Flora Fountain, the city’s architectural heritage monument, will soon be restored to its old splendour. The Brihanmumbai Municipal Corporation (BMC) has decided to appoint Indian National Trust for Art and Cultural Heritage (INTACH) for its repairs and restoration at the cost of Rs 2.35 crore.

Flora Fountain is an iconic grade 1 heritage structure located at the junction of D.N. Road at Hutatma Chowk in Fort. The fountain, which belongs to the BMC, has been carved from Portland stone. Built in 1864, the structure is a fusion of water, architecture and sculpture, and depicts the Roman goddess Flora.

The BMC had appointed M/s Vikas Dilawari as a consultant for the beautification and restoration of Flora Fountain. The plan submitted by Dilawari was approved by the BMC in 2011 and Mumbai Heritage Committee also gave its green signal for the project. According to the civic officials, the restoration of Flora Fountain will be carried out in two phases — phase one includes beautification of surrounding area, tiling, stainless steel sitting arrangement and illumination. The phase two consists of restoration of Flora Fountain along with laying of marble tiles, repairs of fountain and pumping system.

While the phase one works will be carried out later by inviting bids, the BMC had asked Chhatrapati Shivaji Vastu Sangrahalaya and INTACH for phase two works. However, with the former expressing its inability, the civic body has allotted the works to INTACH, which has earlier successfully carried out restoration works of BMC hall and Bhau Daji Lad Museum.

“The BMC had proposed to carry out the restoration of Flora Fountain by May 1, which is Maharashtra Day. However, with the proposal being tabled before the committee, the scenario looks unlikely, “ said a civic official.

According to the proposal, the work on restoring the structure and its surroundings would be completed in a span of six months. The restoration of structure would also require Portland stone. The proposal will be tabled before the civic standing committee for approval on Wednesday.

- The Asian age, March 1, 2016

Completing 50 years of the Theater Arts Workshop (TAW) that he started in 1966, theatre personality Padma Shree Raj Bisaria is set to stage the Hindi adaption of international detective classic 'Sleuth by Anthony Shaffer' on March 1 and 2.

In two Acts, the two-hour play has been adapted in Hindi by former IAS officer Raju Sharma with the title 'Raaz'.

Bisaria plans to take the 50-year celebrations on a year-long journey with a few more productions, an interactive workshop on theatre and film-making with young people and a short film for Lucknow. With over 100 productions to his name, Bisaria started TAW with English plays, the first being Shakespeare's 'Othello'. TAW also introduced allied performing arts.

- The Times of India, March 1, 2016

Scientists have found out that polluted air generated in industries in northern India travel over 2000 km to reach the hills of Darjeeling and islands of Sundarbans in West Bengal.

A huge and thick mass of air carrying particulate matter (PM) of less than 2 micrometre travels to West Bengal under the influence of the strong north-westerly winds, Abhijit Chatterjee, an environmental scientist at Bose Institute here told PTI.

Travelling at a speed of about 20 km per hour, the soot or black carbon takes four days to cover a distance of about 2000 km between northern India and parts of West Bengal, he said.

Under a research project, a team of scientists from the institute, installed aethalometers in Sundarbans and Darjeeling and have been monitoring the quality of air since the last few years.

"Black carbon concentration over Sundarban was found to be around 15 microgram per cubic meter of air which is quite high for a remote and virgin island. In Darjeeling, the average concentration was 3.5 microgram per cubic meter which is also high compared to a high altitude hill station in the Himalayas," he said.

In Darjeeling, the researchers analysed the origin of the soot and found that 43 per cent did not originate locally.

In the riverine Sundarbans there are hardly any local sources of pollution. "We have analysed that 60 per cent of soot in Sundarbans is from Kolkata, both vehicular and industrial emissions, while 40 per cent is from industrially rich areas of Bihar and Uttar Pradesh," Chatterjee, who is also the station-in-charge of National Facility on Astroparticle Physics and Space Science, Darjeeling said.

Most of the pollution enter Bengal between winter to pre-monsoon months-- November to April.

Being very fine, some even less than 1 micrometre, these particles remain suspended in the air till wind transports them, Chatterjee said.

Globally PM 2.5, both ambient and indoor, is estimated to result in millions of premature deaths - majority of them in developing countries, he said.

As the size of black carbon is very small it is respirable and can directly affect human lungs and cause several cardiovascular disorders. The polluted air is also affecting the health of the mangrove forests (the Sundarbans) as the soot blocks the pores of the leaves affecting growth, say scientists.

"If the mangroves get affected the entire aquatic ecosystem gets affected in result. Some of the soot also gets deposited in the Bay of Bengal contributing to the increase in sea surface temperature," Chatterjee said.

Black carbon also hastens the process of climate change as it leads to the melting of snow when it gets deposited on glaciers, he added.

- The Indian express, March 1, 2016

Urge government and people to take appropriate measures to address the problem

Signalling danger of depleting water levels and disappearing water bodies in Puducherry, Aravindan Govindassamy of Sembadugai Nanneeragam organisation, said that increase of population by 10 fold in Puducherry since 1970 has led to excessive dependence on ground water.

The groundwater level in Puducherry which was 25 to 60 feet in 1970, has depleted to 150 and 250 feet below the surface.

Highly polluted
He spoke at a one-day workshop on “The State of Lakes and Water bodies of Southern India: Threats, Challenges and Opportunities organised by ‘All for Water for All’ collective on Monday in Puducherry.

Mr. Aravindan said: “Excessive dependence on ground water will pave way for scarcity of water on massive scale. Even water that is available at present is highly polluted and efforts are not taken to treat or recycle water. Besides, the solid waste is also not subjected to the process of recycling.”

Speaking on the topic - ‘The source of water in Puducherry region and future demands of the people,’ he said: “Water resource in the region is dependent not only on rainfall received during monsoons, but also from the rain fed rivers of Tamil Nadu reaching out to the region largely before confluence into the sea. Irrigation needs are met out of rivers, tanks and other water bodies while domestic, industrial and commercial needs are met by ground water.”

Rainwater harvesting
He underlined that rainwater harvesting as a plan of action should be implemented by individual households, government departments and private enterprises to check sea water intrusion.

“The water usage in marriage halls, hotels or restaurants is much more uncontrolled and this usage should be regulated with awareness. To check this, water tariff has to be considerably increased,” he added.

Experts from the Centre for Science and Environment, Indian Institute of Science from Bengaluru, Save our Urban Lakes from Hyderabad and Dhan Foundation from Madurai discussed on the state of lakes and water bodies in different regions of Southern India.

The session on The State of Urban lakes in India: The Crisis’ was chaired by former member of Planning Commission A.Vaidyanathan.

The experts stressed the need for the government to consider climate change as an important factor for the urban floods and take appropriate measures to address the problem.

The water usage in marriage halls, hotels or restaurants is much more uncontrolled and this usage should be regulated with awareness.

- The Hindu, March 1, 2016

A six- day training Workshop on Construction of Bamboo Toilets started on Monday at Poma Bamboo Processing Centre under the aegis of South Asia Bamboo (SABF) Foundation in collaboration with Arunachal Pradesh Bamboo Resources Development Agency (APBRDA).

Supported by Building Materials and Technology Promotion Council under Ministry of Housing & Urban Poverty Alleviation, around 25 trainees from in and around Poma are participating in the training workshop.

In his keynote speech, SABF executive director Kamesh Salam said toilet will be of low cost and eco friendly where all the materials including septic tank, water container and broom will be made of bamboo.

He added that the low cost bamboo toilets has been designed while seeing the huge scope of bamboos in India and has linked it with the Prime Minister’s Swachh Bharat Mission.

“As a part of PM’s Swachh Bharat Mission, we have been linking sanitation and cleanliness with bamboo which has huge potential in north-east including Arunachal Pradesh”, he said.

Stating that there has been huge potential for eco-tourism in Poma, Salam suggested for improvement of technology in the area with the support of National Institute of Technology (NIT).

“There is a huge scope for developing ecotourism in Poma. You have to develop more amenities like cultural heritage centre, home-stay, restaurant etc while using bamboo technology with the help of NIT,” told the executive director.

APBRDA scientist and nodal officer RK Taj informed that the low cost bamboo based toilet project is all over India and this type of toilets are very much important for the rural areas where rods and bricks are not available.

As part of demonstration, Taj told two toilet units will be constructed at the bamboo processing centre and picnic spot with the help of bamboo experts from Assam while using technology so that it last long.

He added the project has been successful and implemented in the state like Nagaland, Mizoram, Kerela and in many other states.

Poma Bamboo Processing Centre chairperson cum ASM Techi Ana exhorted the trainees to take benefits from the training workshop so that they can sustain themselves in long run.

She also informed that the bamboo processing centre, which was initiated by then Governor General (Rtd) JJ Singh in 2009, has been imparting training on making bamboo products to the local youths from all over the state for their self sustenance.

The chairperson further requested for Raj Bhawan’s intervention for the improvement of the bamboo processing centre. Meanwhile, senior member of the Poma village Techi Rotu extended gratitude to SABF and APBRDA for the training programme and requested for more such programme so that the people can be trained in skill development. Rotu advised the trainees to work dedicatedly after achieving knowledge from the training programme.

- http://www.arunachaltimes.in, March 1, 2016

best known for its sandalwood is a beautiful state located in the southern part of peninsula India. The state is home to a number of spectacular architectural geniuses, monuments and heritage sites that leave an inedible impact on the minds of those who love history.

Abundantly blessed by nature, Karnataka is a perfect travel destination for people who want to get away from maddening urban setup.

Here’s a video published on YouTube by Incredible India which highlights the scenic landscapes of the states besides capturing the beauty of historic sites

- http://zeenews.india.com, March 2, 2016

The other night, I came face-to-face with Clint Eastwood. I found him at the Cowboy Restaurant, Bar & Lounge, a new nightspot in Bhopal. Silhouettes of bucking broncos gleamed from the lamps overhead. A waiter handed me a cowboy hat. And then I approached Eastwood – poised on a poster for The Good, the Bad and the Ugly.

That iconic title says something about the Indian city’s image. Bhopal is known for plenty of bad and ugly, with good reason. Seared into public memory, this is the site of the December 1984 Union Carbide gas leak, arguably the world’s worst industrial disaster. After 40 tonnes of toxic methyl isocyanate seeped out from the pesticide factory, thousands of people died, and hundreds of thousands were left to struggle with serious illnesses. Such misery cannot be forgotten.

Yet Bhopal also deserves a break. As a city with a tranquil waterfront, outstanding museums and an intriguing history steeped in Islamic heritage, it aches for discovery by tourists. It’s time to tip a hat at its good.

Think of Dresden. The German city lost 25,000 people and much of its gorgeous architecture when it was bombed during the Second World War. But now, it tantalises visitors with its classical music, abundant greenery and reconstructed Old Town.

The same broad-minded principle ought to apply to Bhopal. Travellers need not fear risk of toxic exposure. Bhopal’s main attractions lie well beyond the wards affected by gas 32 years ago. Meanwhile, the city doesn’t rely on groundwater for drinking water, instead drawing water from the Upper Lake and Kolar Dam. Rather, travellers can reach farther back in time, and revel in a city that was once ruled consecutively by four Muslim women, from 1819 to 1926.

Known by the honorific Begum, each woman won praise for her administrative prowess and feisty spirit. The first of these rulers, Qudsia Begum, delighted in riding camels, elephants and horses. Her daughter, Sikander Begum – known for her zeal for judicial reform and education – also had a belligerent streak. After Sikander’s disgruntled husband lashed out at her with a sword, “her favourite sport became terrorising [him] with gunfire and arrows, or by cavalry charges”, wrote one of her descendants, Abida Sultaan.

Mixing bravery with devotion came naturally to Sultan Jahan Begum, who ruled for 25 years. This burqa-clad globetrotter embarked on a pilgrimage to Mecca in 1904, enduring choppy seas and desert attacks. Later, in 1911, she attended King George V’s coronation in Britain, and subsequently toured Paris, Vienna and Budapest. In Istanbul, the Sultan of Turkey presented her with a prized relic: a sacred hair of the Prophet Mohammed.

Portraits of the Begums hang in the halls of Jehan Numa Palace, a luxury heritage hotel in Bhopal that offers buffet feasts, a pool and an adjoining horse track. “Bhopal is really virgin land in terms of tourism,” says the hotel’s general manager, Gaurav Rege. Though his hotel gets ample corporate business and local patronage, tourists account for only 8 per cent of occupants.

Some overseas visitors do stop at the Jehan Numa on their way to Sanchi to view the famed Buddhist stupas and their intricately carved gateways. Others grab a bite before heading to Bhimbetka, an important and mysterious site of ancient rock art. Wildlife enthusiasts have also paused for breakfast, en route to a tiger-spotting adventure in a national park.

But staying within city limits has its own rewards. Locals are particularly proud of Bhopal’s vast man-made lake, known as Upper Lake. At the water’s edge, weightlifters work out at sunset. This 31-kilometre water body was created in the 11th century, but meets a contemporary need for contemplation. Rowing boats convey visitors to the Shah Ali Shah dargah, an island shrine that draws people of all faiths. Devotees make wishes with bits of coloured thread.

Serenity can also be found at the historic Taj Ul Masajid, a huge sanctuary of red sandstone and graceful minarets. Inside, young madrassa students lean over their prayer books. From here, visitors can wend their way to the vibrant lanes of the old quarter, where kebabs, rotis and handmade sweets vie to satisfy roaming appetites. Shalwar kameez and sari shops are crammed together with outlets for household items and stationary. Crafts from north-eastern India are laid out for display in the graceful courtyard of Gohar Mahal, once the retirement refuge of Qudsia Begum.

Beyond the old quarter, hop into an auto rickshaw or taxi. Save the pedestrian energy for the Museum of Man, a scattered array of open-air exhibitions and dense galleries that provide insight into the anthropological diversity of India. Other attractions are dotted along the surprisingly smooth, broad roads conjured by modern city planners. For those weary of traffic jams in Bangalore and Mumbai, Bhopal seems like a breeze.

My favourite destination is the Madhya Pradesh Tribal Museum. Don’t expect an inert display of baskets and beads. This innovative museum – inaugurated in 2013, and still evolving – illustrates tribal myths and belief systems, rendered on a huge, theatrical scale. High ceilings, dramatic lighting, surreal juxtapositions and vivid colour contribute to an immersive experience.

Drums dangle from trees. Colourful rods spiral from a woman’s neck into the sky. Carved birds cavort in mid-air. It’s the kind of place that would inspire Julie Taymor, the creator of The Lion King musical.

The museum was put together by more than 1,000 tribal artists, helmed by a contemporary Bhopal painter and curator, Chandan Bhatty. Bhatty managed to coordinate members of the state’s seven major tribes: the Gond, Bheel, Korku, Baiga, Sahariya, Kol and Bhariya. Together, they put in 18-hour days to complete the work, over a period of two years.

“We tried to capture the essence of their understanding of life,” says Shampa Shah, a ceramic artist who worked as an independent consultant for the museum. That meant creating an ambience that would make visitors “feel the presence of the spirits”, she adds.

Next door lies the State Museum of Bhopal – not as flashy as its neighbour, but still worth a visit. Impeccably preserved stone sculptures invite sustained attention, such as the 10th-century rendering of Hindu goddesses Vaishnavi and Kaumari. Upstairs, visitors can glimpse the softer side of Shah Jahan Begum in paintings and photographs. She nurtured poets, wrote verses herself and resided in her own lavish version of the Taj Mahal.

Unlike its namesake in Agra, this Taj Mahal is now little more than a fragile wreck. Tourism officials intend to forge a public/private partnership to build a luxury hotel on the site. Only scattered touch-ups reveal a hint of colour. It’s one of the city’s few disappointments. The Begums deserve better.

Limited funds and scant technical expertise have hampered the government’s efforts, explains Narayan Vyas, a retired archaeologist from the Archaeological Survey of India. However, he points out that restoration is proceeding steadily in nearby Islamnagar, which briefly served as the capital of the Bhopal princely state.

As for nightlife, the city is certainly more subdued than Mumbai. Yet a pioneering cultural complex called Bharat Bhavan presents a range of live music, from the Chhattisgarh folk diva Tijan Bai to the smooth Hindustani vocals of the Banaras gharana. Bharat Bhavan is now working on making more than 1,400 recordings of its live performances available in a publicly accessible archive.

Designed by the renowned Indian architect Charles Correa, the lakeside cultural centre also stands out for persuading visitors that contemporary folk paintings should be seen in the context of modern art. The idea of rigid categories is thrown out the window.

And Union Carbide? There’s no need to trudge through the weeds surrounding the decrepit factory. A fine way to honour the dead, and understand the difficulties of the survivors, is to visit the Remember Bhopal Museum (www.rememberbhopal.net). The museum tells the story through powerful oral histories, stark black-and-white portraits and posters once held aloft by activists.

It’s a poignant and haunting reminder of the disaster, but 32 years on, Bhopal has much to offer beyond its tragic history.

- http://www.thenational.ae, March 2, 2016

To preserve and protect the rich ancient civilisation of the State, a museum will come up at Panchkula in Haryana at a cost of around Rs 24 crore, Chief Minister Manohar Lal Khattar said on Tuesday.

The Chief Minister announced this after launching the construction of a ‘Site Museum-cum-Interpretation Centre’ at ‘Rakhi Garhi’ by unveiling its plaque here. Rakhi Garhi is the biggest Harappan site in India.

The museum will be developed over an area of two acres in sector 5, Panchkula by the State government at a cost of 23.85 crore.

Mr Khattar asked the officials to remain in touch with Union Ministry of Culture for getting financial aid from the Centre for the museum.

While directing the officials for an early completion of the museum, he also asked them to provide budget required for solar system in it.

Provision would also be made for light and sound system, lifts, solar lighting and solar power plant, CCTV cameras, solar water heating system, 1000 KVA electric sub station, 325 KVA DG set and fire fighting system or fire alarm.

He also asked them to pay attention to other districts like Rohtak, Fatehabad and Kaithal where remains of ancient civilisation were available.

Describing Rakhi Garhi as an “important place”, the Chief Minister said that remains of the largest city of the Harappan civilisation were found during excavation there.

He said that Rakhi Garhi site museum being located in western part of the state would attract the attention of people from all over the world which will go a long way in ensuring the development of this area.

The State government is also in the process of developing an international airport at Hisar.

Speaking on this occasion, State Archaeology Minister Ram Bilas Sharma said that archaeological excavations at Rakhi Garhi have showed all the defining features of the Indus Valley Civilization.

Excavation at Rakhi Garhi has revealed a well planned city, which is one of the four largest townships of the Indus valley civilization, he claimed. Rakhi Garhi is a village in Hisar District. It is the site of an Indus Valley Civilisation settlement dating to the period of 2600 B.C. to 1900 B.C. and is located in the Ghaggar-Hakra river plain, some 27 km from the seasonal Ghaggar river. -- PTI

- The Hindu, March 2, 2016

The Archaeological Survey of India officials say sketching amounts to 'copying' the structure.

An artist from the city has begun a rather unusual petition on Change.org. Ganapthy Subramaniam started a petition on Tuesday asking the Archaeological Survey of India (ASI) to allow sketching of historical monuments, without having to obtain permission.

“A group of artists, who are a part of the Chennai Weekend Artists, had gone to the Shore temple in Mahabalipuram on Sunday to sketch the monument. However, as soon as we settled down with our sketchpads, the security guards there told us that it was prohibited,” he said.

Through the guards, the artists managed to meet officials from the Archaeological Survey of India who told them that there were rules that prohibited the sketching of monuments as it amounted to ‘copying’ the structure and prior permission had to be obtained for the same. In chapter VIII of the Ancient Monuments and Archaeological Sites and Remains rules, it is specified that permission is required for copying certain monuments.

“The process to obtain permission is long-wounded and in this day and age, when monuments are being photographed and recorded digitally, why should this rule apply to us? In many parts of the world, people who visit famous historical sites simply take out their drawing books and sketch or paint,” Mr. Ganapathy pointed out.

He further said that at the site in Mahabalipuram, there were no restrictions on tourists and visitors taking videos and photos on their phones.

The group of 20 artists were finally only able to sketch the historical site while standing on the other side of the railings around the place. In the online petition, which is to be submitted to the Director General of the ASI, the artist has said that many tourists would love to capture the essence of the place through small sketches and that it helps to improve their craft.

“We mean sketching from an artistic point of view and not any survey or measurements using equipment. While it is perfectly allowed to photograph or shoot videos of all these monuments, this rule preventing sketching is indeed archaic, and needs to go,” the petition reads.

- The Hindu, March 2, 2016

Over 200 aggrieved shopkeepers from the congested Kelibag Road in Mahal approached the Nagpur bench of Bombay High Court against Nagpur Municipal Corporation's (NMC) plans to widen it. A division bench comprising Justice Bhushan Gavai and Justice Pradeep Deshmukh, on Tuesday, granted a 'status quo' while issuing notices to the respondents — state urban development department secretary and NMC commissioner — and told them to reply within three weeks.

The petitioners through senior counsel Mohan Bhangde, Anand Parchure and RR Deshpande, challenged Maharashtra government's notification of November 12, 2014, that calls for widening of roads from existing 15 metres to 24 metres. The notification mentions about minor modification in city's development plan by widening the existing 15 metres road passing from Central Avenue, Badkas Chowk, Kotwali Police Station Chowk to CP and Berar Chowk, to 24 metres.

Citing Section 37 of the Maharashtra Regional Town and Planning Act, 1966, the petitioners' contended that it's necessary to consult the director of town planning before sanctioning minor modification in development plan.

The director had recommended on July 24, 2014, that the road's width could be increased from 15 mtrs to 18 mtrs only, as there are heritage grade-I structures on the path. He opposed further widening, as it would lead to damage of heritage structures, but all his recommendations were ignored by the government and corporation.

The shopkeepers pointed out that planning authority had proposed to expand the road to 24 metres, but town planning director had opposed it citing severe congestion in the area. Even the government accepted director's recommendations and retained the width of road to 15 metres.

However, on the development plan, the words '24 meters' were not scored out. Taking undue advantage of this draftsman error, the NMC wanted to increase its width to 24 metres without following due process of law.

On December 3 last year, the civic body offered 100% TDR to residents/shopkeepers who will be affected by the proposed widening, if they were ready to surrender the area on their premises. Afterwards, several persons submitted representations and objected to NMC's proposal, but all their pleas were ignored.

The petitioners had approached the high court in 2005 with same contentions, but NMC made a wrong statement that in development plan, the width was shown as 24 meters, which was recorded by the court before disposing of the cases through common verdict.

- The Times of India, March 2, 2016

Hundreds of buildings on heritage list, Delhi govt. yet to issue notification

Hundreds of heritage buildings across the Capital are dying a slow death in the absence of any conservation measures. The Delhi government had in July 2014 received a list of 551 buildings and sites for bringing them under the “heritage” category, but nearly two years on, the file seems to be gathering dust.

After a two-year survey, the Indian National Trust for Art and Cultural Heritage (INTACH) had come up with the final list of buildings in the city which could be tagged as heritage. However, the onus for notification of these sites lies on the Delhi government, which is yet to happen.

“We have no authority to call these sites heritage. It has to come from the Delhi government through a notification which will make it binding on the authorities and owners to conserve and preserve it. Until that happens, the structures will continue to get ruined,” said A.G.K. Menon, the convener of INTACH (Delhi circle).

The matter has been with the State Urban Development Department. When contacted, the Department said “work is in progress”, although initially it was unable to locate the file.

Most of the buildings that are awaiting the heritage tag include beautiful havelis, schools, mosques and markets of Old Delhi, some of which date back to the Mughal era.

“Primarily, the havelis date back to the 19th Century or the colonial era. Many such houses have fluted columns that accentuate the grandeur of the buildings and jharokha- type windows,” said another conservationist from the organisation.

The reason why many of these buildings are falling apart is because owners are unable to maintain them in the original way, which requires considerable money. The Shahjahanabad Redevelopment Corporation (SRDC), under the Delhi government, is coming up with a soft loan scheme with the aim of adaptive reuse of these buildings. However, buildings owners interested in availing the scheme will have to be notified, which means that the 551 buildings that await notification are out of the race.

Explaining the scheme a SRDC official said: “The heritage designs for conservation and preservation will be provide by INTACH and financial assistance will be given by Delhi Finance Corporation. There will be a subsidy on the loan.”

According to Mr. Menon, INTACH had first approached the chief town planners of the three municipal corporations for the notification. “But we were asked to wait as they said the MCDs would soon be unified again,” he added.

Several years ago, the civic bodies had notified 195 buildings for their conservation, after which there has been no new announcement from them. Some of the prominent structures include the havelis in Chandni Chowk’s Maliwara lane along with the famous Namak Haram ki Haveli. Others are located in areas like Dharampura, Dariba Kalan, Hauz Qazi, Khari baoli, Jama Masjid and Sitaram bazaar.

- The Hindu, March 3, 2016

Kolkata Municipal Corporation (KMC), which is supposed to be the custodian of the city's heritage, has surreptitiously downgraded the status of the century-old Roxy Cinema so that it can be demolished.

While KMC claimed it had done so because it did not find any significant architectural or historical association with the building, architects as well as hertaige lovers expressed shock as it is a prominent Art Deco structure and has an engaging history .

According to mayor Sovan Chatterjee, Roxy Cinema, which had been listed a Grade IIA building to ensure its protection, could now be demolished as the gradation had been altered to III at Monday's mayoral council meeting.

"We want to pull down Roxy Cinema to construct a building that will be an extension of the KMC headquarters. The idea is to ensure better delivery of service and decongest the headquarters," Chatterjee said.

The project management unit (PMU) that oversees heritage buildings was earlier nudged to offer a downgrade proposal. A source in the department said a clear instruction had come from the top to find a way to demolish Roxy Cinema that had become a white elephant for KMC. Bengal Properties Pvt Ltd had owned the building before it was taken over by KMC for non-payment of dues. The move was challenged in court. With the civic body now winning an order in its favour, it wants to pull the building down in a hurry .

According to a PMU official, the KMC Heritage Committee headed by commissioner Khalil Ahmed had considered the mayor's desire and wrote in its assessment report that Roxy Cinema had no significant architectural value that could entice tourists and that it wasn't of much historical value either.

- The Times of India, March 3, 2016

Fort in a shambles but team discovers rare wall painting, old cooling system.

A TEAM of architects working on the restoration process at Nabha Fort in Patiala district, the ancestral property of Maharaja Ripudaman Singh, who had been exiled for opposing British rule, has unearthed some rare artefacts and systems from within the premises.

This is for the first time since Independence that the fort is being restored and the team from the Mumbai-based Cultural Resource Conservation Initiative (CRCI), the consultancy hired by the Punjab government for the restoration, has so far found a rare wall painting depicting the Army of great Sikh ruler Maharaja Ranjit Singh and a ‘Sard Khana’ (system that helps keeping rooms cool during summers) in the basement.

“The rare painting is probably 100-150 years old (1850-1900) and depicts the Army of Maharaja Ranjit Singh. The painting also shows the proximity between Maharaja Jaswant Singh (a ruler of the Nabha kingdom) and Maharaja Ranjit Singh. Maharaja Jaswant Singh was an ardent supporter of Maharaja Ranjit Singh and this is reflected in the wall paintings we are finding in the Nabha fort which was built by Maharaja Hira Singh, the father of Ripudaman. The courtyard paintings, which in those days depicted the ideologies of the respective kings, speaks volumes of how the Nabha regime related to Maharaja Ranjit Singh and how Ripudaman believed in independent rule, unlike other princely states which were sycophants of the Britishers,” said CRCI director Gurmeet Sangha Rai.

Currently hidden under layers of lime wash (as fort was previously used by government departments), the rare painting is being restored to its original form. Rai added that the other important discovery was the Sard Khana. “A basement has been discovered in the rear courtyard of the Nabha fort, which is known as the Sard Khana. It is extremely unique in its spatial configuration and was used to keep all the rooms cool in summers. What makes it even more interesting is that these subterranean chambers are structurally very stable while the superstructure is in a decayed condition. We were unaware of any such part existing in this fort. Both discoveries are extremely significant. We are expecting more with an extensive work we are carrying out currently,” she said. As part of the first phase of the project, the CRCI team is undertaking an emergency stabilisation and structural consolidation as the fort is a shambles. “The emergency stabilisation costs nearly Rs 6 crore but we had to do it as many parts of the fort are simply coming off. It had not been touched since Independence. We had to start from the scratch. Trees have grown into the walls. They have been removed and chemicals sprayed. New unknown aspects of the fort are emerging as we are moving ahead,” Rai said. The fort though has failed to get the tag of ‘protected monument’ from the Archaeological Survey of India (ASI) and hence the Rs 15 crore conservation project is now being solely executed by the Punjab Tourism and Heritage Board through a loan from the Asian Development Bank (ADB). Rai said the entire process will take a minimum of five years to complete while the emergency restoration is expected to take an year more. The Mumbai firm has been given a deadline till March 2017. Starting the work was itself not easy as has taken almost 13 years. “We first proposed this in 2003 through the Nabha Foundation, which is working to preserve the ‘Nabha Riyaasat’. It has taken almost 13 years to get the government nod, arrange finances and now work has actually started on the ground. The fort is still not a protected monument under ASI,” Rai said. Navjot Pal Randhawa, director, cultural affairs, archaeology and museums, Punjab, said: “Since independence, it is for first time that work on this fort has started. The aim is to boost tourism and this project is entirely under state government to preserve the historic Nabha Fort”.

- The Indian express, March 3, 2016

40 rock paintings recently discovered in the Kondane caves in Raigarh district in Maharashtra.

A hunter stands poised with a bow and arrow. A barasingha (swamp deer) stands nearby. Then there are footprints, palm impressions and some trees. These were some of the depictions in the 40 rock paintings recently discovered in the Kondane caves in Raigarh district in Maharashtra.

The images were found in both natural caverns and man-made caves. The man-made caves also feature Buddhist architecture such as a ‘chaitya’ (prayer hall) and a monastery.

Kantikumar Pawar, a specialist in rock art, called it “an important discovery because we were not aware of the existence of rock art images in the western region of Maharashtra where the Kondane caves are located.”

Maharashtra was absent on the rock art map of India before 2003. However, detailed surveys by the Deccan College Post-Graduate and Research Institute in Pune led to the discovery of several rock art sites in the Chandrapur and Nagpur regions of Vidarbha.

New research area

“Rock art has now been found in the Kondane caves in western Maharashtra as well, which will compel students of history to have a re-look at these cave groups,” said Dr. Pawar, assistant professor of archaeology, Deccan College.

The rock paintings, in red and black hues, were found in the corners and the ceilings of the caves.

A striking image found was that of a mythical figure, perhaps a demon. Other paintings reflected everyday life and occupations such as hunting deer. “The style and articulation of these paintings suggest that they have been drawn during the late historical period of second century B.C. onwards” because some of the caves [where these images have been found] were excavated in the first century B.C., said Dr. Pawar.

The images were found by a team drawn from the Deccan College, Maharashtra State Archaeology Department, Pune division, and R.K. Talreja College, Mumbai University. The team included Vilas Wahane, Jaya Gholwe, Rupali Mokashi, Pankaj Samel, Pramod Waghmere, Arvind Asabe, Mohana R. and Dr. Pawar. The caves are under the jurisdiction of the Archaeological Survey of India (ASI).

Rupali Mokashi and Pankaj Samel termed it “an accidental discovery because we had visited these caves several times to study the epigraphical records there” but during one of these visits, “we noticed a few drawings on the ceiling of a natural cave.” Mr. Vilas Wahane, assistant director, State Archaeology Department, said there were many paintings plastered over with mud. “We do not know when this vandalism took place. But the ASI can conserve these important heritage sites because it has its own Chemistry branch and trained conservators. Since the paintings are on basalt rock surface, exfoliation is a problem. So the images require proper chemical treatment,” he added.

Specialists in Buddhist studies are familiar with the Kondane caves. An unfinished Buddhist chaitya and a vihara were found in two man-made caves in the group. A chaitya is a Buddhist prayer hall with a stupa at one end. A vihara is a monastery. The Buddhist rock-cut architecture found in these caves belongs to the Hinayana phase of Buddhism.

- The Hindu, March 3, 2016

Flora Fountain, the architectural heritage monument, will soon get its old sheen and splendor back. The Brihanmumbai Municipal Corporation (BMC) has decided to appoint the Indian National Trust for Art and Cultural Heritage (INTACH) for its repairs and restoration at a cost of Rs2.35 crore. The proposal for the same was approved by the standing committee of the BMC on Wednesday.

Flora Fountain is an iconic grade I heritage structure located at the junction of DN Road at Hutatma Chowk in Fort. The fountain, which belongs to the BMC, has been carved from Portland stone. Built in 1864, the structure depicts the Roman goddess Flora.

The BMC had appointed M/s Vikas Dilawari as a consultant for the beautification and restoration of Flora Fountain. The plan submitted by Dilawari was approved by the BMC in 2011 and the Mumbai Heritage Committee, too, gave its green signal for the project.

According to civic officials, the restoration of Flora Fountain will be carried out in two phases. Phase one includes the beautification of the surrounding area, tiling, building a stainless steel sitting arrangement and illumination.

Phase two consists of the restoration of Flora Fountain, along with the laying of marble tiles, and repairing the fountain and pumping system. While the work required for phase one will be carried out later after bids are invited, the BMC had asked Chhatrapati Shivaji Vastu Sangrahalaya and INTACH to carry out work on phase two. However, with the former expressing its inability for the job, the civic body has allotted the work to INTACH, which has earlier successfully carried out restoration work on the BMC hall and Bhau Daji Lad Museum.

"The BMC had proposed to carry out the restoration of Flora Fountain by May 1, which is Maharashtra Day. However, with the proposal being tabled before the committee now, this looks unlikely," said a civic official.

According to the proposal, the work on restoring the structure and its surroundings would be completed in a span of six months. The restoration of the structure would also require Portland stone.

- http://www.dnaindia.com, March 3, 2016

Seeking to infuse love for biodiversity into the people and reduce man-animal conflict, a festival themed on elephants will be held here tomorrow to coincide with the UN World Wildlife Day.

The Centre for Environment Communication (CEC) and Prayas Juvenile Aid Centre (JAC) Society will organise the event.

The festival will play host to around 350 underprivileged children from various organisations who will participate in various activities. They will be given opportunity to understand and connect with the world of nature in an innovative manner.

The CEC said the elephant festival was aligned with the UN World Wildlife Day sub-theme- ‘The Future of Elephants is in our Hands’ as both Asian and African elephants were facing long-term challenges, including habitat loss and fragmentation, human-wildlife conflict and growing levels of poaching. The environmental body said in India elephants were in the list of endangered animals since its numbers had “significantly declined by 50 per cent over the past 50 or 60 years”.

The key focus of the festival will be raising awareness on the crucial role elephants play in the ecosystem and how other wildlife depend on its presence and habits, showing elephant conservation solutions and ways to reduce man-animal conflict, while inculcating love for the biodiversity in children,” it said.

Alka Tomar, Founder-President CEC said, “The elephant festival is aligned with the conservation efforts of the UN World Wildlife 2016 theme - The Future of Wildlife is in our Hands.” — PTI

- http://www.tribuneindia.com, March 3, 2016

Until four hundred years ago, a wild, long-horned ancestor of cattle roamed across much of Europe. The last of these stately creatures - known as aurochs - went extinct in the 1600s.

But what if there were a way to bring them back?

Last year David MacHugh, a professor of genomics at University College Dublin in Ireland, and his colleagues sequenced the first aurochs genome in December, reporting their findings in the journal Genome Biology. And MacHugh thinks it may be possible to recreate an aurochs (the singular and plural form of the word for the animal) someday, thanks to advances in gene editing technology.

How the aurochs gave rise to modern cattle

The aurochs (Bos primigenius) was once found throughout Eurasia, from China to what is now Great Britain, and as far south as India. They expanded into Europe as the glaciers retreated at the end of the last ice age and more of their habitat opened up.

Scientists divide them into three different subspecies: Northern Eurasian, Southern Asian, and North African. The Eurasian aurochs are thought to have been domesticated about 10,500 years ago in the Fertile Crescentregion in what is now the Middle East, giving rise to so-called "humpless" cattle. The Indian aurochs were domesticated about 1,500 years later in India, as what are called "humped" cattle.

As farmers migrated into Europe from Asia with their domesticated cattle, the wild aurochs in Europe started to die out. The last one went extinct in a Polish forest in 1627, and a Polish king used its horn as a drinking horn, MacHugh said.

Still, until recently, scientists didn't know whether the European aurochs ever interbred with domesticated cattle. They got an answer in December, when MacHugh and his colleagues sequenced the genome of a British aurochs that was bone carbon-dated to almost 6,800 years ago. By comparing its genome with those of modern cattle, they found evidence to suggest that the aurochs crossbred with ancestors of English, Scottish, and Irish heritage cattle breeds.

The researchers also found changes in genes involved in neurobiology, sensory perception, reproduction, and other behaviors, which resulted from generations of human breeding.

Bringing back the aurochs
Some people are interested in the idea of returning an ecosystem to its natural wilderness state by reintroducing the key species that lived there - a process known as rewilding. In the case of the aurochs, some have hope that it could help maintain Europe's native grassland environments.

But now that we have the aurochs genome, how would we actually go about bringing them back from extinction? There are two possible approaches, which MacHugh outlined:

Selective breeding: This would involve breeding modern cattle to have the same physical and behavioral features of an aurochs, by selecting for traits like massive horns, muscular shoulders, a slim body, and (in males) a tendency to fight. There have been some attempts to create an aurochs-like animal, like the Heck cattle bred in Germany in the 1920s. But as MacHugh pointed out, the result of these efforts "would look like an aurochs and behave like an aurochs, but it won't be an aurochs."

Gene editing: In this approach, scientists would take genes from the aurochs genome and, using modern gene editing techniques, insert them into the egg cell of a related, living species of cow. The same concept has been proposed for bringing back the woolly mammoth, using an Asian elephant as a surrogate. This may be possible within the next 10 to 20 years, MacHugh said. But in practice, you would only be tweaking a fraction of its hundreds of thousands of genes, and it would be very expensive.

Although bringing back the aurochs might take a lot of money and effort, now that we have cracked its genetic code, we have the ability. Now, all we need is the will to make it happen.

- http://www.businessinsider.in, March 3, 2016

Retired principal scientist K J Mathew and his wife Annamma Mathew have a simple message. Every drop of water counts and there is a need to conserve it scientifically.

Their idea has transformed into a rain water harvest project erected on their roof top wherein six tanks caters to 90 per cent of the water needs of the family.

The concept which was started two years ago at their home has turned a huge success. The result? The couple, who stays at Kadavanthra in Kochi, has to shell out just `22 to the KWA every a month as water bills.

"It just struck me during my retirement years that I need to do something worthwhile. One day, the tank used to collect KWA water stopped functioning. I kept it open for a few days. When the rains came, the tank was overflowing. This is when I immediately started studying about the impact and uses of rain water harvesting." Even today, the 74-year old charts down the amount of water being used by the family daily. He accounts for it in litres and millilitres.

As part of his study, several samples of the water was send to the Kerala Pollution Control Board to analyse the quality of water collected from the rain water. The result was mind blowing. The water did not contain an iota of chemical. The presence of micro organisms which stem out from fecal coliform bacteria was minimal. "In short, its purity is unquestionable and can be used as drinking water. However, one has to be careful that microorganisms don't seep in. One has to ensure that the pipes that bring in water from the rooftop to the tanks regularly are clean."

His wife Annamma shares that they use the water for cooking, cleaning kitchen wares, bathing, washing clothes, swiping the floor, toilet purposes, washing vehicles and porch, watering garden plants and occasionally washing the terrace.

"Being city dwellers, we are entirely dependent on water provided by the KWA. The water from the wells are not pure enough here, which makes it essential to invest in rain water harvesting," she says.

According to his research analysis, an average family would require 22,ooo litres of water per month. The rain water collected from the roof top supplies 4,47,580 litres every month. Despite fixing six tanks at his house, two-third of the water seeps away. Mathew adds that the biggest benefit of using rain water is that it is available nine months a year.

