he draft development plan of 2034 has proposed to delete almost 70% of theheritage sites, structures and precincts in Mumbai. Mumbai pioneered the country's first-of-its-kind regulations in 1995, and as per the blueprint, the civic body is set to omit 1,000 structures out of the 1,488 listed heritage buildings, sites and precincts. What impact will the omission have on city's heritage tag?

Pankaj Joshi, executive director at Urban Design Research Institute, said that vested interests have repeatedly tarnished the cultural fabric of Mumbai. "116 buildings, sites and precincts have been deleted and 35 buildings, sites and precincts altered from the 1995 notified list of 633," he informed. He added that the plan also obliterates all seven textile mill heritage buildings, sites and precincts from the 2002 notified addition. He said: "Omitting these sites and allowing them to be redeveloped, is to lose the city's heritage and history. We need to preserve these sites for following generations." Which sites are said to be erased in the blueprint?

Joshi informed that the sites include: The Basilica of Our Lady of the Mount, Bandra (W); St Joseph's Convent Complex, Hill Road, Bandra; Our Lady of Mount Carmel church, Chapel Road, Bandra (W); Priscilla Villa, Master Vinayak Marg, Perry Road, Bandra (W); Sacred Heart Church, Santa Cruz; Malcolm Baug Precinct, SV Road, Jogeshwari (W); M Banajee Industrial Home for the Blind, SV Road, Jogeshwari (W); Our Lady of Health, Versova Village, Andheri (W) and Amba Bai Temple, Goregaon (W). Which parties will benefit from the master plan?

Shiv Sena MP Rahul Shewale has also written to Chief Minister Devendra Fadnavis demanding a probe in the irregularities of the master plan. "The proposed plan is the not resident friendly. It seems that builders will benefit more than the common people," he said.

Joshi added that clubbed with reservations such as reserved open spaces and other amenities on heritage sites, the omissions will 'sound the death knell to the significant cultural and architectural heritage of Mumbai'.

- http://www.dnaindia.com/, April 7, 2015

Fashion and Art Industry experts shared insights with budding professionals at Kreativ’15, Amity School of Fashion Technology (ASFT) and Amity School of Fine Arts’ (ASFA) recently annual fashion and art fiesta at the University campus.

Kreativ’ 15 is an endeavour to provide an exclusive platform to the budding fashion and art professionals to exhibit their creations and talent to the spectators and veterans

of the industry in myriad forms of Applied Art, Painting and Animation. Divya Chauhan, chairperson, ASFT and ASFA said, “Indian fashion Industry is at its prime and has great potential to make a mark on the world stage. She added that India has a rich and varied textile heritage where diverse regions of the country have their own identity in global market. The growth in Indian fashion and textiles industry is inspiring and helping to bring about a change in lifestyle, earnings and urbanisation of the customers. She remarked that as an “effort to make industry-ready professionals, Amity has been taking initiatives to bring the industry and budding talent closer by organising such interactions.”

Kreativ which was started in 2009 encompasses various activities related to arts and fashion domain such as Art Camp, seminars, exhibitions etc. Pradeep Joshi, director, ASFT ASFA said that the fashion industry is flush with talent and with India as the leading supplier and manufacturer of garments, there is much to offer. “With development of technology, the world has become a global village and presently, online too has helped in selling and purchasing of commodities. Initially, companies never thought that e-retailing would become so important,” he said.

Sharing his views on career in fashion Industry, Vijay Kumar Mathur said that it’s a huge industry and there are multiple of jobs available. He added that though, “the profession is looked down upon and compared with other professions such as Engineering, Law, Medicine etc. but for individuals who have passion and desire, the industry is very rewarding.” He shared the success story of various fashion trends such as high heels, black leather jacket, red leather jacket and Shilpi bindi with the participants. He outlined that :fashion profession is a mix of Science, Chemistry, Economics, Geography, Law, Botany, Statistics and Media.”

The festival showcased an exhibition of selected installations, sculptures, paintings, and art work by students of Amity, followed by the Art Camp wherein the students were given the opportunity to work under the mentorship of established senior artists of the art industry.

- The Deccan Herald, April 7, 2015

If about six tourists visit the 900-year-old Golconda fort in the city here, only one among them visits the historical Qutb Shahi Tombs, a stone’s throw away. So say the statistics. While Golconda fort enjoys a celebrated status, the nearby Qutb Shahi Tombs of rulers from the same dynasty that ruled the region for 170 years have been lying in neglect, and what better indicator for this than the tourist footfall data.

Going by the data available with the Telangana tourism, as many as 16,30,442 tourists, including 20,341 foreign nationals, visited the Golconda Fort in 2014, and only 2,70,011 tourists have visited the Qutb Shahi tombs, barely 1.6 kms away, over the same period. Statistics also show that there is a marginal increase in the footfall at these monuments every year.

This disparity in the footfall, many believe, is a result of the lack of coordination between the two archaeological bodies- the State department of Archaeology and Museums(DAM) and the Archaeological Survey of India(ASI) and the result of years of indifference shown towards the ‘Seven Tombs’. Though there were talks of adding several heritage sites that belong to the State Department of Archaeology and Museums into the ASI’s list of protected sites, BP Acharya, principal secretary, Tourism, recently clarified in the negative.

Recently, the Aga Khan Trust for Culture (AKTC) established a site museum cum interpretation centre that educates tourists about the Qutb Shahi dynasty. A tourist is charged `10 at both the Golconda fort as well as the Seven Tombs. “At Golconda there is no proper information available about the tombs. People do not understand that visiting Golconda is incomplete without a visit to the tombs,” said Anuradha Reddy, convener, The Indian National Trust for Art and Cultural Heritage (INTACH.).

