 8 years) and Daksh Bawne (2nd runner-up award in level 5, category c, age 11 years). Devansh has been felicitated by Aloha with achievement awards for successfully completing all the 8 levels and being a national winner. These winners will represent Aloha India in international competition in 2016.

- The Times of India, January 3, 2016

Travellers will soon be able to visit a music museum that is set to come up in Kerala in the near future.

Kerala will soon have another reason to pull travellers as a music museum will be set up in the state that will have a collection of songs, long-playing records, and song books of singers.

According to reports, the museum will be set up by a cultural organisation called Swaralaya. Based out of Palakkad district of Kerala, this organisation works for the preservation and promotion of all forms of cultural performing arts including dance, music, folk arts, and theatre, among others. This piece of information was reportedly revealed by former state minister and senior CPI-M leader MA Baby, who is actively involved with the group. He said that the documentation process, which is actually the first step towards setting up this unique museum, has already begun. This simply means that travellers can now simply sit back and look forward to the opening of this museum. Apart from being a great place to visit for all music enthusiasts, this museum is likely to become a major reason for a boost in the state's tourism in the near future.

Giving further comments on this, Baby told reports, "We generally don't document things and musicians are not too far behind. We have initiated the process to set up a music museum and it includes collection of songs, L.P. records, song books to name a few."

- http://indiatoday.intoday.in, January 4, 2016

you are planning to go and see tomb of Bajirao Peshwa in Raver khedi area of Khargone district through Sanawad road you will be mesmerized by some eye catching art work in a village, which is 8 km far from Raver khedi.

Gram Panchayat of Bhogaon nipani near Sanawad of Khargone district have taken up an initiative to save their cultural heritage through painting. For this work, around 20 artists including some students of Government College of fine art from Indore have teamed up to show their talent on the walls of the village. The graffiti or murals will cover around 3500 square feet walls by using around 100 liters of paint to create the impressive piece called 'Walls of Wonder" (WOW).

Head (sarpanch) of the village Hariram Birla told to TOI, "It will help to save our cultural heritage. I wanted to make the youngsters of our village and other people introduce with our local folk and culture through these paintings. Villagers don't know about art. We hope this project will help to inspire young people in the area to use art as a means of expression."

"After movie 'Bajirao Mastani' footfall will increase and it would also help to showcase our tradition to the people." Birala added.

City based senior artist Avdhesh Yadav said, "Our work was started with a hill situated near Panchayat office. There is a temple flanked by different types of beautiful plants. In the evening we painted all the stones of that hill in beautiful designs of nature. On Tuesday we started making our art in Main Street of the village. 35 houses have been designed initially among 100 houses with different colours showing folk Indian culture. Colours were arranged by Gram Panchayat. We have specially worked on folk art of India, including Madhubani painting and Mandana which is a type of village art."

Besides, some special art work portraying the trading of the village which includes portrayed of goddess "Jiroti Mata" and image of Snake, which is worshipped by villagers on the occasion of Nagpanchami.

"We are also working on different types of contemporary and graffiti art work including scenes related to 'beti bachao campaign', image of train etc. It is a cotton belt so will also show this through graphics," Yadav added.

Another artist Shabnam Shah said, "This would be first of its kind event anywhere in MP where Fine arts students and artists are engaging in doing public and street art along with the gram panchayat. Students also experienced folk and rural life around and explored some historical sites including tomb of Bajirao peshwa at Raver khedi".

"We have been invited in many other villages, including Raver Khedi for art work", said Dinesh another artist."

- The Times of India, January 4, 2016

The poor rainfall for two consecutive years has forced the administration to ban lifting of water for irrigation purposes from Panchganga and Bhogavati rivers. The administration has already banned lifting of water from two other rivers, Chitri and Hiranyakeshi, last month.

The ban will be implemented from Monday across the river beds of Bhogavati and Panchganga rivers to save water for drinking purposes. The ban is being implemented after 19 years in the district, which is otherwise known for surplus water availability.

The measures will force farmers to take up measures to save water and use other sources. The state water resources department issues permission for lifting water for a very limited period, which farmers find inconvenient because of the cultivation of the water-guzzling sugarcane crop.

The 6.07 lakh farmers in the district who own 4.69 lakh hectare of agricultural land, according to the socio economic report of Kolhapur of 2013. About 1.09 lakh hectares is under sugarcane cultivation and the total area under irrigation is 1.35 lakh hectares.

Vijay Patil, deputy engineer, Kolhapur water resources department, said, "Last year, the district reported low rainfall much like in 2014. The farmers keen on lifting water from the river bed will face the heat now. We feel that lifting more water would affect the river ecosystem and also affect the farmers in the downstream areas, who might lose their share of water. To avoid these situations, we have decided to ban lifting of water."

He added that the method to implement the ban will be discussed with villagers and their water requirement would also be assessed. "They will get limited permission for lifting water from the river bed. Case by case, minor permissions will be issued, but the existing practice of continuous water lifting will be banned completely."

"We have asked the regional office of Maharashtra Jeevan Pradhikaran in Kolhapur to identify villages and lakes from where water can be lifted. The officials will submit a report regarding the same by January end so that we take a call on action," said district guardian minister Chandrakant Patil.

Kolhapur district received half of its average rainfall of 1,700 mm last monsoon. Six of the 12 tehsils in the district received less than 50% rainfall. Radhanagari tehsil received only 26% of its average rainfall, while Kagal received 78% of the annual rainfall.

Chitri and Hiranyakeshi rivers are located in the high rainfall area, where as Bhogavati and Panchganga rivers cater to the needs of the low rainfall areas of Hatkanangale and Shirol tehsils.

The scarcity report prepared by December end for Kolhapur district had pointed out that some 425 villages would face water shortage. The report further stated that in last 20 years, such a situation has occurred for the first time in the district, where water has to be reserved for drinking purpose. Except Radhanagari dam, most dams in the district were not filled up to their capacity last year. In December, the water resources department introduced ban on lifting water for irrigation purposes from Chitri and Hiranyakeshi rivers in south Kolhapur. It was followed by similar restriction on five major lakes in the district. Another 15 water bodies were put under watch to preserve drinking water till June end.

The district planning and development council decided on Saturday to lift some water from the river bed from time to time and fill water bodies and lakes to make provision of drinking water for the summer.

The district administration has also decided to fill empty lakes in the district with water from rivers to avoid tanker-based supply. Once the lakes are filled with water, the neighbouring villages can source drinking water from the lakes, said district guardian minister Chandrakant Patil.

District collector Amit Saini said, "The cost of pumping water from the river bed to lakes will be borne by the collectorate. We are planning to use some funds from DPDC so that we will not have to use tankers for supplying drinking water."

- The Times of India, January 4, 2016

Fishermen’s livelihood also at stake

Colonies of snowflake coral ( Carijoa riisei ), an invasive species recently documented off the coast of Thiruvananthapuram and Kanyakumari, could pose a serious threat to the marine ecology of the region, according to scientists.

Scuba divers working for Friends of Marine Life (FML), a local NGO, have recorded the presence of several colonies of the fast-growing alien species amid barnacle clusters on the rocky reef off the coast of Kovalam in Thiruvananthapuram and Enayam, Kanyakumari.

The documentation was done as part of a research project harnessing the traditional knowledge of the fishermen community to assess the marine biodiversity of the region.

The snowflake coral is known to inhabit reefs and underwater structures such as shipwrecks and piers, attaching itself to metal, concrete and even plastic. It is considered an invasive species because of its capacity to dominate space and crowd out other marine organisms.

Researcher Robert Panipilla, who coordinated the project, said the colonies of the soft coral were documented at 10 metre depth off Kovalam and 18 metre depth off Enayam. “Last month, we deployed scuba divers after receiving information from local fishermen that the species had colonised parts of the reef,” he said.

A native of the tropical Western Atlantic and the Caribbean,C.riisei was first reported as an invasive species from Hawaii in 1972. Since then, it has spread to Australia, Thailand, Indonesia and the Philippines. In India, it has been reported from the Gulf of Mannar, the Andaman and Nicobar Islands, Gulf of Kutch and Goa.

With its capacity to thickly settle and occupy a variety of surfaces, C.riisei can destabilise the marine ecosystem, says K. Padmakumar, Pro Vice Chancellor, Kerala University of Fisheries and Ocean Studies (KUFOS).

He fears it will crowd out other species like corals, sponges, algae, ascidians that contribute to the rich marine biodiversity of the region.

- The Hindu, January 5, 2016

The high court issued notices to the Ahmedabad Municipal Corporation and Director General of Archeological Survey of India on Monday in response to a PIL raising the issue of encroachments around ancient monuments in the city.

A A bench of acting Chief Justice Jayant Patel and Justice VM Pancholi posted further hearing of the plea on January 27. The petition was filed by Sunni Awami Forum, Ahmedabad through its counsel IH Syed.

Citing examples of encroachment around protected monuments like Shah-E-Alam mosque, Darya Khan tomb in Dudheshwar, Nawab Sardar Khan Roza in Jamalpur and Bibi Achyut Kuki's tomb, the plea states AMC and ASI failed to protect monuments and any disturbance to these monuments would severely hurt the religious sentiments of Muslims. It further stated that the ASI has registered 121 FIRs and issued over 550 notices but it has yielded no result till date.

The PIL sought immediate demolition of encroachment and illegal structures within a 100-m periphery of protected monuments many of which were built around 600 years back. The plea stated, "Ahmedabad is one of the oldest cities in India and it is pitching for recognition as a World Heritage City.

Unlike many other glorious cities across the globe that have lost their relevance and distinct character, Ahmedabad has kept its past alive and looks forward to a promising future.

" The petition also stated, "Many other Indian cities have taken lessons from Ahmedabad on conservation of heritage. The Pol houses which capture the essence of community-living are unique to Ahmedabad. So are, the Chabutras or bird feeders, which clearly throws light on the evolved past of the city. The city of Ahmedabad has fine Islamic monuments and exquisite Hindu and Jain temples.

Its carved wooden houses are another unique architectural tradition. "Some encroachment have been raised around such protected monuments and authorities are bound to preserve it. But no action was taken for effective preservation by demolishing such illegal structures."

- http://www.ahmedabadmirror.com/, January 5, 2016

Be it the soulful performances of musical divas, the rare sight of the famous paintings and sculptures under one pavilion, or the experience of listening to music while floating above a beautiful lake surrounded by hills and forest, the Times Sanskruti Festival 2016 is set to mesmerise art lovers this weekend.

The festival, to be held at Upvan Lake between January 8 and 10, will showcase an awe-inspiring massive aquarium and a mobile planetarium to further deepen the experience of the cultural bonanza. "We are going to build a floating stage on the lake and a unique aquarium that will house species of fish from across the world that have never been seen before.

The main stage will have a seating capacity of 7,000 people which will host the performance of celebrity artist Salim and Sulaiman on Friday evening, Shalmali Kholgade on Saturday and Benny Dayal on Sunday evening." The youth stage will showcase established artists as well as rock and classical performances by youth bands of India.

Art lovers will get a chance to see rare and famous paintings and sculptures from old masters and renowned artists like Raja Ravi Varma, Baburao Painter, Sanjay Shelar, Pramod Kurlekar and many more at the Times Sanskruti Arts Festival. A mobile planetarium is being set up by the Nehru Planetarium Authorities to attract students and visitors to get a view of the Galaxy.

Tickets for the performances of celebrity artists Salim and Sulaiman, Shalmali Kholgade and Benny Dayal between January 8 and 10 will be available at Book My Show, Hotel Vihang's Inn, Vihang's Palm Club, Dr. Kashinath Ghanekar Natyagruha, Gadkari Rangayatan, Viviana Mall and Sanskruti Arts Festival Office, Upavan Lake.

- The Times of India, January 6, 2016

As the naional capital hosts the 2016 edition of the World Book Fair from Saturday, it will be showcasing India's cultural heritage of India as its main theme. China will be the Guest of Honour of the nine-day fair, touted as Asia's largest such and to be held at the Pragati Maidan here. Kumar Samresh, Deputy Director, Publicity, National Book Trust (NBT) said that this is the first time that the book fair is showcasing India's cultural heritage as its theme.

"The theme is called Vividh Bharat. There are going to be series of discussions and various cultural programmes on the various aspects of Indian culture," Samresh told IANS. More than 1,000 books will be on display on philosophy, knowledge, language and literature tracing the Indian journey from Bhojpatra sheets to e-books.

With China as the Guest of Honour this year, rich volumes of Chinese books, seminars, cultural exhibitions, and literature salons will be organized at the NDWBF to promote literary and cultural ties between both countries as well as the bilateral people-to-people exchanges. Apart from China, more than 30 countries and 1,000 exhibitors are expected to participate in the fair. Britain, Egypt, Germany, Mauritius, Singapore, South Korea, Sri Lanka, Nepal, Pakistan, Poland, Saudi Arabia, Turkey the UAE and US will be among the country's represented.

The National Book Trust (NBT), which organises the World Book Fair in association with the Trade Promotion Organisation (ITPO) every year, has more surprises in store for book lovers, among them a 'navlekhan' programme to promote young writers in the country.

"To encourage young writers, we have invited manuscripts from writers of Indian languages, who are below 40 years. The 10 best selected manuscripts will be published by the NBT every year," said Samresh. To woo selfie-obsessed youngsters, the organisers are also introducing a corner for this. "The selfie corner will have a backdrop of the World Book Fair where one can click pictures and upload them on social media," Samresh added.

Tickets for the event, priced at Rs.20 will be available from Metro stations. "Entry for schoolchildren and the disabled will be free," said the official. The fair, which will conclude on January 17, is expected to attract more than 10,000 visitors this time.

- http://www.business-standard.com/, January 6, 2016

Six artists come together for an art show, which is a vibrant play of colours and light What remains with the viewer after walking through works by the six artists from the exhibition titled Colour Theory, is sheer vibrancy. The six artists — Anand Panchal, Sanju Jain, B.V. Nalakar, Srinath, Praveen Kumar and Dhan Prasad — present a range of styles from abstract to figurative and landscape, each energizing in its own way.

Praveen Kumar paints cityscapes, reducing the city to its architecture and further abstracting the buildings to rough shapes in vivid colour palettes. “Hailing from a small town in South Kanara and resettling in a big city like Bengaluru has had its impact on me and my work. Since I arrived I have been fascinated with the city and its buildings – both public and residential.

I have also seen the city changing over the years, new buildings keep cropping up almost every day. At the same time, old buildings are razed to the ground to make place for new ones,” explains Praveen.

“Even in my dreams I have seen this city stretching further and further. In many of my paintings, I have shown buildings that are both stately as well as dilapidated. I have painted them in colour and in black and white.

In my works, there are no human beings – just buildings and structures. I try to bring the character of the city through these structures.” Srinath seems to be fascinated by what appears to be islands composed of surrealistic natural forms — hills with lava-like light, eerie cement-hued water, haunted branches and glowing flora.

The paintings sometimes appear like X-rays. Both Dhan Prasad and Anand Panchal work with the larger-than-life figure of the Indian man and woman, dressed in bright colours with a large bindior tilak painted on each of their foreheads.

Their work is slightly evocative of the artist T. Vaikuntam’s style. Dhan paints women and men in their everyday, if slightly retrospective, ‘avtars’. Women, for instance, are painted with folded and ribboned braids and parrots and henna-ed hands, seemingly in conversation. Anand’s figures are slightly more theatrical, in the voluptuousness of their forms, and abstract, more notable in the background.

Sanju’s series of paintings are boldly abstract with its washes of bright colours in earthy washes that bring out the graphic texture of handmade paper. She embosses her canvas with swirls, sometimes shapes in rich colour, often placing them in the centre of the frame. Nalakar, who describes his work as a combination of “realism and impressionism”, sets out to capture the architectural heritage of India,

with its forts and palaces. In this series, he paints Rajashtani, Rajput buildings milling with the natives of the region in their bright attire. He does not focus on the sculptural detail, rather he pays attention to the form of the building itself and the way light and shadow play out on its form.

“I have so far studied the Mughal, Indo-Afghani and Indo-Saracenic architecture through my paintings. These buildings may not last another century, so my objective is to preserve them through art,” says Nalakar. “Colour Theory” will be on view until January 16 at Crimson, The Hatworks Boulevard, 32, Cunningham Road. Call 65379223 or 22342634.

- The Hindu, January 6, 2016

he state government plans to spend Rs 10 crore to upgrade infrastructure at tourist spots in the district.

"Koraput has some very picturesque tourist spots. The blueprint for development has been prepared and work will start soon," said tourism minister Ashok Panda, while speaking on the concluding day of Parab-2015 here on Monday.

"Construction of watch towers between Koraput and Jeypore, installations to attract tourists to the Kolab reservoir, availability of safe drinking water and rest sheds at all tourist spots and developing approach roads to the tourist spots have been planned," said the tourism minister. "Kolab, Gulmi and Duduma waterfall would undergo a complete revamp," he said.

Koraput has failed to attract tourists. According to official figures, 1,169 foreign tourists visited Koraput during 2014-15. Out of it, 638 foreigners went to Duduma waterfall.

The cave temple of Shiva at Gupteswar, Duduma waterfalls, vast heritage wealth of Subai and Nandapur, Sabara Srikhetra at Koraput, Deomali-the highest peak of Odisha and Maliguda-a small hilltop village, where the country's highest broad gauge is located, are all part of Koraput.

"These can make a grand package but tourism has failed to get a boost due to lack of infrastructure. If the government has decided to strengthen the infrastructure, then it is a welcome step," said Prasant Kumar Patra, a hotel manager of Jeypore.

- The Times of India, January 6, 2016

yet another incident, a female tourist from Russia was harassed at Akbar's Tomb in Sikandra by three youths on Tuesday. ASI handed them over to cops who arrested them under section 151 (to prevent the commission of cognizable offences) of CrPC and presented them before a court on Wednesday, which further remanded them for questioning.

Cases of harassment of tourists continue at Agra monuments, the most visited in the country, despite measures announced by the Centre and state authorities.

A senior ASI official said a group of tourist including this Russian woman had come to the monument around 4.30pm. "The youths, identified as Abhay Chaudhary, Vivek Kumar and Rinku Chaudhary (all residents of Gonda in Aligarh), insisted her to get a photo clicked with them and when she refused one of them caught her hand. They were seemingly drunk," he added.

The guide who was accompanying them approached staff at the ticket counter and subsequently police was called, he added.

The cops brought her and the accused to the police station. The woman refused to file any report in the matter and asked cops to warn them of not repeating the act in future. CO (Hari Parwat) Salman Taj said, "Even as the woman did not file any complaint we arrested the accused under section 151 of CrPC and produced them before court."

Earlier in September two Egyptian female tourists were harassed and abused by a PAC jawan and his friend, when they were travelling in a car and on their way to Delhi. Tourist police had filed a non-cognizable report (NCR) in the matter and challaned the PAC jawan identified as Devendra Singh.

In the same month, a Chinese female tourist in her early 30s was allegedly inappropriately touched by a 14-year-old boy, who works as a vendor, near the Taj Mahal's east gate. After the woman raised the alarm, the tourist police took both of them to the police station. However, the woman did not press any charge and, as a result, the police had to let the boy go.

- The Times of India, January 6, 2016

An exhibition tour on ‘Splendours of Indian Architecture’ by the Indian National Trust for Art and Culture (INTACH), New Delhi, has reached Machilipatnam. The Machilipatnam Chapter of the INTACH is conducting the exhibition at Town Hall here.

The exhibition will conclude on Thursday. Highlighting the synthesis of India’s architectural heritage, including Islamic architecture, the portraits of engineering marvels dating from ancient times to till date are kept on display in the exhibition.

The exhibits have been divided into three categories — temples, forts and palaces. A few engineering drawings of the heritage sites were displayed, drawing attention from the visitors, particularly from the students.

The pictures kept in display are that of Lothal site, the great Sanchi stupa, Descent of Ganges, Rock Cut Kailashnath Temple, Jaisalmair, Tiksey monastery. The pictures of Taj Mahal, aerial view of Fatehpur Sikri, Humayun Tomb and Qutub Minar are a few master pieces of the Muhgal architecture on display.

“During the Mughal period, architecture reached its finest expression, creatively combining Islamic and Indian attributes in a sumptuous manner,” said Exhibition Curator Saryu V. Doshi. Thousands of students on Wednesday thronged the exhibition, spending time to take down notes. \The visitors were allowed to capture the pictures on their cameras and mobile phones. \

Machilipatnam INTACH chapter convener T. Ram Mohan Rao and U. Srinivasa Rao and other members conducted the exhibition. The Machilipatnam Chapter of the INTACH is conducting the exhibition and it will conclude today

- The Hindu, January 7, 2016

The 17th Lokotsav folk festival will begin from January 8 and will go on till January 17. The main stage set up for the festival has been garnering a lot of attention over the years. This year with the theme of Goan architecture, NT BUZZ speaks to the Department of Art and Culture who has recreated the charm of the by-gone era

The grandeur of the palaces of Rajasthan, the quaintness of rural Gujarat, or the feisty spirit of Mario Miranda’s paintings, the stage at the Lokotsav has garnered much attention over the past years. The folk festival, currently in its seventeenth year brings together art, culture and heritage from across India under one roof.

The Kala Academy for ten days in a year becomes a melting pot of various Indian regional cultures. It is only expected that, the Department of Art and Culture, would pay due homage to the various strands of regional heritage that weave together to form the larger Indian national heritage.

“The Department every year decides on a theme and we make the stage according to that particular theme. We’ve had in the past themes like rural Gujarat, Rajasthan palaces, forts and heritage of Goa, and this year we have the theme of the houses of Goa,” says director of Art and Culture, Prasad Lolayekar.

Every year the Department collects feedback and decides the themes and tries to bring about improvements in the set and over-all organisation of the event and appoints an employee to head the stage design team for the following year. “This year we appointed Siddharth Gaitonde as the set designer,” says Loyalekar.

A product of the Goa college of Fine Arts and the JJ college of Art, Mumbai, Siddharth Gaitonde is an assistant cultural officer with the Department of Art and Culture. “It is the seventeenth year the festival is happening and over the past five years, we have been setting up the grand stage. It is a national level folk festival hence we needed it to be a grand set up. This year we decided to go with the Indo-Portuguese style in architecture distinct to Goa,” says Siddharth.

The stage resembles an old two-storey Indo-Portuguese house complete with balcaos and the pointed, sloping roofs. “We have not worked on any particular house but have made the set keeping in mind the elements of the Indo-Portuguese architecture. We have a lot of cultural heritage around us and it is not easy to decide what to take in and what to leave out.

Like we cannot exactly replicate the Taj Mahal but we can use the elements of it, similarly we have used elements of the architecture in this stage,” says Siddharth. For the building of the stage, the artist had to don the architect’s hat. “We have worked out a stage with two levels; it is not just a backdrop, it is a multilayered set up.

We had to keep in mind the choreographer’s decisions with regard to the galleries required for the performances. Hence it’s not only the artistic look of the stage, it’s about keeping the architectural points in mind too: the gallery size, the proportionate height, and the height of the gallery for the artist to be able to climb up into it,” says Siddharth.

It is the complexity of the stage that gives it a very vibrant look. Being an artist, Siddharth says that it was easier to visualise the set up, and tough to implement it. But the needed impetus came from the director says Siddharth: “The creativity and energy of the director is infectious and because of him we are able to work with the same enthusiasm.” Working on the stage design for almost a year, real work began only ten days back, “We as artists are very perceptive. In fact every individual is.

We all store information of what we see in our mind, but how you use that information to create something good is what matters. It may have taken me as much as a couple of months to visualise everything and get the finer aspects right, but once I had my ideas clear, I was able to work very fast practically,” says Siddharth.

- http://www.navhindtimes.in, January 7, 2016

85-year-old mime and theatre artiste Irshad Panjatan was in Hyderabad to woo the audience with his stellar performance

Renowned mime and theatre artist Irshad Panjatan mesmerised the audience with his performance in his programme ‘Marhoom ki Yaad Mein- Irshad Panjatan ki Zabani’ at Lamakaan on Tuesday. People from all walks of life attended the programme and had a laugh riot at the humourous storytelling event. The programme was conducted by Sutradhar, which also organised a workshop on mime by the stalwart.

Panjatan is known for bringing mime to India in 1960’s and ushered a new era in the art form. The multifaceted personality is also a trained Kathakali dancer. He learned the dance form from Raghavan Nair and Narendra Sharma. ‘Marhoom ki Yaad Mein’ the story that he narrated was penned by Patras Bukhari. Speaking about the stalwart of Urdu humour writing, he shared, “If one wants to read humour in Urdu then Patras Bukhari is the name to seek. No one can beat him in humour writing. His is a paramount in that field.”

On a special request from the audience the doyen also performed mime for the awestruck spectators. He enacted his two skits ‘Shringar’ and the popular ‘Walk of life’. Patanjan says that he hasn’t performed mime since 1995, however, it was a delight to watch the artist performing with élan. Mime is all about expressions and Panjatan dazzled the packed house with his solo acts.

‘Shringar’ showcased how a woman gets ready and adorns herself, and ‘Walk of Life’ portrayed the development of human from his birth to his death. Throwing light about the difference between Mime and Pantomime he said, “Mime is pure and for pantomime you can use voice, music and properties, etc, however, in original art form there is only body language and there are no words or interaction.

The artist has to perform only with body movements.” He also shared about how he introduced the art form, Burra katha in Urdu. “I thought I will experiment with the story telling art form of Burra Katha and introduce it in Urdu. And around four years ago, a few theatre actors performed the works of Patras Bukhari in the style.”

In fact, he also tried introducing Kathakali during a mime performance, but the elaborate make-up invovled for the Kerala art form dissuaded him to pursue the same. Born in Hyderabad and an aviation engineer by profession, Panjatan quit his job and heard his calling to pursue his passion in performing arts. His stint in theatre as actor started with the Hindustani Theatre.

He performed his first mime play in the year 1962 in nation’s capital and garnered a lot of acclaim for his stellar performance. Subsequently, he also acted in a few Bollywood films. The veteran has toured the world and enthralled audience across the globe with his performance.

- http://www.thehansindia.com/, January 7, 2016

Over the years, DAE has notched over half a dozen patents for water purification and desalination to meet what is considered a major requirement in India.

When a tsunami devastated coastal Tamil Nadu in 2004, it also wiped out regular supplies of drinking water. New water desalination technologies from the Department of Atomic Energy were deployed to convert seawater into drinking water.

Over the years, DAE has notched over half a dozen patents for water purification and desalination to meet what is considered a major requirement in India. Water purification technologies developed by the DAE are now even promising to clean the Ganga.

At a special session at the Indian Science Congress to showcase technologies that have evolved from massive investments made in the atomic energy sector over the years, DAE scientists highlighted applications such as the use of radiation and radioisotopes in agriculture to improve crop varieties, control pests and meet drinking water needs. “If you scan the whole country and look at the people working to clean or desalinate water, you will find that the maximum work has been done in the Department of Atomic Energy,” former Atomic Energy Commission chairman Srikumar Banerjee said during the conference.

“DAE has developed several types of indigenous desalination and water purification technologies addressing the unique challenges faced by the country. The know-how of the technologies has been transferred to many entrepreneurs for wider deployment in a commercially viable manner,” said P K Tewari, a leading scientist in the field of membrane technology for water desalination and purification at Bhabha Atomic Research Centre.

“Our membrane-based water effluent treatment systems have the potential to play a vital role in the cleaning of the Ganga,” he said. “DAE has developed technology and set up the largest nuclear desalination demonstration plant of 6.3-million-litres-per-day capacity for seawater desalination coupled Madras Atomic Power Station,” Dr Tewari told the science congress.

The desalination plant attached to MAPC is based on a “hybrid multi-stage flash reverse osmosis technology” and is producing and supplying distilled water for high-end applications and water for drinking and other uses, he said. Locating the desalination and power plant near each other enables supply of seawater, steam and electricity for desalination.

“Rural adaptability of the technologies has been demonstrated. Field demonstration of the technologies for purification of raw water with bacteria, virus, fluoride, arsenic, iron, uranium and other contaminants had been carried out in different parts of the country. DAE is providing technical support and guidance to clean and develop water bodies,” Dr Tewari said.

According to Fields medal-winning mathematician Manjul Bhargava, India needs scientists focused on solving local problems since many of these are unique. “A lot of the science that is needed in India is not what is available in the world. The climate is different. The kind of food problems that Chennai had recently are very specific to India,” he said.

“We need scientists who are on the ground in India solving the problems that India has, making innovations that are specifically required in India. We need to have that basic knowledge ready when it is needed in situations like floods or when there are societal needs.”

- The Indian express, January 7, 2016

Why are they doing this to their kinnow orchards that they had painstakingly nurtured over the years and reaped the rich harvest from these trees until recently?

Fifteen years after growing kinnows, Harbinder Singh Sandhu decided to uproot the trees in 32 out of his 50-acre orchard. He plans to uproot the remaining 18 acres as well over the next two years.

This farmer from Bhikhowal village in Hoshiarpur isn’t the only one. Sarabjit Singh of Mona Kalan, Anil Sood of Bassi Gulam Hussain and Sadhu Ram Saini of Bohan village — all in Hoshiarpur district — have uprooted their entire 30, 15 and eight acre kinnow orchards, respectively.

Over 200 kinnow growers in Hoshiarpur are estimated to have uprooted their orchards, ranging from 2.5 acres to 50 acres in past couple of years. They are all returning to the traditional wheat-paddy-maize- vegetables cropping system. Why are they doing this to their kinnow orchards that they had painstakingly nurtured over the years and reaped the rich harvest from these trees until recently?

“It makes no sense to grow kinnow when our price realisations have been static at Rs 8-9 per kg, even as input costs have more than doubled from Rs 10,000-12,000 to Rs 25,000-30,000 per acre in the last ten years,” notes Sandhu. Punjab grows kinnows on roughly 48,000 hectares area, which includes 27,000 hectares in the Abohar-Fazilka belt, 6,300 hectares in Hoshiarpur, 5,600 hectares in Muktsar and 4,000 hectares in Bathinda districts.

Much of this increase — from 19,000 to 39,000 hectares — took place between 2004-05 and 2009-10, largely on the back of the state’s push for crop diversification (away from paddy and wheat) and its setting up kinnow processing plants at Hoshiarpur and Abohar in 2007, along with citrus estates providing farm implements, grading, waxing and other facilities under a single roof.

But the period since then has registered lower acreage increases. In the last 2-3 years, farmers have actually been uprooting 700-800 hectares of orchards annually, ending their love affair with the citrus that is considered Punjab’s “King Fruit”.

Sadhu Ram Saini blames the situation mainly on inadequate government support for marketing. “They made big promises to farmers that their entire crop will be purchased and established two juice processing units at a cost of over Rs 84 crore. But today, these are not even operational for reasons only the government knows,” he complains.

On why the two plants with capacity to process 20 tonnes of kinnows per hour were lying idle, the managing director of Punjab Agro Industries Corporation, Kahan Singh Pannu, said that “we will run the units soon” without elaborating further.

Ajay Vir Jakhar, one of the Abohar belt’s biggest kinnow farmers, believes the current problem is no less due to lack of research in developing new varieties with extended harvesting periods, making them more amenable to processing in plants that can run for longer time.

In oranges, there are two harvesting seasons for an early and late crop between November and March. The entire kinnow crop, by contrast, is harvested during December-January, which is also the time when oranges hit the market. It naturally results in a citrus glut, translating into poor realisations for farmers.

“Punjab has just one kinnow variety that was introduced first in Pakistan from Florida way back in the 1960s. Since then, no research has been done to develop new varieties having longer harvesting periods,” he points out. According to Jakhar, a lot of orchards are being uprooted even in the main kinnow belt of Abohar. Kinnow requires dry land with water tables below 12 feet.

The Abohar area, on the other hand, has been seeing water tables rising to 7-8 feet levels and associated problems of salinity. It has led to fungal disease attacks going up manifold. Traders have, in turn, exploited the situation by selling spurious pesticides to farmers. Farmers have also suffered from use of root stock from poor quality plants hawked by unscrupulous nursery owners.

“These plants are susceptible to diseases such as fruit fly, which result in premature dropping of fruits and reduction in yields (from 1,200-1,500 to 250-300 per tree),” says Jakhar, who owns a National Horticulture Board “four-star” rated kinnow nursery supplying planting material to even states like Andhra Pradesh.

- The Indian express, January 7, 2016

The structure, built in 1893, lies in the proposed heritage corridor

The city, which has lost more than four hundred heritage structures in the past three decades, is set to lose another one. The latest victim could be the 1893-built Central Observatory, a meteorological centre on Palace Road. Ironically, this comes after the Karnataka Tourism Vision Group, a State-government appointed body working on a palace-to-palace heritage corridor on Palace Road, suggesting conservation of heritage structures.

The meteorology centre, which is among the 40 listed heritage buildings in the corridor for conservation, comes under the Union Department of Earth Sciences, which now proposes to raze the 123-year-old structure.

The heritage building was the first weather observatory in the State built by the then Mysore State., and even today houses an obsolete weather radar. The building is in a dilapidated condition and has been lying unused for over a decade now. Old and damaged furniture has been dumped inside. Most of the offices were shifted to the new building built in 1995. Department proposal

Gita Agnihotri, in-charge director, Meteorological Centre, Bengaluru, told The Hindu that the proposal was sent to the Union government from the department. However, she declined to comment further on the proposal or give out details on what will replace the heritage building as per the new proposal.

This move comes close on the heels of proposals to build a Legislature’s club demolishing Balabrooie Guest House and in Carlton House, were dropped following virulent opposition from civil society and heritage conservationists.

B. Puttanna, former director of the centre, said that the Chief Engineer of Central Public Works Department had inspected and certified the building to be non-habitable four years ago, leaving no better alternative but to demolish it. A senior officer in the department also confirmed that the proposal for its demolition has been sent. However, the officer was not sure of any alternative development in its place.

The proposal to raze down the structure has drawn the ire of heritage conservationists in the city. Architect Naresh Narasimhan, who has designed the Palace-to-Palace heritage corridor, said that it was a pity that government departments did not see the value of heritage and looked at these spaces only as land and realty. ‘Can be restored’ Satyaprakash Varanasi of INTACH’s Bengaluru chapter, said that the building could be restored and conserved at a very affordable cost.

“The building can be converted into a museum of weather prediction science which will be a great opportunity for students to learn and explore. We have done a similar restoration work to house a museum in NIMHANS,” he said. Post Comment

- The Hindu, January 8, 2016

The bicentenary celebrations of St.George’s Cathedral began here on Thursday. Launching the celebrations, Rajya Sabha deputy chairman P.J. Kurien said the cathedral is an icon in the city of Chennai. “The Cathedral stands as a centre of learning. It is a shining star,” he said.

Pointing to the role played by the church in nation building and development, Prof. Kurien said the heritage structure should continue to improve the quality of life of the people and empower the marginalised. Church of South India Moderator and Bishop-in-charge Rev. G. Dyvasirvatham said the cathedral occupies a central place in the city, adding beauty and also facilitating reconciliation and forgiveness.