"The only expense we had to incur was during the installation process, where we had to spend `33,498. "Rain water is a gift from mother nature and it would be a crime if one does not use it judiciously. If we resort to rain water we need not depend on the government machinery for water," Annamma Mathew adds.

K J Mathew is a recipient of the Jawaharlal Nehru Award for Outstanding Research and also was part of the 3rd Indian Antartic Expedition. The couple have three daughters who have settled in the US.

- The Indian express, March 3, 2016

our months have passed with no progress after the director general of the Archaeological Survey of India (ASI), New Delhi, directed its Aurangabad office to inspect the idol of Parvati at Trimbakeshwar temple which has been proposed for conservation. On Wednesday, trustees of the temple went to ASI, Aurangabad Circle, to review the situation.

"The idol is almost mutilated and its parts could fall off at any time. The chemology department is in charge of chemical conservation of heritage structures and the Delhi office had written to the office in Aurangabad in October when we met them," said some of the trustees.

The trustees of Trimbakeshwar temple had met ASI director general Rakesh Tewari in New Delhi in October and sought the intervention of experts to prevent the degeneration of the prestigious idol that dates back to the Peshwa era in the 18th century. The ASI had passed on instructions to the chemology department of their Aurangabad office.

Lalita Shinde, trustee of the temple, said, "No one even visited the temple to study the idol and initiate conservation work. I have been following up on the issue since October, but since there was no movement from the chemology department in Aurangabad, we approached them on Wednesday. One official told us that some there will be some progress only if we write to the chief minister, prime minister and others. Now, that's what we will do."

When contacted, an officer from ASI, Aurangabad Circle, said, "The director of our department retired a few months ago and the new person appointed has not yet taken charge. One officer has been given additional charge, but he is on leave."

The officer also said that no one from his office would have asked the trustees to write to the chief minister or prime minister, and if they did, it was not right on their part.Conservation of Parvati idol at Trimbakeshwar temple a non-starter.

- The Times of India, March 3, 2016

ourists can now do so much more with their mobile phone cameras.

The Union ministry of tourism has launched a mobile application that will enable travellers to send pictures of heritage attractions with unclean surroundings or garbage lying around, as part of the Swachh Bharat Abhiyan.

Launched on February 22, 2016, the 'Swachh Paryatan' mobile application has been made available for 25 heritage monuments including Daulatabad Fort in Aurangabad, Taj Mahal, Fatehpur Sikri and Humayun's Tomb, Qutab Minar and Red Fort among others. All these monuments are looked after by the Archaeological Survey of India (ASI).

According to an ASI official in Aurangabad, the application is available for android phones and activates only at the heritage site. He also said that ASI officials here have undertaken trial runs of the application.

Through the application, citizens can take a photograph of garbage near any of the listed monuments and upload it with their remarks.

The application then sends an SMS to the ASI nodal officer handling the monument who, upon receiving the message, gets the area cleaned. The officer then sends an SMS to the complainant that the matter has been addressed.

"The Swachh Paryatan application covers around 25 heritage structures or 'Adarsh Smarak' monuments. As the campaign expands, more monuments will be added," said the official.

- The Times of India, March 3, 2016

Hundreds of buildings on heritage list, Delhi govt. yet to issue notification

Hundreds of heritage buildings across the Capital are dying a slow death in the absence of any conservation measures. The Delhi government had in July 2014 received a list of 551 buildings and sites for bringing them under the “heritage” category, but nearly two years on, the file seems to be gathering dust.

After a two-year survey, the Indian National Trust for Art and Cultural Heritage (INTACH) had come up with the final list of buildings in the city which could be tagged as heritage. However, the onus for notification of these sites lies on the Delhi government, which is yet to happen.

“We have no authority to call these sites heritage. It has to come from the Delhi government through a notification which will make it binding on the authorities and owners to conserve and preserve it. Until that happens, the structures will continue to get ruined,” said A.G.K. Menon, the convener of INTACH (Delhi circle).

The matter has been with the State Urban Development Department. When contacted, the Department said “work is in progress”, although initially it was unable to locate the file.

Most of the buildings that are awaiting the heritage tag include beautiful havelis, schools, mosques and markets of Old Delhi, some of which date back to the Mughal era.

“Primarily, the havelis date back to the 19th Century or the colonial era. Many such houses have fluted columns that accentuate the grandeur of the buildings and jharokha- type windows,” said another conservationist from the organisation.

The reason why many of these buildings are falling apart is because owners are unable to maintain them in the original way, which requires considerable money. The Shahjahanabad Redevelopment Corporation (SRDC), under the Delhi government, is coming up with a soft loan scheme with the aim of adaptive reuse of these buildings. However, buildings owners interested in availing the scheme will have to be notified, which means that the 551 buildings that await notification are out of the race.

Explaining the scheme a SRDC official said: “The heritage designs for conservation and preservation will be provide by INTACH and financial assistance will be given by Delhi Finance Corporation. There will be a subsidy on the loan.”

According to Mr. Menon, INTACH had first approached the chief town planners of the three municipal corporations for the notification. “But we were asked to wait as they said the MCDs would soon be unified again,” he added.

Several years ago, the civic bodies had notified 195 buildings for their conservation, after which there has been no new announcement from them. Some of the prominent structures include the havelis in Chandni Chowk’s Maliwara lane along with the famous Namak Haram ki Haveli. Others are located in areas like Dharampura, Dariba Kalan, Hauz Qazi, Khari baoli, Jama Masjid and Sitaram bazaar.

- The Hindu, March 4, 2016

Several heritage structures and ancient historical temples dating back to 16th century AD in the district with rich cultural and historical value, are being systematically defaced and vandalised by treasure hunters, due to lack of coordination between the departments of Endowments, Mines and Geology, Tourism and Archaeology.

About 200 treasure hunt teams both local and from neighbouring Karnataka are on the prowl for ancient treasure engaged in digging operations at secluded places with the help of sophisticated metal detectors, according to Archaeology and Museums department sources.

Some of them had reportedly benefited from such secret excavations and turned into multi-millionaires overnight. Late Kaleshwar Swamy of Penukonda was a major beneficiary of such a bonanza from treasure find nearly a decade ago. According to department sources, one person was killed six months ago in Penukonda, the hot seat of treasure hunt due to clashes among the treasure hunt teams. Vested interests are digging up historical temples in Penukonda hoping to find precious gold and silver articles of antique value.

Kadiri Lakshminarasimha Swamy temple and Penna Ahobilam temples are glaring examples of tampering of ancient structures in the name of renovation by the departments of Endowments and Tourism. This practice has become a matter of concern for lovers and students of history and also to the Department of Archaeology which is the chief custodian of all ancient structures in the country.

Treasure hunters are the main culprits as they vandalise these structures, which are vulnerable as there is none to guard them. Archeology assistant director Lakshmi Devi says there are no funds to guard temples and structures and idols of antique value and unless the Central and State governments allot funds for the purpose, guarding these treasure troves will be a difficult proposition.

The State Department of Archaeology has no funds to appoint security staff for the protection of ancient structures. As per Andhra Pradesh Ancient Historical and Archaeological Monuments Protection Act 1960, all ancient temples and heritage sites had been declared protected monuments. No alterations, modifications or modernisation can be effected without the approval of Department of Archaeology.

Another problem is the tampering of original structures by government departments in the name of tourism promotion. The pristine beauty of Kadiri Lakshminarasimha Swamy temple dating back to 16th century of Vijayanagara kings has been tarnished. The ancient paintings on the temple ceilings had been effaced by frequent whitewashing of the ceiling. The original tiles have been replaced with modern marble tiles.

Sajjaganta Ranganatha Swamy temple too lost its ancient touch with the frequent lime coating of the walls, which led to the damage of ancient temple paintings. Alilurukona temple at Tadipatri belonging to 14th century too had been tampered with. The central architecture of the temple had been replaced by cement structures.

Assistant director of Archeology and Museums N.Lakshmi Devi told ‘The Hans India’ that renovation works had been in progress in a phased manner without tampering with the original character of the ancient architecture. Technical assistant of Museums Ram Subba Reddy during his chat with 'The Hans India' revealed that it is becoming increasingly difficult to keep track of many happenings at the field level due to the department functioning with skeletal staff and meagre financial resources.

Despite resources crunch, many works relating to protection and maintenance of temples had been taken up while several are at a proposal stage. The historical Vemana Yogi tomb at Katarupalle is a protected monument dating back to 16th century. The Department of Tourism had in the past modernised the tomb and the structures adjoining it. Law forbids construction activity within 100 metres of any historical structure but this basic norm was being thrown to the winds by government departments.

The original paintings relating to Ramayana and Mahabharata of Vijayanagara period at the temple in Gudipalle and Ranganatha Swamy temple in Somandepalle mandal had also suffered the vagaries of renovation.The list is endless with even the destruction of old ‘satras’ in Penna Ahobhilam temple. The Department of Archaeology in the district has 64 monuments which come under the Protection Act in Kurnool and Anantapur districts.

- http://www.thehansindia.com/, March 4, 2016

Indian companies have come forward to adopt the world heritage sites and places of cultural significance as part of an initiative by the Indian government to preserve such places under the public private partnership (PPP) model. These places include the Lodhi garden monuments in New Delhi, Sun temple in Konark, Khajuraho temples, Mahabalipuram temples and Tughlaqabad Fort in New Delhi, among others.

The government's National Culture Fund (NCF), a trust formed under the union ministry of culture, is driving the initiative to preserve and protect monuments, including the world heritage sites, the ministry said in a statement on Wednesday.

All the companies are public sector undertakings – Indian Oil Corporation (IOC), State Trading Corporation (STC), Bokaro Steel Plant, GAIL (India), PEC, SAIL, UCO Bank, NTPC, ONGC, SBI, Shipping Corporation and BHEL.

Most of these places are major attractions for foreign tourists, who are wooed by India through its "Incredible India" campaign to visit the country.

Earnings from foreign tourists constitute a significant part of overall tourism business in India.

Between January and December 2015, 80.16 lakh tourists visited the country, an increase of 10.2% over 76.79 lakh tourists over 2014.

However, foreign exchange earnings, or FEEs, in calendar year 2015 were down 2.8% to $19.67 billion, from $20.23 billion in 2014, according to a statement issued by the union tourism ministry on Jan. 8, 2016.

India has been wooing foreign tourists in a big way by initiating various tourist-friendly measures. The Indian government recently extended e-tourist visa facility recently to 37 more countries, taking the number of such countries to 150. The e-tourist visa facility was launched in November 2014 to simplifying the cumbersome procedures for international travellers who visit India for sightseeing, medical treatment, short business trips or to meet friends and relatives.

- http://www.ibtimes.co.in/, March 4, 2016

A PIL seeking restoration of an ancient gateway in the old outer periphery of famous Goddess Meenakshi Amman temple here has been filed in the Madras high court bench here.

When it came up for hearing on Thursday, a bench of Justice S Manikumar and Justice C T Selvam posted the case for further hearing on March 10 after the Union government's advocate submitted that he would seek the view of Archaeological Survey of India officials.

Petitioner K Pandi Arasan, an advocate, said the 'vitta vasal', an ancient gateway to the city, was constructed by the Pandya kings in the 13th century and is a testimony to the Pandya architecture.

During the British period in 1857, in order to expand the city, the then collector demolished three gates that denoted the border of the city and left the one gate on the eastern side, which later become a tourist landmark. But over the years, officials had neglected it and shopkeepers and encroachers damaged the ancient gateway converted the space into concrete rooms with AC facility. The alteration should not have been allowed at all.

He had sent a representation to the officials, including the Union assistant superintendent of archaeology, the secretary of tourism and culture and department of archaeology seeking removal of the new structures and restore the 'vitta vasal' to its original shape. But there was no response from the officials.

- The Times of India, March 4, 2016

Early five years after Nuclear Power Corporation India Ltd had to retreat from Haripur in East Midnapore following hostile protests by fishermen and villagers, a team from the company returned to Haripur last month to survey the birds and also feel the situation on the ground. The team will return this December to not only count the birds again but also subtly tell the locals that nuclear energy protects the environment and their livelihood.

"A 6,000 MW nuclear park is proposed at Haripur. If a thermal plant of equivalent size is put up, it will spew 85.8 million tonne of carbon dioxide annually. That is the amount of pollution that people in not just Haripur but the entire coastal belt will have to grapple with. Children will be the worst sufferers since carbon dioxide, being heavier than air, hangs low. Nuclear energy, on the other hand, is non-polluting. Our survey shows that avian biodiversity at Narora Atomic Power Station (NAPS) in Uttar Pradesh has gone up steadily. People there are now convinced we can improve the environment. We hope to similarly connect with people of Bengal and present the true picture," said Anutosh Chakraborti, NPCIL additional chief engineer, liaison Haripur.

Priyadarshan Mishra and Raja Mondal who have been engaged in the aviation survey at NAPS pointed out that birds were the best indicators of the health of local environment. "Birds are tough. They survive in hostile environments, right from the Sahara desert to Antarctica. But when birds desert a place, it means humans cannot survive there," Mishra said.

The survey detected 82 species of birds, including the near threatened Black headed Ibis, along a 50 km stretch between the river mounts of Subarnarekha and Rasulpur. In all, 2,108 birds were spotted in the three day survey between February 26 and 28. At NAPS, surveys between 2005 and 2015 show an increase from 117 species to 196 species.

While the Mamata Banerjee government had earlier refused permission to the nuclear facility at Haripur, NPCIL believes it can still salvage the project if it could remove the negative perception about nuclear energy among locals.

"I am interested in seeing this part of the country prosper. People have been told they are not hard working. I don't believe that. Let us sit back and think what is our future? Do we want to give our children and grandchildren a future tarred with pollution? Or do we want to join the growth and breathe fresh air? Look at the map of India. There are nuclear plants offering clean energy everywhere except the east. The Kudankulam plant in Tamil Nadu has begun functioning. Imagine what 6,000 MW capacity facility would do to Bengal, the huge employment it would generate and prosperity it would bring," said Variable Energy Cyclotron Centre (VECC) director DK Srivastava.

On the Chernobyl disaster and Fukoshima plant inundation, he said both were man-made incidents as recommendations on safety were deliberately ignored.

"Why does not one talk about Kalpakkam where during the tsunami in 2007, the plant was shut down and restarted three days later?" he wondered.

But how long is NPCIL willing to wait before pulling the plug? Two years at most, said Chakraborti who believes it will be a bigger loss to Bengal than the Nano mother plant relocation from Singur to Sanand. "People should start thinking," he added.

- The Times of India, March 4, 2016 Marking World Wildlife Day, UN calls for global actions to save planet’s most iconic species “Time is running out” to end wildlife poaching that threatens some of the world’s most iconic species, such as elephants, Secretary-General Ban Ki-moon said on Thursday as the United Nations marked World Wildlife Day.

Urging global efforts to protect this essential natural heritage for the current and future generations, much more needs to be done by key actors on all continents and across sectors, he said in a message, stressing that “the future of wildlife is in our hands,” echoing the theme of this year’s World Day.

“For too long, the world has been witness to heart-breaking images of the mass slaughter of elephants for their tusks,” he said.

According to the Secretariat of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), the killing of African elephants and trafficking in their ivory remain alarmingly high. Asian elephants are also subject to growing levels of poaching. An estimate shows that about 100,000 elephants were slaughtered for their ivory between 2010 and 2012.

Under the theme, The future of wildlife is in our hands, African and Asian elephants are a main focus of the 2016 Day. Countries around the world are encouraged to highlight species of wild animals and plants from their own countries, adapting the global theme to suit.

Ban said that last year, UN Member States adopted the Sustainable Development Goals (SDGs), including specific targets to end poaching. The UN General Assembly also unanimously adopted a resolution to limit illicit trafficking in wildlife.

To combat poaching and trafficking of protected species, it is essential to address both the demand and supply of illegal wildlife products through agreed goals and targets and international instruments, such as the CITES, he added.

In his message, John E. Scanlon, CITES Secretary-General, noted that the current wildlife crisis is not a natural phenomenon, such as a drought, a flood or a cyclone. “It is the direct result of people’s actions,” he declared.

Across every continent, he noted, governments and citizens are tackling both demand and supply, making wildlife crime much riskier and far less profitable. “We are beginning to turn the tide on wildlife trafficking,” he said, adding, however, that much still remains to be done, and a collective success will rely upon the individual actions taken by each.

UN Environmental Programme (UNEP) Executive Director Achim Steiner said that the disappearance of individual species threatens biodiversity, and by extension, the life support systems on the planet. The Day is “a call to become more informed and more involved in stopping this crime against nature, communities and future generations,” he said.

Braulio F. de Souza Dias, Executive Secretary of the Convention on Biological Diversity, said wildlife is also the basis of biodiversity. Biodiversity in the wild is just as important to human wellbeing as biodiversity in plants and animals used for human consumption. Wildlife is incremental to forestry, fishery and tourism livelihoods around the world. Quite simply, biodiversity keep ecosystems functional providing the ecosystem services to allow people to survive, get enough food, and make a living.

“The conservation and sustainable use of wildlife is therefore a critical component of sustainable development, and should be part of a comprehensive approach to achieving poverty eradication, food security and sustainable livelihoods,” he said.

- http://indiablooms.com, March 4, 2016

Once bountiful, Bengaluru's lakes have shrunk drastically. Statistics back this. Over the years, the city has lost 79% of its water bodies. Chhattisgarh capital Raipur fares the worst in the country (80%) and Ghaziabad in Uttar Pradesh occupies the third spot (75%), a study by the Centre for Science and Environment (CSE) has revealed. Scientists blame rapid urbanization and lake encroachment for the loss.

Researchers from CSE shared the findings at a two day workshop for journalists -the state of lakes and water bodies of southern India: threats, challenges, and opportunities. "We need to start conserving wa ter bodies like lakes or get ready for disasters like the Chennai floods in the com ing years," said experts.

The rate of urbanization has increased from 2.1% be tween 1991 and 2001 to 3.3% between 2001 and 2011; it's expected to grow to 18% from 2011 to 2031. To prevent floods, cities need more water bodies, which act like sponges and absorb rain. If they are neglected, extreme rain can cause floods.

Chandra Bhushan, dep uty director general, CSE, said natural disasters like the Chennai floods occur once in 100 years. But due to decreasing sponges, their incidence may increase they may occur once in 25 years or even five years.

Since 2005, floods ravaged the maximum number of cities in 2007 -35. Kolkata was the worst hit. In 2014, 17 cities witnessed floods; the situation in Srinagar was particularly bad.

Sushmita Sengupta, deputy programme manag er of CSE's environment water programme, said urban planners should undertake a detailed mapping of water bodies, natural drainage and flood-prone areas in cities using remote sensing.A single authority for the management and restoration of water bodies is the need of the hour, she said.

On the Chennai floods, Sushmita said a study showed that most of the waterways in the city were choked with sludge and waste. Even studies done by the government itself reveal the waterways in Chennai carry both treated and untreated sewage and garbage.

- The Times of India, March 4, 2016

The unmistakable French connection, tree-lined boulevards, mystical sceneries, the interminable stretches of beaches and backwaters, and restaurants serving a melange of cuisines provide an eclectic experience that draws travellers from near and far to the former French enclave, Puducherry. In the quaint colonial town, Idriss Madir and Fiona have designed a Pondy Cycle Tour for tourists to slow down, watch, listen and be more attentive and interactive to places and people around.

“Cycle tours in India are fewer when compared to Europe or South East Asia, and old school vintage Indian cycles have always been a wonderful object of design to us,” says 28-year-old Fiona. “We started by customising cycles, but the concept of ‘My Vintage Bicyclette’ did not work the way we wanted it to. We would transform groovy old-fashioned bicycles into retro masterpieces, with each being a signature bicycle. We had hand-stitched leather grips for handlebars, quaint locks, cycle bells to Mexican skulls. So Pondy Cycle Tours became our next best offering.”

In partnership with Fleur Soumer, who takes care of the logistics and is a manager at Sita Cultural Center, the French couple who met in India initiated their endeavour of promoting sustainable tourism. The goal of their tour is “to communicate to the people what makes Puducherry unique and attractive,” says Madir, 25, a freelance web designer. Guerra worked in the cultural tourism and project management in France. Both arrived in India at the end of 2012 as they wanted to contribute in their own way. In France, cycles had been a passion for them.

They have designed packages on the basis of time and by studying people and their preferences. There is Wake-Up Pondy everyday from 7 am, which is popular since its inception from 2014, the four-hour Afternoon Tour that begins at 3 pm and Pondy Gourmet Walks from 7 pm. They have three local guides. Their clientele is 70 per cent Indians, while the rest are foreigners. Charges for a tour are `1,200 for an adult and `400 for a child.

For the photo tour, Gopinath Ram, a professional photographer, gives useful tips to people to better their skills. They have tied up with four top restaurants. “Some people enjoy watching the sunrise, some want to trigger the carefree photographer in them capturing afternoon busy life while some find happiness in savouring French Creoles,” says Fiona.

Madir and Fiona are in love with India’s cultural heritage. In Tamil Nadu, they preferred motorcycles. “We went to Delhi by train and it took us nearly 43 hours. It may seem usual for you, but for us and our families, it is equal to the time taken to cross six to seven countries,” they laugh.

Once Madir cycled 200 km from Paris to Rouen and back over a weekend. When asked why would Indians choose to see their own country or a region through a foreigner’s eye, Fiona smiles and says, “Perhaps they enjoy the different perspective. India is a beautiful country and so warm and hospitable to outsiders. We are so much in love with India that we keep coming back.”

- http://www.newindianexpress.com/, March 5, 2016

Climate change is an ever-growing concern in the world. Melting glaciers and ice sheets, rising pollution levels, deforestation, etc., all contribute or are reflective of the very fact that global warming and/or climate change is, after all, very much real.

Last year saw the leaders of the world come together in Paris for the summit on climate change, where, various proposals were agreed upon to cut down on each country’s respective carbon footprint.

However, the effects of climate change are not just limited to the melting of glaciers. They reach out far and wide and even affect food production. So much so, that the effects of climate change on food production could lead to the deaths of more than half a million adults in 2050, according to researchers’ estimates.

Published in The Lancet, the research also said that three-quarters of those deaths are likely to occur in China and India.

Read more: DiCaprio happy leaders taking climate change more seriously According to a report in UPI, by 2050, lower levels of fruit and vegetable consumption could cause twice as many deaths as poor nutrition, the study based on computer modeling found.

As per UPI, This is the strongest evidence yet of the devastation climate change could have on food production and health worldwide, study leader Marco Springmann and colleagues said in a journal news release. The team predicted the impact in 155 countries.

“Much research has looked at food security, but little has focused on the wider health effects of agricultural production,” said Springmann, quoted by UPI.

These changes can lead to increase in the risk of diseases and conditions such as heart disease, stroke and cancer and death from those diseases. Furthermore, the changes in food availability would impact China and India the hardest. The researchers estimated the changes would result in 248,000 deaths in China and 136,000 in India.

The study authors also looked at the opposite scenario. A future without climate change would increase food availability and consumption, and prevent 1.9 million deaths, the researchers said.

- http://www.pakistantoday.com.pk/, March 5, 2016

Will people be ever allowed to climb to the top of Shahid Minar (Ochterlony Monument) again? This practice was stopped several years ago after somebody committed suicide by jumping off the viewing gallery atop the 48-metre high tower in the heart of Kolkata. There are many, particularly those trying to showcase the city's heritage structures to tourists, who want the ban to get lifted. Some have even approached the Kolkata Police for permission but all efforts went in veinto no avail.

"I have been trying to get the monument reopened for visitors. After all, tourists are allowed to the top of such buildings across the world such as the Empire State Building and Eiffel Tower. This will be a great tourist attraction for tourists people visiting Kolkata. The Kolkata Police maintains that visitors can't be allowed till the PWD constructs a protective grille around the viewing gallery to prevent people from committing suicide or falling off by accident," said Anthony Khatchaturian, who organises tours around heritage structures in Kolkata's central business district for tourists.

When contacted, a senior PWD official said that it had intended to install a grille around the viewing gallery but conservation architects stood against spoke out against such a move.

"Organisations like Indian National Trust for Art & Cultural Heritage (Intach) are of the opinion that a structure around the viewing gallery would spoil the looks of the monument. If this is the case, we would not like to proceed. The Monument is a very important part of the city's Kolkata's heritage and we wouldn't want it to look bad," he said. Indivar Pandey, principal secretary, PWD, could not be contacted for comment. However, when Intach was contacted on whether it had objected to the construction of a protective structure around the viewing gallery, officials said otherwise.

"First of all,We have not been officially contacted by the PWD on this subject. The matter may have come up for discussion unofficially. So far as I remember, we have never said that it is not possible to create a protective structure can't be created around the gallery. Nowadays, there are strong nets that would be nearly invisible from the ground. We would have no problems if such material is used for protecting people who go up to the viewing gallery," said G M Kapur of Intach.

Khatchaturian added, "This attitude by the PWD is depriving tourists as well as people from Kolkata of a fantastic experience. He believes that if an effort was made, a climb to the top could be an important part of the itinerary for any tourist, particularly those with interest in photography."

- The Times of India, March 6, 2016

Rani Laxmibai, the queen of Jhansi and the widow of Gungadhar Rao, was no ordinary woman. She was born into a Brahmin family who pledged alliance to the Maratha ruler, the Peshwa. Her mother died when she was very little, and she was brought up amongst boys in the Peshwa’s court where her father was employed. Amid her male companions she learned to read and write; she also became adept at horsemanship and the use of weapons, no mean accomplishments for a woman in her time. As was customary then, she was married at the age of eight to the Rajah of Jhansi in 1842, moving to her new home at the age of fourteen. Bored with palace life, she continued practicing with her weapons, an art she is believed to have taught the other ladies of the palace.

The only child born to the Rani and her husband died in infancy, and five days before her husband’s death, they adopted a five-year old boy, a fifth cousin of the king. Gungadhar Rao died in 1853, leaving his adopted son as heir, and Rani Laxmibai, as Regent of the state.

The Doctrine of Lapse, formalized in 1841, decreed “native states” would lapse to British control where no natural heir existed on the death of the ruler. It was used most effectively by Lord Dalhousie, Governor-General of India from 1848-1856, who believed that consolidation of territory was essential to improve British administration throughout India and to ease the path for expanding railways and irrigation channels for the transfer of British goods and troops. Jhansi, a tiny territory, strategically located along the route for silk, cotton, and spice traders, derived a substantial income from the excise it charged for goods carried across its borders, and was the perfect target for the Doctrine of Lapse.

In a series of letters to Lord Dalhousie, Rani Laxmibai argued that she expected that the adoption would be approved for succession purposes by the British government because they had recently approved three adoptions under similar conditions in the neighboring states of Datia, Urcha, and Jaloun.

The queen’s letter was translated and forwarded by Major Ellis, who added a note concurring with the queen on the adoption-succession in two of the three states she mentioned. In a separate letter addressed to Major Malcolm, the Political Agent, Major Ellis wrote:

I beg leave to observe that we have a treaty of alliance friendship with the Jhansi as well as the Urcha State, and that I cannot discover any difference in the terms of the two which would justify our withholding of adoption from one State and allowing it to the other.

(House of Commons 1855) While Major Ellis, who was resident in Jhansi, appeared sympathetic to the royal family, the British government in Calcutta had a differing viewpoint. The Secretary to the Government of India, J.P. Grant, in his letter to Governor-General Dalhousie, stated that Jhansi “falls into the class of those who hold [power] by gift from a sovereign or paramount power” (House of Commons 1855), and whose grants therefore could fail in the absence of male heirs. “There is now no male heir of the body of any Rajah or Sobedar of Jhansi,” he stated. Secretary Grant also called attention to the fact that Gungadhar Rao and his predecessors were incompetent rulers. In the decade from 1828 to 1838, the revenue of Jhansi had fallen from 1,800,000 to 300,000 rupees because of “gross mismanagement.”

But the Rani was not willing to give up so easily. In a second letter, dated January 16, 1854, she reminded the British that the rulers of Jhansi had never failed to honor the terms of the treaty of alliance. During the Burmese war, grain had been carried to the British troops at no cost to them; at other times weapons and soldiers had been provided to help the British.

The Rani deftly argued that the treaty used the term “warisan” referring to natural heirs, and “janishinan” referring to “the party adopted as heir and successor,” and granted succession to both. “Treaties are studied with the utmost care before ratification,” she reminded the Governor-General, “and it is not to be supposed that the term janishinan used in contradistinction to warisan was introduced in this document … without a precise understanding of its meaning.”

The queen’s arguments and pleas went unheeded, and Lord Dalhousie and his council ordered that Jhansi be annexed on the grounds of “gross mismanagement,” reduced revenue as a result of it, and the absence of a natural born heir. Jhansi was annexed in 1854.

The queen was offered a pension of 5,000 rupees per month, which was equivalent to 6,000 pounds per annum; Lord Dalhousie’s income as GovernorGeneral was 25,000 pounds per annum. The queen continued to reside in one of the palaces, while the British administration was installed to administer Jhansi.

A few years later, the British accused the Rani of being one of the chief conspirators in the Mutiny of 1857. The Mutiny, or First War of Indian Independence, primarily a rebellion of native army soldiers against their British commanding officers, took an ugly turn in several cities, including Jhansi. In Jhansi, the rebels brutally massacred an estimated 66 Europeans, including women and children.

Rani Laxmibai’s role in the massacre has remained unclear and disputed by nineteenth and twentieth-century historians.

Arguments that contend she was innocent are based on the appeals for help that she sent to the British, asking for additional troops to control the rebels and the neighboring threats of invasion faced by Jhansi. She also sent letters of apology for the deaths of the European civilians.

Modern-day biographer Tapti Roy offers the opinion that while the Rani might not have ordered the massacre, her close association with the rebels including the involvement of her own father, means that she may have at least had some inkling of the rebels’ intent.

She was officially declared as the rebel-leader after the massacre. Convinced that Rani Laxmibai was conspiring with the rebels and was responsible for the civilian deaths, British troops were sent to Jhansi to arrest her.

The Rani quickly put together her own troops with the help of allies, including other Mutiny leaders who were her childhood friends, and eventually escaped from Jhansi on horseback, pursued by the British army. After almost two months of pursuit and fighting, the Rani was killed on the battlefield near the city of Gwalior, in June 1858.

The Rani’s death at the hands of a British soldier absolved her of some of her guilt, as far as the British were concerned. It was easier to express respect for a dead heroine, than an active opponent. Sir Hugh Rose, the commander of the siege of Jhansi who had accused her of being a traitor before her death, and who refused to negotiate with the “cruel and treacherous” woman, referred to her as the “best and bravest of the rebels.”

Other British commentators followed suit; a Bombay newspaper reporter stated: “Her life has been a brief and eventful one…her courage shines pre-eminent, and can only be equalled, but not eclipsed by that of Joan of Arc.” The Rani, frequently referred to as Jezebel after the Jhansi massacre, was likened to Joan of Arc after her death.

Rani Laxmibai was much loved by the people of Jhansi during her lifetime, but her death made her an instant martyr and a glorious heroine.

The origin of many legends about her starts with the details of her death. The commonly accepted belief is that she was killed while on horseback, either by a sword or by British shelling when her horse refused to leap over a ditch. She is described as dashingly dressed like a man: in a red jacket, with her cropped hair covered by a white turban.

A more dramatic version of the story relates how she died in the thick of fighting the British, armed with swords in both hands, surrounded by British soldiers.

Another romanticized story claims that the Rani was injured by a bullet, and that her supporters moved her to a nearby location where she “ordered a funeral pile to be built, which she ascended and fired with her own hand while almost in the act of dying,” rather like a sati. Before she died, she ordered that the jewels on her person be distributed amongst her troops.

The Rani’s legend survived in arts and local folklore: in paintings and temple murals that depict her in battle, and in poetry, ballad and song, which were passed down from generation to generation and absorbed in many narrations.

By the late nineteenth-century, a few new plays and novels were written that underscored her intelligence, justice, and compassion, and stressed her innocence in the massacre of Jhansi.

Most significantly, the Rani fit in with the ideology of feminine attributes that were highlighted during the late-nineteenth century. Rani Laxmibai had all the appropriate attributes to fit into the idealized, “mother-goddess” image.

She belonged to an upper-caste Hindu family, was dutiful in her obligations to her husband during his lifetime and, after his death, fought to protect the rights of her adopted son, sacrificing her life to protect her kingdom of Jhansi. The popular symbol of the Rani as a mother and a warrior appeared in the late-nineteenth century in the form of paintings and statues that depicted her dressed as a warrior, on horseback and with a small boy tied on at the back.

She is believed to have escaped from Jhansi at night, with the boy strapped behind her, and this art form combines the archetypes of the mother and the warrior-queen. The Rani was thus depicted by nationalist sentiment as a virangana, a warrior-queen, who had proved to the British—and the Indians—that Indian women were heroic, and capable protectors of the nation.

This Rani image was repeatedly invoked at the height of the Indian independence movement. Poems written about her valor were recited at secret meetings; political plays about her were disguised as religious ones. In such plays, the Rani’s role was depicted as a powerful goddess slaying an evil demon; the demon, of course, symbolized the British.

The Rani served as an empowering role model for young Indian women who started participating in the nationalist movement. The nineteenth-century socio-religious reform movement, the Arya Samaj created an educational curriculum that included a model of womanhood based on the virangana.

The Rani of Jhansi regiment was an all-female regiment of the Indian National Army (INA). Created in 1943, by Subhash Chandra Bose, the Rani of Jhansi regiment sought to attract young women under the potent symbol of the revolutionary queen.

The Rani legend has lived on in modern-day Amar Chitra Katha comics, and in classroom recitations of Subhadra Kumari Chauhan’s Hindi poem about the queen who “fought like a man.”

In death, as in life, Rani Laxmibai has continued to inspire with her courage to fight the British, and her valor in dying a heroic death.

Aarti Johri is a tech-professional turned history buff. This piece is an extract from her thesis for the Stanford MLA degree. Her articles have been published in the San Jose Mercury News Stanford’s Tangents Magazine, Stanford’s Dabba. She serves on the board of SACHI (Society for the Art and Cultural Heritage of India).

- www.indiacurrents.com, March 6, 2016

MS University's Faculty of Performing Arts is mulling to develop an online archive of classical music to mark 130 years of its inception.

As part of the celebrations, renowned classical artists from across India will be performing for two days from March 13. The fund raised through this event will help in digital compilation of Indian classical music. The process of retrieval will begin from the next academic year. The faculty in association with city-based 'Swarayan' and Pune-based 'Swar Zankar' will host the two-day programme on March 13 at Sir Sayajirao Nagargruha. The inaugural day will witness performances of India's famed santoor player Pandit Shivkumar Sharma and table player Yogesh Samsi.

"A group of vocal students from the faculty will also be presenting a song," said Dr Rajesh Kelkar, head of the Department of Music (vocal).

"The faculty has a collection of recordings as old as 100 years. The sum attained through the event will be utilized to digitize the collection of classical music. Also, the faculty intends to host a series of performances, workshops, discussions and camps by inviting renowned artists and scholars from the field of performing arts. These lectures and conferences would then be preserved by us in the form of digital library," he said. Curtains will fall on Mach 14 with the performances of Hindustani classical musician Manjusha Patil, flutist Ronu Majumdar and violinist Pandit Atul Upadhe.

- The Times of India, March 6, 2016

The state government will observe 'Jal jagruti saptah' (water awareness week) from March 16 to 22 across Maharashtra as part of its intensive efforts to fight drought conditions and severe water shortage.

Most of Marathwada, parts of Western Maharashtra and Vidarbha have received deficient rains this monsoon. This is second consecutive drought year and water levels are abysmally low in reservoirs.

Chief minister Devendra Fadnavis will launch the water conservation week.

A government resolution issued on February 17 has given a detailed plan to be followed in every district for water week involving the district administration, social and non-government organizations. The idea is to reach out to people at large and spread the message using water with care and avoid wastages so that the water reserves available last till the onset of next rains.

The state water resources department has planned the weeklong campaign which will have events like plays, poetry recital, school students' visits to dams and contests for college students and 'water run' in every district.

Led by the chief minister, the entire cabinet of ministers are touring drought-affected areas. Each minister has been asked to visit one taluka. During such visits in Marathwada on Friday, the ministers have instructed tehsildars to visit a village every day and spend two hours there boosting morale of villagers. "The government wants to send a clear signal that it is with farmers and drought-hit people at the time of crisis," said a BJP MLA.

Meanwhile, Fadnavis has indicated that his government would intensify the Jalyukta Shivar, scheme for water conservation at village level. He said people are participating in the scheme and have donated 350 cr while the government has till date spent 3,000 cr to conserve rain water. Old water bodies, rivulets and nullahs are being revived by deepening them, creating check dams so as to block rain water to increase availability making 5,000 villages drought-free each year.

- The Times of India, March 6, 2016

Amritsar Vikas Manch (AVM), an NGO, has urged the Punjab Government to hand over the historic Rambagh garden- the summer palace of the legendary Sikh ruler Maharaja Ranjit Singh – to the Archaeological Survey of India (ASI).

The summer palace was declared a protected monument by the Government of India in 2004. However, even after the notification, it was never fully handed over the ASI. At present, the ASI is in possession of the garden and is carrying out conservation work only at the entrance, four watch towers, Hamamghar, Small Baradari and Machhighar. The remaining structures, including the main summer palace, are under the possession of the Punjab Cultural and Tourism Department.

The department was entrusted with the conservation of these structures in 2007. However, the work remained suspended for a couple of years due to want of funds from the Punjab government. This adversely affected the preservation work.

The tussle between the ASI and the Tourism Department over the possession of this immensely significant historic structure has adversely affected its maintenance. The ASI had even questioned the shoddy work done by the contractors employed by the Tourism Department for the restoration of the monument.

The unabated construction work of laying interlocking tiles and footpaths and parking areas in violation of the norms had irked the ASI as it vandalises the heritage character of the protected monument.

Dr Charanjit Singh Gumtala, pointed out that the recent move for the construction of parking for Urban Haat visitors would further harm the heritage character and that the government should construct the parking in the Urban Haat area itself. He was of the opinion that the historic structure should be handed over to the ASI for its better preservation and the authorities should be discouraged against taking up any construction on the premises of the monument.

He also urged the SAD leaders who claimed themselves to be Panthic to come forward and ask the Punjab government to hand over the same to the ASI.

- The Tribune, March 6, 2016

The Pune Municipal Corporation (PMC) has decided to develop a master plan to boost tourism in the city. Considering the role Pune has played in social and political reforms, the Rs 15-crore plan would include a 'freedom fighter museum' and mini bus tours, besides the development of various tourist spots. The civic body would prepare brochures, posters, maps and books for tourists, and also plan heritage walks and trails, officials said.

Rajya Sabha MP Vandana Chavan, who has taken initiative in the plan said the civic body would also focus on providing basic facilities like public urinals near tourist spots. which are frequently visited by tourists.

The PMC's note on tourism plan says, "PMC has also planned to set up a heritage village and park to attract tourists. It also includes setting up a freedom fighter museum at Nana Wada".

The corporation is also developing the Pune Art Plaza, a one-of-its-kind urban design project. The old Bund Garden Bridge, which has been closed for traffic because of structural stability issues, has been converted into a public space where people can stroll freely and enjoy art displays, exhibitions, workshops and many other cultural activities.

- The Times of India, March 6, 2016

Two rare sculptures of Lord Siva belonging to 10 CE (early Chola period) were identified in two temples in Pudukkottai and Ariyalur districts.

Epigraphist and historian Kudavayil M Balasubramanian said the sculptures that belong to the early Chozha period followed the Kalamuga Pasupata Saivite concepts. Each figure is a rare form of Siva that has been recorded in two hymns of the seventh tantra of Tirumantiram by Sri Tirumoolar Nayanar.

Siva is seen shouldering a Sivalinga in both sculptures found at Kodumbalur in Pudukottai district and at Melappazhuvar in Ariyalur district. "One can see hundreds of variations in the forms of Lord Siva in Tamil Nadu, particularly in the erstwhile Chozha region of Tamil Nadu," says Balasubramanian.

The Moovarkoil (temple) of Kodumbalur was built by Bhooti Vikramakesari of the Irukku Velir dynasty, who was a provincial chief under the Chozha emperors. He built three temples in his name and in the names of his wives, Katrali and Varuguna.