According to her, the two entities that manage these two sites should complement each other and give tourists the complete Qutb Shahi experience. Explaining the situation, a senior official of the State Department of Archaeology and Museums, said, “Obviously, not many people know about the importance of the seven tombs. We are trying to popularise it by distributing some pamphlets outside the fort and also enhancing the signages around.” Qutb Shahi tombs, according to the experts of AKTC who are now in the process of restoring the tombs, is one of its kind necropolis densely comprising gardens, parks, mosques and wells. As many as 72 monuments exist in a campus of 108 acres Qutb Shahi Heritage Park.

The experts of AKTC believe that the heritage park after the completion of the conservation and restoration activities, which is expected to take around 10 years, would be transformed into a major international heritage attraction.

- The Indian express, April 7, 2015

Almost 1,048 of 1,496 or 70 per cent of the total number of heritage structures in the city have not been marked in the BMC’s draft development plan (DP) 2034 for Mumbai. A study conducted by the Urban Design Research Institute (UDRI), an NGO, shows that the erstwhile India United Mills in Lalbaugh and adjoining structures have also been omitted.

Further, heritage precincts like the Marine Drive, old Cuffe Parade, Five Gardens precinct in Matunga, Khodadad circle in Dadar, Nepean Sea road and an area near Gamdevi precinct are also out. Ironically, the Marine Drive precinct was sent in 2012 by the civic body’s heritage committee for the Victorian Gothic and Art Deco WorldHeritage nomination along with sites like Public Works Department building next to the Bombay High Court, the Esplanade mansion, the Army and Navy Building in Fort, all of which have been excluded from the draft. According to the study, 24 Agiary sites or Parsi fire temples, notified in 2002 under the heritage category, have also been kept out.

Pankaj Joshi, executive director of UDRI, said, “Vested interests are trying to destroy the heritage fabric of Mumbai. How can they not include structures from the proposed list after it has already been opened for suggestions and objections from citizens? This draft will sound the death knell for the architectural significance this city has achieved.” Joshi said the issue would be taken up for discussion in the Mumbai Heritage Conservation Committee meeting this week.

There are 633 Grade I, II, III listed heritage structures and precincts currently, which were notified two decades ago. In 2012, following a detailed revision of the heritage list, 894 additional structures and sites were proposed to be notified. The study, however, reveals that almost all the 894 structures are missing from the DP.

V K Phatak, urban planner and adviser to the BMC for its DP, said only the formally notified heritage structures had been retained in the revised DP. He, however, said inaccuracies in the draft could be revised with suggestions. BJP MP Kirit Somaiya, who met civic chief Sitaram Kunte Monday, said, “The list of heritage structures has to be marked in the draft plan. BMC cannot ignore it.” [email protected]

- The Indian express, April 7, 2015

A little off the beaten track, adjacent to Humayun's Tomb and next to a busy railway station is Sundar Nursery. Typically, one would expect to go there to buy plants but the 70-acre urban oasis is nowhere close to an ordinary nursery. This garden complex is replete with old trees and dotted with monuments dating back to the Mughal era. And it's after years of conservation work, the nursery, originally known as Azim Bagh, is back to its magnificent self.

The revival of Sundar Nursery was taken up in 2007. Most of the land was hidden beneath tonnes of debris. The work of landscaping the nursery, along with restoration of 13 monuments, was taken up in 2009 by the Aga Khan Trust for Culture (AKTC) in partnership with CPWD.

The nursery was established by the British in 1913 to grow and develop plants for the new city of Delhi. It was taken over by the CPWD in 1945. At present, it houses the largest collection of tree species found in capital, including some rare ones. The focus is also on developing a wide range of habitats within the nursery. It is fast becoming a fascinating site for birdwatching. Officials said the project aims at ecological restoration too.

"The landscape master plan was developed by architect M Shaheer and includes zones for a variety of functions. It has an exclusive zone for ground nesting birds such as peafowl. The complex used to be a key bird habitat till 1970s, but large-scale dumping of construction waste ruined the area. Our aim was to redevelop it with native flora and fauna. At present, the nursery has 1,800 large trees now mapped on a GIS system. Additionally, 5,000 tree saplings of over 200 native species have been planted. These species are mostly fruit-bearing and have been planted to attract more birds," said an official.

To develop it as a microcosm of Delhi, efforts are on to replicate the ridge biodiversity, along with khadar (riverine), bangar (alluvial) and dabar (marshy) zones. And since birds have started returning to the nursery, one can spot the black kite, grey hornbills, woodpeckers, yellow-footed green pigeons, spotted owlet, Indian roller, white-throated kingfisher, Eurasian hoopoe, Indian grey hornbill, brown-headed barbet, coppersmith barbet, Hume's leaf warbler, common tailorbird, oriental white eye and green bee eater.

Cormorants and painted storks—with their habitat at nearby Delhi zoo—too frequent the nursery even though many major water bodies are yet to be developed. "Water bodies are being developed to attract more birds.

The earth embankments along the water bodies are already seeing kingfishers. In addition to that, densely-planted zones have been established for ground nesting birds such as peafowl and francolin. These will provide a habitat secure from stray dogs," the official said. Currently, AKTC has 77 species of birds, including ultramarine flycatcher and Eurasian golden oriole, on record in the Sundar Nursery area.

- The Times of India, April 7, 2015

Some of F.N. Souza’s least seen works are on display at the Dhoomimal Art Gallery in New Delhi

Noted artist Francis Newton Souza’s extraordinary paintings along with his rare letters and images are now on display at an ongoing exhibition at the Dhoomimal Art Gallery in New Delhi’s Connaught Place.

April 2015. The nearly one-month-long exhibition titled “Souza - The City of Women” is showcasing his famous paintings of landscapes and nude women and also other archival material. The oldest paintings in the exhibition are dated to 1941.

