For a prayer

An auto driver decides to take us on a whirlwind tour of Anegundi. We see the village, the palace, the main entry gates, and then climb up the old Durga fort listening to more stories. "The Vijayanagar kings used to pray here before every battle. Then, they went to the Pampa Sarovar and the Lakshmi temple there," enlightens Virupaksha. We climb further to see an ancient entrance to the fort, the ruins of a palace and tombs.

"Kishkinta means a forest where monkeys lived," explains Virupaksha, about the Hanuman Temple atop the Anjanadri Hill, which takes 400 steps to reach.

As we lose ourselves in the green fields below, bordered by the boulders, Virupaksha says the last coracle will leave for Hampi soon.

A few minutes later, sitting precariously on the coracle that's carrying two bikes and a dozen people, I cross the Tungabhadra. My thoughts move to a passage in the book "A Forgotten Empire: Vijayanagar" by Robert Sewell which narrates observations by a 16th Century Portuguese traveller Domingo Paes.

He mentions that the coracle was used even then to carry "fifteen to twenty persons and even horses and oxen can cross in them if necessary". Paes adds: "People cross to this place by boats which are like baskets, inside they are made of cane and outside of leather… and the boats are always turning round, as they cannot go straight like others; in all the kingdoms where there are streams there are no other boats than these".

It is interesting, I think, as we reach Hampi, that the coracle lives along with the monuments from the Vijayanagar days…

- The Hindu, October 4, 2010

A United Nations Educational Scientific and Cultural Organisation (UNESCO) team will be visiting the Visva-Bharati University, Santiniketan, this week to consider the possibility of declaring it a world heritage site.

The Ministry of Culture, through the Archaeological Survey of India, sent a dossier to the UNESCO earlier this year nominating Santiniketan as India's official entry for World Heritage Sites.

A review committee from the UNESCO would examine the proposal and visit the premises including Uttarayan, the complex where the residences of Nobel laureate Rabindranath Tagore were located, the archives and museums and various other buildings which house murals, frescos and paintings, said a senior varsity official.

The team would also meet officials, cultural personalities and experts after which would consider the proposal and see whether the Vishva Bharati can be declared a heritage site. They would also see which areas of the University's sprawling 150 acre campus could be included.

Santiniketan was nominated as the official entry in 2010 keeping in mind that the country is celebrating the 150 th Birth Anniversary of the National Poet this year.

If the nomination is accepted Santiniketan will become the 30 th site in India to be declared so and the third in West Bengal. The Sunderbans National Park and the Darjeeling Himalayan Railway, popularly known as the "toy-train" were declared World Heritage sites in 1987 and 1999 respectively.

Officials say that the 150-acre campus can be divided into the core area which consists of the Ashram, Uttarayan, Kala Bhavan, Sangeet Bhavan and the Rabindra Bhavan and buffer area around it.

What began as a school in 1901, started by Rabindranath Tagore transformed into a unique experiment in education. After he won the Nobel Prize in 1913, the school was expanded into a university. It was renamed Visva-Bharati defining the poet's vision as a place "where the world makes a home in a nest."

- The Hindu, October 4, 2010

Haveri district has many surprises. Ancient temples, a peacock sanctuary, a black buck sanctuary and old tanks all add up to the rich culture and heritage of the district. But many places are yet to become major tourist attractions owing to inadequate information about these spots.

Haveri district is known for its rich culture and heritage. It is well-known for its contribution to literature, folklore and communal harmony. The Haveri region also has several places of tourist interest.

The district headquarters, Haveri, is home to the 12th century temple called Purasiddeshwaraa. The temple was constructed during the time of Armadi Vikramaditya in 1109 AD. The brilliant architecture of the temple is difficult to describe in words. The Ugra Narasimha temple in the town is also known for its beautiful sculpture.

The historic Heggeri Kere is just two kilometres away from Haveri. The tank, spread across 100 acres looks like a sea, when one spots it from the National Highway-4. The tank attracts several migratory birds during winter.

Travel 40 kms from Haveri, and you'll find the Galaganatheshwara temple built at Galaganatha village. The temple has been built in the style of the Kalyana Chalukyas. The star-shaped foundation, the huge Linga all draw attention. The temple has the idols of deities such as Vishnu, Saraswathi, Janardhana, Ganapathi, Surya and Mahishasura Mardhini among others.

The famous Someshwara temple that has been built on the banks of the Tungabhadra in Haralahalli of Haveri taluk is also an important tourist attraction. The temple has a mix of Hoysala and Chalukyan architectural styles. The temple has three sanctum santora, but a common navaranga.

The Nagareshwara temple in Shiggaon taluk is housed in a big fort spread across 139 acres. The main draw of the temple, built in the Chalukyan style, are the huge pillars, sixty in number. A huge storage tank carved out of a single stone is another attraction in the temple.

Forty five kilometres from Haveri is the Ekakutachala Tarakeshwara temple at Hanagal. It has a multi-angular shaped foundation. There are pictorial descriptions of episodes from the Ramayana, Mahabharatha and Bharatha around the temple. The sanctum sanctorum houses a linga.

Chowdadanayyapura, 35 kilometres from Haveri is the birthplace of 12th century Vachana composer Ambigara Chowdayya. The 'seat' of Chowdayya has been built on the banks of the river Tungabhadra. It is said that Palegars who belonged to the 'Gutta' clan built the Mukteshwara temple in the village. The Shanteshwara temple (in nearby Satenahalli), Balambida's Rameshwara temple, Ratti halli's Kadambeshwara temple and Chinna Mulgund's Chikkeshwara temple all mirror the rich architectural legacy of the region. All these temples are in excellent condition, and are well-maintained.

Home to peacocks

Shiggaon taluk's Bankapura, 22 kilometres from Haveri, is home to a rare peacock sanctuary. The bird sanctuary spread across 134 acres, is home to over 2,000 peacocks.

You can get to watch flocks of them everyday before 7 am or after 6 pm. Bus facilities are available from Haveri and Shiggaon.

Kanakadasa's home

Twenty six kilometres away from Haveri and ten kilometres from Shiggaon is Bada village, the birthplace of the great Kanakadasa, a sixteenth century devotee, poet and composer.

There is a temple dedicated to the great man here. In the excavations that were conducted nearby, remains of a palace belonging to Kanakadasa, and other artefacts of those times were found. The Kaginele Development Authority is overseeing the development of this region.

The Authority was formed by the government in 2007 with the aim of converting Kaginele into a tourist centre of international importance. Kaginele was where Kanakadasa is said to have spent his years, and is 15 kilometres from Haveri. Kaginele houses the Keshava temple, where Kanakadasa is said to have prayed.

The tomb of another famous mystic poet Shishunala Shariff is situated 42 kilometres from Haveri. His spiritual mentor Guru Govind Bhat's samadhi is also nearby. The state government has given the go-ahead to construct a Yatri Nivas for tourists at a cost of Rs 50 lakh here.

Sarvagna's birthplace

Then, there is the birthplace of Sarvagna. Abalur, which is in Hirekerur taluk, 40 kilometres from Haveri, was once a Jain centre, and then a Shaivite place of worship post-12th century. The birthplace of the medieval composer Sarvagna is home to many temples. The government installed the statue of Sarvagna here, some years ago.

Black buck sanctuary

There is a black buck sanctuary near Ranebennur, spread across 125 acres belonging to the forest department. This protected sanctuary has over 6,000 black bucks.

The district is a treasure for every tourist, but thanks to a lack of publicity and inadequate information, it has not quite become a major tourist draw.

- Deccan Herald, October 5, 2010

The blue ocean encircling India from both sides has revealed many new species, including two deep-sea sponges, as part of the world's most exhaustive marine life survey that revealed close to 2,50,000 new under-water varieties.

The Census of Marine Life, which has taken years, also indicates that there may still be 7,50,000 more new creatures in the ocean. And the Indian Ocean remains virtually unexplored.

"The Indian Ocean is poorly explored scientifically when compared to other oceans. According to available literature, over 24,000 marine species (plants and animals) are recorded from the region. But it is based on very limited surveys.

"A detailed coastal as well as deep sea study have to be initiated by India, if we are concerned in knowing 'what is available where' in our EEZ and beyond," Baban Ingole, a scientist from the National Institute of Oceanography (NIO), Panaji, told Deccan Herald.

Ingole and his colleagues at the NIO are part of a team that contributed to the global Census, results of which were released in London on Monday.

The NIO team recorded four new species, including two deep sea sponges, from the Andaman Sea. One of the sponges was found in a volcanic sea mount at a depth of 705 metre near the Andaman Islands. The team is working on establishing the novelty of two other new species. "In addition, we do have many new species which are reported for first time from the Indian Ocean region. They include deep-sea brachiopods, spongen and small lobstor. Also, there are many species such as nematode worms, a spider, hipe corals, deep-sea brittle stars and gorgonian and crustaceans, which are yet to be identified," he said.

More than 2,700 scientists have helped to compile the census, with more than 540 expeditions to visit all of the world's oceans. The new species discovered include the blind lobster with a long, spiny, pincer, which were found 300 metre below the surface in the Philippine Sea. "This inventory was needed as marine species suffered major declines—in some cases 90 per cent losses—due to human activities and may be heading towards extinction, as happened to many species on land," said Mark John Costello, professor at the University of Auckland.

For every marine species, Census scientists estimate that at least more are yet to be discovered. Scientists believe more than 70 per cent of fish species have been discovered, but for most other groups likely less than one-third are known. Scientists believe that the tropics, deep seas and southern hemisphere hold the most undiscovered marine species.

With India's exclusive economic zone all set to increase, discoveries of economically important species are certainly considered significant, said Ingole.

- Deccan Herald, October 5, 2010

To say K S Gopi Sundar is interested in cranes would be an understatement. Hailing from Bangalore, he spends most of his time trying to save cranes and their habitats across south Asia with governments, NGOs, scientists, naturalists and anyone else who cares. He has been selected for a project on Sarus cranes at the Wildlife Institute of India. Gopi discovered hitherto unknown facts about this elegant species, and was subsequently invited by the International Crane Foundation (ICF) to continue his work on Sarus cranes.

Gopi is an invited member of several IUCN specialist groups, author of scientific papers and popular-science features. He is currently developing a new programme 'Sarus Scape' for ICF to be housed in India.

Explaining the relevance of saving the Sarus crane with reference to India, he says, "The Sarus crane is unique in having most of its population occurring outside of Protected Areas in India. The primary breeding population of this species occurs in paddy fields in Uttar Pradesh and Gujarat. This means that a conservation ethos limited by protected areas would be wholly inadequate for the Sarus crane and species like it."

Impact on other species

He points out that work focusing on Sarus cranes has led to important findings on other species. For example, he says that it is now fairly well-established that the maximum population of the declining and near-threatened black-necked storks also occur in landscapes dominated by crops. This is based on previously published information on this species that said that relatively large and undisturbed wetlands are required for the species.

Gopi Sundar's research throws light on the importance of semi-wild patches near agricultural fields. Northern India, his research shows, is one of the four most intensively cultivated landscapes globally. Most of the landscape has been converted to croplands in Punjab, Haryana and Uttar Pradesh, and most of the fields produce multiple harvests each year.

Pointing out that these systems are not your classic locations for wildlife, he explains that they are still performing amazingly well as landscapes that provide food to humans and retain concentrations of globally threatened species like Sarus cranes.

Studies in Uttar Pradesh have revealed the importance of non-crop patches – like wetlands, woodlands, grasslands and scrub – in helping maintain populations of Sarus cranes and other species. Sarus crane numbers mirror the amount of wetlands – more wetlands mostly mean more cranes, particularly when the primary crop during the monsoon is flooded paddy. Areas with more non-crop patches invariably have more number of bird species and more birds per se.

Sundar's studies show that a combination of favourable farmer attitudes and their habit of retaining some non-crop patches have helped conserve over 300 species of birds. Most non-crop patches are commonlands, especially wetlands and grasslands useful for grazing cattle and collecting natural products like lotus, reeds, clay and silt. These patches are used greatly by the needy, leading to panchayat-level institutional mechanisms that disallow conversions of these areas to private crops.