The heritage building was built in 1815, emerging as one of the most beautiful landmarks in the city. The building was completed at a cost of 41,709 pagodas. The furniture, the organ and the architect’s commission increased the cost to 57,225 pagodas. (One pagoda was equivalent to Rs.3.50)

On January 6, 1816, the first Anglican Bishop in India Rt. Rev. Thomas Fanshaw Middleton consecrated the church. It houses one of the oldest pipe organs in the city. On September 27, 1947, the Church of South India was inaugurated in the cathedral. With its tall steeple, majestic pillars, wide sweeping entrance, and the tiered steps on which it rests, the cathedral is an architectural delight, attracting worshippers and tourists in large numbers.

The Turret clock was set up on the three faces of the Church steeple, which is 139 feet high. The stained glass windows and the two panes on either side of the altar, which depicts the baptism of Jesus and his meeting with Mary Magdalene after his resurrection, are lovely examples of medieval art. The backdrop of the altar is a depiction of the ascension of the Jesus Christ sculpted in alabaster.

- The Hindu, January 8, 2016

The paintings, dating back to 3,000 B.C., are being vandalised by miscreants and anti-socials

Prehistoric rock paintings discovered in Kilvalai, a nondescript village near Villupuram is facing severe threat due to rampant illegal mining and vandalism. The paintings in red ochre are found in clusters on three rocks at Kilvalai.

Though the site is maintained by the State Department of Archaeology it has now become highly vulnerable with the paintings damaged by miscreants and anti-socials due to unrestricted entry and faces the threat of fading away. The paintings dating back to 3,000 B.C. throw light on the culture and history of people in prehistoric time in this region. A majority of etchings by pre-historic human beings on rocks had been covered with red ochre and lost their details due to discoloration.

“The rock art sites are a treasure trove of the country’s remarkable heritage, culture and history and must be protected in all aspects. Similar such rock art paintings are found in large numbers in cave shelters in India and are the main sources to unlock the mystery of human life. The symbols in the paintings are similar to those found in the Indus Valley civilisation,” archaeo-symbolist T.L. Subash Chandira Bose told The Hindu .

One painting depicts three persons with a man mounted on a horse, another pulling that horse with a rope fastened to the animal while the third man is depicted with stretched hands welcoming others, he said. Mr. Bose claimed that rock arts are the first form of scripts of writing system of “Maraieil eeru” or Upanishad which get manifested in a sacred soil, which is said to be the soil of satyaputra.

Despite the extensive recorded presence of rock art paintings in Kilvalai and Siruvalai villages illegal mining and vandalism has annihilated these paintings that nature had preserved for nearly 3,000 years.

Miscreants had disfigured some of the paintings without recognising their value and only a minute examination could reveal the original drawings. Similar such rock paintings have also been found at Siruvalai another pre-historic site in Villupuram district, C. Veeraraghavan, an epigraphist said.

Though the site is under the control of the State Department of Archaeology no staff are deployed to either protect the paintings or guide the visitors. The site has also yielded Neolithic tools and pottery ware and is in urgent need of protection, Mr. Veeraraghavan added.

The 19th Congress of Rock Art Society of India organised by the Archaeological Survey of India and Department of History at Pondicherry University in 2014 had discussed various dimensions of rock art, its documentation, preservation and conservation techniques adopted in various parts of the country and the world. The symbols in the paintings are similar to those found in the Indus Valley civilisation

- The Hindu, January 8, 2016

The New Delhi World Book Fair beginning January 9 will offer a glimpse into the cultural heritage of India, which is the theme of the nine-day fair in which a total of 30 countries are taking part.

The fair was advanced by a month this year to attract students, especially of Class X and Class XII, who generally tend to give the fair a miss due to Board exams, whose dates coincide with the fair dates, organisers said here on Thursday.

Over 1,000 books in different Indian languages, ranging from philosophy, language to literature will be showcased in the theme pavilion whose theme programme is titled 'Vividh Bharat'. Efforts have been made to show the journey of books from the palm leaves stage to the electronic era besides featuring some of the most new and exciting writings that have appeared across the world.

A total of 30 countries are participating in the Fair, in which a series of programmes including panel discussions, dramas, classical and folk dances, workshops, discussions, authors' meets, conferences, seminars and cultural programmes will be held. Over 100 CEOs of various publishing houses and organisations in the book trade will come together to share and exchange ideas about Indian and international book trade.

"This year we have something new in the 'navlekhan' programme where we are inviting young authors in Indian languages under the age of 40 and will promote them," Rita Chowdhary, Director, National Book Trust (NBT) said. The programme will be held every year with NBT publishing a select number of works, passed through a screening committee, she said.

Last year, over 10 lakh visitors attended the Fair organised by the NBT in association with the Indian Trade Promotion Organisation (ITPO). A special Children's Pavillion offers various activities like drawing competitions, story telling sessions, skits, meet your favourite authors, discussions, etc.

The Pavilion also showcases some of the best of recent publications for children from across the country. Other attractions include a selfie corner for photobuffs to click pictures and upload on social networks. Tickets for the event priced at Rs 20 will be sold from 9 am till 5 pm at 47 stations of the Delhi Metro network from January 9-17. Schoolchildren and disabled are permitted free entry.

- The Statesman, January 8, 2016

The only way heritage will survive is if decisions regarding its conservation and protection are taken by citizens & neighbourhoods, not policy makers

In the last decade, the population of Bengaluru has risen almost 50 per cent as people from across the country have swarmed into the city for better job opportunities and economic growth. This used to be a sleepy and charming city but is now exploding out of control. The city grew from about 5.7 million people in 2001 to 8.7 million in 2011. The population today exceeds 10 million. And this is not inclusive of the population in the Greater Bengaluru Region.

While Bengaluru is a recent colonial city, it has an ancient heritage too. The earliest reference to the name 'Bengaluru' was found in a ninth century Western Ganga Dynasty stone inscription found in Begur (in this inscription, 'Bengaluru' is referred to where a battle was fought in 890 CE). Other buildings of significant historical importance include the Nageshwara Temple at Begur, built around 860 AD by the Western Ganga dynasty,

the temples of the Cholas (10th-11th century) like Mukteshwara at Binnamangala (now Indiranagar), Aigandapura temple at Hesarghatta, Choleswara at Begur and Chokakantha in Domlur, the Agara Tank by the Krishnadevaraya of the Vijaynagar Empire (14th- 16th century AD),

the Kempegowda Tower and Someswara Temple of Kempegowda (1569/ 70), the Sangin Jamia Masjid in Taramandalpet (Mughals-1687), Bangalore Fort (1761) and Lalbagh (1780) by Hyder Ali, the Jumma Masjid (1790) and Tipu Sultans' Summer Palace (1791).

Most of these structures are protected by the Archaeological Survey of India (ASI) under the Ancient Monuments and Archaeological Sites and Remains Act of 1958. The majority of built heritage in Bengaluru belongs to the British Cantonment (1800-1947) (the Gymkhana, St Mark's Cathedral, Cubbon Park, Raj Bhavan/ The Residency, Balabrooie Guest House, the Holy Trinity Church, AttaraKacheri/ Karnataka High Court,

St Andrews' Cathedral, Sankey Tank, Mayo Hall, Government Museum, Bangalore University, Bowring Hospital, Bangalore City Municipality Building, St Mary's Basilica, St Joseph's Hospital, Victoria Hospital, Lalbagh, Amba Vilas Palace, Hudson Memorial Church, the Mysore Agricultural School, Indian Institute of Science, State Central Library, Daly Memorial Hall, Puttanachetty Town Hall, the Jamia Masjid and the Vidhan Soudha.

The City also has a number of old houses and offices that have strong associations with the history of the city. Currently, these buildings appear to be protected because they are either under the Church, the Army or the Government. However, there is little legislation to safeguard domestic properties, especially the houses and offices. The city is demolishing much of its architecture and heritage in the rapid and great surge of development that has hit the city in the last 10 years.

Currently, heritage conservation action plans and legislation are sputtering along across the country. Many states and cities are making efforts in the direction of the conservation/ management of heritage in the last two decades. Awareness is growing. But heritage legislation appears to be having trouble connecting with the vast population of the country. To date, Mumbai is the only city with real legislation.

Heritage regulations came into effect in early 1991 in Greater Bombay and was then extended to other Maharashtrian cities. The Maharashtra Regional and Town Planning Act was amended in 1994 to protect heritage buildings and precincts and penalise unauthorised changes to them. States such as Chattisgarh, Goa, Madhya Pradesh and cities like Delhi, Kolkata, Chennai and Hyderabad have also tabled Heritage Conservation Legislation. The National Commission for Heritage Sites, a national level act tabled in Parliament in 2009 is still under review.

Given that heritage protection/ conservation seems almost unimportant in the current development scenario in the country, it is critical to understand why this happening; why the population of the country is not engaged with heritage protection. One needs to question whether there is even a need to conserve/ protect heritage;

what defines heritage, how and if heritage is of any value to the greater socio-economic fabric of the city and its people? Does Heritage Conservation make any sense in this rapidly expanding city of Bangalore? Or is it only an elitist ploy to hold on to nostalgia?

In the current climate of globalisation, technological advancement, population mobility, and the spread of participatory democracies and market economies does it even make any sense to the millions of drivers, office boys, maids and dabbawalas entering the city every day? The future of conservation in Bengaluru will stem not only from heritage objects and sites themselves but from the contexts in which society embeds them.

These contexts — the values people draw from them, the functions that heritage objects serve for society, the uses to which heritage is put — are the real source of the meaning of heritage. Societies have typically saved old things as a matter of tradition, to be accepted and respected; for notions like "master piece," "intrinsic value," and "authenticity.

" However, in the last generation, cultural consensus and norms have been replaced by an atmosphere of openly contentious and fractious cultural politics. At the heart of the issue is the notion that cultural heritage is a social construction; that it results from social processes specific to time and place.

Heritage is not a static embodiment of culture but rather a medium through which identity, power, and society are produced and reproduced. Values are critical to deciding what to conserve — what material goods will represent us and our past to future generations — as well as to determining how to conserve.

Even brief consideration of a typical conservation decision reveals many different, sometimes divergent values at play: the artistic, aesthetic values, the historical values of its associations, as well as the economic values tied up in its use, and so on. Bengaluru needs to wake up to its reality quickly.

In the rapid development that is occurring around the city, decisions regarding conservation/ protection of heritage need to be taken out of the hands of the policy makers and planners and placed in the hands of citizens of neighbourhoods.

That is the only way that heritage will survive. A neighbourhood has to question if a property in its limits is worth holding onto/ redeveloping/ demolishing completely - whether it is even relevant to that community any more. JP Nagar needs to make decisions about the heritage of its locality and Frazer Town needs to decide on its own buildings.

Experts are useful in engaging with communities to make these critical decisions about identity, culture and heritage but should not be the decision makers. Legislation will happen only if there is enough civic momentum from all levels of the city; especially the local level; not only the elite.

Shreya Pillai is a social and urban policy analyst from Johns Hopkins. She has worked with the World Bank and has recently published a 'Listing of Heritage Buildings of Mormugao, Goa'.

- http://www.bangaloremirror.com/, January 8, 2016

The ground was used by the Portuguese, Dutch and English during their rule Renovation of the Parade Ground in Fort Kochi has been temporarily halted after remains of foundations of buildings that date back to the colonial era were discovered during an excavation.

The chance discovery was made on Thursday morning as an excavator deployed by Kitco, the consultant engaged by Kerala Tourism for renovation works, threw up laterite bricks put together using lime. Former Corporation councillor who represented the area, Antony Kureethara, said that the bricks and stones might date back to the Portuguese era.

The ground was used by the Portuguese, Dutch and English and they had buildings for housing soldiers and ammunition. “We must preserve history as it is, since this could become another heritage tourism attraction in Fort Kochi. The Archeological Survey of India (ASI) has been informed and their experts are expected to inspect the relics.

The relics must be preserved as they are, while the ground must be renovated to its past glory,” he said and called for manual digging to prevent damage to historical structures.

The St. Francis Church located next door, where Vasco Da Gama was first buried, is a class-one monument on par with the Taj Mahal, said a source. “The ground has footprints of three colonial powers and the Union Jack was lowered here when India won independence,” he said.

A senior tourism official said that a team of officials from the tourism department and Kitco inspected the site on Thursday. The ASI could step in and conserve a portion of the ground where the relics were found, he said.

- The Hindu, January 8, 2016

One of the most positive signals that has emerged from Jammu and Kashmir in the past few weeks is the way that ordinary schoolchildren in the Valley and their parents decided to defy threats and warnings by extremist elements in order to take part in the “Bharat Darshan” tours organised by the Indian Army.

Over the past two decades, this writer has had the opportunity to meet schoolchildren from the Valley on similar tours, ever since the Army and later the Border Security Force began organising them. Interacting with the children was always interesting and insightful: in each tour, it emerged that many had stepped out of their tehsil or district for the first time, and visiting places like Delhi, Agra and elsewhere was for many a mind-blowing experience, and often for the teachers accompanying them as well.

Many of the children and teachers hail from Valley areas where there are elements who actively propagate anti-Army or anti-security forces sentiment, but the Army and BSF officers who conduct these tours say that exposure to parts of India outside Kashmir has a profound effect on the students and they often go back home with new hopes and aspirations.

On December 1, 2015, reports from Srinagar claimed Aasiya Andrabi, head of the separatist women’s outfit Dukhtaran-e-Millat, had warned parents not to send their daughters on these Army-organised “Bharat Darshan” tours, and said: “It is shameful and deplorable on the part of those parents, the Army as well as schools that have consented and enrolled Class 11 and 12 daughters for the Army tour. I am not appealing to these parents but warning them to desist from such activities.”

Andrabi claimed that a number of parents had telephoned to tell her that the authorities of various girls’ schools in the Valley had been asking Class 11 and 12 girl students to enrol for the Army tours. “This is un-Islamic. A Muslim society like Kashmir never approves (of) such shady tours,” Andarbi is reported to have said.

She also appealed to clerics and religious leaders to raise their voice against the Army’s “new tactics” and the consequences of such “fishy tours”. But completely ignoring this warning, a group of 30 girl students from various schools embarked on an Army-sponsored tour a few days later.

The BSF followed suit with 41 girls and boys. A defence spokesman said: “Towards its commitment for better education of youth in general and women’s empowerment in particular, the Army organised a 10-day educational tour for 30 girl students of various higher secondary schools of Srinagar to Delhi and Agra.” Flagged off at the Badami Bagh cantonment by Maj. Gen. Mukesh Kumar, commander of 31 Sub-Area, the group included the children, two women teachers and some Army personnel along with their spouses.

Their itinerary encompassed visits to premier educational institutions, including IIT Delhi, Delhi University, Miranda House, Jesus and Mary College and Maulana Azad College. The students visited monuments like the Qutub Minar, Red Fort, Humayun’s Tomb, the Rail Museum, as well as the Taj Mahal and Agra Fort.

They interacted with Union home minister Rajnath Singh. The spokesman said the parents, guardians, principals and teachers present at the flagging-off ceremony lauded the Army’s efforts to run these educative tours, that also help students to orient themselves to career options for a brighter future.

The concept of “Bharat Darshan” tours started in 2000 and since then have been held every year for Kashmir’s children. Till now, over 1,500 children from J&K have participated in 52 tours sponsored by the BSF, and many more by the Army.

These tours are meant to make the children familiar with the country’s historical, cultural and social roots, as well as the progress it has made in the industrial, technological and scientific fields, and thus inculcate in them a sense of pride.

The Bharat Darshan tours widen their horizons and have given them an opportunity to see the nation’s diversity. It also gives them a chance to interact with people from different cultures, religions and languages.

Just as important, the children from Kashmir had several opportunities to interact with their contemporaries from different parts of India, there was an exchange of ideas and they could see that their hopes, fears and aspirations were often similar to children elsewhere. The lasting effect of this, after they go back to their homes in the Valley, could be incalculable.

Dukhtaran-e-Millat’s Andarabi, who organised a series of pro-Pakistan events this year, has often been criticised for trying to change the traditional sufi or liberal ethos of the Kashmir Valley into an extremist Islamist culture. She has also come under fire for inciting Kashmiri youth towards “jihad” against India while her own son is doing higher studies in Malaysia on an Indian passport.

- The Asian Age, January 8, 2016

School children drawn from institutions in and around Madurai enthusiastically participated in the regional ‘Clean Monument’ campaign, organised by the Indian National Trust for Art and Cultural Heritage (Intach) at Gandhi Memorial Museum here on Friday. The campaign comprised a clean-up drive and poster-making competition.

The event, organised by Intach as a Swachh Bharat initiative, is being held at different places all over the country.

One hundred winners from the region will be chosen for the national-level competition.

Two hundred and sixty six students from 13 schools prepared 287 posters on monuments, including the Gandhi Museum, Tirumalai Nayak Palace, Meenakshi Sundareswarar Temple, Red Fort and Taj Mahal. George,

Head, Department of Tourism Management, Madurai Kamaraj University College, delivered a talk on the need to preserve ancient monuments. Uma Kannan, chairperson, Madurai chapter of Intach, interacted with the students.

- http://www.nyoooz.com/, January 9, 2016

Three days after Uttar Pradesh Chief Minister Akhilesh Yadav laid the foundation stone of the Rs.140 crore Mughal museum, heritage conservationists here on Saturday demanded that the precious Kohinoor diamond be brought back to India.

According to the president of the Braj Mandal Heritage Conservation Society, Surendra Sharma, the Mughal museum in Agra should be the final resting place of the Kohinoor, the Peacock throne, and thousands of historical documents, including Akbarnama and Babarnama and 42 drawings of the Taj Mahal which are part of the 1942 report on conservation of the Taj Mahal, languishing in the British museum in London.

"We have sent a representation to the concerned minister in New Delhi and are looking forward to his response," Sharma told IANS on Saturday.

"Kohinoor belongs to India. It was taken away by the British from the Punjab maharaja and presented to the Queen on July 3, 1850," said social activist Shravan Kumar Singh.

Earlier, Nadir Shah who invaded Delhi, had acquired the priceless stone from Mughal ruler Mohammed Shah. The conservationists also said original Mughal paintings, particularly miniatures and the Akbarnama, are in possession of the British Museum in London.

"The government of India should strive to secure possession of these valuable heritage pieces through persuasion and negotiations with the erstwhile colonial powers," they added.

The Kohinoor is a 106-carat diamond which was once the largest diamond in the world. It is now in the possession of the British royal family.

The Britsh came across the gem when they conquered Punjab in 1849 and Queen Victoria received it in 1851. The stone then weighed 186 carats.

- http://www.business-standard.com/, January 9, 2016

Forests for human security should be the theme in all practices of forest governance

The year 2015 was terrible for Nepal. First, there was an earthquake; and before people had a chance to recover from the shock, there was an unofficial blockade by India which cut off the supply of essential goods. Every crisis is a source of inspiration too, and the two consecutive disasters have re-established forests as an ultimate safety net in times of difficulty. This is evident in the way people are desperately looking for timber and fuel wood. Once again, the connection between forests and human security has been brought to the surface.

Earthquake survivors need timber to rebuild their homes, and lack of cooking gas has forced people, even well-off families in Kathmandu, to queue up in front of the firewood depot. A few desperate people are even reported to have chopped up expensive furniture for firewood. Tree felling has reached an unprecedented scale as people struggle to survive amid harsh circumstances. Only the future will show whether the forest ecosystem will survive this onslaught by humans.

It is clear that Nepal’s forest policy cannot afford to ignore such fundamental human security concerns that erupt time and again but exist underneath all the time. As a landlocked country in the fragile Himalaya, Nepal has become a humanitarian crisis hotspot.

Clearly, 30 million people found themselves living in a risk environment with three axes—beneath their feet (earthquake), across the border (geopolitical) and within themselves (chronic and recurrent conflicts between groups). History has shown that Nepal’s forests absorb much of the heat and stress resulting from such events.

The current crisis reminds us of the concept of human security, which was popular during the 2000s. Here security means a state in which people are free from fear of hunger, fear of livelihood loss, fear of deprivation and so on. The theory of human security identifies seven components of human security—economic,

food, health, environmental, personal, community and political security. The earthquake and blockade have almost eroded all of them as people have lost their livelihood base, access to medical supplies and affordable food, mental and political vitality, collective spirit and ethical economic and social practices. Forest and insecurity

Even when Nepal’s forests were under a protectionist regime, we have seen a variety of ways in which they have cushioned the impact of a crisis. Forests provided relief to the people as they offered building materials like poles to erect huts, fodder for their animals and fuel wood to cook their food and warm their huts. In view of such vital importance, the country’s forests, which cover 30 percent of the land area, cannot be seen just as a means to conserve globally significant biodiversity for future generations.

They are an essential foundation for human security against all forms of threats to life. In fact, forested landscapes including terrestrial and aquatic ecosystems have the potential to address multiple dimensions of human security.

Biodiversity and local livelihoods—two aspects that dominate the forest governance debate in Nepal—can indeed be integrated synergistically with a much wider but a more urgent agenda of human security. While forests cannot be expected to reduce earthquake risks, positive contributions can be expected on all fronts of human security if they are properly managed.

With over 100 commercially traded forest products used in the manufacture of medicines, dyes, food, cosmetics, fibre and crafts, forests can greatly contribute to the economic security of the people. But many mistakenly see the forest sector only as a primary sector of production (such as through the supply of forest products),

neglecting the role of forests as an important provider of ecosystem services and indirect benefits to a range of other economically important sectors such as agriculture, tourism and hydropower. These services are taken for granted as gifts of nature to mankind. The national accounting system and economic policy do not count the contributions of all the services provided by forests. Flawed governance

The paradigm of forest management in Nepal is fragmented across conservationist, developmentalist and populist spheres, and ignores the human security perspective. Despite the fact that forests are intimately tied to people’s security against a variety of natural and human-induced disasters, Nepal’s forest managers and policymakers cannot see forests beyond the trees—the complex human-nature system that nurtures many properties of resilience and sustainability beyond the sustained yield of timber.

Many functions of forests, especially those that support people during times of crisis, continue to go unrecognised. Unlike agriculture, which is in the hands of millions of farm households, forestry has remained a highly centralised sector in Nepal.

Moreover, forestry is the sector where numerous policies have been formulated to satisfy donor conditions of aid, with too little democratic engagement among forest stakeholders in the country. Forests have largely remained public property and are community-managed to some extent.

The private forest industry is too insignificant as the regulatory regime is too restrictive. The forest industry is extremely weak under an oppressive legal structure.

As a result, Nepal is importing timber from Malaysia while logs are rotting in our forests. Perhaps a new social enterprise model linking the community, private sector and public agencies could enhance economic security from the forest sector. New regime

In order to reframe forest governance for human security, there is a need for a new discourse on forests for human security beyond the current preoccupation with community populism, global-centric conservationism and timber-focused productionism. We are not against any of these goals imposed on forest management.

Our point is that we need to mainstream human security as an overarching strategy in all practices of forest governance from the local to the national levels. Community-based forestry management has reached a climax in Nepal, but the time has come to empower local governments to strengthen forest landscape governance in a decentralised way.

Now that the new Constitution has placed forest management under the jurisdiction of state governments, it is vital to speed up the process of electing state assemblies and instituting state forest agencies.

We argue that the responsibility of human security should be retained by the national government while decentralising management responsibilities to state and local governments. Ojha is a public policy expert; Adhikari is a social scientist

- http://kathmandupost.ekantipur.com/, January 9, 2016

Centre to support move for World Heritage Site tag

Union minister of state (independent charge) for environment, forests and climate change Prakash Javadekar today proposed a comprehensive national project for protection of sangai, the most-threatened deer species.

The minister, who arrived here yesterday, visited Keibul Lamjao National Park in Bishnupur district today. Javadekar also said his ministry would fully support the state government's proposal for getting World Heritage Site tag for Keibul Lamjao.

He asked the park authorities to prepare a comprehensive national project for protection of sangai and the sanctuary and submit it to the Centre for consideration. "Make a proposal for a comprehensive national project for protection of sangai and Keibul Lamjao National Park," he said, adding, "The Centre will also support the state government's move for getting a World Heritage Site tag for the park."

The minister toured the interiors of the park on a boat with state BJP leaders, officials of his ministry and those of the state forest department to see the condition of the sanctuary. The BJP leaders said when Javadekar reached Pabot Ching, a small hillock in the middle of the park, he saw magnificent deer grazing from the top of the hillock.

"The Union minister expressed his desire to take up the project (for protection of sangai and the park) in the form of a partnership among the Centre, state park authorities and the villagers living around the park," BJP general secretary M. Ashnikumar Singh said.

Keibul Lamjao is the world's only floating wildlife sanctuary and the only natural habitat of the sangai. The last census, carried out in 2013, put the sangai population inside the park at 204.

A British environmentalist had rediscovered the deer species in 1971 after it was declared extinct in 1951. The government declared it the state animal in 1972. Javadekar also met members of the fishing community of Loktak lake and villagers around the park. He expressed happiness over the role of the local inhabitants in conserving the deer and in protecting the park.

"The role of the local inhabitants in conserving Loktak lake, the park and the sangai is very important. Without their partnership, the conservation work will be impossible," the minister told a group of villagers and fishermen at Thanga, a nearby village. Javadekar was of the opinion that Loktak lake could be a destination for eco-tourism.

He said it was very important to find an alternative livelihood for the fishing community. "The Centre will consider finding an alternative livelihood for the fishermen by a joint venture of the ministry of forests, DoNER, tourism, culture and rural development," Singh quoted the minister as saying. Javadekar left Imphal for New Delhi later in the afternoon.

- The Telegraph, January 9, 2016

Dhol tasha, classical music, traditional and folk dances, painting and workshops, and even a zoo, an aquarium and planetarium — the third and final day of Times Sanskruti Arts Festival at Upvan Lake had it all.

Thousands of city residents stepped out onto the streets on Sunday, exploring the cultural carnival, soaking in the variety of art forms ranging from performing arts to the live canvas painting arranged for them. From the Vaikunthanayaka Bhajan performance by Pt. Raghunandan Panshikar, Pt. Anand Bhate and Pt. Sanjeev Abhyankar at 7am till the performance of celebrity artist Benny Dayal, the audience cheered for each performer. Thousands of attentive listeners were seen till late night.

The finale of the three-day festival, which was themed Swar Tarang, saw an array of vocal styles such as Abhangas, Carnatic and devotional singing, Hindustani vocals, ghazals and Rajasthani folk singing. The Virasat stage also witnessed a variety of dance forms such as Bharatnatyam, Kuchipudi, Mohiniattam, Kathak, Odissi and so on. "Performing on a stage shared by legendary artists is an honour for young artists like me. I see this as a stepping stone for the future," said 13-year-old Joann Anto, a member of the Sanskruti Academy of Fine Arts who performed a fusion Bharatnatyam dance.

In addition to the numerous classical performances throughout the three-day arts festival, the finale also saw various unique shows. Thousands of youngsters, children and adults queued up to make the most of the aquarium, mobile planetarium and augmented reality shows.

Shruti Jadhav (34), who spent the entire day at the festival with her family, said. "We have attended every Upvan festival since it first started. The planetarium and augmented reality show are activities we don't have in the city otherwise. My son kept connecting the chapter on planets in his school text book to the sights seen in the planetarium."

The rare variety of fish displayed won the appreciation of a few foreigners visiting here as well. "We have been touring India for over a month now, travelled through the north and made our entry in Mumbai on Thursday. This cultural festival has been the highlight of our trip till date. The ambience of music, theatre, art, passion and culture was wonderful. The experience gave us goose bumps. My favourite was the aquarium. While I have seen larger aquariums back home, there is a lot of variety here," said Andre Jose, a tourist from Salzburg, Austria.

The art pavilion was flooded with budding artists, in awe of the collections of rare paintings and sculptures of renowned artists including Raja Ravi Varma, Abbalal Rehman, Baburao Painter, Chandrakant Mandhare and P Sardar. Exhibits by known artists such as Sanjay Shelar, Praful Sawant, Pramod Kurlekar, Aditya Chari, Ganpatrao Mazgaonkar, Deepak Patil and Vijaya Painter were also on display.

- The Times of India, January 10, 2016

Buddhist monks from different corners of the country are set to converge on Buddhist monks from different corners of the country are set to converge on Moghalmari near Dantan in West Midnapur on January 24 to stake their claim on a newly excavated site,

believed to be one of the oldest Buddhist viharas in India.near Dantan in West Midnapur on January 24 to stake their claim on a newly excavated site, believed to be one of the oldest Buddhist viharas in India.

What was written off as just a mound, which residents of the area believed to hide an ancient lore, has turned out to be a 5th century Buddhist site. The state archaeological department's excavation has pushed the Raktamrittika Vihara at Karna Subarna in Murshidabad, dated 7th century, to the second position on the Buddhist religious map and calendar.

The Bauddha Dharmankur Sabha, headquartered in the city, has organised the two-day Moghalmari Buddhist Festival, which will see a rare congregation of monks at the site that dates back to the era of Raja Samachar Dev.

This was the time when the Gupta dynasty had waned and local satraps had managed to shake off its suzerainty to declare their independence, Raja Samachar Dev being one of them. Most details of the pre-Pala age of Bengal is shrouded in mystery owing to lack of any historical evidence but now, scholars believe that the Moghalmari vihara excavation would help them piece together this past.

The excavation of the site, which had been put on a hold for nearly two years, will be taken up again from Monday. The state archaeology directorate had stopped the digging after archaeologists found coins and seals that had to be analysed to verify the site's antiquity.

With the inscriptions on the seals finally ascertaining the fact that the vihara was founded and fucntioned during the 5th-6th centuries, if not earlier, the state government has decided to release funds for the new phase of excavation. Already, more than Rs 3 crore has been spent.

- The Times of India, January 10, 2016

The bulls are kept in small enclosures and often given alcohol before they are released and tackled by groups of men. After years of struggle to outlaw modern bullfighting in India, animal rights activists finally saw the practice sanctioned in 2015. But thanks to a statement from a federal government agency, the ban has been lifted—and bullfighting will recommence at the end of the month.

India’s Ministry of Environment issued a set of guidelines for bull taming, or Jallikattu, in apparent defiance of a ruling by India’s supreme court that effectively banned the event. It found that bulls were “severely harmed” by the practice.

Jallikattu takes place during the centuries-old Pongal festival in the southern state of Tamil Nadu. After the animal is released from its pen, men jump on the bull and must hold on for a minimum of 15 meters, or three jumps by the bull, to win the prizes attached to the horns, the BBC reports.

Under the new guidelines, the bull must be “tamed” within a short distance from where it’s released to help curb the chaos that has ensued when bulls have been let loose among the spectators. Hundreds of people have been trampled or mauled, according to the BBC. The new rules also state that the event will be monitored by an animal welfare board to ensure the bulls do not unduly suffer, Indian outlet Niti Central reports.

Cruel Elephant Rides on the Rise in Africa Unlike Spanish bullfighting, the animals are not slaughtered after the event, but critics say the bulls are locked in small pens, battered by dozens of competitors, and often given alcohol.

Supporters of Jallikattu say it is an integral part of India’s cultural heritage, but the Animal Welfare Board of India and PETA both vowed to challenge the ministry’s new guidelines. The 2014 supreme court ruling stated that the rules pertaining to Jallikattu can’t be changed without permission from the Animal Welfare Board.

“Lifting the protection against cruelty that was afforded to bulls is a black mark on our nation, which has always been looked up to by people around the world for our cultural reverence for animals,” Poorva Joshipura, CEO of PETA India, told the Times of India. “India will now be considered archaic and backward as sensibilities around the world are changing in favor of animal protection.”

- http://www.takepart.com/, January 10, 2016

Colleges in Patna are no longer limited to academic activities. With the changing times, they are also endeavouring to reach out to the society by adopting projects of societal relevance.

In the last one decade, several city colleges have tried to fulfil their social responsibilities. Sometime back, Patna Science College's geology department had undertaken a pilot project on rainwater harvesting and artificial recharge of groundwater on the college campus. This project, funded by the Central Ground Water Board, attracted a large number of scientists, environmentalists, academics and schoolteachers and created awareness among the common people about the necessity of water conservation. Later, this project was also adopted by A N College, Patna.

A few years back, under a scheme launched by the state government, students of Patna Science College were given e-Z pay card. This card facilitates distribution of scholarships and honorariums awarded by the government to students belonging to the scheduled castes, scheduled tribes and other backward categories, including those classified as Extremely Backward Castes. The magic card, whose services can be availed through the State Bank of India's ATM network, obviates the need for a bank account and does not require a minimum balance. It is personalized with the name of the beneficiary and scheme printed on it.

Recently, A N College developed a safe and self-sustainable model of eco-toilet at Bind Toli village, Digha. The model has been found to work well and an application for patenting the model is under consideration in the Kolkata patent office. A domestic model of vermi-compost unit has also been designed and fabricated by the college's environmental science department. Field trials are being done and the results of analysis are encouraging, said department head Bihari Singh.

The environment and water management department of the college has also done good work in detecting the arsenic-contaminated aquifers of the state and creating mass awareness about the hazardous effects of using arsenic-contaminated water.

Last year, Magadh Mahila College of Patna University got installed an automatic sanitary napkin vending machine on its premises for the benefit of its teachers and students. First of its kind in the state, the machine dispenses a packet of napkins for Rs 10 only.

In recent years, at least two girls' colleges, namely Women's Training College (PU) and Arvind Mahila College (MU) in Patna have set up day care centres for the upkeep of newborns babies of faculty members and students. Arvind Mahila College has also set up a healthcare centre on the campus by hiring the services of qualified medical practitioners. Students and staff of the college are availing the services of doctors at the centre.

- The Times of India, January 10, 2016

Heritage core of the city lit up for a two-day music concert here on Saturday along the majestic Upper Lake. The confluence of next generation artists of Indian classical music performed with a message to conserve the city's invaluable heritage. The festival began with a performance by Santoor player Rahul Sharma at the Gauhar Mahal.

Gauhar Mahal palace is a rare example of successfull government intervention in conversation of heritage. It was accidentally discovered during an anti-encroachment drive along the banks of the Upper Lake in early 1990. Nawab Qudisa Begum's Nazar Bagh was the place to be with the sun setting in the backdrop of the Upper Lake. As the magical evening set and the next generation Santoor artist and son of santoor legend Pandit Shivkumar Sharma began with rendition of raag Bageshri.

Rahul is known for his innovations in classical, fusion and as a Bollywood composer. He has also collaborated with the likes of Grammy award winning American saxophonist Kenny G. Strengths of Santoor brought out the emotion and summed up the mood of the evening at the once majestic palace. "It is a rare experience to perform at a heritage site. Performing in from of a knowledgeable Bhopali audience is always very special," said Sharma.