Sharing her view about the iconic artist, Anjolie Ela Menon said at the launch event of the exhibition, “I have always been an admirer of Souza’s work. I believe that he was one of the greatest artists the country ever had. His work is quite different from other artists and that is what makes him different and when an artist is different, he creates waves.”

The highlight of the exhibition, curated by Vinod Bharadwaj and Brij Sharma, is that the Dhoomimal Art Gallery is showcasing some of Souza’s never seen before works for the first time. And it is also exhibiting some of the letters which he wrote along with his interviews and some unseen pictures. The aim of the exhibition, according to the gallery, is to showcase Souza’s work and present his real strengths in art.

“When we visit places like Khajuraho or other such temples in India and see the erotic images there, we can ask the question, are we going forward or going backward? It is just suppressed so much that the people are too scared to talk about it. We need to talk more about it and channel it in the right direction,” said Uday Jain, the director of the art gallery.

A novel based on realities associated with the Indian art world, “Seppuku” was also launched at the event. (The exhibition is on at the Dhoomimal Art Gallery, G 42, Connaught Circus, till April 30.)

- The Hindu, April 8, 2015

The Ganga is an important stream of tradition, but that does not make other rivers in the country less important Several rivers crisscross the Indian subcontinent. Of these, none has captured the imagination of minds through the ages the way the Ganga has. Ganga is India’s longest river at 2,525 km, and the basin sustains about 40 per cent of the country’s population, covering 26 per cent of India’s land mass. So, when such a river gets polluted, it naturally grabs attention from across the planet. It is representative of India’s hoary tradition, finding its way into mythology and poetry. But are the other rivers deemed to be less sacred?

Sadly, in the policy perception, the Brahmaputra, Godavari, Indus, Krishna, Cauvery and their tributaries have become ‘lesser rivers’. Rivers other than the Ganga support 50 per cent of India’s population — or 600 million across West, South, North (Indus) and North-Eastern India — contributing to irrigation, power generation and other livelihoods.

Nevertheless, these rivers are relegated to a lower priority for rejuvenation, unlike the Ganga which has attracted the attention of the government to such an extent that it even named a ministry after the river. A barrage of neglect The Ganga Action Plan (GAP) I and II assigned funds for cleaning of non-Ganga rivers under the National River Conservation Plan extending to 190 towns in 20 States, but according to a Central Pollution Control Board report, water quality in these rivers continues to deteriorate for the same reasons that the Ganga continues to be polluted.

Rampant and unchecked interference of dams across various non-Ganga rivers and river basins have reduced them to a trickle downstream; city after city, village after village across non-Gangetic India continue to pour toxic waste from industries, municipalities and agriculture directly into rivers. Whether it is the Vrishabhavathy in Bengaluru or the Musi in Hyderabad or water bodies across Nagpur, or the Mutha, Indrayani and Bhima in Pune or any in your city, town or village, the story of water quality remains the same.

The externalities of water pollution on humans, livestock and bio-diversity are undeniable. People’s health has been ravaged as they suffer from waterborne diseases such as cholera and diarrhoea, besides various forms of skin lesions, cancer, psychological disorders, defective child births or miscarriages without even being aware of the cause. But all these repercussions assume a lower order simply because the rivers or water bodies are less divine. Even the tributaries of the Ganga such as the Gandak, Kosi and Son, are not as fortunate as the main Ganga. It is a kind of river apartheid — categorising rivers as superior and inferiorThis, in turn, leads to a kind of apartheid in allocation of funds to clean the rivers vis-à-vis Ganga: apartheid in monitoring; apartheid in implementation of anti-pollution measures, and so on. It is affecting growth

The consequences of this are severe. While these lesser rivers have to wait for the Ganga clean-up to succeed first to ensure their turn, the delay can lead to serious health and environment consequences. While the government in its affidavit to Supreme Court has stated that it would take at least 18 years — i.e. 2033 — for its complete rejuvenation, it is unknown how much time it would take for non-Ganga rivers to even get noticed.

And if the deadline for the rejuvenation of the Ganga is missed, then the scenario of non-Ganga rivers would worsen. In India, the externalities or cost of damage to the environment and social costs are rarely measured. These hidden costs have an impact on the economy in the form of accentuated health costs, loss of livestock, loss of biodiversity and loss of livelihoods, interrupting the economic recovery of the very same poor people who are supposed to benefit from the much-hyped Indian GDP growth.

While this is the scenario regarding surface water, the situation regarding water beneath the ground is even worse. The quality of groundwater continues to deteriorate across India, including that of the Ganga basin. According to the groundwater atlas published by the Central Ground Water Board, the groundwater table in several regions across India is precariously low and as a consequence, becoming a source of flouride contamination, leading to severe health issues for the local populations (about 85 per cent dependent on drinking water and over 60 per cent dependent on irrigation).

Pollution from agriculture and the dumping of effluents and toxic wastes by industries and sewage by municipalities continues to pollute groundwater as well. Yet, water below ground is not a priority; it does not capture the same attention as the river Ganga. Treat them equal Thus, India is moving towards disaster, as water continues to grow scarce (with quantity remaining constant and quality deteriorating). While the reduction in quantity due to rise in population is causing water scarcity in several parts of the country, the reduced quality is not only furthering the scarcity, but also affecting health, agriculture, environment and the economy.

As India moves closer to 2020, it is time the government focussed on overall scientific management of rivers instead of falling prey to ancient myths and beliefs. There shouldn’t be this baseless prioritisation of rivers or groundwater. It is in India’s interest that the government realises the importance of eradicating river apartheid at the earliest. The writer is the deputy director of Central Water Engineering Service. The views are personal

- The Hindu, April 8, 2015

This Creative Commons-licensed piece first appeared at Climate News Network. Chennai—School textbooks in India have been telling children for generations that Rajasthan is an inhospitable state in the northwest of the country, constrained by the hot, hostile sands of the Thar Desert.