Linked to high human populationn

Ironically, a high human population and use of such patches by humans have led to improving the landscape for birds in these areas. Attrition of these non-crop patches, however, continues in part due to corruption and due to changing climatic conditions that sometimes force farmers to expand croplands into these erstwhile common lands.

Gopi Sundar's current work seeks to understand factors that maximise persistence of birds in the rice-wheat belt of Uttar Pradesh. His work has improved understanding of the distribution and habitat requirements of over 200 species of birds. Species previously regarded as being largely "woodland species" such as the Bluethroat, were seen in good numbers in rice and/or wheat fields suggesting a much wider ability by some species to adapt to changes in land use. Some species previously not known to occur widely in Uttar Pradesh were found to be widespread. For example, the Grey-headed Lapwing, Spotted Redshank, Marsh Sandpiper, Brown Rockchat and Red-headed bunting occur throughout the Gangetic floodplains in the winter.

The Sarus crane (Krauncha) is revered in Hindu mythology. Is this helping its conservation? Explains Gopi Sundar, "The Ramayana begins with the story of the sage Valmiki walking along the Ganga and encountering a pair of Sarus cranes dancing. One was shot by an arrow of a hunter causing anguish to the sage who cursed the hunter in verse.

"This is an example of the human emotions that this species evokes. A pair of Sarus Cranes is thought to bond for life – in the event that one dies, the other is supposed to die in grief. These and other similar stories in rural India have helped in farmers developing great reverence towards the species."

- Deccan Herald, October 5, 2010

With the onset of Commonwealth Games, the National Museum is entertaining tourists with impressive merchandise and Indian handicrafts from across the country, says Ila Sankrityayan

With dazzling shelves, elegant designer knick-knacks and collectables, Handicrafts and Handlooms Export Corporation at the National Museum is the best bet for those looking to buy unique and elegant souvenirs.

Thanks to the tourist traffic due to Commonwealth Games, the shop has been renovated with black coloured painted walls and attractive shelves. The renovation took a total of three months. "We approached HHEC and advised them to make the store more beautiful and well presentable as hundreds of foreign tourists are expected during CWG. We gave special attention towards the proper display of everything," Nishee Kumari, the marketing executive of the shop. On the front wall of the shop is a traditionally designed red coloured wall hanging and on the right wall a maverick painting depicts Purana Quila, Qutub Minar, Jama Masjid, autoswalas and gardens.

Below the painting stands a wooden shelf showcasing inlay work on marbles from Agra and paper mache potteries with golden carvings from Kashmir. "All these works depicts different styles from Kashmir, Agra and Gujarat. For instance, this round pot is called moss agate and comes from Gujarat," Kumari says, pointing at the pot.

There is also an interesting amalgamation of daggers with silver koftgari inlay work from Jaipur and bindri craft from Andhra Pradesh and Karnataka including black coloured bowls, bangles, flower vases, surahi and kettle.

The shop also boasts of shirts with Dara Shikov and Jahangir paintings, scarves and shawls using crape with miniature paintings. Kumar explains, "All these items are designed by Vivek Sahni and the use of Mughal art is very evident on these fabrics."

Potteries and shivling made of clay, bronze statues of Ganesh, Vishnu, Shiva and other religious gods designed by artist Narsimahan from Mahabalipuram, Tamil Nadu also make a part of the collection. notepads, diaries and books on art and literature, woolen and miniature painting shawls, chandi thal from Jaipur and statues made of fibre glasses that are museum reproduces.

The shop has exotic range of bracelets, ear rings, neck pieces and rings made up of semi precious stones and silver with gold plating. "Most of these jewellery pieces come from Jaipur except the rudraksha and silver beads," reveals Kumari.

Looking around the shop one can see magnificent Madhubani art on window panes. Other collectables of shop include cushions with Mughal coins and well decorated woman over it, funky hand bags and laptop bags and a wall-hanging with cow motifs designed by Delhi based designer Vikram Goel. "This wall hanging is based on Pichwai art in Rajasthan around Shrinath temples in Udaipur, being a avatar of Lord Krishna cow motifs are used as Krishna loves cows," concludes Kumari. The price range starts from 100 rupees and goes upto one lakh fifty thousand.

- The Pioneer, October 5, 2010

A major fire apparently sparked off by a short-circuit swept through the century-old Collector's Building in Nainital on Tuesday morning and reduced the heritage building to ashes.

No casualty was reported, the police said, adding the blaze lasted about five hours. All the 16 spacious rooms of building housing Uttarakhand government offices were gutted, sources said. The Collectorate Building, built in 1898, is located at Tallital area of Nainital.

Nainital District Magistrate Shailesh Baigauli said while the exact cost of the property is yet to be ascertained, the overall losses could be to the tune of several crores.

- The Times of India, October 6, 2010

Massive urbanisation and industrialisation in Orissa is now taking its toll on the wildlife resources. This apart, the alleged apathy of the state government also threatens the very existence of the wildlife.

Although it is mandatory that the State Board for Wildlife must meet every six months to oversee implementation of the wildlife conservation programmes, the high-power body, chaired by the chief minister Naveen Patnaik, has not met even once in the last two years. Similarly, there has been no meeting of the honorary wildlife wardens for the last two years, according to wild life experts.

"During the ongoing Wildlife Week celebrations, poachers are busy hunting endangered wildlife in Orissa's forest areas. The forest department, which has a constitutional mandate to protect wildlife, has some misplaced priorities in place as it has turned into a contractor executing various works like National Rural Employment Guarantee Scheme (NREGS), tourism projects and tribal livelihood projects. With a state obsessed with mining and industrialisation, wildlife has little chance to survive in face of rapid loss of habitat," said Biswajit Mohanty, secretary, Wildlife Society of Orissa, on Monday.

Orissa is unique in many ways in the country's wildlife. About 19 species of amphibians, 110 species of reptiles, 476 species of birds, 86 species of mammals are reported from the state. The country's largest migratory fowl (more than 700,000) congregation is found at the Chilka lake and the world's largest mass nesting site for sea turtles is at Gahirmatha.

Similarly, the presence of Irrawaday dolphins in the Chilika lake is unique in the world attracting international attention.

But the wild animals are under threat from greedy poachers. "Way back in April 1996, on the basis of our information, the forest department seized 21 leopard skins exposing rampant illegal trade in big cat body parts. In 2005, eleven leopard skins and a pistol were seized from various traders and poachers in Phulbani and Gajapati district," Mr Mohanty lamented.

Official reports say that 231 elephants were killed by poachers, 166 died due to accidents and 173 died to natural causes in the last 19 years. In the last decade, at least 155 elephants have died due to electrocution. The recent mass killings of elephants in Simlipal Tiger Reserve, a protected area exposed the nexus between poachers and the local official, who even destroyed bodies of dead elephants.

"From 226 tigers in 1993, we have now about 50 in 2008 (All India tiger census done by Wildlife Institute of India) in Orissa. Due to active operation of poachers inside Simlipal, the local tiger population is believed to be almost wiped with the WII census reporting less than 20 tigers in 2008," Mr Mohanty added.

Thousands of endangered Olive Ridleys turtles perish every year due to illegal trawling and non-use of Turtle Excluder Devices (TED). More than 1,40,000 turtles have been killed during the last 14 years. "Crocodiles, water monitors and snakes are regularly trapped and killed for skins. More than 700 juvenile gharial crocodiles were released in the Mahanadi river Satkosia gorge during the 1970s and early 1980s. Only two survived since most of them have been killed for their skins," Mr Mohanty informed.

- The Asian Age, October 6, 2010

A previously unknown language has been uncovered in the far reaches of Aruna-chal Pradesh, researchers have said. Koro, a tongue apparently new to the world and which is spoken by just 800 to 1,200 people, could soon face extinction as younger speakers abandon it for more widely used Hindi or English.

Koro is unlike any language in the various branches of the Tibeto-Burman family, a collection of 400 related languages used by peoples across Asia, according to the two National Geographic researchers who announced the discovery on Tuesday.

The findings will be published in the journal Indian Linguistics.

The researchers, linguists K. David Harrison of Swarthmore College in Pennsylvania and Gregory D.S. Anderson, director of the Living Tongues Institute for Endangered Languages in Salem, Oregon, said they were not sure yet how old Koro was or how it developed.

Anderson and Harrison, along with Indian colleague Ganesh Murmu, came across Koro by chance in 2008. (However, the Assam chapter of Indian National Trust for Art and Cultural Heritage (Intach) has disagreed with the report, saying Koro was not an unknown language in the region and linguistic experts were aware of existence of the language, adds our Guwahati Bureau.

Dinesh Baishya, the convener of the state chapter of Intach, told The Telegraph that an international conference on endangered languages of India last year discussed the language.

"I attended the conference. Uday Narayan Singh, a professor of Visva-Bharati, Santiniketan, and former director of the Central Institute of Indian Languages, Mysore, presented a paper on 'Sense of Danger and Overview of Endangered Languages' during the conference. Among other languages of Arunachal Pradesh, the paper talked about Koro language," Baishya added.

Baishya said although Koro might have few speakers, one could not claim that the language was "discovered". He, however, said efforts should be made to preserve and protect the language.

Educationist Tabu Ram Taid, who is closely associated with the preservation and development of endangered tribal languages namely his mother tongue Mising, said he had not heard about Koro. He said a language became extinct or died when it was not spoken by the people.

"Koro might have met the same fate. But the point is now to preserve Koro. Apart from speaking, one must develop writing the language to prevent it from vanishing," Taid said.)

Harrison said the speakers of Koro had remained invisible to outside observers because their bright red garments, the rice beer they made and other details of their lives seemed no different from that of the speakers of Aka, the socially dominant language in the region.

"There's a sort of a cultural invisibility; they're culturally identical in what they wear, what they eat, the houses they live in.... They just happen to have a different word for everything," Harrison said.

Koro also blends in because its speakers frequently marry Aka speakers (who number 4,000 to 6,000) and people who use another tongue, Miji (who number 6,000 to 8,000).

And because the villages had been largely cut off from the outside world for so long, the languages in the region remain poorly studied. "I expect that there are many such hidden languages around the world," said M. Paul Lewis, who edited the 16th edition ofEthnologue: Languages of the World. "The lesser-known languages quite often are overlooked and understudied."

The researchers had been told about the so-called dialect of Aka. But when they sat down to record the words of a villager they assumed to be speaking it, they were surprised by the unfamiliarity of the words and could tell this was no mere dialect. "We noticed it instantly," Anderson said. "We started with a body part word list, and there wasn't a single word in common."

- The Telegraph, October 7, 2010

A British auction house today sold for £769,250 a series of 24 rare paintings commemorating almost the worst defeat suffered by the British in India.

The sale price was "very near the top estimate for the lot" — £650,000-850,000 — that had been predicted by Sotheby's in London.

In the Battle of Pollilur, which took place on September 10, 1780, Tipu Sultan and his father, Haydar Ali, of the kingdom of Mysore, inflicted a heavy defeat with many casualties on the forces of the East India Company commanded by Colonel William Baille.

Pollilur is near the city of Kanchipuram in present-day Tamil Nadu.

The 24 "preparatory" paintings, which were done on rice paper shortly after the battle — "the colours are so vivid they emanate the noise and fury of battle"— were originally part of two long scrolls, each 7ft by 30ft.

They were included among 400 lots that went under the hammer at Sotheby's biannual "Arts of the Islamic World" sale, with the auction house expecting to realise more than Pound10 million.

Following the Battle of Pollilur, Tipu commissioned a mural which was duly installed in the Daria Daulat Palace, Seringapatam in1784. The preparatory paintings, almost certainly the work of an Indian artist — or possibly a master working with his pupils — were used to draw the mural.

While the British lost this particular battle, Sotheby's points out, they went on to defeat Tipu Sultan at the Battle of Seringapatam on May 4, 1799 — "the final confrontation of the Fourth Anglo-Mysore War between the British East India Company and the Kingdom of Mysore".

In 1791, the mural had been painted over following the Treaty of Mysore, when Tipu was forced to surrender his two sons as hostages. It says much for the British that the mural was subsequently restored, even though it featured a British defeat. The restoration was done using the preparatory paintings for referencing.