The moving traffic along the VIP roard outside did not distract the young maestro's compositions and he kept the audience captivated with tones of Kashmiri and Pahari. Satyajeet Tawalkar on Tabla was his able rhythmic accompaniment. The rendition of bandishes was a treat for die-hard pure music fans.

Spirituality and Indian classical music go together said Mumbai-based Sufi singers Sabri brothers at another stage at Iqbal Maidan. Ironically, this performance was in the backdrop of 18th century Shaukat Mahal whose facade was pulled down by the Bhopal Municipal Corporation (BMC) last July. An example of government incompetence and callousness in heritage conservation.

'Chap Naina Milake' song set the stage and the spiritual connect was immediate for delectable Qawwali performance by the Sabri brothers Aftab and Hashim. "They sing with a soul and is appears so effortless. Comparing them to the Sabri brothers from Pakistan or Aslam Sabri sa'ab is difficult but they are in a league of their own," said Aslam Khan, a resident as the Sufi duo began singing 'Yeh Mera Shauq Hai' song. They entralled the audience with Sufi and Bollywood numbers.

Sunday's event will witness composer and flautist Rakesh Chaurasia perform at Gauhar Mahal, followed by Indian classical and fusion musician Niladri Kumar at Bharat Bhavan, Indian playback singer Shefali at Ravindra Bhawan and playback singer Hariharan at Iqbal Maidan.

- The Times of India, January 10, 2016

Says all stakeholders should understand the dynamics of aviation industry

Union Minister for Civil Aviation Ashok Gajapathi Raju on Saturday said the cooperation of the State government was important for expanding the runway of the Tiruchi International Airport.

Addressing a meeting organised by the Confederation of Indian Industries (CII), Tiruchi chapter, he said that Tiruchi airport had emerged as a highly progressive airport in the country. It had seen staggering growth in passenger and cargo traffic in recent years.

Various trade, commerce, and industry associations had expressed the need for runway expansion. The Airport Authority of India had taken a number of steps to expand the runway. However, Mr. Raju said that land acquisition continued to be a bottleneck in runway expansion. It could be expedited with the support of the State government. It had a major role to play in clearing the bottleneck.

Stressing the importance of aviation-friendly States, he said it was necessary to create infrastructure in airports, including land acquisition, mandatory clearances, and so on. All stakeholders should understand the dynamics of aviation industry.

Tiruchi had the potential to make progress in heritage and medical tourism with the presence of a number of temples and hospitals. The potential was needed to be harnessed. His ministry would take steps to boost heritage and medical tourism in Tiruchi.

Earlier, representatives of various travel, industry, and trade bodies listed their expectations and demands for improving the air connectivity between Tiruchi and various domestic destinations. S. Sampath, Vice-Chairman, CII, Tiruchi Chapter, said that there was an immediate need to start international courier operation from Tiruchi airport.

Although Tiruchi stood at eleventh position among airports in the country in handling international passengers and cargo, the airport had not been upgraded with necessary facilities. Many speakers said that though it had good connectivity with West Asia, it lacked connectivity with many leading destinations in the country.

- The Hindu, January 10, 2016

The Uttarakhand division of Archaeological Survey of India is adding a new section on its website, complete with voice commands and recorded narration, to allow visually impaired users to access information on heritage sites of the hill state. The move by the Uttarakhand division of ASI, also known as Dehradun Circle, is a first across the archaeological circles in the country.

V K Swarnakar, superintending archaeologist, ASI, Dehradun circle said, "We wanted to reach the segment of people who are interested in learning about history, heritage and other facts related to monuments of the state but could not due to visual impairment. At present, the link of the website is available on our homepage and is on trial."

The Archaeological Survey of India's Uttarakhand division is incorporating a separate section on its website which will have features like voice commands, recorded narration about the monuments in the state and other related information about heritage of the hill state for the visually impaired.

The website will be user-friendly with just six keys to operate: Enter, spacebar, page up, page down, down arrow key and up arrow key. After clicking on the link for the visually impaired, voice instructions will direct the user to navigate accordingly.

Swarnakar told TOI that the idea took shape after he visited blind schools and other facilities that educate the visually impaired. "A special software was being used by these institutions which is good but expensive so not everyone can afford it. We thought of coming up with something which is more accessible," added Swarnakar.

The Dehradun circle of ASI had also launched a Braille booklet in March 2015, titled 'Uttarakhand Ke Smarak', which contained information about monuments of Uttarakhand for the visually impaired.

- The Times of India, January 10, 2016

The aggressive man-lion avatar of Vishnu and its famous dramatic fight with an evil king has inspired the latest exhibition at New York’s Metropolitan Museum of Art.

FIVE rare wooden sculptural masks made in India — recently acquired by New York’s Metropolitan Museum of Art (MET) — have become the highlight of a special exhibition titled “Encountering Vishnu: The Lion Avatar in Indian Temple Drama”,

which opened recently at the MET. Worn by actors in plays presented during religious festivals in southern India once upon a time, the masks represent a largely unrecorded category of late medieval devotional art from India. John Guy, curator of South Asian Art at MET, says that the masks were purchased from an old English dealer who acquired them in southern India in the ’80s as part of his interior design business.

“I have always been fascinated by the early avatars of Vishnu, especially Varaha and Narasimha. The acquisition of this set of masks allowed me to build this exhibition around the dramatic narrative of Narasimha’s battle with the evil,” says Guy. Mythologically, Vishnu has appeared in as many as 10 guises, known as avatars. And the MET has chosen to highlight his Narasimha appearance through the current exhibition.

The objects on display explore the theme of Vishnu in his man-lion form, revealing himself at the court of an evil king in response to the king’s attempts to slay his own son for his unwavering devotion (bhakti) to Vishnu. A frightful battle ensues, in which Narasimha finally overcomes the protective magic with which Hiranyakashipu, the evil king, has surrounded himself. Order is thus restored in the universe.

Through the ages, this narrative has been dramatically represented in several sculptures and paintings, and when staged, has been known to heighten the drama through these expressive masks. This temple drama, known as Hiranyanatakam, is still performed in the Kaveri delta region of Tamil Nadu, mostly in villages around Thanjavur.

Guy says that since the exhibition deals with the sensitive subject of mythology and devotion, the objects chosen are of the highest quality, representing the antiquity of Narasimha imagery and the ways in which Vishnu has been honoured and worshipped in the past. “A second aspect is the presentation, which is highly respectful of the devotional role of these images,” he says.

Along with the bulky wooden masks, the exhibition comprises works in bronze, sandstone and wood, as well as miniature paintings, lithographic devotional prints, and early photography, all of which illuminate the theme of Vishnu’s divine appearances. Dating from the sixth to the 20th century, the 30 works have been drawn from the MET’s own collection, as well as sourced from various private collections from world over.

Also finding pride of place in the exhibition are two rare copper alloy sculptures — one of a standing Vishnu, and the other of Yoga Narasimha from the Chola period (880–1279). There is an antique bronze mask of Vaikuntha Vishnu, created in the ancient kingdom of Kashmir in the 5th century.

There are pages from a dispersed Bhagavata Purana manuscript belonging to the 16th century Delhi-Agra area, one of which depicts the scene of Bhima slaying demon Jarasandh, while the other shows Krishna subduing Kaliya, the snake demon. Also part of the showcase is an extraordinary seated Narasimha in sandstone from the sixth or seventh century.

The shows Guy has curated for the MET include “Ragamala: Picturing Sound” and “The Royal Hunt: Courtly Pursuits in Indian Art”. “The exhibition is one of a series of small-scale, highly focused exhibitions, with 25-30 works, exploring one aspect of Indian art. Our future shows will also include themes central to Hindu, Buddhist and Jain art, and the work of 20th century artists,” says Guy.

- The Indian Express, January 11, 2016

The state government’s ambitious ‘Urban Haat’ project, a replica of Lahore’s Food Street, is inching towards reality. Chief Minister Parkash Singh Badal, while reviewing development work, announced the project would be dedicated to the public on Baisakhi. The main reason for the delay is the restoration job being done minutely.

Once completed, the project would surely be an added tourist attraction. It is being developed by refurbishing the abandoned complex of a 124-year old colonial building of Victoria Jubilee (VJ) Hospital. The hospital was named in commemoration of the jubilee celebrations of Queen Victoria’s rule. It began functioning here in 1891.

Though the Lahore food street is known only for traditional cuisine, the Amritsar edition would not only be a single stopover for food lovers, but will also offer an opportunity to have a ringside view of Punjabi tradition, culture, art and craftsmanship. Chairman, Amritsar Development Authority, Sandeep Rishi said it would take a few more months to make the Urban Haat lively. “We want it to be fully operational without leaving any room for error. It would be an apt Baisakhi gift (April 2016) for Amritsar,” he said.

INTACH’s senior conservation architect Ruknuddin Mirza said the biggest challenge before them was to make adaptive use of this heritage building while justifying it in a rational way. “Getting it gel with the cultural quotient was a big challenge for us while outlining the project’s contours,” he said.

PUDA XEN Surjit Singh and SDO Narinderjit Singh, under whose supervision the work is under progress, said not only has the building structure been strengthened, but its major portions have also been restored in their original form. The prime site is situated nearly a kilometre away from the Golden Temple and the Jallianwala Bagh and would attract visitors who generally leave after visiting the Golden Temple and the Attari-Wagah border retreat ceremony. Project details

Spread over around 4.5 acres, the Urban Haat would have six blocks (from A to F). The A block is being transformed into eight suites, guest rooms and dormitories to accommodate the visiting artistes and troupes.

The B block would house the articles exhibiting Punjab’s rich culture and heritage, a souvenir shop, ATM facility and other public-centric utilities. The food court would cater around 450 persons at a time, has been planned in blocks C and D. The restaurant’s sitting area would have a wooden partition. Around 20 modular kitchens have been readied at the rear for preparing food.

Blocks E and F would have a craft bazaar emporium, administrative complex and meeting hall. To rejuvenate it further, the famous food joints of Amritsar like the century-old Kesar Da Dhaba, Kundan’s Dhaba, the Kulcha Land and globally famous Makhan Fish, will open their branches in the complex. Besides, international chains like Cafe Coffee Day (CCD) and McDonalds too are being roped in.

- The Tribune, January 11, 2016

Bengaluru needs to march forward, but not by razing its past, writes Meera Iyer, as she narrates the heritage landscape of the City

In the mid-1980s, just around the time there was a move to demolish the Attara Kacheri, the now-dissolved Bangalore Urban Arts Commission had commissioned the Indian National Trust for Art and Cultural Heritage (INTACH) to prepare a list of iconic buildings in Bengaluru.

The list was compiled by Prof K N Iengar, a renowned professor of architecture. The bespectacled professor surveyed the City for two years, pedalling through its lanes and bylanes, before he put together a list containing 823 buildings. The year was 1985.

Now and then

Cut to 2015. Faced with a paradoxical situation where increasing public interest in heritage is mirrored by increasing disregard for it by those in government, the Bengaluru chapter of INTACH embarked on a resurvey and update of the 1985 list of Bengaluru’s heritage buildings. While everyone agreed that we were fast losing our architectural heritage, it seemed important to be able to quantify it with some actual data.

Accordingly, volunteers from INTACH, including this author, spent about five months roaming the City on foot, motorcycles (but not bicycles!) and electric cars, looking for all the buildings K N Iengar had listed 30 years ago. The resurvey exercise was filled with almost as much drama and emotion as a soap opera! Each day brought with it delight at finding a building still standing in all its stateliness, and despair at finding others that had succumbed to ‘development.’

We classified the buildings into different categories — government (public), religious, private institutions, commercial and residences. The results in a nutshell: Out of the 823 buildings that the 1985 list recorded, less than half survived — only 354 to be precise. Bengaluru being less a city of monuments and more a city of heritage precincts — less like Delhi, for example, and more like Mumbai — not surprisingly, 510 of the buildings in the 1985 list were residences. Of these, only 129 made it to 2015.

Most of the monumental buildings that we do have — such as the Sheshadri Iyer Memorial Hall, the Victoria, Vani Vilas and Minto hospitals — are government-owned. Happily, almost all of them have survived. Nonetheless, it was unsettling that almost but not all the government buildings had survived till the second survey. Being owned by the custodians of the City’s heritage, they should have ensured that the number remained unchanged over 30 years. Instead, of 117 heritage buildings that were under the government’s aegis in 1985, only 96 were found still standing in 2015.

The remaining had given way to the demolition ball. The old taluk office building on Kempegowda Road, the office of the deputy commissioner, and even some buildings with the army, amongst others, have been devoured by the ‘modernity’ virus. A few private buildings had also achieved near-monumental status, at least in the hearts and minds of the people.

Many a hand was wrung in anguish when the iconic Cash Pharmacy building, at the corner of St Mark’s and Residency roads, was brought down about a decade ago. Another building that had a special place in the hearts of many Bengalureans was the house named ‘Golden Threshold’ on St Mark’s Road, owned by Camilio Miranda. As a child, I remember pausing everyday on my walk to school, to take a glimpse of the handsome building and its equally beautiful garden, which to me seemed straight out of a fairy tale. This building was one of the earliest in that area to be demolished.

Down memory lane

Bengaluru’s heritage buildings were not restricted to any one neighbourhood, but were found even in its smallest lanes and congested spaces. There are street houses on Kenchappa Road that exude charm, for instance, or small houses on Puliyar Koil Street that are full of refinement. I fell in love with one particular house on Anthony Nicholas Street in Ashok Nagar, or at least with its photograph.

It was described by Prof Iengar in 1985 as “an example of how middle class house owners might design their residences rather than ape the craziest wasteful designs of the present decades.” This building has now been replaced by a modern building.

One of the memorable roads was the tree-lined Vasavi Temple Road in Basavanagudi, a street brimming with history. Writer and activist Arathi Manay’s great grandfather Ramachandra Rao Scindia built a house on this road in 1925. She says, “The Vishweshvarapuram area in Bengaluru was established in about 1918, and much of the land was bought from the Mysore government by Marathas, through auction.”

Prof Iengar’s documentation corroborates this when he notes how the neighbourhood had five very similar palatial buildings, all built by the same business community. Arathi’s ancestor’s house, no longer in her family, has now been replaced by apartments. But a few others still stand in the area. Prof Iengar’s list also includes Edward’s Street, which was filled with heritage houses. Isha Krupa, one of the eight houses found there, was noted for its multiple roof planes and “a harmonious composition”.

Several of these houses, built in the 1920s and 1930s, look strikingly similar. Prof Iengar calls them ‘Indian bungalows with Indian and European details’: two storey houses with porticos and drives, canopied corners, and very decorative details in plaster, especially around the doors, windows and parapets. Yet, a close look shows up differences too. It is the same with the colonial-style bungalows in the cantonment area. At first glance, one sees only the similarities: monkey tops, trellises and decorative roofs.

But as pointed out by the owner of a 112-year-old house in North Bengaluru, the houses differ in their details, such as the style of windows, the floor designs, the decorations on their parapets — hers has a coat-of-arms, for example, while others down the road have flowers. This is what gave each house a particular character.

C Aravind, a co-ordinator at INTACH Bengaluru, says, “Many things in old houses were customised and had to be made on site, such as the windows, plaster decorations, doors and so on. Today’s buildings, on the other hand, are mostly made with mass-produced items.”

Several owners of heritage buildings have strong attachments to their houses and hold on to them, despite many problems. Maintenance is difficult and can be expensive, they say, especially since many are left to be looked after by aged parents, the children having flown the coop.

Given that a city’s image, its undefinable soul, is tied to its heritage buildings and its neighbourhoods, can the government ensure heritage buildings in its care are no longer torn down? Can we come up with a mechanism that provides some support to owners of heritage buildings? In most modern cities, the old sits comfortably alongside the new. Yes, Bengaluru needs to march forward, but that need not mean razing its past.

(The author is the co-convener of the Bengaluru chapter of INTACH)

- The Deccan herald, January 12, 2016

Much is said about the Basohli School of painting while discussing the Indian miniatures. Yet very few people of the State know either its history or the specifications. The reason is that in post independence era, the painting of this school received scant attention and appreciation. Perhaps owing to the fact that Basohli is situated far away from the cultural centers of India like Dehli, Jaipur, Luknow and Banaras etc. Very few people know that a Basohli school of painting is largely influenced by the Mughal School and in part by Rajasthan school of painting. Actually, this school depicts both strands when we examine any piece of exquisite painting. Traditional schools of painting in our country it has won fame for its individual peculiarities. The Basohli School of painting developed with the decline of the Mughal Empire soon after the death of Emperor Aurangzeb in 1707. During the days of this ruler, Mughal School of painting was face to face with decline because the Emperor did not evince any interest in art, culture and painting. It was during the days of this Emperor that master artists and painters began leaving the royal court and seek patronage at the courts of smaller satraps who flourished far away from the centre of the Empire. Local chieftains took the fugitive artists under their patronage. Two types of miniature art developed in Basohli. One was the regular miniatures which may be called classic painting. The second was eroticism in miniature. It is well known that the most popular family closely linked to the history of painting during the Mughal or immediately after Mughal period is of Padhas of Basohli. Padha Kunj Lal, a native physician of Basohli was presented several invaluable Basohli paintings by the contemporary raja. The raja also got his portrait made by the court artistes as a royal favour. The Padha House kept close guard on the rich heritage booty they ultimately raised in Basohli making it impossible for the Afghans, Sikhs and the British to snatch it away from their private repositories. These are reported to be exquisite and classical in pattern, design, colour combination and themes. Connoisseurs of art came from far off places within and outside the country to have a look at these treasures and recorded their appreciation. There are many families in Basohli besides Padhas who have nurtured the specific Basohli art and won a name for themselves. But official recognition always eluded them. The lament of these artists is that neither the State Government nor any of its cultural organizations ever took serious note of this exquisite school of painting. Only scant recognition was given to the inheritors of this art. Many of the painters had to do some odd jobs to make both ends meet. Normally if it were a foreign country, these painters would have been recognized as the cream of society, given the highest award in art and painting so that with patronage coming from different sections of society they would have been encouraged to pursue their art without seriously jeopardizing their effort for survival. Of course, the State Government awarded Dheeraj Kapoor and his wife in the years 2009 and 2011, with Dheeraj getting the first prize for a miniature in 2010. Dheeraj and his wife, both having produced some pieces of fine painting, have held exhibitions at the Lalit Kala Academy, New Delhi. However, this has not helped them live a life of comfort because for day to day survival they have had to take up some petty Government job. Had these artists been in a western country, they would have become fairly prosperous and would have been living a life of luxury. Reflecting on the condition of painters of Basohli School, a female budding painter gave the graphic description as this: Think of the material used. A Basohli painting requires hard-to-find Veale paper or even ivory sheet, special brushes made of squirrel hair, feathers of Kalmunha bird and colours laboriously derived from dried-up leaves, flowers, beetle wings and khadiya earth. For ornamental purposes, we use 24-carate gold and pure silver. Then consider the deftness and precision required to produce one miniature portrait in which you can single out each single hair of a subject with a magnifying glass. And how do you reckon that indescribable element of a painting which elevates it to a work of art? In return, the money we get is hardly enough to pay my son’s play-school fee.

It would be in line with the traditional encouragement of art and painting which is the history of our civilization that Basohli painters are taken under the patronizing wing of the Ministry of Culture and a handsome yearly or monthly remuneration is sanctioned in their favour for serving the cultural fund of the nation.

- http://www.dailyexcelsior.com/, January 12, 2016

If it is the handicraft and food that is fetching footfalls at the ongoing Orange City Craft Mela at SCZCC, then drawing eyeballs are the various performing artists who are introducing the city to India's rich cultural heritage.

Few of us living in the state may be aware of a dance presentation prevalent in Aurangabad called Saungi Bharud Darshan. "It speaks of activities during 12 hours of the day through presentations that depict happenings of rural life," says Niranjan Bhakre, performing at the folk dance festival.

Wearing a Jhabba or a long robe and a turban that has peacock feathers tucked around it, the dancer becomes Vasudev. Other artist dress up as Burgunda, or the women who go around village selling jewellery items, pingla and nandi bail of Shiva. "Some years ago we spoke about religion, household affairs and folk tales. Today we try to give message on issues like save girl child, environment and social ills," adds Bhakre.

Creating the aura of Rajasthan are sounds of sarangi, khartal, algujaa, khanjari and khamach being played by 11 members of the much awarded troupe of Ustad Gafoor Khan Manganiyar. The Sindhisufi artists have in their repertoire some of the best heard folk songs in country today.

"Our songs fall in three categories, 'gorband', which are sung during marriages, 'hitchki' that are about pining of lovers and 'nimbuda' sung by women asking their menfolk to get goodies from the market," says Khan. "We also sing compositions of Meera, Kabir, Bulle Shah at our performances abroad," says Khan whose troupe has travelled all over the world. "We follow the Hindustani classical traditions but nobody in our clan gets any formal training. The children grow up listening to this music and are well versed in singing and playing all the instruments," he says.

Striving to make a foothold in the crowded arena of folk dance at national and international stage, are the Been Jogis of Haryana. Traditionally they are the snake charmers. "Now I have brought together eight to ten members of our tribe to form a dance troupe," says Ranbeernath Soda. Giving a trendy look to their saffron coloured dress with embroidery and armed with a heavily decorated 'been' which is made by these traditional snake charmers using poongi, a vegetable that looks much like bottle gourd, bee wax and brass pumps, these artists entice onlookers with catchy beats emanating from khartaal, chimta, nagada and tumba.

"We get some chances to perform at cultural festivals or government programmes but would like to go abroad to give a performance," says Soda.

- The Times of India, January 12, 2016

Amberpet boy Srivari Bhargava is ecstatic to receive the highest photography award by Royal Society of Photography, London -the oldest photographic society in the world. The RPS offers three levels of distinctions which set recognised standards of achievement throughout the world and Bhargava has bagged the ARPS award.

“To the best of my knowledge, there are not many photographers in India who hold this distinction, and in my circle of photographers which includes some of the most popular photographers in India and around the world, there are only two who staked claim to this award. Further, I am not aware of any other Indian photographer who achieved this distinction under the age of 25,” he says. Excerpts from an interview on what got him started, in his own words.

How I started wildlife photography: Like many others, my interest in wildlife was cultivated while watching wildlife documentaries on television. However, when I went on our customary regular family vacation to Ooty and had a chance to observe wildlife from close quarters en route, I thought why not photograph and film wildlife behavior myself rather than simply watch it on television.

Where all I travelled: So far, I have travelled extensively in India covering national parks on all corners of the country. Some of my favourite jungles in India are Bandipur and Kabini in Karnataka, Ranthambore in Rajasthan, Tadoba in Maharashtra, Satpura in Madhya Pradesh, Kaziranga in Assam, and Corbett in Uttarakhand. I have also been in Kenya in East Africa where I witnessed the famous wildebeest migration and spent a lot of time with the big cats as well. I think East Africa is beautiful, raw, and provides photo opportunities like no other place and I plan on going back there soon. I also plan on heading to the Arctic region to photograph Polar Bears, and to Costa Rica in search of exotic birds.

How does photography help conservation: People usually want to conserve what they love, but not all of them have the time or patience to travel world over to see animals. So I think making people fall in love with wildlife through photographs will inspire and motivate them to help save forests and its inhabitants.

Going forward: Right now, I absolutely enjoy spending time in the wild and photographing unique behavior and natural history moments. I also enjoy introducing people of all ages around me, especially young kids, to the idea of vacations in the wild, and I think the more people spend time observing our beautiful natural heritage, the better chance we have of conserving them. Down the line, I hope to explore more options of exposing people to nature and wildlife, such as setting up eco-tourism camps in lesser known forests where tourism is currently not prevalent.

- The Indian Express, January 12, 2016

TRIVIKRAM temple in Ramtek has now added more richness to the cultural heritage of Vidarbha with historians and archaeologists terming it as one of the ancient structural edifices in the State. The shrine consists of a porch of a temple and mutilated image of the Trivikram Avatara of Lord Vishnu. The custodian of Indian cultural heritage, Archaeological Survey of India (ASI) has started its conservation work along with 92 other ancient monuments across 11 districts of Vidarbha falling under its Nagpur Circle.

The Trivikram temple was constructed in 4-5th century AD by the royal family of Vakataka dynasty for the sake of crown prince Divakarsena’s merit or memorial. This was substantiated by an inscription placed in the wall of Narsimha temple in adjoining area.

The empire of the Vakatakas was extended from the southern edges of Malwa and Gujarat in the north to the Tungabhadra River in the South as well as from the Arabian Sea in the West to the edges of Chhattisgarh in the East. Successors of the Satavahanas in the Deccan, Vakatakas were contemporaneous with the Guptas in northern India.

Considered to be the patrons of arts, architecture and literature, the Vakatakas led public works and their monuments are a visible legacy. Vindhyashakti was the founder of the Vakataka dynasty whose name is derived from the name of the Goddess Vindhya after whom the mountains were named.

Vakataka rulers were divided into four branches after Pravarasena-I. However, only two branches -- Pravarpura-Nandivardhana and Vatsagulma -- are known so far. The Pravarapura-Nandivardhana branch ruled from various places like Pravarapura (Paunar) in Wardha district, and Mansar and Nandivardhan (Nagardhan) in Nagpur district. This branch maintained matrimonial relations with the Imperial Guptas. The Vatsagulma branch was founded by Sarvasena, the second son of Pravarasena I after his death. King Sarvasena made Vatsagulma, the present day Washim district as his capital. The territory ruled by this branch was between the Sahyadri Range and the Godavari River. They patronised some of the Buddhist caves at Ajanta.

The temple in Ramtek that was dedicated to Vishnu is represented only by six decorative pillars and mutilated image of the Trivikram. The porch is a simple stone structure comprising two square front pillars of grey stone; with lintels and roof slabs of the same material. Behind these pillars, four half pillars are resting on an ornamental dado and themselves lightly decorated with simple carving. These portions of the structure are of red sandstone. The remaining fragmented architectural members indicate that the outer wall of the temple was probably decorated with a band of sculptures showing short corpulent similar to that of Yaksha figures carved in red sand stone. The present image in the temple is of Trivikram, fifth incarnation of Vishnu, one of the important Gods of Hindu trinity. He appeared on the earth in human form as Vamana a dwarf requesting demon king Bali to gift three steps of land. As donation was granted, the Vamana grew huge covers earth with first step, heaven in another and further asks Bali that still place to keep third step is yet to be granted. Bali realising truth offers his own head to keep step, which was accepted by the Lord. Thus, Vishnu is known as Trivikram are of the ten avataras.

The image in graceful and beauty of its original form remains unhidden. Trivikram stands on left foot firmly placed on ground bearing weight of his entire body while the right leg is raised up high. He wears a thin lower garment tied below his belly button. A long garland- Vanamala is notably hanging on his left thigh.

The British took keen interest in this particular ancient shrine dating back to 4-5 century AD. As per the orders of Governor in Council, G K Watts, Secretary to Chief Commissioner, Central Provinces & Berar, had issued primary notification declaring the remains of this very old shrine upon the western ridge at the end of Ramtek hill over-looking the town between the group of temples and the bungalow as ‘protected ancient monument’ on November 17, 1906. On April 11, 1925, J A Baker, Secretary to Government, Central Provinces, then had confirmed the notification by the order of Governor in Council for protection of the shrine under the Ancient Monuments Preservation Act, 1904.

ASI now started the conservation work due to the out of plumb of the temple from its position. Also the stone artifacts were decayed and pulverised in its form. And therefore, lowering down and restoration of the temple was essential.

The temple conservation work is being carried out by Milind Angaitkar, Senior Conservation Assistant, M D Salahuddin, Assistant Superintending Archaeologist and their team under the supervision of Nandini Bhattacharya, Superintending Archaeologist, Excavation Branch, and Nagpur Circle, ASI.

- http://thehitavada.com/, January 12, 2016

The horse-driven cart to carry postal bags in Jeypore of Koraput district was the only one in service till date in the entire country. Koraput is the birth place of rice.

The district has a rich heritage and many firsts - the ice cream plant, photo studio and so on, said researchers at the Dongar festival organised at the Tribal Museum here by the Indian National Trust for Art and Cultural Heritage (INTACH) in association with the tribal museum.

The Koraput chapter of INTACH can become the foremost in the state if work is done given the immense potential of the district, said Anil Dhir, a researcher.

Children from different schools in addition to tribal artists from different parts of the district joined researchers, scholars and members of INTACH from the district to the state level making the festival a success on the occasion of National Youth Day. Paresh Rath, well known researcher and photo journalist from J eypore was honoured.

Rath was given the recognition for his lifelong work in preservation of culture and heritage of Koraput region through his photographs. Many of his photographs especially his collection of photos of the royal family of Jeypore are on display. Koraput with its rich cultural heritage was given a platform in the name of Dongar in 1995 which has been drawing great attention from people and children who are keen to learn about the subject, Umakant Das , researcher on tribal way of life said in his inaugural address.

Dhir who referred to the horse-driven cart to carry postal bags in Jeypore said the department was all set to close the unit and replace it with modern transport when it was brought to the notice of the then minister Sachin Pilot who directed its continuance. People need to know and feel proud of living in a region of rich past and come forward to preserve it for future generations, he added.

INTACH has technical expertise even to protect the palaces and the main gate of Jeypore palace could also have been saved if protection were assured by the authorities and people at large . INTACH Koraput chapter could take up the task of listing all the known and unknown monuments of the district so as to initiate the process of preservation with the technical expertise of the organization. Koraput with the added advantage of having Central University of Orissa, the mission could go a long way in making things easier in this direction , he added. Addressing the gathering Sachidananda Mahanty, Vice Chancellor of Central University of Orissa assured all support in the process of creating awareness and preservation of the cultural heritage. Further he assured that the University would shoulder the responsibility jointly with INTACH and Tribal Museum in hosting the next Dongar for making it more meaningful and enriched.

A professor for the Tribal Studies Chair was to join in a month and after that the university would go ahead with its ambitious plan of reaching grassroots in the region with a better approach, Prof. Mahanty added . A youth exchange programme is planned to enable tribal youth visit certain sites of historical importance in coastal region, said Hariharan Balkrishnan, convener of INTACH, Bhubaneswar Chapter. He also announced an assistance of Rs.50,000 in his personal capacity for the children of Koraput to get exposure on the cultural heritage of the region. Among others P C Mahapatra, Convener of Koraput Chapter of INTACH, Jagabandhu Samal, Director, Tribal Museum, Ajit Patra, Member of Koraput Chapter of INTACH and Malabika Deb, professor from Pondicherry University addressed the gathering.

- The statesman, January 13, 2016

Does India need a new Parliament building?

Like many of my fellow citizens, I am alarmed at the proposal of the Speaker of the Lok Sabha for building a new Parliament House. This is an idea that had been raised earlier. In 2008, the then Speaker of the Lok Sabha, had mooted a similar proposal but, thankfully, it did not find many takers and faded away. The danger, this time, is that even though major political parties have differences about important national issues, there seems to be a silent consensus among these parties regarding the need for a new Parliament building, with some notable exceptions.

Although these may be early days, a wedge has already been created with the idea of building a new Parliament building, the logic of which is not at all clear. The argument for a new Parliament building is supposed to be based on the idea that the present premises have become inadequate and that a new and modern edifice will somehow ease the functioning and enhance the efficiency of the members, as appropriate in a digital age.

Lutyens' Delhi, the headquarters of the British raj, is one of India's architectural and iconic wonders, whose planning and construction commenced in 1921. The building of the present Parliament House was completed in 1927, alongside the rest of Lutyens' structures on Raisina Hill. The surrounding premises of the Rashtrapati Bhavan, North and South Block, all stand today as a symbol of the majesty of the Indian democracy. The other surrounding buildings of the Parliament library and the annexe in the Parliament House complex were built in later years. Well-known structures such as the Lodhi Gardens, Humayun's Tomb, the Qutab Minar, Jama Masjid and several other historical structures and minarets are strewn across Delhi and, like Raisina Hill, bear witness to the legacy of more than a thousand years of history of former rulers and builders of this great Indian city.

Indians naturally feel resentful about foreign invaders, but the facts of history, sadly, cannot be denied. Although the recent destruction of the historically famous Bamiyan Buddha statues in Afghanistan by the Taliban and the ravages of the Islamic State obliterating the museums and historical monuments in Iraq and Syria are not exactly in the same category, they are contemporary events of vandalism, of the obliteration of history in hate and haste.

The Archaeological Survey of India is a premier institution, established in the 19th century. It deserves a mention here for its excellent record of work and its contemporary role as preserver of the icons of India's rich history. This, in spite of constraints on its resources, maintaining and guarding India's ancient structures and artefacts from the predatory spread of our exploding population, is indeed a huge task.

Be that as it may, the proposal to build a new Parliament House will not solve the genuine problems beleaguering the present premises, because the appropriate solution is not creating more space, but making significantly better and more effective use of the space and facilities of the existing Parliament building.

There are numerous and visible challenges with respect to the poor repairs, maintenance and upkeep, and utilization of space of the present Parliament House, which may, in fact, be no different than the state of upkeep of the rest of Lutyens' Delhi and other government buildings in and around it. The issue of the maintenance and upkeep of public structures and spaces is not peculiar to Delhi, but is a malaise across the government premises in the states as well. Returning to the subject at hand, the poor state of upkeep, maintenance and services in the existing Parliament House and its surroundings is, to put it mildly, primarily owing to the inadequate accountability, management, supervision, planning and systematic maintenance.

The principal service providers in Delhi, the public works and associated departments are manned by dedicated, qualified and a committed group of professionals and service employees. The state of disrepair of the Parliament House is a mute testimony to inadequate utilization of funds, human resources, management and accountability, which cannot be remedied by building another edifice. The visibly poor state of service lines, civil structures and fire safety is yet to be paid attention to.

In contrast, the secretariat of the Parliament provides services to the members, both in the House as well as outside, in a highly professional and dependable manner. In other words, if there is appropriate organizational focus and accountability, there is no reason why the repairs, maintenance and upkeep of the physical and related service structures of the present Parliament House cannot be of the same high standard and quality. That the premises need modernization in phases, as well, cannot be denied.

During the periods when the Parliament is in session, services to members in the central hall of Parliament House, the dining room, the reading room and security services are also of very high standard and are uniformly reliable and dependable. Similarly, the surrounding grounds and the cleanliness and upkeep of the washrooms in Parliament House, for example, are indeed of a very high and consistent standard. The parliamentary offices and committee rooms around the circumference of the two floors of the Parliament building would significantly benefit from improved maintenance, upkeep and modernization.

It may be worthwhile for the Parliament administration to consider enlisting the services of professional architects, engineers and management consultants to modernize, upgrade and significantly raise the maintenance standard and level of safety in the existing Parliament building in a cost-effective and appropriate way. This would be the best way to ensure a modern working environment for all the members as well as for those who manage and administer this great Indian institution.

Providing more computer facilities, moving into a paperless working environment and more space to members can be effectively achieved in the existing Parliament building with the professional services of experts and, in all probability, at no excess expenditure.