But the driest state in India has a softer, humane face as well—that of Rajendra Singh, known as the “Water Man of India”, whose untiring efforts in water conservation in arid Rajasthan have led to him being awarded the Stockholm Water Prize, commonly referred to as the Nobel Prize for Water. Singh did not attempt to design a new technology to address Rajasthan’s water problems. He began simply by de-silting several traditional surface level rainwater storage facilities—called “johads” in the local Hindi language—that fell out of use during British colonial rule. And, in doing so, he has quenched the thirst of villages that were dying.

Thousands of villages followed his example, and so much water was captured and soaked into aquifers that dry rivers have begun to flow again. Water wars Singh believes that water conservation is vital to combat the effects of climate change and to avoid “water wars” in the future. And such is his reputation on water issues that he received a call from Prince Charles, heir to the UK throne, seeking advice on how to handle the devastating summer floods in England in 2007.

In an interview with Climate News Network, Singh recalled how he began making water flow again in perennially dry Rajasthan by inculcating do-it-yourself initiatives in the villagers. He explained: “I imbibed Gandhian ideals during my school days that emphasised working for empowerment of villages. “As an Ayurvedic (traditional medicine system in India) doctor, I went to the Alwar district of Rajasthan early in 1982 to start a clinic and spread awareness among youth about health and hygiene.

“I was perturbed because the majority of young men had already left the village, and the rest were about to leave for green pastures in the cities as they were unable to battle the water scarcity. Besides, they also wanted to earn good money. “Women, old people and children were left behind in the village. I reworked my doctor plans to address the water scarcity, as that would actually save people from several diseases. A village johad in arid Rajasthan. (Image: LRBurdak via Wikimedia Commons) “Along with the support of the villagers, I de-silted a couple of johads in Alwar. When rains filled them, people in neighbouring villages trusted my initiative and over 8,000 johads are renovated now.

“Hordes of youth have returned to their villages as water filled tanks and the standard of living in hamlets rose in a big way.” He said that five rivers in this region had revived and started to flow again. Johads are simple tanks built across a slope, with a high embankment on three sides and the fourth side left open for rainwater to enter. They hold water during rains and recharge the aquifer below to ensure continuous water supply to the neighbourhood in the dry season. “Community-based water management yields long-lasting results and is the only solution for water shortages”

But Singh explained: “After the advent of bore wells and pipelines connecting every hamlet in India, we forgot the traditional water conservation facility used by our ancestors.” Having won the Stockholm prize, what does the future hold for the Water Man? “My immediate plans are to take up a global-level campaign on water conservation and peace,” he said. “As predicted by several experts, the next world war will be for water. Unless every one of us starts at least now to save water and protect the water bodies, we face severe conflicts ? apart from suffering climate change impacts. I will be leading the global water walk in the UK in August 2015.

“During his two visits (2004 and 2006), Prince Charles told me that he was impressed by the johad model of conservation. He then called me in 2007 to be part of his team of water engineers to work out all possibilities to address the crisis during the floods in England. They listened to my suggestions on creating the johad model on hilltops and downhill to arrest water in the hills and prevent floods in the future.” In India, however, he is not confident that the government has the right ideas. “Our government is pushing a different idea of inter-linking of rivers, which will only politicise the water crisis. I was part of the national-level body to clean up the holy Ganga River from 2010 to 2012, but I quit as there was lack of accountability and it ended up as a toothless organisation.

“Inter-linking of rivers is not a solution for flood and drought. As far as India is concerned, it will result only in inter-linking of corruption and politics. Hearts and brains “What we need is inter-linking of the hearts and brains of people to take up water conservation in their homes and community. If exploitation of river water and polluting the river are stopped, every river will flow. Water engineering should be focused on conservation of each drop, and not on changing the course of rivers, which are designed by Mother Nature.”

Singh is also against the idea of privatising water supplies, and does not believe it would result in people using water more judiciously. “Water is not a commodity,” he said. “In my own example, johads are de-silted by the people and used by people. Community-based water management yields long-lasting results and is the only solution for water shortages. “When people realise their need and de-silt lakes and ponds as a group, they can use the water without having to pay for it. Right to water is every man’s right, and monetising water will increase conflicts in the society.

“Helping a community to have access to clean and safe water means helping the community to have a dignified life.” Pramila Krishnan is special correspondent for the News 7 Tamil TV channel in Chennai, India. http://www.pramilakrishnan.blogspot.in/

- http://www.truthdig.com/, April 8, 2015

Lifestyles blamed for India’s pollution Indian Prime Minister Narendra Modi on Monday blamed the changing lifestyles that have come with India’s economic development for rising pollution levels that have given the country some of the world’s dirtiest air. With his government rolling out a new air quality index to 10 of the nation’s cities, Mr. Modi urged Indians to curtail waste and conserve resources even as they become wealthier, to prevent an environmental catastrophe.

“Until we focus on our lifestyle and get the world to focus on it, we will not succeed despite all other measures being taken,” he said. Air pollution kills millions of people every year, including more than 627,000 in India, according to the World Health Organization. Public helping track right whales Volunteer whale spotters are helping scientists track the right whales that migrate off Florida’s east coast. Volunteers helped tag one North Atlantic right whale in January. The tracking tag allowed researchers to follow the whale’s movements from the water’s off Florida to Cape Hatteras, North Carolina, and then farther north to the New England coast.

Scientists say right whales are difficult to tag because they do not have dorsal fins, used for tagging some other whales and sharks. But tagging is important for learning more about their migration patterns and directing ships and other maritime hazards around the whales. The National Oceanic and Atmospheric Administration lists North Atlantic right whales as “critically endangered.”