Lord Siva is found reclining on a sitting bull. He has one leg horizontally folded and another leg folded in a splendorous posture. Of his four arms, the front right arm is seen placed benevolently on the bull's head. The front left arm shows "Varadamudra" symbolising grace.

The rear left arm carries a deer. On the rear right shoulder, the Lord is seen carrying a Sivalinga and clutching the top of the Sivalinga with that arm. Siva has distinctive matted hair, fish-shaped ear-ring worn by women in one-ear and a bathra ear-ring worn by men.

- The Times of India, March 7, 2016

Mahashivratri is that time of the year when the sleepy, unobtrusive village of Srimukhalingam in Jalumuru mandal of Srikakulam comes alive with activities and devotees thanks to the exquisitely sculpted Srimukhalingam shrine dedicated to Lord Shiva. It is located around 50 km from Srikakulam town on the banks of river Vamsadhara and approximately 150 km from the Port City.

Lakhs of devotees from all over Andhra Pradesh as well as from the neighbouring states of Odisha and Telangana are expected to gather at the shrine to have the Lord's darshan for which preparations are already under way. There would be arrangements to have the devotees enter the shrine in queues to attend pujas and rituals such as abhisekham, grahana snanam and jagaran. Devotional songs and recitals would also take place from Monday to Wednesday.

The speciality of the temple, built by the Eastern Ganga Chola Kings (Kamarnava II) between the ninth 9th and 10th century AD in fine Indo-Aryan style of architecture, is that it is a 'swayambhu' Shivalingam that has the face of the Lord carved on it. Most of the sculptures and carvings are from the stories of the Shiva Purana. The inscriptions on the temple walls also indicate that it dates back to over 1,000 years.

Besides the main shrine of Mukhalingeswara, the temple complex also houses temples dedicated to Indra, Agni, Yama dharmaraja, Nairiteswara, Varuna, Kuvera and Vayuva as well as another small shrine for Goddess Parvathi, consort of Mukhalingeshwara. The temple has ornamental entrance and intricate carvings on the walls, related to various deities such as three-legged Vrungishrudu, the Dakshin Kashi (Varanasi of South India), Bramha, Ganesha and so on.

Besides the architecture, another beauty of the temple is that it welcomes all devotees irrespective of caste, religion or nationality. Head priest Mohan Koteshwar Sastry said, "During Mahashivratri, we get more than a lakh visitors from neighbouring states and districts. Throughout the year, visitors do come, including foreigners, and the Lord welcomes everyone from different religious faiths. There is no dresscode as well."

Emphasising on the popularity of the temple, P Janardhan, who runs a hotel 16 km from the temple at Sallavanipeta Junction, said, "During Mahashivratri, people walk 6 km to reach Srimukhalingam temple and during the festival, my hotel always overflows with guests."

Although it is under the aegis of the Archaeological Survey of India (ASI) and the endowments department, the temple unfortunately does not get promoted among heritage and archaeology aficionados. There's not a single board put up by the ASI announcing the historic importance of the temple or any sign board on the roadside to guide traveller to the temple from Srikakulam town. Moreover, there are no hotels or accommodation around the place for devotees, not even an eatery or souvenir stall.

"This is my first visit to this temple. Whenever I visit Srikakulam, I offer puja in Srikurmam and Arasavalli temples, which are closer to the town and Arasavalli has a guest house too. But Srimukhalingam is far from the town and getting a transport is also difficult. There needs to be some sort of accommodation and good eateries around this temple to attract more visitors," said Vasanth Kumari, who came all the way from Adduri in East Godavari district.

A priest, Padmanavam Sarma, said, "The temple's income is not much because entry is mostly free except during special occasions like Mahashivratri when tickets of denominations of Rs 10 and Rs 20 are charged."

- The Times of India, March 7, 2016

The Kamrup (Metro) district administration, in collaboration with an animal lovers' organization, state forest department, has come up with an unique initiative to save the endangered species in and around the city. They have decided to launch an online voting system to select an animal as the city's icon. Guwahati will be the first city in the northeast to have a rare species as its symbol.

On Monday, the people of the city will vote to choose an creature as its symbol or flagship animal. They can vote for one out of a list that includes black softshell turtle, greater adjutant stork and the Gangetic river dolphin through www.myanimal.in.

Voting lines will be open till April 30. The results will be declared on May 22, World Biodiversity Day, and the city's icon will be officially selected on the same day. The voting will be part of an initiative to create awareness about the endangered animals living in and around the city's green cover and help in their conservation. The district administration will work in collaboration with Help Earth, a voluntary organization working for the preservation of endangered animals, state forest department and Assam State Biodiversity Board.

- The Times of India, March 7, 2016

Stories of kings and queens always attract the young and the old alike. Indian history is abundant with interesting tales of brave queens. In India, where women strive to emulate Sita, and are often docile and meekly submit without resisting , there were valiant women taking up arms against enemies and often succeeded in their attempts. One such brave ruler was Rani Chennabhairadevi, the queen of Gerusoppa, who ruled for 54 years — the longest reign by any Indian woman ruler.

Gerusoppa, situated on the banks of the river Sharavathi in Uttara Kannada, was under the control of the Vijayanagara kings. In the decentralised Vijayanagara empire, various regions were ruled by royal families known as Mahamandaleshwaras. By the early 1550s, Chennabhairadevi, who belonged to the Saluva dynasty, became the queen. As per the inscriptions, her kingdom extended from south of Goa to Uttara Kannada, Dakshina Kannada and Malabar. This region is known not only for harbours like Bhatkala, Honnavar, Mirjan, Ankola and Baindur but also for pepper.

Honnavar and Bhatkala served as internal and international, flourishing trading centres. Arabian horses and weapons were imported from the West. Pepper, betel nut and nutmeg were exported to European and Arab countries. Chennabhairadevi found herself at confrontation with the neighbouring rival kingdoms as well as the Portuguese. The attempts of the Keladi kings and Bilgi chieftains to pull the queen down proved futile.

The queen had to resist the Portuguese who tried to grab the ports and take over the trade. She was at war with the Portuguese in 1559 and again in 1570. She crushed the Portuguese army with her intelligent battle strategy. One of the Portuguese chronicles states that during the war of 1570, the Portuguese attacked Honnavar and burnt it to the ground. After the decline of Vijayanagar, Chennabhairadevi dealt with the Portuguese diplomatically, who nicknamed her ‘Raina de Pimenta’ — the Pepper Queen.

A letter sheds more light on the importance of pepper trade with the Portuguese. Affonso Mexia, the Portuguese Captain of Cochin, writes to the King of Portugal: “Between Baticala and Goa there are certain places called Onor, Mergen and Ancola, from which I hear 5,000 crusados worth of pepper are annually shipped... These places are under the dominion of Queen of Guarcopa... This pepper is larger than that in Cochin, but is lighter and not so hot. It appears to me that we ought to secure...”

Queen Chennabhairadvi was a Jain. The Chaturmukha Basadi of Gerusoppa is attributed to her. She gave grants to Shaiva and Vaishnava temples too. Saraswath Brahmin businessmen and skilled Konkani craftsmen took shelter in her kingdom to escape Portuguese persecution. Jain scholars Akalanka and Bhattakalaka were under the Queen’s patronage. She is credited with building the Mirjan Fort and is believed to have lived there for several years.

The Keladi and Bilgi chiefs adopted ‘Unity is Strength’ formula. Matrimonial alliances brought these two families together. The combined forces of Keladi and Bilgi attacked Gerusoppa, finally defeating the Queen. Gerusoppa came under the control of Keladi. The ageing queen was taken prisoner to Keladi and she breathed her last in prison. If the strategy of unity was adopted against the foreign intruders, India’s history could have been different.

Queen Chennabhairadevi projects herself as a powerful woman, when other women stayed indoors under submission. She was the contemporary of the Queen Elizabeth I of England and succeeded in ruling for the longest period against all odds.

(Lakshmi Murthy is the principal of J V Vidyapeetha, Bengaluru. Ravi Hegde is a researcher in the field of biological sciences from NIMHANS. They are working as a team in conserving archaeological, cultural and natural heritage of Uttara Kannada district.)

- http://www.newindianexpress.com, March 7, 2016

The Consul General of US Consulate in Hyderabad, Michael Mullins released a book titled, “India – Bilateral and Regional Economic Cooperation,” written by Gautam Murthy, professor of Economics, Centre for Indian Ocean Studies, Osmania University.

The book deals with economic and trade relations with different countries, more so in the relevance of its new policies in engaging the South East nations in trade relations.

Prof. Murthy is a former professor at XLRI, Jamshedpur and visits various universities in the West for invited lectures.

NATURE WALK
Wild Lens - a group established for safeguarding the wildlife in the University of Hyderabad (UoH) campus and working for the enrichment of campus biodiversity organised a “Nature Walk”. This walk was conducted to create awareness in the university campus community about protection of wildlife and its biodiversity.

The group visited lakes, natural rock formations, and discussed about the protective measures of wildlife and preservation of natural water bodies. Some of the places visited by the group, include the Peacock and Buffalo lakes, Rocks at Buffalo lakes, Tree house, Mushroom rock and the old Nursery.

University of Hyderabad area was considered as rich heritage site with one of the Heritage Natural Rock called Mushroom Rock. It is one among the Ten Heritage Rocks in the city according to the Archaeological Survey of India, according to founder of Wild Lens group, Jillapalli Ravi, PhD scholar in Life Sciences.

AWARD
The 2015 Wall Calendar of the UoH on the theme “Campus Wildlife” has been awarded the first prize in the National Awards of the Public Relations Society of India (PRSI). The award was presented at the PRSI Telangana chapter’s first meet titled “Bangaru Telangana: Public Relations Communication Perspective” held recently and it was received by PRO Ashish Jacob Thomas from T. Harish Rao, Minister for Irrigation and Legislative Affairs. The pictures of wildlife were shot by students and faculty.

- The Hindu, March 7, 2016

The Public-Private Partnership (PPP) model adopted to boost tourism by attracting more investments has failed to make a mark in the State.

According to the Comptroller and Auditor General of India (CAG) report on the performance of the Tourism Department, between 2010-15, 512 projects were promised investment of Rs 27,550 crore. However, 35 major projects involving an investment of Rs 21,673 crore were dropped by the State as of May 2015.

Apart from overestimating the investments in the Tourism Policy of 2009-14, employment generation numbers too were over-projected.

“Neither the quantum of investments nor creation of employment opportunities as promised by private sector has translated into reality,” the report said.

While investments made on committed projects by private sector was only 23.5 per cent of the amount promised, employment generation was not even 1 per cent of the target fixed in the Tourism Policy.

“Thus, the objective of making tourism the principal and largest economic activity could not be achieved,” the report said.

Other Observations
The CAG report also noted that norms for providing basic amenities were not finalised and were lacking at identified tourist destinations, including world heritage sites.

The report has also criticised the handling of world heritage sites Hampi and Pattadakal, which have highest tourism potential. It suggested the construction of roads connecting the two sites which are 140 km apart, so that tourists can reach from one location to another in three hours. It also expressed dissatisfaction over not taking up promotional activities to develop the sites.

Absence of basic facilities at tourist spots is also highlighted. For instance, during a survey at nine tourist spots in Hampi it was found that water facilities were not available in three spots, toilets were not available in four spots and signages were not available in two spots.

“The growth rate in tourist inflow to the State remained static. Omissions such as taking up projects without necessary approvals from departments concerned, delay in release of funds, non-identification of land, etc, resulted in loss of central assistance of `17.95 crore in seven cases,” it added.

When contacted, Tourism Minister R V Deshpande said he was yet to go through the CAG report and would respond later.

- http://www.newindianexpress.com, March 7, 2016

Architects, conservationists and prominent citizens of Kolkata have expressed shock and anger over the covert manner in which KMC has downgraded a heritage building so that it can be demolished.

Writer Amit Chaudhuri, who has launched a movement against demolition of architecturally significant buildings in Kolkata, lashed out at the civic authority for planning the destruction of Roxy Cinema by shifting it from grade IIA list that ensured its protection to grade III that allows it to be torn down.

"The profligate disregard for Kolkata's historic built environment continues. Kolkata is in the unique position of having its heritage looked out for by a committee whose brief seems to be to destroy extant heritage buildings," Chaudhuri said. British heritage expert James Simpson, who is a great admirer of Kolkata's Art Deco buildings, wondered how Roxy had lost its significance. "It is not simply a matter of history, or of association with particular people or events, but also for their intrinsic merit as architecture and/or the contribution they make to the quality of urban scene or townscape. Heritage means that it is something which has been inherited from the past, and is of such value that it should be enabled to survive for the benefit of future generations," Chaudhury explained.

According to him, if KMC considers Roxy redundant as a cinema hall, it can be creatively adapted for another use like office space or accommodation. Manish Chakraborti, conservation architect and a member of KMC Heritage Committee till recently, has called for urgent legal intervention to stop the building from being demolished. "Once we ensure the building's survival, we can discuss about creative reuse of the building," he said. Rosinka Chaudhuri, professor of cultural studies at the Centre for Studies in Social Sciences, who saw a Bauhaus mansion at 3/1 Sunny Park disappear overnight concurs and has urged Bonani Kakkar of Public to explore the legal option.

The Heritage Act or Notification for Listing and Grading that allows demolition of a grade III listed buildings by simply putting up a plaque has also come up for scrutiny. Many are wondering how a heritage list, meant to be prepared to safeguard heritage building, can talk about demolition as a phrase in the notification.

The KMC Act section captioned, 'When heritage building ceases to be heritage building' states, "If the Corporation decides that any heritage building has ceased to be of public interest or has lost its importance for any reason whatsoever, it may, with the approval of the State Government, declare that such heritage building has ceased to be a heritage building for the purposes of this Act."

Kakkar, who discussing the possibility of filing a PIL on the issue with lawyers, points out that Roxy has not ceased to be of public interest nor has it lost its importance. "KMC cannot delist on whimsy like it did for Minerva/Chaplin theatre that was razed," she pointed out. Some years ago, Public had managed to roll back the de-listing of Bishop's House despite an attempt to argue that minority rights were being violated.

While mayor Sovan Chatterjee has argued that there is nothing of architectural or historical significance that warrants Roxy's preservation, architectural historian Swati Chatterjee differs vehemently and says it is one of those buildings that successfully crossed the colonial divide and is important not just for the city, but nationally and internationally.

"Roxy appears in modern architectural histories, including Jon Lang's 'Concise History of Modern Architecture in India'(2002), for its importance among the Art Deco buildings in India, and for what it signals about architectural modernity," Swati argued. Roxy Cinema was earlier an opera house (Empire Theater) in which Uday Shankar's dance recitals took place. Those who performed at the Empire include Harry Lauder, Dame Clara Butt, Anna Pavlova, Marie Tempest and Matheson Land. Roxy hosted the 1943 film Kismet for a record 186 weeks.

- The Times of India, March 8, 2016

Gitanjali Avhad, the first woman sarpanch of the Ahmednagar district was recently selected by the state government to be a part of a study tour on water harvesting.

Avhad, the sarpanch of Chincholi village, was selected for the tour on the basis of her work in her jurisdiction. She is the only woman in the team of 30 sarpanchs from across the state who will be a part of this study tour. "I was informed recently that I was selected in the team of 30 sarpanchs in the state for a study tour on water harvesting. Of the 30, 15 will be going to south for studying water harvesting there and 15 will be going to north. I am the first lady sarpanch to be selected out of the three other lady sarpanchs from the Ahmednagar district," Avhad said.

Originally from Chincholi, she is currently settled in Nashik. She makes trips to the village at least once or twice a week or as frequently as required. She said that she was recently busy with the government's Jalyukta Shivar aimed at making the state drought-free by 2019. "Water is supplied to the village for three hours once in eight days. The villagers have to store water for drinking, bathing, washing, cooking and for animals during this time period. Due to the climate this year, the wells are also almost dry. This study tour will prove very beneficial for us to implement water-related schemes," Avhad said.

She also added that she constructed roads and provided lights in the village that did not have these basic amenities before she was elected. "Gram sabha, which has been made compulsory by the government never took place here till I was elected. Now, I do it on a regular basis. We conducted health camps and job fairs for the youth. We saw the benefit of this first hand when 35 boys and five girls got selected for jobs. We are also conducting cleanliness drives on a regular basis," she said.

- The Times of India, March 8, 2016

Amphibian named after its habitat of laterite rock formations to draw attention to the ecological importance of the area

A team of researchers from India and the National University of Singapore (NUS) has discovered a new species of narrow-mouthed frog in the laterite rock formations of India's coastal plains. The frog, which is the size of a thumbnail, was named Microhyla laterite after its natural habitat. The discovery by the research team, led by Mr Seshadri K S, a PhD student from the Department of Biological Sciences at the NUS Faculty of Science, was published in the prestigious journal PLOS ONE on 9 March 2016.

Tiny frog discovered in rocky wastelands
Laterite rock formations are prominent landscape features in the coastal plains of southwest India. They are broadly considered as rocky areas as they are usually devoid of trees and other vegetation, and are therefore classified as wastelands. These areas are often used for dumping activities and are heavily mined for construction materials in the form of bricks.

While conducting field surveys as a part of his citizen science initiative "My laterite, My habitat", independent researcher Mr Ramit Singal, who is one of the authors of the journal paper, spotted the frog in laterite habitats in and around the coastal town of Manipal, Udupi District, Karnataka State, India. He brought it to the attention of Mr Seshadri and his collaborators, who worked together to describe the frog. The frog, which measures around 1.6 centimetres, is pale brown with prominent black markings on its dorsum, hands, feet and flanks. It has a call that can be easily mistaken for that of a cricket.

The newly discovered species was named Microhyla laterite (M. laterite) after the habitat it resides in. The research team suggested Laterite narrow-mouthed frog to be its common name, as frogs in the Microhyla genus have a smaller mouth compared to other frogs. Mr Seshadri, who is the lead author of the journal paper, said, "By naming the frog after its habitat, we hope to draw attention to the endangered rock formations that are of ecological importance. M. laterite can potentially be used as a mascot to change peoples' perception about laterite areas."

To ensure the validity of the frog as a new species, Mr Seshadri and his team members studied the genes, body structure, colouration and vocalisations of four individual frogs. They also compared the results with data of closely related species.

"One could easily confuse this frog with other species like Microhyla ornata which is thought to occur all over India. However, it was evident from analysing the genes that M. laterite is a distinct species, and is closely related to M. sholigari, which is found only in the Western Ghats," said Mrs Priti Hebbar, one of the authors of the paper who is studying the effects of forest fragmentation on frogs in India for her PhD. "All three species are small and similar in appearance and only a critical examination would reveal the differences," she added.

Further studies and conservation efforts
Based on preliminary assessments, the research team suggested M. laterite to be classified as Endangered under the guidelines of the Red List by International Union for Conservation of Nature (IUCN), as the geographic range of the frog is narrow, within an area of 150 square kilometres in southwest India.

"In spite of its geological heritage, laterite areas in India receive very little protection from any legislation. Given the threats these fragile habitats are facing, there is a strong imperative to conserve them," said Mr Ramit.

Since M. laterite appears to be restricted to laterite rock formations along the west coast, the researchers intend to conduct further research to determine the evolutionary ecology of the frog, and to test for an association with laterite formations.

"How amphibians persist outside protected areas is not known. This critically endangered frog can be used as a basis for declaring its native laterite habitats as "Conservation Reserves" or "Biological Heritage Areas" under existing legislations in India, allowing us to further our knowledge and understanding of amphibians," said Mr Seshadri.

- http://www.eurekalert.org, March 10, 2016

The corporation has already ordered a freeze on funding to the museum and now plans to issue a show cause notice to Mehta. The Brihanmumbai Municipal Corporation and Director of the city’s Bhau Daji Lad museum Tasneem Mehta are locked in a fresh conflict with the civic body’s administration having instructed its legal department to examine the agreement signed with Mehta and to work on terminating the contract with her after finding several violations.

The corporation has already ordered a freeze on funding to the museum and now plans to issue a show cause notice to Mehta.

A presentation on the various violations committed by management of the museum was made by the civic administration at a meeting of group leaders of the BMC. The norms mandate an authenticity verification – a check of artefacts and other exhibits in the museum – which is supposed to be conducted once every three years.

BMC likely to scrap expansion plans for Bhau Daji Lad museumBhau daji Lad Museum: BMC can’t dissolve current panel of trustees without arbitration proceedingsBMC to review agreement for Bhau Daji LadMuseum trust dissolved, civic body gets more say in Bhau Daji Lad affairsByculla residents protest: It is our ground, not anyone else’sBuilding a DreamBMC likely to scrap expansion plans for Bhau Daji Lad museumBhau daji Lad Museum: BMC can’t dissolve current panel of trustees without arbitration proceedingsBMC to review agreement for Bhau Daji LadMuseum trust dissolved, civic body gets more say in Bhau Daji Lad affairsByculla residents protest: It is our ground, not anyone else’sBuilding a DreamBMC likely to scrap expansion plans for Bhau Daji Lad museumBhau daji Lad Museum: BMC can’t dissolve current panel of trustees without arbitration proceedingsBMC to review agreement for Bhau Daji LadMuseum trust dissolved, civic body gets more say in Bhau Daji Lad affairsByculla residents protest: It is our ground, not anyone else’sBuilding a Dream But according to the BMC, this as well as the annual audit, had not been carried out. Nor were advertisements issued for recruitment of staff members who were appointed without taking approval from the municipal commissioner, the group leaders were told at the meeting on Thursday. The BMC administration has also claimed that several notices seeking audit records were sent to Mehta by the Municipal Comptroller and Auditor but there was no response. The BMC has also taken objection to INTACH allegedly placing their boards at seven locations in the museum which it says is not permitted.

A senior civic official has alleged that the agreement signed earlier with the management favoured one party over the other.

“The agreement is lopsided and it is amazing how such a huge property was signed off to the trusts,” said the official.

A senior civic official said, “There have been several breaches on the part of INTACH which need to be addressed. We will not release any further fund without conducting an audit of the funds that have been used. We will be issuing a show cause notice for the breaches committed by them as noted by the administration. The legal department has been instructed to examine the agreement and decide if and how the contract will be terminated.” Refuting the BMC’s claims, Mehta said she is yet to receive an official communication on the issue.

“What is the basis of this investigation when no one visited the site? We have not received any notice from the BMC. We have submitted the audited accounts every year and even have signature of receipt to prove that,” she said.

Responding to charges of violations, Mehta said being an autonomous institution, the museum management is answerable only to the board of trustees. “We are not a department of the BMC and we have our own rules which we follow. All senior staff members hired have been approved by the executive committee. If the BMC is dissatisfied with the way we work, they should come and talk it out with us,” she said. Terminating the contract, however, can be tricky as the agreement, signed in 2003 between the civic body, INTACH and Jamnalal Bajaj Foundation, states that it will be valid till 2023. In case of termination, the matter will have to be placed before a committee which would include Mehta as well.

Supporting the BMC’s plan, the group leaders said they feel confident that the museum will come under the jurisdiction of the BMC once again. Samajwadi Party corporator Rais Shaikh said, “The original agreement is one-sided and was done under political pressure and we should find all legal means to terminate this agreement to remove this family kind of situation currently in effect in Bhau Daji Lad museum.” MNS corporator Sandeep Deshpande said the museum belongs to the city and that the agreement will not be allowed to run it course.

- The Indian express, March 11, 2016

Archaeologists discover element that prevented Ellora caves from decaying for 1,500 years

Archaeologists claim to have found, a mix of hemp with clay and lime plaster, that prevented the Ellora caves from degrading over the 1,500 years.

"The use of hemp helped the caves and most of the paintings remain intact at the 6th century Unesco World Heritage site," stated study author Manager Rajdeo Singh, a former superintending archaeological chemist of the Archaeological Survey of India's science branch and M M Sardesai, who teaches botany at Dr Babasaheb Ambedkar Marathwada University, according to a leading English daily.

"Cannabis sativa, popularly known as ganja or bhang, was found mixed in the clay and lime plaster at Ellora. This was confirmed by technologies such as scanning of the electron microscope, Fourier transform, infra-red spectroscopy and stereo-microscopic studies," Singh said.

Samples of hemp were collected from areas in Jalna district near Aurangabad and from the outskirts of Delhi. Singh revealed the specimens were matched with the samples found in cave number 12 of Ellora. The study found 10% share of cannabis sativa in the mix of mud or clay plaster, which is the reason that there has been no insect activity at Ellora. In the sixth century, Indian new the value of the properties of hemp.

Cannabis sativa may be used on a large scale for construction, due to the new claim. Aurangabad commissioner of police Amitesh Kumar told a leading English daily, that it cannot be "grown, transported, possessed or consumed. Anybody found with the substance will face action". The study will be published in the March 10 issue of the journal Current Science.

- http://www.dnaindia.com, March 11, 2016

Sanjna Kapoor on how theatre makes us feel alive and connected to the moment

Sanjna Kapoor’s cheerful face says it all. She can’t stop gushing about her ‘baby’s first birthday’. “We celebrated it on February 29. It was born on the leap day four years ago.”

The ‘baby’ is Junoon, co-founded by Sanjna and Sameera Iyengar in 2012. The group has been working with schools to encourage young talent. Speaking about the buzz created by such outreach programmes, Sanjna says: “There has been a lot of energy, and we are trying a few things. One of the initiatives is Mumbai Local, where we work in the community. It is an engagement on a weekly basis, in a public space such as a library, museum or book shop. We have wonderful talks by artistes, where they share unique insights, experiences and their learning, and this is followed by a question-and-answer session. It opens up into a conversation, that is incredibly valuable.”

The sessions have featured artistes such as Naseeruddin Shah and Makarand Deshpande, and writers and scientists, “who spoke about science, and the inspiration and triggers that have opened up new ideas”.

Sanjna observes how science and the arts have many things in common. “They are both extraordinary. They always pose questions; they are afraid of neither failure nor of attempting something new.”

She continues: “It is our fundamental desire to create an urban India where there is easy access to the arts. I strongly believe in the absolute value of cultural spaces that allow people to think and feel. When we say we want access to the arts and theatre, it is natural that we go to catchment areas such as schools to capture the audience,” she says.

Their five-day school programme sees the team work with 500 children, who are exposed to theatre and the performing arts.

This constant interaction with youngsters is motivating, admits Sanjna. “I work with children across the country. Their interest in theatre depends on their access to the performing arts. Sometimes, there is a huge interest in television or cinema, and we know that there is no art in their lives. When I do workshops with children, I hope to open up little windows and areas within them, for them to realise their creativity and possibility.”

She talks about the distinct theatre scene across the country. “Theatre in our country is extraordinarily diverse. I just came back from Vidarbha in Maharashtra, where there is a 150-year-old theatre style called ‘Jhadi patti’. It is unique — not like tamasha or Marathi commercial theatre. It is modern and has a huge audience — the farmers, who also perform and create this theatre. It is phenomenal, and the economics is astonishing. You have mobile theatre in Assam that has an enormous following in the south of the State. We need a lot more confidence in ourselves, especially in urban centres.”

She adds: “We don’t do theatre just because it is a passion or hobby and that we love it, but also because it matters to us and allows us to share a different perspective. Also, we are able to touch people’s hearts and lives, and it makes us feel alive and connected to the moment.”

Sanjna looks back at her life and the ‘junoon’ (madness) that has kept her going. “It has been a wonderful journey and I have learnt so much. Today, I feel like I am at the beginning of it all. I want to see a cultural engagement across the urban landscape. What I can do in my little life is to try and shake things up a bit, where we say, ‘My God, we have to have the arts in our lives’.” Conceding that it is a crazy obsession that can sometimes get exhausting, she says: “But, one always picks oneself up, because there are shiny eyes in the audience, and you tell yourself it’s worth it.”

We are not doing theatre because it is a passion or hobby and that we love it for ourselves, but we are doing theatre because it matters in our lives

It is our fundamental desire to create an urban India where there is easy access to the arts

- The Hindu, March 11, 2016

Thinking Tantra, an ongoing art exhibition, endeavours to let people connect with something larger than themselves and fully explore the ancient philosophy

n popular culture, Tantra has unfortunately been referenced to using couples in coital ecstasy, jackals in the graveyard, terrifying deities baying for blood. Rather, it ought to be a body of beliefs and practices that helps individuals connect with something larger than themselves through drawings, rituals, maps, chants and sculptures.

It so happens that ‘Thinking Tantra’, a group show at Jhaveri Contemporary, manages to pull off this feat appropriately. The show, featuring Indian and international artists who work with video, paper, steel, textile, plywood, canvas, aluminium, and a variety of other materials, has been curated by Rebecca Heald, a tutor in Curatorial Practice at the Royal College of Art, London. “I think this is largely due to the way in which Tantra has, to date, been presented in the West, the ways in which it is obfuscated,” says Heald. “Kaustubh Dehlvi Das writes about how the colonial powers could not cope with Tantra, so they pretty much drove it underground. In its resurfacing, the sensual side of it has dominated, but there has been no real understanding of how multi-faceted Tantra is.”

Some of the artists whose work is on display, used to practise Tantric rituals; others were part of the neo-Tantra movement of the 1960s. Some of them view the ancient principles as a form of self-expression, and others try to make connections between the related artworks and their own artistic practice. One of the most striking exhibits at this show is a video titled ‘Patterns Dreamed Lucid’, created in 2015 by Alexander Gorlizki, in collaboration with Richard Coldman and Paul Kamuf. Projected on a white wall, this video draws the viewer into an enchanting world of energy fields and geometrical patterns through the use of animated drawings and trance-inducing music. While Gorlizki lives in New York, he also maintains a studio in Jaipur where he pursues a collaborative practice with miniature painter Riyaz Uddin, and also collects drawings of Tantric diagrams and yantras. “Alexander has a longstanding relationship with India and Indian art,” says Heald. “He is a bit of a maverick, and in contributing to this exhibition, he wanted to push himself and try something new.”

Another outstanding work is ‘CEJ4’, a 2011 acrylic-on-vintage-textile work by London-based Shezad Dawood, which, “is part of a larger body of work investigating the speculative idea that Le Corbusier was influenced by Tantra and Tantra-inspired art in his designs for Chandigarh.” This is the largest work on display at the show (160 cm × 210 cm).

Dawood, who is interested in diverse mystical and philosophical traditions, as well as esoteric symbols and sacred geometry, says, “The scale of the work, for me, hovers between an architectural scale and the smaller, more intimate scale of Tantra-inspired art. For me, the process always begins with a set of ideas I wish to represent, and then, the choice of fabric. I then intervene into the fabric through stitching and sometimes appliqué, before painting or printing on top of the ground that the fabric now creates. In terms of colour, for me, it is always about creating a moment of shift or transcendence on the part of the viewer and I am very interested in colour as a system unto itself, often thinking about consonant, dissonant, or contrapuntal qualities in colour.”

While the work represents a direct union of the male and the female, it also plays on the image of a wooden stand used to place religious scriptures, thus signalling another kind of union between seeker and master. Dawood mentions that this play of meanings seeps in from his reference to Corbusier, and his own interest in “highlighting that aspiration (of cosmic union) as being a universal tendency in humankind, like a heliotropic flower ascending towards the sun”.

Dawood’s work has been informed by his engagement with Tantra-inspired art, particularly those from Rajasthan, to more contemporary works by Badrinath Pandit and Acharya Vyakul.

It is interesting therefore, that Heald has placed Dawood’s work right next to Vyakul’s in this exhibition. Purple and pink are present in both: though Vyakul’s untitled work (pigment on paper) from the 1990s chooses a humbler scale: 16.5 cm × 24 cm. Vyakul was an ardent collector of objects and art related to Tantra, which he kept in a private museum in Jaipur. He is known to have painted in concentrated spells lasting for over two to three weeks, wherein he used materials ranging from cloth to cow dung, as well as vermilion, lipstick, coffee, and coal.

Other works to watch out for are by Sohan Qadri, Biren De, Goutam Ghosh, and Tom Chamberlain. It is surprising, however, that only two of the artists featured, Nicola Durvasula and Claudia Wieser, are women, despite the fact that Tantra actively celebrates the sacred feminine. Heald remarks, “It is not for lack of trying. All of the artists were selected because they articulate a relationship between their work and either Tantra or Tantric works. It so happened that it is mostly men who fulfilled this brief. For the UK iteration of this exhibition to be held in early 2017, we are in discussion with some more women to make new work.”

Heald’s curation draws heavily on ‘Field of Color: Tantra Drawings from India’. It’s a collection of drawings she encountered in New York in 2004, which “pushed the line that these drawings are part of a meditation practice.”

Thinking Tantra is on at Jhaveri Contemporary (Malabar Hill) art gallery till March 19
The author is a freelance writer
The show features artists who work with a variety of materials, and has been curated by Rebecca Heald

- The Hindu, March 11, 2016

The study of early Indian polity shows how religion was used an instrument of state policy and a means of buttressing political ends. The cultural and ritualistic dimensions of caste played a crucial role in organising the polity and economy of the Pallava state system, according to T K Venkata Subramanian, professor at the Delhi University ."The patronage of deities, thirthas, brahmanas and temples were mechanisms resorted to by lineages not only in post-10th century but from the time of the Pallavas of Kancheepuram," he said. The Pallavas, according to Subramanian, resorted to building monuments for extraction of surplus and for physical coercion of people through the medium of temple and mutt. In early Tamilakam, the Pandyas, the Cholas and the Cheras had access to political power and social status by virtue of their kin affinity to particular clans while the Pallavas had to legitimise themselves by collapsing that power and authority mechanism. "A critical examination of the genealogy and succession list as reflected in the Pallava charters is a prerequisite to understanding the Pallavan efforts at state-making in an early agrarian society ," he said.

The earliest recorded evidence in Tamilakam about the creation of a brahman settlement or `brahmadeya' is from Pulankurichi in Ramnad district. The earliest known copper plate record which speaks about the renewal of an earlier group is Velvikkudi Copper Plate of Pandyan-Nedunchadaiyan (AD 769 to 811)."The Prakrit charters of the Pallavas assigned to the third and fourth century are charters of grants to brahmanas. The Sanskrit charters of the Pallava rulers ending with Simhavarman II (AD 350 to 550) also speak about grants to brahmans.All these records are from outside the territorial limits of Tamilakam. The bilingual charters (Sanskrit and Tamil) also record grant of land to brahmans and others. This shift not only indicates a geographical locale but also the expansion of agrarian base of the Pallavas," he said.

However, to legitimise their power in Tondaimandalam, the Pallavas had to adopt several methods including the creation of myths on the Ithihasa-Purana accounts of northern India. "They made an attempt to link the historical reality of the ruling lineage with the mythical lineages and in a curious manner claimed origin from Brah ma and as brahma-ksha trias or brahmana war riors," he said.

It is obvious that the secular and religious monuments were a re sult of the failure of the `king-brahman formula' to convert the loyalty of the people from clans and villages to one of a more complex political system. The problem of distribution of surplus among businessmen and non-kinsmen was at the root of all these changes. "The positive response on the part of the Pallava rulers to this challenge resulted in the altered status of the warrior king to that of a divine king," he said.

The Vijayalayan successors capitalised on these efforts and methods and built a historical empire on the ashes of the patrimonial kingdom of the Pallavas, he added. Venkata Subramanian was speaking on "Marauding soldiery to munificent divinity: changing profile of Pallavan kingship" at the department of ancient history and archaeology , University of Madras on Thursday .

- The Times of India, March 11, 2016

Over 300 years ago, Gond kings who ruled this region had a vision and nurtured the environment by creating large water bodies to build which they hired experts from Rajasthan. Later, the British rulers too realized their importance and assigned these 6500 tanks in eastern Vidarbha's four districts to Malgujars to manage.

Sadly, no government in the country since independence has done much to take care of these Malgujari talao (tanks). Maybe, because they are found only in Vidarbha, the much neglected part of the state. These tanks together have capacity to irrigate nearly one lakh hectares in the paddy belt stretching across Gondia, Bhandara to Chandrapur, Gadchiroli districts and a small pocket of Nagpur district. Paddy crops require water in abundance and luckily eastern Vidarbha gets good rainfall of over 1000mm a year. That is stored in these tanks, called Maji Malgujari or Mama tanks for short since 1950 when they were taken over by the state.

The latest manifestation of the official apathy was exposed rather inadvertently by divisional commissioner of Nagpur Anoop Kumar on Thursday when he admitted not a penny from the Rs100 crore announced in state budget of 2015-16 for Mama tanks repairs and rejuvenation could be used. "This happened as the money could not make to budget's 'yellow book' (apparently, the official endorsement in babu term) and no norms or parameters were fixed for its spending," Kumar said in a press conference on Thursday.

Stuck in the red tape, Mama tanks remained in disrepair with portions of them gobbled up by encroachers. Valuable portions of these marvellous reservoirs were wasted. The earlier government and mainly then water conservation minister Nitin Raut had commissioned Vidarbha Development Board expert member Madhukar Kimmatkar to prepare a report on reviving all Mama tanks in the region. Besides irrigation, these tanks could also be a major source of revenue by way of fisheries. His report on rejuvenating these tanks is lying with the government since 2012. Realizing the goofups, Devendra Fadnavis government in December last held a special meeting during the winter session of legislature. At last, the process for fixing parameters and norms for repairs was started by a committee headed by Anoop Kumar which has now prepared a plan for repair of 1414 tanks in the next financial year. The committee has sought Rs207.02 crore from the state budget of 2016-17. Kumar is confident the ball would finally start moving.

Swayam Siddha exhibition

As part of the rural economic revival plan "Umed" of the state government, a five day exhibition-cum-sale for marketing of products of the women's self help groups is being organized in the city from March 17 to 21, divisional commissioner Anoop Kumar announced on Thursday.

At the show to be held at SCZCC complex, there will be 145 stalls, of them 125 will be displaying products manufactured by SHGs from all six districts of the revenue division. Besides food products, they will also feature crafts, artefacts, metalware and bamboo items specially made in these districts. A food court vending regional specialities, including Saoji non-veg items is expected to be a big draw. The exhibition timings will be 11am to 10 pm and entry will be free, said Kumar. He said cultural shows will be held daily in the evenings from 7pm, highlighting all six districts' distinct flavours.

India’s rainfall pattern is completely different from that of the mid-latitude countries of Europe. It annually receives almost 400 million hectare metres of rain against its geographical area of 329 mha, and if this is evenly spread, then there would be 1.28 m of water over the entire land surface — a mind boggling figure. Unfortunately, the rainfall pattern is not uniform across the country. That said no area receives less than 100 mm annually, which is enough to cater to drinking water needs provided it is harvested locally and not lost due to faulty water conservation policies.

Unlike Europe, which receives rainfall throughout the year, in India, it only confined to four months. In mid-latitude countries, the local population does not need to store drinking water because of heavy snowfall, which rinses the soil continuously. In this country, poor land management policies and continuous deforestation have also taken their toll on the soil’s water retention capacity.

So what is the solution to arrest this surface run-off of water? It is easy, provided in each district at least 300 to 400 tanks of 10 cubic hectare metres are dug. Even if there is an evaporation loss of say two metres annually, the tank will invariably retain eight metres or more depth of water throughout the year. Though it is a rough estimate yet it clearly indicates that India has enormous capacity to harvest water at a small scale and considerably, minimum cost. However, to implement this, a careful survey and state-wise planning is required.

A dam has a limited capacity to irrigate a certain area of land but cannot cover the whole country whereas tanks do not suffer from such limitations and between 30,000 and 40,000 is enough for India. Even in terms of expenses, digging tanks requires a much lesser amount of money compared with constructing a big dam. Moreover, it will also create good job opportunities in villages because tank construction and de-siltation is a labour-oriented scheme. For irrigating all arable lands in the country, the water requirement is only a quarter of the total rainfall in the country and the surface area covered by digging such tanks will only be around three per cent of India’s total land area.

Big dams are being given priority because they are politicians, administration and contractor-friendly. Siltation is the most common problem with every dam, which reduces its water retention capacity. Some of our short-sighted planners and politicians in the early years after Independence ignored the water wisdom of our ancestors and promoted building bigger dams. Billions of rupees from tax-payers’ money have been spent on such projects, but I doubt, whether even half of them are in a useable condition today.