The British love of Indian art got the better of them, according to experts at Sotheby's.

The restoration is attributed to one of the commanding officers who attended the siege in 1799, Colonel Arthur Wellesley, later 1st Duke of Wellington, "one of the most celebrated and renowned figures in British military history".

The scrolls with the preparatory paintings were chopped up into 24 paintings which have survived in remarkably good condition.

The paintings were acquired by Captain John William Freese in approximately 1802. Freese was a member of the Madras Artillery and played an important role in the siege of Seringapatam in 1799; in 1802 he was appointed Commissary of Stores at Seringapatam.

- The Telegraph, October 7, 2010

Say " kaplaye" to a hidden language that's emerged from remoteness of India's famed diversity – the word means "hello" in Koro, a previously unknown language that linguists say they have identified and recorded in Arunachal Pradesh.

At a time of rapid globalization, when languages are dying at the rate of one every fortnight, Koro could be the latest addition to the 6909 known tongues recorded in Ethnologue, a journal that chronicles languages of the world. The hitherto unrecognized vernacular, initially mistaken for a dialect of a language called Aka because of the cultural similarities of its speakers, was identified during a 2008 expedition conducted as part of National Geographic's Enduring Voices project. '

In a conference call in Washington DC on Tuesday, researchers who stumbled on the latest hidden language said Koro, spoken by only 800-1200 people, could soon face extinction in the same way as Bo, the Andamanese language whose last speaker died earlier this year.

Younger speakers are abandoning Koro for more dominant and widely used languages such as English or Hindi, the researchers said, citing the example of a father, Katia Yame, who was a torchbearer for the language, while his son, Sunil Yame, had taken to Hindi.

The researchers, linguists David Harrison of Swarthmore College in Pennsylvania and Gregory Anderson of the Living Tongues Institute for Endangered Languages in Oregon, recounted how they came across Koro by chance during an expedition with their Indian colleague, tribal language specialist Ganesh Murmu, to Arunachal Pradesh, a state with some 120 languages which they had previously identified as a linguistic hot spot.

They were initially led to believe Koro was a dialect of the more dominant Aka (spoken by 4000-6000 people) because speakers of both languages dressed similarly, had similar dietary preferences, and they intermarried.

But when they sat down to record the 'dialect' they found it had a different word for everything. "It is a distant sister language but quite distinct... like English and Russian," Harrison, who has documented dying languages in his book The Last Speakers, said.

In terms of classification, Koro belongs to the belongs to the Tibeto-Burman language family, a group of some 400 languages of which more than 100 are spoken in India alone.

The researchers said Koro had not been included in the Indian census or in any study of languages in India. In part, this may be because the area is isolated and not much linguistic work has been done here; even Indian nationals need special permits to visit the region.

The researchers said they will be publishing their findings in the journal Indian Linguistics and hope to have it listed in Ethnologue, which continues to document new hidden languages even as half of the world's 6900+ languages are considered endangered and expected to die in this century.

"We hope it will be accepted in Indian and international charters," Anderson said, adding that the demise of Bo had highlighted the fragility of languages and identified India as a language hot spot.

An area is considered a language hot spot when it has a high degree of language diversity with high endangerment and low level of scientific record.

The researchers said endangered languages need technological support (they plan to put it Koro on You Tube) for their survival, so that the knowledge base on everything from medicine to cuisine passed down through the language could be preserved. Koro, incidentally, only has an oral tradition; no script.

"New languages are noticed and documented from time to time; it is rarely considered to be newsworthy," Dr Harrison said. "But we are in the middle of a language crisis... Unless the trend is reversed, we will lose our diversity in the next century."

"Preserving languages contributes to human history," he added.

- The Times of India, October 7, 2010

A glossy little marker — part stylish, part nothing special. Gol Gumbad, the 15th century Lodhi dynasty tomb at the intersection of Lodhi Road and Lal Bahadur Shastri Marg, has become one of Delhi's must-see monuments. Last month, the unremarkable tomb, tucked in a corner of Centenary

Methodist Church, got a new look. In a project funded by the Ministry of Tourism, and executed by INTACH, Delhi Chapter, the monument was set up with night-time illumination. The effect is pure magic.

Reach after sunset. Rows of tube lights are fitted on the floor; the domed roof is bathed in a bright orange glow. As you enter from the side gate (on Lodhi Road), the white light falling off the tomb's wall shows you the way. A few trees are lit subtly; others are left in darkness. Inside, the chamber is washed in a deep-gold shade; strobe lamps are arranged artistically at several vantage points. Someone outside the complex could mistake this blaze for fire. Delhi hasn't seen anything like this.

Actually, there is no reason to dislike the unlit, ignored, even abused ruins. It is thrilling to mess around in an abandoned tomb; the overgrown grass, the damp walls, the musty smell, the bird droppings on the floor and bats flapping their wings on the roof. You may not know about the ruin's history but you feel it in the air. Civilising the savage, however, runs the risk of losing his wild streak. The unwise placement of a single lamp could have rendered Gol Gumbad soulless. Then it would have merely been vulgarly lit; its secrets sucked out and its sad romanticism smashed. No such mishap here.

The tomb is a passion statement — a new way to look at monuments. The electric lights have not diminished its mysteries. The radiance coming out of the recessed arch on each of the four sides is intense. There are many Lodhi-era tombs in Delhi and all are alike: stone flooring, walls of random rubble masonry and locked stairways. The uniformity and the fact that we have no clue of the buried men make these structures banal. But the beamy atmosphere in the chamber of this tomb is beautiful.

The light rays cast melancholic shadows on the austere niches. The dome's artwork catches the eye easily. In the night, standing alone inside the illuminated tomb, you spin into a roller-coaster ride of longing, love and regret — just what a ruin should do.

- Hindustan Times, October 7, 2010

Stately deodars, sprawling meadows, picturesque trails, friendly people... all the reasons why you should holiday at Chakrata, roughly 300 km from Delhi

Cantonment towns change over the years, becoming noisy and overcrowded. I hoped that wouldn't be the case with Chakrata, a place I had visited several years ago. Pretty and pristine, it had woven a spell around me and I knew I would go back some day. I did. We left Delhi at six one morning and were soon on NH 58 that would take us, via Meerut, Roorkee and Dehradun, to Chakrata. Crossing the crowded township of Modinagar, the road led us to Meerut bypass.

Further ahead, the Dehradun-Chakrata stretch became confusing. There was one route directly from Dehradun to Chakrata via Vikasnagar, but my guidebook suggested we take a detour from Mussoourie. From Library Point at Mussoorie, we were to turn towards Chakrata via Kempty Falls. As it turned out, we hadn't taken the right decision. The road was so crowded that it made Delhi's Chandni Chowk seem deserted. Large tourist buses were negotiating hill tracks that were meant for one-way car traffic. After an hour of frustration, we managed to leave the crowds at Mussoorie and Kempty behind,and head towards Yamuna Pul.

BUMPY RIDE

The Yamuna at the Yamuna Pul Bridge was sparkling clean;and as we climbed again, the views got even more spectacular. The route to Chakrata from Yamuna Pul is dramatic, with rugged, bare mountains, deep gorges, and a glint of the river below, through a quiet, uninhabited region. However, the narrow road condition is pathetic, and road signs conspicuous by their absence. There was also a surprising lack of villages. The 50-km journey took two and-a-half hours. We reached Chakrata by good guesswork slightly the worse for wear by seven. The evening had closed in, but directions to the Forest Rest House (FRH) were easy to come by.

The 100-year-old FRH stood at a vantage point and afforded splendid views. The generous verandah with two chairs and a table hinted at a time of grace and leisure. Unfortunately, the interiors of the rooms needed some maintenance and cheering up, but I was told that renovations were to begin shortly.

CATING A SPELL

Our vehicle disgorged its luggage, including bed linen (The FRH provides bed sheets and blankets though),comforters, a lamp, books, and a two-in one, and within an hour, I was home and dry, and ready to enjoy Chakratas charm over the next three days. The sleepy hill station was set up by Colonel Hume and other officers of the British army 125 years ago. It is located atop a ridge, which means there are plenty of great walks among oaks, rhododendron and deodars. As I walked to the Chakrata bazaar, I noticed plenty of evidence to suggest that it was a cantonment town. Along the three-kilometreodd walk, we saw many officers.

Chakrata bazaar consists of a row of shops on both sides of the road selling basic vegetables, grocery and general merchandise. There were a number of tea stalls, but only a few eating joints. We tried the most promising of these Sher-e-Punjab and continued our patronage of this dhaba all through our stay in Chakrata. The simple dal-rotivegetable-chicken fare suited us well.

The 13-km road to Deoban was not in good shape, but the scenic splendour of the destination made it worthwhile. Located at a height of 9,400 ft, Deoban is a pristine meadow surrounded by deodars, the stillness broken only by the harsh call of the Himalayan crow. The FRH, more than 100 years old, was atop a crest, and under renovation. The chowkidar brought us tea that refreshed us. The simple lunch, which we had on the verandah, was made special by the magnificent snow views, the fragrance of the pine and the whistle of the wind.

Next morning we were headed for Kanasar. The 28-km drive showed us scenes straight out of a picture book. Colourful patchwork of green wheat and yellow mustard was interspersed by red fields of mudwa. We also got glimpses of the lifestyle of the Jaunsars, the tribe that inhabits the region in and around Chakrata. Whether herding their sheep and goats, sitting by the roadside or spinning wool, they were ever ready to give us directions.

To get to the rest house, we had to weave our way around a hill. At the top stood the stone structure. Almost hidden by the tall deodars that surrounded it, the rest house was like a childs hiding place. Utterly quiet, except for the sound of the wind, it was hard to believe that this oasis of solitude was less than 300 km from Delhi.

BACK TO BASICS

There was no electricity here, no cooking facilities either; a fact we had been told in Chakrata. So we had picked up alu-paranthasand pickle, along with chutney, specially made at a bus-stop dhabain Chakrata. It was a spicy blend of onions, garlic, green chillies, coriander leaves and salt, coarsely ground together and garnished with fresh lime juice. The picturesque settings served as the perfect foil to this simple meal, which we rounded off with dry fruit and oranges.

After a post-lunch laze in the sunshine that filtered through the trees, we decided to walk down the hill to a really large clearing by the road, where a group of young boys played cricket. At one end stood a small temple dedicated to Goddess Durga. Tiny red flags fluttered in the wind as we paid obeisance. On the other side of the road were giant deodar trees including the one reported to be the largest (6.5-m diameter) in Asia. Although we were impressed by the statistics, it was really the hamlet that made Kanasar a must-revisit destination.

The next day was our last in Chakrata. The sleepy hamlet is not for those who love to do things on holiday. But if you are looking for tranquillity, you know where to head.

TIPS

Trek to Deoban. The views en route are fantastic and worth capturing in your camera. Take a walk to the local bazaar in the evening. If you fancy military coats, caps and jackets, check out Har Mohan Anands shop. You also get good quality walnuts in Chakrata. Sit under a clear sky late evening and admire the stars. If you have plans to travel beyond Chakrata, carry your own food. There are practically no places where you can get a decent meal. Since there are several military installations in this town, dont be surprised if you have to go through several checkpoints. Ask your hotel for an east-facing room. The sunrise is worth dying for. If you want to see natures tapestry of colours, visit Chakrata in the monsoon. Or else in winter, when a white sheet covers the landscape.

TRIVIA

Chakrata was set up as a military base by Col Hume of the 55th Regiment of the British Indian army in 1855, but it was only in 1869 that troops and officers started occupying the cantonment. The checkpost at Kalsi allows visitors to enter only at specific timings in the day based on the season in which they are travelling. If you miss one timing,it could mean a wait of at least 2.5 hours before you can go in. From October, the gate opens at 7.30 am. The Special Frontier Force, also known as Establishment 22,is based in Chakrata. It is the only traditional Tibetan unit of the Indian army after the Indo-China War of 1962.In spring, the landscape is a riot of red with the burans flower beginning to blossom. The juice extracted from the petals is used to make gulal for Holi.