The whales were hunted nearly to extinction, numbering as few as 100 animals, before it became illegal to kill them in the 1930s. They now number between 450 and 500. Their biggest threats are ship strikes and entanglement in commercial fishing gear. Invasive shrimp eating rivals? There’s concern about cannibal shrimp along the South Carolina coast.

The state Department of Natural Resources is taking part in a regional study to determine if invasive tiger shrimp eat native shrimp. Tiger shrimp are native to Asia and are about twice as large as local shrimp. They were spotted along the coast as early as a decade ago but started turning up in larger numbers in South Carolina waters after Hurricane Irene in 2011. Biologists are asking commercial and recreational shrimpers to freeze samples of tiger shrimp they catch and take them in so their stomach contents can be checked. — ASSOCIATED PRESS Seaweed should spare Gulf Coast

In a lucky break for the Gulf Coast’s tourism industry, the masses of seaweed that plagued the area last summer seem to be turning toward the Caribbean and Mexico’s Yucatan Peninsula. The mats of Sargassum, now carefully tracked by a NASA app unveiled last week, drift in from the Atlantic on gulf currents. At a crossroads near the Yucatan Peninsula, the seaweed either turns toward the Texas coast or is swept back to the Atlantic Ocean, said Robert Webster, a marine science researcher at Texas A&M University at Galveston.

“Most of the Sargassum has made that right turn,” he said. “They are getting killed in the Yucatan.” Last year the seaweed took the Texas route, landing in volumes believed to be the largest inundation in history.

- http://citizensvoice.com/, April 8, 2015

Union Culture and Tourism Minister Mahesh Sharma Tuesday laid the foundation stone of a site museum - whose purpose is to provide better understanding of Mughal architecture - at the Humayun's Tomb complex here.

The foundation stone was laid in the presence of the Prince Karim Aga Khan, chairman, Aga Khan Development Network. "This is a classical example of synergy between the government and a non-profit organisation in preserving the heritage of the country and taking it to the world," said Sharma.

"This museum will be a recognition of cultural heritage of the country and help promote tourism," he added. As part of its urban renewal initiative, the Aga Khan Trust for Culture (AKTC) is building the museum on behalf of the Archaeological Survey of India. AKTC has undertaken conservation works on over 50 monuments in Delhi, including the restoration of Humayun's Tomb.

The ministry of tourism has pledged Rs.49 crore towards the construction cost of the museum, which will include a permanent exhibit, galleries for temporary exhibits, an auditorium for film screenings, a souvenir shop and a cafe.

Live demonstrations of building crafts such as stonework and plaster work, as well as other prominent Mughal crafts will be a permanent activity.

- http://zeenews.india.com/, April 8, 2015

A leisure port attracting high-end tourists; the promenade extending way beyond its current 1.5km stretch; beautifully restored heritage buildings; intelligent connectivity and the return of its long-lost beach. Puducherry of the future could well sport a dramatic makeover as a smart city with a heritage heart. With Puducherry emerging as one of the likely candidates to be selected as India's first smart city, a high-level French delegation discussed possibilities for collaboration with local experts as part of a larger plan for urban restoration.

"Prime Minister Modi is talking about developing smart cities and everybody is looking at Pondicherry in this context as well," said French consul general in Puducherry Philippe Janvier Kamiyama. While the final announcement will come after PM Modi's meeting with French president Francois Hollande, a two-day convention in Puducherry brought together French and Indian experts and civil society activists to "develop collaborative projects that can showcase what Pondicherry can be in a smart city avatar," added Kamiyama. France is eager to work with Puducherry not only because of old historical links but also because it has the necessary infrastructure and is small enough to manage as a pilot project.

The blueprint of the makeover includes various aspects of Puducherry's cultural and architectural character including heritage buildings, temples, transportation, waste management, water treatment, green energy, sea water erosion and urban planning. "These are areas where France has expertise and cities like Bordeaux and Toulouse could become Pondicherry's partner cities," said Ashok Panda, co-convener-INATCH, one of the experts who attended the workshop.

"We came up with some interesting solutions," said Jean Pierre Charbonneau, town planner, consultant and urban and cultural policies advisor, part of the visiting French delegation. "For example, it is possible to redesign the rocky promenade to allow the sand to start accumulating once again. That in turn can resurrect the beach. Also, a fishing harbour and leisure port can become another area for tourism and growth," he added.

The plan, said experts, is to decongest the boulevard town and develop Puducherry beyond the French and Tamil quarters. The blue print includes revamping marketplaces, squares, parks, gardens, the mangrove, the canal and even extend the promenade to decongest the city centre

- The Times of India, April 9, 2015

Capital's marble marvel Forget humans, the dirty air in the Capital is now taking a toll on even the iconic structures here. The architectural blossoming of the lotus at the Baha’i House of Worship in Kalkaji could be withering away under the expanding effects of pollution.

A petition filed in the National Green Tribunal (NGT) expresses concern over heavy traffic in the Nehru Place area harming the pure white marble marvel. It says vehicular emissions could be causing the building to corrode and turn grey, as well as the noise pollution disturbing meditators at the House of Worship, also famous as the Lotus Temple.

Petitioner Sanjeev Ailawadi, himself a lawyer, has impleaded in the petition being heard by the NGT on air pollution in the Capital. On Tuesday, the NGT ordered all diesel vehicles 10 years or older off Delhi’s roads. Ailawadi’s plea was accepted on February 25 and he made a presentation before the NGT bench headed by Justice Swantanter Kumar on Tuesday: “There is only one Baha’i temple in India. There is rampant illegal parking in Nehru Place and it must be stopped to protect the temple.”

Taking a toll Baha’i House of Worship general manager Shaheen Javed agreed. He told Mail Today: “I don’t have any scientific study to prove this but I have been here for 18 years and know that the polluted environment is taking a toll. We wash the temple every three months with plain water but I am afraid it may not be enough. “It is made of porous Pentelikon marble, imported from the mines of Greece, which was used in ancient monuments of Parthenon. They are also facing a similar air pollution problem in Parthenon. If you ask me what effect air pollution is having on this temple, I am sure it is the same as in Greece,” Javed added.