Modernizing the structure, appearance and functioning of the existing Parliament House to levels of 21st-century standards is a unique opportunity for the elected representatives of our people to demonstrate how to preserve and upgrade the iconic Parliament House, as a symbol of India's history and heritage. I would not have been able to express my views as forthrightly as I have tried to do, if I did not have the unique privilege of having personally seen and experienced what I have narrated, as a member of the Rajya Sabha, for the last six years.

In frequent bouts of populism, our country discards the old and historically important to seek something new. Renaming cities and streets, instead of finding ways to improve the lives of our citizens is a malaise across India and needs to be discouraged. Re-crafting historic edifices, instead of caring for and preserving them, would amount to erasing important parts of our rich heritage and substituting them with something that may look more modern - but to what end?

- The telegraph, January 13, 2016

To kick-start 2016 as a year for “China-India Tourism” the Anhui Huangmei Opera Theatre is performing a ‘Chinese Opera Show’ at Siri Fort Auditorium on January 14.

The musical evening is being organised by China National Tourism Administration. The aim of this cultural evening is to represent a slice of Chinese culture to the Indian audience and promote Indian tourists to visit China.

Speaking about the initiative, L.E. Yucheng, Chinese Ambassador to India said that as ancient neighbours living across the Himalayas for thousands of years, now is the time for both the countries to embrace each other, discover each other, and learn from each other.

The show titled “Goddess Marriage” is a love story between immortal and mortal. It is presented by the Huangmei Opera that has earned a reputation for telling folk tales with its “country stlye music”.

Li Jinzao, Chairman of China National Tourism Administration shared that “the initiative of Visit India Year in China 2016 and Visit China Year in India 2016 is not only a glorious calling to the tourism fraternity in our two countries, but also a significant opportunity for both sides to strengthen tourism exchange and cooperation.” The five-act opera will present a slice of culture and Chinese lifestyle that will act as a trailer to encourage Indians to visit the country.

The Huangmei Opera, which is a century old, has grown into one of the five significant Chinese operas for folk drama, and has been listed in the first batch of the national intangible cultural heritage list in China. Entrance is free on first come first serve basis. Performance begins at 7 p.m. at Siri Fort Auditorium.

- The Hindu, January 14, 2016

Soon to be 94, one of India’s leading modern masters, Syed Haider Raza’s Nirantar opens this evening at Vadehras.

Raza’s artistic path has brought him full circle and his works at Vadehras reflect how he integrates vital elements of his Indian childhood and cultural heritage into his paintings in his quest as a colourist of geometry and symbolism.

r6Uttarrag ‘I needed ten years in Bombay and I needed sixty years (in Paris) to understand what is ‘plastic art’ what the fundamental requirements of a ‘vital painted work’ were so that it could be called important’, Raza has said. ‘I did this in France, in Paris, and I am grateful…that I could come to a certain recognition in the art world in France and the rest of the world. But I was still unhappy. I said to myself: Yes, it is all right to be an important painter of the École de Paris, but where is your Indian background Raza? I asked myself and I started coming more and more regularly to India – for two to three months every year to study again what Indian culture was, what Indian sculpture was. I went to Ellora and Ajanta, I went to Benares, I went to Gujarat and Rajasthan. I looked at the sculptures and paintings, I read books and still I needed another twenty years to arrive where I am today. You know it’s not very easy to give ninety years of one’s life to the fundamental research of painting. It was a long period, a long wait, but I did it.’

TU is a holistic painting that invokes a deep sense of geometry and symbolism by fusing both abstract, representational and even symbolic form into a powerful and mystic expression of the mood and atmosphere. Rooted in Raza’s childhood memories of life growing up in the small and densely forested village of Kakaiya near the Narmada River valley in Madhya Pradesh, the painting is an evocative expression of the rich density and strong sensory life inherent with the deep, warm, suffused glow of the Indian sunrise.Witten on the canvas are two fragments of poetry.

Prayas and Sanlaap are mesmeric. While prayas personifies the black Bindu it gives us a corollary of the night that compels and descends and holds the universe in its shades. Raza has often spoken of the magical intensity of the nights in his childhood. ‘Nights in the forest in Madhya Pradesh were hallucinating,’ Raza has recalled. “ Sometimes the only humanizing influence was the dancing of the Gond tribes. Daybreak brought back a sentiment of security and well being. On market-day under the radiant sun, the village was a fairyland of colours. And then, the night again. Even today I find that these two aspects of my life dominate me and are an integral part of my paintings.’ (Raza, cited in Yashodhara Dalmia, The Making of Modern Indian Art: The Progressives New Delhi, 2001, p. 155 Using essentially abstract colour and form to convey this unified sense of the rich life of the land nocturnally enveloped in the apparent nothingness of an all-pervasive darkness, Prayas is a picture that also stands as a metaphor for the whole of creation itself.

Raza, has always maintained that the colour black is ‘the mother colour’ from which all others are born. In this work, which takes a cosmic form with its suggestion of the coloured lines that frame the square and the Bindu, Raza focusses the composition around the velvet black bindu-like form at the centre of the painting. The Bindu – the cosmic egg or primordial seed of nothingness from which, in Hindu mythology, all creation is born – here takes the role of a hole in the sky or a black sun – a mystical point of focus contrasting directly with the colour, form and animated gestural touches and splashes of colour all around it. This prototype bindu – anticipating Raza’s later preoccupation with this ancient mystic symbol – is seemingly both the source and the negation of the sumptuous myriad of physical detail manifesting itself all around it.

Sanlaap, is distinct and differential because it plays with the sublime order of the Bindu the concentric ripples that disperse and in its persuasive perfection of a prismatic, animated landscape full of, energy, vitality and detail –we see a very painterly world of life – rooted around the mystical and minimalist ideation of spiritual perception, it is like the mantra that is chanted and the repetition is what contains the restraint.

The work that beholds beauty in quotients of quietude and silent distillation is Neelambar. The blue sky and its aqua linings and density becomes an elemental work of art describing a conjunction of universal co-ordinates in the living and the lifelike. Its combination of the spiritual essence of physical detail and an almost tranquil sense of painterliness with a fundamentally more mystic and conceptual imagery drawn from ancient Indian vedic tenets establishes this work as one that moves beyond the merely representational into the realm of the spiritual. Nirantar invites viewers to partake of the world of the modern master, it will be held at Kolkata (Akar Prakar) and Mumbai (Art Musings) to celebrate Raza’s 94th birthday.

- The Times of India, January 14, 2016

As the restoration was completed in 2007 and the museum opened for public only in 2008, the agreement is valid till February 2023.

WHILE corporators across party lines are confident of pushing through their demand for the ouster of heritage conservationist Tasneem Mehta from the board of trustees that oversees the Dr Bhau Daji Lad museum in Byculla, it has emerged now that the Brihanmumbai Municipal Corporation (BMC) will be unable to immediately dissolve the board of trustees without initiating arbitration proceedings.

The tripartite agreement signed in 2003 by the BMC (which owns the museum), the Indian National Trust for Art and Cultural Heritage (INTACH) and the Jamnalal Bajaj Foundation (the largest sponsor for the museum’s restoration) says none of the three parties may unilaterally terminate the agreement. The agreement is valid for a period of 15 years from the completion of the restoration.

As the restoration was completed in 2007 and the museum opened for public only in 2008, the agreement is valid till February 2023.

“This agreement shall not be unilaterally terminated by either party and if there are any disputes and differences as regards interpretation of any of its terms, the same shall be referred to joint mediation of the Municipal Commissioner and Tasneem Mehta and the sponsor, and if the same remains unresolved, the same may be referred to Arbitration under the provisions of the Arbitration and Conciliation Act, 1996,” reads the tri-party agreement.

“However, in the meantime, the restoration and revitalistion to be carried out inside or outside the Museum premises shall not be stopped pending the mediation or hearing of Arbitration proceedings and parties shall act according to the final published award of the Arbitrator/s,” it adds.

At a meeting of the BMC’s various group leaders last week, the corporators demanded that the civic body takes over control of the trust’s operations. Municipal Commissioner Ajoy Mehta said the civic body would review the agreement first.

Civic officials said they may be able to introduce some checks and balances in auditing and in the revenue-sharing model of the trust. “But, as per the agreement, it doesn’t seem possible to remove Tasneem Mehta or to make any drastic changes in the trust’s functioning,” said a civic official.

The corporators’ demand for her ouster is based on allegations that the BMC-owned museum has turned into an institution for the elite with little or no access for common citizens, a complaint that gained ground especially after an aborted effort to host the finale of a fashion week in the museum premises last year. Tasneem Mehta, managing trustee of the trust, said the BMC can’t terminate the agreement legally. “All the allegations are untrue and concocted to sabotage the expansion plan of the museum. The then mayor and municipal commissioner had asked us to raise the funds. The fashion show was one of the fund raising exercises. If they have any issues or complaints, they can come and talk to me about it. I am ready to work with everybody,” said Mehta.

- The Indian Express, January 14, 2016

During an event at a pri vate school in Lagos last week, the proprietress of the school, Mrs Tokunbo Johnson, reportedly warned that Nigeria was in danger of losing its identify if cultural values are not instilled in the children.

She advised that indigenous languages and traditions should not be sacrificed for foreign cultures and admonished that in as much as it is good to teach children how to speak good English language, parents should equally teach them their local languages and cultures as these are the heritage they would pass unto next generations.

Indeed, there is no better way of drawing peoples’ attention to the need to promote indigenous languages in Nigeria which are fast going into extinction than this. Experts have revealed that most Nigerian indigenous languages would be extinct in the next three decades, while about 90 per cent of them were projected to be replaced by dominant languages.

Language is a very powerful instrument of preserving and developing the people’s tangible and intangible heritage. That explains why the United Nations set aside February 21, every year as International Mother Language Day? The UN encourages all moves to promote the dissemination of mother tongues as that will serve not only to encourage linguistic diversity and multi language education, but also help to develop further awareness of linguistic and cultural traditions throughout the world and inspire solidarity based on understanding, tolerance and dialogue.

Incidentally, observations show that many Nigerians no longer speak their dialects. Many parents, especially the educated ones, do not communicate with their children in their dialects and really don’t care if their children speak their language or not. Meanwhile they do everything possible to ensure that their children are fluent in English and other foreign languages. Parents of different ethnic groups most times decide to speak a neutral language especially to their children, thereby denying them the identities of their parents. Time was when parents residing in urban areas took their children to their villages during holidays for them to learn their languages and cultures. Today, that can hardly be achieved as most people in the villages now communicate in English language or Pidgin English.

Beyond this is the worrisome attitude of some people who make a person that speaks his or her language feel inferior. A young woman recently narrated how her friends who are of the same ethnic group with her, mocked her whenever she spoke their native language in their midst. For being proud of her language they nicknamed her “bushmo,” indicating that she is a primitive, local girl.

Language is defined as arbitrary oral symbols by which a social group interacts, communicates and is self expressed. It enshrines the culture, customs and secrets of the people. So instead of looking down on people who speak their language, and making them feel their language is something to be ashamed of, we should try to instill pride in them and emulate them.

The truth is that English and other foreign languages we promote can never be our language. No matter how proficient you are in English and speak it with the best English accent, you remain a Nigerian. Many of us spend thousands of naira to hire English and French teachers for our children, (which is not bad), how much do we spend to teach them their native languages which is their identity?

Countries like China, India, Brazil and Japan have used their indigenous languages to excel, why can’t Nigerians do same?

A professor of Yoruba, Oluyemisis Adebowale of the Department of Linguistics and Languages, Adekunle Ajasin University, Akungba-Akoko, Ondo State, at a recent public lecture said that for Nigeria to be relevant in the globalised world, it must emphasis the rejuvenation and sustenance of its indigenous languages.

The Federal Government’s National Policy on Culture emphasizes the need for conscious and concerted efforts by all levels of government to promote the teaching of our languages and inclusion of the same in the school curriculum. This policy if fully implemented, will no doubt see to the revival and promotion of indigenous languages in Nigerian schools, particularly private schools should be thoroughly monitored to see that they implement the policy as many of them are very good at promoting foreign languages, cultures and ideas at the expense of our own.

Universities and other higher institutions in the country should tow the line of seminaries in Enugu State which demand a credit in a Nigerian language as a prerequisite for admission into the institution. National dialect essay competitions should be organised regularly to promote the use of our dialects in the best grammatical way possible. This will ensure sustenance and preservation of the dialects.

We all have to promote and preserve our indigenous languages as that is our identity and pride. Until we start speaking our local languages, particularly the small dialects, we may not be able to make an impact.

- http://www.thetidenewsonline.com, January 15, 2016

The Kingdom and Egypt pledged to work closely in order to enrich their experiences in the field of tourism and antiquities and further enhance bilateral cooperation. This was revealed after a meeting between Prince Sultan bin Salman, president of the Saudi Commission for Tourism and National Heritage (SCTNH) and Nasser Hamdy Zaghloul, the new ambassador of Egypt in Riyadh, an SCTNH official said here on Thursday. During the meeting the SCTNH chief and the Egyptian envoy discussed a number of issues concerning mutual cooperation.

"They discussed cooperation between the two countries and the potential to further enhance opportunities especially in the field of travel and tourism and the antiquities sector," the official said. Moreover, the SCTNH president stressed the importance of signing a new memorandum of understanding (MoU) seeking cooperation in antiquities, museums and urban heritage, besides putting into effect the valid MoU that was signed earlier between the SCTNH and the Egyptian Ministry of Tourism, especially in the exchange of experience and training in tourism areas. The MoU will bolster travel and tourism in the two countries as the key sector represents a strong pillar of economic development worldwide.

Bilateral cooperation in the field of tourism usually receives a boost as the MoU is signed to strengthen economic development in the respective countries. Furthermore, Prince Sultan, during the meeting, also congratulated the envoy on his appointment as the new Egyptian ambassador in Riyadh and wished him success in his future endeavors for further enhancing the distinguished and brotherly relations between the Kingdom and Egypt. Zaghloul, along with 20 other ambassadors from Muslim, Arab and other countries, presented their credentials to Custodian of the Two Holy Mosques King Salman here at Yamamah Palace on Jan. 6, 2016. The Kingdom and Egypt enjoy a very strong relationship, which is historical, deep rooted and based on mutual friendship and interests.

- www.zawya.com, January 15, 2016

T he world heritage church complex of Old Goa is in further danger of losing its heritage character and of being reduced to a site with a few isolated monuments, as more haphazard growth is choking the old city.

The heritage landscape around the old city is changing rapidly due to non-enforcement of conservation norms, sources said.

More development has also been triggered by the construction of the four-lane highway on its southern periphery without permission from National Monuments Authority (NMA).

Open spaces within the 100-metre no-development zone (NDZ) and 200-metre regulated zone are being used for activities unsuitable in a heritage site. A few kiosks have sprouted near the circle, adding to the scores of carts and gaddas within the heritage zone. Heritage lovers are upset over forest department's liberal attitude in permitting axing of trees.

"The world heritage site status to Old Goa is a matter of pride to us. But if haphazard development continues, then the place may lose this status," president of Goa heritage action group (GHAG) Prajal Sakhardande said.

At one stage, UNESCO had threatened to declassify Hampi as a heritage site, but the matter was resolved later.

Construction of the four-lane highway during Exposition 2014 had caused massive destruction of an extensive green buffer zone, south of Basilica of Bom Jesus.

"The old city is being slowly devalued as a heritage site, as it is not being viewed as a composite site of a historic city. No archaeological sites, scattered around the monuments, will survive due to destruction, but Old Goa may remain only as a site with isolated stand-alone monuments without any historical context," a source said.

PWD has recently started broadening the highway towards Corlim, especially near the arch of St Paul's college. Huge trees have been felled and parts of an old wall have been excavated for the road.

"Sites excavated and developed without proper documentation to understand its history are permanently lost for any future archaeological explorations," the source said.

The ASI's role in conserving churches and other monuments has been appreciated, but heritage lovers find it lacking in documentation and exploration of archaeological sites, barring St Augustine's complex.

"It is not only about maintaining the specific monument but also presentation of the site as a whole in its full integrity and authenticity as a historic site," a conservation architect Ketak Nachinolkar said.

An ASI official said that talks have been held with PWD over the issue and assured the monument will not be affected. "We will reconstruct the wall under their supervision a few metres towards north to allow road expansion," a PWD official confirmed. The heritage site is beyond the limits of the land acquired for the expansion. "We are aware about the heritage site," the official said.

But heritage lovers are wary about the department's expertize in reconstruction of heritage structures.

The old city sustains tourism, but is an unexplored source of research activity and documentation in a gamut of historical aspects, including pre-Portuguese.

Sakhardande said that it is a collective responsibility to protect the heritage site. "ASI, local MLA, panchayat and people should ensure that its status is maintained," he said.

Noted town planner, Edgar Ribeiro said that RP 2021 should show the heritage area. "In whose interest is the NDZ and regulated zone not shown in TCP map," he asked.

- The Times of India, January 15, 2016

When surveys showed two ancient water tanks buried under a planned section of Metro rail in Jaipur, the government worked quickly to preserve and incorporate them into the overall design

For a hundred years, the people of Jaipur had no clue about what lay right beneath their homes. Until last year the Rajasthan government launched its Rs. 3,149 crore Phase I of the Jaipur Metro. As the government made preparations to dismantle two roundabouts in the heart of the city, Choti and Badi Chaupar on the Chandpole-Surajpole stretch, ground surveys indicated that underneath lay buried two nearly 250-year-old bavdis or kunds (tanks) that once brought water to the city centre from the surrounding Aravalli Hills.

The kunds were right in the path of the 12.06 km Mansarovar to Badi Chaupar metro line. The rail portion between Chandpole and Badi Chaupar had been planned as an underground section to protect several heritage monuments in the area. As debates raged about how to proceed after the discovery of the kunds, Rajasthan Chief Minister Vasundhara Raje Scindia asked the Jaipur Metro Rail and the Delhi Metro Rail Corporation officials to alter the design, if required, but to protect the heritage structures at any cost.

The Rajasthan government engaged the services of leading Mumbai-based conservation architect Abha Narain Lambah to map the heritage structures and old buildings. “We convinced people that proven technology, which has been used in fragile areas the world over, would be used and no harm would come to any of the monuments,” says Nihal Chand Goel, CMD, Jaipur Metro Rail Corporation.

“Mr. Goel has a strong connection with Jaipur, and he said there are old photographs of Jaipur taken around this area. We began researching, and found pictures shot by Lala Deen Dayal in the 1890s, which showed the two chaupars,” says Lambah.

Two retired Archaeological Survey of India officials joined Lambah’s team of conservation architects and excavations began in August 2014. “Nobody living knew about these kunds. Around the 1870s, when piped water supply arrived, people were apprehensive and the then ruler of Jaipur had to convince his people that piped water was not bad. The water tanks then slowly became redundant; they were filled with earth and converted into places of beauty and recreation,” says Goel. Later, when Prince Albert painted the city pink, gardens were built around the tanks, which gradually transformed into one of the most congested traffic circles in the old city.

The square kunds had eleven steps and tunnels entering them from four sides, with water bubbling out of beautifully carved marble gaumukhs. “It was a total surprise for us to find the kunds, made of stone masonry, completely intact. We have now mapped and numbered each stone and gaumukh. Everything has been preserved at the government-run Albert Hall until the metro project is complete. We will then restore it all as it was originally,” says Lambah.

According to her team’s research, the tanks brought water from the Aravalli Hills through tunnels into the city centre. The tunnels run along long lengths of Jaipur city and probably connected to the Jal Mahal or Talkatora reservoirs. The teams found them to be well-preserved with arched masonry and lime plaster-lined walls of 500 mm thickness, and large enough for a man to pass through.

Says Lambah, “There is an ancient Persian system of Qanats, an elaborate tunnel network, used for irrigation where there was no surface water. The archaeologists also found material from Bikaner archives that showed that even pitrupaksha rituals were performed in these kunds; like the Banganga tank in Mumbai. Where else will the poor go for water?”

To preserve the tanks, the Jaipur Metro Rail Corporation has altered its design. “We lowered the railway tracks by about one metre and make incidental design changes to accommodate the tanks above the metro stations at Choti and Badi Chaupar,” says Goel. He talks of how people often see development and heritage as two opposing things. “There is no dichotomy; both can co-exist and work with each other. The metro rail rejuvenates the city, and we can also restore a lost chapter of history which becomes a tourist attraction.”

Lambah visited several metro stations, including at Athens and Lisbon, where the developers have used heritage buildings discovered during excavations as part of the railway system. “Lisbon metro station is located in an old heritage building. You come out of the station and you are in a heritage building, with a Starbucks coffee shop, escalators and ticketing,” she says.

The Athens model was chosen for Jaipur. “In Athens, it is open to the sky. It doesn’t rain too much in Jaipur. So we decided to have a sandstone railing as enclosure and keep the station open-air. In Athens, they found 2,000-year-old ruins and they put a glass wall to protect it and made a museum out of it,” she says.

The Rajasthan government plans to set up a museum in the underground station area and use the tunnel heads to let people walk into the tanks. It is also thinking of converting the surface into a pedestrian urban plaza in the evenings, where arts and crafts can be displayed. When completed, this could become a model project for other parts of India on heritage preservation during development.

- The Hindu, January 16, 2016

hat was once a splendid monument and the glory of not just Vidarbha but entire Maharashtra, Markandeshwar temple in Gadchiroli district has been a neglected monument from since independence. The Archaeological Survey of India (ASI), which is the custodian of all ancient structures declared national monuments, too didn't do much to conserve the temple until about a few months back. Almost no conservation work was done even after the creation of a Nagpur circle until the present ASI superintending archaeologist (Excavation Branch I of circle) Nandini Bhattacharya Sahu took over the charge of circle in April 2015.

The process of conservation of Markanda temple and about 90 other monuments under the circle started only after Nagpur Circle was created in the ASI. The actual work on the conservation of the main shrine, the Shiva temple, started in first week of December last year. Some conservation work did begin before that on smaller temples in the complex which houses about 16 temples now (20 originally).

Sahu says she plans to finish the main conservation work of the 'shikhar' and the interior of the temple before Mahashivratri (March 7) as on this day every year many devotees visit the shrine.

"It is not known when the conservation work was done last in the main temple. Even the senior citizens here have no idea about it. But after I took over the Nagpur circle, work has begun in about 40 monuments all over. Markandeshwar has become very close to my heart. It looks best when the banks of the Wainganga are full of water and touch the steps of the complex as it enhances the beauty of the temple," said Sahu.

They say that about 200 years back lightning had struck the temple and the upper part of the massive spire had hurdled down on the roof of the 'mahamandapa' which was broken. About 120 years back, one of the Gond Kings got it repaired. But the architect then introduced huge piers with radiating arches inside the principal rooms. The other subsidiary monuments conserved at the Markanda temple complex include the Nagarkhana, Varad Ganesha, a temple without image and a Bhavani temple. Work on Grushneshwar temple is going on.

Conservation of monuments is not at all an easy task. It first requires an in-depth study of the type of architecture, the material used, the source or origin of the material. Sahu informs that while protecting the monument the basic job of ASI is not to conduct any repair works, remove or add anything new to the structure. It is expected to only maintain the monument in 'as and where' and prevent it from further deterioration.

"For this we ensure that we only use the original material used in construction even if we have to transport it from long distances. We can't use modern binding materials like cement for joining the stones," said Sahu. Retaining the basic fabric of construction is what makes the conservation job difficult.

For Markandeshwar, sandstones have been brought from a quarry in Dholpur in Rajasthan. The labours who are doing the work have specially been brought from Chanderi in Madhya Pradesh as they are good at doing this kind of work. "Sometimes if our study of monument doesn't match actual condition or the state of conservation required, we fail to give the right financial estimate about funds. Hence, it requires a lot of detailing and understanding of conservation to get the project going," she said.

"The stones which are falling or about to fall are brought down one by one through a hand operated pulley. Then we use a mortar made from lime, brick powder and various natural adhesives, make it slurry and use it for resetting the stones in their original form. Before dismantling the falling structure we number each stone so that each one goes into its original place," said Mohammad Salahalauddin, assistant superintending archaeological engineer.

Ashok Maske, a conservation assistant who is also working on other monuments in the region and has been associated with Markanda for the past 15 years tells that the conservation process is done in a fixed stepwise manner. Beginning from photography, measurement of the structure and stones, drawing the entire structure, numbering or documenting each constituent of the structure, removing them to reassembling conservation is a scientific method of preserving a monument.

BREAKING DOWN Conservation work of about 40 monuments out of the 93 monuments in the Nagpur circle is also going on since May last year. Of these, however work of the Trivikramavtar of Vishnu temple in Ramtek and Dongartal fort near Deolpar in Ramtek taluka were started by TJ Alone, the former superintending archaeologist. Nandini Bhattacharya Sahu, the current superintending archaeologist of Nagpur circle, says that only 89 need to be conserved as four of them, mainly megalithic burials, are not traceable and may have been destroyed during development process or modern constructions. "Soon visitors' fees may be introduced to help maintain the monuments but also make the tourists more responsible," she said.

Nagpur Circle divided into four sub-circles — Nagpur, Akola, Chandrapurand Lonar * Nagpur sub circle | Besides Nagpur district covers Amravati, Bhandara, Gondia and Wardha districts. Work in progress | Out of the about 46 monuments here work is going on in 9 sites at Gawilgarh fort in Chikhaldara, Achalpur fort wall, Anandeshwar temple in Lasur located in Dariyapur taluka, Lalkhan tomb in Amner in Warud tehsil, all in Amravati district. In Nagpur district work is on in Tank and Mandapa of Dattatrya temple, Kalimata temple (Kapurbowdi), Temple of Trivikramavtar of Vishnu, Dongartal fort near Deolapar, and Mansar, ancient excavated site all in Ramtek taluka.

* Akola sub circle | Narnala fort in Akot taluka, Patur caves in Patur taluka the Blackstone temple of Bhavani at Barshi Takli, all in Akola district Work in progress | It has 8 monuments and conservation work is going in all Lonar sub circle | Covers Buldhana district

Work in progress: Has important 17 monuments under it. These include all the temples inside the Lonar Crater along its circumference and few temples over the crater. Out of the 17 conservation of 10 monuments is on at present.

* Chandrapur sub circle | Covers Chandrapur, Gadchiroli and Yavtamal districts, has 38 monuments. Work in progress | Work is on in 8-10 monuments. These are Markandeshwar complex, Mahadev temple at Neri, District Chandrapur, Mahadev temple at Mahadwadi, temples at Ramdegi and Deotak, Ballarpur fort, Anchaleshwar temple and Gond Raja Complex, all in Chandrapur district and, Mahadev temples at Taponeshwar, Tapona and Mahadev temple at Ner Parsopant and Mahadev temple in Yavatmal district.

TALES FROM THE PAST

It is said that when Vibhishan, the brother of Ravan, was sick, Hemadpant the minister of the Yadavas, cured him and the grateful patient told him to ask for a boon. Hemadpant asked for the aid of Raksasas to build temples wherever he might require them. The boon was granted but on condition that the Raksasas were not to work for more than one night at a time. Hemadpant accordingly built all the temples at Markanda, Bhandak, Neri et al in one night. Hemadpant has been identified with Hemadri, the Srikarnadhipa or the head of the secretariat of the Yadava Kings of Devagiri, Mahadev and Ramchandra. He was a renowned Sanskrit scholar. But Hemadri's date is 1260-71 A.D. and the archaeologists date the Markanda temples about 10th or 11th century A.D.

- The Times of India, January 17, 2016

Termed as a "celebration of modern and contemporary art" the India Art Festival, which debuted here after four editions in Mumbai brought to the city uncanny installations, life size sculptures and paintings in myriad media under one roof.

40 art galleries and more than 300 artists from 15 Indian cities and 5 countries were hosted over the last three days by the event, which sought to facilitate dialogue and collaborations between galleries,independent artists, art collectors and connoisseurs.

Aberrations from conventional forms of art were conspicuous in the very first installation "What is intolerance?" by Odisha-based artist Sudhanshu Sutar right at the entrance of the festival venue of the National Stadium.

Sutar's installation tears through the ongoing debate of what intolerance is and explains India's most recent dilemma through the popular crab mentality metaphor - "if I can't have it, neither can you."

The artist filled up a chest with over 150 fibre glass crabs painted with faces of famous Indian personalities - actors, politicians, sportspersons, writers.

Prime Minister Narendra Modi has made it to the top of the crab pile leaving behind, Manmohan Singh, Amitabh Bachchan, Sonia Gandhi, Sachin Tendulkar and many others.

The event not only showcased major and mid-level art galleries with innovative artworks but also offered emerging, independent artists a platform to get discovered while getting an opportunity to interact with the masters.

Festival director Rajendra said the festival has attempted to breach the gap between an art market and the gallery system.

"We are here to democratise the functioning of the art market and the gallery system. Galleries are private establishments whereas art fairs are brand identities. Both have credibility; over a period of time our art market has become more and more democratic through the activities in the secondary art market," he said.

36-year-old Kanta Kishore might hail from one of the remotest villages in Odisha but his awareness about different social issues that haunt not just India but also the world at large reflects well in his sculptures.

Kishore's works were all based out of 3-dimensional life-size sculptures of mythological books, implying that "we often choose to ignore the lessons that our ancient texts have to offer," he said.

To represent global warming, the artist had carved out a melting globe out of a thick stone-bronze book and to draw attention towards exploitation of women, he showed an iron burning the pages of a newspaper with headlines about crimes against women.

Kishore's sculpture "Global Warming" was priced at Rs 6 lacs.

The festival had also hosted an international edition at World Trade Centre in Seoul.

The director said, "The Delhi edition is mainly aimed at the mid-level galleries who would like to get their value for a moderate expenditure, with some participation from major galleries as well. Thus, it is not only an affordable art fair for buyers but affordable for exhibitors too."

City-based Saranjit Singh, who has been working as a full- time artist for nearly four decades now likes to paint historical monuments in their architectural glory.

Apart from full sketches of monuments at his stall, there were also several closer, zoomed in paintings showcasing minutest of the details of the carvings on the walls.

Calling himself a "history type person," 56-year-old Singh said that he visited the monuments multiple times and painted them while he was at the spot.

Besides, the historical buildings of Delhi, the artist said has travelled extensively, particularly those rich in the cultural heritage like Odisha and Madhya Pradesh.

His artworks were priced between Rs 5,000 and Rs 70,000.

A dentist by profession, Namita Karma works half days at her clinic to pursue here love for art. Although her artworks seemed to be highly influenced by Picasso's cubism and collage making, the artist, who has been painting seriously from the age of 12 said she was not aware of the Spanish painter's works until she was well in her 20s.

Her latest work in mixed media exhibited the face of a woman created out of an assemblage of a variety of hardware elements, and rather high number of tiny wax apples concentrated in and around the lip area.

The artist had left the work untitled to offer viewers the liberty to have their own interpretations but if she was compelled to title it, she said she would have called it, "The Apple of Desire," for it was a reference to the temptation the biblical character of Eve had to consume the forbidden apple. Only, in the current day, the desire to devour is insatiable."

While there are scores of participants from within the country, the five international participants include Gnani Arts from Singapore, Kirsanov Photography from Switzerland, Myanmar Ink Art Gallery from Dubai and Segar Gallery from Sri Lanka.

P Gnana from Singapore had brought with him different sculptures of cow and a collection of paintings that spoke of relationships - mother and child besides lovers.

While the base metal of his sculptures is bronze, the Sri Lanka based sculptor uses waste like wood, iron scrape to shape his installation. For instance, instead of designing a tail for the cow, he has used an old paint brush.

"India Art Festival has a social and cultural responsibility and it is pertinent to take it to various cities in India. So, the Delhi edition opens with an unbiased approach. While the India Art Festival is the flagship brand, all the artists and the participating galleries become its ambassadors," Festival Director Rajendra said.

- The business-standard, January 17, 2016

Ramandeep Singh, one of the visitors who photographed the poachers, said: “They threw some food for the ducks and suddenly the birds started dying."

Visitors to the Harike Wildlife and Bird Sanctuary Monday witnessed brazen poaching of the Falcated Duck, a species listed as near-threatened by the IUCN, with a few of them even managing to photograph the poachers. The tourists said the poachers dumped the carcasses of the birds and ran away when confronted . The carcasses have been identified as those of the female of the Falcated Duck (Anas falcata) species, whose population, as per the International Union for Conservation of Nature (IUCN), is declining due to the drying up of water bodies. The bird warriors of SatajanPoachers kill four black bucks in Bhavnagar, one heldTourists use ganthiya to lure birds at Nal SarovarNo action against men booked for illegal poaching,fishingFlutter over bird censusPollution,poaching keep away birds from HarikeThe bird warriors of SatajanPoachers kill four black bucks in Bhavnagar, one heldTourists use ganthiya to lure birds at Nal SarovarNo action against men booked for illegal poaching,fishingFlutter over bird censusPollution,poaching keep away birds from HarikeThe bird warriors of SatajanPoachers kill four black bucks in Bhavnagar, one heldTourists use ganthiya to lure birds at Nal SarovarNo action against men booked for illegal poaching,fishingFlutter over bird censusPollution,poaching keep away birds from Harike

Ramandeep Singh, one of the visitors who photographed the poachers, said: “They threw some food for the ducks and suddenly the birds started dying. Their carcasses began floating in the water before two men entered and collected them unperturbed. It seemed routine for them. We tried stopping them but they ran away. Villagers nearby said the birds are poisoned here on a daily basis”.

Speaking to The Indian Express, Tejdeep Kaur, Ornithologist and Principal Investigator, All India Network Project on Agricultural Ornithology, department of zoology, Punjab Agricultural University, said: “The Falcated Duck breeds in eastern Asia and nests near water bodies. It is not exactly migratory species in the Indian context as it does adapt to Indian wetlands and continues living here for long. But due to water bodies vanishing, its population is on the decline. Poaching it is completely illegal.”

District forest officer (DFO) and caretaker of the Harike sanctuary, Charanjit Singh, said it is ‘impossible to keep an eye on every person entering the wetlands’ as it encompasses a large area. “We try our best. Three gates are guarded 24×7 but it is open from other sides too. Staff of 35 people guard the sanctuary for 24 hours. But I will get it checked,” he said.

Dhirender Singh, chief wildlife warden of Punjab, said, “Best efforts are made to book poachers and catch them red-handed but the area is too large. It is still our responsibility to keep a check”.

Spread across 86 square km, the Harike Wetlands and Bird Sanctuary lies at the confluence of the Beas and Sutlej rivers and covers the border of Ferozepur, Amritsar, Tarn Taran and Kapurthala. It is recognised under the United Nations Development Programme and is a declared Ramsar site. (An international treaty for the conservation and sustainable utilization of wetlands).