- The Times of India, October 8, 2010

A number of monuments have been conserved and protected, apart from being illuminated.

The work was taken up under the department of archaeology, Delhi government, to present an aesthetic view of the rich heritage of Delhi during the Commonwealth Games (CWG), said Chief Minister Sheila Dikshit.

Dikshit had visited a few monuments along with a media team last evening.

She had visited the Mutiny Memorial or Fateh Garh at Northern Ridge, Turkman Gate, Asaf Ali Road, Gole Gumbad near Lodi Road Flyover, Tomb of Bijri Khan, R.K. Puram, Sector-3; Bara Lao Ka Gumbad and Baradari, Vasant Vihar; Tomb near M.B. Road crossing, Lado Sarai. Other monuments illuminated by the department are - Mosque of Darwesh Shah, Gulmohar Park, Tomb of Muhammad Quli Khan, Mehrauli Archaeological Park near Qutab Minar, the tomb behind National Stadium, Phuta Gumbad, adjoining Jawaharlal Nehru Stadium, Maqbara Paik, GTK bypass, Turret near Gate number.3, Lodi Garden, Mosque near Butterfly Park in Lodi Garden, the mosque and four walls of an enclosed garden with its entrance gateway near Rose Garden in Lodi Garden and Munda Gumbad, inside Deer Park, Hauz Khas.

The conservation of monuments involve material like -- lime, surkhi, badarpur, brick-zeera, gur, belgiri and curd among other things. These were used in a traditional way like -- preparing lime mortar and special surface finish given by providing lime punning which involves specific preparation of materials. The chemical preservation has also been carried out by applying specific chemicals to remove the soot, dirt, moss and lichen deposit that have collected on the surface of monuments.

Some monuments have been beautified by landscaping.

- The Tribune, October 8, 2010

Indian wrestlers, weightlifters and archers are doing India proud at the ongoing Commonwealth Games. While everyone's cheering not many may know about the history of these sports. An exhibition at the National Museum is giving you a unique opportunity to know about Indian sports such wrestling, weightlifting, archery and chess through the centuries.

The exhibition titled 'Games and Sports in Indian Art' which was inaugurated on October 4 and will continue till November 4, showcases history of Indian games through various styles of paintings such as Kangra and Pahari.

A painting called Ragaputra Nat depicting both male and female acrobats is part of the exhibition. The painting is based on Indian classical music dating back to 1790s and depicts the harmony between sports and art. An interesting fact that emerges from the paintings is that a lot of women are shown participating in various sports.

"The exhibition is meant to showcase the best of Indian art and culture. Growth and development of games practices with regional variations are captured through various mediums such as paintings, stone, wood and metal sculptures," said CV Ananda Bose, administrator, National Museum.

Apart from paintings depicting wrestling, polo, acrobatics, weightlifting, archery, swimming, talwarbazi (fencing), kite flying, kabutar bazi (a game with pigeons), few other eye-catching objects such as terracotta and wooden toys, rattles, dolls, yo-yos, a silver top, chessmen and different shapes and forms of chaupar (dice game) are on display as well.

To ensure that visitors can see the exhibition after office hours the museum authorities have extended the timings till 9 pm. Also adding colour to the exhibition are performances of the regional dancers from various parts of the country at the lawns of the museum.

After the Games are over, the National Museum plans to organise trips and competitions for city schoolchildren so that they can learn from the various exhibits on display.

- Hindustan Times, October 9, 2010

Though most events are over, security concerns, tight schedule & poor guide facilities mar plans of foreign delegates to go on shopping and sightseeing tours.

Aweek into the Games and many of the 7000-odd athletes from the 71 participating nations have neither been able to explore their host city nor experience its rich culture. And with several competitions already over, some of the athletes might just have to return without any souvenirs for family and friends back home. Security concerns, tight schedules and lack of information seem to have kept the visiting athletes from going around town.

While Agra's Taj Mahal continues to the most favoured destination, Delhi's own World Heritage Sites — Qutub Minar, Humayun's Tomb and Red Fort — are yet to host international visitors. Many athletes complained they were not being guided on the city's popular tourist destinations and also, where they could go shopping.

A group of Malyasian athletes, who wanted to pick up some souvenirs, looked extremely disappointed. Curiously, the group had been told that they could go to Noida's Sector 18 market and Palika Bazaar. "The market in Noida had no souvenirs and Palika Bazaar was closed on Sunday. No one had informed us about that," complained one of the athletes, Nataliya Sinkova. A Malaysian athlete, who was advised to take the Metro, recalled his horror. "The train was so crowded that I could barely find space to stand," said Onn Kwang Tung.

Moreover, to prevent any untoward incident, most athletes have been advised not to step out of the Games Village in their uniform. "We were told we should not venture out in our uniform only at the last moment and I hadn't packed any other clothes. It seems I will have to buy some clothes at the Village stores to be able to go out," said Joanna Parker from England. Tamisha Gittens from Barbados added, "Security is one of the main concerns so we've been asked not to go out in large groups. But I really want to visit Red Fort and see some of the markets to buy present for family."

Delhi Police, meanwhile, maintained there is no specific threat to athletes leaving the Village in their uniforms. "There is no threat to athletes going out in their uniforms; Delhi Police has not given out any such advisory. The tours and programmes are all handled by the organising committee for which we are providing security," said Rajan Bhagat, Delhi Police spokesperson.

Time constraint is proving to be another hassle. "I definitely want to pick up souvenirs. But I can go shopping only after my competitions are over," said Durly Emmanul Lucas, an athlete from Trinidad and Tobago. Anna Rita Strydome, a team official from South Africa, said, "Most of us still do not know where we should go. Many athletes opted for Akshardham Temple because it's right next door. Several of our team members are now returning home without getting the chance to explore Delhi."

The biggest attraction for visiting athletes has been the Akshardham Temple. Entire contingents from the participating countries are being taken there on guided tours even as many of them are completely unaware that the temple is right next to the Games Village.

The temple administration has set up a counter at the Games Village to facilitate movement of people to the temple. "We wanted to ensure that athletes see the very best of India and go back with a good feeling. Since the Village was coming up right next door, we decided to start free guided tours for foreigners and give them a glimpse of Indian architecture and culture," said Girish Patel, a temple volunteer who has come all the way from England only for the Games.

Several volunteers from around the world are volunteering at Akshardham to guide tourists to the main mandir area, three exhibition halls and fountain show.

On Sunday, over 70 athletes from England, Canada, Bahamas, Scotland, Jersey, Malaysia, Forkland Islands and South Africa visited the temple.

Till now, over 500 athletes have been to Akshardham.

- The Times of India, October 9, 2010

Themes from the epic have remained a favourite subject in works of art over the centuries, writes Kanwarjit Singh Kang

The Ramayana has had tremendous influence on the Indian culture. Themes related to Rama have inspired innumerable poets, bards, dramatists, painters, sculptors, muralists and craftsmen through the ages, not only in India but also in several countries of South-East Asia.

The Ramayana tradition found visual representation in art since an early time. Although a complete sequential representation of the Ramayana is rare, collectively taken, the whole of Ramayana is covered. There is, however, a decided precedence for themes having dramatic content as we see in popular folk drama, the Ram Lila. Nevertheless, Rama is invariably seen as a god and themes about him are always suggestive of divinity.

A second-century terracotta from the archaeological site of Kausambi, preserved in Allahabad Museum, depicting the abduction of Sita by Ravana, is considered the earliest representation of a Ramayana theme in art. From about the 4th century, sculptural depiction of popular episodes of the Ramayana have been found in abundance. Terracotta plaques from Shravasti and Chandraketugarh show scenes from the Ramayana and several panels from the earliest temple at Deogarh pertain to this epic. A stone sculpture of the 4th-5th century in the Archaeological Museum, Mathura, shows Ravana shaking Mount Kailash.

Sculpted panels in numerous temples throughout India depict various episodes of the epic, notably in the temples at Pattadakal, Aihole, Ellora, Badami, Nachna, Khajuraho, Bhubaneshwar, Helebid and Belur.

The Ramayana theme has remained a favourite subject in miniature paintings, which are scattered in several museums and libraries in India and abroad, as well as in private collections. A significant illustrated Ramayana manuscript of the Rajasthani school was executed in the 17th century at Udaipur during the reign of Rana Jagat Singh and his successor Rana Raj Singh. Four of its seven volumes are in the British Library, London, having been given by Maharaja Bhim Singh to James Tod, the famed author of the Annals and Antiquities of Rajasthan. The painting work is ascribed to Sahib Din, the principal artist working in the Udaipur court-studio in the 17th century.

Mughal emperor Akbar had the epic translated into Persian and one of its outstanding illustrated manuscript is to be seen in Maharaja Sawai Man Singh II Museum at Jaipur. In Freer Gallery of Art, Washington, there is another Persian Ramayana with 130 paintings and this copy of the epic was made for Akbar's general Abdur Rahim Khan-i-Khana. A profusely painted manuscript of Ramcharitmanas, executed in the 18th century at Mahishadal in Midnapore is preserved in the Ashutosh Museum of Indian Art, Kolkata. The Guler set of the same period by painter Pandit Seu in the Government Museum and Art Gallery, Chandigarh, is of equal significance. The National Museum, New Delhi, possesses a group of Ramayana paintings done in Kulu bearing the influence of Basohli style. In Bharat Kala Bhavan at Varanasi is a unique set of the early 19th century Ramayana drawings drawn by a Kashmiri painter named Sudarshana. The list of such works is too numerous to mention here.

Mural paintings depicting themes from the Ramayana can be seen throughout India. Although regional variations in style and technique are apparent in these murals but so far as the themes are concerned, there is complete homogeneity. Most popular themes illustrate Rama killing ogress Taraka; breaking the bow at Sita's svayamvara; going in pursuit of the golden deer; fighting with Ravana and killing him and assuming his position as the king of Ayodhya. As compared to other themes the scene of fierce fighting between Rama and Ravana in the murals cover more space on the walls and the painters, at different places, had conceived differently the vast armies engaged in the dreadful combat. There are several edifices in Punjab and Haryana, where murals, based on the Ramayana themes, were painted in the 19th century. Some of these have obliterated due to natural causes and very many due to coats of whitewash on the walls.

Prominent edifices where murals related to the epic stories were painted include the temple of Palkiana Sahib in district Tarn Taran; thakurdwara of Daryana Mall in Katra Mohar Singh and the temple of Maya Nath in Katra Doolo, both at Amritsar; temple of Raja Sahib Dayal at Kishankot and Dera of Baba Lal Ji at Dhianpur, both in Gurdaspur district; Bairagi thakurdwara at Ram Tatwali in district Hoshiarpur; Samadhs of Lala Balak Ram and Jamuna Das at Jagadhri and Haveli of Rani Chand Kaur at Pehowa.

The Ramayana and the visual arts depicting themes from the epic, transcended the geographical limits of India to reach Thailand, Laos, Cambodia, Malaysia and Indonesia. In these countries, each culture has interpreted the Ramayana slightly differently and this process is referred to 'indigenisation of Ramayana', but the core of Rama legend remains unaltered.

- The Tribune, October 10, 2010

This is the best chance to understand your city. With several exhibitions, which put Delhi's rich past in focus, being part of the ongoing celebrations for the Commonwealth Games, people have a golden opportunity to take a peek into our cultural heritage.

Exhibitions like 'Historic Delhi' at the National Gallery of Modern Art or 'Dillinama' at Red Fort and Habitat are all all part of the Games celebrations.

Early images of Delhi's monuments like Sacred Heart Cathedral, the statue of John Nicholson, who played a significant role in the 1857 Mutiny and whose statue was removed after the Independence, Flagstaff Towers, Jama Masjid, Jantar Mantar, Chandni Chowk and Purana Qila are all on display at the 'Historic Delhi' exhibition.

Aninditha Srivastava, an amateur photographer and student, said: ''I go to as many exhibitions as possible to be able to understand photography better. Some of my favourite photographs here are those of Old Delhi and what it used to look like all those years ago.''