Our economists think only in terms of big projects because most of them are trained in macro-economics but real potential can be figured out only at the grassroots level. Large irrigation schemes have no relevance in India because it is unique in terms of its topography and rainfall pattern. Furthermore, the potency of its agricultural sector is yet to be fully explored. Ad hoc planning and implementation of large scale projects entail a huge expenditure and is tantamount to wastage. If we make an in-depth survey, we will discover that while constructing dams, factors like inundation of huge fertile lands and riverine forests have not been taken into consideration. That is tantamount to economic offence perpetrated against the country but who will take cognisance?

There is no specific policy of the government to contain over-exploitation of ground water. Irrigation through ground water has gone up by more than twenty times since Independence. Unplanned sinking of tube-wells and bore-wells by government as well as rich farmers has exacerbated unequal distribution and consumption of water within rural areas thereby creating immense problems for poor and marginal farmers.

I have seen many tube-wells of poor famers going dry and that is the main reason for the poverty of the majority of Indian farmers. No amount of subsidy, grant or crop insurance or any other pro-farmer schemes will help improve the economic condition of poor and marginal farmers unless adequate irrigation water is made available locally. In drought prone areas there should be a complete ban on irrigation through tube-wells. To stop over exploitation of ground water, relevant laws must be framed — without license and adequate research no one should be allowed to sink tube-well as in the case in the USA.

This miserable state of affairs in the country is mainly due to a breakdown in the traditional water management system as well as criminal apathy on the part of the bureaucracy. If the government conducts a survey at this moment, it will find more than 70 per cent of old surface irrigation works have gone out of use. Unfortunately the government has no specific policy either for agriculture or irrigation — it simply believes in implementing temporary measures, which are not antidotes for removing the bottlenecks in agricultural production. More farmers are leaving agriculture because it is no longer sustainable due to faulty priorities and policies of the government. I don’t think the announcement of crop insurance policy will augment agricultural production in the country. The question of insurance comes when there is more than adequate production. In the present state of affairs, there is not enough production to sustain one’s family. In fact, crop insurance policy will only help rich farmers in addition to triggering corruption at the implementation stage.

There was much science hidden in the evolution of traditional water harvesting systems, however, for their implementation now, extensive research is needed vis-a-vis demographic pattern and ecosystems otherwise it will prove counter-productive. Their relevance has to be studied in the present context. Population pressures and demand for power and irrigation require relevant modifications to the old structures. Another thing which is most important — could we contemplate viable management alternatives under the present set-up of administration such as equitable participation? Tanks were traditionally found in dry regions where rainfall is extremely variable, so they tend to be irrelevant when monsoon failed. Therefore, in such places people preferred river-fed tanks to ensure availability of water perennially. But to arrest maximum loss of water during dry spells due to evaporation, sand-filled reservoirs can be introduced — this arrangement can arrest evaporative loss as well as facilitate underground storage of water. Simultaneously maximum efforts have to be made to develop ground water recharge structures particularly in the dry regions of the country.

In India more than around 40 per cent people cannot manage two square meals a day and even in urban areas, people maintain a hand-to-mouth existence. The government is thinking big in terms of growth but it does not know how to sustain the majority of its poor population. Most agricultural lands in India are rain-fed and therefore, the existence of millions of marginal farmers becomes incredibly precarious should the monsoon fail. It is imperative in such areas to store rain water and facilitate its seepage into underground aquifers. The government can easily bring into use employment guarantee programmes such as MNREGA to create such facilities. With comprehensive planning such funds can be utilised for afforestation in catchment areas of tanks, restoration of field channels, to develop check dams and de-silting existing tanks among other things. I don’t think any engineer can do justice to such work and therefore, the traditional knowledge of the user communities must be utilised but for that to happen, the government must first radically restructure its programmes. The approach of the government must be integrated with location-specific needs keeping in view water resources, climate, soil types and topography.

Moreover, deforestation in the catchment area is a serious problem and the government has to draw up a plan to counter the same. A couple of months back, I sent a comprehensive note in this connection to the Union ministry of environment but I think, it was perhaps ignored by the officers on duty. Simultaneously the government needs to redraw its policy with respect to allotting lands in the catchment areas to the landless to prevent future siltation because desilting is an expensive procedure.

Be that as it may, given the problems posed by the concentration of irrigation systems under the Central Government, no water development project can be successfully implemented. Therefore, if traditional water systems have to be revived, then the rights of individuals, communities and states over water have to be clearly defined through framing of specific laws. Only through assurance of these rights could the government contemplate maximising water harvesting and its equitable distribution and optimal use.

The writer is a former joint secretary, Government of West Bengal.

- The statesman,, March 11, 2016

'Rural migration led to urbanisation, which required development, and development meant release of green house gases.'

Sadly, no government in the country since independence has done much to take care of these Malgujari talao (tanks). Maybe, because they are found only in Vidarbha, the much neglected part of the state. These tanks together have capacity to irrigate nearly one lakh hectares in the paddy belt stretching across Gondia, Bhandara to Chandrapur, Gadchiroli districts and a small pocket of Nagpur district. Paddy crops require water in abundance and luckily eastern Vidarbha gets good rainfall of over 1000mm a year. That is stored in these tanks, called Maji Malgujari or Mama tanks for short since 1950 when they were taken over by the state.

The latest manifestation of the official apathy was exposed rather inadvertently by divisional commissioner of Nagpur Anoop Kumar on Thursday when he admitted not a penny from the Rs100 crore announced in state budget of 2015-16 for Mama tanks repairs and rejuvenation could be used. "This happened as the money could not make to budget's 'yellow book' (apparently, the official endorsement in babu term) and no norms or parameters were fixed for its spending," Kumar said in a press conference on Thursday.

Stuck in the red tape, Mama tanks remained in disrepair with portions of them gobbled up by encroachers. Valuable portions of these marvellous reservoirs were wasted. The earlier government and mainly then water conservation minister Nitin Raut had commissioned Vidarbha Development Board expert member Madhukar Kimmatkar to prepare a report on reviving all Mama tanks in the region. Besides irrigation, these tanks could also be a major source of revenue by way of fisheries. His report on rejuvenating these tanks is lying with the government since 2012. Realizing the goofups, Devendra Fadnavis government in December last held a special meeting during the winter session of legislature. At last, the process for fixing parameters and norms for repairs was started by a committee headed by Anoop Kumar which has now prepared a plan for repair of 1414 tanks in the next financial year. The committee has sought Rs207.02 crore from the state budget of 2016-17. Kumar is confident the ball would finally start moving.

Swayam Siddha exhibition

As part of the rural economic revival plan "Umed" of the state government, a five day exhibition-cum-sale for marketing of products of the women's self help groups is being organized in the city from March 17 to 21, divisional commissioner Anoop Kumar announced on Thursday.

At the show to be held at SCZCC complex, there will be 145 stalls, of them 125 will be displaying products manufactured by SHGs from all six districts of the revenue division. Besides food products, they will also feature crafts, artefacts, metalware and bamboo items specially made in these districts. A food court vending regional specialities, including Saoji non-veg items is expected to be a big draw. The exhibition timings will be 11am to 10 pm and entry will be free, said Kumar. He said cultural shows will be held daily in the evenings from 7pm, highlighting all six districts' distinct flavours.

- The Hindu, March 11, 2016

A recently published study shows cannabis helped to preserve ancient Indian paintings at Ellora caves, a UNESCO World Heritage site, from decaying for 1,500 years.

The Ellora caves in Western India were built between the 6th and 11th centuries, AD and are made up of a group of 34 temples carved out of stone. Many of the caves have rich paintings which are still protected.

Scientists in Archaeological Survey of India claim a mixture of cannabis, clay and lime plaster used in the construction played a key role in preserving the World Heritage site. They were able to isolate specimens of cannabis from the clay plaster using a scanning electron microscope, infrared spectroscopy and stereo microscopic studies. The report in the journal Current Science.says:

The remains of Cannabis from the sample of clay plaster of Ellora suggest that it was used with clay/lime as insulating agent as well as to provide a degree of strength to the plaster. Studies in Europe have estimated 600–800 years of life span to the hempcrete wall, but hemp in the clay plaster of Ellora has survived more than 1500 years. The long life of clay plaster at Ellora, despite damaging environmental parameters, may be attributed to the material properties of hemp, which is fibrous and durable. The hempcrete plaster of Ellora must have provided a healthy, comfortable and aesthetically pleasing living environment to the Buddhist monks to stay.

Studies also show that in the neighboring Ajanta caves, another World Heritage site, where cannabis wasn’t used, rampant insect activity has damaged at least 25 percent of the paintings.

Currently, cultivation, transport, possession and consumption of marijuana is banned under Indian law.

- http://www.digitaljournal.com, March 12, 2016

The two sandstone statues—Stele of Rishabhanata and Revanta—are valued at about $150,000 and $300,000 respectively Two Indian statues that are more than 1,000 years old were seized on Friday from Christie’s auction house after investigators discovered they had been smuggled out of the country, eventually landing in New York.

The antiquities were to be part of an auction next week called “The Lahiri Collection: Indian and Himalayan Art, Ancient and Modern.” Both are made from sandstone. One statue called “Stele of Rishabhanata” depicts a cross-legged teacher flanked by standing attendants. It is valued at about $150,000 and dates from the 10th century. The second is a rare representation of an equestrian deity, Revanta, worth $300,000 from the 8th century.

Christie’s said in a statement that it would never knowingly offer a stolen work of art and it was cooperating with authorities. “Christie’s devotes considerable resources to investigating the provenance of all objects we offer for sale. This is one of the difficulties the art market faces in vetting antiquities, which is why Christie’s very much values building strong relationships with and between countries of origin, law enforcement, archeologists, and the collecting community,” the statement read.

According to a yearslong ongoing investigation by federal agents and the Manhattan district attorney’s office, the Rishabhanata statue was sold in 2006 or 2007. The Revanta panel contained a piece that had been perfectly broken off to be sold by smugglers after the sale of the main sculpture. The seizure sends an important message, said Angel M. Melendez, special agent in charge of the New York office of US Immigration and Customs Enforcement’s Homeland Security Investigations.

“First and foremost, it demonstrates that we are committed to protecting cultural heritage around the world, and second, it demonstrates that we are monitoring the market to protect prospective buyers as well,” Melendez said.

Investigators believe both came from a smuggler in India who’s awaiting trial on charges he looted rare antiquities worth tens of millions of dollars from seven countries. Federal officials said four museums and a collector have surrendered looted artifacts within the past year. Four others have been arrested in the scheme.

The consul general of India praised authorities for their work in tracking down the statues. “I would like to convey my deep sense of appreciation to HSI for the exceptional work done in locating and retrieving the sculptures brought into the United States by organized crime syndicates,” said ambassador Riva Ganguly Das.

- http://www.livemint.com, March 12, 2016

As across the globe, countries and ethnic groups ask for indigenous artworks housed in the West to be returned, questions are being raised around cultural patrimony. It is important now to find ways to “share” a global heritage more widely and fairly

Stories about contested art objects in global circulation have been around for a millennium, but now there is a sense of urgency around the topic, with a larger diversity of voices asking for return of art works for a multitude of reasons. On the one hand, there are Nigerian students demanding the return of the Benin bronzes looted from Nigeria at the time of the British imperial siege of the country in the late 19th century. This story of non-governmental actors — students resident in the U.K. — getting into the discussion around national cultural patrimony is new and distinct from the traditional demands of governments for the return (repatriation) of objects taken from their countries under colonial or imperial rules. The Elgin or Parthenon marbles taken from Greece and now resident in the British Museum, or the 6th century Buddha taken from Sultanganj in India and now in the Birmingham Museum, are among the notable examples of the traditional demands of nation-states to right colonial wrongs.

The argument of righting the wrongs of the past is also at the heart of the art looted by Nazis from Jewish families in Europe during World War II. The issue came to the fore when descendants of Jewish families began to lay claims to major works by modern European masters that they saw in exhibitions and in permanent collections of museums in Europe and the U.S. It led to the establishment of a registry of Nazi-looted art and a serious attempt by all art museums to deal with the issue.

The Association of Art Museum Directors (AAMD), a prestigious organisation representing all major and mid-size art museums (an organisation I had the honour of being the President of, in 2000-2001), adopted a series of protocols to ensure that any work of art proven to be taken forcibly from a Jewish family during the Nazi regime should be returned to the rightful heirs, even if that meant a loss of the huge amounts spent on the acquisition of the work by the museum or its benefactor, who may have donated the work to the museum. An elaborate procedure was developed to research the provenance of the artwork (its origin and collection history). In 2006, AAMD claimed that out of more than 18 million objects in American art museums, 25,000 objects, “though not necessarily stolen by the Nazis, require further study into their ownership history.” Between 1998 and 2006, 26 works in American museums were identified as being looted by the Nazis and were, in each case, restituted to the heirs.

There was little debate about the return of Nazi-looted art: a group of well-to-do Jewish families had been wronged and had faced the horrors of the Holocaust. It was only right that some kind of restitution policy (the return of objects) was adopted by all parties.

This was strikingly different from the debates around the return of objects from previously-colonised countries such as India, Egypt, Greece or Nigeria, or countries such as China that were weakened by the overt presence of Western powers. Thus, in 1970 and again in 1978, the “source” countries (countries where the art work originated) pushed UNESCO to adopt a major resolution for the protection of cultural property and restitution of stolen works, “to facilitate bilateral negotiations for the restitution of any cultural property which has a fundamental significance… and which has been lost as a result of colonial and foreign occupation.” The U.S. didn’t sign the ruling, and finally adopted a similar rule only in 1982. AAMD didn’t take action on this issue until almost two decades later.

For much of the 1990s, and even during the first decade of the 21st century, a strong argument against the repatriation of works was posited by some art museum directors in the West. It went something like this: the encyclopaedic museums of Europe and the U.S. are repositories of world art under one roof. They take care of our global heritage, as art knows no boundaries, and it is important to show in one place great art works from all over the world to promote the dissemination of knowledge, tolerance, and broad cultural understanding. Another argument was that the objects were taken from countries such as Egypt, China, or India because none of these countries had the resources or the inclination to protect their own treasures. After all, in a place like India, it was British officials who discovered, excavated or restored great sites such as Sanchi or Ajanta. As there was no indigenous interest in preserving or interpreting such magnificent objects or archaeological sites of the country, wasn’t it better that such objects were at least preserved for future generations, even if that meant they were taken out of the country?

Similar arguments are still being made by some in the museum community in the context of destroyed sites such as Palmyra in Syria and Iraq. When the monuments are being destroyed locally (IS in Syria or the Taliban in Afghanistan), aren’t we better off taking moveable objects out and protecting them for the sake of the whole world? As a former museum director and curator, I must admit this argument is very powerful when you see great Sumerian objects being hacked with hammers and the amazing Buddhas of Bamiyan being blasted out of the cliff where they had survived for centuries (even after British soldiers used the Bamiyan site for target practice).

However, it does not obviate the question of who gets to decide when objects leave countries, how they leave, and who gets to keep them. In the current crisis, art museums in the U.S. and Europe have come up with a solution of creating a temporary home for looted objects, which can be returned to the “source” countries when the conflict ends.

It seems that both in the case of Nazi-looted art and art from current war-torn zones in the Middle East, there is a much greater acceptance of the principle of returning the objects to the original owners or the country of origin.

Why is there then a much greater resistance to return objects taken out of previously-colonised countries by Western colonial powers? Several plausible answers come to mind. First, in the case of Nazi-looted art and the current destruction of monuments, the perpetrators are enemies of the Euro-American world, either in World War II (as in the case of Nazi Germany) or IS (the sworn Islamist enemy of the West). It is easy to condemn their ghastly behaviour as the acts of an enemy.

If one were to make a similar argument for the objects taken by the colonial powers, then the now-independent nations of the global South should have an equal right to reclaim the objects taken from their soil without their permission. But this would mean that the former colonisers would have to acknowledge the wrongs perpetrated by them on the colonies they ruled. It would also mean that many of the biggest museums, especially the Louvre, the British Museum, and even some major American museums would get hollowed out of their collections. While academics such as the late Edward Said have powerfully critiqued the legacy of colonialism, cultural institutions have yet to acknowledge the full negative legacy of the colonial rulers. To be fair, the questions surrounding the restitution of objects acquired during the colonial rule of the West in the countries of the global South are not simple. It is true that the great Stupa at Sanchi, for example, would not have survived if John Marshall, a British civil servant and an amateur archaeologist in the early 20th century, had not restored it.

As we acknowledge the positive as well as negative consequences of colonial rule for the cultural heritage of countries such as India, and recognise the importance of the preservation of culture for the benefit of human kind, it is useful to imagine new possibilities for sharing of our global heritage. I have often thought that if we pursue the idea of sharing the global cultural heritage, perhaps the large encyclopaedic museums of the Euro-American world could create a long-term loan programme of objects from around the world for formerly-colonised countries. One could argue that the need of the hour is not so much to return indigenous objects to the “source” country where they already have a rich inventory of national art, but to share our global cultural heritage more widely. Wouldn’t it be wonderful if the National Museum in New Delhi were to receive a long-term loan of Egyptian objects or 19th century American landscape paintings so that the National Museum too could begin to resemble an encyclopaedic museum of the West?

Similarly, what if the labels in Western museums actually acknowledged the colonial past of the pieces on display and the history of the removal of objects by colonial powers, thus returning the ownership of objects back to the “source” countries and simply recognising their role as protectors of, and not owners of, global heritage? One can come up with many more possibilities to move forward with the idea of truly sharing global cultural heritage, but it must be done with a greater sense of parity and a deeper commitment to recognising the historical wrongs of the colonial experience.

Vishakha N. Desai is Senior Advisor for Global Affairs, Office of the President, Columbia University.

- The Hindu, March 12, 2016

Bhavna Uchil took a gander through the Bhaudaji Lad museum which has been in the news recently for the spat between MCGM and the board of trustees, and came back awed

Mumbai : The Bhau Daji Lad museum in Byculla was established in 1872 as the Victoria and Albert Museum. Though renamed in 1975, its intricate railings still have in them the letters ‘V’ and ‘A’ covertly hidden in its designs, as though quietly protesting the change of name.

The building started construction in 1862 and took 10 years to build before it was opened to the public. It faced funds shortage as the philanthropists who had promised help, could not keep their promise, as cotton prices crashed. Dr. Bhau Daji Lad after whom it was named, persuaded the public to donate for the ‘Hall of Wonder’, as it was then publicized.

It is the city’s oldest museum and the third oldest in the country. In fact, it was the first colonial building to be built for the specific purpose of housing a museum.

Over the years, however, neglect led to decay and through the latter part of the 20th century the museum stood in a derelict condition. Algae had grown on its walls, colours faded and electric cables were hanging loose all over the building.

The museum underwent a five year restoration which began in 2003, which happened with a public-private partnership of INTACH, an NGO and the MCGM and the Jamnalal Bajaj Foundation.

The structure has a European Palladian architecture on its exterior, which is a type of architecture strongly based on symmetry seen in temples of ancient greeks and romans. The interiors have a high-ceilinged Victorian architecture, which has middle-east and Asian influences.

“The pillars inside the museum are made of cast iron, brought from England. They feature the Corinthian architecture,” said Puja Vaish, Curator. This type of architecture characterises ornate floral designs. Planned along with the museum were the Victoria gardens and a zoo, to provide a understanding of the city and its environs. “The tiles used on the steps are ceramic, also brought from England,” she added.

“Byculla was different then. It was a popular residential area for the elite. This site was chosen for the museum because Fort was a very commercial area,” said Ruta Waghmare, who handles the educational outreach for the museum.

The museum has recently started using social media to reach out to the public about its upcoming exhibitions as well as collections. It has an ongoing Google Art Project which has standard resolution, 360 degree panoramic images of select galleries and museum exterior, giving the viewer a virtual tour.

(This is the first article in an occasional series)

- http://www.freepressjournal.in, March 13, 2016

Music lovers were in for a treat at Ravindra Bhavan, Margao, recently, when three senior-most students of 'Kalangan' Centre for Performing Arts, gave a scintillating performance at its third public concert 'Arpan'.

Budding vocalists -Prajna Udupi, Antara Moghe and Yogita Raikar- enthralled the audience with their spell-binding rendition of Hindustani classical songs. All the three students have been trained by Pandit Ramrao Nayak.

Udupi set the tone for the concert as she rendered several compositions set to Raag Bageshri in her mellifluous voice. A postgraduate in psychology, Udupi teaches psychology in Carmel college of Arts, Commerce and Science, Nuvem. She is currently pursuing Visharad Dwitiya in music and has performed in many vocal concerts in Karnataka and Goa.

Moghe regaled the audience with her enchanting presentation of a devotional song "Savlach rang tuzha pavsali nabhapari, ani najret tuzhea viz khelte nachri." She also rendered several compositions set to Raag Marubihag.

Having completed her masters in performing arts (MPA), Moghe is currently pursuing Visharad Dwitiya from Akhil Bhartiya Gandharva Mahavidyalaya, Mumbai. Currently, she serves as a faculty for vocals at Damodar Sangeet Vidyalaya, Margao.

The best was perhaps reserved for the last as Raikar held the gathering of music aficionados captive by her superlative performance. Her beautiful rendition of the devotional song "Aga Vaikunthichea Raya, aga Vitthal Sakhya," besides other compositions set to Raagas Shyamkalyan and Bhairavi, received much acclaim from the audience.

The most touching moment of the evening came at the fag end of the event, when Raikar, while expressing her gratitude to her guru, Pt Ramrao Nayak, was choked with emotions when she referred to him as "my God" and broke down. The moment was pregnant with a disciple's devotion to her guru. A postgraduate in Arts, Raikar took to music at the age of 9 and had her initial training from Rajan Madye at Kudal. She has also pursued 'Sangeet Alankar' of Akhil Bhartiya Gandharva Mahavidyalaya, Mumbai.

The vocalists were accompanied by Shubham Naik on harmonium, and Mayank Bedekar and Kunal Kale on tabla.

- The Times of India, March 13, 2016

Restoration work of the kalmandapam near Padmatheertham pond of Sree Padmanabhaswamy Temple is set to begin on Monday. The temple administrative committee said that once it is restored they would submit a report to the Supreme Court. As the demolition of kalmandapam as part of pond restoration works at the temple had led to public protest, the temple officials have decided to restore the dilapidated and demolished structures and withdraw from pond restoration work until the next apex court hearing.

The supervising committee led by district collector Biju Prabhakar as its convener with scientific conservation and archaeology experts as its members plan to restore the kalmandapam in about 21 days. The members of the committee include historian Prof M G Shashibooshan and royal family member Aditya Varma. Archaeology department officials and site engineers will oversee the work.

"The base of the demolished 18-stone kalmandapam was shaky. Another kalmandapam collapsed during construction of a toilet by the previous temple administration led by royal family," temple officials said. Both the mandapams will be reconstructed, the officials said.

"We will withdraw from any further pond restoration work until further directions from the apex court because the dewatering and cleansing activities have turned futile," said Biju Prabhakar.

"Of the Rs 1 crore granted by the government for pond restoration, Rs 50 lakh was spent for dewatering and cleansing work. About 200 loads of sand and muck was disposed of as part of cleansing. Yet, waste and leachate from adjacent toilet and wedding halls continue to pollute the pond. Unless the flow of effluent to the pond is checked, there is no point in continuing with pond conservation works," he added. Supervising committee members said that restoration of the dilapidated kalmandapam will be ensured retaining its antique charm and the restored structure will have to match the earlier one.

Prof Shashibhooshan said the archaeology department has finalized a drawing for the kalmandapam restoration based on which the Nirmithi Kendra site engineers will also take a look to begin the restoration work on Monday.

- The Times of India, March 13, 2016

The steps of Banganga tank in Walkeshwar are being rebuilt with black basalt. The slabs that are being replaced are being dumped as debris by the contractor, who has not been instructed to preserve them. The tank dates from the 10th century and down the ages the steps have been re-laid using various kinds of stone that weather differently, thus displaying various shades.

"The original steps were also black, not yellow as is commonly believed. They were weathered and chipped at the edges, so visitors would slip and fall. We have procured new ashlar basalt and are installing the steps using chunam, or lime mortar technique. This material is so robust it will last 300 years," said B V Kulkarni, deputy director of the state archaeology department.

Conservationists say the right thing would have been to turn the original stones over and relay them so that the broken edges disappear from view. The department of archaeology has not sought permission from the Mumbai Heritage Conservation Committee (MHCC), saying it is "not required". Malabar Hill MLA Mangal Prabhat Lodha has been pressurising the authorities to complete the task within a month. "Prince William and Kate, the duke and duchess of Cambridge, will visit Banganga during their trip to Mumbai on April 10, and we do not want to give them a bad impression," he said. "I summoned the archaeologists to a meeting and instructed them to do the work properly."

The department is standing its ground, saying it will not rush to accommodate any political agenda. "We are spending Rs 2 crore on this exercise and will be held accountable if work is shoddy. Lime technology is a slow process," said an officer.

According to mythology, the fresh water Banganga tank was created when Lord Rama struck an arrow into the earth to slake Sita's thirst during their travels in exile. The current activity by the archaeology department is part of an ongoing restoration plan that began eight years ago. In June 2008, TOI had reported how the complex's steps and carved stones were being replaced.

What about the encroachments that have come up on the periphery of the tank?

Conservation architect Vikas Dilawari said, "The authorities should be careful while excavating as the area is rich in antiquity. Such work should be done with care and it should follow conservation principles like minimum intervention and use of like-to-like material. A proper inventory should be taken of the site and urgent works that affect the fabric should be done first."

- The Times of India, March 13, 2016

The national capital has once again missed out on Unesco's world heritage inscription.

According to sources, Ahmedabad's dossier for the pretigious tag was accepted by the Unesco evaluation commitee this week. This clears the way for Ahmedabad to be inscribed as India's first world heritage city in the Unesco world heritage session in 2017, where it will be evaluated for oustanding universal value. While it remains to be seen whether Ahmedabad gets inscribed or not, the city has passed the test for being India's nomination in the cultural category for 2017. This leaves other possible contenders like Delhi, and even Mumbai, in the waiting list for possible inscription in 2018 at the earliest.

Sources said that Ahmedabad passed Unesco's completeness check and is now is a contender for the world heritage tag next year unlike Delhi, where the nomination was halted just days before it was to be considered for nomination in the 2015 session in Germany.

Though the Delhi government has been pushing for the city's nomination to be cleared for evaluation by the ministry of culture, the Centre has refused to budge from their stand till date. Delhi tourism minister Kapil Mishra termed it as 'dirty politics'. "Even I think Ahmedabad has a rich heritage. But the way they (the Centre) have dealt with the people of Delhi doesn't show them in good light. I will oppose it, talk to people and go to any platform I can. I will keep on writing and appealing and BJP will be required to justify why they did this to the people of Delhi," Mishra told TOI last month.

While Bihar's Nalanda is up for inscription in June this year, sources reported that it has 'not been received well' and will face a tough fight in getting the inscription as it was considered weak by International Council for Monuments and Sites.

- The Times of India, March 13, 2016

Visakhapatnam has been graded the fifth cleanest city in the country. It is good news indeed. We ought to be proud, which we are, cautiously so.

In the year 2014, Prime Minister Narendra Modi launched the Swachh Bharat Abhiyan with the aim of eradicating open defecation, building toilets and cleaning up public places. While health and hygiene have always been a priority for the successive governments in the country, what Sri Modi did was to elevate the issue to a mission mode. The move could not have come a day later. As per the official communique of the Union urban development ministry, the Quality Council of India, entrusted with the exercise, used data from 25 teams of surveyors who visited 42 locations in 73 cities, took more than 3,066 photos, interacted with 100,000 people and arrived at the final result. 60% marks were assigned for solid waste management, 30% for toilet construction and 5% each for sanitation strategy and "behavior change communication." Visakhapatnam withstood such a stringent test and fared remarkably well. Wonderful.

However, if we look at our impressive achievements closely, we realise that our cleanliness is but superficial. Let us go step by step. Take solid waste management. Visakhapatnam is doing a good job of collecting solid waste from most of the residential/market/public areas in the city. While separation of the organic and non organic waste is done perfunctorily in a few areas, there does not appear to be any point to do so, since there is no mechanism for recycling either waste. The apartment complexes, which do garner sizable quantities of organic waste, have not yet taken to composting it like in Pune where most apartments have their own vermi-compost pits. Nor is the solid waste being recycled. What the GVMC is doing at present is to collect the garbage from the city and dump it in the Kapuluppada dump yard. The only way that garbage is disposed of is to set fire to it. While the smoke emanating from Kapuluppada dump yard has not attracted the nation's media attention, like that of Mumbai's now famous 'dumpyard-fire,' it is no less toxic. People living in the adjoining Wambay and JNNURM housing colonies are subjected to that smoky air day after day, all round the year, and are suffering in silence since no one appears to be in a mood to address their health problems. The noxious smoke reaches as far out as MVP colony and NH5, when the wind blows that way. So, Visakhapatnam is no better than a hundred other cities in India, which only shift garbage from within the city to an outside location. A permanent strategy for garbage disposal is yet to be unveiled.

The second criteria for scaling the 'clean city ladder,' is the construction of public toilets. One of its main objectives of the exercise is to get more people to use toilets. How does GVMC tackle the problem? At present what it is doing is to offer a sum of Rs 15,000/- for building individual toilets. Public toilets are missing in the areas where they are needed most, namely the slums. The unregulated settlements like Burma Camp, Kailaspuram, Gandhinagar, Chakaligedda, and Muslim Colony are all thickly populated but have no toilets. Some 8.75 lakhs of the urban poor live in those colonies and 50% of them do not have toilets of any kind. To presume that there is no open defecation in Visakhapatnam is to delude oneself. Next comes "behaviour change communication" which, in simple language means explaining to the people the need to change their 'behaviour' for better, to help keep the city clean. How is this being done when people in the slums do not have drinking water, toilets, electricity, drainage or medical facilities is not known. A few posters perhaps, and a couple of newspaper advertisements or an occasional hoarding on the beach? A change in behaviour will come about only when a better alternative to their present sub-saharan lifestyle is provided. Advertisements, like 'jal hai to kal hai' (if there is water there will be a tomorrow) and the 'keep water clean,' issued by the government at high cost will only mock the slums dwellers, given that 15% of the slums of the city depend on the erratic water tankers of the GVMC. The government organs like Pollution Control Board do precious little to keep water safe from the more dangerous chemical/industrial contamination, and the civic authorities fail to provide clean drinking water to the slums but have the temerity to preach to the hapless citizens that they should keep their water clean!!

The people of the slums have not descended on us from Venus or Mars. They are Indians, that migrated to the city, per force, to eke out a living, because of the arbitrary land policies of the authorities. What's more, the city will come to a standstill without them, as they play a crucial role in running and maintaining the city. They cannot be wished away as long as land is forcibly taken from them for one reason or the other. A city cannot be smart or clean when half its population remains in disease or deprivation.

Then comes the question of the recently merged municipalities like Anakapalli and Bheemunipatnam. Was the cleanliness index applied to them as well? Have they been checked out, say, for solid waste management, building toilets, or for the eradicating open defecation? Interaction with the residents of Bheemunipatnam revealed that other than losing their independence in the management of the town, they gained precious little after their merger with the GVMC. Earlier, the commissioner of the little town was both available and accountable to the people. It was governance as it ought to be.

After the merger, neither the people nor the local officials are privy to the developmental activities planned for the town. Orders come from the distant and mysterious headquarters, and are executed under the supervision of some invisible entity, removed from the local citizens. The distance between the people and the government has increased, answerability and accountability are severely eroded and the role of the people has diminished. Same is the case with Anakapalli. Talk of involving the people in the Swachh Abhyan!?

So in the final analysis, we are surely happy that Vizag broke the glass ceiling to find a place in the top ten clean cities of the country. This should just be a beginning and the good work should be taken to its logical conclusion. The many high profile events like Visakha Utsav, CII Partnership Summit and the International Fleet Review held in the city in the recent months dovetailed into one another, resulting in large quantities of funds being granted. The inclusion of the city to the exclusive 'smart city club' has further spurred beautification efforts. Cleaning, sprucing and clearing the debris left behind by Cyclone Hudhud happened on a war footing. The city got new roads, colourful pavements and ornamental shrubbery. True, some toilets were built in a few public places. The city today does look clean and smart.

The good work must be extended to the outlying areas of the city. As long as the slums are left out of the developmental work, the city can never be truly healthy. Many are the times when one has seen open defecation in the now beautiful beach! The day the slums receive the same treatment and facilities as the posh areas, we can proudly claim to be at the top of the heap. Like they say, we have promises to keep and miles to go before we sleep, and claim credit.

(The writer is a heritage and environmental activist. She can be reached at [email protected])

- The Times of India, March 13, 2016

Once upon a time a rich businessman decided to build identical mansions for his two sons. The houses were to be built side by side, each with about 25 rooms. Burmese teak, stained glass from Venice, mirrors from Belgium, Japanese wall tiles and wrought iron from Britain graced the interiors.

Classic Art Deco embellishments adorned the exteriors, deep porticos shaded the front doors and a fountain was placed in the centre of the shared driveway. The sons and their families moved in and when there were parties, weddings and festivals the specially built reception rooms that stretched the length of the houses were filled with up to 1000 guests.

And the houses were full of laughter and children and the aroma of spices and fine perfumes and cumbersome heavy keys were used to lock the storerooms, of which were there were many because they were filled with money and gold, and gems and treasures from all over Asia.

This vast mansion in rural Tamil Nadu was once home to one extended family. It covers an entire block and has now been ...

Jillian Worrall
This vast mansion in rural Tamil Nadu was once home to one extended family. It covers an entire block and has now been restored as a luxury hotel.

These were the halcyon days, which of course, if this really was a fairy story, would have lasted forever. But instead, this is a true tale of the Chettiars of the state of Tamil Nadu in South India, who once lived in thousands of mansions like this, until the tide of wealth ebbed away. A few houses have been restored; in a few dozen more a few family members or ancient retainers camp out in a few habitable rooms. The rest, hundreds of them, lie empty, ravaged by monsoon rains, heat, dust, monkeys and other inexorable instruments of decay.

So now, just four people and a small dog live in one of the brother's Art Deco mansions. The other stands completely empty, waiting maybe for one more family wedding.

It is the granddaughter who shows me around, although it was the family servant who enticed me in from the weedy, unsealed road outside the house. I did not need much encouragement. Although slick with sweat from the 35 degrees Celsius-plus temperature and stifling humidity I'd been staggering around the streets of the region's main town of Karaikudi for some time already, desperate to see inside these improbable, incredible palaces.

Pillared courtyards, such as this one in the Visalam Hotel (a mansion built by a Chettiar businessman for his daughter ...

Pillared courtyards, such as this one in the Visalam Hotel (a mansion built by a Chettiar businessman for his daughter as a wedding gift), are a typical feature of Chettiar architecture.

I'm shown through a series of pillared courtyards and then up three flights of a teak staircase to the roof. From here behind the crumbling concrete parapets I can see over the neighbouring walls into more of the Chettiar mansions, a few freshly painted with facades of blinding white, bright orange and even garish luminescent green. Others stand, blank-eyed, netting stretched over deep verandas to keep out the monkeys, weeds sprouting from the roofs.

My guide is an accountancy student, a very apt choice for the youngest generation of the Chettiar caste who made their fortunes as bankers, businessman and traders. She opens the door into the long function room. "We can fit hundreds of people in here," she says. Today she, her mother and two servants seem to be living in just one or two rooms and in the semi-open back courtyard.

Iron bedsteads with rumpled covers sit huddled in the corners of one large room, a tiny ancient television perches on a stool at one bed end. On the veranda metal trays bearing a few cups and plastic jugs sit beside the courtyard well. On the walls are black and white photos of family weddings and baby photos of chubby smiling infants lying bare-bottomed on tiger skin rugs.

An immaculately restored Chettiar palace, still used by its absentee owners for important family occasions.

It is the family servant, angular and spare under her sari who makes sure to collect some rupees from me for the privilege of seeing around the home. Maybe it's she who is more acutely aware of how greedily these houses swallow up money.

That evening, Ramanathan (Ramu) Chettiar, who lives in another of the mansions and is guest relations manager in yet another home, now converted into a luxury hotel, tells me just how many rupees home owners must find to stop their houses crumbling away.

"Houses need up to two million rupees every year (about $NZ45,000) and that's mostly just to maintain the roof tiles, save the timber from the white ants and keep the monkeys out."

An Art Deco mansion in Karaikudi, one of two (the other is on the right) built by a wealth Chettiar businessman for his sons.

What is astonishing is that in this small region and scattered among about 75 villages are nearly 11,000 of these mansions.

"Eleven THOUSAND?" I reiterate.

"About that," says Ramu, "but 100 years ago there were more than 20,000".

Gently decaying in the tropicis... a Chettiar mansion that has seen better days.

Gently decaying in the tropicis... a Chettiar mansion that has seen better days.

"All like this?" I'm still struggling with the statistics, waving my hand in the direction of the 42-room mansion that stretched out behind the terrace we're sitting on.

"Oh, some are much bigger than this," he says, adding that he lives in his family mansion which, when he was young, housed close to 30 relatives. Nuclear families would have their private living spaces but meals were often communal.

"In this way, if there were disputes, especially among the women when the men were away, people were forced to come together at least once a day and sort things out face-to-face."

Many of the older Chettiar houses have ornate facades; this one features Hindu statuary.

How did these multistorey confections with their turrets and towers, ornamental gateways, facades adorned with an eclectic assembly of statuary that includes Queen Victoria, British military figures and Hindu gods and goddesses, come to be here, far off the beaten track in Tamil Nadu? We're nine hours' drive from Chennai (Madras) and several hours from the ocean. If the Chettiars were traders why did they invest so much of their wealth so far inland?

Just as the number of mansions and Chettiar villages seems to vary depending on who you talk too, so too do the stories of the origins of the Chettiars themselves, whose history is interwoven with those of South Indian dynasties such as the Cholas who ruled at least 2000 years ago.

What is certain is that the Chettiars have, for centuries, been masters of trade and business. According to Ramu they originally based their operations on south India's Arabian Sea coast but in the mid-1700s a tsunami wiped out their homes and wealth and forced them to move inland.

A few members of a new generation of Chettiars are now finding employment in tourism. Chidhambaram Chettiar is front desk manager at the Art Deco era Visalam Hotel in Karaikudi.

"The reason you see very few fountains and pools around their houses is that the Chettiars have been rather hydrophobic ever since."

The Chettiars' trading empire encompassed modern-day Sri Lanka, Burma, Malaysia, Vietnam and Cambodia but it was during the time of the British Raj from 1858 to the declaration of Indian independence in 1947 that the Chettiars really began to consolidate their fortunes (and amass the money to enable them to build their mansions).

Considered by some historians to be the fathers of modern banking, the Chettiars served as bankers and money lenders to the Raj as well as continuing their trading enterprises.

"Visitors sometimes imagine that all these rooms were bedrooms," Ramu explains. "We've taken walls out to create large bedrooms because originally they were much smaller and used for storage of family wealth and tradeable goods. If prices were low families would store products until prices went up."

"My great-great-grandfather spent most of his life as a gem merchant in Burma. He would come home every three or four years – that is why all his children were spaced out at about four-year intervals."

The Chettiars poured more of their wealth into the houses rather than furniture, although Ramu is now collecting Belgian glassware that some families are now having to sell to pay for essential repairs (antique dealers have already stripped many houses, including in some places entire ceilings and metres of teak. One house alone netted 300 tonnes of teak).

"Burmese teak is everywhere and, of course, you would think it was loaded into ships to the nearest port but in fact it was towed across the Bay of Bengal, chained to the ships and with the logs engraved with the purchasers' names. Then it was loaded into elephant and bullock carts and hauled inland.

"They brought most of the other interior adornments the same way; the stained glass from Venice, delft tiles from Holland, wall tiles from Japan, chandeliers from Murano, Carrara marble and Birmingham steel for balconies and the like, in fact our spiral staircase is from there."

Another unique feature of most of the mansions is the special treatment applied to the walls – a coating of lime, egg white, powdered sea shell sand jaggery (palm sugar) to create a silky smooth, mirrored finish.

There are two main styles of Chettiar mansion – those built from 1840 to 1920 and the later Art Deco buildings built between 1920 and the late 1940s.