Indian National Trust for Art and Cultural Heritage (INTACH) Delhi chapter’s convener AGK Menon said: “We saw the same thing happen with Taj Mahal. Pollutants like sulphur dioxide and nitrogen dioxide, generated by both vehicles and industries, react with air moisture to form acids that eat into the marble and result in change of colour and even holes. We can only prevent further damage…but this process is irreversible.” Ailawadi’s petition states: “Nehru Place is one of the busiest commercial and business complexes in Delhi. It receives more than 1,30,000 persons every day but since it was not planned to accommodate such large numbers, the result is congestion and traffic chaos in the area.

“Currently, majority of parking demands at Nehru Place are met through unauthorised and illegal parking in vacant areas and on both sides of the roads. As a consequence, the situation becomes unbearable in the peak hours when vehicles idle on running engine for more than 30 to 45 minutes,” it adds, pointing to the unnecessary pollutants released in the air.

He appealed to the court to direct the municipal corporation concerned, DDA and the Delhi government to identify the places where multi-level parkings can be constructed to ensure against choking of roads that adds majorly to toxic vehicular pollution. “That would be the only way to protect a structure of such significance as the Baha’i temple,” said Priyadeep, a co-petitioner.

The structure is the last of seven Baha’i temples around the world. Opened in 1986, it has 27 free-standing marble petals and 21,000 metres of area in slopes and curves. It is among the most important cultural sites in Delhi, seeing an average tourist footfall of 8,000-10,000 every day. The temple stands at one of the most congested and polluted areas of Delhi - southeast - that has a number of small industries, slums and the large Okhla landfill nearby.

The Ring Road’s Nehru Place- Modi Mill stretch around the temple is used by up to 10,000 vehicles every day. Also, the Lotus Temple Road that leads up to the Baha’i House of Worship is rampantly used by autorickshaw drivers to park and ply their vehicles.

- http://www.dailymail.co.uk/, April 9, 2015

If adversity challenges us to be stronger than our pain, Eby N Joseph has been there and done that. Many times over. The Kerala based artist was diagnosed with cancer and has not just survived the disease but is now helping other survivors with the one gift he has always relied on to climb out of dark places. His art.

Eby is in Bengaluru to showcase the paintings from his latest series, Kerala to Porbandar. The theme is contextualised in the centenary celebrations of Gandhi’s return from South Africa and the show is on at Chitrakala Parishat till April 14. The show is Eby’s attempt to raise funds for palliative care for cancer patients. The question remains though, just how does one face a damning prognosis and go on living a life of creativity, compassion and gratitude?

Says Eby with moving simplicity, “I didn’t battle cancer. It was my doctor, VP Gangadharan of Lakeshore Hospital, Cochin, who did. I simply submitted myself to him to do whatever best he could do for me. I never felt terror or any of the negative feelings that usually are associated with cancer. I thought of it as just another disease that can be purged by a competent doctor. The process was painful and the treatment was highly expensive but many friends came to my help. After recovery, I felt that I have a moral obligation to repay my debt. Hence the establishment of the charitable trust, Art Can Care ( Art for Cancer Care ).”

Eby has always been a prolific painter and is known for the inexhaustible range of images he painted in his famous Kerala Darsanam series. He says, “After completing 1000 paintings in my series, Kerala Darsanam, the next step was Bharatha Darsanam. But then I realised that to understand India, one has to understand Gandhi. I began reading up on him and after extensive study of the material available on him, I set out to tour the places connected with him, and Porbandar topped my list.” The next step was the paint all the thoughts and stimuli crowding his mind and 24 paintings of his on various aspects of Gandhi’s life are now being displayed at the Gandhi Gramswaraj Gallery in Thrissur.

Says Eby, “This is the centenary year of Gandhi’s return from South Africa. And the second week of April has great significance in the history of Indian Independence struggle as it was on April 6, 1919 that Gandhi commenced his agitation against the Rowlatt Act. On April 13, 1919, the Jallianwala Bagh massacre happened.”

Eby’s work reflects the direct emotional appeal and simplicity of Gandhian philosophy and says the artist, “I am inspired by the simplicity and transparency in his life. He said, ‘My life is my message.’ And his lifelong commitment to truth and non-violence, his staunch sympathy for the common man never wavered. His message is even more relevant today as the socio- political arena is now more polluted and criminalised than ever before. The violence and conflicts have reached a boiling point. The only possible way out is to resort to Gandhian views and principles to the maximum possible extent.”

His own life too has bee tailored to weed out excess in any form. Art is now more therapeutic than a competitive vocation. Says Eby, “There is no room for any feeling of triumph when I paint. The more shows I have, the more mature I get as an artist and a person. The more humane and humble I become. I never feel that I am bigger than my work. I have done 42 shows so far but it is just a number. I still feel like a beginner.’’

Kerala to Porbandar Chitrakala Parishat Till April 15

- The Indian express, April 9, 2015

Stealing the show quietly in this year's Padma list were seven members of the Jain community. Barely 0.4% of the country's population, Jains have always punched well above their weight. In this year's Padma list, the community accounted for about 7% of the 104 awardees.

The community has scooped one Padma Vibhushan and six Padma Shris, covering a variety of fields including philanthropy, traditional and performing arts and administration.

The Jain community has always nurtured exceptional talent whether it is eminent scientist Vikram Sarabhai, who is considered the father of the country's space programme, or poet, thinker and spiritual leader Banarsidas who composed the magnum opus Ardhakathanaka, the first ever autobiography in Hindi literature.