The exhibition also shows images of places inside monuments where visitors do not have access like the hamam (king's bathing room) inside Red Fort or the interiors of Moti Masjid. Images of the tomb of Jahanara, the begum of Bhopal, at the homage ceremony at Delhi Darbar etc are catching viewers' attention.

Andrea Wales, a UK national and freelance photographer, had come with a large group of tourists to see the exhibition. She wants to capture similar images in Delhi while she is here.

The exhibition, which draws from the extensive Alkazi collection of photography, was inaugurated on October 1 and will remain open till November 7. According to officials, photography was introduced in India in the 1840s. Gradually various photographic societies were set up in Calcutta, Bombay and Madras.

Officials from the culture ministry said modern Delhi started taking shape after the Uprising of 1857. ''Most of the sites therefore captured by photographers during that period are those affected by the Mutiny.

Similarly, the transfer of power to the British Crown and the Durbars of Delhi in 1877, 1903 and 1911, conducted under the supervision of the three Viceroys, led to Delhi being visualized as an imperial capital,'' said officials.

Another exhibition showing Delhi's history, Dillinama, organized by Delhi Urban Art Commission (DUAC) in Red Fort, is yet to find too many visitors, most likely because of inadequate publicity and awareness for the public.

At Habitat, however, officials said the response was comparatively better. The four-week long exhibition here traces the history of Delhi from the early settlements to a modern metropolis through images, maps and other archival findings.

- The Times of India, October 10, 2010

Despite crores being spent in the name of conservation and Project Tiger, illegal mining activity is back in full gear in the protected area of Sariska Wildlife Sanctuary.

"Rampant mining is going on at Jaisinghpura, Malana, Goverdhanpura, Palpura and Jamwa Ramgarh, in spite of the Supreme Court's 1991 order banning mining in the area. After SC's order, 215 mines were closed. But recently, some of them have restarted activity in the middle of the sanctuary," said Rajender Singh, the waterman of Rajasthan, whose NGO Tarun Bharat Sangh had filed the writ petition in the apex court.

Singh added that these villages fall in the protected area and are a rich reservoir of dolomite. "Nearly 30-40 mines have begun operation again, some of them run by leading names in the industry," he said. According to Singh, mining had picked up in Project Tiger area's buffer zones and was causing irreparable damage to tiger habitat and the sanctuary's ecosystem. "Mine owners' money and muscle power has made officials and politicians turn a blind eye to the illegal activity," said Singh who claimed he was attacked thrice by the mining mafia.

Confirming Singh's statement, Delhi-based Tarun Kanti Bose, who has done extensive research on mining in Rajasthan, said, "While public sector mines remain closed as per the apex court's ruling, many mines in the unorganized sector have again started mining marble in the belt, which has good deposits."

In villages like Tilwad and Tilwadi in Alwar, marble mining operations are taking place right in the middle of the villages on private agricultural land. Many large landholders in the villages are today keen on selling their agricultural land as they are getting high returns for it, he said. "Mining is expanding rapidly in an area which has some of the most fertile lands with plenty of water," said Tarun.

Tarun said in all the big mines operating in Sariska, local people seem to be playing the roles of contractors and middlemen. They are also employed as cashiers and administrators. "Ranges in Sariska are covered with densely forested slopes, home to the tiger and other wildlife and an entire ecosystem. But it is fast dwindling with mining and other commercial activity," he said.

- The Times of India, October 12, 2010

With the consolidation of power in 1610 under Raja Wodeyar, the Dasara celebrations and the Vijayadashami procession became a constant feature of the Mysore kingdom. This year marks the 400th year of this great tradition, writes Vikram Sampath

Come September-October, India begins to sway to the chants of the Mother Goddess as the country gears up to celebrate the second Navaratri of the year.

This is the Dakshinayana Navaratri that is celebrated in the inauspicious period of the Hindu calendar, the one that marks the Southern movement of the sun resulting in shorter days and longer nights. Dasara is among the most widely celebrated Hindu festivals and reinforces the pre-historic idea of the worship of the Mother Goddess as the symbol of valour and fertility. But perhaps the roots of this cosmopolitan appeal for the festival come from the edicts of the Bhavishya Purana, the eleventh of the Puranas which states: "Goddess Vindhyavasini Durga should be worshipped by people everywhere- in cities, houses, villages and forests, by joyful and orthodox Brahmins, as well as by Kshatriyas, kings, devoted Vaishyas, Shudras, even the mllecchas (foreigners), dasyus (outcastes), people from Anga, Banga, Kalinga, by Kinnaras and Sakas (Scythians)."

Dasara has thus assumed a pan-Indian appeal and almost consequently each of these groups invoke the Divine Feminine through their own distinct modes of worship, be it animist or pure.

The most potent symbolism of the festival however comes from the Devi Mahatmyam in the Markandeya Purana where the Goddess as Chamundeshwari or Durga, armed with weapons from all the celestial beings, devours the buffalo-headed demon Mahishasura after a fierce seven day battle. She has thus been an inspiration for royal military conquests and victories thereby, but also for the ultimate triumph of good over evil which remains the cornerstone of Hindu philosophy. Mythology has it that Yudhistira worshipped Goddess Durga after the incognito period that he and his brothers had to undergo, reclaimed the weapons hidden atop the sacred Sami tree and waged the fierce Kurukshetra war against his tyrannical cousins, the Kauravas. It was the benediction of the Goddess that ultimately secured victory for the Pandavas.

Roots in the Vijayanagara Empire

The Dasara tradition in Mysore has its roots in the Vijayanagara Empire. The accounts of the visiting foreign travellers like Nicolo Conti, Domingo Paes and Abdur Razzaq clearly indicate the predominance of this tradition. Krishnadevaraya had the famous Mahanavami Dibba platform constructed in 1513 after defeating the Gajapatis of Orissa. This became the focal point for festivities on the 10th day of Dasara, Vijayadashami.

Royal processions, musical soirees, dance performances, wrestling bouts, fireworks and animal sacrifices marked the ten-day long festivities. Along with the ritualistic worship of this benefactor of success, the Goddess, Dasara also became an occasion for the Emperor to re-assert his power, display the splendour of the Empire to his citizens and send a message of warning to potential errant rebels.

With the fall of the Vijayanagara Empire, the hitherto feudatories of the Empire like the Nayakas of Tanjore, Madurai, Ikkeri, Ginjee and the Wodeyars of Mysore slowly began asserting their political autonomy in the Deccan.

The Wodeyars inherited several of the cultural traditions of the glorious Empire and Dasara was certainly one of them.

Raja Wodeyar's contribution

With the consolidation of the Wodeyar power in 1610 under Raja Wodeyar, the Dasara celebrations and the Vijayadashami procession became a constant feature of the Mysore kingdom. Accounts of the times detail the several rituals followed in the Palace on each of the ten days. Govinda Vaidya's Kanthirava Narasaraja Vijayam sketches a graphic account of the celebrations under the chivalrous Ranadhira Kanthirava Narasaraja Wodeyar.

Quite intrinsically linked with the Dasara tradition of Mysore is the worship of Amaladevathe, the manifestation of Rani Alamelamma.

After being persecuted by Raja Wodeyar for her jewels, Alamelamma, the wife of the Viceroy of Vijayanagara, had ended her life in the Cauvery at Talakad with a terrible curse on her lips condemning the Wodeyars to childlessness. Raja Wodeyar is said to have repented for his misdemeanor and got a bronze stature of hers installed which is worshipped to this day on the Mahanavami. The priests tie a white cloth on their mouths as a symbol of shame and repentance and seldom make eye-contact with the idol.

During Dasara, the swords, the war chariots, royal arms and ammunition, the State horse, the State elephant are all seen as representatives of the Goddess and as being bestowed with Her energy. Hence a worship of all of these as part of the Ayudha Puja was an important ritual.

The Vijayadashami procession on the tenth and last day of the festival was symbolic of the Seemollanghana or crossing of the borders of the Kingdom to acquire new territory. Seated atop a bedecked elephant on a golden howdah, the Jamboo Savari of the Maharaja of Mysore through the thoroughfares of the city was a sight for sore eyes. Music bands and military marches added a dash of colour to this glorious procession. It culminated at the Banni Mantapa with the worship of the Sami tree, once again linking back to the Mahabharata tradition.

The importance of the festival in the cultural psyche of the people of the State could be gauged by the fact that both Haidar Ali and Tipu Sultan allowed its continuance, even during the Interregnum period when they usurped Mysore from the Wodeyars. The titular Wodeyar was permitted to carry out the rituals in a low-key fashion.

Post-Independence, the Government of Karnataka too has adopted Dasara as a naada habba or a State festival. But apart from the Palace festivities, true to the edict of the Bhavishya Purana, Dasara has always been a people's festival, one that resonates with their aspirations and beliefs.

The installation of dolls in all houses and creating decorative scenarios for them has been an un-dated tradition. It perhaps links up to the worship of the Goddess as Kannike, the virgin.

Hence children and their entertainment too form a vital component of this Gombe Puje or dolls worship. Be it the Saraswati Puja to propitiate the Goddess of Learning or the ayudha puja in each home, Dasara continues to be an occasion to thank the eternal life-giving energy of the Mother Goddess and invoking Her in Her many manifestations.

- Deccan Herald, October 12, 2010

They might have been one of the most vocal critics of arrangements in Delhi for the Commonwealth Games but now, the Aussies, the Kiwis, the Scots, and the Canadians can't get enough of "Incredible India". These countries have been in a majority in the groups of athletes and officials from 71 countries visiting the Taj Mahal on the free train ride to Agra arranged by the Organising Committee with the Indian Railways.

After a lukewarm response to the daylong trip to the Agra in a special train prepared by the railways, the athletes are warming up to the "Taj experience".

Of the 1,645 athletes that have so far made the trip, almost 1,000 went only in the last two days. And at 113, the Australians have formed the major chunk of visitors from one country.

The Kiwis, the Canadians and the Scots, too, have sent around 70 each of their athletes through the week. The booking list for the next two days also consists of athletes mostly from these countries.

"The monument is awesome, nothing like we have seen anywhere. We also enjoy the scenes on the way to Agra," said an Aussie athlete at the Commonwealth Games Village.

Officials from smaller countries such as Papua New Guinea, Falkland Islands, Bangladesh, Trinidad and Cyprus have also been taking part in the journey. The trip begins at Safdarjung station at 7 am and culminates and returns at 8 pm after a day-long tour of the historical monuments at Agra.

"The Taj is one of the best brand ambassadors of India. Athletes who are aware of the beautiful monument are keen to experience it. We expect maximum rush now that most of the events have ended," said Priya Singh Paul, head of Communications at the Organising Committee.

On its part, the railways have give the train a Games look. Consisting of one executive chair car, eight AC chair cars and two luggage and generator car coaches, the Taj Commonwealth Express has been modelled on the Shatabdi Express with new coaches.

"Being the lead partner of the Games, it is a great honour to be taking the athletes to our country's pride — the Taj," said Manish Tiwari, Northern Railway spokesperson.

- Hindustan Times, October 13, 2010

Barely a week after two US linguists claimed they uncovered a hidden language in Arunachal Pradesh, an academician based in the frontier state said his post-doctoral work in 2008 dealt extensively with the issue. But Gibji Nimachow would rather not stake any claim to have discovered Koro, which he says is a dialect and not a language as Americans K. David Harrison and Gregory DS Anderson announced.

"To say one has uncovered a language known to many in our reasonably educated state is a bit too much," Nimachow told Hindustan Times. "That is half as ridiculous as turning a dialect into a language."

Anderson is director of Living Tongues Institute for Endangered Languages in Salem, US, and arrison is a linguist at Swarthmore College in Pennsylvania. They said they uncovered Koro during a trip to Arunachal Pradesh in 2008. Their findings will be published in the journal Indian Linguistics.

Nimachow, assistant professor of geography at Rajiv Gandhi University near state capital Itanagar, belongs to the Aka tribe, which is divided into two sub-groups — Hrusso and Koro. Besides, he had researched various aspects of his tribe for his thesis.

Arunachal Pradesh Director (Research) Tage Tada agreed. "I don't think Koro, or for that matter any dialect or language of Arunachal Pradesh, needs to be discovered," he said.