- The Indian Express , January 17, 2016

An Instagram page explores India’s hidden secrets through community photographers

“We don’t post just monuments, we post life too.” With that slogan, Rufus Reynolds and Dikshit Mundra started a page on Instagram called Streets of India, a year ago, with a vision to provide a space for unrecognised photographers. “There are a lot of photographers who work 9 to 5 and then go around capturing pictures. Our aim is to provide exposure and acknowledgement to such highly-talented, artistic and passionate photographers who lack opportunity,” says Dikshit. Today, the page has around 851 posts, showcasing the monuments and moments of diverse India. Over time, the page has developed a following of 1,50,000 from different countries. “We receive a lot of mail from people abroad that they plan to tour India inspired by the photographs on this page. The page shows us parts of the country that we didn’t know existed,” adds Dikshit.

Rufus and Dikshit conduct photo walks in places such as New Delhi, Udaipur, Pune, Hyderabad and Bangalore. Dikshit says, “We post details of the destination and the schedule on the page, and anonymous photographers join us. This way, our community grows, and we make more friends with a common interest.”

The team behind Streets of India also made its mark on Mumbai and took part in IIT Bombay’s tech fest as the ‘official moment freezers’. Twenty photographers were chosen and given professional exposure. A team member, Ankit Dhame, says, “Capturing the streets at the event, which involved 80,000 people, was a dream come true. Every nook and corner of the fest was exciting in its own way, and it kept us on the go.”

About 50 per cent of the pictures on the page are photographed using phones, and the rest using DSLRs. From the picture of a vintage door in rural India and a simple source of light to the Taj Mahal — the page depicts it all. “Our future plans are to build the page in a way that it represents India,” says Dikshit. Rufus adds, “We try to portray the happiest features and the deepest challenges within our nation; all that’s explored and yet to be explored.”

- The Hindu , January 18, 2016

Teachers from Chandigarh College of Architecture (CCA) will be French President Francois Hollande's interpreters and guides as he visits Capitol Complex, city's heritage space that had remained isolated from people for years and opened for public only last year.

A team of professors from the college has already been selected in this regard. As they would take Hollande-who would be here on a day-long visit on January 24-through the shared heritage of the two countries, they would tell him about the structural and architectural significance of all the buildings and monuments situated in the Capitol Complex area, which include Punjab and Haryana high court, secretariats and state assemblies of both the states and the Open Hand monument.

A small booklet comprising the heritage value and other significant information about the Capitol Complex is also being prepared. It will be given to all the dignitaries who accompany him during the visit so that they get a detailed explanation of the Capitol.

"Professors from CCA have been selected to provide all the required information to French President Francois Hollande. They are experts on the subject and will explain and answer all queries of the dignitaries within the given timeframe. As we will be having limited time at hand, we are also preparing a booklet having all the core information about each building and monument," revealed a senior UT official.

Significantly, during their visit to the city on Friday, officials from ministry of external affairs had called six professors from CCA and posed queries about the same to them, including and how they plan to apprise them about the buildings and monuments at Capitol Complex. It was only after that the CCA professors were trusted with the task. "CCA has expert professors, who have done lots of work on Le Corbusier, his works, his ideas, etc. They were ideal choice," said another officer

That the Capitol Complex is crucial for France is clear from the fact that the French government has submitted its name to the International Council on Monuments and Sites (ICOMOS) along with 17 other properties designed by architect Le Corbusier, under a transnational project. The ICOMOS will submit the names to UNESCO in March for getting the world heritage tag. The project is a composite document of seven countries namely France, India, Switzerland, Belgium, Germany, Japan and Argentina. Ten French sites are part of the above said project and two Swiss. Japan, India, Argentina, Germany and Belgium have 1 site each.

- The Times of India, January 18, 2016

The city's Oriental Insurance Company Building, considered the first RCC (roller-compacted concrete) modern building in greater Assam, will no longer stand tall on the beautiful stretch of the erstwhile Lower Strand Road (now the arterial MG Road) that runs parallel to the Brahmaputra.

Sledge hammers are pounding on it as part for its overall demolition to give way to a modern commercial building that will replace the two-storey Oriental Insurance Company building.

Once a jewel on the Strand Road stretch, this was considered an architectural marvel. It was built in 1938.

The demolition drive began three days ago from the upper side of the building.

A unique part of the building was that it had a dome made of Belgian glass through which sunlight penetrated the interiors of the structure.

Heritage activists and conservationists have publicly decried the move by the Life Insurance Corporation of India, which now owns the building, and inaction from authorities concerned such as the Guwahati Metropolitan Development Authority (GMDA) and the state government for not doing enough to stop demolition of the heritage building.

As a boy, Kumudeshwar Hazarika, one of the few remaining prolific chroniclers of the city and its history, used to frequently come to Strand Road to gaze at the architectural marvel.

Septuagenarian Hazarika lamented the fact that with the beginning of the demolition of Oriental Building, a part of the city's heritage had been chipped away at. "This was the first modern building in undivided Assam. It was the city's pride. We cannot help it. Some concerned citizens along with me had tried to put forward appeals not to demolish it. But it is a private property and we can't help it. It is sad," said Hazarika.

Ironically, the other Oriental Insurance Company buildings in the country are preserved as heritage structures. Another building of the company in Myanmar's former capital of Yangon, which was constructed in 1914, is now the Indian embassy.

"This is the state of heritage conservation in Assam. An NGO comprising of senior bureaucrats and others made appeals to both LIC and authorities concerned but without any avail. The structure could have been declared a heritage building. We desperately need a heritage act," said Jayanta Sarma of the Indian National Trust for Art and Cultural Heritage.

- The Times of India, January 18, 2016

Le Corbusier and his cousin Pierre Jeanneret designed furniture primarily for office use in new city they built, Chandigarh. The arm chairs and tables, designed in minimalist form by the two architects, were used as office furniture in the Civil Secretariat, Panjab University, Punjab and Haryana High Court, educational institutions and other institutions. They are still in use. But most of those who used it had little or no idea about the designers and if the furniture was broken, it would be swiftly dumped and replaced.

City residents realized the worth of this architectural heritage in the late nineties when news of auctions of Corbusier furniture in foreign countries at jaw-dropping rates made headlines. The The auctioned furniture had been smuggled out of Chandigarh by art agents and the UT administration could not stop the auctions.

"The value of heritage furniture of Chandigarh lies in the Brand Corbusier. Chairs, tables and other furniture designed by Corbusier and Jeanneret were used for decades without anyone realizing their worth. But once the same furniture started fetching lakhs at auctions abroad, city residents sat up and took notice for the first time," said Rajnish Wattas, former principal of Chandigarh College of Architecture and a heritage expert. The broken furniture has been lying either in locked rooms or dumped in the open in many offices without any security arrangements. According to a recent inventory made by the Chandigarh administration, there are more than 12,000 items associated with Corbusier and Jeanneret in the city, out of which 800 are broken.

According to Wattas, unlike the West, people here failed to appreciate the design and art of Corbusier and Jeanneret. "Furniture was integral to Corbusier's art. He believed that houses are machines to live in and should also have appropriate furniture. His outlook was revolutionary and so was his art work. But somehow it took time for the city to realize the value of his work," he said.

Ajay Jagga, a city-based lawyer who has been demanding investigation into the theft of furniture associated with Corbusier, Chandigarh administration should discuss the issue of the safety of Corbusier furniture with the visiting French President. "The issue of safeguarding the Corbusier's heritage can be discussed with the visiting French president. France and Chandigarh along with other countries where Corbusier designed buildings are contenders for UNESCO's heritage status and France can show us the way," he said.

- The Times of India, January 20, 2016

We didn’t really know what to expect from this trip to India. My wife Menchu and I thought of making the journey for our 39th wedding anniversary and to be with our dear friend Katherine Virgils who put up an exhibit of her enhanced versions of yogi images painted on the walls of an ancient temple in Jodhpur.

Last year, Katherine’s husband Peter Camp celebrated his 60th birthday in Udaipur and we had planned to join them. But we couldn’t because of work commitments. This was our chance to finally hook up with them in India. Katherine and Peter actually live in London with their sons Louie and Emile. They often go to India which is a country they’ve fallen in love with because of its rich history, art, culture and tradition.

Katherine is a renowned American multi-mixed media artist who specializes in producing themed works using a collage of paper as her unique form of expression. She has been commissioned to do murals by a diverse group of collectors, including Unilever, Royal Caribbean Cruise Lines and the Kingdom of Saudi Arabia and her works have been exhibited in English galleries. She lived in Manila for two years in the 1970s and studied at Maryknoll (now Miriam College). Her father Russell Virgils was an engineering consultant with Meralco. Their family lived next door to our home in Bel-Air, Makati, where I grew up. Menchu and Katherine were schoolmates while Katherine and I were neighbors. For over 40 years, our friendship has remained strong.

Five years ago, Katherine was brought to an almost derelict temple built in the early 19th century deep in the heart of Jodhpur, a Rajasthan city whose origins date back to 1459. Jodhpur was formerly a princely state and is a popular tourist destination with several historic palaces, forts and temples. Lonely Planet put Jodhpur at the top of its list as the most extraordinary place to stay in the world in 2013. There are heritage hotels to stay in and rooms to board in homes all over what is alternatively called the Sun City for its year-round sunny weather and Blue City for the slew of blue-painted houses surrounding the iconic Fort Mehrangarh.

What caught Katherine’s discerning eye were the 84 paintings of yogis in various poses or asanas on the walls of the temple called Mahamandir which was erected by Maharaja Man Singh in honor of Nath saint Jalandhar Nath and guru Devnathji. The temple’s condition has deteriorated through the years although its 84 pillars still stand proudly on sacred grounds. Most of the gold leaf that used to adorn the yogi paintings has been stripped off. Some images on the walls are badly scratched. But Katherine saw through the wear and tear a wonderful opportunity to pay tribute to a nearly abandoned wonder and reintroduce it as a Rajasthan treasure.

Katherine took over 100 photographs of the 84 miniature images, enhanced and enlarged the pictures then with her stroke of genius, embellished 20 selected yogis to restore the radiance of the original paintings. She used gold leaf, colored paper and paints to resurrect the 20 yogis.

Dean's Corner ( Article MRec ), pagematch: 1, sectionmatch: 1 Katherine’s project wouldn’t have been possible without the support of Maharaja Gaj Singh who provided accommodations, research material, publicity and a venue for the exhibit on “The Infinite Lightness of Being” that opened at Fort Mehrangarh last Friday. The exhibit shows Katherine’s 20 enlarged pictures of the yogis. An audio-visual relating the story of how the images were enhanced was produced by Conor Ackhurst in London and is showing at the exhibit as an added attraction.

Katherine’s creativity and love for Indian culture are evident in the exhibit which is drawing rave reviews from visitors. A story on the exhibit was on the front page of a Jodhpur newspaper last weekend. The principal of the school within the temple compound plans to bring 140 students to the Fort for an excursion and a viewing of the exhibit as a learning experience. From a cultural and educational standpoint, it would certainly make sense to bring the exhibit on tour all over India. Surely, mounting the exhibit in countries where there is interest in Indian art and culture should be explored. Katherine took five years to produce 20 images and she’s now in the process of finishing 10 more. Her work should be rewarded by an extensive tour where the public is given a chance to appreciate the history behind the yogi images.

Katherine called the Mahamandir temple “a lost cultural icon of Jodhpur.” For almost 200 years, the yogi images on the temple walls were virtually forgotten. Now, she has opened the doors for a rebirth. “In bringing the yogis back to life, I have employed both ancient techniques and new technology,” said Katherine. “I have blended earth pigments and used traditional miniature painting methods, also applying gold leaf in unconventional ways. Radically altering the scale of the miniatures to resonate with their 21st century audience.” His Highness Maharaja Gaj Singh said, “As Indian philosophy believes when it is destined to happen, it will happen ... I have a strong feeling Mahamandir’s time has come and Katherine’s exhibition, I hope, will be the conduit to bring the required awareness among scholars, art historians, conservationists, philanthropists and course the local people to discover and save the treasures of Mahamandir.”

Art historian Dr. Alka Pande said Katherine re-imagined the yogis, employing digital magic along with traditional techniques in cleaning then embellishing them. “Under her deft and attentive fingers, the yogis come back to life as she meticulously erases the dust of the ages to reveal their true forms once more and burnishes them with gold leaf, adding a regal stature,” said Dr. Pande. “Ultimately, what Katherine has achieved as an artist is an interrogation of India and through the 20 images, pays homage to the great masters who have left their indelible stamp on India’s artistic legacy.”

- http://www.philstar.com, January 20, 2016

The ‘TAG-Saptaparni Digital Listening Archives’ inaugurated recently is a music library that stores over 1,000 hours of Carnatic music, made easily accessible to the public. The software helps locate specific composers or ragas, in just 10 seconds

It was a small gathering of music connoisseurs and sabha-heads that had gathered at Saptaparni Cultural Centre. The event, however, was one of big significance. The TAG-Saptaparni Digital Listening Archives were inaugurated by the Governor of Telangana and Andhra Pradesh, ESL Narasimhan. The occasion was presided over by KV Ramanachari, Advisor, Cultural Affairs, Telangana.

Sharing the stage were the two persons behind these archives, G Anuradha Prasad of Dr Reddy’s Foundation who runs Saptaparni, and RT Chari, Managing Director, TAG Group, a music lover and creator of the TAG Digital Listening Archives.

The event began with an invocatory song by classical vocalist Sattiraju Venumadhav while Rajani Vakkalanka anchored the event. The Governor, RT Chari and KV Ramanchari all expressed happiness that such a valuable resource for classical music had been created in Hyderabad.

Simply titled ‘The TAG-Saptaparni Digital Listening Archives’, this is a storehouse of over 1,000 hours of Carnatic music. It will keep growing with the addition of more records on a regular basis. Special software has been employed whereby a user can search for and locate a particular song by a particular artist, of a chosen composer and in any raga that he or she wants, all in 10 seconds!

These archives are a natural culmination of Anuradha Prasad’s efforts to promote the arts though Saptaparni. The idea of archiving good, artistic works took root when Telugu musician Palagummi Viswanatham gave away his music records and books to Saptaparni and Anuradha herself began archiving concerts happening at this centre.

Over time, the project grew bigger. And last weekend, this music library was born. RT Chari, who gathers and archives classical music and provides it to various institutions, says, “The love and appreciation for music has changed my life completely.”

Over 30 years, he has collected about 6,000 hours of recordings of Carnatic music concerts. In order to preserve them for posterity, he then digitised, edited and indexed these records. In 2008, he established the TAG Digital Listening Archive of Madras Music Academy in Chennai. The idea received much appreciation and soon Chari helped set up 13 more archives altogether in India and abroad, with the 15th one at Saptaparni.

Anuradha says, “The aim of this archive is to make a wide range of high-quality classical music available to music lovers. We hope to add Telugu light music too in future.” Currently, Hyderabad does have a few classical music archives especially in educational institutions, but none are easily accessible to the public. This is a happy democratisation of our cultural heritage!

- http://www.thehansindia.com, January 20, 2016

The West Bengal Tourism Development Corporation (WBTDC) is working on plans to launch houseboat services at different places in the Sunderbans and in the creeks from the Hooghly in East Midnapore district to boost back water tourism in West Bengal, based on the model of Kerala. The tourism department has come up with plans to build up a tourism circuit from Jangal mahal to Sagar Islands.

According to sources in state secretariat, chief minister Mamata Banerjee has been giving much stress to develop tourism infrastructure across the state. The state tourism department has been working to identify new places and boost the infrastructure at existing tourism spots.

According to sources, WBTDC will procure eight maintenance-free fibre-reinforced plastic (FRP) house boats for the Sunderbans and the waterbodies East Midnapore district. The house boats should comprise of two bed rooms with attached bath and toilet facilities along with a conference room with sitting arrangements for 20 persons. A bar, kitchen, restaurant, lounge and four bedded rooms along with an open space will also be avaiable onboard. "The objective is to provide the house boats and bring upon a Kerala like house boat model," said state tourism department secretary Ajit Ranjan Bardhan. Officials said only a few firms,including a Kerala based company have taken interest in the project.

The WBTDC authorities are working on the process to invite online bids from reputed house boat fabricators for drawing, design, development, fabrication and delivery of the house boats. The firm who will be selected for the job will need to obtain the drawing and design approval and the necessary clearances for fabrication of the house boats from government agencies and departments concerned and the fabrication work will be done under the supervision of WBTDC officials.

WBTDC Officials said that a proposal for financial approval has also been sent to the Centre for procuring two cruisers on the Hooghly river. "The plan is to have budget category cruise tourism on the Hooghly. The concept is that the tourists should be able to visit the heritage sites along the river side," Bardhan said. The tourism department has taken an initiative to promote heritage tourism on the river within the Kolkata metropolitan area.

The tourism officials are also working on the tourism circuit plan stretching from Jangal Mahal area to Sagar islands. Already, the Ganga Sagar development Authority is working on developing Jambudwip nature trail project that the state government plans to start from the end of this year.

- The Times of India, January 20, 2016

It was a new world to explore for 10 students of Vermont and Washington DC-based World Learning's SIT Graduate Institute, when they came to Ahmedabad in late December. They are collaborating with institutions such as SEWA, AKRSP (I), St Xavier's College, House of MG, etc for three weeks to get first-hand experience of problem-solving in developing nations like India. Preeti Shroff, an adjunct faculty at SIT and former global director for civil society and governance programmes at World Learning in Washington DC, is playing a pivotal role in bringing the programme to Ahmedabad.Shroff had done her graduation and postgraduation from the city and shares deep bonds with institutions here.

"Ahmedabad has been a favoured destination for past two years due to its community-centric development efforts. We had been to other citi es including Mumbai, Delhi, Bangalore, and others, but the students preferred this city due to its mix of old and new, and the openness of the society towards their ideas," said Shroff. She also recounted her experience of the city as an Amdavadi, as her father was a Gandhian associated with Gujarat Vidyapith and her mother was a Montessori educator.

Talking about the students' stint in Ahmedabad and Gujarat, Shroff said that for many a students such an exposure could be life-changing. "When we discuss sustainable development in classroom and see it happening on the ground, there is a vast difference. The students have already launched a crowdfunding initiative for education of girls at a city school," she said. Amy Jersild, assistant professor with the group, said that it would be a great opportunity for the students to learn about coexistence of so many communities and cultures. "They will also learn about issues such as marginalization, urban slums, tribal access to forest areas etc. The students are excited about experiencing life at city's pols," she said.

Alicia, one of the students, said that she wants to pursue career in international human rights and the experience so far has been enriching. "I have worked in different countries, but India is very diver se and challenging. I am attached with an adivasi rights group, and I have already made a few field trips," she said.

Abhay Mangaldas, founder director of the House of MG, said that they are collaborating with the students on various aspects of life in Ahmedabad, focusing on heritage. "It is very important for common citizens across the world to learn about diverse cultures, ethnicities, religions and communities first-hand for peace and progress," he said.

World Learning is a nonprofit organization founded in 1932 as the Experiment in International Living to improve understanding across cultures and nations by sending US students abroad as part of Peace Corps to expand their world views . At the moment, the students work in over 60 countries on projects of sustainable development.

Shroff has taught graduate courses in citizen leadership, policy ad vocacy, and good governance at World Learning's SIT Graduate Institute and at the School for International and Advanced Studies (SAIS) at Johns Hopkins University.

- The Times of India, January 20, 2016

Sawai Madhopur, Jan 21 (www.rajasthnpost.com/IBNS): Rajasthan has added a new festival to its annual calendar, the Sawai Madhopur utsav. Sawai Madhopur celebrated the Foundation Day of the city of Sawai Madhopur for the first time as 'Sawai Madhopur Utsav' on 19 and 20 January this year. This was the day on which Maharaja Sawai Madho Singh I established the city of Sawai Madhopur.

However, this year will mark a new beginning in the festivity. The Collector, Sawai Madhopur, Poonam Anandi in collaboration with Gunijankhana, Maharaja Sawai Bhawani Singh Jaipur Museum Society headed by MLA, Sawai Madhopur Princess Diya Kumari (a descendant of Maharaja Sawai Madho Singh I) decided to take the celebrations on to the world tourism map. Henceforth, the Utsav will be an annual feature.

The programmes included Maha Arti at the famous Trinetra Ganesh Mandir in the Ranthambhore Fort, Maha Arti at Kala Ghoda Bhairav, exhibition, shobha yatra from Dand Veer Balaji to Rajbagh, rural games like Tug-of-War, Matka Race,turban tying competitions, football, wrestling and Kabbadi and cultural programmes at the Dusherra Maidan. Also a kite festival, a heritage walk and Anoop Jalota night.

Princess Diya Kumari said that the objective of the Utsav is to instil and enhance the sense of pride in the local citizens about their history and culture. She hoped that that in times to come it will be a part of the tourism festival calendar and will give a boost to tourism in the region.

The Utsav is being envisioned as a festival of the rich heritage, culture, art and craft of the region. National and International dignitaries and tourists will also partake in the festival.

The Heritage Walk passed from the famous Galta Mandir going through Aamne Samne Ka Mandir, Thahera Kund, Nagar Seth Ji Ki Haveli, Govind Dev Ji Ka Mandir, Rang Ji Ka Mandir, Panchayati Jain Mandir, Diwan Ji Ka Mandir, Keshavrai Ji Ka Mandir, Atkeshwar Kund, Gopal Ji Ka Mandir, Kala Gaura Bhaira Mandir and ended at Bheru Darwaza. The Convener of INTACH, Sawai Madhopur Chapter, Padam Khatri convened the Heritage walk.

The Kite Utsav which was held at the Indira ground in Sawai Madhopur was a huge hit among the local populace. Over 4000 kites were distributed among the general public and school students. Another attraction of the kite utsav was the unique kite making by Ms. Sky Morison from Canada who had been specially invited by the Maharaja Sawai Bhawani Singh Jaipur Museum Society (Gunijankhana).

- http://www.newkerala.com, January 21, 2016

Anil Ambani, chairman of Reliance Group, Sanjay Kirloskar, chairman of Pune-based Kirloskar Group and Adi Godrej, chairman of the Godrej Group, are some of the businessmen to have confirmed their participation in the event, which will be of around 90 minutes.

Many top business leaders of the country will participate in the Indo-French business summit scheduled for January 24. French President Francois Hollande, accompanied by six ministers and a contingent of French businessmen, will participate in the event being organised by the Haryana government in association with the Confederation of Indian Industry (CII).

Anil Ambani, chairman of Reliance Group, Sanjay Kirloskar, chairman of Pune-based Kirloskar Group and Adi Godrej, chairman of the Godrej Group, are some of the businessmen to have confirmed their participation in the event, which will be of around 90 minutes.

“Top business leaders of the country will take part in the event,” said home secretary Anurag Aggarwal.

According to sources, Mukesh Ambani, chairman and managing director of Reliance Industries Limited (RIL), Mahindra Group chairman Anand Mahindra are also expected to take part in the summit. Prime Minister Narendra Modi and a few Union ministers would also be present on the occasion, the sources said. The aim of the summit is to create the framework for an open and action-oriented dialogue between top business leaders and government leaders from both countries. French security team arrives Three days ahead of Hollande’s visit to the City Beautiful, a French security team arrived in the city Wednesday. The French President, who will be the chief guest at this year’s Republic Day Parade in New Delhi, will land in Chandigarh on January 24 to begin his India visit. The French team visited all the places Hollande is expected to go to during his visit to the city to take stock of security arrangements. The team also held a review meeting with UT home secretary Anurag Aggarwal and UT SSP (traffic and security) Maneesh Chaudhary. Hollande has expressed his wish to see Le Corbusier’s works. Hollande is likely to visit the Capitol Complex in Sector 1, Rock Garden in Sector 1, and Government Museum and Art Gallery in Sector 10. At Taj hotel, Hollande will be received by PM Modi, who will accompany him to places where he will visit. Special protection group (SPG) teams will reach the city on Thursday to make arrangements for PM’s security. UT administration to gift memento to Hollande The Chandigarh administration will gift a special memento to the French president. Home secretary Aggarwal said the memento would depict Le Corbusier’s work. Mementos, smaller in size from one to be given to president, would also be given to all the members of the delegates. The task of getting mementos prepared has been entrusted to CITCO MD Kavita Singh. Modi to be first PM to visit Rock Garden PM Narendra Modi will be the first prime minister to visit Rock Garden, a sculpture garden. Modi will accompany Hollande to the garden, which was created by Nek Chand. Anuj Saini, a landscaper and a member of the Rock Garden Society, said this would be the first visit of by an Indian PM to Rock Garden. Sculptures made by the late Nek Chand during the last few years of his life would be displayed at Phase III of Rock Garden for the visit. Rag dolls, which Nek Chand had made, would also be put on display.

- The Indian Express, January 21, 2016

Around 20 big and small water bodies in Old Gurgaon that once were not only the main source of supply for surrounding villages but also helped recharge groundwater were allowed to die due to the apathetic attitude of civic authorities.

According to a response to an RTI reply, there were 23 water bodies in five major villages of the area - Caterpuri, Gurgaon Gaon, Dundahera, Mulahera and Choma - but only three water bodies still exist. These are seasonal water bodies that retain water only for three to four months in a year.

The rest of the water bodies were lost mainly due to dumping of waste, encroachments or utter neglect, says the RTI response provided by the revenue officer of Gurgaon district.

Where there were water bodies in Choma village, now stand five schools and two community centres, whereas temples have been built on the bed of water bodies in Gurgaon Gaon and Caterpuri. An entire residential colony and a boosting station have also been built on two water body sites. Sharad Singh, a resident of Firozgandhi Colony, a residential colony that has come up on bed of a water body, said, "There was a fairly large water body here, but around 15 years ago it turned into a waste dumping site. Then, it was encroached upon by shopkeepers. The land was later handed over to the corporation for development," Singh said, adding that water still flows down to the colony during monsoon, which leads to flooding in the area.

According to experts, the old city is likely to face a major groundwater shortage if water bodies are continued to be encroached upon as the whole region is a little elevated. Harsh Rathore, an expert on water bodies, said, "During rainy season, the water bodies play a major role in groundwater recharge in the area."

"It is shocking that the authorities have encroached upon the water bodies and built community centres, boosting stations and schools on them. As it is done by authorities themselves, there should be a severe punishment," said Amina Shervani, another expert. Aseem Takyar, who filed the RTI application, said he will file a PIL in the Punjab and Haryana high court as it is a serious offence done by authorities.

When asked, deputy commissioner T L Satyaprakash, who is also MCG chief, said, "We will definitely work out some solutions. Alternate sites for water bodies can be allocated in the close-by area."

- The Indian Express, January 21, 2016

Two German scientists, Fritz Haber and Carl Bosch, devised chlorine gas weapons that were used against French and British troops, in the First World War. Haber’s first wife committed suicide. Then they went on to invent new forms of explosives. During the Second World War, they worked for Hitler, developing a coal based substitute for petroleum that fuelled Nazi planes and trucks. Without the Haber-Bosch process Germany may have been rendered powerless two years earlier in the First World War. Without it, neither Hitler nor the Nazis may have become powerful!

I had never heard of Haber or Bosch until 2012. I suspect you, the reader, are reading about them for the first time.

To me, these two men are perhaps the greatest scientific heroes of the twentieth century – rivalling Edison and Ford and Fleming and Borlaug and Einstein.

Why would anyone admire Nazi bomb makers?

In 1900, the world had two billion people. In 2013, it has seven billion. How did this population explosion happen? Why has there been no famine due to food shortage in the last few decades? In fact there is an epidemic of obesity! Would you believe the answer? Haber and Bosch!

Most famines in the last hundred years have been because of wars, lack of access or poor administration. Food deficit has NOT been an issue.

The Bengal famine during World war 2 and a Dhathu Varsha famine of the nineteenth century happened when the world population was much smaller. Historians blame British callousness for both. But famines are far older than colonialism. The Mahabharatha has a story of mongoose that arrives at Yudhistra’s Rajasuya yajna, and narrates how it became golden during a famine. Chandragupta Maurya abdicated his throne and became an ascetic as he could not feed his people during a famine. The Irish potato famine happened in the middle of the nineteenth century. Jared Diamond, in his book Guns Germs and Steel, states that 80% of the food humans eat, by weight, comes from only 12 species of plants – rice, wheat, corn, barley, sorghum, soybean, manioc, potato, sweet potato, sugarcane, sugar-beet and banana. They need the right soil and water, but also a vital fertilizing element – nitrogen. The Earth’s atmosphere is 80% nitrogen, but in this form, most crop plants cannot use it. They need something called fixed nitrogen, which is produced by lightning, natural nitrates in the soil, animal dung, decaying plant material and certain legumes.

Crucially, the amount of fixed nitrogen available by these natural processes limits the amount of food crops humans can grow, regardless of the land and water available. In the 19th century, this problem was circumvented first, by expanding the area of land under cultivation – the great prairies of North America - and second, by utilizing mountains of guano (bat and bird dung) and saltpeter discovered in South America. Europe imported guano from South America like they imported spices and clothes from India, silk and tea from China and slaves from Africa – in ship loads.

In the twentieth century, these South American supplies of fertilizer ran out. So, nitrogen shortage threatened food supply; unless somebody discovered a way to manufacture artificial fertilizer, using the nitrogen in the atmosphere. This is exactly what Haber and Bosch did. They invented the Haber-Bosch process, ammonia fertilizers, massive factories that would produce them in vast quantities.

Nature breaks apart a nitrogen molecule at high temperature and combines it with hydrogen to produce ammonia. The only natural force with the adequate energy for this is lightning. Haber, collaborating with Robert Le Rossignol, discovered a way to break apart nitrogen at high pressures but somewhat lower temperatures and turn it into ammonia. This was not a single Eureka breakthrough. They ran a series of experiments making a number of gradual improvements until they produced ammonia at high pressures and low temperatures. The German chemical company BASF,a pioneer of the chemical industry, bought Haber’s patents. BASF became an industrial giant by synthesizing artificial dyes like aniline, a rival to indigo, one of India’s most valuable exports.

At BASF, Haber discovered a process, using osmium as a catalyst, which produced ammonia in large volumes. But to produced ammonia on an industrial scale they needed very high pressures. One hundred atmospheres was Haber’s estimate of the pressure required. BASF thought this was impossible; cylinders had exploded even at seven atmospheres of pressure. But BASF had a scientist Carl Bosch, who specialized in metallurgy. And he believed they could produce industrial scale machines. Heinrich von Brunck, head of BASF, decided to gamble on Haber’s mechanism and Bosch’s expertise in metals to build the factories.

They won Nobel prizes for this – Haber in 1920 and Bosch in 1932. France hunted for Haber as a war criminal for using cholrine against them in WW1. But after he was awarded the Nobel, France gave up the hunt. For the next decade, France and England used their armies to try to steal the industrial secret that the Haber-Bosch process was; but it was too complex to be copied or stolen and too vital to be destroyed. The great fear was that it not only produced ammonia fertilizer, but also explosives for Hitler’s army.

Haber, born a Jew, converted to Christianity, but ironically, this did not help him avoid the wrath and hatred of the Nazis. He fled Germany for Switzerland and died there; ironically, though his invention allowed Adolf Hitler to make Germany militarily powerful and independent, it was inadequate to overcome his hatred for Jews or tolerate Haber.

Today all artificial nitrogen fertilizer is produced by the Haber-Bosch process. Four billion people owe their existence to their invention, but are ignorant that such men lived and what they gave the world. This invention triggered of the first of several Green Revolutions, the most famous and most recent of which was the work of Norman Borlaug.

I first read about them in a book called “The Alchemy of Air”, by Thomas Hager. Another researcher of engineering history, Vaclav Smil, justly calls their invention the most crucial one of the twentieth century.

- The Indian Express, January 21, 2016

he Centre earlier last year had decided to "pull out" Delhi's nomination as the World Heritage City, saying the prestigious tag, if granted, will put "lot of restrictions" on carrying out infrastructure works in the national capital.

AAP government has urged Union Culture Minister Mahesh Sharma to renominate Delhi as a UNESCO World Heritage City, a year after the Centre pulled it out of the race for the coveted tag.

The decision to pull out Delhi barely a few months before its fate was to be decided at the 39th Session of the World Heritage Committee in Bonn last year, had left heritage experts and lovers disheartened. In a letter to Sharma dated January 20, Delhi Culture Minister Kapil Mishra said, there has been no "formal communication" to the Delhi government, regarding last year's withdrawal of nomination and that any endeavour in this regard should not be looked at with political considerations.

"Just before the meeting in Bonn, the nomination was either withdrawn by the government of India or deferred. There has been no formal communication to the Delhi government in this regard. It may be relevant to highlight that the Delhi government had spent a considerable amount of time and resources on the nomination process and proceeded with the nomination only after the Ministry of Urban development gave its consent on February 19, 2015," Mishra wrote. The Centre earlier last year had decided to "pull out" Delhi's nomination as the World Heritage City, saying the prestigious tag, if granted, will put "lot of restrictions" on carrying out infrastructure works in the national capital. Sharma, however had said that the Centre was open to the idea of renominating the city.

In its bid to re-enter the race for the UNESCO tag, the government has again proposed "Delhi's Imperial Capital Cities", namely Shahjahanabad in old Delhi and Lutyens' Bungalow Zone (LBZ) in New Delhi, for the nomination to the World Heritage List.

Mishra requested Sharma that the dossier be sent for the next nomination cycle at the 40th Session of the World Heritage Committee, scheduled to be held in Istanbul, in July and that it be "pursued vigorously".

"With its rich and cosmopolitan cultural heritage, Delhi is like a 'Mini India'. It is essential that this rich cultural heritage of Delhi is projected before the world in right earnest. Any endeavour in this regard should not be looked at with political considerations," he said.

The dossier was prepared by Indian National Trust for Art and Cultural Heritage (INTACH) which listed Shahjahanabad, dotted with Mughal-era heritage and Lutyens' Bungalow Zone, (LBZ) part of the new imperial capital designed by Sir Edwin Landseer Lutyens and Sir Herbert Baker after the 1911 Delhi Durbar.

Meanwhile, Nalanda university is the 2015 entry from the country for the UNESCO World Heritage City tag in the cultural heritage segment in pursuance of which the Ministry of Culture through the Archaeological Survey of India had sent an over 200-page-long nomination dossier on January 23 last year. The fate of the ruins of the ancient university in Bihar will be decided at the 40th Session of the World Heritage Committee.

- http://www.dnaindia.com, January 22, 2016

Deputy Director of Archaeology and Museums P. Brahma Chary said that they would shortly start excavation of the early historical site located between Pazzur and Yarragaddagudem villages of Thipparthy mandal in the district, probably in the first week of February.

The Deputy Director, along with Assistant Directors K. Padmanaba, P. Nagaraju, retired chief caretaker Y. Bhanu Murthy visited the site on Thursday. Speaking to The Hindu , Brahma Chary said that they have got the nod of the Archaeological Survey of India (ASI) recently. During the visit on Thursday, the archaeological officials found a mango shaped ornament bead made with glass used by women of the early historic period.

The Archaeology authorities found antiquities like terracotta figurines of women, ornamental beads, spool, couple of grinding stones, red ware and black ware pottery, decorated red ware and part of rim of a storage pot, bricks and other such items earlier, but they never found anything made of glass.