It's no coincidence that the house-building stopped at the time of Indian independence from the British. The glory days of the Chettiars ended with the colonisers' departure as their wealth had become inextricably bound up with that of the Raj. As the Chettiars' vast incomes largely dried up (there are some Chettiar families who are still extremely successfully business people) there was little money to retain their mansions; younger generations were no longer content to live in what was becoming a rural backwater.

Although house demolition, which saw the number of mansions reduced almost by half has now been stemmed, of those remaining only about 20 per cent are still lived in permanently. Unesco is apparently investigating making the region a World Heritage area. There are major hurdles to overcome, however. For example, most houses are owned by sometimes dozens of family members not all of whom can agree on what should be done with their ancestral homes.

The Chettiar houses are not only found in towns. Many are scattered in the countryside around Karaikudi. Indian rural life, so little changed for centuries, goes on, right under the walls of these extraordinary houses.

Farmers plant rice and wait for the rains, bullock carts loaded with flour trundle down lanes lined with these palatial mansions, marooned in farmland like abandoned, luxury cruise liners adrift at sea. A smartly uniformed doorman salutes in front of one of the houses now converted into a hotel. A surprisingly scant tourist trade has saved some of the houses, but say the locals, how many beds can the region sustain?

"Help is needed from Unesco, the state government, the Indian government," a local guide says.

Directly across the road from the hotel, an elderly couple, both with milky cataract-veiled eyes, stand at the gateway to another vast, ornate, fortress of lost wealth.

I can hardly resist the perverse urge to step inside the semi-derelict mansion and wander among the ghosts, scatter the white ants, camp on the veranda on a string bed, become a misplaced Miss Haversham, mouldering among the memories.

But I have to move on, as the world has for the Chettiar mansions. Like the present-day Chettiars, I just hope that someone comes to the rescue of their astounding architectural heritage.

- http://www.stuff.co.nz, March 14, 2016

Telangana Joint Action Committee chairman M.Kodandaram has urged the state government to come up with a comprehensive water policy to mitigate the problem in the state.

“Telangana is facing severe water crisis not just for irrigation but also for drinking water. This is the worst crisis in the past six decades. Not only the government but also political parties, activists and people from all walks of life should take the responsibility of saving water. The government should introduce a water policy to address the problem,” he said at a round table organised by Walk for Water and the Press Club of Hyderabad here on Sunday.

“While water shortage reached the extreme levels in Hyderabad, severe drought conditions are prevailing rural areas. Unless we take steps to address the root cause of this problem, it cannot be solved. We should take steps like building rain water harvesting pits, protecting lakes and water bodies from encroachments, etc. The government should give permission for new layouts and buildings only if the facility of rain water harvesting is provided.”

Kodandaram came up with the suggestion of water recycling in Hyderabad, saying that millions of gallons of water was being wasted in the city. The round table saw the participation of social activists, environmentalists, politicians and representatives from various sectors who offered different solutions to address the water problem.

“Water scarcity is a major issue today and the government should take it up on an urgent priority. Though the government is spending about ` 40,000 crore on Mission Bhagiratha, the scheme cannot be successful if there is no source of water. Therefore, the government should focus on giving priority to initiatives like rain water harvesting which will first help in storing water,” said Telangana Telugu Desam president L.Ramana. Ramana said that rain water harvesting was taken up during TDP’s rule 10 years ago but neglected subsequently by successive governments. He too called upon people to save water.

- http://www.newindianexpress.com, March 14, 2016

Construction sites in Gurgaon use six to eight million gallons of water every day, Haryana's pollution control board has told the National Green Tribunal in a case on illegal extraction of groundwater by builders.

The board has said it's not aware of the source of water but suspects a bulk of it could be groundwater, reserves of which have been shrinking alarmingly over the years.

The pollution board said it had sealed illegal borewells being used for construction by 18 developers in the city. "It was brought to our notice that between six and eight MGD of water is used every day for construction purposes but the source of the water has not been disclosed. We are sure that groundwater is being used for construction purpose after extracting it illegally," states the pollution board's action-taken report before the NGT.

The report was submitted after a complaint was filed in the tribunal by Vikrant Tongad, a Noida-bsed environmentalist, against developers. "The defaulting developers couldn't provide details of the water being used for construction.," said an official of the board, requesting anonymity. "A construction site in Babupur, for instance, was using 31,000 kilo litres water per day. However, the construction company was purchasing only 19,874 kilo litres water from the treatment plant. The company couldn't provide details of the source of rest of the water used in the project. So, it is clear many developers have been using groundwater illegally," the official added.

After the complaint was filed, teams from HSPCB inspected over 300 construction sites, of which 157 didn't have permission for borewells from the authorities.

The green court has asked the pollution board to upload the names of defaulting developers on the website of the Central Ground Water Authority so that all government department, including Huda and town and country planning can monitor usage of water at construction sites.

In 2012, the Punjab and Haryana high court had banned the use of borewells at construction sites and instructed Huda to supply only treated water to these places.

"Most developers buy only about 30% of the required treated water from us. On the other hand, the total extraction of groundwater from the city is much more than prescribed limits. The gap reflects that groundwater is being used illegally by some developers," a Huda official said.

The city's groundwater level has been falling steadily (see graphic), and according to data available from 2009-14, dived by nearly 10 metres in five years.

"In 2011, the city had 30,000 tubewells extracting over 200 million litres of ground water per day," said Shanta Singh, a retired hydrologist. Some activists also criticized the authorities for failing to take steps to recharge depleting groundwater levels. According to an estimate, in the 1980s, there were about 140 waterbodies and lakes in the city, of which only 20 still exist.

"Unless water bodies in the city are revived and a robust water harvesting system is introduced, the situation will continue to become worse," said Colonel Oberoi, a water conservationist.

Tongad, the petitioner in the NGT, said, "After we filed a case against builders in Noida and Greater Noida illegally extracting groundwater, the NGT appointed a local commission to randomly check construction sites all over Delhi and NCR. The commissioner filed his reports with the NGT and based on that, the Haryana pollution board has conducted its independent inspections. Groundwater continues to be used at construction sites, despite a ban by the green court. Our case on the matter is still with the NGT. The next hearing is by March end."

- The Times of India, March 14, 2016

Most monuments in the city like the Charminar, Golconda Fort, Qutub Shahi tombs etc. are covered with advertisement boards.

Historical monuments in the city are covered with advertisements of soft drink companies like Coco Cola. Apart from this, graffiti on the walls of these monuments and large advertisement boards and shops next to the monuments are big irritants.

While lovers etch their names on the walls of these historical structures, the Archaeology Survey of India (ASI) has hardly done anything. Similarly, officials of Greater Hyderabad Municipal Corporation (GHMC) are silent regarding the advertisement boards and hoardings at and near the monuments.

Most monuments in the city like the Charminar, Golconda Fort, Qutub Shahi tombs etc. are covered with advertisement boards.

Mr Xavier Augustin, founder of ‘X! Travel Club’ on Sunday criticised officials for remaining silent on such practices. He posted pictures on his Facebook wall stating that all the monuments in the city were being covered with soft drink ads.

“See how the mighty Coca-Cola paints the historical fort area of Golconda red. Literally, I really can’t tell the difference between the vandals who scribble their names on our landmarks and Coke ads who are trying to achieve the same – cheap and free advertisement. I hope our tourist areas and monuments are treated with more respect,” he said on his FB wall.

ASI has taken action to curb defacing of walls at Charminar by installing CCTV cameras but there is no end to the graffiti.

GHMC additional commissioner (Advt) Mr J. Shankaraiah told DC that big advertising boards and hoardings at historical monuments were against rules. “The issue has not come to our notice. We shall verify it soon by sending circulars to concerned zonal officials to launch an enforcement drive for taking action against such boards and hoardings,” he said.

- The Deccan Chronicle, March 14, 2016

Thespian Shashi Kapoor indulges in some people-watching at his theatre's cafe in Juhu

IT seems everyone wants a piece of Ranveer Singh lately. After an understated but appreciated act in Zoya Akhtar's Dil Dhadakne Do, to a gobsmacking- good, authorbacked role in Sanjay Leela Bhansali's Bajirao Mastani, Singh is on every director's get-him-now list. We hear that a megawatt film studio, which launched Singh in the movies in his budding days, and Akhtar's film company are in the midst of a soft war for the actor's time. While the film production house demands loyalty from Singh, Akhtar's company is rumoured to pay the highest salaries for actors. If Singh takes on Akhtar's film, he will be vaulted up to the take-homes of the Khans. What's more is that Singh has met Akhtar three times in the past month, and we hear has almost given her the nod. When Dil Dhadakne Do wound up, he had gone down on his knee (characteristic of him) and begged her for another role. Now she wants him to keep his word.

Strike the wrong note

THE India First campaign launched by Bharatiya Janata Yuva Morcha, the youth wing of the BJP, in Ahmedabad was a huge success. One incident though attracted your diarist's attention. BJYM Gujarat treasurer Rutvij Patel led the gathering by singing 'Vande Mataram' at the Gujarat University Convention Hall. Half way through the song, his voice petered out. Apparently, the doctor had forgotten the lines to the national song. The embarrassment on the faces of BJYM national president Anurag Thakur and Mayor Gautam Shah, who were attending the meeting, was quite evident. After all, he belongs to the BJP that has been quite vocal about making it compulsory to sing Vande Mataram in all schools, including madrassas. The party has been trying to get Indians to sing Bankim Chandra Chatterjee's composition in its entirety. Muslims are opposed to singing of portions in Vande Mataram, which they believe refers to Goddess Durga. A student from SAL engineering college, who was attending the India First meeting, had the last word. "Leaders, who come to teach us nationalism, should first learn it themselves. They need to know Vande Mataram by heart before forcing others to sing it. When Dr Patel fumbled, others followed suit. It was quite shameful to watch." All we have to say is: OUCH!

Forty, not out

FORMER cricketer, now commentator, Rohan Gavaskar had to celebrate his 40th with customary ceremony. The weekend saw the younger Gavaskar, and his wife Swati, host his pals for a sunny brunch at a friend's farmhouse in Alibaug. Since most of the Indian players were travelling, the ones who did made it were former team mates Ajit Agarkar and Zaheer Khan. As is the norm with high-brow brunches at across the Gateway marina, speedboats ferried guests to and fro by the hour.

Sonia goes shopping

THE Crafts Council of India's Kairi exhibition, held in New Delhi recently, had a very eminent shopper in its midst. Congress chief Sonia Gandhi could barely resist herself as she made her customary rounds at the event-- we hear she made several purchases, among which were a sari from Bastar, an Ikat from Sambhalpur, a Chettinad handloom and several others. Mrs Gandhi's love for handloom saris is how the lady remains connected to her deceased mother-in-law Indira Gandhi, whose propensity for wearing local khadi has been well documented. Political corridors also speak of how Indira bequeathed all her favourite saris to Sonia, much to the chagrin of the other daughter-in-law Maneka.

What a Knight

WE are pleased to announce that our former Mirror Hero from Mumbai and independent conservation consultant, Anupam Sah, will soon be conferred The Knight of the Order of The Star of Italy by the President of the Republic of Italy, Sergio Mattarella, for his outstanding work in the field of restoration. An elated Sah, who is in Nainital currently, says, "This award helps to create focus on the profession of art conservation, of which Italy is a leader. Just as past efforts of various conservators, governments and institutions like INTACH, National Museum Institute and CSMVS have helped create infrastructure and circumstances to pursue this profession, I hope our work will create platforms to diffuse art conservation across and into the soil of this nation."

- http://www.ahmedabadmirror.com, March 15, 2016

The dewatering of Padmatheertham pond ahead of restoration of the demolished kalmandapam began on Monday. The pond would be dewatered in three days. The water is being pumped off so as to strengthen the base of kalmandapam before initiating restoration works.

The modification works around the pond were stalled earlier as members of Travancore royal family and Hindu organizations came up in protest against demolition of the kalmandapam. The government soon intervened in the matter and directed the administrative committee to stop the modification works and restore the kalmandapam.

In addition to the kalmandapam which was demolished in February, another mandapam which had collapsed earlier will also be restored. The archaeology officials and members of the conservative committee will visit the spot after the dewatering process is completed and draw out a plan on restoration of kalmandapams.

Asked about the cleaning works of pond, district collector Biju Prabhakar said that the focus now was on kalmandapams and that the pond would not be polluted with dirty water this year owing to Operation Anantha. "Our focus is on restoration of kalmandapams. We hope that the temple pond will not be polluted this year as drains have been widened, in any case cleaning works will begin only after restoration is completed," said Prabhakar. The modification works were initiated as part of cleaning Padmatheertham, which includes disposal of sludge, repair of existing granite steps and mandapams on all four sides, modification as per architectural design, identification and rectification of points of contamination of pond water, design, procurement, installation and commissioning of a low recurring cost water purification system. The collector said that the restoration of kalmandapam will be completed within 21 days.

- The Times of India, March 15, 2016

Governor KK Paul today said Phool Dei festival was a symbol of the state’s rich cultural heritage and love for nature. He said all possible efforts should be made to preserve and nurture the heritage of rich folk traditions. Thirty girls (between the age group of 4 and 10) showered flowers at the threshold of Raj Bhawan this morning to celebrate the festival. The Governor welcomed them and offered them rice and sweets (according to tradition), giving them best wishes.

He said the message of nature conservation must be conveyed to the new generation and this could be done best by involving children in the celebrations.

He congratulated the organiser of the programme, Shashi Bhushan Maithani and the activists of “Rangoli Andolan” for making an effort to keep alive the strong folk culture of the state.

He said such initiatives were required for always keeping alive such healthy and progressive social traditions.

Celebrations in Kumaon

Phool Dei was celebrated in the Kumaon region with fervour today. The festival of flowers is celebrated on the first day of solar month every year. Young people, especially girls, take bath in the morning, worship village deity and apply vermillion marks on their forehead and chant ‘Phul Dei, Chamma Dei, Deno Dwar, Bhar Bhakar’, besides decorating entrance of every house in village for good in coming year. The girls and children get gifts in the forms of rice, gur and money, which they use to make ‘Saya’. It is later consumed by them. “Rice flours are squeezed at first into dough with curd. Then ghee is used to fry it for a considerable time. When the item turns brown, sugar is added,” said Kaushal Kishore Saxena, a well know Kumaoni cultural writer, based in Almora.

According to Saxena, the festival is celebrated in the Kumaon region to mark the beginning of the spring season. ‘Badi’ community sings songs for the well being of the families in their villages. Married girls get gifts from their parents. This tradition is known as ‘Bhitola’.

Cultural writer YD Vaishnav relates this festival with that of Romans according to which people used to mark the festival of flowers in the name of their deity Flora. “The celebration of Phool Dei in the Kumaon region has been linked to the ancient Romans’ festival of flowers by Vaishnav in his book Sanskriti Sangman Uttaranchal,” said Saxena.

- The Tribune, March 15, 2016

There is an increasing appreciation for draping, fabric, textures, craft, for other values of fashion and couture that is not just about shine It takes some time in a business to see the emergence of a trend. Even so, I find it rather difficult to nail down a fashion trend in India—the space is so fragmented across multiple genres and sub-geographies. When Swarovski entered India 15 years ago, it went by definitive readings available in the market, instead of trends. It probed where high-value crystals could be applied in Indian fashion and what would be the right mechanisms to build the needful presence.

One obvious route was high-end bridal wear—given the natural heritage of embroidery and embellishment, and the erstwhile use of precious stones to provide multiple dimensions of opulence. That was the seed of the collaborations we began building with Indian designers. That’s also why, 15 years later, our identity in India still remains linked with bridal couture, despite our diversification into multiple other areas; and we fully encourage that.

Crystals became an exciting embellishment for designers to play with. However, spurred by their popularity, cheaper crystals began flooding the market in the last three-four years. They became an alternative if an “unauthentic” source for some designers and brands who would use “crystals” lower in quality, durability, visual appeal but could ostensibly be passed off to some consumers as Swarovski. Use of cheap crystals allowed for heavy crystal embellishment on lehngas at a very low price.

Consequently in India, I found our company in a counter-intuitive situation: the more designers or brands wanted heavy use of crystals, the less likely it was that they would use authentic Swarovski. They wanted low price points and there was availability of cheap alternative material to support this.

Over the past two years, we have witnessed another subtle dynamic which has contributed to what I term the “reorientation of Swarovski”. This has to do with the evolving needs of the Indian luxury consumer—people who don’t always need to display what they own or how much they are worth. While there is still a tangible gap in the savviness of luxury purchase behaviour on this front between consumers here and in the West, there is an increasing appreciation for draping, fabric, textures, craft, for other values of fashion and couture that is not just about shine. With this emergent dynamic, it is increasingly relevant that Swarovski be also seen as a core design ingredient .

That offered us a direction for the two-pronged approach we have recently launched. One, while we continue to embrace the sparkle and shine we bring to the table,we are evolving our palette to include opal tones, pastel shades, imperfect cuts with matte finish, patina effect and pearl tones. The patina effect is a special canvas for India which provides remarkable avenues to create a vintage old-world feel, with its distressed look, and it has been accepted already.

All of these are directed towards that segment of consumers who want to use Swarovski but don’t want their clothes to state it obviously. This evolution not only helps us offer an innovative twist to our existing consumer base, it also allows to bring in a new generation of consumers who are not traditional “bling-lovers” but are looking for sleek and contemporary edgy, with subtlety in form.

Also, since last year, we have started focusing on use of Swarovski in a select set of garments within a designer collection, where the use is unique, pure and raw in a sense. It stands out magnificently, thus eliminating the need for other embroidery or embellishment—which helps the designer manage the price as well, while creating something with spectacular impact.

Last is the relevance of environmental sustainability, one of the core values for a luxury brand in this day and age. Swarovski are the only crystals available which are 100% lead- and nickel-free. We also have a huge emphasis on water conservation, driven via green production processes as well as corporate social responsibility efforts. We are increasingly seen as a vanguard and vehicle for sustainability among our luxury client base in the West. I hope domestic luxury brands will similarly take notice of these aspects.

Vivek Ramabhadran, managing director of Swarovski Professional India, will moderate a session on New Frontiers of Design at the forthcoming luxury conference.

- http://www.livemint.com, March 15, 2016

In order to deal with the water scarcity in Thane, last week in Lok Sabha, Kalyan's MP Shrikant Shinde proposed that the central government introduce a rainwater harvesting scheme for everybody to benefit from it. He said this will help every building become self-reliant and added that this can be similar to Swachh Bharat Abhiyan and toilets for every household campaign.

Rainwater harvesting is advocated by most municipal corporations in Thane district, in fact, all the new buildings coming up in Thane and Kalyan are required to have their rainwater harvest mechanism in place. All the new structures which comply also enjoy rebates in property tax.

"The government can subsidize funds for old buildings, government offices and others to instal their rainwater harvest system," Shinde said. Moreover, he pointed out that while the government has a scheme to dig bore wells, there is no scheme to collect the rainwater, purify it and transfer it to the bore wells. "As a result, the water table in the country is going down and people have to drink polluted water which in turn affects their health," he said.

Shinde also points out that if the centralised harvesting scheme is launched, then the beneficiaries like the zilla parishad schools, government buildings, old buildings, among others will be able to meet their water needs. The current situation of water scarcity will be taken care of in future.

Now, whether this poignant question affecting Thane district is taken into consideration or is ignored like many others, remains to be seen.

- http://www.dnaindia.com/, March 15, 2016

The best way to explore old Delhi is to take a leisurely walk through its myriad alleys, and soaking in the sounds, sights, and flavours of Shahjahanabad. However, if the crowd and chaos of Delhi 6 is too much for you to handle, there is another option available—the Rickshaw Tour.

Started recently, the Rickshaw Tour gives visitors the opportunity to explore old Delhi on a cycle rickshaw. The tour has been started by India City Walks, which organises heritage walks in Delhi and other Indian cities. Expect to visit the Red Fort, Jama Masjid, Spice Market, Wedding Market, Silver Bazaar, Town Hall, old mansions and religious shrines, apart from savouring delicacies from some of the well known eateries in the area. Delhi Tourism Minister Kapil Mishra, who took a rickshaw ride on Sunday, said, “The tour is amazing. Everyone should experience it,” Mr. Mishra told The Hindu . “I took the ride to visit the Parathewali Gali, Fatehpuri, Kirani Bazar, Chandni Chowk, Nai Sadak, and Dariba Kalan,” he said. The cycle rickshaws that are used are unlike those that are seen in India. “Our cycle rickshaws are custom-made and cushy. They are more comfortable than the usual rickshaws,” said Sachin Bansal, founder of India City Walks. For the tour, the latter has roped in rickshaw pullers who used to operate in old Delhi itself.

The Rickshaw Tour does not follow any particular time frame. “It is a full-time business,” said Mr. Bansal. He further said that most of the customers were ‘corporate’ people and foreign tourists.

Mr. Mishra said that the Delhi government would promote such initiatives in the city. “We will promote such tours through brochures and campaigns,” he said.

- The Hindu, March 15, 2016

A team comprising the ex-deputy director of the art, culture and sports department, History department heads of various colleges and students are on a quest to preserve and showcase structures with archaeological significance in the state. The team under 'Heritage Jharkhand' has got the green signal from the state art, culture and sports department to conduct a survey to explore these heritage sites. Harendera Sinha, the department's former deputy director, said a 'village-to-village' archaeological survey to explore forts, temples, monuments, structures and mounds which contain rich archaeological material has begun. "After exploring the structures, we will submit a report about its history and archaeological significance with photographs to the state government," said Sinha.

Their quest has begun in Bokaro and Dhanbad. The team will visit other parts of state soon. In Bokaro, City College principal Dr S P Sharma along with two history students are engaged in the task, while the survey in Dhanbad is being conducted by students under Dr Devender Kumar, a faculty member of J K Memorial College's history department. The survey has already begun and they are identifying spots after visiting rural areas and connecting with local residents.

"An Archaeological Survey of India (ASI) team visited Chandankyari and neighbouring areas of Bokaro and Dhanbad in 1872. They had then reported on various temples and monuments explored by them. We are also taking a cue from that survey. Chechka Dham, a famous religious spot in Chandankyari, was mentioned in their report. We are trying to identify and locate other spots".

He added that there are various spots explored by them in the initial phase. In Amdiha village, they found an 18th century temple which showcases terracotta work. Similarly in Goteshwar village, there was an old Lord Shiva temple. "I was surprised to find structures which are centuries-old lying abandoned in Mahal village. It seems to have been unearthed during coal mining," said Sinha.

- The Times of India, March 15, 2016

The Taj Mahal, the Agra Fort and Fatehpur Sikri are among the 40 "must-see" monuments of India, according to the Archaeological Survey of India (ASI).

Union minister of culture and tourism Mahesh Sharma on Thursday said the ASI's "must-see" list had included monuments and sites that embody "outstanding universal value". He further said the ASI list included world heritage sites and those that are protected by the archaeological body.

Buddhist site Sarnath in Banaras is the other site from Uttar Pradesh to be included in the list.

Meanwhile, the department revealed that one-third of its annual budget is spent on conservation of monuments.

Divulging details, the minister said that out of Rs 528.59 crore allocated to ASI in 2013-14, Rs 171.14 crore (32%) was utilized for conservation. This figure increased to Rs 633.45 crore in 204-15, out of which Rs 235.75 (37.2%) was used for conservation purposes. In 2015-16, the ASI was granted Rs 712.28 and Rs 232.35 (32.6%) was used for maintenance of protected monuments and sites.

- The Times of India, March 16, 2016

A recent study conducted by Nav Nalanda Mahavihara (NNM), a deemed university under Union ministry of culture, warned that archaeological traces of the remains of ancient sites in Bihar would vanish if steps are not taken to preserve them. The study, however, made it clear that it is not possible for the government alone to preserve each and every site in the villages and keep looters at bay.

According to the study, a large number of Buddhist artefacts have either been lost or stolen and some of them are adorning the museums and galleries abroad.

The study is part of NNM publication, 'A Journey through Bihar to Vihara' by JNU scholar Aparajita Goswami and NNM heritage consultant Deepak Anand. NNM is also doing a photographic documentation of sculptures of Bihar in museums all over the world.

"One of the revealing facts of the recent study is that stolen sculptures are being auctioned by various auction houses like Christe's, Sotheby's and Bonham's," Deepak Anand told TOI over phone.

"It is a painful truth that the damage done to the heritage of Bihar cannot be undone despite all measures. However, we can at the least become conscious of whatever is left and try to preserve them," Anand added.

Aparajita Goswami said local communities are still using the centuries-old traditional way of worshipping sculptures in the open. "This has led to disappearance of sculptures over years. Villagers narrate how they once had collection of hundreds of sculptures, but only few of those sculpture are left," Goswami said.

Scholars also feel that the single largest issue that threatens the heritage of Bihar is the enormous volume of undocumented historical and cultural artefacts scattered across the villages.

Latest Comment

The Govt must take care of heritage sights immediately so that no harm is done.

The sheer enormity of antiquities makes it difficult to ascertain which are the antiquities. "There is no comprehensive list, either official or unofficial, providing a village-wise inventory and photographic documentation of the artefacts," said an official. The department of culture has also taken initiatives to publish a directory of heritage sites located in different parts of the state.

- The Times of India, March 16, 2016

A decision to demolish Delhi's iconic Hall of Nations and Nehru Pavilion has been labelled a 'disgrace' by one of the men behind their construction.

The iconic buildings were created by structural engineer Mahendra Raj and architect Raj Rewal in 1972, and are still looked on as futuristic landmarks more than 40 years on.

But last year the India Trade Promotion Organisation (TPO) cleared plans to bulldoze the venues to make way for the new world-class convention centre at the Pragati Maidan complex.

It's a move that has shocked 86-year-old Raj, who is now the vice-chairman of the Engineering Council of India, and he is appealing to save the landmarks from the bulldozer.

'These buildings are a reflection of what India was in the 1970s. Destroying them will be as much disgrace as destroying any historic building,' he said.

'We built it to host the first international trade fair to be held in Delhi. It was commissioned by the then government under the authority who maintained the Pragati Maidan complex.

'During that time, steel was not available in abundance. So we built it in reinforced cement, which is even harder to design.

'But we completed it in the record time of two years. It is disastrous that there is a decision to tear it down,' he said.

'Every era has produced iconic buildings in India. Jama Masjid, Qutub Minar or the Bahai temple - we have always upheld buildings that make India a global phenomenon.'

Raj, who is also the brains behind other important buildings like Sri Ram Centre for Arts and the NCDC building, continued: 'We had written to the Heritage Conservation Committee under the Ministry of Urban Development in 2013 to consider including these two buildings as heritage sites. 'There has been no response, positive or otherwise, from their side.'

A Public Interest Litigation (PIL) was filed to the High Court along with a request from Indian National Trust for Art and Heritage (INTACH) to stop the process.

The case was closed, with the judgement reading: 'Mere pendency of representation to declare the buildings as "Heritage Buildings" cannot be the basis to stall the redevelopment of the Pragati Maidan Complex. We see no reason to pass any order as sought in the present PIL. The same is dismissed. All the pending applications are also dismissed.'

AGK Menon, founder-member of INTACH said: 'More than the fact that there is difficulty in wrapping one’s head around the idea of modern architectural heritage, it is the bureaucratic apathy that is causing trouble.

'Heritage Conservation Committee or the MCD is not saying "no" to notifying it as a heritage building.

'They are just shuttling it back and forth. If no action is taken, the Trade Fair Commission will go ahead with demolition.

+3
Mahendra Raj, who is now 86, said the demolition of the buildings would be 'disastrous' for Indian heritage

'The Rashtrapati Bhavan is not a 100-year-old building. But we consider it heritage because it has been notified as a heritage building.' The two structures - Hall of Nations and Nehru Pavilion - host book fairs and trade fairs. And at a time when India was going global, it was these structures that helped.

Raj says they were featured in many magazines in Germany, France and Switzerland.

'At that time, these had become Delhi’s identity. We got to know about the demolition process two years ago when the government was considering it. 'They wanted to build an ultra modern convention centre. But we were able to stall it then.

'But now, the new government has already decided to go through with the process,' he said.

But TPO officials had been complaining of how Pragati Maidan had become inadequate to hold expositions of the scale that are held today compared to when it was built.

But Raj says they are fighting a losing battle, adding: 'Pragati Maidan exhibitions function only certain weeks in a year, a convention centre would function 365 days. It would lead to huge traffic snarls. It will be in the best interest of everyone if the buildings stay.'

When the New York’s Penn Station was torn down, it gave rise to a movement called ‘Docomomo’ - or the modern movement in architecture. 'Let’s hope Hall of Nations does not become the Penn Station of India,' added Menon.

- http://www.dailymail.co.uk/, March 16, 2016

The physical remnants of human history and the material relics of erstwhile civilisations are indeed fascinating to ruminate on. However, archaeology itself is hardly considered a rewarding career and there are many who spend un-thanked lives plodding away at excavating the puzzles of the past.

But when that past is as complicated and as complex as that of India’s, the search and findings of an archaeologist might have strange political dimensions. It is in such a context that the autobiography of one of India’s most renowned archaeologists gathers a significance that far outstretches one’s imagination.

K.K. Muhammed’s Njanenna Bharatheeyan from Mathrubhumi Books is an explosive book, which while excavating the past demolishes many of our notions regarding the social, cultural and religious histories that contribute to India’s contested present.

The introduction by M.G.S. Narayanan could have been more balanced by avoiding stray vituperative comments that in no way helps a book of this kind.

In a poignant preface, Muhammed speaks of his tryst with India’s heritage that took him on a long quest in search of the nation’s cultural history. This journey took him on a spiritual pilgrimage into the very cradles of different religions in this country, and it was indeed bliss for him to touch these variant sublime relics from the ancient that formed the quintessence of a nation.

Through excavating, restoring and renovating the monuments left to an Indian posterity by Bimbisara, Ashoka, Samudragupta, Harsha, Akbar and Shah Jahan among many other emperors and rulers, Muhammed speaks of how India’s past became palpable moments in his hands, and how touching them touched him profoundly and transformed him immensely.

Born to illiterate parents in a conventional Muslim family in the village of Koduvally, it was a long and arduous journey that finally led him to international acclaim, national awards and prestigious positions. But it is not as a personal record of the laurels won and the triumphs achieved that this book is significant, but as the memoirs of a road less travelled by, of the conviction and conscience necessary not to stray away from a total commitment to one’s professional ethics, of the loneliness of bold decisions and the joy of doing what is right despite reprimands and setbacks.

It is an unusual map of India’s chequered past and problematic present that the author unfolds in these pages, where he has to battle with the most formidable of oppositions, from mining mafia to the dacoits of Chambal, to preserve the treasures of its history.

From the complex questions raised by Babri Masjid to Sanchi Stupa, the Red Fort and Humayun’s tomb, this book also reveals how each historical monument has also a contemporary tale to narrate, its fight for survival in the present, the beauty and truth of its being amidst monolithic interpretations that are sometimes too ideology driven.

The sections pertaining to the ancient university of Nalanda and the passionate brief for preserving India’s cultural heritage have the author at his eloquent best. The narration on Ayodhya, while being extremely interesting and thought provoking is also polemical and controversial to say the least, and one would need more historical corroborations to arrive at more credible conclusions. And at least occasionally the reader is left wishing that casting aspersions be done with more propriety and control, for it does taint the reading effect of a book of this kind.

In a land where claims to nationalism are increasingly becoming hotly debated, the title of this book resonates with a contemporary relevance that is remarkable in its political accuracy.

This riveting and inspirational tale illustrates how truth is often so fiercely contested in India today, and thus how difficult it is for a historian to retain his independent spirit against innumerable crushing odds.

A compelling act of autobiography, of excavating a life untold and unsung, but which nevertheless bore witness to the laying bare of many significant moments in Indian history. A monumental life of a man who lived for, and among monuments.

Njanenna Bharatheeyan
K.K. Muhammed
Mathrubhumi Books

- The Hindu, March 17, 2016

Dolphin's Nose, one of the natural wonders of the city as well as a sought-after tourist spot, has been named so because it resembles the nose of a dolphin. Some people even claim that a school of dolphins often visits the spot.

The area houses the Sagar Mata temple and the 700-year-old Ishaq Medina Dargah. According to old timers, sailors who used to sail from Vizag would seek blessings at both the places.

"Before the inner channel was constructed, there was a vast stretch of beach land connecting Vizag town to Dolphin's Nose. However, today if one were to reach the place by road, one would have to go on a roundabout route to reach the hill," pointed out history buff BS Mahesh.

"Today it is a restricted area and tourists are allowed on only certain stretches of the hill as the rest of it houses navy's quarters," he added.

The lighthouse atop the hill was built in the mid 1960s and is equipped with modern cyclone tracking technology. There was another old lighthouse situated on top of the hill way back in the 19th century, which according to heritage expert Edward Paul, was constructed by the Gode family in the 1860s. "Unfortunately, it was completely damaged during the 1874 cyclone following which plans of building a new lighthouse there were abandoned for a long time," Paul added.

"Traces of the old basement of the old lighthouse still exists in that area. More than that, we know nothing of it. The old lighthouse is also a testimony to the fact that the Godes were an enlightened family who showed a keen interest in sciences. They even built an observatory in Visakhapatnam town which existed till the late 1970s," Mahesh said.

Meanwhile, Paul pointed out that many legends and stories grew around the hill locally known as Yarada Konda. When asked about the sighting of dolphins near the hill, he said, "One does not know if dolphins can be actually seen near the hill."

Mahesh, however, pointed out that the famous naval battle between the French and the British was fought near the base of Dolphin's Nose in the year 1804.

- The Times of India, March 17, 2016

Singer Papon Mahanta drove home several messages, including the need to work hard, the importance of safe driving and the merits of blood donation, while inaugurating 'Consensio16-Space Odyssey', the annual techno-cultural management festival of the Royal Group of Institutions (RGI) here recently.

A total of 99 colleges and 600 participants from the northeast and other parts of the country took part in the festival.

Papon was accompanied by Prateek Hajela, commissioner and secretary of the state's home and political affairs department. The singer was conferred the title of 'Pride of Assam' by the RGI for his contribution to Assamese folk music.

Papon shared his musical journey with the students and spoke at length about his passion for music.

Consensio, in its seventh edition this year, included URJAA-The Management Programme, FEST- o FIESTA-Performing Arts, ART BEATS- Fine Arts, TECHNOVANZA-The Technical Events and VOGUE-The Fashion Show. A bevy of celebrities like Mo & the Shooting Stars, Ganesh Talkies and Pink Villa performed to cheering crowds. Rewati Chetri, Miss Asia at World Miss University was the show-stopper at Vogue-The Fashion Show. For the first time in the northeast, Sunburn Campus, with its international DJs, made an audience of 3000 rock to hit musical numbers.

- The Times of India, March 17, 2016

Within two months of their seizure of Palmyra, in Syria, the militant Islamic State group (IS) had demolished both the Temple of Baalshamin and the Temple of Bel, leaving little of the city’s world heritage standing by the end of August 2015. Palmyra was a world heritage site, scattered with the architectural remains of the “Venice of the East”, so-called because it was an entrepot of wealth and renown along the Silk Roads. It was with the wealth derived from the through-trade between east and west that the rulers of the Palmyrene Empire constructed the Temple of Bel, dedicated to the Mesopotamian god Bel or Baal in AD 32. Already connected through trade to the Mediterranean world at the start of the Common Era — three centuries before the incorporation of Palmyra into the Roman Empire in AD 273 — the temple’s architects took inspiration from familiar Hellenistic models to fuse Greco-Roman architecture with local styles.

In the 12th century, after the Arab conquest, the temple was converted to a mosque, continuing its use and saving it from dilapidation and destruction. By the 21st century, Palmyra’s Temple of Bel was no longer in use for worship but, like the city’s other structures — and those in other ancient cities such as Jerash, in Jordan, and Scythopolis, in Israel — was drawing in tourists from around the world. Until, of course, IS — the jihadist, fundamentalist organisation with aspirations of establishing a worldwide caliphate — razed the temple, the city, and centuries of history. The militants did so under the pretence of seeking to destroy idolatry and influences from the West in a bid to restore what they believe is a pure Islamic culture.

Ready for publication before these atrocities were committed, Peter Frankopan’s The Silk Roads: A New History of the World nevertheless serves to illuminate the history and global significance of the space from which IS (also known as Daesh) has emerged. Frankopan’s central thesis is that this space — the Silk Roads — was once at the centre of the world, was briefly surmounted and then dominated by the West, and is now remerging and reasserting its global significance. “From the beginning of time,” he opens his book, “the centre of Asia was where empires were made.” Fast-forwarding through a considerable slice of human history to the 6th century BC to validate this claim, Frankopan’s narrative commences with a potted history of the Persian Empire, “the greatest of all” the “many kingdoms and empires [that] sprang up from this crucible.”

Peter Frankopan’s treatise on history is an ambitious work, but focus on any of the dimensions of the ancient routes would have given his arguments greater clarity

Fast-paced, and at times exhausting, Frankopan’s book proceeds by conjoining the familiar figures, episodes, phenomena, and political dynasties and societies that can be connected to the Silk Roads. From the Persians, the author takes us to Alexander the Great’s campaigns and city-building between the Mediterranean and the Himalayas, from the rise of Islam to the Crusades, from the expansion of Genghis Khan’s empire in Eurasia to the Black Death, from Colombus’s and Vasco da Gama’s voyages of discovery in America and Asia to the Spice Trade. This vast terrain is covered in only the first half of the book, which concentrates on the Silk Roads as the economic and cultural pivot and political centre of the world. In the second half, the focus shifts to the emergence of the Atlantic slave trade system and the expansion of Europe from the margins of the Silk Roads, 19th century empire-building by Great Britain and the 19th century Great Game, the making of the modern nations of the Middle East in the early 20th century, the emergence of radicalism during the Cold War, the rise of US influence in the region and, finally, the Gulf War and the ‘war on terror’. In this book, time slows down, with the author painting in finer brushstrokes, offering more detail as one marches on with the narrative.

Frankopan has had to be selective to produce a book of this breadth, but the result is a rather uneven treatment of A New History of the World — the subtitle of the volume. Upon putting down the book, a reader might ask, for example: ‘Did sub-Saharan Africa cease to have a history after the end of the slave trade?’ The sub-Saharan region, after all, scarcely appears after a cursory discussion of the Kingdom of Mali, whose wealth was built on the trans-Saharan trade, and of the role of enslaved Africans in the exploitation of Spanish America’s resources, which was the basis for the emergence of Europe from relative obscurity to the mastery of the Silk Roads in the pre-industrial era. Is this oversight the outcome of the sparseness of the scholarship on Africa upon which Frankopan relied to research and write this book? Surely not. African historians have worked tirelessly in recent decades to situate the continent within wider frames of reference and thereby reverse the neglect of Africa and Africans within world history. Rather, this oversight is the outcome of the structure of the book, and a systemic weakness within its thesis.

For Frankopan, the resources to be found along the Silk Road — horses in the ancient to early modern eras, natural resources such as oil and gas in the 20th century — are part of what gave global significance to the region. Within this narrative, the key to understanding the birth of modern Iraq and Iran in the early 20th century, and the emergence of Azerbaijan and Kazakhstan after the collapse of the USSR in the 1990s, is the global demand for oil; these themes take up much of the last third of the book. Concluding by noting China’s interests in the region and a so-called “Silk Road Economic Belt” — a source of energy for Chinese manufacturing, the site of routeways connecting the Chinese interior to the west, and also a set of markets for Chinese goods — Frankopan asserts: “The world is changing around us … The Silk Roads are rising again.”

This is rousing stuff. Yet, it is the product of a selective and blinkered view of history, one which wholly ignores the parallels between the space encompassed by the Silk Roads and the African continent. In Africa, too, the European powers competed for access to the continent’s natural resources from the 1880s, while Chinese infrastructure investment is today transforming the political economy and global significance of the continent. The fight for independence and the radical politics of the 20th century that Frankopan discusses in the final few chapters of The Silk Roads drew Nasser in Egypt together with Nkrumah in Ghana, for example; the latter receives no mention. Sub-Saharan Africa is not the only blind spot in this book. A similar story could be told of South America; that continent is similarly marginalised in this book, appearing as the source of bullion that lubricated global trade in the era before the European powers turned to the task of conquest and empire-building in Asia circa 1750. Pakistan and Burma, which were long linked to the arterial Silk Roads through Central Asia between the Mediterranean and China, are also recipients of considerable investment from China in the latter’s bid to forge economic ties and fashion a strategic counterweight to India. They are also conspicuously absent, although Pakistan does enter the narrative in connection with Cold War rivalries and post-Cold War terrorism. Such connections, contrasts, and parallels weaken the thesis of The Silk Roads, fixed as it is on the uniqueness and centrality of Eurasia.