- Hindustan Times, October 13, 2010

The Nehru Memorial Museum and Library is hosting a special photo exhibition, "Ashoka and the Making of Modern India", at its Teen Murti House premises here these days.

Highlighting places associated with the Mauryan emperor on the subcontinent, the exhibition has widened its ambit by organising visits to these sites.

A glimpse into Ashoka's life is being presented through half-day heritage tours in the Capital on Friday, Saturday and Sunday. The tour is designed bearing in mind domestic and foreign tourists that have flocked to Delhi to watch the Commonwealth Games.

"Our tour titled 'Afsana-e-Ashoka' covering various locations connected with the Emperor has so far received an overwhelming response. The Ashokan edict at East of Kailash, the in-situ rock edict along an ancient trade and pilgrim route, the Ashokan pillar at Ferozeshah Kotla and the Ashokan pillar at Bara Hindu Rao are being covered. We plan to have these heritage tours every weekend from next week onward," says Library Director Mridula Mukherjee.

Curated by Professor Janice Leoshko of the Department of Art History at the University of Texas, the exhibition acknowledges the ongoing dialogues of the past with the present, particularly its significance for the newly-independent India.

The exhibition highlights many significant messages of Ashoka that have been found inscribed through South Asia. The King of the Mauryan dynasty was synonymous with the inscriptions that are not simple records. Among the earliest writings in India, the epigraphic texts emphasise Ashoka's views on dharma. They shed light on how he crafted and promoted an ideology of dharma that transcends religion.

Most of the inscriptions have been written in Brahmi script in the eastern or western (Gandhari) dialects of Prakrit. "Although some time after Ashoka's reign these messages could no longer be read, they continued to attract attention, and sometime later rulers added their own inscriptions," say Museum authorities.

The two-month-long exhibition is being hosted by the Museum in cooperation with the American Institute of Indian Studies and the Center for Art and Archaeology.

- The Hindu, October 13, 2010

The Delhi Government's Department of Archaeology has identified 250 monuments across the Capital for its conservation plan under which it will not only protect these places of historic and tourist interest, but also illuminate them properly to make them centres of attraction. As part of the first phase of the plan, work has been undertaken on 17 monuments.

According to the Department of Archaeology , these monuments have been conserved, protected and illuminated ahead of the Commonwealth Games and as a result have already started attracting a large number of tourists. Work related to the illumination and conservation of these monuments is being personally supervised by Delhi Chief Minister Sheila Dikshit who has also been visiting them occasionally.

"The monuments have been illuminated by using pre-dominantly metal halide for greater efficiency and long life with lesser electricity consumption. Special care has been taken to avoid visual clutter and for highlighting the architectural details,'' said an official of the Department.

The conservation of these monuments has been done through use of traditional materials like lime, surkhi, badarpur, brick-zeera, gur, belgiri and curd. "Besides, traditional techniques have been used for preparation of lime mortar by grinding it in the lime mortar mill, and for providing special surface finish by providing arayish/lime punning which involves specific preparation of materials,'' the official said.

The chemical preservation has also been carried out by applying specific chemicals in order to remove the black soot, dirt, moss and lichen deposits which had accumulated on the surface of the monuments over time. Some of the monuments have also been beautified by suitable landscaping and lying down pathways to enhance their ambience.

Among the 17 monuments where work has been undertaken in the first phase are Mutiny Memorial/Fateh Garh in Northern Ridge; Turkman Gate at Asaf Ali Road; Gole Gumbad near Lodi Road flyover; Tomb of Bijri Khan at R.K. Puram; Bara Lao Ka Gumbad and Baradari in Vasant Vihar; and the tomb near M.B. Road crossing and Lado Sarai.

The other monuments that have been illuminated by the Department are Mosque of Darwesh Shah, Gulmohar Park; Tomb of Muhammad Quli Khan, Mehrauli Archaeological Park near Qutab Minar; tomb behind National Stadium; Phuta Gumbad adjoining Jawaharlal Nehru Stadium; Maqbara Park at GTK by-pass; turret near Gate No.3, Lodi Garden; mosque near Butterfly Park inside Lodi Garden; mosque and four walls of an enclosed garden with its entrance gateway near Rose Garden inside Lodi Garden; and Munda Gumbad inside Deer Park, Hauz Khas.

According to the Department, the conservation and illumination would highlight that Delhi is a confluence of many visions and dreams, magnificent forts and palaces, splendid temples and mosques, grand mausoleums and lofty towers, all of which are meshed in a unique blend of beauty and design.

The Department officials point out that to protect and conserve the monuments of local importance, the Delhi Ancient and Historical Monuments and Archaeological Sites and Remains Act, 2004, was enacted by the Delhi Government.

The list of 250 monuments to be conserved or protected in a phased manner that has been prepared by the Department primarily pertains to lesser known monuments. However, they have great historical significance. Since they have deteriorated and were in a dilapidated condition because of lack of preservation and encroachments, the need was felt to restore them to their past glory.

- The Hindu, October 13, 2010

Dance and temples have an undefined bond; the aesthetic commonalities between temple architecture and the architectures of Indian dance are many. How dance originated, with the incorporation of the immortal sculptures that have designed the pattern of dances, is well known. In dance, of late, the architecture of the temple and ritualistic explorations of its spaces add a third dimension to the dance, for this is something that is worked upon extensively. With many dance productions exploring the aspect of dance and architecture, it seems like we are going back to our roots to find an entirely new meaning to dance.

Temple architecture deserves a holistic view — it is the source of movement in dance. Moving beyond the convention of the temple standing as a symbol of faith, it speaks much more of culturally rich traditions that define myriad movements and signify the various postures, movements and repertoires.

The temple is primarily a structure that stood as a living example of the social, political and economic situations that prevail in society. S. Jayachandran, a Bharatanatyam dancer and assistant professor at Kalakshetra Foundation, Chennai, says there are multiple ways of correlating temple architecture and dance. "Any architectural structure is meant to serve a purpose. Temples have served multiple utilities from being a university (a case in point is Kanchi University) to apartment structures and melting points of exchanging ideas," says Jayachandran. In this scenario, he places dance with a societal background and explains the role of the dancer as sociological. "Every temple has a ritual specialist. The male ritual specialist is the priest who performs the daily puja while the female ritual specialist would be the dancer. She shows her devotion through dance and music and her body becomes an instrument of communication. She treats God with utter devotion and becomes his female consort. Devadasis would ward off the evil eye from the precincts of the temple and that was one of the core rituals. They would simply dance for God, facing the deity inside the temple," he elaborates.

Dance is endowed with very different meanings when its history, context, and the times in which it evolved are understood. The movements get a new significance and more than accepting it as pure, rigid tradition, one can decode the pattern easily. "I simply felt more confident as I went about exploring the relation between dance and temple architecture. The historical aspects help you understand the choreography of traditional items in a much easier way. I wanted to investigate further and discover why some movements are designed in a particular fashion and the cobwebbed perceptions about such aspects were brushed away when I went back to the temples," says Jayachandran.

The placement of dance matters the most and plays a significant role in the way movements are structured. The mandap or the stage where a dancer performs makes much of a difference. Earlier the king would sit at a height above the ground and watch the dancer perform from there. And the dancer would be in centre watched upon by the audience on three sides. But the dynamics are different today. The stage that a dancer performs on is at a greater height above the audience and most of the times the dancer only has to face the audience from one side. Earlier one would have a dancing arena where the dancer would face audience from three sides or all the four. The dancing courtyard in a king's palace would be surrounded by audience from three sides. "Temple space goes much beyond the metaphysical aspect. I feel it is the best form of a codified, planned management organisation," says Jayachandran.

Surupa Sen, an Odissi exponent who conceptualised and choreographed "Sacred Space", a dance production that explored the journey from outside of the temple to inside. Along with an architect Surupa studied the spaces of the temple, inside and the outside. "A temple for me stands as a foundation for human body. It stands as a journey of an individual. The outer space of a temple is ornamental with elaborate décor and sculpted beauty and as one proceeds to the most divine, one realises the purity and sheer contrast of the inside and outside. It's shedding about all inhibitions, all ego and gaining pure consciousness," says Surupa.

She draws an analogy with the traditional repertoire in Odissi by starting off with an invocation and moving onto a lyrical piece and tracing the journey of architecture. The last piece is Moksha invoking the Gods and surrendering oneself to the Lord. "Hinduism is an inclusive religion and it incorporated Jainism, Buddhism and all of these religions. And Indian architecture is a repository of all these traditions and faiths," says Surupa. "For me personally the temple represents a person's journey as a symbol of faith and expression. It is the physical expression of the inner aspiration to merge with the infinite," she adds further.

A research by British architect Adam Hardy looks into the correspondence between a temple and dance, which is a form of artistic expression. He studies how temple goes beyond an expression of movement and seems to be progressing on the patterns of growth in multiple directions. One of the common grounds is bringing about a thought process and understanding the significance of traditional choreography which can channelise into innovative forms of creativity.

Madhu Natraj, well-known Kathak and contemporary dancer choreographed a piece for the Purana Qila festival by studying the iconographical aspect of the Persian and Hindu culture. She says, "I look at the philosophy of the space by studying its architectural meaning which is then conceptualised and interpreted through dance. Dance for me would be an architectural extension in this context. The geometry and the foundation of a temple space is an extremely important aspect," says Natraj.

- The Asian Age, October 14, 2010

The impact of a dismal tourist season in Delhi has been felt at many heritage sites that were spruced up for the Games. According to sources, the newly-revamped sound and light show at the historic Red Fort did not witness the crowd that had been expected. Officials report there is hardly any change in the footfalls this season.

The popular show was revamped by India Tourism Development Corporation (ITDC) with better LED lighting equipment and improved sound quality system. It was put in place to attract Games visitors. Its still a huge hit, mostly with foreigners, but weve not seen the number of tourists as was anticipated. One of the reasons could be that the show was not advertised properly. Were hoping it picks up in the coming weeks, said an official.

The sound and light show at Red Fort is the oldest in the city and one of the most popular attractions for thousands who wish to delve into Delhis glorious and tumultuous past of over 5,000 years. It was closed during September 15-30 for the revamp and opened for the public from October 1.The script of the show follows Indias struggle for Independence from the 1857 Uprising to the declaration of Independence by first Prime Minister Jawaharlal Nehru. ITDC had also removed the old fixtures of lighting and wiring with new technology. Apart from new equipment for wiring that gives better light effects, we use energy-saving equipment, explained an official.

- The Times of India, October 14, 2010

The glorious 5,000-year-old history of Delhi is best testified by the numerous monuments which adorn the landscape of the city. These architectural wonders are the real legacy of the past and give a glimpse of the architectural grandeur and artistic excellence achieved during the glorious history of Delhi. Several of these historical monuments have been given a facelift and illuminated for the Commonwealth Games, giving tourists a glimpse of our rich cultural past.

The rich cultural heritage of Delhi gets best manifested through the beautiful monuments that have been dotting the landscape of the city since ages. Delhi's historical monuments give a glimpse of the architectural grandeur and artistic excellence achieved during the glorious history of Delhi. Each heritage building has its own story to narrate as one walks down the city roads. From the ruins of Indraprastha to the architectural marvels constructed for Commonwealth Games, Delhi has inherited a rich legacy in terms of art, architecture and culture. Jama Masjid, Turkman Gate, Lodi Garden, Mutiny Memorial, Tomb of Bijri Khan, Gol Gumbad, Safdarjung Tomb, Quli Khan's Tomb, Mosque of Darwesh Shah, the list is endless and their popularity immense. Many of the beautiful monuments of Delhi have been declared world heritage sites also. These include Humayun's Tomb, Qutub Minar and its monuments and the Red Fort complex.