Stating that they have found enough evidence at the site signifying a habitation around 2nd Century AD, he said, “We have discussed with the farmers of Yarragaddagudem village who have consented to give their land for excavation during the summer.”

Antiquities found in site located between Pazzur and Yarragaddagudem villages of Nalgonda district

- The Hindu, January 22, 2016

In order to put an end to the debate over the ecological status of the Aravalis and its foothills once and for all, the state forest department is carrying out the first-ever satellite base mapping of the entire range. Officials said the activity will be over in the next three months and once completed, it will demarcate the forest areas of the Aravalis.

Till now, the forest department does not have a proper map of the Aravalis and its foothills, due to which it is at loggerheads with the revenue department over its status. A number of real estate projects has been approved in this area, which has emerged as the biggest threat to the fragile ecosystem of the exploited hill ranges. Conservator of forests (Gurgaon circle) MD Sinha said that mapping is already done in Rewari, Faridabad, Mahendragarh and Palwal and work in Gurgaon and Mewat is in advance stage. "More than 50% of work is done and the remaining will be completed in the next three months. The mapping will cover entire southern Haryana," he told TOI on Thursday.

A total of 1.25 lakh hectares of land fall under the Aravalis and its foothills in south Haryana. Out of this 21,000 hectares of land is notified under sections 4 and 5 of the Punjab Land Preservation Act, thus prohibiting any kind of non-forest activity in such land. Around 4,000 hectares of land is block forest; 20,000 hectares of land comes under the Aravali project area and the remaining land is part of the Aravali hills and its foothills. The mapping will classify the land in six different categories - land under sections 4, 5 of PLPA Act, reserve forest (if any), Aravali plantation, overlapping of Aravali plantation and PLPA land, Aravali Hills and foothills, he said.

"After completion of mapping, if there is any incident of encroachment, then officials can identify the spot and through satellite image can find out the classification of land," said Sinha, adding that large parts of the Aravalis is under private ownership and they carry out construction on the pretext that the land was never under forest. He added, "With this map, we can check whether there was forest on the part of land earlier or not." Officials said this mapping will help in the demarcation of the natural conservation zones (NCZ) as it will be very easy to find out the ecological status of land and its past history. The state government is currently carrying out ground surveys of NCZs in each district of NCR to delineate forests, recharge zones, major water bodies and river beds. Forest cover constitutes just 3.5% of land in Haryana.

NCZ is the peripheral area of the Aravalis or other forest areas and demarcation of NCZ is under progress to prohibit any construction activities in this area. NCZ demarcation is to be done for protection of the forest and greenery. With the demarcation of NCZ, this area will become part of the forest. Sinha also said that large parts of the foothills of the Aravali are encroached in Gurgaon and Faridabad causing depletion of groundwater level. "Foothills are major water recharge zone, so along with Aravalis, we also need to preserve the foothills," he said.

- The Times of India, January 22, 2016

In its attempt to make the world’s heritage accessible to global audiences on the web, the Google Cultural Institute on Thursday added the Dr Bhau Daji Lad City Museum, Mumbai’s oldest and India’s third-oldest such institution, to its global gallery.

With this, people around the world will be able to experience online over 200 highlights from the museum’s rare collection of early art and design practices from the late 18th to the early 20th centuries, as well as contemporary art exhibitions held at the museum.

The museum has in its collection pieces including a Radha-Krishna sculpture carved in ivory, a diorama of Mughal emperor Jehangir on a lion hunt and a 1928 painting of a court scene by renowned artist MV Dhurandhar.

Users will now be able to see the museum’s collection up close with ultra high definition resolution through Google’s zoom features. The Google Cultural Institute also offers a 360-degree tour with the Museum View feature which allows users to select works that interest them and zoom into them for a better look.

The virtual tour will enable smooth navigation into six galleries within the museum, including the industrial arts gallery, the 19th century paintings gallery, and the Kamalnayan Bajaj art gallery.

To make the experience interactive, the Google Cultural Institute will feature specially-curated virtual exhibitions. Users will be able to see the story of the museum’s restoration and revitalisation as well as important contemporary art shows like Atula Dodiya’s ‘7,000 Museums: A project for the Republic of India’ and Reena Kalat’s artwork ‘ZegnArt Public/India”.

Google Cultural Institute director Amit Sood said, “It is our privilege to help iconic Indian institutions such as the Dr Bhau Daji Lad Museum to exhibit their rich collections online using the power of technology.”

- The Hindu, January 22, 2016

Mrinalini Sarabhai, a legendary classical dancer and Padma Bhushan recipient, passed away on Thursday at her home in Ahmedabad. She was 97.

“It is the powerful movement that makes me feel nice,” Mrinalini Sarabhai had told me when I interviewed her in 1979. After that, every time she came to Chennai (Madras of yore) there was always a meeting, and of course the visit to Ahmedabad and conversations at Natarani, the performance space she created in that city. “I like to choreograph strong, sweeping, powerful movements and stretched hand that stretches and far beyond,” she had said. Powerful she was. Everyone was overawed by her presence. She demonstrated what she meant by power. In her hand the alapadma mudra became a lotus larger than life.

The grand dame of South Indian dance in North India (if you can call Gujarat that) felt most at home in Madras. She loved the big red brick house on Gilchrist Avenue that she grew up in.

Mrinalini Sarabhai. AFP Mrinalini Sarabhai. AFP Mrinalini came from a family of famous personalities, with her own mother Ammu Swaminadhan having been a freedom fighter, and younger sister Lakshmi Sehgal becoming the (beautiful) commander of Subhash Chandra Bose’s Indian National Army. Her siblings all went on to assume important roles on the national scene. Mrinalini herself married Vikram Sarabhai, one of the pioneering institution builders of science in India. He belonged to the first family of Ahmedabad’s textile tycoons.

She was given the freedom to live her dream and she dreamt of dance. As a little girl she went to the Pandanallur village house of her guru Meenakshisundaram Pillai to learn Bharathanatyam in a gurukula atmosphere. She remembered her guru affectionately as “Thattha”. She later studied with Ellappa of Kanchipuram and some padams and abhinaya from the last of the devadasis, Mylapore Gowri Ammal, and from Chokkalingam Pillai.

She then went to school at Shanthiniketan while Rabindranath Tagore was at the institution. In Java she danced with the royalty of Jakarta and in New York did a course on acting and theater technique. She then went over to Kerala to learn Kathakali, gaining a total theater personality.

She told me she had trouble getting students after establishing the performing arts academy Darpana in 1949. Her husband, she recalled, went to some homes and requested them to send girls to learn from her. Darpana, of course, grew enormous, with Bharathanatyam, Kuchipudi, Kathakali and folk art forms taught and researched and craft oriented forms like puppetry promoted. Artists from all over the world came to the school she founded and she became a high priestess of dance in India; the other being Rukminidevi Arundale. If Rukminidevi was “Athai” (aunt) to her students, Mrinalini became “Amma” (mother) to her students.

I had asked her when we met that if form was worship why then was there so much shringara in it. Her answer was simple. “Ancient Hindu civilisation was a free one. Life was for living and then to be given up. This is one reason why there are erotic sculptures on temple walls. Young girls should be made to understand that all these worldly desires have got to be satisfied first to experience divinity. Let them not confuse these padams with reality. Art has to exaggerate. A study of shringara is necessary to understand the panorama of existence.” I provoked her: “And if the art form is worship, why do you perform?”

Mrinalini’s eyes twinkled. “For the same reason that I write, teach, or, for that matter, learnt the art form. The joy I have is the kind one shares. An audience is necessary not only for the elevation of physical standards but for intellectual facility also.”

Mrinalini’s straight frame and glowing deep eyes exuded confidence. Confidence acquired through expertise and knowledge. She gave Bharathanatyam a space in Gujarat and by this means, the dance form became pan Indian. As one recalls the breadth of her vision and achievement in art, one cannot help recalling what has been said of Mrinalini: “All others are dancers, she is the dance.”

The author is a cultural commentator and founder The Aseema Trust, Chennai.

- http://www.firstpost.com, January 22, 2016

The Society for Clean Environment (SOCLEEN) and Heritage Trust have organized a bird-watching nature heritage walk to Wadhwana bird sanctuary, Dabhoi on January 26.

Wadhwana is a century old tank, constructed by the erstwhile visionary ruler - Maharaja Sayajirao Gaekwad III in 1909-1910.

It boasts of an impressive habitat that provides wintering grounds to large number of waterfowl as well as land birds.

The organizations have also planned an orientation session for the participants to prepare them to fully understand the uniqueness of this sanctuary as well as introduce them to the world of nature conservation, especially birds. The orientation session will be held on Monday at 5.30 pm, at Baroda Management Association's Hall on Old Padra Road.

"The purpose of this walk is to highlight the importance of conserving natural heritage and understand the role of water-bodies and their unique habitat and to observe and enjoy the presence of so many species of birds near our own city," said professor Arun Arya, officiating head of M S University's Department of Environmental Studies and ex-head of Department of Botany.

- The Times of India, January 23, 2016

Uttarakhand will depict the unique festival of 'Ramman' as part of its tableau on Republic Day in Delhi. The festival is celebrated in twin villages of Saloor-Dungra of the Painkhanda valley in Chamoli district and also features on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. GS Kandpal, a researcher from Centre For Cultural Resources And Training, said, "It is one of the 10 traditions, festivals, fair, arts and other elements on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity from India. The state tableau will also include artists playing the folk musical instrument of Uttarakhand "Bhankor" as well as the temple of local Himalayan deity Bhumyal."

The twin villages of Saloor-Dungra mark the beginning of Hindu new year in April with the religious festival in honour of Bhumiyal Devta, a local divinity whose temple houses most of the festivities of the region. The festival lasts for 10 days and depicts local folk art, dance, music, culture and cuisine. The local epic of Rama is recited and sung with masked dances depicting different aspects of life in the courtyard of the Bhumiyal Devta's temple.

- The Times of India, January 23, 2016

In the tiny hamlet of Mawlynnong in India’s far north-east, plastic is banned and spotless paths are lined with flowers — but its reputation as Asia’s cleanest village has proved a mixed blessing. Until 2003 no tourists visited the remote community of 500 inhabitants high in the mountains of Meghalaya state, which had no roads and was accessible only by foot.

Home to the Khasi tribal people, Mawlynnong is famous for being a rare matrilineal society, where property and wealth are passed on from the mother to her youngest daughter and children take their mother’s surname. In recent years the village has become known for another reason — its exceptional cleanliness, far removed from the noise and dirt of India’s big cities.

Bamboo dustbins stand at every corner, volunteers sweep the streets at regular intervals and large signs order visitors to throw away plastic packaging: littering is sternly frowned upon. “We clean every day because our grandparents and our ancestors have taught us how to clean the village and the surrounding area, because it’s good for our health,” said Baniar Mawroh, a teenager sitting at the entrance of her small but gleaming family home.

After the village built its first road 12 years ago, a journalist from Discover India travel magazine wrote a now-infamous article naming it the cleanest village in Asia. The trickle of tourists became a flood, with visitors now reaching 250 a day in high season, swelling the village’s population by 50 per cent.

But the accolades have brought several downsides.

“Now there is noise pollution. I’ve talked to the village council which has written to the government to build a new parking lot further away.” said Rishot Khongthohrem, 51, a guesthouse owner.

Deepak Laloo, a former official of the Meghalaya Tourism Development Forum, advised the village in the early stages of its tourism development but fears for the impact of the visitor influx.

“There’s no more privacy. A woman is washing her clothes, she’s being photographed,” he said. “That social bond which binds the village together is disintegrating,” he said.

Cholera outbreak
Mawlynnong’s concern for hygiene emerged about 130 years ago when an outbreak of cholera struck.

With no medical facilities in the village, cleanliness was seen as vital to prevent the spread of disease.

“Christian missionaries told our ancestors: you can protect yourself from the plague (cholera) only if you maintain good hygiene, be it at home, with food, on your land, in the village, or for your body,” Khongthohrem said. Mawlynnong maintained its fastidious habits and has gone on to other achievements, eradicating open defecation — prevalent across much of rural India — with toilets for each of its approximately 95 households.

The village has even been hailed by Prime Minister Narendra Modi in an autumn radio address imploring Indians to erase the poor national image of rubbish-strewn highways and monuments under his Clean India campaign.

“I was amazed to know that there is such a village in remote north-east, Meghalaya which is so passionately carrying the mission of cleanliness for years,” he said.

While the pristine village is proud of its achievements, some believe it must limit visitor numbers to protect the wellbeing of its inhabitants.

“They must learn to regulate the number of tourists and to say no at some point,” tourism expert Laloo said. — AFP Relaxnews

- themalaymailonline.com, January 24, 2016

The University of Calicut will host the 28th Kerala science congress which is jointly organized by the University and Centre for Water Resources and Management (CWRDM), Kozhikode.

Around 1,750 researchers and scientists would participate in the three-day long congress. 'Climate Change and Water Resources in Kerala' is the topic of the latest edition of science congress. The congress will hold debates on more than a dozen science topics related to the Food Science, Biotechnology, Chemistry, Physics, Information technology, Environmental sceince, Biology and Mathematics.

Special focus would be given to the biodiversity of Malabar region. A mass contact programme with science researchers and PG science students is would be another attraction of the congress. Around 200 students in Malappuram district will attend the national child science congress being organised as part of the event.

A science exhibition with 100 stalls would be arranged as part of the congress. ISRO, CWRDM, Vikram Sarabhai Space Research centre, MS Swamiathan Foundation, Kozhikode Medical college, Zoological Survey of India, Kerala Forest Research Institute, Kottakkal Aryavaidya Sala and Geological survey of India, would participate in the exhibition which would be held in University ground at Kohinoor.

Different speeches in commemoration with legendary scientists also would be held as part of congress.

The office bearers of CWRDM informed that chief minister Oommen Chandy will inaugurate the science congress at 9am on Thursday. Education minister P K Abdurabb will preside over the function which would be attended by eminent personalities in science field and people's representatives.

- The Times of India, January 24, 2016

Nek Chand’s creation also combines huge buildings with a series of inter-linking waterfalls.

Son of late Nek Chand, the creator of the iconic ‘Rock Garden’, on Sunday alleged that a Prime Minister’s security official asked him to leave the venue minutes before Narendra Modi joined French President Francois Hollande for a tour of the popular tourist place.

Anuj Saini, Chand’s son, said he was asked to “go out” of the Rock Garden despite having an entry card issued by the UT Chandigarh Administration.

The incident took place about 10 minutes before the PM’s arrival at the Rock Garden around 2.30 pm, Saini told PTI. “I was standing inside the Rock Garden where Prime Minister Narendra Modi was to receive the French President. I had proper authorisation in this regard. But just 10 minutes before Modi arrived, Prime Minister’s security official AIG Balwan Singh told me I was not allowed to stand there saying there was no order from the PMO,” he said.

“To ensure that I leave the venue, a police official was also deputed (to escort me out). It was like I was being thrown out of my own house,” he alleged.

Saini said he left the venue as he felt insulted. “Why should I have stayed there?” Claiming he had a proper pass given by the government for the occasion, he said even UT Adviser Vijay Dev and Home Secretary Anurag Aggarwal asked him about the incident.

“They asked me who told me to go out. When I explained the whole situation to them, they said it was wrong,” he said.

Feeling humiliated, Saini said he did not go back.

Late Nek Chand Saini was the creator of the iconic Rock Garden that has amazed people for decades with his unique sculptures made from waste. The 90-year-old Chand died in June last year following a cardiac arrest. He used waste like broken crockery, electrical fittings, glass bangles, bathroom tiles, wash basins and bicycle frames to make sculptures of men, women, animals and gods at Rock Garden, which is spread over an area of 40 acres. Inaugurated in 1976, Rock Garden comprises several thousand sculptures set in large mosaic courtyards linked by walled paths and deep gorges.

Chand’s creation also combines huge buildings with a series of inter-linking waterfalls. More than 2.5 lakh people from India and abroad visit it every year with the annual revenue generated from ticket sales coming to around Rs 1.8 crore.

Rock Garden became immensely popular in the 80s with Chand receiving the Padma Shri in 1983 and a sculpture from the site appearing on an Indian postage stamp.

- The Hindu, January 24, 2016

As early as in 1955, Corbusier had a mock up model of the Open Hand made with wood and cloth and erected on the site. The problems of fabricating the giant hand to be perched 85 feet high up on a steel shaft emerging out of a sunken concrete pit designed to rotate on ball bearings was challenging and could not be done locally. The metallic hand sheathed in enamelled sheets was finally fabricated by the workshop of the Bhakra Nangal Dam and the monument finally inaugurated in 1985. Interestingly, Corbusier had designed an Open Hand for the Bhakra Dam too, another of Nehru’s pet visionary projects, which too remained unbuilt. The metallic cladding was conceived initially by Corbusier to be painted in the colours of the Indian flag, but in his absence, such an audacious artistic attempt was given up.

The sunken trench “Trench of Consideration” (Fosse de la Consideration) is approached both by a sculptural ramp and a stairway. In the centre of the nearly 41 feet x 30 feet space is a podium finished in beton brut rough concrete.

Also there are concrete steps for seating on two sides, like an ancient Greek amphitheatre. The space was intended to be enlivened by public discourses and debates on issues and concerns of the citizenry.

- The tribune, January 24, 2016

Agence Francaise de Developpement signs agreements to help Chandigarh and Nagpur also

France on Sunday formalised an agreement to provide technical and financial assistance for developing Puducherry, the erstwhile French protectorate, as a smart city.

Agence Francaise de Developpement (AFD), the French bilateral development finance agency, has inked agreements to develop Puducherry, along with Chandigarh and Nagpur as smart cities.

Also there are concrete steps for seating on two sides, like an ancient Greek amphitheatre. The space was intended to be enlivened by public discourses and debates on issues and concerns of the citizenry.

Agreements formalised

The draft agreements signed between representatives of AFD and the three cities were formalised in the presence of visiting French President Francois Hollande and Prime Minister Narendra Modi in Chandigarh on Sunday.

“The AFD agreement is independent of, but not completely unrelated to, the Smart City Mission of the Government of India for which Oulgaret Municipality is a contender,” said Manoj Parida, Chief Secretary, who was in Chandigarh to sign the draft deal with AFD representatives.

Offshoot of agreement

The deal is an offshoot of the Indo-French bilateral cooperation agreement on sustainable urban development firmed up on October 5, 2012 and also the understanding reached during Mr. Modi’s visit to France in April, 2015 that French authorities would concentrate on Puducherry, Nagpur and Chandigarh.

What the AFD pact does is to provide Puducherry a fall back cushion to realise its smart city aspirations even should Oulgaret Municipality which is currently competing among other shortlisted cities for inclusion in the Smart City Mission miss the bus.

French pool of experts

Under the MoU for a period of three years, the technical cooperation programme will make available to the Puducherry a pool of French experts from the public sector (French municipalities, local public companies, agencies for urban planning), complemented by experts from private sector.

The experts would be culled from domains relating to aspects of sustainable urban development such as integrated development and urban planning, urban transport, water and waste management, architecture and heritage, renewable energy and energy efficiency.

“In a larger context, the pool of experts could rotate like a roster between the three Indian cities to which French technical assistance will be provided,” the agreement states.

In fact, the AFD agreement envisages the scenarios of Puducherry (Oulgaret Municipality) being selected for the Smart City Mission and being left out.

Technical support
In a scenario of the city making it to the Centre’s list, technical support would be provided by the AFD to implement the smart city proposal. This would essentially focus on areas such as strengthening the strategy and management of urban services, covering integrated development and urban planning, urban transport, water supply, sanitation, waste management, architecture and heritage, renewable energy and energy efficiency.

The AFD will help project management to oversee the detailed project reports and feasibility studies, assist in creation and structuring of the Special Purpose Vehicles to build strategic management and capacity building for financial management.

In a scenario where Puducherry fails to qualify, technical support would be provided to restructure the Smart City Proposal based on the Central Government’s assessment of the submission.

Meetings envisaged to redefine priority The agreement also envisages meetings to redefine priorities, exchange visits by delegations of decision-makers on the smart city theme and collaboration between academic and research institutions and exchange of technical know-how.

The AFD has committed to provide 2 billion euros of loan over the next three years to support smart cities and sustainable development.

It also agreed to bear the costs of posting French experts in India whereas the Government of Puducherry is expected to provide resources in support and coordination and make available technical data related to smart cities planning as well as staff, logistics and office space.

Pact will provide Puducherry a cushion to fall back on to realise smart city aspirations

- The Hindu, January 25, 2016

The 40th edition of the International Kolkata Book Fair (IKBF), Asia’s largest book fair, will be held from January 27 to February 7 at Milan Mela ground here, with Bolivia being the focal theme country. Bolivian author Magela Baudoin and Chief Minister Mamata Banerjee will be present at the official inauguration function.

The Department of Research, Government of Arunachal Pradesh is ready to participate in the 40th Kolkata International Book Fair, 2016 scheduled to begin on January 27. The Department will put on display as many as 180 publications during the book fair depicting the cultural heritage of the indigenous tribes and publications of Directorate of Information and Public Relation highlighting the developmental activities of the Government will be on display.

The Department of Research is also pride publishers of five books of Dr Varrier Elwin. The state’s display stall hosted by the Directorate of Research will be at Hall No. 3, stall No. 7. The theme of Arunachal Pavilion this year will be – ”Folkdances of Arunachal Pradesh: Enchanting Tangible and Intangible Cultural Heritage of Arunachal Pradesh”.

Kolkata International Book Fair occupies third position after Frankfurt Book Fair and London Book Fair in terms of accumulation of Books.The 40th IKBF will witness highest number of national participation, along with glorified presence of many foreign countries, making it a culturally diverse event. France had initially confirmed its participation in International Kolkata Book Fair 2016 as the focal theme country. However, in September, they withdrew their participation due to shortcomings from their end. After their withdrawal, Bolivia came forward and confirmed their presence as Focal Theme Country. ”We have been overwhelmed with the support and contribution made by the book lovers, Embassies, book sellers and publishers and look forward to another successful innings for the most sought after event hosted by the cultural capital of the world,” General Secretary of the Publishers and Booksellers Guild Tridib Chatterjee said. There will also have a special appearance of Spain in the 40th IKBF, celebrating 60 years of diplomatic relationship between India and Spain. Besides that Vietnam will participate in the book fair as the special Guest of Honor country, celebrating 40 years of Vietnam War, Chatterjee said.

Publishers and Booksellers Guild will arrange free Wifi service inside Milan Mela premises during the 12-day-long book festival in 2016 too. The guild is also planning to arrange free transport facility for the book lovers, from Milan Mela to Park Circus, in the 40th IKBF.

- http://www.theshillongtimes.com, January 25, 2016

The World Bank-funded Mid-Himalayan Watershed Development Project in Himachal Pradesh has helped preserve natural resources and prevent soil erosion besides ensuring substantial improvement in the local economy.

The project was started in October 2005 in 10 districts, a government spokesperson told IANS. Initially, 602 gram panchayats of 42 development blocks were covered.

However, considering the fruitful results, another 108 panchayats that were covered under a micro watershed programme were also brought under its ambit.

The World Bank provided additional financial support in 2012, the spokesperson said, for the newly-included panchayats for comprehensive watershed treatment and effective source sustainability.

The total outlay of the project increased to Rs.630.75 crore (almost $93 million) from Rs.395 crore. The duration of the project has also been extended till March from 2013, said the spokesperson.

A total of 4,932 user groups were formed for managing natural resources in a sustainable manner under the project, which gave a new dimension to the state's development.

Around 70 percent area was covered under plantations which remarkably contributed to conserve the environment, the spokesman said.

Keeping in view the fact state's economy majorly banks on agriculture and allied sectors, a major thrust has been given in the watershed project to increase the availability of water through conservation and maintenance of natural resources.

As staggering 8,961 water harvesting structures with a capacity of 10.78 lakh cubic meters have been set up, besides construction of a 241-km long irrigation channel.

The channel helped diversify agriculture as production of high value crops resulted in reasonable enhancement in farmers' incomes, said the spokesperson, who is associated with the project.

He said 3,219 hectares was covered under plantation during 2013-14. The verification of bio-carbon plantation by independent agencies was got done and report has already been accepted by the United Nation Framework Convention on Climate Change (UNFCCC).

The state received carbon revenue of Rs.1.63 crore which has been transferred to the divisional watershed development officers for further distribution among the panchayat beneficiaries.

The Clean Development Mechanism (CDM) Bio-Carbon Project, a major component of this project, is being implemented over 4,003 hectares in 177 panchayats. This includes 3,176 hectares of forests, 293.06 hectares of community land and 533.15 hectares of private land.

The CDM has not only provided carbon credits but has also gone a long way in protecting soil erosion and prevention of landslips in vulnerable areas.

It has helped in development of organic diversification and plantations to benefit the local communities through production of various produce, thereby providing self-employment opportunities, said the spokesperson.

During this period, 33,000 metric tonnes of vermin compost was produced and intervention on arable lands resulted in increase in wheat production by 14 percent, maize by 13 percent and milk yield by 11.55 percent.

More than 32 livelihood activities were implemented by 4,174 common interest groups. These concerted efforts have resulted in increase in the per capita income of the state, which has gone upto 93 percent.

The state has now sought the intervention of the Indian government to prevail upon the World Bank to extend the poject period by at least one year, the spokesman said.

- http://zeenews.india.com, January 25, 2016

Heritage buildings in “Pondy”, which attract tourists from all around the world, are disappearing. A recent survey report shows that of the 1,807 heritage buildings listed in 1995, only 442 were still standing in 2015. The decline has brought the spotlight back on the absence of stringent rules and poor conservation.

The decline is most visible in structures dominated by Tamil architecture. “It is mainly because commercial activities are happening more in the Tamil quarter.

Also division of traditional property among heirs by private owners is also the main reason for buildings simply disappearing,” says Ashoke Pandey, co-convenor of Indian National Trust for Art and Cultural Heritage (INTACH), Puducherry chapter.

“My family had a beautiful, typical old heritage house in the Tamil area but none of my siblings wanted to maintain it and you can see three flats in the place of the old house now. The division of the property among heirs is the main reason because we are no more living in a joint family system, maintenance costs come second only,” said Dr V. Nalla, who is working in the field of protection of heritage building in Pondy for the last 30 years. “We had an association called ‘Friends for Pondicherry Heritage’ and now we are moving to a people movement for protecting heritage buildings,” he added.

According to INTACH, lack of maintenance, development activities and lack of awareness among people are the main reasons for the loss of this rich heritage. Absence of proper heritage law to protect these buildings is being pointed out as yet another reason, which allows people to do any kind of developmental activities on the buildings. A separate department for heritage is also a demand of INTACH. Presently, INTACH works with a team of 15 members, which includes architects, engineers, and they are doing the listing of the buildings into various categories and submit project reports to the government on the maintenance of these buildings.

“We have submitted a project of Rs 80-85 crore for the restoration work of government owned buildings a year back. After that at least the restoration work of some buildings started,” said A Arul, senior architect working with INTACH.

He said that though there is lacking of fund, the government can take some initiatives for restoration work of the buildings which are in pathetic condition now.

The PWD’s Chief engineer, P. Saminathan clarified that the department is already doing it. “Restoration work is on in Bharathi Museum, Old court building and Aayi Mandapam now and the tender process is going for the restoration of the Town Hall building which collapsed two years back.

The government has finalised the tender amount as Rs 7 crore and works will start when the tender process is completed,” he said. For the restoration of Bharathi’s house, the government allotted Rs 99 lakh, Rs 5 crore for old court building and about Rs 20 lakh for repair work in Aayi Mandapam.

Union ministry of tourism has sanctioned Rs 8,528.34 lakh to Pondicherry under its flagship program Swadesh Darshan’. Minister of tourism P. Rajavelu said the department has allotted Rs 2,199.97 crore from this for the development of heritage areas in Puducherry including its restoration, conservation and illumination under the centrally sponsored ‘programme. The new initiatives are expected to preserve the unique charm of Puducherry which attracts visitors.

- The Deccan chronicle, January 25, 2016

After the impact of the first Foreign Artists Festival/Videshi Kalakar Utsav in 1990 in establishing the idea that foreigner classical Indian dancers and musicians could perform on par with their Indian peers, the time seemed ripe to accompany the next year’s festival with a seminar. Five annual Art Without Frontiers: Indian Arts on the Move seminars followed, thanks to the dynamic secretary of Sahitya , Surendra Mathur, whose confidence in me allowed me to plan these with a free hand. They brought together artists, gurus, and performing arts scholars to reflect and engage on Indian classical performing arts specifically in the world context of presentation, performance and training. It was evident that learning these traditions in today’s milieu by students and artists from non-traditional backgrounds was not entirely dissimilar for some young Indian origin practitioners in urban environments.

Considering the performances of artists who learned their art forms after spending their formative years in another culture, initial questions included: How are they drawn to the tradition? How do they enter into the tradition? How does any student in modern times enter? In the first year’s seminar, Pt Ravi Shankar related the story of his guru’s reaction to the first flight to moon, “so many miles up,” he had asked, “but how far down have we gone into the sea? Though we haven’t gone as far down as we’ve gone high, it is much more difficult to go deep.”

We all are trying to go deep. Success depends on so many factors: inherent talent and ability, hard work and good fortune in finding the right guru, an environment and living conditions that allows one to concentrate on the art, interaction with colleagues, audiences & connoisseurs, to name a few. It is fascinating to examine how arts and artists survive and flourish under varied circumstances. Side by side it is important to thoughtfully consider how we all can responsibly further the arts using our collective capacities.

The purpose of these seminars was to create an environment for the interaction of thoughtful people to discuss issues in the arts that are relevant to everyone deeply committed to preserving, maintaining and carrying forward the traditions of classical Indian performing arts.

The first year’s seminar included sessions on cross-cultural transmission of Indian traditions, methodologies and resources for teaching abroad and to non-Indians. The second year took up issues of authenticity, followed by seminars on “The Context of Learning Classical Indian Performing Arts in Modern Times, their place in the World Cultural Community and Global Context,” resources for and experiences of non-Indian exponents, evolving and retaining philosophical and aesthetic foundations.

The experiences shared by artists pursuing the performing arts of India who had come from other cultural backgrounds was fascinating, equally so that of the gurus teaching them. Among my favorite presentations was Guru Sadanam Balakrishnan’s heartfelt simple volte face regarding his experience teaching foreigners. He started by saying “We Kerala artists generally believe foreigners cannot perform Kathakali… cannot go deeply into the Gurukula system and study properly… Kathakali teachers feel that foreign people don’t believe in God so there is a problem as all the Kathakali characters are drawn from the epics. Foreigners also feel that they cannot dance like Keralites and only want to learn some technique.” Yet he says he changed his teaching methods in order to train them as professional Kathakali dancers after seeing their small presentations.

Foreign disciples’ questions were difficult to answer. “Then I gradually started to discover some reasons and somehow was able to start explaining. Instead of saying, don’t speak, please just do it, no explanation! Italians Beppe Chierichetti as well as Claudia Contin have been learning and performing successfully for years. So now Italians also perform Kathaka li and we, the Kathakali connoisseurs, cannot recognize the difference in the performance by the origin of the performer. It means that they come to India, they suffer a lot and they study intensely. They always respect their teacher and the culture, so I can say that they change and they can do Kathakali.”

The core questions revolve around ideas of authenticity; what these mean in terms of living traditions that continue to grow and evolve. Raghava R. Menon, the extraordinary writer on Indian music and culture, was also a respected music critic whose lyrical accuracy always acknowledged the positive points first. His thoughts on authenticity began with the inherited perceptions, transfigured and poetic and the resulting grammar that protect the arts from the ravages of history and time. Yet he also pointed out that the grammar follows, rather than precedes the practice and that each generation gets a change to re-fertilize the grammar that the gurus teach us. Raghava-ji develops further the idea that, in the final analysis, “knowledge of the art’s rules and inheritance, its history and authenticity” can provide a flawless, forgettable performance unless it is imbued with the self. “Is there anything in your dance which is you or is it all smiles, good manners and polite courtesies to the memory of Athai or Baba or a salaam to Guru Keluchara or Gwalior or Patiala or whatever? And I do not mean innovation in dance. Without the essential substance, an innovation is only rearranging the furniture in an already ravaged room”.

This lived and not learnt need to dance, not harder but truer, must be kept in mind “so that you are constantly unhappy about any degree of phoniness, however well you dance or sing. Despite our secure technique, impeccable taste, terrific physical attributes, it is the fantasy that you are looking for, a sense of wonder that makes your art live beyond the footlights. IF you do not strive for this, your authenticity is good only for the textbooks. And yu will begin and end there.” Raghava-ji so poetically encapsulates the vast panorama of discussion into a poetic this poetic précis.

For those willing to take up the challenge, whether born in the village of the art form’s origin or hundreds, even thousands of miles away, we should respect the courage and dedication of their effort and applaud the results when sincerely merited. The heartfelt, generous transmission of art from teacher to student and performing artist to audience demands a sadhana that bears fruit for everyone involved in the process.

Sharon Lowen is a respected exponent of Odissi, Manipuri and Mayurbhanj and Seraikella Chau whose four-decade career in India was preceded by 17 years of modern dance and ballet in the US and an MA in dance from the University of Michigan. She can be contacted [email protected]

- The Asian age, January 26, 2016

Despite the terror threat, huge number of people attended the grand Republic Day parade at Rajpath to witness India's military might and cultural diversity.

Over 40,000 securitymen were deployed across Delhi to repel the terror threat looming over Republic Day celebrations. The national capital was enveloped in multi-layer security for the main event at Rajpath, which was attended by President Pranab Mukherjee, Prime MinisterNarendra Modi and the guest of the honour French President Francois Hollande. SEE PICS IRead highlights of the event Despite the terror threat, huge number of people attended the grand Republic Day parade at Rajpath to witness India's military might and cultural diversity.

To make the event crispier and lessen the drag, the timing of the parade was reduced to 90 minutes from the previous 115 minutes.

Tanks, missiles, marchpast by various security forces, tableaux from states and ministries, daredevil show on motorcycles by men from Signal Corps and a flypast by some of killer machines of the Indian Air Force (IAF) were at display at the Rajpath. The fly past by fighter jets like the Jaguars, Sukhois, MiG29s, and the big aircrafts like the C-17 Globemaster of the IAF received huge applause from the crowd.

But what attracted more eyeballs was the marchpast of the army's dog squad. The contingent was at Rajpath on January 26 after a gap of 26 years. The Indian Army dog squad drawn from the Remount Veterinary Corps (RVC) took part in the parade along with their handlers. The last time an army dog squad had participated in Republic Day parade was in 1990 and before that in 1963.

The army dogs are no ordinary pets as their history is full of valiant tales and testifying the martial credential is the fact that Remount Veterinary Corps is decorated with a Shaurya Chakra and close to 150 commendation cards. Another first at this year's parade was the participation of French military. This was for the first time in the history that men from a foreign military marched down the Rajpath during the Republic Day parade. The French contingent comprised of 56 personnel of 35th Infantry Regiment of 7th Armoured Brigade.