Jains top the charts in literacy and work participation among males, the with figures significantly higher than the national average. For instance, the Jain community has the highest literacy rate at 94.1%, above the national average of 64.8%. The gap between male and female literacy is the lowest among Jains at 6.8% compared to the national average of 21% and work participation among males is also the highest at 55.2%.

So, it is no surprise that this year's Padma list includes Dr D Veerandra Heggade who has been awarded Padma Vibhushan while Rahul Jain, Ravindra Jain, Sanjay Leela Bhansali, Veerendra Raj Mehta, Tarak Mehta and Mitha Lal Mehta (posthumously) have been awarded Padma Shri.

Dr Heggade is a philanthropist and head of the Dharamsthala temple, assuming the mantle at the age of 20 years. He has institutionalized his charitable work, managing 40 educational institutions including colleges for ayurveda, naturopathy, dental, engineering, medical, law and business management. Dr Heggade has also worked for rural employment and skill development in partnership with public and private companies. His organization has worked in diverse fields ranging from sustainable energy, alcohol abuse and rehabilitation to preservation of the country's temples.

Former bureaucrats on the honour roll this year include the late Mitha Lal Mehta and Veerendra Raj Mehta. Director Sanjay Leela Bhansali, who has regaled audiences with films like 'Khamoshi', 'Devdas' and 'Black', is joined by music composer Ravindra Jain, known for his soulful compositions and bhajans. The blind artiste has been responsible for numerous commercially successful songs in films as well.

Contrasting with Bhansali's opulence is humourist Tarak Mehta's earthy wit. The eminent Gujarati humourist has written, acted in and directed many plays. The seventh recipient is Rahul Jain, a leading expert of the traditional textile arts of India. Currently working as an advisor with the Calico Museum of Textiles, Rahul Jain is India's most acclaimed design practitioner in the field of traditional brocade-weaving.

- The Times of India, April 9, 2015

Several American museums have begun returning possibly stolen artefacts to India in response to a major federal investigation into the activities of Subhash Kapoor, a dealer identified by authorities as having once run the largest antiquities smuggling operation on American soil. Last week, museums in Hawaii and Massachusetts handed federal officials a total of eight items bought from Kapoor's defunct business, Art of the Past, which was on Madison Avenue in Manhattan.

In October, the Toledo Museum of Art in Ohio returned a $245,000 statue that was bought from Kapoor in 2006. The museum's director, Brian Kennedy, said the institution was in talks with federal investigators about giving up another 63 objects.

"He certainly conned a lot of people," Kennedy said of Kapoor, who is awaiting trial in India on charges of trafficking in $100 million worth of stolen artefacts. Kapoor, 65, has pleaded not guilty. Another 15 American museums have been identified as holding items obtained from Kapoor, but many said in the interviews this week that they had researched their Kapoor holdings and were satisfied that their items were not stolen or that they wanted to see proof of illegality before returning the 500 or so objects in question.

Among those museums are the Los Angeles County Museum of Art, the Asian Art Museum in San Francisco, the Metropolitan Museum of Art and the Art Institute of Chicago. "The ones that could be suspect were looked into and at the moment we are convinced that they are OK," said Miranda Carroll, spokeswoman for the Los Angeles museum, which has 62 objects connected to Kapoor. Tim Hallman, spokesman for the San Francisco museum, which has four Kapoor items, said: "We don't believe any of the objects are a particular problem and no official claims have been made on any of them."

The federal investigation, Operation Hidden Idol, began in 2012 with raids on Kapoor's gallery and on several warehouses and other locations where he stored Indian antiquities. Officials with Immigration and Customs Enforcement and Homeland Security Investigations, which are jointly directing the probe, said they had seized tens of millions of dollars worth of objects that they believed were looted from ancient temples in India.

In addition, the Manhattan district attorney's office, working with the investigators, has prosecuted Kapoor's sister; a woman identified as his girlfriend; and the longtime manager of his gallery on charges related to the artefacts. The manager, Aaron Freedman, pleaded guilty in December 2013 to six criminal charges and is said to be cooperating with the authorities.

Investigators are still searching for four intricate bronze sculptures representing Hindu deities, together valued at $14.5 million. According to court papers, the investigators believe the sculptures were hidden by Kapoor's sister and girlfriend after federal agents began raiding sites associated with the gallery owner in Manhattan and Queens in 2012.

At the time of the raids, investigators appealed to American museums to review the provenance of any objects sold or donated to them by Kapoor. Until last week, only one item from an American museum, a bronze sculpture of Ganesha from the Toledo museum, had been turned over.

But last week the Honolulu Museum of Art and the Peabody Essex Museum in Salem, Massachusetts, returned eight items. The Peabody Essex handed over a mid-19th-century portrait bought from Kapoor in 2006. The Honolulu museum gave back seven objects, including Buddhist relics and figurines obtained from Kapoor between 1991 and 2003.

"Having Kapoor's name on an item means it smells bad enough for us to get rid of it," said Stephan Jost, director of the Honolulu museum. "We wanted to send a really clear signal that owning tainted art is not part of our mission." Stephen K. Urice, a professor at the University of Miami School of Law and an expert on museums, said the recent return of Kapoor-related items - even those that might have legitimate paperwork - "sends a powerful message" to other museums.

Such institutions, he said, are under increasing pressure to clear their collections of antiquities obtained from dubious dealers or that lack proof that they were neither looted nor funnelled through the black market. "It is conceivable that they obtained pieces that are not troubled," he said. "But the other museums have set a great example of what leadership is all about."

- The Telegraph, April 9, 2015

To counter persistent scarcity of rainfall, the Indian tea industry is gearing up to embrace comprehensive water management with the help of Israeli expertise. : To counter persistent scarcity of rainfall, the Indian tea industry is gearing up to embrace comprehensive water management with the help of Israeli expertise. “Crop shortfall due to rainfall scarcity has become a major issue in the tea industry,” Indian Tea Association (ITA) Secretary General of M. Dasgupta told PTI.