The glorious 5,000 years old history of Delhi is best testified by the numerous monuments which adorn the landscape of the city. These monuments have on one hand witnessed the many bygone eras and now they are ready to see the ever-increasing stature of the city. These architectural wonders are the real legacy of the past. Throughout the chequered history of Delhi many kings and emperors came from outside and established their own townships giving rise to the composite culture of Delhi. The ruins of these ancient and medieval cities can be seen at Indraprastha, Lal Kot, Quila Rai Pithora, Siri, Jahanpanah, Tughlakabad, Ferozabad, Dinpanah and Shahjahanabad. The remains of the buildings prove that Delhi has always been intrinsically identified with power and imperial sway throughout its history. And now as we compete to make a mark in the world, these souvenirs come as our biggest advantage. What has further enhanced the popularity of historical monuments are the cultural events that are being organized here from time to time. Purana Qila, Qutab Minar Complex, Red Fort are known for their musical evenings and light and sound shows. Infact Qutab Minar is the second most visited site in the country after Taj Mahal. Several historical monuments have been given a facelift and illuminated for the Commonwealth Games, giving tourists a glimpse of our rich cultural past.

Undoubtedly, being a repository of diverse cultures Delhi is truly a city with rich legacy, vibrant future and mysterious eternity.

- The Times of India, October 14, 2010

The Capital's monuments, specially illuminated for the ongoing Commonwealth Games, have been silently attracting foreign and domestic visitors. This, thanks to the Archaeological Survey of India (ASI) and the state Department of Archaeology efforts to light up the heritage structures.

The ASI and Archaeology department have illuminated 28 monuments that fall on the routes of the Games venues. The Lodhi Garden tombs, Gol Gumbad near Lodhi Road, Purana Quila, Sher Shah Gate and Sabz Burz in Nizamuddin, to name a few, have attracted the attention of most passersby. The ASI had roped in the India Tourism Development Corporation to illuminate a total of 14 monuments, while the Archaeology department commissioned the Indian National Trust for Art and Cultural Heritage (INTACH) to conserve and illuminate 14 others.

The 14 monuments (which include 18 heritage structures) illuminated by INTACH use softer LED lights highlighting the features of each monument. A G K Menon, convenor, INTACH told Newsline, "The lighting has been sensitively designed so that the features of the monuments are highlighted. The colour of lights is different for different monuments and in keeping with the old stone used in the monument."

The INTACH has roped in lighting expert Manav Bhargav, who runs Mandala Designers, for the project. A look inside the monument's structure through the 'jaalis' will reveal interiors highlighted with a different shade. "We have used loud as well as cold lights to match the look of the monuments' structure. The LED lights are softer on the monument and instead of falling flat, carefully highlight the features well. They also consume less electricity," Menon added. The ASI on the other hand, though initially running behind schedule, managed to light up 14 significant monuments. They are Purana Quila, Sher Shah Gate and Masjid, Khairul Manzil, Subz Burz, Shakri Gumti and Chhoti Gumti in Green Park, Dadi Poti in Green Park, Khan-e-Khana and Barakhamba in Nizamuddin, Safdarjung Tomb, Najaf Khan Tomb in Jorbagh and Kotla Feroz Shah, all of which feature prominently on the venue routes.

The monuments will continue to be illuminated even after the Games are over and with the surroundings of the heritage structures also being specially landscaped, these are expected to continue to attract attention. "A lot of money has been invested to arrange special fixtures and now the monuments lend a different look to the entire city. Chief Minister Sheila Dikshit, in a meeting, has rightly said she chose to work on the monuments as they are the best example of public art installations in the Capital," Menon said.

- The Indian Express, October 14, 2010

Turn the pages back. There are tales of courage, sacrifice and heroic death in our freedom struggle. Depicting the lives of some unsung heroes Madam Bhikaji Cama, Matangini Hazra of the Indian independence movement is a docu-drama using puppets and shadow, recently performed by the Katkatha Puppet Arts Trust at Nehru Memorial Museum and Library (NMML).

Kuch Unkhule Panne: Some Unopened Pages is part of a host of activities, including nature walks, exhibitions and cycle walks organized by NMML to run along with the Commonwealth Games.

Commissioned by Sangeet Natak Akademi for the celebration of 150 years of the First War of Independence in 1857, Kuch Unkhule Panne was first performed in 2008. "The idea was to talk about the unsung heroes of the freedom movement, those who don't feature much in our daily lives,'' says director Anurupa Roy.

Different factors influenced the choice of freedom fighters for the show. "We chose Bhikaji Rustom Cama because there's a huge office complex called Bhikaji Cama Place. We take the Ring Road all the time but many people we asked had no clue who she was,'' says Roy.

For the show they use an interesting combination of puppets, shadow and projections. They also use rare photographs from the NMML archives for the biopics. The hunt was quite a job. There were plenty of photos of Bhikaji Cama at the archives for she came from a wealthy family and had her photos clicked on many occasions.

"For the others, there were either 'wanted' photos or 'dead' photos,'' says Roy. They went with rare photos of marches and rallies and every freedom-movement chronicler's last resort images of Gandhi. Madam Cama would hoist the Flag of Indian Independence red, yellow and green in 1907 in Berlin.

Matangini Hazra was included because she was old in her 60s when she joined the freedom movement. As the show informs, Matangini was called Gandhi Budi or Budi Gandhi Mahila by folk. And finally, Roy and her team chose Surya Sen as they wanted a true-blue revolutionary who wasn't a Gandhian. "His trial is very famous as it was completely fudged and we wanted to show the torture he faced in jail,'' explains Roy.

Sen's time in jail is probably one of the longest parts in the entire show; on stage, the scene of Sen having his tongue pulled out with a set of pliers for constantly repeating Vande Mataram is performed in shadow but is no less disturbing for that a quiet hiss goes around the audience. For the biographies, they use a mix of narration, photographs, shadow play, reading from documents and newspaper clippings.

Show over, one girl in the audience shouts "very well done'' and most of the audience a bunch of kids and their guardians crowd to the stage on Roy's invitation to inspect the puppets. She uses a string-puppet for Bhikaji Cama, a rod puppet she herself operates with two others for Matangiri Hazra and another rod puppet for Surya Sen except, in this case, it is used as a dummy and that only for a few seconds as it suddenly shoots up vertically to nearly touch the stage's roof depicting a hanging.

- The Times of India, October 14, 2010

Lucknow famous for culture, etiquette and literature in the entire world, besides being Capital of the State is now known as the new destination for memorials in Independent India. A large number of tourists used to visit Lucknow for Imambaras built by Nawabs. But, a new transformation is becoming apparent in Lucknow today. A new skyline has emerged here, which has created a niche in the world.

Chief Minister has constructed memorials, museum, statues and parks in the memory of saints, gurus and great men who sacrificed their lives to establish society based on equality changing the unequal social system. These memorials, museum, statues and parks are unique examples of architecture, which reveal the soul of Indian culture and different dimensions of construction art. Besides, several projects are being completed in a speedy manner with a view to developing infrastructure facilities in Lucknow, owing to which the Capital of the largest State of the country has been transformed. Such an example is difficult to find throughout the country.

At present, a large number of people visit Lucknow in order to see the memorials, museums, parks etc. from the different corners of the country. These memorials constructed in the honour of great men who took birth in Dalit and backward sections of the country from time to time, have become the symbol of faith and self-pride of crores of people of deprived sections of the country. The people of Sarvjan Samaj feel pride on visiting these memorials. Besides, these memorials and parks have emerged as the new centres of attraction for other tourists visiting the historic buildings of Nawabi age. People in large numbers visit these memorials daily.

It may be recalled that Hon'ble Chief Minister had dedicated to the people Dr. Bhimrao Ambedkar Samajik Parivartan Sthal Dwar, Dr. Bhimrao Ambedkar Vihar, Samtamulak Chowk, Samajik Parivartan Gallery, Dr. Bhimrao Ambedkar Smarak Drishya Sthal, Dr. Bhimrao Ambedkar Samajik Parivartan Pratibimb Sthal, Samajik Parivartan Sangrahalaya, Manyawar Shri Kanshiram ji Smarak Sthal on June 25 last year.

All of these memorials are unique from architectural point of view. The dome of Manyawar Sri Kanshiram ji Smarak Sthal is the largest dome of country, the construction of which is a unique example of engineering. Similarly, both domes of Samajik Parivartan Sangrahalaya are recognised as the specific achievements of engineering and architecture today.

Besides, Bauddh Vihar Shanti Upvan was also dedicated to the people on June 25 last. All of these places have become important destinations of faith and tourism today.

The citizens of Lucknow were continuously feeling the necessity of a large and magnificent green eco-garden at the central place of Lucknow. Keeping this in view, the development of Manyawar Sri Kansiram ji has been started in the midst of Lucknow city. After the completion of green eco-garden, it would be a unique, splendid and magnificent garden not only in the country but the entire world.

Now, Lucknow is ready to welcome the tourists with its new identity.

- The Pioneer, October 14, 2010

In the essay, "Temple Terracottas of Bengal", published in the Illustrated Weekly of India(November 25, 1951), the artist, Mukul Dey (1895–1989), writes, "Thousands of Siva, Vaishnava and Kali temples are scattered all over Birbhum. They are built of brick, sand and lime plaster.... Most of these temples lie in ruins. But in many of them still remain beautiful specimens of baked clay terracottas depicting figure compositions in decorative panels."

A student of Santiniketan during Rabindranath's days, Dey was one of the earliest documenters of Birbhum's temple architecture, much of which is still unknown. Dey took photographs of the temples he visited. Since many of the temples no longer stand, these pictures are the sole reminders of an architecture that was becoming derelict even in Dey's time. It is good to know that the Santiniketan Chapter of the Indian National Trust For Art and Cultural Heritage has taken up the task of documenting the archeological sites of Birbhum. MONUMENTS AROUND SANTINIKETAN (Shubhi, Rs 995), edited by Pialee Mukherjee, gives a "cursory glimpse" of some of the sites documented between 2001 and 2004. The short write-ups accompanying the colour and black-and-white plates give readers a fair idea of the legends associated with the sites, as well as of their historical importance.

Part one of the book, entitled "Santiniketan: Abode of the Poet", is about the buildings in Santiniketan that carry the imprimatur of Rabindranath's vision. Top right is "Shyamali", that stands beside the Konarka at the far end of the Uttarayana complex. This house, on which Rabindranath had composed a poem, was one of his favourites. It is unique in its mud walls, its façade reminiscent of Buddhist chaityas, and the reliefs, three of which were made by Ramkinkar Baij.

Top left is the Gauranga Mahaprabhu temple in Hattala, Illambazar. The 24 columns and the octagonal roof give the temple an unusual appearance. The outer wall of the temple is decorated with terracotta plaques depicting scenes from the Ramayan and Krishnalila. The panel on bottom left, featuring long-robed Arabian Muslims and European Christians wearing high hats, is from the Hatakali temple in Itanda.

Bottom middle is the famous black stone Durga of Deuli. In 1560, Kalapahar, the Hindu general of Sultan Suleman Karnani, had broken the nose of the figure and demolished the temple, which was later reconstructed. On bottom right are two of the four Char temples of Panchra that have white and black Shiva lingas.

While Intach should be lauded for its efforts to document, and so, in a way, preserve the sites, it could have paid better attention to the design of this book. Most of the pictures are of poor quality, and have been cropped badly. Notwithstanding space constraints, photographs placed side-by-side that eat into each other's space cannot quite add to a book's aesthetic appeal.

- The Telegraph, October 15, 2010

A dredging project was carried out in the Dal Lake as part of the state government's efforts to restore its pristine glory, a spokesman said here today.

About five hectares inside the water body was dredged by sophisticated machines this year. Also nearly 2.56 lakh square metres skimming was cleared by two water masters and three other machines, he said. The manual cleaning of the lake, a star attraction for tourists visiting the Valley, was badly affected due to the unrest.

The spokesman said Minister of State for Tourism Nasir Aslam Wani took stock of the cleaning and dredging of the lake yesterday. He also directed the Lakes and Waterways Development Authority (LAWDA) to speed up the manual cleaning by engaging the maximum number of labourers in shifts.

The minister also called for activating the technical wing of the LAWDA to take the maximum work from the deweeding machines round the clock to clear the worst patches of the lake, the spokesman added.

- The Tribune, October 16, 2010

From folk music festivals to plush resorts, Jodhpur is about a magical experience, says Amrit Dhillon

There have always been good reasons to visit Jodhpur — the spectacular Mehrangarh Fort, the desert, and the Walled City. But in October there is another: the Jodhpur RIFF or Rajasthan International Folk Festival celebrating Indian and international folk music.