For the first time, a tableau by ex-servicemen was also at display in the parade where army veterans showcased their role in national unity.

In another break with tradition, the young recipients of the National Awards for Bravery came up towards the end. There were tableaux, 23 of them, representing 17 states and six central ministries. Government's flagship Digital India and Swachh Bharat initiatives were also showcased during the parade.

The tableaux, presenting India's varied historical, architectural and cultural heritage showcased the country's progress in different spheres. What particularly caught the eye were floats from Goa, Gujarat, Odisha, West Bengal and Assam. Central Public Works Department's tableau fully fabricated out of flowers and depicting a variety of themes was another tableau which attracted people's appreciation.

- http://indiatoday.intoday.in, January 26, 2016

Reconstruction can set precedence for heritage reconstruction projects in the country

The proposal to reconstruct the iconic Mairie building in Puducherry following its collapse in November 2014 has set the stage for a new debate on the methodology and the materials to be adopted, which could form a template for similar projects in the country, say stakeholders.

Built in 1870-71, the Mairie, considered a symbol of French colonial power, has served as the Town Hall, office of Mayor of Pondicherry, the local Assembly, the Municipal Council, and as Registrar of Births and Deaths, besides being witness to several key events in the political history of this coastal town.

A restoration project of the government with a financial assistance of Rs. 7.5 crore from the World Bank had begun just days before the collapse of the building. The World Bank agreed to continue support and lend assistance to the reconstruction of the Mairie.

The reconstruction has now sparked a debate among stakeholders and decision makers in the State-Level Heritage Conservation Advisory Committee (SLHAC), dividing opinion on whether to use the traditional brick and lime-mortar construction as in the original or reconstruct the Mairie as a Reinforced Cement Concrete (RCC) framed structure with a new foundation. While the proposal for reconstruction by the Indian National Trust for Art and Cultural Heritage (INTACH), Puducherry, chapter recommends using traditional materials, the proposal by the Public Works Department recommends an RCC structure.

Examples of reconstruction: Says S. Kothandaraman, Professor of Civil Engineering Pondicherry Engineering College and member, SLHAC, “If appropriate specifications are drawn and construction procedure is followed, the safety, serviceability, ductility, durability and sustainability of the RCC structure could be ensured simultaneously. Modern building materials are flexible to accommodate any desired form, shape and finish. Today, we have enough trained artisans with expertise on material for heritage finish. With the blend of the above, the Mairie could be given a robust rebirth for the benefit of Puducherrians.”

On the other hand, those in favour of traditional materials cite the example of the 55 Window Palace in Bhaktapur, Nepal, which suffered immense damage in an earthquake in 1934.

It was rebuilt, and then once again reconstructed in 2006 using traditional craftsmanship reviving not just local traditional crafts but the local economy as well.

They also cite the St Mark’s Campanile, Venice, which was destroyed and rebuilt multiple times. Closer home, they cite the reconstruction work of a palace in Anegudi near Hampi, Karnataka, involving architects Nilesh Thakkar and Ravi Gundu Rao, using lime mortar and Madras terrace roofing. “Puducherry itself is not new to restoration using traditional materials as seen with Aayi Mandapam, poet Subramanya Bharati’s museum and the Old Court building,” says A. Arul, senior architect, INTACH.

According to SLHAC member and architect Devangi Ramakrishnan of Urban Design Collective, “There are many examples around the world of adaptive reuse of heritage buildings that successfully incorporate modern infrastructure with traditional building techniques.”

A meeting on the future use of the Mairie building, attended by architects, residents, students, INTACH and civil and cultural organisations, arrived at the consensus that the Mairie should be a multi-functional site, active and accessible throughout the year, with public and cultural events.

Sunaina Mandeen of citizens group, People for Pondicherry’s Heritage, says that materials used in a building contain ‘atmosphere’ and are not ‘dead.’

“This is a landmark of our French heritage. It has to be reconstructed with traditional materials following the original design which is in keeping with ASI guidelines, keeping in mind its adaptive reuse,” says Ms. Mandeen.

“The Mairie, if reconstructed using long-lasting traditional materials, can be an example and legacy for projects in other places,” says Mr. Arul.

The reconstruction of the Mairie poses not just a challenge, but the opportunity to set precedence for future heritage reconstruction projects across the country.

‘Puducherry not new to restoration using traditional materials as seen with Aayi Mandapam’

- The Hindu, January 28, 2016

Why is Bharatanatyam referred to as a dance form of Tamil Nadu? Why do people identify Chennai with the Marghazhi season? These were some of the questions raised during a seminar at the Anna Adarsh College for Women which threw light on the concept of transnationalism - a social phenomenon where interconnectivity across countries, cultures and people is heightened. The seminar highlighted that certain traditions associated with a particular nation, state or culture are not necessarily restricted to that region alone but cut across several realms.

"Transnationalism is all about bridging gaps and breaking boundaries. The cultures may be different across countries but there may be a common thread connecting people across these cultures. An example would be how many women face the same issues despite being in opposite corners of the globe," said Prof Archana M Sardana of the English Department which organised the seminar.

The inaugural session of the two-day seminar pointed out examples of transnationalism in socio-cultural and linguistic realms with the theme being a transnational approach to literary studies. A host of prominent panelists participated in the event including Anne Brewster, Associate Professor, School of Media and Performing Arts, Sydney, Australia, Prof Sumanyu Satpathy, Head of Department of English, University of Delhi, film critic Baradwaj Rangan, consultant psychiatrist Dr. Shalini N, and Swarnamalya Ganesh, dancer, actor and Adjunct Professor at UCLA, Los Angeles.

Performer Swarnamalya Ganesh said that although the internet has been credited with popularising the concept of transnationalism, the phenomenon has existed for decades. "We have been living transnationalism all our lives," she said. To demonstrate transnationalism in the cultural context, she drew upon the example of Jakkini, the Bharatanatyam dance form influenced by Sufism. Although the word is derived from Persian and the dance has diverse roots, it is considered very Indian, she noted.

- The Times of India, January 28, 2016

since childhood, the republic day parade has been our favourite. Children eagerly awaited for this celebration. This year there was a new element in the 67th Republic Day celebration. The 124 members French military contingent marched on the Rajpath. They made a history. They were from 35th infantry, which was posted in India in 1781.

It was after 232 years that any French force came to India. French President Francois Hollande was the chief guest for the celebrations. Digital India was the main emphasis given in the parade. Ministry of Social Justice and Empowerment marked the 125th birth anniversary of Bhimrao Ambedkar in its tableau. The tableau from Tripura showed Unakoti sculptures. Huge Hawa Mahal of Rajasthan was a special attraction. This year's parade was more special due to Army dog squad. It marched down Rajpath after a gap of 26 years.

In Focus:Indian defence show included missiles Akash, Agni, Brahmos, and tanks T-90 Bhishm. This is proud moment for all Indians to have a look at Indian defence prowess. PM Modi's special touch was clearly visible in the parade.

New changes done, were welcomed by the people. The only negative part was that the guests were given Republic Day literature in the form of brouchers. The papers and literature was dumped by most of the people on their chairs after leaeving the parade venue. There should be some strictness regarding this or literature should be given only to those who are interested in reading it.

- http://www.merinews.com/, January 28, 2016

People curious to know their city well can expect a plethora of interactive activities this year at the Pune Heritage Festival that starts on February 5.

A treasure hunt at Kelkar Museum, a tour to understand defence heritage of the city and even a workshop to educate citizens on becoming environment volunteers are some of the highlights.

The festival enters its 5th year and is being organized jointly by Janwani and the India National Trust for Art and Cultural Heritage (Intach) this time. "A freedom trail cycling expedition till Aga Khan Palace is specially aimed at the migrant population that resides in the fringe areas away from the central or old city areas," Prajakta Panshikar, deputy director at Janwani.

- The Times of India, January 28, 2016

It is officially described as the best-preserved city in Southeast Asia, a bygone seat of kings tucked into a remote river valley of Laos. Luang Prabang weaves a never-never land spell on many a visitor with its tapestry of French colonial villas and Buddhist temples draped in a languid atmosphere.

But most of the locals don't live here anymore. They began an exodus from this seeming Shangri-La after their hometown was listed a UNESCO World Heritage Site in 1995, and sold itself wholesale to tourism.

It's not an uncommon pattern at some of the 1,031 sites worldwide designated as places of "outstanding universal value" by the U.N. cultural agency: The international branding sparks mass tourism, residents move out as prices escalate or grab at new business opportunities, hastening the loss of their hometown's authentic character to hyper-commercialization. But locals may also prosper and some moribund communities are injected with renewed energy.

"If you open the door you will have some fresh wind, but you will also get mosquitoes," says Prince Nithakhong Tiaoksomsanith, a leader in preserving Luang Prabang's artistic heritage.

Since UNESCO helped lay down the town's welcome mat, its longtime residents have been replaced by wealthy Lao outsiders, an ever-growing influx of tourists and enough French, Australian, American and other expatriates catering to their needs to have locals rhyme Luang Prabang with "Meuang Falang" — meaning either French or Western town.

Luang Prabang's rich architectural heritage, protected by UNESCO's regulations, has been spared the eradication of countless historic sites across Asia. But virtually every home and mom-and-pop store in the historic center has been converted into a guesthouse, restaurant, cafe, bar or travel agency. The former prison was recently transformed into a luxury hotel and the French Cultural Center has become the Hibiscus Massage Parlor.

Scenes of workaday life are rare because as prices shot up — a small plot of land that sold for $8,000 three years ago now goes for $120,000 — residents moved into surrounding areas, selling or renting their properties to the newcomers. As former UNESCO consultant and longtime resident Francis Engelmann has said, "We have saved Luang Prabang's buildings but we have lost its soul."

Similar criticism has been leveled at UNESCO's worldwide program, along with praise for having rescued irreplaceable man-made and natural treasures in 163 countries since its inception in 1972.

Calling it "UNESCOcide," Italian writer on urban development Marco d'Eramo has said that whenever a city is named a heritage site, it "dies out, becoming the stuff of taxidermy. a mausoleum with dormitory suburbs attached." Viewing UNESCO's program in a broader context, Dallen Timothy, a cultural tourism expert at Arizona State University, said indigenous heritage worldwide has become the commodity of outsiders "rather than remaining in control of the people whose cultural heritage it really is. It's a matter of powerful versus the powerless."

The director of UNESCO's World Heritage Program, Mechtild Rossler, acknowledged that a very fine line existed "between the benefits which need to be shared with the local community and the rights of the visitors." In a phone interview from the agency's headquarters in Paris, she said UNESCO currently stresses preservation of "intangible culture" rather than just bricks and stones.

Some argue that sites like the Pyramids, Grand Canyon and Stonehenge would draw crowds whether they were on UNESCO's list or not, that mass tourism is simply a 21st century phenomenon. But especially in developing countries, the designation can ignite a surge in visitors. From a trickle, Luang Prabang, a town of some 50,000, attracted more than 530,000 foreign and domestic tourists in 2014 and all projections show steep increases. Rossler said tourists to Japan's Tomioka Silk Mills have soared by 400 percent since they were named a UNESCO site two years ago. Governments and tourist operators are keenly aware of the benefits a UNESCO imprimatur can bring, and use it as a marketing strategy. A tourist sub-group, the "WHS baggers," has even emerged. Els Slots, one of them, says her life's goal is to visit every site, having already notched 587. The Dutch IT executive runs a website about UNESCO's program. Laos last month marked the 20th anniversary of Luang Prabang's inscription with a 6,000-strong parade accompanied by 20 elephants. "Emerging countries have bombarded us with new nominations, especially China and India, in addition to European countries, which have always been interested," said Rossler. "Their economic impact is tremendous, even in Europe."

As political pressure is exerted, some sites are approved well before they are properly prepared, Rossler said. The listing is finalized not by UNESCO itself but a World Heritage Committee with members from 21 nations. In Luang Prabang, the prince said residents, tour operators and Buddhist monks were not ready to cope with the sudden influx. While flyers urging tourists to respect local customs are passed out, some offensive behavior continues. One foreigner wanted the prince to arrange sunset cocktails at a hilltop temple and other tourists point their cameras inches from the faces of monks as they pass by on their dawn rounds to collect alms.

"This is a religious procession, not Disneyland," the prince said. Compared to many places, Luang Prabang has generally abided by UNESCO's regulations, which here include forbidding pane glass and using only traditional materials when restoring temples.

Currently, 48 sites are on a UNESCO "danger list" for being seriously degraded by humans or nature — ranging from the birthplace of Jesus in Bethlehem to Florida's Everglades National Park — while two have been delisted for gross violations. Many long-listed sites have yet to present required conservation management plans.

"UNESCO should be a bit tougher on enforcing the regulations. Some of the sites in danger should be delisted, which would provide an impetus for their host countries to wake up and work on fixing what's wrong," said Arizona State's Timothy.

Aside from shaming governments into action, the agency has few enforcement powers. Rossler puts down failures to "bad actions of governments" and stresses that UNESCO doesn't have the funds or manpower to solve festering problems, never mind the destruction of sites by war and Islamists in the Middle East.

In Luang Prabang, reactions of citizens to "moladok," or heritage, are complex. They express pride in being internationally recognized and satisfaction at opportunities for jobs and cash from tourists, hoping even more will come. But they also chafe at the UNESCO-imposed restrictions and don't generally share Western nostalgia about a pre-globalization past, preferring new houses in modern suburbs.

And yet, "They say they have lost a sense of belonging to the community, a monastery and its ceremonies, a sense of pride in their old quarter," says Engelmann, the former consultant. "It's not easy to recreate the feeling of belonging to a real community." Thongkhoun Soutthivilay, co-director of the town's Traditional Arts and Ethnology Center, said her mother sold her traditional house for a good price and joined the exodus. Life improved in some ways. "But we miss our old neighborhood," she said. "Some things have changed for the good, some for the bad."

- www.dailymail.co.uk, January 28, 2016

In the tiny hamlet of Mawlynnong in India’s far north east, plastic is banned and spotless paths are lined with flowers — but its reputation as Asia’s cleanest village has proved a mixed blessing.

Until 2003 no tourists visited the remote community of 500 inhabitants high in the mountains of Meghalaya,which had no roads and was accessible only by foot. Home to the Khasi tribal people, Mawlynnong is famous for being a rare matrilineal society, where property and wealth are passed on from the mother to her youngest daughter and children take their mother’s surname.

In recent years the village has become known for another reason — its exceptional cleanliness.

Bamboo dustbins stand at every corner, volunteers sweep the streets at regular intervals and large signs order visitors to throw away plastic packaging: littering is sternly frowned upon.

“We clean every day because our grandparents and our ancestors have taught us how to clean the village and the surrounding area, because it’s good for our health,” said Baniar Mawroh, a teenager sitting at the entrance of her small but gleaming family home.

The downside: After the village built its first road 12 years ago, a journalist from Discover India travel magazine wrote a now-infamous article naming it the cleanest village in Asia.

The trickle of tourists became a flood, with visitors now reaching 250 a day in high season, swelling the village’s population by 50 percent. But the accolades have brought several downsides.

“Now there is noise pollution. I’ve talked to the village council which has written to the government to build a new parking lot further away.” said Rishot Khongthohrem, 51, a guesthouse owner.

Deepak Laloo, a former official of the Meghalaya Tourism Development Forum, advised the village in the early stages of its tourism development but fears for the impact of the visitor influx.

“There’s no more privacy. A woman is washing her clothes, she’s being photographed,” he said.

“That social bond which binds the village together is disintegrating,” he said. Cholera outbreak: Mawlynnong’s concern for hygiene emerged about 130 years ago when an outbreak of cholera struck. With no medical facilities in the village, cleanliness was seen as vital to prevent the spread of disease.

“Christian missionaries told our ancestors: you can protect yourself from the plague (cholera) only if you maintain good hygiene, be it at home, with food, on your land, in the village, or for your body,” Khongthohrem said.

Mawlynnong maintained its fastidious habits and has gone on to other achievements, eradicating open defecation — prevalent across much of rural India — with toilets for each of its approximately 95 households.

The village has even been hailed by Prime Minister Narendra Modi in an autumn radio address imploring Indians to erase the poor national image of rubbish-strewn highways and monuments under his Clean India campaign. “I was amazed to know that there is such a village in remote north-east, Meghalaya which is so passionately carrying the mission of cleanliness for years,” he said.

While the pristine village is proud of its achievements, some believe it must limit visitor numbers to protect the wellbeing of its inhabitants. “They must learn to regulate the number of tourists and to say no at some point,” tourism expert Laloo said.AFP

We clean every day because our grandparents and our ancestors have taught us how to clean the village and the surrounding area, because it’s good for our health.Bamboo dustbins stand at every corner, volunteers sweep the streets at regular intervals and large signs order visitors to throw away plastic packaging: littering is sternly frowned upon.

- The Hindu, January 28, 2016

Volunteers of Indian National Trust for Arts, Culture and Heritage (INTACH) took up cleaning work of Ananthanar Canal near Parvathipuram in Kanyakumari district on account of Republic Day on Tuesday, said R.S. Lal Mohan, Coordinator of Nagercoil Chapter of INTACH.

Dr. Lal Mohan said that the canal getting water from Pechiparai dam flows for a length of 18 km and feeds numerous small canals on its way in the district. The 150-year-old canal was facing blockage at different places due to unmindful dumping of garbage, debris and building waste. Keeping this in mind, the INTACH decided to clean the canal in association with the Nagercoil Municipalty.

The cleaning work was undertaken by the volunteers of INTACH and NSS volunteers of Government Higher Secondary School in Parvathipuram under the leadership of Dr. Lal Mohan and supported by the Chairman of Kanyakumari Pasana Sabha. INTACH members Shahul, Shoba among others participated in the cleaning work. Aiming at awareness

Dr. Lal Mohan said the aim of the cleaning exercise taken up by INTACH was to create awareness in the young minds and encourage people to give top priority to maintain waterbodies clean and neat, he added. Post Comment

- The Hindu, January 29, 2016

In its second edition, the Pondicherry Heritage Festival 2016, scheduled to be held from February 5 to 7, will expand its scope to include built heritage, natural heritage, as well as heritage of performing arts, written word and visual arts. It will also include several new elements such as the launch of a multimedia mapping project of Puducherry.

The events include panel discussions, guided tours, art and cultural programmes, exhibitions, and nature walks. The inauguration and line-up of events will see the participation of India Director of UNESCO Shigeru Aoyagi; dancer Anita Ratnam, recipient of the Union government’s 100 top women achievers of India award; Puducherry-based dancer Krithiga Ravichandran; conservation architects K.T. Ravindran and Nilesh Thakkar; environmentalist Nityanand Jayaraman; Vieilles Maisons Françaises (VMF) president Philippe Toussaint; French government architect from Reunion Island Raphael Gastebois; and scientist M.V.Ramana Murthy from National Institute of Ocean Technology, among others.

The festival is being organised by the Indian National Trust for Art and Cultural Heritage (INTACH) Puducherry, People for Pondicherry’s Heritage, PondyCAN, and the Departments of Art and Culture and Tourism. It is being supported by several organisations such as the French Institute of Pondicherry and the Alliance Francaise of Puducherry and individuals.

Organisers aim to strengthen residents’ pride about Puducherry and its rich heritage and showcase this town’s “specialness.” Says Sunaina Mandeen, one of the organisers, “The festival aims to create a sense of identity among residents.”

S. Varalakshmi, one of the festival organisers and former principal of Bharatidasan Government College for Women, says, “We have a beautiful heritage which has been handed down to us, and we must know how to preserve it. This is our legacy and our pride.”

The festival’s website, http://pondicherryheritagefestival.org/, was launched by Alliance Francaise Director Olivier Litvine on Thursday. Attendance for some events requires prior registration which can be done online.

Focus on children: The Pondicherry Heritage Festival 2016 will have a special focus on children with the aim of inculcating in them a love for all things heritage — whether it means discovering traditional games or indulging in some story telling.

A large chunk of these activities for children will take place throughout the three days of the festival at the Craft Bazaar at Gandhi Thidal. The multimedia mapping project (using an Open Source map) will have children capturing things of interest to them such as arts, music, crafts, cuisines, architectural features and games on the map. Each indicator for a marked spot can include photographs, audio and video files, stories and even drawings, says Virginia Soukup, who is handling the project. It will later be opened to adults as well. The organisers hope to have a web-based version and an Android-based application for users.

The inauguration on February at 6.30 p.m. at Gandhi Thidal will include the recitation of a special poem on Puducherry, and a Bharatanatyam performance by Ms. Ravichandran. It will be attended by Chief Minister N. Rangasamy, Ministers, government officials, Ms. Ratnam and Mr. Aoyagi. The closing ceremony at Gandhi Thidal will have a dance performance on natural heritage by Poojarini Chowdhury’s students from Anegundi Heritage Village and Lycee Français.

It’s aimed at strengthening residents’ pride about Puducherry and its rich heritage

- The Hindu, January 29, 2016

"Works of six artists from Gujarat have found their prominence at the museum which is perhaps country's largest public art program with nearly 7,000 exquisite ethnographic objects spanning several art forms and created by artisans from different parts of the country," said Yamini Telkar, head of 'Jaya He' program. Telkar along with Erik Schilp, an international expert in business solutions for art, culture and heritage was in the city to deliver a talk on making Indian art and artisans globally relevant and commercially successful at M S University's Faculty of Fine Arts.

Starting from 'Udan Khatola' - a 13 foot long and 6.5 foot high painting depicting the vehicle in which Ravana abducted Sita created by Madhavi Parekh, a self-taught artist from Gujarat, Jaya He GVK New Museum also has on display 'Celebration' exploring the relationships between man and nature by Ahmedabad-born artist Manu Parekh.

'Airshow and Construct' - an artwork created by Nataraj Sharma, a pass-out from M S University's Faculty of Fine Arts makes a comment on the mammoth scale of construction that is sweeping across metropolises in recent years and its relationship with the environment.

Veteran Vadodara artist Nilima Sheikh's work dabbles in various kinds of painting, from the hand-held miniature to the construct at an architectural scale, and from conventionally hung paintings to scrolls and screens for the theatre stage. Her piece of art work 'Conjoining Lands' has been created with support of fellow artist B V Suresh, another alumni of MSU. Fine arts teacher Indrapramit Roy's work 'Nocturnal Metropolis' stands as a testimony to an expression of a whole range of associative or opposing meanings.

- The Times of India, January 29, 2016

The third edition of cultural festival Anubhuti will begin on February 4 this year. The four-day festival will feature a fine bouquet of performing arts and literary interaction. To be held at three venues, the festival will feature vocal, dance and a saxophone performances and two plays by city based playwright Mahesh Elkunchwar.

There are many firsts to this year's festival. "Singers Prabha Atre and Rajan and Sajan Mishra will be given solo stage," says Dr Harshvardhan Mardikar, who along with his wife Dr Manjusha conceptualized the festival two years back. "The artists are delighted to get a free rein and have told us that we would make our presentations for three hours and beyond if the audience demands," said Mardikar. These performances will be at Vasantrao Deshpande hall. "Since this is a festival of this city, we have picked up two plays of Elkunchwar, 'Wada Chirebandi' and 'Mounraag'," added Manjusha. The unique point of 'Mounraag' is that artists are performing free of charge. The play presentation will be followed by an interaction with its director Chandrakant Kulkarni and Sachin Khedekar. "It will be staged at Kavi Kulguru Kalidas Hall at Persistent Systems Ltd. We preferred this venue since an intense drama like this and the interaction that follows should be in an intimate environment. The 400 capacity auditorium affords us this mood," says Manjusha. 'Wada Chirebandi' would be staged at Deshpande Hall.

The highlight of this year's festival is an Odissi dance performance at Balaji Temple, Motibagh. Dancers Surupa Sen and Bijayani Sathpathy are disciples of Guru Kelucharan Mohapatra. "Both dancers are from Nrityagram and are internationally acclaimed. The temple event also includes a saxophone performance by Andrew Mark William Kay and Jonathan David Kay. This performance is unique too as these Canadian artists would be playing Hindustani classical raags," explains Harshvardhan Mardikar and adds that the temple setting provides the perfect ambience for these events.

Stressing that entries to all events are free, Mardikar added, "We believe that connoisseurs of art and music should never be charged money. But the administration needs to relook rules for hiring Deshpande hall. It should be made free of charge for events that do not have entry tickets. I would like the chief minister to revise the rules to make this possible."

Dr Anjali Bhandarkar and architects Habib and Smita Khan are also among the organizers of the festival, which thrives on generous donations by sponsors. THE MUSICAL FARE

Feb 4: Vocal recital: Rajan Sajan Mishra, Deshpande hall, 6.30pm

Feb 5: Vocal recital: Prabha Atre, Deshpande hall, 6.30pm

Feb 6: Play Wada Chirebandi, Deshpande hall, 6.30pm

Feb 7: Play Mounraag, followed by interaction with Chandrakant Kulkarni and Sachin Khedekar, Kavi Kulguru Kalidas Hall at Persistent Systems Ltd, 11am

Feb 7: Saxophone recital, 6pm to 7.30pm, Balaji temple, Motibagh

Feb 7: Odissi dance performance, 7.45pm Balaji temple, Motibagh

-The Times of India, January 29, 2016

Water Board may take HCU land for project he Hyderabad Metropolitan Water Supply and Sewerage Board (HMWS&SB) is mulling to approach the University of Hyderabad to get land for construction of service reservoirs and lay trunk mains for implementing a water supply project at the Greater Hyderabad Municipal Corporation (GHMC) Serilingampally circle. The water board will also approach GHMC and VII Police Battalion for acquiring their land in that area. Serilingampally is one of the 11peripheral circles for which the government has sanctioned Rs 1,900 crore HUDCO loan to provide water supply.

As per the detailed project report (DPR) prepared by the water board, 22 million litre (ML)-capacity reservoirs (in different areas) have been proposed in Serilingampally area.

"We need land to construct these reservoirs. Water Board has its own land at Mayuri Nagar, but we need land in other areas. After a preliminary survey, we have identified an open land, which belongs to GHMC, at Deepthi Nagar (behind GHMC Park). Apart from this parcel of land, we require land from HCU and Police Battalion too," sources in HMWS&SB told TOI.

"Apart from constuction of reservoirs, we need land to lay 56.61kms length inletsoutlets and another 593.15 kms length of distribution network to provide water supply to Serilingampally . Though we are yet to assess the exact land required for the project, we need at least three acres land at different areas. The government has taken up the drinking water project as a long-term measure (2040) by taking into consideration population growth and rapid urbanisation in that area," the official said.

The government has already given administrative sanction of Rs 1,900 crore (Rs 200 crore share from GHMC and remaining Rs 1,700 crore from HUDCO loan) for 11GHMC peripheral circles of which, Rs 290 crore, would be spent on Serilingamally circle. After the GHMC polls, water board would approach the departments concerned and seek their cooperation to implement the drinking water project, he added.

Usually , residents of Serilingampally circle get water from Singur and Manjira, but as water level dropped to dead storage at these two water bodies, the water board has been supplying Godavari water to residents.

"Once construction of the 22 ML-capacity reservoirs are completed, Godavari water will be supplied to residents," the official said.

- The Times of India, January 29, 2016

With majority of the residents having suggested tourism as the priority sector for Udaipur, special emphasis would be laid on retrofitting and green-field oriented buildings inside its old city under the 'Smart City' initiative.

The old city or the Walled City consists of areas around Lake Pichhola, City Palace and Jagdish Chowk, among others. The city's vision statement being, "Eternal Udaipur: World's favourite lakeside heritage city", the initiative's focus would be on developing the older city areas as tourist friendly destinations.

Open drains, overhead wires, irregular facades that are a common sight at present would soon become a thing of the past. Uninterrupted power supply, smart parking slots, pelican signaling, scientific disposal of solid waste and IT based ticketing at tourist sites with feedback system have been included in the 'smart city draft plan' for Udaipur.

The plan envisages a bin-free city model with doorstep collection of garbage, waste segregation at source and its separate collection and transportation. Further, at least 10% of the required energy for the city is projected to be sourced from solar power.

The concept of "walk to work" would be promoted by creating pedestrian-friendly surfaces and cycle-tracks. The proposed green-fields' salient features include 80% green buildings, parks at 5-min walking distance, rainwater harvesting, underground utilities, CCTVs and zero discharge.

Highlights of 'Smart' Udaipur plan

Heritage/Tourist amenities

1. Conservation of heritage

2. Ensuring safety and security by automatic reporting of trouble spots, CCTVs

3. Bio-toilets, IT based ticketing & feedback systems at tourist points

4. Wi-Fi facility, organized signage's

Area based Green Field

1. 80 % green buildings

2. Parks at 5 minutes walking distance

3. Zero discharge-garbage, waste water

4. Promote 'Walk to Work' culture, pedestrian friendly, cycle tracks

Smart Solid Waste Management

1. Bin Free city model- door step collection

2. Compost cum RDF plant, Bio Gas Plant

Smart Mobility Solution

1. Low carbon intermediate public transport

2. Smart management of urban freight

Real Time Lake Water Quality Monitoring

1. Providing constant data on what is polluting the lakes

2. Immediate corrective actions and remedies

The Times of India, January 29, 2016 Arunachal takes part in Kolkata Book Fair The 40th International Kolkata Book Fair, 2016 (IKBF) began at Milan Mela yesterday wherein the Department of Research, GoAP, representing Arunachal Pradesh put up an exhibition stall at Hall No-3

This year, the theme of Arunachal Pradesh exhibition stall is “Folk Dances of Arunachal Pradesh: Enchanting Tangible and Intangible Cultural heritage. Batem Pertin, Director of Research said, “We intend to focus Arunachal Pradesh, the heaven of the earth in proper and positive perspective through display of our precious publications to greater Indian mass. It will give adequate exposure to the abroad, Pertin added.

The exhibition stall of Research Department would be formally inaugurated by Deputy Resident Commissioner, Kolkata Bijoy Talukdar on January 30. Two eminent Bengali poets Goutam Ghosh Dastidar and Bithi Chattopadhayay will be attending the inaugural function, informed RN Koley, Asstt. Director (Cul) Cum Publication Incharge. Aparna Sadhukhan of Kolkata, SC Chanda, Recordist cum Documentation Asstt. led by Koley are representing Arunachal Pradesh during IKBF.

- http://www.arunachaltimes.in/, January 29, 2016

Over a year after Archaeological Survey of India (ASI) launched e-ticketing at Taj Mahal and Humayun's Tomb, the facility is slowly being extended to other heritage sites. At present, the two other world heritage sites in the capital-Qutub Minar and Red Fort-have one counter for e-tickets while the others issue manual ones.

According to ASI officials, most of the seven other monuements in Delhi have e-tickets. "These monuments do not see as much footfall as the other world heritage sites and so one or two counters are sufficient. We will start e-ticketing at popular sites like Red Fort and Qutub Minar but at times there are technical issues. We expect to shift to e-ticketing completely in two or three months," said an ASI official.

E-tickets began to be issued at the first two monuments in December 2014. According to a statement from the ministry of culture, "E-ticketing has been launched in coordination with Canara Bank with the aim to provide online bookings to visitors. Moreover, the facility is proving to be cheaper than manual ticketing. Additional benefit will be in terms of relieving ASI personnel, mostly attendants, who will be able to concentrate on security and maintenance of monuments instead of dispensing and checking tickets. E-ticketing (online and at site) is available at monuments including Taj Mahal, Humayun's Tomb, Safdarjung's Tomb, Tughlaqabad Fort, Old Fort (Purana Qila), Red Fort, Firozshah Kotla and Jantar Mantar."

ASI has 116 ticketed monuments across the country, of which 10 are in Delhi, including three world heritage sites. Officials said e-ticketing would go a long way in improving tourist services at heritage sites. Experts, too, have pointed out that e-ticketing would lead to better management of sites better and also help check discrepancies.

- The Times of India, January 29, 2016

Modernist painter Amrita Sher-Gil has been honoured with a Google doodle today on her 103rd birth anniversary.

On its home page, the search engine has posted a depiction of Sher-Gil's famed painting 'Three Girls' created by Jennifer Hom.

To create the final version, Hom has reworked the image to match Sher-Gil's style and signature attention to the tone, texture and color of skin and clothing.

The reach of the Google doodle is seen in Argentina, Iceland, Portugal,Lithuania, Serbia, Slovenia, Israel, Kenya, Kazhakstan, Indonesia and Japan besides India.

"Vivid color, graceful forms, and bold strokes mark the remarkable life and work of Indian painter described as the 'Indian Frida Kahlo'," Google says about her works, which have been declared as National Treasures in India.

Sher-Gil is considered among the most important Indian painters of the 20th century. Like her Mexican peer Kahlo, with whom she shares Hungarian heritage, Sher-Gil was a rebellious and adventurous spirit who broke barriers in art and life. Born in 1913 to a Sikh father and Hungarian mother in Budaperst, the artist was influenced by both eastern European and South Asian styles and standards of female beauty.

She studied and practiced in Paris at the Ecole des Beaux-Arts, where she got her start as an artist and life consummate bohemian.

After returning to India, she painted many portraits of her family and friends, the most notable being "The Three Girls."

A total of 95 of the 174 documented works she created over the course of her brief career are held in the collection of the National Gallery of Modern Art.

The painter passed away on December 5, 1941 before the age of twenty-nine.

- The Times of India, January 30, 2016

‘Jatra’, a five-day festival of cultural extravaganza, meant to promote local talents was inaugurated and is scheduled to present more than 55 performances.

This time there are teams sponsored by Eastern Zone Cultural Centre, Kolkatta, who will be staging six performances. Besides, there are scores of local groups who will be entertaining the audience in the next four days.

Performers from Phulbani, Ganjam, Boudh and Sambalpur will be showcasing their talent. Collector Sundergarh who is also the President of the committee, B S Punia said,the event will expose the local talent to that of others.

Punia feltn ‘Jatra’ is a platform to keep art and culture alive”.

The budget for the festival is Rs.25 lakhs, he informed. People will get to see Jhumer, Oram, Dhap, Adivasi, Suang dances along with traditional Odissi and Sambalpuri dances; conch blowing, violin recitation; and other such performing arts.

MP and former Indian Hockey Team Dilip Tirky, was the chief guest of the evening, during the inaugural ceremony said, “we should strive to keep our art and culture alive and thriving.”

He lamented the fact that love for western civilisation was rising at the cost of our own. “There should be vigorous promotion of indigenous cultural heritage,” said Tirky.

MLA Rajgangpur, Mangala Kissan lauded the efforts of district administration and said, “this festival is growing in stature every year.”

- The Statesman, January 30, 2016

Large number of tourists visit Shimla each year to enjoy nature far away from pollution of plains but without realizing that poor sewerage connectivity and disposal of household sewerage waste into nullahs has left the water bodies of the hill town polluted.

Consumption of contaminated water is resulting into outbreak of jaundice and other water-borne diseases for last many years but state government has failed to do the needful all these years.