More perversely and perniciously, such omissions allow the author to tell a grand narrative — a great sweep of human history — that has at its heart the emergence of European imperialism (the chapter on the establishment of the British Empire is, unsurprisingly, the central chapter of the book) just as it tries to highlight how Europe was once, and is again, at the mercy of the Silk Roads. In a large part, the author’s accidental slip into a rather subtle sort of Eurocentrism is the product of the British historical tradition in which he was educated, as well as the legacy of older histories of the British Empire from which have emerged the new world histories so popular today. Because the history of Latin America and much of the history of Africa lie outside the history of the British Empire, they continue to be marginal to these new sorts of historical writing, of which Frankopan’s work is amongst the latest and most popular (rather than scholarly) offerings.

“The world is changing around us. As we move into an era where the political, military and economic dominance of the west is coming under pressure, the sense of uncertainty is unsettling. While we ponder where the next threat might come from, how best to deal with religious extremism or how to negotiate with states who seem willing to disregard international law, networks and connections are quietly being knitted together across the spine of Asia; or rather, they are being restored. The Silk Roads are rising again.” — Excerpt from the book

Putting aside the spatially uneven focus of this work of world history, and its implications, the reader might also ask a rather more elementary question: ‘What are the Silk Roads?’ Scholars have long recognised that the Silk Roads — or Seidenstrasse in their original coinage by Ferdinand von Richthofen from the 1870s — refer neither only to the arterial routes running from China to the Mediterranean, nor only to the routes through which silk was exchanged in antiquity. There were ‘branches’ along the east-to-west trunk of these routes to India or North Africa, for example. The range of commodities exchanged between Asia and Europe was much more extensive than silk, including olive oil and fats, livestock and animal products, precious stones and metals, paper and books, medicines and dyestuffs, cloth and yarn. Rather, the term ‘Silk Roads’ — insofar as it is useful at all — is useful as a concoction of the historian as an heuristic or analytical tool for the study of connections across Eurasia. Specifying what ‘Silk Roads’ encompasses enables historians to focus their analysis.

The weakness in Frankopan’s book, therefore, is that there is a consistent lack of specificity in the use of the term. At times, Frankopan’s Silk Roads are the arterial trade routes. At times, they map onto Eurasia (but not the connected land mass of Afro-Eurasia), sometimes including and sometimes excluding Europe, and sometimes specifically Central Eurasia or Central Asia. At times, especially at the beginning and towards the end of the book, the Silk Roads are in Persia or Iran. Focusing more closely on any of these dimensions of the Silk Roads would have afforded the analysis and arguments much more clarity, and, at the same time, made the narrative much less exhausting for the reader. A global, longue durée history of Iran, for example, would have been truly compelling.

Palmyra is mentioned only twice in Frankopan’s book, but it illuminates — both as a symbol of IS’s vulgar destruction of our shared human past and, at the same time, as a fragment in the long history of Islam — two of the most interesting themes of this book. The first is religious conflict, competition, and persecution. The ancient world was competitive, with the religious communities of the Silk Roads jostling for souls and the influence that came therewith: the visual and ritual practices of Buddhism were transformed in response to the impending threat of Hellenistic beliefs following Alexander the Great’s advance in South Asia, with Buddhists appropriating and adapting Greek statuary styles, for example. Today, Zoroastrianism is associated with the influential and tightly-knit but mild-mannered and slowly disappearing Parsi communities spread around the world. Yet, as the faith most closely connected to the Sasanian Empire between the 3rd and 7th centuries, Zoroastrianism was a threat to rival faiths along the Silk Roads as the empire expanded outwards from Persia. “Jews, Buddhists, Hindus, Manicheans and others were persecuted,” writes Frankopan, before describing the persecution by Zoroastrians of Christians as that faith expanded eastwards and came into conflict with the Persian state. In contrast, in the early years of the spread of Islam, the Prophet (PBUH) and his descendants received support from Jews and Christians, in part the consequence of commonalities in ideas and teachings, and in part fuelled by mutual strategic concerns. The Jews of Medina, for example, pledged their support to Muhammad (PBUH) in return for guarantees for mutual defence of Jews and Muslims, which were formally codified by the Prophet (PBUH).

The second theme that is woven, whether accidentally or otherwise, through the book is the history of Islam. While the Silk Roads and their history are older than the history of Islam, the latter is intimately intertwined with the former. The Prophet Muhammad’s (PBUH) revelations of impending doom and the efficacy of his preaching, for example, are comprehendible in light of the Prophet’s (PBUH) origins as a trader in the Banu Hashim clan of the Quraysh tribe who lived at a time of severe economic contraction in southern Arabia. The Holy Qur’an is described as “point[ing] to a polyglot milieu, where emphasising similarity, rather than difference, was important.” Quickly, the Prophet (PBUH), his followers, and his descendants were able to spread the revelations across Central Eurasia, with the Islamic conquests and the Abbasid Caliphate representing “a new world order, an economic giant, bolstered by self-confidence, broad-mindedness and a passionate zeal for progress.” The Silk Roads as a conduit, and the exchange of goods and ideas across this space, is the context to understanding the spread and the success of Islam.

If the first half of the book focuses on accommodation and concord within the emerging Islamic world, then the final few chapters focus on exclusion and persecution — though the author is rather shy of making any bold claims about the connection of Saudi Arabia, Wahhabism, and Islamic ‘terrorist’ organisations. One way of reading this book, therefore, is as a connected history of Islamic cosmopolitanism — and, in certain eras, including our own — of Islamic fundamentalism. Although this theme is not drawn out and developed in Frankopan’s tame, two-millennia-long narrative, it speaks to the crises and concerns of our time.

The reviewer is lecturer in the History of Early Modern and Modern India at University College London and has interests in the history of the Silk Roads and the Himalaya.

- http://dailykashmirimages.com, March 17, 2016

The Archaeology Museum at Panagal housing rare antiques has become vulnerable for thefts. The two sides of the museum are bereft of compound wall while the other two sides have low-level wall making it easy for vandals to enter the museum.

Of the prehistoric collections some of the black stone antiques have been placed on pedestals in a garden in front of the museum building and some have been left on the ground.In a shocking incident, an idol of Lord Ganesha, which was placed on a pedestal in the premises of museum, was stolen in 2013.

Till now the precious idol has not been traced. Assistant Director of Museum Nagaraju said a complaint was lodged at Nalgonda II Town police station and the case was under investigation. With regard to the boundary wall, he said proposal for sanction of funds was pending with the government.

The museum, which was inaugurated in the premises of prominent Pachalla Someshwara Temple on February 13 1992, has valuable antiques. Most of the antiques were unearthed during excavations in Rachakonda, Pillalamarri, Yelleshwarm, Panigiri, Vardamankota and Panagal villages of Nalgonda. A visual fare of sculptures, pre-historic tools, modern art, coins, bronze articles, terracotta epigraphs, arms and weapons awaits visitors.

The hall has statues of sculptures of Ikshvaku dynasty. Some of Shiva lingas kept in the museum were gathered from Yeleshwaram village, which was a submerged area of Nagarjunasagar dam. Even though the gallery has the best unearthed collections, officials have failed to promote the museum. Only a few visitors come on weekends and during festivals. Even after two decades of its existence, majority of the school and college students of Nalgonda town and district do not know about Panagal museum.

- http://www.thehansindia.com, March 22, 2016

Every dance performance exists in space and time with its unique energy and motion. The space of the performance, its entire environment impacts the communication between artist and audience. Framed by the night sky, temple sanctum or velvet black stage curtains, the dance synergy melds with subtle and not-so-subtle variations in the rasa evoked.

I generally tell my students to look slightly below straight ahead as most theatre seating will otherwise have the audience will be looking at their chin at their chin as they look out over their heads. Of course they also have to be aware of whether there is a balcony so that they take in the entire audience while dancing.

This principle doesn’t apply in all situations as I discovered with thrilling confusion years ago dancing in the cloistered veranda of Chidambaram temple for the first abhishekaram before a later performance at midnight on the outside stage for Shivratri. With, both a shrine to Govindaraja, the reclining form of Vishu and one dedicated to Brahma-Chandikeshvara in the same courtyard, I had not only the bewilderingly awesome experience of raising my gaze, but also attempting to addressing the dance offering to both in their individual shrines at the same time! Dancing at the stroke of midnight for devotees, under the open sky on the stage at the temple was marvellous, but I still get shivers of delight when I recall the feeling of looking from one deity to the other inside the temple.

Anytime one dances under the night sky, encrusted with diamond-like stars, artist and audience can feel the breadth of the universe as the setting; quite different in its magic from the safely managed enclosed space of a proscenium stage. The extension of the performance into the natural world is transformative, whether a secular or spiritual space. The rarified atmosphere of Ladakh is a breathing challenge, but nothing can match dancing in front of the mountains of India’s only cold desert (and the longest painting in India by Naresh Kapuria) on the banks of the Indus River along with Shobana and Deepti Omchery.

Generally, western concert performance choreography uses the architectural space of the stage and must be rehearsed in situ, whether stage or other venue. Dancers have gone outside theaters to perform every conceivable location, from parking lots to building heights. At Trafalgar Square, Kathak dancers performed Kumudini Lakhia’s choreography in a production designed by Naresh Kapuria for the U.K. Akademi. While the Kathak artists moved through the ground environment of rocking bell sculptures, a surreal world of Theater Tol (Belgium) dancers moved overhead in an aerial realm of fantasy movement.

Solo classical Indian dance choreography makes use of the dancer’s personal space which can be expanded or contracted to the space available as long as the dancer knows where center is located. Yet the performance energy and even the subtlety of abhinaya will be modified depending on the size and distance from the audience.

While every performance space has its own character and impact, the intention and ability of the dancer can also transform how this is experienced by the audience. It is possible to create a sacred space in a hotel lobby or pre cocktail conference performance. Conversely, one can see a temple festival atmosphere reduced to a Nautch by a dancer.

Dance that combines dramatic expression, abhinaya, with pure dance movement is best appreciated in smaller performance spaces. An audience size of 150 to 250 is ideal and beyond 600 the impact is vastly diminished. I recall dancing on the Simla Mall for an audience of 20,000 and trying to make the performance “large” enough to be seen at a distance while not seeming overly exaggerated for those close up. It was a pleasure to dance the next day at the historic Gaiety Theatre the next day. This jewel box theatre was built by the British in 1887 as the first proscenium stage in India. The seating capacity is a maximum of 318 on two levels with all seating in close proximity to the stage.

Baitak performances are perhaps the best model for both artist and audience with the intimacy of connection between rasikas and the performer. In the 70’s when I first came to India, I recall this was the model for introducing a professional artist to connoisseurs. A small gathering of knowledgeable dance lovers was all that was needed to spread the word and performance opportunities for a fine young dancer. RIMPA, The Ravi Shankar Institute for Music and Performing Arts, offers a baitak experience through its annual festival. The intimacy of the space and the understanding of the audience that they are invited to savour an extended evening without coming and going enriches the enjoyment. It is an honour for any artist to have the opportunity to perform there and I will always be grateful to Ravi-ji for inviting me to be the first dancer to perform in his annual festival. Sangeet Natak Akademi has also created a beautiful baitak space on their premises and many other institutions also have intimate performance spaces.

The subject of dancing spaces could certainly fill a book. Innumerable examples and ideas bubble up as we think of performances we have seen or given. A chapter, at least, could be on floors alone: flat and raked, sprung wood, marble, uneven ground and treacherous covered platforms that break toes; another on the space of the small and large screen and how to approach this from a camera’s view rather than a stationary audience.

Essentially, the dancer is affected and sometimes inspired by the performance space. He or she must be conscious of how use it effectively as a partner in communication. No one present will ever forget the time Guru Kelucharan was performing the Geeta Govinda Ashtapadi, Pashyati Dishi Dishi at an outdoor venue and the lights went out. For half an hour, as Radha he searched for Krishna among the audience with profoundly moving anguish, desperation and hope, until the lights came back and he returned to the stage to complete the performance.

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, March 22, 2016

Showcasing the tangible and intangible cultural heritage of the Parsi community and stressing the need to preserve it, the city’s top cultural institutions are hosting a number of cultural event and exhibitions in a three-month long programme titled “The Everlasting Flame International Programme”.

The show will encompass all the elements of the contribution of Zoroastrians and Parsis to world culture, philosophy and art. The event will present three main exhibitions, titled “The Everlasting Flame: Zoroastrianism in History and Imagination” at the National Museum, “Threads of Continuity: Zoroastrian Life and Culture” at Indira Gandhi National Centre for the Arts (IGNCA) and “Painted Encounters: Parsi Traders and the Community” at National Gallery of Modern Art (NGMA).

The cultural event kicked-off on Monday at the IGNCA, with the exhibition, titled “Threads of Continuity”, focusing on the philosophy and culture of ancient Zoroastrian faith from its origins in Central Asia, tracing a geographical and chronological continuum till the present. Curated by Shernaz Cama, Dadi Pudumjee, Ashdeen Lilaowala and Kritika Mudgal, the exhibition attempts to explain Zoroastrian philosophy, where a sacred thread signifies continuity that links together all creation.

There was a dance performance, titled “Elemental, Divine”, at the inauguration by Astad Deboo and Troupe. The performance, choreographed by Deboo, a pioneer of contemporary dance in India, combined Indian classical dance forms — kathak and kathakali — to create a dance form that is truly unique. The event is supported by the Union Ministry of Minority Affairs under their scheme Hamari Dharohar in collaboration with the Ministry of Culture and the Parzor Foundation. The Parzor Project is an initiative by UNESCO, New Delhi, formed for preservation and promotion of Parsi and Zoroastrian culture and heritage.

Speaking about the initiative, Ms. Cama, the director of Parzor Foundation, said: “Hamari Dharohar brings alive the multicultural heritage of India. The Union Ministry of Minority Affairs has chosen it’s smallest micro-minority to initiate this programme. We are proud to present a bronze age civilization that has survived in an unbroken line of tradition, absorbing the best from East and West, creating a unique heritage of humanity.” Other events starting this week in the city include the Parzor Film and Photo Festival at the India International Centre. Zoroastrianism in the New Millennium at National Museum that is an endeavour to engage in cross cultural studies between Central Asia and India and “Painted Encounters: Parsi Traders and the Community” at NGMA.

The programmes will conclude on May 27 with a valedictory address by author Amitav Ghosh.

- The Hindu, March 22, 2016

India has been campaigning for the inclusion of the reserve in the network for the past few years.

The sustained campaign to include the Agasthyamala Biosphere Reserve (ABR) in UNESCO’s World Network of Biosphere Reserves (BR) has eventually paid off. The Agasthyamala Biosphere Reserve was included at the International Coordinating Council of the Man and the Biosphere programme of UNESCO that concluded in Peru on March 19.

The ABR covers the Shendurney and Peppara wildlife sanctuaries and parts of the Neyyar sanctuary in Kerala and the Kalakad Mundanthurai Tiger Reserve of Tamil Nadu.

India has been campaigning for the inclusion of the reserve in the network for the past few years.

10 make it to the list
The Agasthyamala Biosphere Reserve was the only site considered from the country by the International Advisory Committee for Biosphere Reserves during the Paris session held last year. That time, the ABR was listed in the category of “nominations recommended for approval, pending the submission of specific information.”

With the addition of the ABR, 10 of the 18 biosphere reserves in the country have made it to the list.

The others are Nilgiri, Gulf of Mannar, Sunderban, Nanda Devi, Nokrek, Pachmarh, Similipal, Achanakmar-Amarkantak and Great Nicobar.

The BRs are designated for inclusion in the network by the International Coordinating Council after evaluating the nominations forwarded by the State through National MAB Committees.

Scientific expertise
The ABR would benefit from the shared scientific expertise of all the other members of the world network. The State is expected to work for the conservation of nature at the reserve while it fosters the sustainable development of its population, said a UNESCO official.

The ABR is situated at the southern-most end of the Western Ghats and spread over Kerala and Tamil Nadu and covers an area of 3,500 sq km at an altitude ranging from 100 metres to 1,868 metres above the Mean Sea Level.

Hotspot
The area falls in the Malabar rainforests and is one of the noted hotspot areas because of its position in the Western Ghats, according to the management plan of the reserve. It is estimated that more than 2,250 species of dicotyledonous plants are in the area and 29 are endemic to the region. Many plants are considered endangered too.

Researchers have noted that about 400 Red Listed Plants have been recorded from ABR. About 125 species of orchids and rare, endemic and threatened plants have been recorded from the reserve.

There are 669 biosphere reserves in as many as 120 countries.

- The Hindu, March 22, 2016

India has been campaigning for the inclusion of the reserve in the network for the past few years.

The sustained campaign to include the Agasthyamala Biosphere Reserve (ABR) in UNESCO’s World Network of Biosphere Reserves (BR) has eventually paid off. The Agasthyamala Biosphere Reserve was included at the International Coordinating Council of the Man and the Biosphere programme of UNESCO that concluded in Peru on March 19.

The ABR covers the Shendurney and Peppara wildlife sanctuaries and parts of the Neyyar sanctuary in Kerala and the Kalakad Mundanthurai Tiger Reserve of Tamil Nadu.

India has been campaigning for the inclusion of the reserve in the network for the past few years.

10 make it to the list
The Agasthyamala Biosphere Reserve was the only site considered from the country by the International Advisory Committee for Biosphere Reserves during the Paris session held last year. That time, the ABR was listed in the category of “nominations recommended for approval, pending the submission of specific information.”

With the addition of the ABR, 10 of the 18 biosphere reserves in the country have made it to the list.

The others are Nilgiri, Gulf of Mannar, Sunderban, Nanda Devi, Nokrek, Pachmarh, Similipal, Achanakmar-Amarkantak and Great Nicobar.

The BRs are designated for inclusion in the network by the International Coordinating Council after evaluating the nominations forwarded by the State through National MAB Committees.

Scientific expertise
The ABR would benefit from the shared scientific expertise of all the other members of the world network. The State is expected to work for the conservation of nature at the reserve while it fosters the sustainable development of its population, said a UNESCO official.

The ABR is situated at the southern-most end of the Western Ghats and spread over Kerala and Tamil Nadu and covers an area of 3,500 sq km at an altitude ranging from 100 metres to 1,868 metres above the Mean Sea Level.

Hotspot
The area falls in the Malabar rainforests and is one of the noted hotspot areas because of its position in the Western Ghats, according to the management plan of the reserve. It is estimated that more than 2,250 species of dicotyledonous plants are in the area and 29 are endemic to the region. Many plants are considered endangered too.

Researchers have noted that about 400 Red Listed Plants have been recorded from ABR. About 125 species of orchids and rare, endemic and threatened plants have been recorded from the reserve.

There are 669 biosphere reserves in as many as 120 countries.

- The Hindu, March 22, 2016

isted among one of the most polluted cities in country, Chhattisgarh capital has witnessed significant fall in pollution level in 2015 as measured on scale of sulfur-dioxide (SO2), nitrogen oxide (NO2) and particulate matter (PM10). In a reply to question raised in Lok Sabha recently, minister of environment, forest and climate change quoted data of Central pollution control board saying that Bhopal has recorded rise in pollution levels as compared to year 2014.

Bhopal witnessed 50% increase in SO2, 15% of NO2 and 8% of PM10 levels against 2 mg/cu m of SO2, 20 mg/cu m NO2 and 156 mg/cu m PM10.

In a written reply to a question by Parliament, members of Parliament Krishna Raj and Ramesh Chandra Kaushik in Lok Sabha said the air quality monitoring of the 46 cities with population more than 10 lakh is being done on three pollutant parameters of So2, No2 and PM10 measured in collaboration with Central and State pollution control boards.

The report presented in Lok Sabha mentions that Raipur recorded a sizeable fall of 19% in So2, 12% No2 and 43% in PM10 values in 2015. Comparing the data of last two years, the report said that in 2014 emission of SO2 contributed to environment was 16 microgram per cubic metre (mg/cu m), NO2 was 41 and PM10 was 329 mg/cu m.

While in 2015 the emission recorded was 13 mg/cu m of SO2, 36 mg/cu m of NO2 and 186 mg/cu m of PM10 which resulted in pollution level plunging to 19% of SO2, 12% NO2 and 43% in PM10.

Talking to TOI, Devendra Singh member secretary Chhattisgarh Environment Control Board (CGECB) said, "The mechanism of online monitoring system on select 17 industries which were identified to be among most pollution generating industries has contributed largely in bringing down the pollution levels.

Online monitoring system keeps an eye on the emission by these industries and is accessible on computers to both Central and state government. In case of violation respective industries are immediately alerted."

Singh added that the monitoring in past two years has been stringent with four air quality monitoring systems installed at different corners of state capital while three more would start functioning in Raipur and Naya Raipur. These systems display the level of pollution in its particular patch recording few kilometers of pollution level.

"CGECB through its various campaigns attempts to control pollution level. To deal with dust pollution Municipal Corporation and PWD have been instructed to construct pavement block, cementing the corners and cover the sides of roads leaving no scope for dust," Singh said.

Moreover, the newly launched campaign 'no vehicle day' by mayor Pramod Dubey on every third day of the month has recorded over 30% of decrease in level of pollution on one particular day.

Vehicular and industrial pollution are the main factors for rise in pollution levels in state capital.

In March 2013, Raipur and Gwalior were top five critically polluted cities in India in terms of PM10, according to a report released by Centre for Science and Environment (CSE). The cities had well over three times the acceptable standards. Raipur along with Bhilai and Korba and Delhi was the top five critically polluted cities in PM10 level.

- The Times of India, March 22, 2016

Even as elections bring in a bitter season of diatribe, the ecologically sensitive mangroves belt of Sundarbans in West Bengal have united the political class in a rare show of sensitivity towards the threatened natural heritage zone.

On the initiative of the Election Commission’s local poll officer and the district administration, all political parties have agreed to cut out the use of toxic and environmentally polluting substances from their campaign.

This is, perhaps, the first time in India that concern about the environment has brought disparate political parties, otherwise daggers drawn, on the same page. It seems, all candidates and parties have agreed that campaigning in Sundarbans will done in an “eco-friendly’’ manner.

Already an oil spill in the Bangladesh part of the mangrove forest — home to the Royal Bengal tiger and myriad other endangered species of crabs, crocodiles, fishes and birds — and large number of projects have threatened the survival of delicate mangrove forests, intersected by rivers. Parts of Sundarbans spread over 10,000 sq km, the delta which is roughly two-thirds in Bangladesh and one-third in neighbouring India, was listed by UNESCO as world heritage.

What will not be done and has been agreed upon, one of the officials told Express, is that jute and cotton will be used to make banners instead of the cheaper plastic. The candidates and their party workers will also steer clear of plastic cups during tea breaks in the hectic campaign days, and use paper cups.

Also for rallies and door-to-door and other transport-intensive campaigns, the parties have agreed to use LPG-fuelled vehicles and not smoke-guzzling SUVs. Boats are also an option. It is being done both for campaigning as well as voter awareness programmes and training sessions of poll officials.

Second Narada sting on TMC
The West Bengal BJP on Monday revealed another Narada news sting. BJP leader Jaiprakash Majumdar alleged that new videos showed TMC MP from Arambagh Aparupa Poddar alias Afreen Ali accepting cash while former TMC student wing president and general secretary Shankudeb Panda is asking for a stake in fictitious companies.

- The Indian Express, March 22, 2016

"We never know the worth of water till the well is dry"- Thomas Fuller We equate water with life. Over the years this indispensable resource has not only nurtured mankind, with civilizations having flourished around rivers and major waterways but has also been used for transportation of materials through rivers and canals as well as international shipping lanes- playing a significant role in the world economy. Every year, on 22nd March the world celebrates World Water Day to lay focus on the relevance of freshwater sanitation and sustainable management of the available water resources. This year's theme for World Water Day - 'Water and Jobs' - lays emphasis on how water quality as well quantity can impact livelihoods around the globe. According to reports, some 1.1 billion people worldwide lack access to water, and a total of 2.7 billion find water scarce for at least one month of the year. 2.4 billion people are faced with inadequate sanitation-they are exposed to diseases, such as cholera and typhoid fever, and other water-borne illnesses. Further on, two million people, mostly children, die each year from diarrheal diseases alone. Situation moving on from "bad" to "worse" In India's context, the situation in some of the drought-hit regions of the country has forced the inhabitants in larger numbers to leave their homes as lack of water had led to closure of a large number of industries, shops and establishments. Latur district and the entire Marathwada region in Maharashtra is reeling under severe drought for over four years now. Developed as a trading hub nine decades ago Latur is located at the center of three states, Maharashtra, Karnataka and Telangana, and was a major trading hub for soybean, groundnut, oils, tur dal and jaggery. However, the droughts have brought all trading to a standstill and the acute shortage of water has led to mass exodus of residents to other places, like Pune. The State administration fearing violence over water, imposed Section 144 recently and stepped up police patrols in the area.

Interlinking of rivers (ILR) The idea to interlink the rivers of the country was first mooted in 1970 but significant developments have only shaped up recently. Successive governments had announced numerous projects over the years but were stalled due to red tapism, corruption, opposition to land acquisition and lack of coordination within the government. Earlier reports had mentioned that more than 200 irrigation projects worth some $36 billion have been stuck for years. The massive project to link Indian rivers by a network of reservoirs and canals aims to reduce persistent floods and water shortages in affected parts of the country. Since India is an agrarian economy with much of the agriculture dependent on rainfall, the situation faced by the farmers are challenging in the event of scanty rainfall during the monsoon season. In September 2015, after long planning and discussions, Godavari and Krishna rivers were finally linked with Andhra Pradesh's Pattiseema project- completed in record time of over 5 months. To expand irrigation and recharge aquifers the Central government has allocated a record $18 billion in the 2016-17 national budget, but how far the implementation of funds will be carried out it's only matter of time for the results to be visible. PETA asks people to turn vegan: Recognizing the severe stress that the "farmed-animal" industry places on water supply, PETA -the animal rights group has urged people to turn vegan (person who does not eat or use animal products). Neerja Khede, PETA India campaign assistant, said yesterday: "Meat production can require 10 times more water than the production of plant-based foods. To produce 1kg meat, it can require the same amount of water that is used for bathing 75 times -- an alarming drain on a precious resource." Other issues apart, animal slaughter houses suffer from very low hygiene standard threatening public health and environment due to discrete disposal of waste and highly polluted effluent discharge into the lakes and nearby water bodies, thereby magnifying the pollution levels several folds.

- http://www.oneindia.com, March 22, 2016

A unique exhibition with a perfect blend of paintings and photography showcasing Saudi and Indian architectural heritage has captivated the imagination of visitors at the Tuwaiq Palace in Riyadh’s Diplomatic Quarter. The palace hosts government functions, state receptions and cultural festivals that introduce Saudi arts and customs to the international community.

The occasion for the exhibition was the Republic Day reception hosted by the Indian Embassy. It was attended by heads of various diplomatic missions, government officials and members of the Indian community in the Kingdom.

The exhibition featured photos of India’s architectural heritage by Riyadh-based photojournalist K.N. Wasif in addition to paintings related to the Saudi heritage by Riyadh-based artist Sabiha Majeed.

Wasif, who has worked with news agencies and many magazines, caught the imagination of visitors with his beautiful photos of India’s architectural heritage. His photos included the Tomb of Itmad-ud-Daula, a Mogul mausoleum in the Indian city of Agra which is often seen as an earlier version of the Taj Mahal.

Wasif’s photo of the Taj was a major attraction in addition to the Qutub Minar, a victory tower from the Delhi Sultanate era, the mausoleum of Sher Shah and Toli Masjid, a mosque in Karwan, Hyderabad.

Having lived in Riyadh for many years, Wasif told Arab News, he had exhibited his photographs for the first time in Jeddah when the Indian Consulate organized a cultural festival in 2005. Over the past decade, he has organized several exhibitions of his photographs of India’s architectural heritage in different cities of Kingdom and also filmed them in a documentary.

His work has been recognized by the Federation of Indian Photography and he has won several national awards. The two artists wish that their body of work is seen by Indian Prime Minister Narendra Modi during his visit to the Kingdom early next month.

India-born artist Sabiha has lived in Riyadh since 2003 with her husband Ayaz Siddiqui, also an artist. Speaking to Arab News, Sabiha said: “In the course of keeping the light of creativity alive, I turned to a subject close to my heart which is architectural heritage.” “Because I have been living in Saudi Arabia for many years, I took the opportunity to paint the Kingdom’s architectural heritage and so my paintings focus on that.”

“I try to capture the essence of Saudi architectural heritage on canvas, with the aim of bringing the viewer back in time and enjoying the beauty of heritage buildings,” she said.

Some of her works which drew major attention included her paintings of the Holy Kaaba in earlier times, the ruins of historic Dirriyah on the northwestern outskirts of Riyadh, the Syedna Omar Mosque in the Asir region, traditional buildings in historic Jeddah and the traditional houses in the Asir region.

Diplomats and members of the local community applauded her for her excellent representations of the Saudi architectural heritage. Born and brought up among artists, she has had access to artists from all over the world which has increased her love of art and led to the development of her creative abilities.

She won first prize in an international painting contest in Moscow, received the Maharaja Fateh Singh award from the Udaipur royal family and another award at the International Batik Exhibition in China. She has also participated in several other national and International exhibitions. She told Arab News that she traces influences to the works of Pablo Picasso, Michelangelo, Van Gogh, M.F. Hussain and Raja Ravi Varma.

“I do not remember when painting became an inseparable part of me. I want to eat, drink and sleep with painting,” said Sabiha, who is a graduate in Fine Arts from Jamia Millia Islamia, New Delhi, and who did postgraduate work in Art History at the National Museum Institute, New Delhi.

- http://www.arabnews.com, March 23, 2016

Pulling off pitch-perfect performances and translating a work of fiction into drama, two plays - 'Barrister Parvateesam' and 'Nagamandala' - were staged in the city recently, as part of the ongoing performing arts festival, 'Navras'. Theatre aficionados couldn't have asked for more as artsites staged two powerful plays. While the former, directed by NSD alumnus Shiva Prasad Tomu, was based on a famous Telugu novel with the same title set in pre-Independence India, the latter, written by Girish Karnad and directed by Neelam Mansingh, spoke about women's emancipation.

Designed for the modern bridal couple
Platinum Guild Of India

CFA—A difference that matters.
CFA Institute
Recommended By Colombia
The story of 'Barrister Parvateesam' revolves around a man called Parvateesam, played by Shahjahan Hussain, who goes to England to study law. The young man, hailing from a small village in Andhra Pradesh with big dreams, goes to England to study law and soon gets exposed to the western way of life. His journey to England makes up half of the play - he becomes Mr Sam in England - and the play is interspersed with some comic moments. He meets a beautiful Irish girl, played by Ipsita Palawat, in England and falls in love with her. Impressively showing the moments of intimacy between the two actors including an illusion of a lip kiss, the director won a lot of applause from the audience. By the time, Parvateesam returns to India, the Gandhi movement is in full swing, and he is shown leading a group of people and burning foreign clothes. "Much of this story is autobiographical and the play is based on the life of Mokkapati Narasimha Sashtry who died in 1973. I decided to show it through the medium I love the most - theatre. Creating a three dimensional space using video graphics and projection was my way of telling the world that one can combine technology with art and deliver a good work. This was the first time I have staged a play in Jaipur and I am elated with the response," said Shiva Prasad Tomu.

The play 'Nagamandala' is based on a folktale. The protagonist, Rani, is married to Appanna, who locks her in his house. Kurudava, a blind old woman who was a friend of Appanna's mother, visits Rani. She gives her a magic root that will make any man fall in love with her. But Rani is reluctant and pours it into an ant hill near her house instead, and a king cobra consumes it. The snake, Naag, takes the form of Appanna and visits Rani at night and they fall in love. When Rani gets pregnant, the real Appanna appeals to the panchayat to punish his adulterous wife since according to him, he hasn't touched her. On the other hand, the Naag, asks Rani to undertake the snake ordeal which is to take a live cobra in her hands and swear her innocence. According to the Naag, if Rani speaks the truth, the snake will not bite. When Rani speaks out, the cobra forms a garland around her neck and the villages hail her as a goddess. In the end, Rani gets everything she wanted - a devoted husband, a happy married life and a child.

"The play was in Punjabi but I don't think that was an issue for the audience. Theatre goes beyond the confines of language," said Neelam Mansingh, the director.

- Neha Choudhary

- The Times of India, March 23, 2016

Sakti Burman says an artist and his works are not exclusive

Amiable and witty, Sakti Burman hasn’t let age ebb his sheen. Having grown up studying Vincent van Gogh and Marc Chagall, the non-conformist artist’s weathered frescos and original painting style have acted as a unifying force between two cultures — Indian and French. The 81-year-old was recently felicitated by the French Government with the Knight of Legion of Honour. Edited excerpts from an interview:

How do you see the honour from the French government?
When I was a kid, I read a book called The Myths and Legends of Ancient Greece and Rome . It had a story called “Pandora’s Box”. The gist was curiosity and hope and it remains ever-so-close to my heart. The flashes of the beautiful world that this book gave me, perhaps, was a catalyst for my imagination. I also owe my journey from Bengal to Paris to my father and brothers. They supported me all through. I am very happy to have been honoured by the French government.

How did an Indian boy fall in love with France?

Having been born and brought up in India, naturally, I learned things by seeing, hearing and observing. We know the epics, Ramayana and Mahabharata, because we are told about them since childhood. So when I went to Paris, I had taken India inside me. Being there, I didn’t want to be only Indian or entirely French. I tried to remain what I was, but also adopted the other culture.

What is the essence of your art?

When I moved to Paris, I did not want to stick to any particular style. I experimented with my own style. At the time, modern art revolved around abstract. Modernists such as Picasso, Henri Matisse, Marc Chagall and their style influenced other artworks. That time I was doing figurative work. Salvador Dalí was one surrealist who painted a different world. I also wanted to paint a different world, but sans nightmares. I wanted my paintings to exude happiness and hope. I wanted my paintings to bring joy to the viewers. Critics may call such words as commercial, but they are not. Painting is one medium where we express our feelings, how we have grown up, how we perceive things, at the same time, we look for new ideas; and this is what takes us to the next level.

Tell us about your inspiration?
After I completed my college in Calcutta, I wanted to go to Paris because I always heard that people fall in love with the city. Interestingly, more than happiness, the tragic life of painters inspired me. Painters such as Edgar Degas, Edouard Manet, Camille Pissarro were well-to-do. Rembrandt is an artist who shaped me. I relate with him because of our similar stories of growing up — a boy from the middle class who wanted to paint and supported by the family members. He was one painter who broke the protocol of portrait painting of noblemen dressed in exquisite attire and jewellery and started including people from humble background in his artworks. Also, the intelligently carved Ajanta and Ellora caves acted as another stimulus that fascinated me deeply.

Your paintings depict figures in a way that once appeared vibrant and fresh, but are now faded and look like weathered fresco.

Everything comes out of experience. When I saw Ajanta and Ellora caves, churches, Notré Dame, the chateaux, beautiful murals and sculptures in Italy, weathered by the climatic conditions, ruined by the World Wars, mural paintings marred by time, they caught my fancy. Then I thought to myself, only if I could have such effect in my paintings.

How did India respond to your work? You were ahead of your time.

Earlier, people were not interested in art. The interest came to fore in the late 1980s and early 1990s. On the contrary when I came here in the 1970s, I showed my work in Bombay and Pandora Art Gallery and was valued. My paintings were bought by Air India, Bhabha Institute of Technology, Mahindra and affluent Parsi families. I was constantly working without realising how my life was changing, and it gradually changed. Appreciation, awards, sold-out exhibitions, recognition – were secondary in my quest to paint.

I wanted my paintings to exude happiness and hope. I wanted my paintings to bring joy to the viewers.

- The Hindu, March 23, 2016

By appointing the American Sanskritist, editor of Murty Classical Library of India, venture head Rohan Murty has contributed to the outsourcing of our Shastric traditions to Western scholars sceptical of our sacred texts

Sheldon Pollock is a scholar and a globally well-connected one. For many students and academicians of Shastric tradition and ancient cultural texts in India, the American philologist’s interpretation carries the stamp of authority. For decades in this country since Independence, when the Left-view prevailed from areas as diverse as politics to history to archaeology to even cinema, he held sway over the minds of many Indians who were brought up to understand their culture from the prism of its ancient scriptures such as the Vedas and theUpanishads and magnum opuses such as the Ramayan. Such is his influence that he has managed to brainwash entire generations here and abroad, into buying his theories that present Hindu texts as casteist, oppressive and gender-discriminatory.

Over the years though, and despite his stature and connectivity, many scholars have begun to seriously question Pollock’s premises. They are no longer willing to let go uncontested, his claims that are based on Western models of social studies which simply do not fit in the Indian context, and are far removed from the lived experiences of the people connected with the ethos of their ancient texts, offering them not just a spiritual path but also a better way to mundane living. Given this background, it is unfortunate that Pollock has been chosen as editor of the Murty Classical Library of India. Worse, organisation head Rohan Murty has contemptuously dismissed an online petition by 132 academicians and public figures (the petition has garnered more than 13,000 supporters worldwide), protesting against the appointment. He said, “It is quite rich to sit in the peanut gallery, pass comments and throw empty shells at those who are actually rolling their sleeves up and working on the ground.”

Rohan Murty’s response smacks of arrogance, and of the kind that Pollock and his sort have nurtured against those who dare to question them. The people that Murty says are sitting in the ‘peanut gallery’ are noted academicians and intellectuals from various walks of life — and their common concern is to do with Pollock’s prejudices and the fear that he will exploit the Murty Classical Library of India assignment to further promote his biases and ram down the throats of Indians the belief that there is little for them to be socially proud of in their classical past. As for ‘actually rolling their sleeves up and working on the ground’, the library founder may be surprised to know that there are quite a few scholars who have been doing just that except that they either do not catch his attention or that they do not have the benefit of global connect. Moreover, these scholars are not saying things that can be spinned-off to a world audience by way of a condemnatory appraisal of Indian culture and traditions.

Pollock’s credibility as an impartial interpreter of ancient Sanskrit texts and Sanskrit India is further dented by the overt political position he has been taking. It can be argued that his political beliefs should not be used to judge his scholarship, but such a thought would have been credible had Pollock not mixed up his political persuasion with his academics. It comes as little surprise that the Left-leaning lot in this country is the most vocal in its support for the American and for Murty having ticked off Pollock’s detractors. Commentators who have sided with Murty and Pollock are either the Left-liberals or the Centrists who are Leftists in disguise.

While Murty has steamrolled the critical appointment to his venture, he cannot easily wish away the argument of dissent. The online petitioners noted that the historical project ought to be helmed by people who are “deeply rooted and steeped in the intellectual traditions of India”. The petitioners further said that such people “also need to be imbued with a sense of respect and empathy for the greatness of Indian civilisation”. They believe (and they are not the only ones) that Pollock’s record does not inspire confidence. The petitioners forcefully maintained that the American Sanskritist had “deep antipathy towards many of the ideals and values cherished and practised in our civilisation”.

If all this is water off a duck’s back for Murty and his supporters, it is because the pro-Pollock elements in and outside the country are not just well-entrenched but have also got institutionalised over the years. Like the Left had in its over three-decade rule in West Bengal infiltrated into all walks of life and established their dominance, including over political violence, Pollock’s insidious theories on the use of Sanskrit to marginalise people, of Vedas as tools to oppress masses, of Ramayan as a response to the rise of Buddhism etc, have become inherent thought-processes in thousands of minds some innocent and impressionable, and others pre-conditioned to absorb the lopsided.

One of the few scholars to have effectively taken on Pollock in recent times is Rajiv Malhotra an Indian-American author, one-time entrepreneur, and founder of Infinity Foundation, which, Wikipedia says, focuses on “Indic studies”. His new book, The Battle for Sanskrit: Is Sanskrit Political or Sacred, Oppressive orLiberating, Dead or Alive?, meets Pollock head-on, systematically refuting the latter’s pet theories by his own intellectual might as well as comments and dissertations of experts who have long worked on Sanskrit studies.