This annual festival is timed to coincide with the brightest full moon of the year in north India. The combination of a full moon and the venue of Mehrangarh Fort, voted Asia's Best Fortress by Time magazine and called 'the work of giants' by Rudyard Kipling, cannot be beaten for beauty and atmosphere.

For five glorious days from October 21-25, 150 musicians and performing artists will bring the fort alive, the sound of their music wafting down the cliff to the city sprawled out below. You need to book rooms fast, though, because the city's hotels are filling up.

Fortunately, as I saw during my visit in September, there are some fabulous new additions such as Raas, located inside the Walled City and Mihirgarh, an Arabian Nights-style fantasy fortress a short drive away in the 'desert'. I use apostrophe marks because, thanks to this year's bounteous monsoon, the land has turned from usual dry scrub into a lush green.

Like a doctor delicately inserting a stent, one of Jodhpur's gilded youths, the former polo player Nikhilendra Singh, has tucked Raas, a luxurious boutique hotel, into a crevice of the Walled City. Singh bought a 150-year-old haveli lying in ruins at the foot of Mehrangarh Fort, restored it and added rooms, restaurants and a pool using local materials that mesh perfectly with the original structures. It's a striking juxtaposition of international chic with antiquity.

From the entrance, you approach a narrow, high walled passage that reminded me of the long narrow gorge at Petra that opens out into the famous Treasury.

At Raas, the passage opens out onto a Mughal garden and there, right in front of you, is the fort standing on its rocky escarpment. The balcony of every room has this spectacular view and it's a view that made my heart dance with delight.

Right outside the hotel is the Walled City which hums with life. In a five minute stroll around the sprawling bazaar under the famous Clock Tower, I saw a pile of bulbous clay pots that artist Subodh Gupta would be proud of, a bangle maker using hot coals and tools dating back five generations, an 'Elephant Man' striding along challenging anyone to stare at him, and a man selling antique locks whose side business — his roadside stall displays two hand-painted smiles — is dentures.

The fort is the greatest of India's desert forts and is probably one of the best-maintained monuments in India. The Museum has a gift shop and a café and there is plenty to see inside — gilt palanquins and bejewelled daggers. Avoid a guide and take the excellent audio tour. The Museum not only displays elephant howdahs, weapons, costumes and rare textiles but also some of the world's finest miniature paintings. Children will love the armouries and dungeons.

The view of the city from the fort is sublime. Jodhpur's name, the Blue City, comes from the blue houses of Brahmins that shimmer in the sunshine following a monsoon shower. Standing high above the city, I could see children on the rooftops flying kites. From the mosques came the haunting sound of the azan.

In the horizon stands Umaid Bhawan, an art deco palace of red sandstone that can rival the greatest of European cathedrals in its lofty grandeur. Staying here is only for the super-rich but if you can afford a meal in the restaurant Pillars, it's worth it for the views of the immense gardens.

The other great appeal of Jodhpur is that, after a mere 10-minute drive, you can be out in the countryside having tea with members of the Bishnoi tribe.

Known as 'the world's first environmentalists' owing to their love of wild animals and protection of the environment, the Bishnois are now famous. Any number of travel agents will be able to organise tours to Bishnoi villages where you can ride on camels and see black buck antelopes.

The antelopes (now a protected species) trust the Bishnois so much that they stay close to their villages knowing they will come to no harm. Arjun Ram Bishnoi and his splendidly bejewelled wife Devi, showed me a black buck antelope grazing near their hut.

As we chatted later, drinking masala tea, the laconic Arjun stroked the goat which lives inside his hut with his family and remarked: "Some animals give you more love than your own children."

Drive another 30 minutes from the Bishnoi villages and the desert proper begins and this is a magical experience. The sense of a raw, rugged, dusty vastness is thrilling. The Rohet Garh Wilderness Camp is run by Sidharth Singh who owns Rohet Garh, the palace where the late writer Bruce Chatwin spent six months writing The Songlinesin1985 before this feudal estate was turned into a hotel.

Madonna and Guy Ritchie were more recent visitors. Singh, an accomplished horseman, was impressed with Madonna's stamina; she rode 30km a day on the Marwari desert breed of horse, which Singh is working to protect against extinction. The Wilderness Camp is six tents on a sand dune in the Thar Desert. At night, there is nothing but silence, moonlight, infinity, stars and a soft breeze.

Singh and his wife Rashmi have just opened another resort, a fortress made of mud on a high sand dune at the desert's edge from where, as far as the eye can see, there is no human or animal life, just a vast open plain stretching into the horizon.

Mihirgarh, or Sun Fortress, boasts all the accoutrements one expects of a luxury establishment but also celebrates the crafts of Jodhpur. Virtually every single object in the nine palatial suites has been hand-made by Jodhpur artisans. It is part rustic Rajasthan with its divans and cushioned niches carved into the mud walls in the rooms, courtyards, terraces and balconies, and part ultra-cool contemporary chic.

Reclining by the pool on the terrace, I watched the sun set over the wilderness. All was tranquility and stillness. It felt like a dreamscape. Then, as an attendant appeared to replenish my Darjeeling and Madeleine, I realised it was real. What a relief.

READY RECKONER

Getting there: From Calcutta you can fly to Jodhpur via Delhi. The nearest railhead is the Jodhpur Railway Station. Jodhpur is about 589km by road from Delhi.

Staying there: Accommodation is available to suit all budgets. Expect to shell out Rs 15,500 per night for a double room at Raas. Mail to reservations @raasjodhpur.com.

- The Telegraph, October 16, 2010

From agriculture to culture is a long haul even for a battle scarred bureaucrat. But CV Ananda Bose who took the hot seat as the first administrator of the long-forsaken National Museum, says he means to take it one day at a time.

"My mandate is to get the museum back on the rails and I have a wealth of recommendations from experts on what needs to be done," says Bose who has set himself a target of 100 days, starting Friday, 15th October, to spruce up the housekeeping.

There are problems galore. A staggering 109 posts lie vacant. Given its size and treasures — 20,000 artefacts, of which only some are on display for lack of manpower — the museum could do with all the staff it can get. Twenty of the museum's 27 sections are open to the public. The building has structural problems, especially leakage. For a long time now, the museum has been headed by a joint secretary in the ministry of culture. The last bureaucrat to head the institution was Dr V S Madan, a joint secretary in the ministry who held additional charge as the director general of the National Museum. The lack of a dedicated head has meant no long-term vision for a long time.

The effects are there to see. Digitisation, which is absolutely imperative for the conservation of rare and precious manuscripts, has yet to happen.The signage is old and unhelpful. Visitors pretty much have to fend for themselves. There are issues of humidity and temperature control that need looking into.

However, what is perhaps most depressing is the museum's take-it-or-leave-it air. It simply does not reach out and engage with visitors. "The museum has to become a focus for cultural exchange and we definitely need outreach programmes to interest people in its activities," says Bose. Recently, it tried to do so during the just-concluded Commonwealth Games with an exhibition of artefacts that dealt with sports.

The ministry of culture, of which the prime minister is in charge, had been looking for a professional museologist to head the institution. Having drawn a blank, it appointed Bose, with sole charge of the museum, and as an administrator. The search for a professional continues in the meantime.

Bose says he is not rattled. "I refuse to get intimidated by any assignment. I take a while to understand how I can get it done in the shortest possible time and then proceed to do it. I am open to advice from domain experts," he says.

He is no stranger to controversy. His last posting as managing director of the corruption-prone NAFED was fraught with confrontation. Just months ago, he was arbitrarily sacked by the federation's boards, which are mainly made up of politicians. He was accused of misusing funds. The agriculture ministry reinstated him barely a week later, clearing his name and reaffirming his mandate to clean up the NAFED stables.

"I seem to be the obvious choice for problem posts," quips Bose who continues to head the Kochi based Coconut Development Board. But the bureaucrat is not all that alien to the world of heritage. With a doctorate in habitat technology and environment from BITS, he had steered the low cost housing project in Kerala, Nirmitee Kendra, using vernacular architectural techniques.

- The Times of India, October 17, 2010

For over two years, traditional artisans from Dholpur in Rajasthan — with knowledge of an art passed down through the ages — have been working at Humayun's Tomb

Sixty-year-old Atar Singh no longer has to go around supervising over the other artisans as they polish, cut and carve intricate designs on the red sandstone. The light drizzle or even the visitors at the Humayun's Tomb are no distraction for the stone-cutters as they work tirelessly under blue plastic tents. Over the last two years, the stone-cutters — traditional artisans from Dholpur district in Rajasthan — have been working at Humayun's Tomb, taking only a brief break during the harvest season, when they go back to their villages.

At a time when Indian conservationists are arguing in favour of reconstructing crumbling heritage structures instead of preserving them as ruins, artisans like Atar Singh have been their strong point in this debate. While most countries across the globe no longer have traditional workers left to reconstruct and restore heritage structures, India still has people whose forefathers worked on monuments and passed on the knowledge to them.

But, says Singh, today the youth in Singh's village, Donari, and also neighbouring villages--Saipu, Santnagar, Sehejpur, Badi--want to learn how to work on computers in air-conditioned offices than on stone out in the open. "But the knowledge of this art will never be lost. There are still a large number of young boys in the villages who are being taught to work on stone. There were a few elders in the village who taught us, and now we teach the next generation," says Singh.

But the stone work taught in the villages is mostly crude, and it is only here that experts from the Aga Khan Trust for Culture conduct training workshops to polish their traditional skills before they start replicating the jaalis and pillars, using traditional tools and building techniques that were used 500 years ago while Humayun's Tomb was being built.

It is a straight eight-hour work schedule, after which the workers usually hangout at neighbouring markets, the weekly Bhogal bazaar being their favourite haunt. Bishnu, 20, from Ganeshra village and Ajay, 19, from Dholpur, the youngest in the team, say they don't really miss home. "It has been just a year that we came to Delhi and we quite like it here. We are trainees and are learning to cut and carve the stones," says Bishnu.

The work is not easy. Though some designs are similar, the size and shape of each slab or pillar is different. The measurements are given by on-site architects, while the practised hands of the stone-utters are quick to draw and carve out.

Singh says it is not easy to find work that calls for such skills. The project at Humayun's Tomb has been a steady source of income and also an opportunity to keep the art alive. The AKTC conducts special workshops during the summer months for the younger children and family members of the artisans.

- Indian Express, October 17, 2010

Nine locations of the Western Ghats region in the State are being proposed to be declared as World Heritage Sites.

The river valleys of Bhadra, Sharavati, including Jog Falls are being proposed to be included in the list prepared by the Western Ghats Task Force. Also on the list is Kudremukh-Agumbe-Somes- hwara cluster, Bedthi and Kali river valleys in Uttara Kannada district and Khanapur forest region of Belgaum.

An effective policy will be promoted aiming at the conservation of bio-diversity in all these regions along with participation of local communities, who would have responsibility and as well as share in financial benefits emerging out of eco-tourism and any other eco-friendly activities in the region.

- Deccan Herald, October 18, 2010

Nidgal, once called Kalanjana Giri, Kalanjana Durga and Neelavathi was a prosperous town and a capital under the Gangas, Nolambas, Hoysalas, Cholas, Mysore Wodeyars and Sultans, writes M B Sadashivaiah

Nidgal Betta, with its relics and ruins including many crumbling structures, has much to offer to historians, researchers, tourists, trekkers and archaeologists. Also, it is home to some rare species of flora and fauna.

This hill with a lot of historic significance is at a distance of 25 kms from Pavagada, labelled as a backward taluk, in the district of Tumkur. The Nidgal Fort area, once called Kalanjana Giri, Kalanjana Durga and Neelavathi was a prosperous town and a capital under the reign of the Gangas, Nolambas, Hoysalas, Cholas, Mysore Wodeyars and Sultans. Following the decline of the Vijayanagara empire, the Amara Nayakas or Palegars who came to prominence ruled this province either as independent chieftains or as tributaries till 1798 with Veera Thimmanna Nayaka as the last Palegar.

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