In 2007, Himachal Pradesh high court had directed the state government to ensure supply of clean water to residents, jaundice outbreak in December last year has posed a big question mark over the compliance. From time to time, studies conducted by different agencies had pointed towards sewerage flowing in the open and water sources but authorities did not act accordingly.

Around 67% of Shimla is covered by sewerage system and those not connected have constructed septic tanks from where the sullage is generally thrown in open areas resulted into pollution of water sources. The old sewer pipes have become unusable in some of areas as they are leaking or choked and need to be rehabilitated while there are localities especially in the suburbs where no piped sewerage system exists, sources added. After hepatitis outbreak between January and March 2007 in Shimla, a study conducted by National Institute of Virology (NIV), Pune had found that jaundice cases were noted mainly from the localities receiving water from Ashwani khad water supply system.

A study "Decentralised Wastewater Treatment" conducted by centre for science and environment, New Delhi, in 2010 had revealed that treated effluents from sewerage treatment plants were disposed of in adjoining nullahs of Shimla and sometimes this treated sewage was let into streams that are the sources of drinking water leading to spread of diseases. Shimla municipal commissioner Pankaj Rai said that a proposal of Rs 52 crore has been submitted to the Centre under which laying of sewerage line, replacement and repair of main pipeline from Craignano-Dhali- Sanjauli to Ridge would be done. He said that all local water sources and bowries have been sealed. He said that seven teams were also formed for monitoring of leakage of sewerage line and tanks.

Shimla deputy mayor Tikender Singh Panwar said that proper treatment of sewerage and setting up of ultra scientific water treatment plants are only solution to the problem. He said the state government not only ignored previous studies but also court directions. He said that frequent outbreak of jaundice year after year only shows callousness and slackness of the state government."I have filed a police complaint as all sewerage treatment plants were outsourced to a single contractor by irrigation and public health department from where sewerage waste was being thrown into the water sources. Now, Special Investigating Team (SIT) is probing the matter," he added.

Irrigation and public health engineer-in-chief R K Kanwar could not be contacted despite repeated attempts.

- The Times of India, January 30, 2016

Mahatma Gandhi as a journalist was the theme of a discussion on Hickey's Day, observed on Saturday by scribes and students of mass communication at a function held here.

On the occasion, organised by NGO Braj Mandal Heritage Conservation Society, tributes were paid to the pioneering crusader for free press James Augustus Hickey, who laid the foundation of journalism in the country with publication of his weekly Bengal Gazette, the first Indian newspaper, from Kolkata on January 29, 1779.

The speakers lauded Hickey`s anti-establishment stance, bordering on scandalous outbursts against rulers of the day and deliberated on Mahatma Gandhi. Mahatma Gandhi`s journalistic career spanning over four decades, his exemplary stewardship of the Indian Opinion in South Africa, later Young Indian, Nav Jeevan and Harijan, throw light on the process of his evolution from a barrister to a mass communicator, said senior journalist Rajiv Saxena.

Social activist Shravan Kumar Singh said for Mahatma Gandhi journalism was not a vocation rather a platform to interact and shape his ideas that eventually catapulted him as the tallest leader of the Indian freedom struggle.

Gandhi himself had said "I have taken up journalism not for its sake but merely as an aid to what I have conceived to be my mission in life". Shiv Pratap Singh, a young journalist said Gandhi used journalism to educate public mind. "He wrote on a vast variety of subjects from nature, environment to women`s empowerment, charkha weaving, British colonialism and western culture. In his columns he elaborated his thinking on Swaraj, Satyagrah and non-cooperation."

The hall-mark of Gandhi`s journalistic style was simplicity, tempered by transparency and sincerity, said Sachin Saini. "Gandhi wrote for the common man and made no pretension of being literary."

- http://zeenews.india.com/, January 30, 2016

The relationship Mumbaikars share with their heritage is distinct from that of other Indian cities. Unlike Delhi, for example, where most historic buildings are Archaeological Survey of India-protected sites and fenced off from visitors, every Mumbaikar has an intimate relationship with the city’s heritage. Perhaps that is the reason heritage conservation affects us more deeply than in any other Indian city. Moreover, with the exception of the Sewri fort, the island city has no nationally protected site (due to the rather myopic view that the city’s largely colonial heritage was not old enough). So it really is up to Mumbaikars to be custodians, patrons and protectors of our heritage structures.

In 1995, Mumbai established itself as the first Indian city to adopt heritage regulations for the protection of its urban heritage. As per the Heritage Regulations for Greater Bombay 1995, 633 entries listed architectural heritage ranging from monumental public buildings to neighbourhood landmarks and entire urban precincts, protecting them from demolition and regulating the developmental interventions to their built fabric.

The Heritage Regulation was successful in not only protecting vulnerable historic building stock, but also in acknowledging 19th and 20th century heritage (such as the Art Deco Marine Drive). Given Mumbai’s position as the country’s financial centre, the regulation enabled the preservation of a considerable amount of building stock that would have been lost to the pressures of urbanisation. Moreover, it recognised the need to preserve and yet reconfigure a city, along with the reality of its living, functioning public structures such as railway stations, courts and libraries unlike many other cities that confined heritage to a monument-centric approach.

Much remains to be done to make the conservation movement a success in the city when we take stock of the situation 20 years into this pioneering regulation. While heritage listing protects listed buildings from demolition, it cannot prevent a building from ruination through sheer neglect, if not wilful destruction. There is also a need to have enabling policies that will support private owners of heritage and de-mystify heritage for the common man.

- The Hindu, January 31, 2016

A row of Awadhi-style arches makes a wall around this 445-year old piece of heritage built sometime between 1570 and 1580 AD.

The conical dome of the temple of Shri Chand Bhagwan against these arches speaks volumes about the unified Hindu-Muslim society of Awadh of the 16th century. The worn out but intricately carved dome rises high from behind the golden mud that is warning to fall apart any moment. The spokes, one is told, were made with a concentrated mix of gold, silver, brass, bronze and copper.

"Two years ago, when heavy rains pounded Mahmudabad, the upper storey of this temple washed down like wet mud," came the voice from the tiny frame of a woman, Pooja Maurya, wife of the temple's current Mahant, who has been living in the 445-year-old Sangat Quila for the past 16 years.

Boasting of an impressive syncretic culture of Awadh, the Sangat Quila at Mahmudabad houses a temple of Shri Chand Bhagwan (the second son of Guru Nanak Dev) on a 35-acre land. When the ancestors of the present Raja of Mahmudabad moved to the jungles of Sitapur, they converted the land for agricultural and residential purposes and gave away 500 bighas to the Sangat (a body of Sadhus). This land was to be used as per the desires of the Sangat forever.

"Wherever our ancestors had land, they gave part of it to a Sangat. The land was to be used as per their discretion as the faith and ideals of the people were important to them. It became a tradition in itself and the land was not given on rent or lease. The Sangat became the owner," shared Raja Mohammad Amir Mohammad Khan Mahmudababad.

The Raja's family also took part in the occasional rituals of the temple keeping Islamic boundaries in mind. "En route his trip to Rampur during the Bhakti movement, Tulsidas is also said to have stayed at the Sangat Quila," added Khan.

While the Quila is important to Sikhs, Hindus and Muslims, it also attracts Christian devotees.

"Puja at the temple of Shri Chand Bhagwan takes place everyday and a special bhandara is organised on Basant Panchmi when around a 100 sadhus converge at the living heritage. Christians also visit it at regular intervals," said Mahant Arvind Das Maurya.

As Pooja moves around the temple, opening centuries-old locks to historical traditions, the vertical spokes on the dome shine against the winter sun of January.

There are samadhis (memorials) at the temple with ashes of the previous Mahants, secured permanently under square cement structures. Like all buildings of erstwhile Awadh, the temple has glimpses of the Mughal-styled architecture and the typical fishes of Lucknow engraved at the entrance gate. The biggest samadhi, of the first Mahant of the temple, bears the southern Indian architectural form.

Four kilometers away, in contrast to the dilapidated condition of the four-century-old temple at Sangat Quila Mahmudabad, stands a well-maintained mud-housed arched temple at Paintepur. Known as Udaseen Muni Ashram Sangat, the temple is painted in vibrant hues and paintings.

Manoeuvring his way through the arches of the temple, 65-year-old Mahant Pritam Das recollects how the land for the Sangat was given to the first Mahant, Haridas, around 300 years ago by the royal family of Bilehra (maternal side of the present Raja of Mahmudabad). This temple also has a story, Das says.

"When the Sangat visited the estate for the first time, the follower of the first Mahant went to the Raja with a limited amount of 'prasad'. With a surety that the small quantity would be enough for all the people in the Raja's durbaar, he offered it to the Raja. It was a miracle how the prasad served everyone. A surprised Raja gave away some land to the Sangat immediately," he says.

Sharing another story he says, "Every Ekadashi, a fair is organised outside the temple and it was Rani Kaniz Abid, mother of Raja of Mahmudabad, who had decided that the income from the fair would be handed over to the Sangat as waqf (endowment) for eternity."

The temple, itself spread across an acre, has a 10-acre agricultural land to its share.

Painted in the most effervescent of colours, a queue of dome-shaped samadhis at the temple speak volumes about the inter-religious harmony in Awadh. Speaking of fishes and the domes, the crown and the arches, and the devotees transcending castes and creeds, the Sangats at Mahmudababad and Bilehra estate are a living heritage, vouching for protection from the calamities of time, tide and people.

- The Times of India, January 31, 2016

A smell specialist has been hired to help recreate exotic aromas. He describes himself as an explorer. “Not in terms of an adventure seeker but one who is on an endless search of own identity,” says Abhay Mangaldas.The fact that Abhay is a hotelier by profession may not reveal much about the man who represents one of the two most respected and affluent industrial families from the city of Ahmedabad – Sarabhais and Mangaldas – but his karma of being an “explorer” aptly summarises his body of work, even as a hotelier.

Today, he presides over a property that for every visitor is a journey into the rich cultural past and present lifestyle – House of Mangaldas or House of MG, which attracts global clientele for its characteristic and unique boutique heritage identity. Abhay, like most of those belonging to affluent families, went abroad for studies. He got a master’s degree in mass communications from Boston University and did graphic designing.

“Despite family legacy, I had limited career options back home. The industrial might of my family was on the decline and so when I came to India, I landed straight in Mumbai and chased my dream of being an entrepreneur. I began my company in graphic designing. But the megalopolis was overwhelming for me to handle. I always felt lost and struggling to find out who I was,” he says.

This is the time, his father suggested that he move back home and take possession of the ancestral house Abhay’s great grandfather Mangaldas Girdhardas had built in 1924. This house was located in the heart of the city, opposite medieval architectural wonder Sidi Saiyad Mosque, whose filigree work of windows is synonymous of Ahmedabad’s rich cultural heritage.

However with time, the decibel levels in the city began to rise and the family moved to newer areas. Even the family of elder brother of Mangaldas, Chimanlal Giridharlal, who lived in an older building in the complex, migrated. The family had completely moved out by 1960s, converting their family home in to a department store and later a denim shop. Once these shops downed shutters in the 1980s, the property began to fall into ruins.

“With multiple stakeholders, it is difficult to maintain a property and the family decided to finally dispose it of. I invested some of the savings I had from my business in Mumbai and decided to convert the property into a hotel,” Abhay said. “In the beginning my interest was not to take care of Ahmedabad’s heritage. I had always dreamt of being an entrepreneur. For architectural heritage, the tried and tested method around the world is tourism and hotels. So it is a very natural selection,” he adds.

Over the last 18 years, Abhay has with utmost care refurbished and transformed his ancestral house into a heritage tourism ecosystem. An ecosystem that traverses each visitor here on a journey to the cultural roots, by appealing to their five senses of touch, taste, vision, hear and smell. “Like in a house, each family member has different skills, likings and hobbies. We have consciously tried to maintain this ethos by building an ecosystem around food, textiles, appealing building structure, décor, paintings and even building a cosmetics brand,” Abhay adds.

Though palatial and classic, House of MG sports an Indo-European façade. However, each element within the complex, be it the portico, the green courtyard, housing a temple near the door, beds, linen, decorative wall pieces or photographs in each of the 36 rooms, its two restaurants – Agashiye (rooftop Gujarati cuisine restaurant) & Green House (courtyard coffee shop that serves Indian snacks), cosmetics brand - Bodyshine - kiosk (made out of a wooden cart) or flooring, all have local flair and finesse. The restaurants only serve cooked food of fresh regional produce in thalis made at metalcraft centres of the state and even the tiles and sanitary ware are sourced from within Gujarat. It’s gift business - Ahmedabad Trunk – too is an heirloom brand wherein local artisans make and sell high value items.

“To most people luxury is imported from the West but here we have showcased real affluence of Gujarat and India. We are 100 per cent swadeshi. Even the language – English – is swadeshi in a way. Except for our air-conditioners, nothing in this house is without roots here. The interiors look and feel like the 20th century house of an affluent Gujarati family with tapestries, furniture and indigenous crafts. We have a few modern conveniences for our new-age and global guests, including wi-fi, but the soul of the place remains rooted in Gujarati asmita (identity),” Abhay says. “Nothing here is contrived. It is not that something has been created to make an impression. To an extent the ambience is Gandhian, even though it gives one an opulent feeling. It’s a natural place and an island of peace amidst all the artificial surroundings,” he adds.

The thinking behind the swadeshi philosophy, Abhay says, was a conscious decision as he believed that local material was best suited to local climate. “There may be some mirrors or a few pieces from abroad but those were legacy but since I have taken over, everything is locally sourced and made,” he adds.

With most of the physical space already been exhausted, Abhay has now his eyes set on building an experience of buying handmade contemporary products with Indian identity using traditional skills. “For an entrepreneur, it is always the moving target. We are trying to pivot into bigger things to have a bigger bang for the buck. For us it is the online retail segment and leveraging our traditional strength, be it supplying food packets or making traditional craft available beyond boundaries,” Abhay says.

On more traditional footing, he has roped in a “smell” specialist to help recreate exotic aromas within the complex and appeal to the senses of the visitors. “Even smell has a context. Unless you find the context, you forget. This may sound a little off but it is true. It is very similar to music, where we have morning raga, evening raga. Sadly, we are not doing that till now but we want to get into that part too,” Abhay adds.

- The Deccan herald, January 31, 2016

In a unique initiative, Debasish Kumar, member mayor-in- council (parks and gardens) joined hands with young crusaders to sweep the grounds of Prinsep Memorial on Friday morning. Indian National Trust for Art and Cultural Heritage (INTACH) has come up with a pan-India 'Clean Monument Campaign' for school students. In the past they have done many other projects on heritage and had overwhelming feedbacks from the schools.

"We need the support of youngsters to clean and beautify the city. The campaign should be broader and generate awareness among students of all schools. We should all take part in the movement to maintain historical monuments and clean up the heritage sites," Kumar said.

Around 45 students from seven schools, swept the grounds along with teachers and the civic official himself.- Modern High School for Boys, Birla High School, Apeejay Schools, Kolkata, South City International School, Shri Shikshayatan School and La Maternelle - cleaned up the dirty campus of the monument, which had been erected way back in 1843 in memory of the eminent Anglo Indian scholar.

As part of the campaign, members of INTACH also organized a poster-making competition for the students.

who painted the monument on their canvas, wrote slogans and small write ups on the necessity to preserve our root from the past. Accompanied by teachers they were from classes VI to IX.

Conservationist and convener of the Kolkata chapter G M Kapur, who also participated in the drive, said, "The campaign aims to catch social activists young. We've been doing similar events in other parts of the country." Top Comment

Debasish Kumar member mayor-in-council , great initiative for preserving historical monuments & heritage sites is p. Asked why the campaign took part in Prinsep Memorial he replied, "Though there are many monuments in the city, we chose this place for the convenience of the students and teachers. We have got enough cooperation from both the Army and PWD authorities who gave us the NOC to organize the event in the premises of the monument."

The students of all the participating schools have been asked to work on the maintenance of monuments in the city and submit the project reports with the INTACH members who will select the winners on the basis of it. Some institutions like Modern High School for Girls, Apeejay and Birla High School have already sent their students to St Paul's Cathedral, South Park Street Cemetry and Lower Circular Road Cemetery for the project work.

- The Times of India, January 31, 2016

Spread over 80 acres on the Raj Bhavan premises, the bio-diversity park is a gateway to nature's treasures. The park has been developed in 16 thematic sections in a rocky area on the hillock. The children who always enjoy to have glimpses of nature's treasures can have a chance to get detailed knowledge of different ecosystems and values of different floral biodiversity.

The Times of India's Nagpur For Kids (NFK) Club, on Sunday, has organized a visit of its members to the bio-diversity park that otherwise is restricted for general public and is only limited to students and researchers.

Raj Bhavan, the official residence of Governor of Maharashtra, situated at Sadar is spread over 121 acres. Excluding few portions, the sprawling premises wore a deserted look for years. Additional comptroller to Governor Ramesh Yewale with the help of Forest Development Corporation of Maharashtra (FDCM) and other government departments had turned the premises into a destination for nature education and research developing Central India's largest biodiversity park. "Rose garden is the highlight with over 2,000 plants and 323 variety of roses. Butterfly garden, Nakshatra garden, bird-attracting garden, cactus garden and herbal garden comprise more than 300 different species of plants each. Overall 29,000 plants have been planted in the park," Yewale said.

The park is also a house for variety of fauna consisting of numerous species of birds, butterflies, insects, tadpoles and moths. Overall the park has a rich bird life with more than 139 species including migratory birds like lesser whitethroat, redstarts, small minivets and some more. With the second NFK club activity held later in the evening kids will get to know about Zumba dance. The dance form lays stress on physical fitness. The event will be held at VNIT auditorium at 4pm DOS AND DON'TS

At Biodiversity Park

* Wear shoes and caps

* Cameras are allowed

* Plastics are strictly prohibited

At Zumba dance

* Wear track pants and shoes

* Carry a water bottle along

* Bring a napkin for wiping sweat

- The Times of India, January 31, 2016

While Mumbaikars share an intimate relationship with the city’s heritage, myopic policies have brought it to the brink. We find out why it is important for Mumbaikars to turn custodians of the rich heritage.

It is most likely that you as a Mumbaikar would have been born in a heritage hospital building (Bhabha, JJ, Grant Medical, Wadia hospital), gone to school or college in a heritage building (JB Petit, Avabai Petit, Cathedral, Bombay Scottish), graduated from a historic college or university (JJ School of Arts, SNDT Kanyashala, Elphinstone, St Xavier’s, University Fort Campus), played cricket in a historic ground (Oval, Shivaji Park), worked in a heritage building (HSBC and Deutsche Bank, BMC head office, Mantralaya or even Old Customs House), or even fought a court case in one. Even if you do not fall into any of these categories, at least you would have taken a train past the heritage Grade I Bandra station to Chhatrapati Shivaji Terminus in your daily commute.

The relationship Mumbaikars share with their heritage is distinct from that of other Indian cities. Unlike Delhi, for example, where most historic buildings are Archaeological Survey of India-protected sites and fenced off from visitors, every Mumbaikar has an intimate relationship with the city’s heritage. Perhaps that is the reason heritage conservation affects us more deeply than in any other Indian city. Moreover, with the exception of the Sewri Fort, the island city has no nationally protected site (due to the rather myopic view that the city’s largely colonial heritage was not old enough). So it really is up to Mumbaikars to be custodians, patrons and protectors of our heritage structures.

In 1995, Mumbai established itself as the first Indian city to adopt heritage regulations for the protection of its urban heritage. As per the Heritage Regulations for Greater Bombay 1995, 633 entries listed architectural heritage ranging from monumental public buildings to neighbourhood landmarks and entire urban precincts, protecting them from demolition and regulating the developmental interventions to their built fabric. The Heritage Regulation was successful in not only protecting vulnerable historic building stock, but also in acknowledging 19th and 20th century heritage (such as the Art Deco Marine Drive).

Given Mumbai’s position as the country’s financial centre, the regulation enabled the preservation of a considerable amount of building stock that would have been lost to the pressures of urbanisation. Moreover, it recognised the need to preserve and yet reconfigure a city, along with the reality of its living, functioning public structures such as railway stations, courts and libraries unlike many other cities that confined heritage to a monument-centric approach.

Much remains to be done to make the conservation movement a success in the city when we take stock of the situation 20 years into this pioneering regulation. While heritage listing protects ‘listed’ buildings from demolition, it cannot prevent a building from ruination through sheer neglect, if not wilful destruction. There is also a need to have enabling policies that will support private owners of heritage and demystify heritage for the common man.

Reclaiming historic spaces: The historic Banganga tank has slum dwellers squatting on its steps and even building around a deepa stambh. The medieval Mahim Fort is virtually inaccessible to the public. It commands a vantage view over the western waters of the bay. The fort was a strong defensive outpost for the Portuguese rulers as it protected the island of Bombay from the northern creek or any invading army that may have gained control of Salsette. The site also houses the city’s first Franciscan church. It was this critical location that made the Portuguese reluctant to part with the fort even in 1662, when the islands of Bombay were acquired by the British as part of Catherine de Braganza’s dowry to Charles II.

No other city in the world has three sea-facing historic forts — Bandra, Mahim and Worli — lined up like a string of pearls along its seafront. While Bandra Fort is thankfully well kept with a vigilant citizenry taking interest in its upkeep, Mahim Fort is run over by slums. The plight is unimaginable given the fact that it is listed as a Grade I heritage building and a state archaeology-protected site. If these forts could be freed of encroachments, restored and illuminated, they could offer the citizens of Mumbai and tourists an unparalleled experience and a vital open space. It is time we implemented the idea of incorporating open spaces into the city’s fabric, re-integrate historic sites and expansive open spaces such as Mahim beach, and give them back to the city as vital green spaces.

Signage regulation:Better vigilance and implementation of existing policies will ensure the lessening of much of the urban chaos we witness today. The city is no stranger to handsome neo-classical facades obliterated by the clutter of shop signs and unchecked encroachment. A mere implementation of Brihanmumbai Municipal Corporation’s licence policy under the 1888 Act for areas such as Princess Street, Colaba Causeway and MG Road is a simple task for the licensing authority, and will help achieve an urban facelift without costing the government a penny.

Incentives for private buildings: A critical next step should be that of incentivising heritage preservation and creating economic policies to support conservation. Innovative tax incentives for restoring heritage buildings, funds for heritage preservation and financial mechanisms such as soft loans are the need of the hour for the bulk of the city’s buildings constructed before 1947.

The idea is to understand that historic stock is an asset, not a liability and merely requires innovative financial mechanisms to make it economically sustainable. Tax breaks for restoring private buildings, easier permissions for adaptive reuse, soft loans and financial tools will ensure a greater public involvement in restoration.

Policy review for dying theatres: aMumbai is the city of cinema. However, some of its most iconic cinema halls and theatres have gradually faced losses and an inflexible excise and taxation policy, making them teeter towards dereliction and closure. These include the historic Capitol Cinema, Liberty, Opera House, Edward Theatre, New Roshan Talkies, Nishat Cinema, Alfred Cinema among others. It is time the government reviewed the tax structure of historic theatres and made concerted efforts to save these iconic cultural venues.

Reviving historic areas: Innovative urban-level schemes and pilot projects are also needed to revitalise the city’s urban assets. Re-invigorating areas such as Ballard Estate after office hours should be taken up. Night dining and bazaars in heritage precincts, illumination of Victorian streetscapes and well-designed hawker plazas require enormous brainstorming and public debate but could offer economically sustainable urban solutions.

In Mumbai, where each square inch of open space is a luxury, we have failed to exploit the potential of areas such as the Parel mill lands. The hundreds of acres of the Eastern waterfront could be Mumbai’s solution for a planned urban renewal.

Instead of short-term gains from parcelling off pockets of land and fragmenting this prime area, the implementation of a holistic vision for the port lands with provision of an ‘urban green’ for the city, could do for Mumbai what Boston’s Charlestown or San Francisco’s Presidio National Park achieved for these cities.

Global tourist destination: While cities like London package themselves aggressively as business and heritage destinations to woo tourism dollars, Mumbai is rather laid back in tapping this immense economic potential.

Even with two world heritage sites of Chhatrapati Shivaji Terminus and Elephanta, it is still largely perceived as a financial and business destination unlike other cities that use a UNESCO World Heritage Site listing as a major advertising and earning opportunity through heritage tourism. With January 31 as the deadline for the government to declare its site for UNESCO World Heritage Status, one hopes the nomination dossier for Mumbai’s Victorian and Art Deco Heritage will be forwarded by the Ministry of Culture and give the city a chance to showcase its living heritage to the world community.

Points to ponder

Incorporate open spaces into the city’s fabric

Implement the BMC’s licence policy in areas such as Princess Street, Colaba Causeway and MG Road to clear neo-classical facades of shop signs and unchecked encroachment

Provide innovative tax incentives for restoring heritage buildings, funds for heritage preservation and soft loans for buildings constructed before 1947

Review tax structure of historic theatres

Re-invigorate areas such as Ballard Estate after office hours; bring in night dining and bazaars in heritage precincts

illuminate Victorian streetscapes; create hawker plazasAbout the author

Abha Narain Lambah is a conservation architect, and her practice spans archaeological sites such as Ajanta Caves, Bodh Gaya and Hampi; medieval monuments and palaces in Rajasthan, Punjab and Madhya Pradesh; colonial public buildings in Mumbai, Kolkata and Delhi; and a range of museums.

She has engaged with conservation policy and practice and has served on the Heritage Conservation Committees of Delhi and Mumbai. She has also edited and authored books on architecture and conservation

- The Hindu, January 31, 2016

Folk songs are an integral part of any society. However, under relentless pressure of industrialisation and globalisation many formats seem to be in danger of disappearing forever. Hence the revival of people's interest in folk music of Bengal is an encouraging sign. Uttara Gangopadhyay reports

My fair Tusu has become dark after visiting Kolkata because of the citys saline water, goes the lamentation of the folk singer describing Tusus misfortunes. Usually worshipped in the rural hamlets of the western region of Bengal and in the Chhota Nagpur tribal belt, Tusu is a folk goddess, the protector of crops. But when the workers in the coal belt adapted their agrarian lifestyle to that of the miner, it had an impact on their songs too. The sympathy for their fair-skinned goddess in their tusu song is a reflection of their own agony of having to adjust to a new lifestyle.

One also finds the strains of jhumur songs in the songs sung by the tea garden workers of north Bengal. Jhumuris from Purulia district. So when the people from Purulia went to work in the tea gardens, they carried their genre of music with them. But life in the tea gardens was vastly different from that in Purulia. The lyrics too changed accordingly.

We may not have a separate genre of industrial folk songs like those found abroad, say in the US, but some of our folk songs come close, explains Kalikaprasad Bhattacharya, an eminent singer and research scholar, and the mentor to an extremely popular television reality show in Bengali. The recently concluded musical show put great emphasis on the folk genre of Bengal, as well from neighbouring states in eastern India, and kept not only the home crowd but also the diaspora audience spell bound with the variety and ethnic appeal.

Folk songs, after all, are an integral part of any society. People draw their inspiration from their own lifestyle, their environment, their profession, their social calendar and myriad other things and interpret them in their own way. For example, in the agomoni song, usually sung prior to Bengals biggest festival, Durga Puja, the goddess is seen not only as a demon-slayer as depicted in the religious scriptures but also as the married daughter who returns to her parental home every autumn, reflecting the excitement and the anguish of a mother looking forward to her daughters visit from a faraway land.

Although few people are aware of Bengals repertoire of folk songs, experts believe there are 30 to 35 formats that are still prevalent though it is well-nigh impossible to put a figure to the actual number of formats. The number of formats can easily increase if one considers that Bengals repertoire of folk songs date from the days when both West Bengal and Bangladesh were part of one unified region.

Among the region-based formats, there are bhawaiya, gambhira, jhumur,bhadu, tusu, etc. The folk songs are also a lesson in regional geography, customs, etc., points out Bhattacharya. The tempo of bhatiyali songs is very slow. It is sung by the boat people of lower Bengal where the rivers flow slowly and the boat follows in its wake. The boatman has enough time to reflect on lifes philosophies. But nouka baicher gaan, also a boatmans song, has a fast tempo because the boat goes against the tide and the boatmen have to ply their oars in unison and with all their might.

Folk songs borrow from any and every aspect of life. When the building of concrete building came into vogue, the labourers spun their own songs to seek relief from the hard work. Called chaat petanor gaan, they are a musical record of the labourers hard life and the urbanisation they saw around them.

Sometimes, the content of songs is the same but the names are differentgambhira of Malda district and gajanof south Bengal are sung in honour of Lord Shiva. Hindus and Muslims have their own set of wedding songs that talk about the new life that a girl is going to enter, how to conduct herself, etc.

The bauls or the singing minstrels of Bengal are a class apart. The mysticism of life, the search for the divine, etc. are main topics of their songs. Although baul music verges on the spiritual, it does not have any particular religion in mind; there are various sub-sects but that is based on their philosophical beliefs rather than on religious rituals. During Makar Sankranti (mid-January), bauls from India and Bangladesh congregate at an annual meet on the banks of the Ajay River in West Bengals Birbhum district; this is a good opportunity to learn about baul songs and philosophy. Baul is now recognised by UNESCO as an intangible cultural heritage of humanity.

Folk songs are mostly an oral tradition. Only very recently efforts are being made to record them for posterity. Its important to draw a musical map of Bengal, believes Bhattacharya. Not only songs but the indigenous instruments are also disappearing one by one. One such casualty is the violin-like Sarinda. Sometimes, it is the musical instrument that indicates the region from where the singers originate; for example, the bauls of Birbhum district use a string instrument called Khamak but those from Nadia district do not do so.

Urbanisation, the pressure from mainstream media and other reasons are leaving an impact on the old folk songs. Alan Lomax writes in his book, Folk Song Style and Culture, Big governments, national education, information network and worldwide marketing systems kill of cultures that do not conform to those of the power centres.

According to experts, it is rather difficult to sustain urban peoples interest in folk songs because the format is more suited to the rural background. To portray them on stage by keeping the feel intact is difficult indeed. Therefore, we believe in-situ preservation is so important, says Amitava Bhattacharya of Banglanatak dot com, an organisation that essentially works to guide and train rural artisansacross crafts and musicto become economically self-sufficient. While we hold exhibitions in India and abroad to showcase the art form, be it music or crafts, we also encourage artists to practice in their own villages. It is a way to inspire the younger generation too. To facilitate, they hold various fairs and cultural programmes in the districts to draw the attention of the urban people. Practising artists and those who want to know about these indigenous cultures and folk music can stay with artists too.

On a positive note, Banglanataks efforts to build a bridge between the local artists and the urbanites, and the exposure of the richness of folk music showcased on a mainstream media channel have seen a revival of peoples interest in the traditional repertoire of folk songs of Bengal. To sustain the interest is the main challenge.

- http://www.newkerala.com/, January 31, 2016

Before Delhi launches a tour of its haunted monuments, perhaps, it might be useful to preserve all that has not fallen to ruin.

Two books, one published in the mid-19th century, and the other in early 20th century are crucial for an understanding of the history of Delhi. The first of the two books was Aasaar-us-Sanaadeed or Remains of a Past by Syed Ahmad Khan, later known as Sir Syed. Published in 1847, it was a serious and systematic attempt at documenting the major monuments of Delhi and continues to be a valuable source for historians. Maulvi Zafar Hasan’s comprehensive Monuments of Delhi published in 1916 listed more than 3,000 buildings and remains of monuments scattered between the Aravalis and the Yamuna.

In the last 100 years, more than a 1,000 of these structures have disappeared. According to official figures, we have barely 2,000 left; of these, just about 10 per cent or barely 200 are preserved by the ASI and the government of Delhi put together. If one begins to look for the number of protected monuments in Delhi, one is led to the official website of the Archaeological Survey of India that displays an alphabetical list of 174 monuments, without explaining the status of the monuments in any way.

Many of the monuments on this list do not exist where they are supposed to be located. For example, the list says that Lal Bangla is at Babarpur (Kaka Nagar) but it is actually located inside the Delhi Golf Club. The location of Kos Minar is shown as Babarpur-Bazipur (Kaka Nagar) while its actual location is inside the Delhi Zoo. The Nicholson statue and its platform are placed outside Kashmiri Gate, according to the ASI list. Both were removed to Coronation Park in the mid-1960s. Obviously, no one from the ASI has bothered to visit Kashmiri Gate since then. The website is new but its information has not been updated in decades.

It is in such a scenario that a decision has recently been taken by the Delhi government to promote historical sites with a reputation of being haunted. Some of the prime candidates are the abode of the polyglot djinns of Ferozeshah Kotla and the Jamali Kamali mosque, where shrieking voices begin to exercise their vocal chords past midnight.

To this list, the authorities could add the headless horseman of Anglo-Saxon extraction who is believed to come tearing down towards Daryaganj, where he was shot by hired assassins, or the ghosts who frequent Khooni Darwaza, or the ones that swing from nooses near the old district jail or the women in white who pass through walls, especially on moonlit nights.

If the authorities are interested in serious promotion of spooky locations, they will never run short of tourist attractions in Delhi. The ruins of the six earlier cities and many broken-down or empty buildings in the city of Shahjahan are particularly favoured by ghosts, djinns, witches, blood-sucking vampires and women with bewitching smiles whose feet face the wrong way and one never knows whether they are arriving or departing. The number of haunted structures in the ruins of the seven Delhis would run into thousands. There is one behind Kali Masjid — everyone who lived there turned into a ghost and no one ventures into that street even in daylight.

There are thousands of haunted homes and streets like the Gali Bhoot Waali in Nangloi or the Chor Minar, haunted by hundreds of headless thieves, and the ruins of Siri, the city built by Ala-ud-Din Khilji, thronged by thousands of headless Mongols. What remains from the last 1,000 years of construction, abandonment, destruction and desertion are countless ruins of houses, broken-down havelis, deserted mosques, graves, mausoleums, temples, abandoned cremation grounds and dead streets, scattered through the cities and structures built by the Pals, Tomars, Chauhans, the Slave Kings, the Khiljis, Tughlaqs, Syeds, Lodis and the Mughals.

The thousands of ruins have spawned millions of ghost stories and this is bound to happen in a land bursting at its seams with religious charlatans living off the faith of the gullible and the naïve. One would have thought that some efforts would be made to protect what survives but that would be hoping for too much. The project to make Delhi a heritage city has already been scuttled.

One would not be surprised if an argument is advanced that we do not care for our tangible heritage- as a people, we have a spiritual bent of mind and do not attach much value to material things. And so we should not be unduly worried if the remaining 2,000 structures were to also disappear like the one-third that has vanished in the last 100 years. What we will not be able to see in the light of the sun, we will conjure from the dark depths of moonless nights, through our spiritual powers and our ancient knowledge of the occult. The potential of the tourism of fear is immense. Every haunted pillar, post, arch and tree can be converted into a money spinner. Sohail Hashmi is a Delhi-based historian.

- The Indian express, January 31, 2016