The question as to why there haven’t been more voices of the Rajiv Malhotra kind to globally challenge Pollock and his flock, is easy to answer. The first reason is that many genuine scholars in Indic studies within the country simply do not have the resources to take on the darling Indologist of the West. The second is that quite a few of them, although deeply knowledgeable in their area of expertise, are not comfortable with English and thus cannot reach out to a wider audience. The third reason is that some of them are in awe of Pollock’s reputation and cannot even mildly question him even whey are convinced of his misrepresentations. And the fourth is that these ‘traditionalists’ find no traction even within India, where the Pollock net has been cast far and wide.

Having bagged the prestigious Murty Classical Library of India assignment, Pollock must be hoping to seal the deal to head the Adi Shankara Chair of Hinduism Studies at Columbia University in the US. It is this prospect that propelled an alarmed Rajiv Malhotra to write his latest book and launch a fervent campaign within India and outside to pre-empt the appointment. Will it work or will we see a further outsourcing of our Shastric traditions to the West?

- http://www.dailypioneer.com, March 23, 2016

DDB Mudra’s new campaign for WaterAid India and the Government of India drives home compelling messages for water conservation, through two wacky commercials

Water shortage is not just a serious issue in India, but around the world. In many parts of India, farmers are periodically suffer drought and in the arid interiors of the country, water often has to be fetched home from distant water bodies. Spreading awareness of the need to conserve water has been a multi-pronged effort of not just governments, but multilateral agencies as well. Awareness that water is precious is spreading gradually. This year, for instance, many Indians have pledged to observe a dry Holi (the festival of colors).

Polluting sources of water, like rivers, streams and ponds, is another pressing issue in India. In rural India, for instance, villagers still bathe and let their cattle swim in local water bodies, apart from washing clothes and utensils in them. Often they defecate on the banks of water bodies, polluting the scarce sources of fresh water.

The Government of India, WaterAid India and the DDB Mudra Group, have created two ad films using slice of life situations, to drive home the need to conserve water and preserve clean water, where ever available. The two commercials send out a hard message for the need to conserve water, through two wacky scripts.

Neeraj Jain, Chief Executive, WaterAid India, said, “Water is a precious resource and India is one of the most water stressed nations in the world. It is important that this precious resource is conserved and local water sources are not polluted. The public service announcements that WaterAid India commissioned from DDB Mudra for use by the Government of India put across these messages clearly.”

The first film showcases a typical North Indian rural household, watching a cricket match on television. Villagers engrossed in the game, often cry out the Hindi idiom, “Gayi Bhains Paani Mein” (here goes the buffalo into the water) to express their disappointment in India’s performance in the game. After a while, an elderly man asks his young son to fetch him a glass of drinking water.

The son, who had been looking on at the cricket enthusiasts, fetches a glass of muddy water. The shocked father reprimands him. The youngster then quips that dunking buffaloes into the pond was bound to pollute the water in it.

The second TVC shows three bantering friends at a roadside eatery (the ubiquitous Indian dhaba) in a rural area. One of them is apparently moving to the city and the other two banter with him about how they would miss him and shed buckets of tears for him. They keep splashing water onto their faces to mime tears, till the jug of drinking water is spent.

After a while, one of them casually asks for drinking water and a waiter serves them three empty glasses. When they protest, the dhaba owner chides them for wasting precious drinking water. Both the TVCs put across the message that drinking was scarce and precious, but in a creative manner. The campaign has been extensively promoted on television and radio.

Sonal Dabral, Chairman and CCO, DDB Mudra Group, said, “To work on a campaign for an issue of such critical importance as water conservation was not just exciting but daunting at the same time. We are really happy that by building on some very deep rooted insights about water, we were able to create work that has successfully connected with our audience and made them take a fresh look at this vastly ignored problem.”

Sambit Mohanty, Creative Head, DDB Mudra North, said, “We live in a world where water is taken for granted, more so in rural, semi-urban areas where potable water is wasted and water bodies are used in an unhygienic manner. Our ‘Jal Hai Toh Kal Hai’ campaign aims to sensitize people to treat this precious natural resource with more respect and consideration.”

- http://www.bestmediainfo.com, March 23, 2016

rain centre, the first of its kind in southern districts, established by an NGO arm of Rain Stock, a start-up by Madurai-based youths, was thrown open to the public on World Water Day, which was observed on Tuesday.

The centre is an awareness-cum-knowledge hub. Apart from different types of models for water harvesting and conservation, conventional and digital libraries are established to help people get information about water.

Rain Stock, a social entrepreneurship company, founded by a couple of city-based youths and nurtured by Nativelead. The company lends its service in rainwater harvesting, conservation and waste water recycling through natural process.

Various models for rainwater harvesting including recharge pit, well and soil management have been installed in the centre. A live model for waste water recycling plant using natural way with the help of only plants and trees to be installed soon. The centre would be developed into one-stop point for all water-related information.

People need to be sensitised on rainwater harvesting, water conservation waste water recycling and waste water recycling. Due to the absence of the awareness, people least respect the water. They dig borewell deeper and deeper in search of water, but fail to understand the importance of harvesting the water. While already enough damage has been done to water bodies, people should make efforts to revive at least what is available at present, said K Sakthivel, co-founder of Rain Stock.

In a study last year, the NGO arm found that salt content in many areas of the city area is alarming. Areas like K Pudur, Iravadhanallur, Villangudi and SS Colony have very high salt content. The average depth of the borewells in the city has also gone up. In many areas people have sunk up to 800 feet for water. "It is high time water bodies are revived. We dug just 16 feet deep to get potable drinking water in the well at our backyard because it's near the Kannanendal tank," said another co-founder V Arvind.

- The Times of India, March 23, 2016

Asia, the world’s biggest coal market by far, is showing signs of turning its back on what is the most polluting of fuels, shelving or cancelling a large number of coal-fired power plant construction projects.

Four Asian countries—China, India, Indonesia and Vietnam—together account for about 75% of an estimated 2,457 coal-fired power stations at present planned or under construction around the world.

A study published by the Energy & Climate Intelligence Unit (ECIU), a UK-based non-profit organisation, says a combination of factors—including slowing economic growth and a rapid growth in renewables—means that a large percentage of these plants will never be built. That’s good news for people living in cities such as New Delhi and Beijing, where coal-burning power plants are major contributors to health-threatening levels of air pollution.

It’s also good news for the planet: the burning of coal accounts for nearly 50% of The ECIU says that in both India and China existing coal-fired power plants are under-utilised. In China—at present the world’s biggest coal producer and consumer—a faltering econo

my, over-optimistic projections of electricity demand and rapidly falling costs for renewable power are among the factors slowing coal demand. Scaleback likely

In India, the world’s second biggest coal consumer, severe infrastructure problems are one factor hampering full use of existing coal plants. In both countries, says the study, this may make new plants progressively less profitable, and less attractive to investors. Also, both countries are “massivelyexpanding” renewable and nuclear generation.

Though both Vietnam and Indonesia have ambitious coal plant construction plans, the ECIU says these are likely to be scaled back in the years ahead. After the global climate meeting in Paris late last year, Vietnam announced it wasreviewing all new coal plant projects in order to implement “international agreements to cut emissions.”

Indonesia remains focused on expanding its coal-fired power sector, though projects on Java—one of the most densely populated islands on earth—are meeting strong opposition from those worried about air pollution.

Indonesia has also announced plans to source 23% of its energy from renewables by 2025—up from 6% at present.

“The argument that there is no point in Western nations decarbonising because their emission cuts will be dwarfed by emission gains from Asia is based on shaky ground.”

Gerard Wynn, founder of the UK’s GWG Energy consultancy and author of the ECIU study, says the idea that a coal boom in Asia will undermine climate change pledges made at the Paris summit is exaggerated.

“In fact, the evidence suggests that the shift away from the dirtiest fossil fuels in favour of cleaner forms of energy is happening much faster than anyone could have expected”, says Wynn.

“The report’s assessment of new capacity that will be built may even be an over-estimate once the Paris Agreement comes into effect, as it will further restrict financing for new coal projects.”

China’s electricity demand last year grew at its slowest rate since at least 1970, at 0.5%. Wynn says: “That slowing power demand growth explains why the country doesn’t need new coal power plants. And it contradicts the official headline rate of 6.9% GDP growth last year.” The report says it is far too soon to signal the end of coal in Asia, but the case for building new coal plants is quickly shrinking. “In our estimation, the number of new coal-fired power plants built across Asia is likely to be in the hundreds, probably the low hundreds”, says the study. “As such, the argument that there is no point in Western nations decarbonising because their emission cuts will be dwarfed by emission gains from Asia is based on shaky ground.”

Kieran Cooke, a founding editor of Climate News Network, is a former foreign correspondent for the BBC and Financial Times. He now focuses on environmental issues.

- http://www.truthdig.com, March 26, 2016

The present rate for domestic tourists at the Taj Mahal is Rs. 20 and this is proposed to be raised to Rs.50. Uncertainty continues to baffle tour operators on the hiking of entrance ticket rates for various Mughal monuments in Agra.

The Archaeological Survey of India (ASI) has so far not clarified whether the rates would be revised upwards from April 1, as announced earlier. The new rates were announced last November but due to protests by travel and tour operators, including the Indian Association of Tour Operators, as also the local tourism industry, a decision was postponed till April 1 this year.

The present rate for domestic tourists at the Taj Mahal is Rs. 20 and this is proposed to be raised to Rs.50. Foreign tourists have to currently shell out Rs.750 and this will be raised to Rs.1.250. Rates for other monuments have also been upped.

ASI says no official word on Obama's Taj visitASI bans foreigners from Friday namaz at Taj MahalASI bans foreigners from Friday namaz at Taj MahalASI bans foreigners from Friday namaz at Taj MahalHeritage hopping easier as single-ticket window opensASI?s tourist-friendly plan: Buy one ticket,see all monumentsASI says no official word on Obama's Taj visitASI bans foreigners from Friday namaz at Taj MahalASI bans foreigners from Friday namaz at Taj MahalASI bans foreigners from Friday namaz at Taj MahalHeritage hopping easier as single-ticket window opensASI?s tourist-friendly plan: Buy one ticket,see all monumentsASI says no official word on Obama's Taj visitASI bans foreigners from Friday namaz at Taj MahalASI bans foreigners from Friday namaz at Taj MahalASI bans foreigners from Friday namaz at Taj MahalHeritage hopping easier as single-ticket window opens, ASI?s tourist-friendly plan:

However, the ASI has not yet announced when the new rates will come into force. According to the local ASI officials, the decision has to be announced by the culture ministry in New Delhi.

Sunil Gupta of Travel Bureau said the ASI should immediately clarify the issue and clear the mist.

“They do not have any clear policy. The rates have to be rationalised, but the hike should be reasonable. We are already concerned at the falling number of foreign tourists. The ASI obviously wants to reduce the number of tourists from the conservation angle, while the tourism bodies want the number of tourists to go up,” Rajiv Tiwari, president of the Federation of Travel Agents Association of India and senior industry leader, told. “The minister concerned (Mahesh Sharma) heads both the tourism and culture departments. To increase the revenue we have given several suggestions. If the ASI hikes the ticket rates, the Agra Development Authority (ADA) too will increase its share and raise its ticket rates. Presently the ADA collects Rs.500 and Rs.250 goes to the ASI from the Rs.750 ticket for foreign tourists,” he added.

ASI officials said there was no directive from the ministry so far, which means the present rate structure may continue.

The ASI has been chiefly concerned with somehow reducing the crowds at the Taj Mahal.

“The human pollution is creating problems and the increasing number has to be somehow rationalised in line with the NEERI (National Environmental Engineering Research Institute) recommendations,” Surendra Sharma, president of the Braj Mandal Heritage Conservation Society, told.

“One suggestion is to limit the visiting time to two hours per ticket. The other is a staggered system which means you pay more if you want to go close to the main structure of the monument. Those who see the Taj from a distance pay less, those who go closer pay more,” he added. One thing is for sure: All stakeholders will be waiting with bated breath till at least March 31. If there is no announcement by then it will mean the status quo will continue.

- The Indian express, March 26, 2016

Roshanara Bagh once full of glittering fountains now overflows with filth and putrid stench.ASI has created Mini circles which is a step to executing its duties more effacaciously.

Putrid stench greets you at the very entrance of Roshanara Bagh. If you get past it holding your breath, the canal - once full of glittering fountains by which Roshanara spent hours - now overflows with filth. The ornate cement decorations on the inner walls of the canal have eroded and look sad. Inside the grand mausoleum itself, the red and green floral motifs overlooking the maiden's grave, have become grey, and in fact invisible, with time.

For the uninitiated, princess Roshanara - second daughter to Mughal emperor Shah Jahan and the beloved sister of notorious Aurangzeb - was a most powerful woman of her time. She spent her spinster years, history says, romancing every soldier of the Mughal Army, in this very garden. Her tomb was also laid here on death. Today, this landmark lies in abject neglect, serving as a house of miscreants and a garbage receiving plot for its busy Kamala Market (north Delhi) neighbourhood.

Roshanara, though, is not alone in this fate. Many other poets, fakirs, ministers and nobility - who were instrumental in shaping India's history - lie in obscurity in Delhi's kunchas (bylanes) and galis. Razia Sultana, Abdul Qadir Bedil, Mubarak Shah, all await the attention of governmental agencies - the Archaeological Survey of India (ASI), Delhi Culture Department, DDA and the three municipal corporations of Delhi.

ASI has, in fact, taken a serious step towards executing its duties more efficaciously. Only this January, the 'Delhi Circle' of ASI has been bifurcated, and a 'Mini Circle' created. Of all the cities - the heritage of which national agency ASI guards - only two, Leh and Hampi (Karnataka), have a 'Mini Circle'.

It's a recognition of the fact that Delhi has a huge corpus of heritage and architectural gems - 174 monuments are with ASI - which need individual care. "The new Mini Circle will concern districts: New Delhi (including the Lutyens' Bungalow Zone area), Central, Northwest and North of the city. The original Delhi Circle will retain the three World Heritage Sites - Red Fort, Qutub Minar and Humayun's Tomb - and South and Southeast districts," an official said. How successful this move turns out, one will see in time. The Delhi Culture Department has been annually contracting at least 20 'smaller monuments' to INTACH (Indian National Trust for Art and cultural Heritage) for some time now. In the last installment, 16 historical structures spread across the city were 'restored'. These include: A baoli (stepwell) at Dwarka Sector 12, Chaumachi Khan's Tomb in Mehrauli, an Imambara on Qutub Road and the Southern Guard House near Kamla Nehru Ridge.

The Municipal Corporations of Delhi -north, east and south - still struggle with their share of monuments. While a working list exists, it needs updating. The corporations have long complained of inadequate funds and manpower to take care of heritage. Now, with their coffers having dried up further, spending on security and preservation of monuments is out of the question.

A great example of how the DDA safeguards the heritage under its wings, is seen in the Mehrauli Archaeological Park (MAP). Tombs here are dens of card-players and criminals. Vandals scribble their heart out without a care on graves. No signages or public amenities exist. When authorities are in absentia, the burgeoning population of Delhi swallows these historical built-icons whole. Mubarak Shah Sayyid's tomb near South Extension I is a case in point. Fivestorey pigeonhole buildings have come up at arm's length from the tomb. The narrowest lanes of Kotla Mubarakpur lead you to this smelly, dilapidated site.

While the Coronation Memorial on Burari Road is well-maintained as a park by the DDA, it hardly comes across as a historical site. Statues of Lord Willingdon (the 22nd Viceroy of India) and Lord Hardinge (Viceroy of India from 1911-1916) are unnamed. British emperor King George V's statue is defaced and even the Coronation Pillar has ugly scribbling on it.

Delhi retains only a third of the 3,000 monuments Maulvi Zafar Hasan recorded in 1916. Wonder how many will survive a decade or so from now.

- http://indiatoday.intoday.in, March 27, 2016

From widening the streets to sprucing up Ganga riverfront, Patna city and the iconic Sikh shrine nestled in its womb are undergoing a massive facelift as a large number of pilgrims are expected here during the 350th birth anniversary celebrations of Guru Gobind Singh. As people from several parts of India and abroad, including from Canada, the UK, the US and Australia, are expected to converge here, a temporary tent city spanning over 75 acres has been proposed to be set up on the banks of Ganga.

“The countdown has begun and timelines have been defined. All projects would be completed in a time-bound manner. Inter-departmental conflicts have been resolved and eight committees and sub-committees have been set up to smoothly execute the big plan,” said Patna divisional commissioner Anand Kishor.

Meanwhile, the Patna Sahib shrine is racing against time to finish the new constructions on its premises. Old streets like Guru Gobind Singh Path are being widened and new roads are being constructed in the old Patna city, which has narrow lanes and alleys. Ganga ghats in the city are also being redeveloped.

Gurdwara gets a facelift

Guru Gobind Singh was born in Patna in 1666 to Guru Teg Bahadur, the ninth Sikh Guru, and Mata Gujri. The current shrine of Patna Sahib, signifying his birth, was built in the 1950s over the remains of the structure erected by Maharaja Ranjit Singh in the late 1830s, which was damaged in the deadly 1934 earthquake.

The gurudwara management committee is also undertaking huge constructions on its campus, as most of the old guest house complex has been dismantled and a new structure is coming up in its place, which will include provisions for parking of vehicles that are expected in huge numbers in January. New structures have also come up on the campus surrounding Gurdwara Bal Leela, where young Guru Gobind Singh used to play. A multi-storeyed building has been completed in its adjoining campus replacing the old building that once served as a warehouse.

Anand Kishor said he has been holding regular meetings with all stakeholders, including the district magistrate, Patna police, tourism department and railway officials to chalk out “both short-term and long-term measures” to make the event a “grand success.”

“All police officials including the senior superintendent of police have been briefed to ensure foolproof security. We will be installing 200 closed-circuit television cameras to monitor the situation,” Kishor said.

Bihar govt plans to tap tourism potential

The Bihar government is also looking to tap the immense tourism potential of this mega event and had earlier even hired Delhi-based Indian National Trust for Art and Culture (INTACH) to prepare a micro-plan for tourism-related assessment of Patna Sahib area.

“We had made a study of the area, which is the old region of Patna, with layers of several centuries of history and heritage. The area has winding lanes and narrow roads, including the main road, the Ashok Raj Path, that goes in front of the shrine and therefore had suggested a few measures to decongest the area,” said a senior INTACH official said.

- The Hindustan times, March 27, 2016

Amid a slew of festivals of culture and the arts, here's one that seeks to stand apart from the crowd.

Now in its third edition, the Connections Festival of Performing Arts aims to be a space for cultures to converse and audiences to get involved. Rukmini Chatterjee, the celebrated dancer and choreographer who splits her time between India and Europe, is the artistic vision behind 'Connections'.

The fest got under way in Delhi on March 25, at the Shri Ram Centre for Performing Arts, and will visit Gurgaon on March 28. Ljodahatt, a Nordic outfit, will be performing an original blend of rock, folk and pop, a smorgasbord of styles and of moods. The band, whose name translates as "magic song", is fronted by composer, vocalist, actor (and founder) Magne Havard Brekke.

Stale Caspersen, who sings and plays the accordion, piano and guitar, has composed most of Ljodahatt's songs, which are based on Norwegian poetry. "Each poem is an inspiration for us, and some of these poems are from ancient times, from some 1,500 years back," revealed Caspersen, speaking to TOI on his way back from rehearsal.

It has been the endeavour of Brekke to celebrate the poetry and music of Norway. And for 25 years, during his rambles around Europe, he gathered musicians around him to join him on his journey to spread the richness of Nordic tradition. So while Ljodahatt's origins may be Norwegian, the band is made up of musicians from Austria, England, France, Germany and Switzerland.

In their shows in Delhi (March 27) and Gurgaon, the band will be joined by Hindustani Classical musicians. On Saturday, Ljodahatt rehearsed with a couple of them, a flautist and a mandolin player from Kolkata. These guys are no strangers to classical music, boasting a few instrumentalists of their own, but this is the first time they will be performing with Hindustani Classical artistes.

- The Times of India, March 27, 2016

About 178 km from the state capital Agartala, Unakoti is a Shaiva pilgrimage in Tripura that boasts of thousands of Shiva sculptures.

No one I knew had ever been to Tripura; no one suggested I go there either — and that sealed the deal for me. A few years ago, when I started planning a week-long family trip to the northeast, I reached out to friends and Facebook travel groups for suggestions. The most popular suggestion was a road trip through Arunachal Pradesh on a motorbike. Grand as it sounds, it isn’t conducive to a family outing. The second-most recommended destination was Sikkim, but it was too cold for my parents. Manipur, Mizoram, Assam, and Shillong — not Meghalaya — the suggestions kept pouring in. I spent three days figuring out the logistics of each destination till I realised that not one person had mentioned Tripura. That’s when I made up my mind — I was taking my family there.

Tripura means Three Cities — quite like the Greek word Tripolis — or perhaps the state takes its name from Tripura Sundari, the presiding deity of the region. Ours was a seven-day road trip that took us through the length and breadth of the third smallest Indian state that may not have been infrastructurally ready for tourists yet, but the warmth in the hearts of the locals made up for what lacked in cold concrete.

From Agartala, we first headed south towards Neermahal Palace — situated in the middle of the Rudrasagar Lake — and the Sipahijola Wildlife Sanctuary. But it was the next destination that took my breath away, thus, becoming the highlight of the whole trip. Hidden in the deep recesses in the northern hills of the Twipra kingdom is one of the most magical and majestic places in the country — one that very few people know of. And no amount of reading can prepare you for what you will find at the ‘lost hill of Unakoti’.

Around 178km from the state capital Agartala, Unakoti — meaning one less than a crore, or 99,99,999 — is a Shaiva pilgrimage spot unlike anything you’ll find in India. In a sense, it is not completely unlike Macchu Picchu in Peru. Enter through the stone gate, and you’re transported to another era. Massive idols of Lord Shiva — chiselled out of the hill — greet visitors. There are, apparently, 99,99,999 of them. Arguably dating back to the 8th-9th centuries, these sculptures have some interesting tales associated with them. Two of them stand out:

Legend 1
Legend has it that Lord Shiva and his entourage were headed towards his heavenly abode, Kailash, when they decided to spend the night at Kailashahar — 10km downhill from Unakoti. He warned his fellow travellers that they would have to leave before dawn, but after a night of revelry, Shiva was the only one who woke up on time. Known for his short temper, Shiva cursed the late sleepers to an eternity on Earth and walked off to Kailash in a huff. The entourage now adorns the hills of Unakoti as reliefs.

Legend 2
According to another version, the images have been carved by a sculptor called Kallu Kumhar. He was a great devotee of Parvati, so when Shiva-Parvati and their entourage were passing through this region — en route Kailash, there are some who say Varanasi — Kallu Kumhar asked to accompany them. Shiva was wary of this proposition, so Parvati came up with a solution. She suggested that the sculptor make 1,00,00,000 images of Shiva — to appease him — and his entourage overnight, and should he be able to do so, he would accompany them. As the sun rose the next day, he fell just one short of a crore — and that gave Shiva the loophole he needed to leave Kallu Kumhar behind.

Legend 2.5
Another variation of this story is that Kallu Kumhar was given the task of carving the deities in a dream, but instead of carving images of all the gods, he carved one last image of himself, making it one short of a crore — a lesson, the locals say, on why not to give in to ahankara, or pride. Whatever be the story behind these carvings, the logistics of how they were made is quite a mystery. Most of the bas-relief sculptures are 30-40 feet high and have a rawness that is more akin to a tribal style than to the classical Indian style. I found it to be similar to statuettes from the Aztec civilization — especially the way the eyes, teeth and headdresses have been depicted. Several still grace the hillside — while some have given in to the ravages of time — others apparently are buried and need to be excavated. I counted around 130 of them. There’s one with three Ganeshas, which appears to have a rivulet flowing atop it — making it seem as if he’s bathing.

Unakoti, historically, was considered a Shaiva Tirtha during the Pal era (8-12th century). Some archaeologists have proposed that Unakoti may have even been a Buddhist meditation centre. It’s a shame that the Archaeological Survey of India is yet to carry out detailed research work in the region.

Walking across the serpentine stone bridges — most of them broken — it’s easy to imagine kings and mystics praying to their gods. As we navigated our way through the staircases and bridges joining the two hills over which the statuettes are now scattered, I felt as if I’d chanced upon a world hidden from prying eyes — a secret domain where entry had to be earned. One could see signs of springs and rivulets criss-crossing through the area and I couldn’t help but imagine how beautiful the place would have looked centuries ago with the streams, verdant hills, incense smells and sounds of the temple bells — the mind wanders further.

When I was there, there was a priest whose family had been praying there since generations. Other than opening his eyes once to present us with a “blessed flower” and prasad, the young man sat under the largest of the Shiva heads unperturbed. The two other sadhus — who lived higher up in a hut — seemed a lot more interesting — especially considering the sweet smell of weed emanating from their rather humble abode. The saffron-robed babas accentuated the mysticism of Unakoti. According to local folklore, these two were an infamous dacoit and his sidekick who had gone missing from the hills of Tripura more than a decade ago — just a couple of years before the two “sages” appeared in Unakoti. Apparently, the two — hiding from the border forces and local police — resurfaced as ‘babas’ at Unakoti soon after, where they have been living ever since.

A house of bandits or trapped gods and goddesses, think of Unakoti as you will, but it still has an appeal that neither the state, nor the central tourism board has successfully managed to advertise. But then again, maybe too many tourists would just spoil the pristine allure of the place.

- The Indian express, March 27, 2016

A 10-hectare space on the Sabarmati Riverfront, near Vasna barrage will be developed as a biodiversity park. The Sabarmati Riverfront Development Corporation Limited (SRFDCL) is already scouting for developers and in the coming days will float global tenders for same. A total of Rs167 crore will be spent in developing the park, claim officials.

This unique park will have more than 15,000 trees and will also have endangered species of trees and other fauna. A bird shelter and an iconic structure, right at the centre of the park will be constructed. "The park will come up at the edge of Vasna barrage. Nearly four hectares of space will house the endangered species and right in its midst will be a sacred space for people from all religions to come, sit and meditate," said a senior official of the SRFDCL. The whole objective of the project is to give citizens a space to find 'solitude', away from the humdrum of city life.

- The Times of India, March 27, 2016

An environmental outfit today urged the Karnataka government to set up a Coastal Water Conservation Authority and draw up permanent drinking water and irrigation project plans for the coastal region.

The authority should have the backing of the Legislature and comprise experts in civil engineering, general public and representatives from local bodies of the region, besides government representatives, V V Bhat, member of 'Nethravathi Rakshana Samyukta Samiti' (Nethravati river protection council) told reporters here.

Through the authority, people in the coastal region should be able to claim their rights over rivers and other water bodies in their region to meet various demands, he said.

He said that the World Water Report had stressed the need to preserve water resources.

"If more dams or check dams come up on the Nethravati, it will result in strong protests," he said.

Former professor of Applied Hydrology with National Institute of Technology, Karnataka, S G Mayya, who has been voicing concern over the project for years, said people in the coastal region were not averse to sharing the water, but completely opposed to destruction of water sources by undertaking projects on the eco-sensitive Western Ghats.

"The case is presently in the National Green Tribunal, and if the verdict is not in our favour we will approach the Supreme Court," Mayya said. Mooting the possibility of forming a separate Tulunadu state, Mayya said though people of Dakshina Kannada district had been demanding a water tribunal to solve issues involving the Yettinahole project, it might not be practical for the state government to do that.

"Hence we may demand a separate Tulunadu state, as once a separate state is created, we may get an inter-state tribunal," he said. MVG KSU APR RCJ

- The Times of India, March 27, 2016

Andhra Pradesh has failed to attract foreign tourists despite having historical temples, heritage sites, natural beauty as well as the Port City having a vast coastline as it is unable to market itself, said Subash Goyal, president of Indian Association of Tour Operators. Addressing the International Airline Summit, Goyal said airlines and foreign tourists are always scouting for new holidays destinations across the globe. tnn

Goyal also said the government with the support of travel operators and few other organisations should take the initiative to promote tourism. "The state has a huge potential for rural, heritage, and religious tourism. It would definitely attract foreigners," he said, adding that the concerned department has to promote tourism by promoting Vizag with access, infrastructure and marketing.

- The Times of India, March 27, 2016

Mysuru Urban Development Authority (Muda) is seeking to put Mysuru's growth on the right track by guaranteeing that the heritage city retains its brand value as the planned city.

The leading Tier II city is building a peripheral ring road to ensure that the city's development agenda doesn't go kaput. The urban body on Saturday said that it will start the groundwork for the construction of the ambitious road during 2016-17. The stretch is proposed to be built factoring in the tourist hub's growth over the next 25 years.

The Outer Peripheral Road (OPR) has also been planned to connect to some of the major tourist destinations around the city, like KRS and Nanjangud. OPR is proposed to be built 4km away from Outer Ring Road (ORR). Muda commissioner M Mahesh said that Rs 5 crore has been set aside for the survey work. "The project, proposed in Master Plan-2031, factors in the growth of the city in 25 years and a rise in vehicular population," he said, announcing the OPR.

This comes 15 years after the Muda started the work on ORR, which helped the city expand its limits and improved realty sector. Though ORR was planned as a six-lane road, the urban body initially built a two-lane road and upgraded it with the funding from Centre under JnNURM. While the city has been accredited for its cleanliness - it was adjudged the Cleanest City in India for second time in mid-February --- experts credited the achievement to its planners who focused on planned development without succumbing to any pressures.

The urban body, which has to factor in rapid urbanization, is also focusing on the drinking water supply project given that the population of the city is projected to double by 2031. Muda will take over 100 acres at Hale Undawadi, located near KRS backwaters, where Karnataka Urban Water Supply and Drainage Board is planning to build a water pumping unit. The comprehensive water supply scheme is crucial for Mysuru's water security, given that it proposes to lift water directly from the dam, unlike now as Cauvery water released into the river or canals is pumped to the city. Muda will seek changes in the notification issued for taking over land for the project. Last week, Mysuru City Corporation also okayed the project.

Streetlights, solar power
Muda is seeking to generate solar power and supply it to streetlights on 42km of ORR. This is to cut down the electricity bills it is getting for supply of power to streetlights in layouts developed by it. It said it will set up a solar power generating unit near the ORR and generate 4 MW, which will be supplied to be used on the ORR. The excess power will be sold to the energy department, it stated. The solar power plant will require an investment of Rs 30 crore. Muda has set aside Rs 10 crore as an initial investment.

- The Times of India, March 27, 2016

The old houses and mansions that exist in Belagavi are invaluable heritage places that reflect the town's rich art and culture. Many such old houses have deteriorated but there are some old ones that still exist in good condition. A four-day exhibition brought some of these houses into the spotlight. The exhibition, 'Houses of Belagao', was organized by 'Cicada group', a team of designers based in Belagavi.

The interior and exterior designs and structure of 12 heritage houses along with their photographs were on display in the exhibition that ended on Monday. The house of barrister Nath Pai from Tilakwadi, Gejji Bungalow, the historic old house of Ratnakar Prasad built in 1941 at Gondhali Galli, Ginde House in Shahpur, Patil house built in 1932 at Cantonment area, Inamdar House, Bhate Wada situated in Risaldar Galli where Swami Vivekananda had stayed and owned by Dr Bhate, Kalaghatagi House and Dalavi House situated in Samadevi Galli were among the houses whose designs were on display. A workshop on 'making narratives of heritage homes' and a panel discussion on 'issues concerning heritage homes' were also organized for arts and architectural students on Saturday and Sunday. Conservation architects Ravindra Gundu Rao, Gerard Da Cunha and historian Saili Datar were the resource people.

Tanvi Dhond of the organizing group said, "The stories of these old houses might have been forgotten but they attract and momentarily hold our attention with their fading whispers as we pass by them. We have been visiting such houses over the last few months and listening to their stories. Engulfed in their charm, we think it's time their fables are retold."

Visitor Smita Surebankar said the exhibition consolidates the faith and hope that the architectural heritage of the past is in the safe hands of the present. The young architects have done a good job, she said.

- The Times of India, March 28, 2016

The government is committed to protect the Geo Heritage site of Erramatti Dibbalu, HRD Minister Ganta Srinivasa Rao said. Action would be taken against anyone found guilty of any irregularities in allowing encroachment of the heritage site. District Collector and Vice Chairman VUDA have been directed to inquire into the issue and submit a report by April 1, the Minister said. He directed the officials to spell out the steps being taken by the district administration for the protection of the Natural Heritage site and also action taken on the approval given to the housing society.

Part of the geo heritage site comprises the land proposed to be given to a co-operative building society that requires a host of clearances. VUDA is insisting on getting the clearances to approve the lay out and change of land use. District Collector N. Yuvaraj has written to the Geological Survey of India to see whether more area formed Erramatti Dibbalu than earlier identified in a survey.

- The Hindu, March 28, 2016

The Zilla Parishad general body meeting was conducted here on Sunday under the aegis of joint collector J Nivas, who listened to all the views and counter views concerning the 13 listed agendas for the year 2015-16.

Nivas said that the local leadership can play a huge role in increasing the groundwater levels, which at present stand at an average height of 7.6 metres in the district by increasing the number of rainwater harvesting pits. Regarding women and child Welfare, the joint collector said that the local leadership must also play a proactive role in promoting women and child health as well as identifying related problems at the micro-level.

Regarding drinking water and water for general usage especially in the Agency areas, the joint collector said that water harvesting pits were the key solution to the problem and pointed out that in case of schools in the rural areas, they could be directly connected to running water lines so that they receive running water instead of stored or stagnant water. Other issues

Many other questions were raised regarding the completion of various infrastructure projects and the concerned officials were asked to answer the queries.

- The Times of India, March 28, 2016

he spat between the Archaeological Survey of India (ASI) and Husainabad & Allied Trust (HAT) seems to be growing each day, making heritage activists believe it will only bring further damage to monuments.

After the ASI blamed HAT for going ahead with the construction of a dispensary within the Bada Imambara without seeking its permission, the latter issued notices to the ASI to leave premises of the Naubat Khana, opposite the Imambara, that it had been using as its site office.

The dispute between the two bodies has already seen an "irreversible damage" done to the Chhota Imambara by HAT, as per a report by ASI on a PIL in November. Ongoing dispensary and proposed ramp construction in Bada Imambara have also seen a rift between the two stakeholders who had previously come at loggerheads during the heritage zone beatification process too. Earlier in 2013, ASI had served HAT a notice to evacuate the Picture Gallery premises used by HAT as its office. HAT had refused to comply, saying Picture Gallery was a part of the Trust. "ASI should first come out of the Naubat Khana that it has occupied over the years," Jaishanker Dubey, ADM-West who is also the secretary of HAT had said when ASI had raised objections about the dispensary construction by district administration run HAT. "We have sent ASI a notice on the same and a reminder has also been sent to the body to evacuate the Naubat Khana that is also a protected monument," he said.

ASI, on the other hand, claimed to have received not one of the notices sent. "Our office has been in that space for over a decade and the site office anyhow is supposed to be on the site for maintenance and management of the monuments. We cannot oversee a monument sitting in an office 10 kilometers away," said ASI, Lucknow circle superintending archaeologist N K Pathak. He also cited the examples of Taj Mahal and Red Fort where the ASI site office is within the premises of the nationally protected monuments."ASI is wrong to be occupying the space but HAT's action is only vindictive. Both are equally responsible for ruining and defacing monuments. What about the occupancy of illegal police outpost in the Husainabad gate? It is only a way to diverge from the current issue of construction in Bada Imambara," said heritage activist Mohammad Haider.

Archaeological Survey of India (ASI) had its office inside the first gate of the Bara Imambara even before Indian independence. It was in 2002, after a PIL was filed against over a 100 illegal occupants of the Naubat Khana that the high court ordered for eviction of occupants and conservation of area by ASI. It was then that ASI also shifted its outside to the Naubat Khana.

- The Times of India, March 28, 2016

Forty-eight-year-old Ansar-ud-din has been restoring historic buildings in Lucknow for two decades. But his latest work on preserving French heritage by restoring the Constantia Palace in Lucknow, which houses La Martiniere College, has won him an award from the French government. Along with his team of 15 artists, Ansar has been carrying out restoration work on the facade for over three years. The French embassy believes the work contributes to strengthening ties between India and France.

A letter from French Ambassador to India Francois Richier says Ansar will receive a medal of honour from the French government for "remarkable professionalism in the restoration of historic buildings, especially the Constantia Palace".

Ansar says the award is no less than the 'Kohinoor' for him. "Until I started working at La Martiniere, I never thought I would do work that will earn me an award. Though I have worked on restoration of other historic buildings like Shahnajaf Imambara, Sibtainabad Imambara, and Karbala Dayanat-ud-Daulah, it was at La Martiniere that my talent was truly discovered," says Ansar.

So how did he make his way to La Martiniere? Soon after taking charge in 2010, the college principal Carlyle McFarland visited the Shahi Imambara at the side of SPM Civil Hospital and Tile Wali Masjid. The restoration work at both places had been carried out by Ansar. "We liked his work and so decided to rope him in," says McFarland. adding that the restoration costs over a crore, most of which has been funded by Old Martinians.

In early 2015, Vieilles Maisons Francaises (VMF), a French-government recognised association involved in heritage preservation, came to know of the conservation work at La Martiniere. A VMF team subsequently visited the college and was impressed with the fact that the Constantia is a living building, and that additions had been made in sync with the colonial ambience, said McFarland. After examining Ansar's work, the VMF team sought photographs which were sent to France for scrutiny. McFarland says VMF is making a directory of all French structures and monuments outside France. In India, the main centres are Chandernagore (West Bengal) and Puducherry. "They had no idea that Lucknow had such a rich example of French-inspired architecture. Constantia represents the French Baraoque style, rare to find outside France," explains McFarland.

The first ornamental detail Ansar touched upon was a frieze which was restored from the base following the pattern that had survived for over two centuries. "His work impressed us and he continued doing extensive restoration and renovation work on interiors at the Constantia." says McFarland, adding that the uniqueness of Constantia is that no ceiling in any room is duplicated.

Beginning with the restoration of the Memorial Hall which holds the bust of its founder Claude Martin, down to the crypt, Ansar completed the college's secret room- Blue Room, popularly known as the reception room. Martin's bust which lies exactly above his tomb, is a practice reminiscent of the nawabi era, says McFarland. Air vents down to the crypt in Constantia that were closed decades ago have been reopened. The crypt has been cleared of bats and their droppings and the vents will help in ridding the place of any remaining dampness, McFarland says.

Scrapping away the lime to reveal the original Wedgewood designs, moulded in Plaster of Paris, was the biggest challenge, Ansar says. The rooms inside Constantia are decorated in bas-reliefs, arabesques and other Italian-styled ornamentation. The eighteenth-century English potter Josiah Wedgwood was said to be responsible for the plaster of Paris plaques decorating the library and the chapel. The room named as The Muses' Bower depict Apollo and the nine Muses as in the original Wedgwood jasperware urns. The Muses' Bower will serve as an exclusive study room for the senior most resident scholars. The adjoining rooms in the turrets have similarly been restored. Wedgewood blue and white has been used to maintain verisimilitude. "Each plaque has striking details, cleverly enhanced by master painter Ansar," says McFarland.

- The Times of India, March 29, 2016

M Srinivasa Reddy, reader in history, Andhra Loyola College, has said knowing history is very important to society to overcome the socio, economic problems and disasters. He said India has a great history of civilization and temples constructed in the country would reveal many facts about the history of those olden days. He addressed the seminar on ‘Fundamentals of Temple Architecture’ conducted by the Department of Archaeology and Museums at the Victory Jubilee Museum on Monday.

He said Indians had done business with Romans and Greeks a very long time ago and the trade gradually declined due to the fall of Roman and Greek empires 2000 years ago. He said the Indian economy was also collapsed due to the falling of Roman empire and later Indians started cultivation on massive scale along the rivers to strengthen the economy.

He said temples played vital role to teach the people about the past history of India. Department of Archaeology and Museums director G V Ramakrishna Rao explained the architectures of temples in different parts of India and narrated the changes made in architecture style. D Kiran Kranth Chowdary, a retired professor, said Indians developed different types of architectures for 2,000 years and architecture was the part of Indian history.

K V Satya Brahmacharya, Agama Pandit, said Rigveda has explained about the importance of different types of architectures and sculptures. He said there was description about architecture of forts, ornaments, temples in Rigveda.

Assistant director of archaeology Deepak Joe, Dr E Siva Nagi Reddy, chief executive officer of the Cultural Centre, Vijayawada, students of 13 districts attended the one-day seminar.

- http://www.thehansindia.com, March 29, 2016

Ustaad Bismilla Khan Yuva Puraskar Awardee Delong Padung and Kaling Borang of Arunachal Pradesh took part in a three day-long festival on Intangible Cultural Heritage and Diverse expression of India, organised by Sangeet Natak Academy and co-sponsored by UNESCO New Delhi which concluded on Mar 27 last. Cultural troops from Bomdila led by Rinchin Droma also presented Buddhist chanting representing the Mahayana Buddhist sect in the colourful festival which witnessed diverse representation of culture from different parts of India.

- http://www.arunachaltimes.in, March 29, 2016

Bengaluru Chapter, resurveyed the list of iconic heritage buildings that were done by architect Prof KN Iengar in 1985. The buildings had been commissioned by and submitted to the Bangalore Urban Arts Commission, a body which was later disbanded.

After spending five months looking for the old buildings all over the city, the INTACH team realised that of 823 iconic heritage buildings recorded in 1985, only 354 had survived.

“We realised that the government buildings were the ones that survived the best,” writes Meera Iyer, co-convenor, INTACH. “Among the major government buildings, we have lost the old government printing press to Vikas Soudha, and a lot of buildings on KG Road have been replaced by modern buildings with glass-and-aluminium covered facades.” The survey had some interesting highlights such as the existence of heritage homes even in middle class neighbourhoods. For example, a house on Antony Nicholas Street. This has been replaced by an apartment block, but there are others in the neighbourhood which still survive.

It was also interesting to see the varieties in heritage buildings, she adds. “We always talk of monkey tops when we speak of bungalows in Bangalore. But there are also Basavanagudi-type bungalows which have very different styling and facades. Like a bungalow on Vasavi Temple Street. It has been brought down but there are other houses on that street which are similar and survive. In fact, one of them last year won an INTACH Heritage Award,” she says.

The exhibition of these pictures was held in January this year at Cubbon Park. A similar exhibition will be held in April as part of the upcoming Designuru – a festival of art, architecture and design – at Rangoli Metro Art Centre from April 2 to 10.

- http://www.newindianexpress.com, March 30, 2016

Not everyone has warmed to the Delhi government's budget proposal to build a skywalk connecting the Qutub Minar Metro station to the world heritage site.

Heritage experts and conservationists have welcomed the idea to facilitate better access to Qutub Minar from the Metro station. But they think a skywalk isn't the ideal way to go about it. Instead, they think the government should look into a partially elevated stretch and enough walkways. Intach is doing a feasibility study for the project. A few years ago, the Archaeological Survey of India and Delhi Urban Art Commission had opposed an elevated Metro corridor here as it would have jeopardised the Qutub Minar and obstructed its view. DUAC said it would oppose this proposal, too, if it threatens the monument.

"A skywalk may not be a very big thing but we will assess to what extent it would differ with the whole cityscape in that area. We objected to the elevated Metro corridor because of the fear of vibrations and because it obstructed the view of the monument. Its too early right now to know where the government plans to build this skywalk. But if it anyway obstructs the view of Qutub, we will oppose it," said a senior DUAC official.

Intach convener A G K Menon said, "Right now, we feel the entire project cannot be elevated. There are certain problems that will have to be addressed. The area is rich in centrally-protected monuments and one has to tread carefully. We can't have a complete skywalk because of so many practical problems. At the same time, we also want to encourage walks in Mehrauli Archaeological Park. So, we are looking at a partial skywalk and a partial walkway within the park to reach the entrance of Qutub Minar."

Another expert agreed that combining a skywalk with beautified footpaths was the best option. "We want to get more people to walk through the Mehrauli park and the best idea would be to have a foot overbridge from the Metro station to the archaeological park. People could walk through the park to the Qutub. This way, they can also see many other monuments like Jamali Kamali, Balban's Tomb etc," said the expert.

The project is expected to cost Rs 10 crore and work is likely to begin in August. "The technicalities of the plan are still to be analysed," said an official.

- The Times of India, March 30, 2016

Not everyone has warmed to the Delhi government's budget proposal to build a skywalk connecting the Qutub Minar Metro station to the world heritage site.

Heritage experts and conservationists have welcomed the idea to facilitate better access to Qutub Minar from the Metro station. But they think a skywalk isn't the ideal way to go about it. Instead, they think the government should look into a partially elevated stretch and enough walkways. Intach is doing a feasibility study for the project. A few years ago, the Archaeological Survey of India and Delhi Urban Art Commission had opposed an elevated Metro corridor here as it would have jeopardised the Qutub Minar and obstructed its view. DUAC said it would oppose this proposal, too, if it threatens the monument.

"A skywalk may not be a very big thing but we will assess to what extent it would differ with the whole cityscape in that area. We objected to the elevated Metro corridor because of the fear of vibrations and because it obstructed the view of the monument. Its too early right now to know where the government plans to build this skywalk. But if it anyway obstructs the view of Qutub, we will oppose it," said a senior DUAC official.

Intach convener A G K Menon said, "Right now, we feel the entire project cannot be elevated. There are certain problems that will have to be addressed. The area is rich in centrally-protected monuments and one has to tread carefully. We can't have a complete skywalk because of so many practical problems. At the same time, we also want to encourage walks in Mehrauli Archaeological Park. So, we are looking at a partial skywalk and a partial walkway within the park to reach the entrance of Qutub Minar."

Another expert agreed that combining a skywalk with beautified footpaths was the best option. "We want to get more people to walk through the Mehrauli park and the best idea would be to have a foot overbridge from the Metro station to the archaeological park. People could walk through the park to the Qutub. This way, they can also see many other monuments like Jamali Kamali, Balban's Tomb etc," said the expert.

The project is expected to cost Rs 10 crore and work is likely to begin in August. "The technicalities of the plan are still to be analysed," said an official.

- The Times of India, March 30, 2016

Dancers from different parts of the world showcased indigenous interpretations at the first edition of the International Contemporary Dance Festival, which puts under the spotlight an array of choreographies from both India and across the globe.

The 3-day long festival opened at the Shri Ram Centre for Performing Arts here last evening with two performances 'The Colour White' presented as a collaboration between Iranian musician Fakhroddin Ghaffari and French dancer Gilles Chuyenand and 'The Mystical Forest' created by choreographer Santosh Nair.

The two opening performances drew a "sharp contrast" as Chuyenand portrayed layers of personal connection with the colour white, while Nair created a wild, loud and energetic vocabulary of traditional Mayurbhanj Chhau with strong contemporary movements painting the life inside a forest.

"It was lovely to see two different kinds of performances with contrasting interpretations of contemporary dance where one brought the calmness of white and another all the colours together to sketch the wild forest," said celebrated choreographer Ashley Lobo.

As the dancers presented internalised untamed movements of the wildlife through their 45-minute long performance, the dance lovers who came to see the performances got their adrenaline running through-out the show watching the lines, lengths, lifts and energy of the dancers specially lauding the entry and exit of dancers through the audience.

"I could not help but give a standing ovation to the performance as it was mesmerising. Being a Mayurbhanj Chhau dancer, I know how much effort it takes to create a flawless performance like this," said Delhi-based dancer Vinod.

Overwhelmed by the reactions of the audience which and applauded and cheered his choreography, Nair said he was glad to see his efforts to defy the international image of Indian contemporary through infusing Chhau was being appreciated.

Festival curator Suresh Goel said the event was an attempt to fuse traditional Indian dance forms into a "contemporary canvas".

"We wanted to exhibit how an art as a means of communication can transpire internationally as we retain traditional contemporary and absorb western contemporary," Goel, the former director general of the Indian Council for Cultural Relations said.

Goel said there has been an "explosion" in the country of contemporary dance based on Indian tradition, which looks very international and that its future is immense. The festival also feature works by Swiss performer Gregory Stauffer and dancers Sangeeta Sharma and Sumeet Nagdev among others and among the varied choreographies includes a narrative of the Mahabharata war.

The festival, a partnership with Culture Ministry, ICCR, Pro Helvetia and Sangeet Natak Akademi along with Teamwork Arts is set to conclude on March 31.

- http://www.ptinews.com, March 30, 2016

Patience, passion for learning and effort can bring out the artist in a person, said Belagavi sculptor Sanjay Padmanabh Athalye, who has turned his hobby of sculpting into his profession.

This 56-year-old artist, who was born in Mumbai and worked in Ratnagiri, Mumbai, Kolhapur, Gokak and many other parts of India, has gained a special expertise in creating sculptures using Bombay clay, wood, cement, fibre, dental plaster, plaster of Paris and many other kinds of raw materials. He learnt the art by watching the making of Ganesha idols.

Though he was from an underprivileged background, Sanjay never gave up on the desire to create art. This desire made him shift to Belagavi due to financial problems 10 years ago. Sanjay, who lives in a rented two-room house at Bhagyanagar 5th Cross, Belagavi, had gone into depression thinking art would not feed him. But philanthropist Nitin Dhond came forward to help Sanjay, who teaches many students now.

Sanjay was invited to Gomatesh polytechnic, at Ransubhe of Khanapur taluk, to teach students hailing from Mumbai, New Delhi and Andhra Pradesh. Many Marathi film actors, including Subodh Bhave, have seen and appreciated Sanjay's work.

Speaking to TOI, Sanjay, who is currently creating sculptures in fibre at Swapna Gandha resort near Belagavi, rued that gadgets and social networking sites are keeping the youth away from learning the real art of creating sculptures and paintings. "I have a desire to teach more students but due to lack of financial support, I have become helpless. A school where such arts are taught has to come up in the district," he said.

- The Times of India, March 30, 2016

2.5 lakh artefacts will be digitised starting April 1, Centre sanctions Rs 1crore for project

Deccan College is all set to make a strong entry into the world of 3D photography, with the aim of setting up a virtual museum in the next six months. Around 2.5 lakh artefacts possessed by the college will be digitised starting April 1 to be showcased in the museum, the first of its kind in India.

The college has two museums — one dedicated to archaeology with artefacts ranging from pre-historic to the medieval period, and the other dedicated to the Maratha period containing important historical records from the late 18th and early 19th centuries. Elaborating on the project, professor Vasant Shinde, vice-chancellor of Deccan College, said, "This will be the first museum of its kind in India. We have developed an independent mechanism for 3D photography and will have three specialised teams to accomplish the task. We have a rich collection of Central Asian artefacts, manuscripts, paintings, arms and weaponry, archaeology, pottery, etc. Photos of these will be taken to divulge their every detail, ensuring that students and enthusiasts will be able to satisfy their curiosity. The project will take around six months to complete and we have received Rs 1 crore sanctioned from the central government. Our students will receive both hands-on experience and remuneration for their work on the project."

Shinde added, "After this, we take up the digitisation of 10 lakh artefacts at the Archaeological Survey of India.

Sumeet Jadhav, who is heading the 3D photography part of the project, said, "Right now, we are digitising artefacts from Delhi's National Museum. These 3D images will be a rich experience to viewers, who will see the images with all their minute detailing. This will help us set up the virtual museum for Deccan College, too. "

Historian Pandurang Balkawade said, "Deccan College is highly reputed in the field of archaeology. The late professor H D Sankalia and other eminent personalities have led the institute in several archaeological pursuits. There have been excavations from India to Iran and Russia. Artefacts gathered at those sites possess valuable historical importance and depict the rich heritage of lost cultures. This project will bring people closer to history."

Mohan Shete, historian and president of Itihaaspremi Mandal, said, "It is a welcome move, but it should have been done earlier. Our country doesn't have the habit of preserving documents and artefacts of historical importance. Western countries, on the other hand, have preserved their history in every possible manner. For instance, England has digital versions of their newspapers from 600 years ago. We have had newspapers for the last 100 years, but have not taken the trouble to preserve them. It is necessary to preserve history by taking up projects like this. The government also needs to make more effort towards this.

- http://www.punemirror.in, March 30, 2016

The timings for the festival are 6.30 p.m. to 8.30 p.m. and it will end on March 31. The Census of India 2011 reveals that 750 scheduled tribes in India reside in distant and forested areas of hilly mountains.

To fortify the ethereal cultural heritage of tribal India, a three-day National Tribal Dance Festival opened at R.K. Beach on Tuesday. Known for their hospitable nature, the various tribes of India have strong community bonds that give them a distinct identity.

Organised by Antarmukha in association with South Zone Cultural Centre, AP Tourism Development Corporation and the State government, the festival gives a chance to get a glimpse of the rich tribal culture which will be showcased through six tribal dance forms from Andhra Pradesh, Odisha, Karnataka, Kerala and Madhya Pradesh.

“Despite a threat to their existence, these tribal people have succeeded in preserving their culture. We want to promote the indigenous culture and bring to the forefront the ethnic value of India through this festival,” said Lakshmi Priya of Antarmukha.

The organisation is planning to organise similar tribal dance festival in Narsipatnam and other Agency Areas of Visakhapatnam next month.

The Census of India 2011 reveals that 750 scheduled tribes in India reside in distant and forested areas of hilly mountains, plains, deserts, coasts and even islands. Inaugurating the festival, ZP chairperson Lalam Bhavani said that the event was a great platform to understand different tribal culture. Joint Collector J. Nivas said that the vibrancy of tribal culture can be seen through the exuberance of each dance form. “They express their happiness through singing and dancing and live a simple life. We also should adopt this simple philosophy in our lives,” he added.

During the festival, tribal dance forms such as Sambalpuri, Siddi, Gudumbaja, Pania, Savara and Dhimsa will be showcased by the indigenous groups. The festival is open for public. It is being held at the beach front opposite to Viswapriya Function Hall.

The timings for the festival are 6.30 p.m. to 8.30 p.m. and it will conclude on March 31.

- The Hindu, March 30, 2016

The NGO, which takes care of the upkeep of Aravalli Biodiversity Park, has rubbished mayor Vimal Yadav's charge that the park is not being maintained properly. The NGO on Tuesday said 75,000 saplings, including 160 Aravali species, were planted in the park over a period of five years and 37 of them started flowering.

The NGO also claimed around 180 species of birds were spotted in the park, and dared the civic body to conduct a survey to verify these claims. Mayor Vimal Yadav on Monday had said "while on one side the NGO was not doing anything in the park, it was not allowing MCG to do anything either". He said the MCG wanted the maintenance work to be taken back from the NGO.

Denying the mayor's allegations, Vijay Dhasmana, who is a member of the NGO, said, "Last Saturday, I conducted a nature walk for a small group of enthusiasts. We spotted 37 flowering species, saw neelgai and jackals. We also spotted porcupines, civet cats, monitor lizards, besides around 35 species of birds. There are animals like black shoulder kite, Indian eagle owl, stone chats, bee eaters and francolins in the park. It has become a haven for thriving wildlife and needs serious protection and people's participation. No government body can provide that. We have planted about 160 species of trees and shrubs and most of them are thriving. Many national and international experts have visited the park and applauded the work carried out here. It is going to be a rich biodiversity hotspot in the NCR."

Prof Soumya Prasad, an ecologist in JNU, who has worked for over a decade in the field of ecology, climate change and bird population, said reviving a park like this was not easy. "There are very few such sites in India, maybe 10 of them. Environmentalists here have developed nurseries to bring back native plants. I must say they have done an incredible job. On the other hand, the afforestation programmes by the government agencies have failed. I don't think they have been able to get back native species. They lack expertise in this field."

Responding to this, mayor Yadav said, "The House has passed a resolution. I will speak to senior officials and ministers to ensure that the shoddy job being done by this NGO is stopped and MCG is handed the responsibility to maintain the park."

- The Times of India, March 30, 2016

In a first, researchers in Scotland are using smartphone-based technology to find the reason behind plummeting numbers of harbour seals in the country. Part of a three-year study by researchers at Sea Mammal Research Unit (SMRU) at University of St Andrews in Scotland, the smartphone-based technology is being used to monitor the well-being of marine mammals, The National reported.

"Over the last 15 years, many of the harbour seal populations in the Northern Isles and on the north and east coasts of Scotland have been declining. Marine data collected during this project on Orkney will help to assess the causes, management and mitigation options in relation to the harbour seals' decline and to prioritise future research directions," Bernie McConnell, SMRU's deputy director, was quoted as saying.

For the study, marine telemetry tags will be attached to the fur at the back of the heads of a number of harbour seals in Orkney Archipelago of Scotland. Small and light, the tags work like smartphones, sending information back to scientists and will eventually drop off when the seal moults, the report explained.

The study is being carried out at the request of the Scottish Government and Scottish Natural Heritage after concerns were raised about the survival of harbour seals in the country."This exciting, collaborative study is vital to help us to better understand the drivers of population change in Scottish harbour seals, and to evaluate the potential conservation and management options open to us," professor John Baxter from Scottish Natural Heritage was quoted as saying. Harbour seals - one of two seal species in Britain - have declined by up to 90 percent in some areas in and around the north and east coast of Scotland, including Orkney, since 2000.

- http://www.thehansindia.com, March 30, 2016

opal's tree cover has shrunk from 66% to 22% over a two-decade span, says a new study by Indian Institute of Science, Bangalore. By 2018, it will be 11% of city's area and might go to just 4.10% till 2030. This is the most rapid degeneration of green cover among four cities chosen by the institute for its study - Modelling and visualization of urban trajectory in four cities of India.

The study was conducted by satellite-borne sensors, which compared images over decades and modelled past and future growth to reveal rate of urbanisation in cities. It was conducted by Prof T V Ramchandran and his team at Energy and Wetlands Research Group, Centre for Ecological Sciences.

Kolkata's tree cover fell from 23.4% to 7.3% over 20 years; Ahmedabad's fell from 46% to 24% over 20 years and Hyderabad's cover fell from 2.71% to 1.66% in the same period. Shocked by statistics, Bhopal's environmentalists agree to facts detailed by Indian Institute of Science. "If I relate my study of rise in temperature to 8% in 12 years, where parameters were same, I think if they are saying tree cover will shrink to 11% by 2018, it's shocking and very much possible. There are four reasons. Unplanned urbanization, encroachment of natural water bodies in city, depletion of ground and surface water and this shows the plan of sustainable developments has failed," said Subhash C Pandey, environmentalist, who is fighting to get back lost green cover of city.

Researchers classified land use into four groups - Urban or built-up area, which includes residential and industrial areas, paved surfaces and mixed pixels with built-up area. This means built-up areas contain areas from any of the other three categories - water, which includes tanks, lakes, reservoirs, drainages, vegetation, which includes forests and plantations; and others, including rocks, quarry pits, open ground at building sites, unpaved roads, cropland, plant nurseries and bare land. Researchers say Bhopal still remains one of India's greenest cities, 16th largest by population with 1.6 million people.

Bhopal is better off than other cities, but the concretising trend is clear.

Adding voice to the study, Amitabh Pandey, associate professor for sociology and community development, Indian Institute of Forest Management, said, "Unplanned urbanization is behind shrinking greenery of Bhopal. We can see green in pockets. But we can save Bhopal even now. The city is greener than other cities, but builders and town planners need to be given the target to retain this greenery in their project, instead of depending upon initiatives by authorities."

- The Times of India, March 30, 2016

Chandigarh, which is known for its lush greenery may lose much of it to iron clamps around trees. The clamps are suffocating the trees they were supposed to protect.

A few residents lodged a complaint with the administration to preserve the beauty and heritage of City Beautiful but there has been no response so far.

Coordinator of the NGO, Yuvsatta, Pramod Sharma said almost all the trees of the Sector 17 Plaza are surrounded by these iron clamps, which are hindering their growth. "Metal locks the root level of trees at the Sector 17 Plaza. It is like a public execution. Also, heritage trees of Chandigarh, which are as old as a 100 years and more urgently need a dedicated conservation programme," he said.

Roots have to be left open for the growth of trees. Any tightness like close iron clamps or paver blocks will stunt them. There is no standard distance for installation of iron clamps or paver blocks as it depends on the species of trees, experts said. Chairman, Botany department, Panjab University, Nayyer Harsh said, "Basically, these iron clamps or paver blocks were used by officials for the protection of trees. But they can also harm the trees by exerting mechanical stress. Imagine the feeling of being squeezed tight. That is how the trees feel. You cannot have a standard size as it depends on the tree which has been planted."

- The Times of India, March 30, 2016

An abandoned pond in Magaral village near Uthiramerur in Kancheepuram district became the storehouse for smugglers who dumped in it 25 red sanders logs which were fished out on Tuesday morning.

Kancheepuram district forest officer Ritto Cyriac said the medium quality logs were tied to boulders to prevent them from floating. Superior quality red sanders logs fetch nearly 300/kg. As this seems to be a medium quality wood, it will not fetch more than 100/kg.

Two-day workshop on institutional care: The Heritage Foundation is conducting a two-day workshop on institutional care of senior citizens. Former country representative of United Nations Population Fund Thailand and director at the Indian Institute of Health Management professor G Giridhar delivered the key-note address. Global president of the International Federation of Ageing (2012-14) was also present.

Incredible India lab inaugurated: AM Jain College inaugurated a first-of-its-kind 'Incredible India Tourism Lab' in association with the ministry of tourism on its Meenambakkam campus on Tuesday. Set up at an initial cost of 3 lakh pumped in by the college management, the lab was inaugurated by Shoeb Samad, regional director (South) India tourism, ministry of tourism.

Four hurt as car falls into canal : A car plunged into a road side canal on Tiruparuthikundram Salai near Kancheepuram on Tuesday leaving its four occupants injured. The three men and a woman in the car were pulled out by the villagers who sent them to the government hospital in Kancheepuram for treatment.

- The Times of India, March 30, 2016

Right inside Lalbagh Main Gate is the erstwhile official residence of the superintendent/director of Lalbagh. It now stands desolate, its hopes of restoration dashed by a blame game between the Horticulture and State Archaeological departments.

Walkers pass by without so much as a second glance at the board that reads Dr MH Marigowda National Horticulture Library. A cobbled path amid crotons leads to a reddish structure, the erstwhile bungalow of the Director of Lalbagh.

“John Cameron, Gustav Hermann Krumbiegel and the first Indian to hold the post after independence, H C Javaraya, each lived here for a few years,” says architect Mansoor Ali, who has been documenting historical structures. The bungalow is now named after one of Javaraya’s successors, who also lived here.

The Public Works Department had started restoration work, but Indian National Trust for Art and Cultural Heritage (INTACH) protested as some tiles on a section of a roof that was to be retained were removed, and lime plaster was allegedly chipped off from more parts of the wall than deemed necessary and replaced with a cement substitute.

“It took us a couple of years to convince the government that some buildings there – the library, Krumbiegal Hall and the aquarium – needed conservation,” says Meera Iyer of INTACH. “But when the contractor was picked, we found it was someone who had no experience with conservation work.”

The group even offered a list of recommended contractors. “Then, finally, about a year ago, we received a letter saying, INTACH was no longer a consultant as it was not cooperating,” she says.

The restoration work was then handed over to the Archaeological Department, but no visible progress has been made since 2014. The door from the porch, with cobwebs all around, has been padlocked. Most of the tiles on the roof here have been removed. The off-white walls are discoloured, with paint peeling off near the front door.

On the left, an open French window with some of its glass shattered, offers a view into the dusty inside of what was perhaps the veranda. A door connecting to the room within has been fastened shut.

The high-roofed porch of the British-style bungalow was designed to shelter a horse-drawn carriage. This indicates that it was built around the year that Krumbiegel was born – the most recent flower show celebrated the German botanist-garden designer’s 150th birth anniversary.

“Cars came to India only 105 to 110 years ago,” says Harish J Padmanabha, Javaraya’s grandson. He continues to refer to the gabled bungalow his grandparents, father, uncles and aunts lived in for about a decade as the director’s residence.

However, he says, books in the Horticulture Department’s archives indicate that the bungalow was built in 1832, after Colonel Munroe, a serving British army officer, took charge of the botanical garden. Iyer, though, puts the date somewhere in the mid-1800s.

Ignore the board with the words ‘Private, No Admission’ by the garden gate and walk through the pathway, you might get a peek into the few rooms currently in use, a stark contrast to the outside.

If you ask to see the library, you are pointed to a room with stands holding standard periodicals. Other books have been moved elsewhere, you are told. The walls of an adjoining room are painted purple, while another along the corridor has some well-maintained soft furnishing.

At first, it was the superintendent’s bungalow, says Padmanabha. “That was in Cameron’s time (he took over as the superintendent of Lalbagh in March, 1874, and remained in charge of the garden for over three decades). But once Krumbiegel took charge, it became the director’s,” he explains.

His family, he says, lived here between 1932 and 1942, before which they stayed in the superintendent’s bungalow, a stone’s throw from the Lalbagh administrative office.

He recalls his grandmother, Nagamma, telling him the living room had continental-style wooden flooring, a design element Padmanabha imbibed when he had his house in Basavanagudi built. “I think I have seen it too. It was complete with a kitchen and parlour,” the mechanical engineer says. Built during colonial times, it mirrors British architecture in full, he adds.

At the back was a tennis court. “My grandfather and grandmother played tennis here,” says Padmanabha. “I remember seeing the court too.”

It probably faded out of existence in the 1970s, Ali says. Marigowda, the last occupant of the bungalow, had the wooden trellis at the windows replaced with mesh, offers Padmanabha. But larger ones at the porch still stand.

Green Heritage
Several of the mango trees in the 240 acres of greenery that surrounds the heritage structure are rumoured to have stood the test of time since Tipu Sultan’s rule. “I’m not sure how true it is, but many of the other trees that surround the bungalow are about as old as it is,” Padmanabha says.

The Men Who Lived
John Cameron, Lalbagh’s superintendent for 33 years, starting 1874, is said to be the brain behind the Glass House, where flower shows are now hosted twice a year. He is credited with introducing seeme badanekayi, also called chow-chow, into the Indian market.

Gustav Hermann Krumbigel (1865-1956), the German horticulturist in whose honour the last flower show was held, is known to have brought to Bengaluru several exotic trees that earned it the Garden City title.

Rao Bahadur H C Javaraya was the first Indian director of Lalbagh. He and his family lived in the bungalow for 10 years in the 1930s and 1940s, before which they lived at the superintendent’s residence nearby.

- http://www.newindianexpress.com, March 31, 2016

Holidays are fast approaching. Here’s a top-notch plan to have a whale of a time.

KMarch is almost drawing to a close and more importantly, so are your exams. It’s time to pack away your books and pen, give math and history the royal heave-ho for two months until the start of your new academic year, and unwind. As the month inexorably slips into April and the summer sun beats down on you, it is but natural to want to lounge by the beach and let the waves tickle your feet and fancy. But wait. How about doing something different, this hols? While trips to the country side and villages with esoteric settings are a part of the agenda, how about travelling down the lanes of history without having to worry about cramming for exams?

Well, pack your bags and get ready to see some of the most magnificent heritage monuments in our country that you probably aren’t familiar with. While the Taj Mahal and the Agra fort and the ruins of Hampi are hot favourites, there are others that will take your breath away. If you’re in the mood to revisit the past in all its splendour, Madhya Pradesh’s Tikamhgarh district will give you a whiff of lost grandeur at Orchha Town on the banks of the Betwa River — it stands on a huge palace-fort which houses structures belonging to different eras. Another brilliant holiday getaway in Madhya Pradesh is the ancient Bhimbetka rock shelters, famous not only for the exquisite views but also for the archeologically important cave paintings which date back to nearly 15,000 years.

Travel to Punjab’s Qila Mubarak, India’s oldest fort which is believed to have been built in 90-110 AD by Kanishka, the Kushana emperor. Despite being constructed with small bricks, it remains one of the highest forts in elevation. Walk into the fort’s threshold where historical greats like Razia Sultana, Prithviraj Chauhan, Sultan Mahmud others once walked.

Mention ‘Acropolis’ and visions of beautiful Athens comes to the mind. But have you visited the Ahmedabad Acropolis? And if you haven’t, what are you waiting for? Sarkhej Roza, also known as “Ahmedabad’s Acropolis”, is located in the Makaraba, near Ahmedabad. A mosque and a tomb complex, it was once a famous centre of Sufi culture, as Sufi saint Shaikh Ahmed Ganj Baksh lived there.

If you’re in the mood for serenity and calm coupled with nature’s pristine beauty, head to the Phuktal Monastery in the Zanskar Valley. Built around a natural cave, it gives you the illusion of being built on steps. Home to over 70 monks, it is also a beautiful trekking destination.

What are you waiting for? Get, set, travel. Here are some more places you could put down on your travel list.

- The Hindu, March 31, 2016

Satish Gupta, a multi-faceted Delhi based artist, exhibits his magnum opus at the Visual Arts Gallery, India Habitat Center, through today, 31 March. From this creatively blessed painter, sculptor, poet, writer, printmaker, skilled draftsman, muralist, designer, calligrapher and ceramicist, on display are ten sculptures, eight paintings and seventy-two haikus. Drawn and inspired by nature, Satish reflects his deep engagement with mysticism and the Zen spirit in all his works.

The 72 haikus or short poems on backdrops of some of the most subtly toned paper collages one has ever beheld- ivory, gold, copper and black in nature imagery, inscribed with a line of thought in each work, are introspective and intuitive, exemplary in their simplicity.

Shunya or Empty Zen Circle, and Meditations, are deeply moving sculptures on the Mandala, aptly defined as “each a masterpiece of voids and solids”, a Buddha cut from a metal sheet full of Buddhas and suspended from a metal rope. Again, the impeccable execution leaves one fascinated. The subtle gradations of colour in the patination, the effect of light and shades in the negative-positive ratios in the treatment of space are manifestations of total dedication to inspiration and creativity. Like arriving at imagery and composition after continued existence within the meditative state, emerging from a trance after a glimpse of the celestial.

Satish’s life size work, a sleeping Buddha's head reclined at an angle on a bed like platform, graces the Atrium of the expansive India Habitat Centre. The sculpture, 23x13.5x9 feet is a masterpiece by any standards of art anywhere in the world. Its towering scale is stunning and breathtaking in its overture with its unbelievable scale, its conception and the infinite finesse with which it has been executed. It fills one with awe, like being in the presence of something great and sacred. On the reverse, this awsome Buddha's head has been scooped into and conceived like a cave, its inner walls high reliefed with neat rows of small Buddhas carved on its walls, a picture of perfection, as marvellous in its conception as in its impeccable execution. This hypnotic Buddha, to be viewed on the round is done in copper, the figure of a gilded sleeping Buddha placed centrally along the length of the cave that is actually the back of the head.

Surrender, an elegantly aerodynamic Garuda done in copper with patina, stainless steel and gold and mirror finish measuring 12 x 16 x 9 feet is awesome in the sheer magnitude of the artist’s perspective. The Garuda, with his wings spread against the sky is towering, yet light in its visual weight, the incorporated rythm and lyric, the gentle curvatures that imply a suppleness belying the enormity of scale. The scupturesque detailing, minimally ornate for enhanced effect, continues Satish’s heightened sense of aesthetics even as it conforms to the Shilpashstra, that ancient treatise on Hindu art. It is not without reason then that PM Modi limited himself to painting "Om NAMO Shivay" as his collaboration in Satish’s painting.

- The Statesman, March 31, 2016

Wakatak era coins worth crores went missing from Nagpur University's department of ancient Indian history, culture and archaeology a couple of years ago. Shockingly, NU officials have failed to even register a police complaint till date. Also, the report of a panel probing the disappearance of the coins has gone missing from NU's cupboards, say NU sources.

The archaeology department has a small museum where precious artefacts are kept for purpose of research. These coins, about 200 in number, were donated to NU by a Pavnar-based farmer, who had found them in his farm while digging way back in 1968. They included gold, silver and bronze coins of the Wakatak era. All such precious articles and coins kept in department were registered as 'antiquities'.

When former head of department Pradeep Meshram retired and handed over charge to present HOD Preeti Trivedi, she lodged a complaint with divisional commissioner Anoop Kumar, who was then holding additional charge as VC, about the missing articles. Kumar constituted a five-member panel, including former HOD Chandrashekhar Gupta, Ismail Kellelu, Nandini Sahu and Shubha Johari.

After conducing an enquiry over a couple of months, the panel submitted its report to Kumar in summer 2014. Surprisingly, Kumar pleaded ignorance about any such report, claiming he didn't remember anything. "I was handling additional charge and was very busy with my primary assignments. I hardly had any time to look after NU's affairs, though I tried my best. Even a complaint was filed against some person at that time in this matter, but he got respite from the Nagpur bench of Bombay High Court later," he told TOI.

On the other hand, VC Siddharthvinayaka Kane made it clear that he too didn't have any idea about the missing report and had directed registrar Puran Meshram to table it before him at the earliest. "I enquired about it from HOD Trivedi after I came to know about it. She said that the missing coins were not registered in the stock verification, which is done every year. The report was submitted to Kumar, after which Vinayak Deshpande looked after VC's charge for some time."

He added that he will be in a position to give further directions, like lodging a police complaint, only after going through the recommendations of the probe panel. "Currently, it all seems to be a rumour, with no concrete documents to establish charges. We will also try to find out why the report was kept pending for over two years in such a serious matter of theft," Kane said.

The registrar said that he had instructed senior NU official Pradeep Biniwale to visit Kumar's office to find out the whereabouts of the probe panel report, which was crucial for further investigations and action. "There is absolutely no record in our Establishment Section about such a panel or its report. Usually, panels are routed through this section, where registered entry is made. But in this case, the then VC had directly given orders to form a panel and even accepted the report," he said.

Both HODs were unavailable for comments, with Trivedi not taking repeated calls from TOI while Meshram had switched off his mobile phone.

FACT FILE

* Wakatak era coins received from farmer in 1968
* They included gold, silver and bronze coins
* Coins were donated to NU archaeology department
* Issue came to fore after retiring HOD handed over charge to current HOD
* Current HOD brought it to the notice of ex-VC Kumar, who formed a probe panel
* Panel submitted report to Kumar, but it is missing

- The Times of India, March 31, 2016

"India welcomes process to develop an international legally binding instrument on the conservation of marine biodiversity in areas beyond national jurisdiction"

India has supported the process to develop an international legally binding instrument on the conservation and sustainable use of marine biodiversity and stressed that the rights of nations, including freedom of the high seas, are important and should not be restricted.

Counsellor and Legal Adviser in the Indian Mission to the UN Koteswara Rao said here that India welcomes the process to develop an international legally binding instrument under the UN Convention on the Law of the Sea (UNCLOS) on the conservation and sustainable use of marine biodiversity in areas beyond national jurisdiction.

“The new instrument should encompass all marine resources in areas beyond national jurisdiction, including the marine genetic resources currently known or which may be discovered at any time in the future,” he said during a General Assembly session on Monday.

“It should address issues relating to the access, exploration, exploitation, conservation and sustainable use of these resources,” he added.

He said that given the vastness of high seas and huge potential of the marine resources, a viable international legal regime for their conservation and sustainable use is a desirable option.

On the marine protected areas (MPAs), Mr. Rao said that while there is an obligation under UNCLOS for nations to cooperate with each other in the conservation and management of living resources in the areas of the high seas, “We believe that rights of other States, including freedoms of the high seas, are equally important and the challenge would be to arrive at an effective balance so that these rights are not restricted,” he said.

He added that the new instrument should also take into account the ecosystem approaches, precautionary principle and the emerging best practices.

- The Hindu, March 31, 2016

Wildlife lovers are in a state of shock following the death of popular Baghin Nullah Wali tigress and her two cubs. Sadness over the lost tiger family is also accompanied with resentment towards Madhya Pradesh forest department for its failure in protecting the national animal.

At ground zero, resort owners, guides and Gypsy drivers have launched a protest to express their disappointment over the laid back attitude of officials. TOI learnt that safaris at Madhya Pradesh Pench Tiger Reserve (PTR) have been closed since Tuesday evening to mourn the tigress and cubs and to protest the callousness that led to their death. Many tourists, who had already booked their safaris online, cancelled it to show solidarity with protesters.

Anuradha Mehta and her husband Rahul, a businessman based in Cambridge, had especially come here to visit Pench. "Whenever we are in the country, we make it a point to go for a safari, especially at Pench. The Baghin Nullah Wali tigress was our favourite as we have been sighting her for years. This is almost like losing somebody close to our life," said Anuradha. Despite confirmed online bookings, the couple refused to go for safari on Tuesday evening and Monday morning. "We don't mind missing it as anyway we wouldn't have been able to enjoy it," they added.

The guides have decided to boycott the safari till forest department gives clear answers to their queries. "Even after the deaths, the department has not sprung into action. Officials are keeping us away from the investigation process," said Gypsy owner Monu Dubey.

On Monday evening, the 12-year-old tigress was found dead by some tourists near the outer road of Baghin Nullah. A day later, carcasses of its two cubs were discovered about 50 metres away from the spot during a search operation along with a deer carcass. Sources from Pench informed TOI that carcasses of another jackal and some spotted deer have also been found but the officials are trying to keep it under wraps.

The officials were unable to capture the remaining two cubs of the tigress, one of which was reportedly sighted by a patrolling team. "One of the cubs has been spotted and seemed healthy. It was scared because of elephants and hence not wanting to exhaust it, we decided to stop the operation to capture it. Further investigation is on and we have collected water samples from different water bodies of the periphery and sent them for detailed forensic analysis," said MP Pench field director Subharanjan Sen. Viscera of kill and multiple samples of water have been sent to forensic laboratory in Sagar and Indian Veterinary Research Institute.

However, the incident has raised a big question mark over how seriously the guidelines of National Tiger Conservation Authority are followed at ground level. Allowing excavators and over 50 labourers in a prime tiger habitat without proper monitoring has aroused a lot of suspicion and anger. "The department needs to come clean as to why an excavator was allowed to enter inside a tiger reserve, a clear violation of norms. More rules were flouted as the labourers were staying overnight inside the reserve," said sources from PTR. They added that the department should have involved local communities for the work, who realize tigers are their bread and butter and would not harm them.

Sen chose to be non-commital about this and said that a section of people owning machineries have vested interest in the matter and are thus bringing in irrelevant things. "The work of de-silting the lake was in process to increase the water level for summers," he said. He added they have raided a local village close to the park and rounded up a suspect after recovery of pesticides from his house. He is being interrogated.

- The Times of India, March 31, 2016

DDA has decided to modify the Delhi Urban Heritage Foundation Regulations, 1999, to safeguard "tangible and intangible heritage" of the city. According to officials, the move is aimed at promoting restoration and reuse of buildings notified by municipal corporations.

The land-owning agency proposes to bring baolis (step wells), water bodies, old documents, books, maps, etc, under the ambit of the regulations. "The regulations have to be updated according to the current norms for heritage conservation. A need was felt to clearly define the objects, which can be covered. We have added new categories like preservation of documents, rare books and old maps," said a DDA official.

The new regulations, once notified, will be used by Delhi Urban Heritage Foundation to help repair and maintain the corporation-notified heritage structures. "The aim is to conserve such structures, gardens, etc, " added the official.

The erstwhile MCD had approved a list of more than 760 private and public heritage structures in the city, which are not protected by Archaeological Survey of India. Though the civic agency has a provision to sanction funds for the restoration work of these buildings, the fund has been lying unused for years.

DDA officials said once the new regulations were notified, the corporations can revive some of the public structures and use it for remunerative projects. "There are several public structures, which are in urgent need of repair. But we are not able to do anything because of technical problems. With the new regulations, we hope things will streamline," said a North Corporation official.

For the first time, the agency has included intangible heritage in the regulations. According to Unesco, intangible cultural heritage includes oral traditions, performing arts, social practices, rituals, festive events, knowledge and skills to produce traditional crafts, among others. Though the focus is largely going to be on tangible heritage, DDA officials said, efforts would be made to create awareness about the intangible one.

DDA has invited public suggestions in this regard.

- The Times of India, March 31, 2016