Irrigation is becoming an important factor because of which an Israeli firm had been asked to make a presentation before industry captains, he said. Netafim, an Israeli firm, has shown interest and would be making a presentation soon on comprehensive water management ranging from micro-drip irrigation to rain water harvesting, the ITA official said.

There was no rainfall in tea gardens from October to March. He said this was causing stress in the existing bushes and also giving a slow start to the new season owing to lack of moisture. Dasgupta said that the re-plantation exercise which almost all tea gardens were carrying out has come under threat.

To start with, the association has picked 10 gardens located in North Bengal, Cachar and Brahmaputra Valley for a comprehensive water management programme on trial basis to be funded by Solidaridad, an NGO. Depending on the results, the programme would be extended to other gardens as well.

He said that the industry would then approach the Tea Board for funding as the 12th plan had approved schemes for water management. Till mid-March 2015, production of tea in Assam Valley, Cachar, Dooars and Terai was already down by 5.85 million kilos over the same period last year. – PTI

There was no rainfall in tea gardens from October to March This is giving a slow start to the new season due to lack of moisture Netafim, an Israeli firm, will do a presentation on water management

- The Hindu, April 9, 2015

UNESCO, which declared the Taj Mahal a world heritage site, is keeping a close watch over the discoloration of the monument of love's white marble. In an exclusive interview to TOI, UNESCO director general Irina Bokova said her organization has reviewed several reports of the Taj tilting and turning yellow due to environmental pollutants and is keeping a sharp eye on the monument's upkeep.

Bokova who is a great fan of the monument and has visited it twice - once before becoming the director general of UNESCO and once after, told TOI "we are keeping a close eye on the conservation status of the Taj Mahal. We have a regular reporting system on the state of Taj's conservation". Ms Bokova however added "we don't have any specific information as of now on a serious threat to the monument. Should there be any specific change or damage to the monument, our world heritage centre will be alerted by the reporting system and we will take steps. We make regular visits to the Taj to check it conservation status and observe if the white marbles are getting discoloured".

Bokova was also praise for the Taj and told TOI "It is such a unique world heritage site. A real masterpiece which is not just a symbol of love but of human genius and creativity". Designated a world heritage site in 1983, Taj Mahal attracts over three million people a year. A recent report had said that particulate carbon and fine dust particles that are deposited on the marble have been responsible for the monument's browning. A study sad particles larger than two micron in size cause the discoloring.

Talking about the Taj, UNESCO says "An immense mausoleum of white marble, the Taj Mahal is the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage. The existence of several historical and Quaranic inscriptions in Arabic script have facilitated setting the chronology of Taj Mahal. For its construction, masons, stone-cutters, inlayers, carvers, painters, calligraphers, dome builders and other artisans were requisitioned from the whole of the empire and also from the Central Asia and Iran".

It adds "The Taj Mahal is considered to be the greatest architectural achievement in the whole range of Indo-Islamic architecture. The Taj Mahal is a perfect symmetrical planned building, with an emphasis of bilateral symmetry. Taj Mahal represents the finest architectural and artistic achievement through perfect harmony and excellent craftsmanship in a whole range of Indo-Islamic sepulchral architecture. It is a masterpiece of architectural style in conception, treatment and execution and has unique aesthetic qualities in balance, symmetry and harmonious blending of various elements".

- The Times of India, April 11, 2015

Many of us Chandigarhians have lived in this city for years and yet never visited Capitol Complex. So, here is your chance to get up, close and personal with the creator's architectural wonders on April 18, celebrated as Unesco World Heritage Day.

Join us as we take a walk of the Secretariat, High Court and Assembly buildings with former principal of the Chandigarh College of Architecture Rajnish Wattas as he unravels the wonder of our own heritage. When: April 18 Where: Starts from Tourist Information Centre, Capitol Complex Time: 9 am

To join the walk, write to us at [email protected]. Mention 'heritage walk' in the subject line. (Limited places available)

- The Times of India, April 11, 2015

The art scene in Delhi is very exciting and ever-evolving. The city over the years has become an important centre for art activity. It has had a very rich cultural past, and has grown from a city of history to a capital of modernity. The spread of the city with its nice wide roads and with its blend of historic monuments and contemporary spaces make Delhi an inspiration for the artists. I wish Delhi provides its artists public spaces to show their creativity and give space for outdoor sculptures and installations which would have a more embracing accessibility to all.

This way the artists could spread their message and happiness to more people, and make their art generously reach out to one and all. dichotomy in the what and how the Indian contemporary artists bring out in their expression. Even in this increasingly modern time of abstract juxtaposition of colours, or in quirky installations, the grand discourse of ‘Indianness’ is incredibly held dear. And that, I feel, is the specialty of the society of our times—each artist upholds the spirit of India—the essential warmth that we are renowned for.

As already mentioned, Delhi is the cultural centre of the nation. It breeds art and artists, and by artist, I mean visual, performing, vocal—all kinds. If we look around, we will find an orchestra of the classic and the new, casually essayed over the cityscape. Centres like Lalit Kala Akademi, Sangeet Natak Akademi, Triveni Kala Sangam, India Habitat Centre and India International Centre are always buzzing with cultural activities. Besides this, the city is vibrant with various art and culture festivals, thus making the atmosphere very exciting. The Delhi art scene makes me very happy and proud, and urges me to believe that an opportunity should be created for art to be made visible in public spaces. I wish that in due course of time, the city will have artistic creations installed in various public areas, including metro stations and public buildings, thus making Delhi a visually-rich city.

To add further to the present scenario, I feel we could have a festive arrangement of interaction of various art forms together. These days we are stuck to the monitor, be it TV, computer, or phone, and mostly inside four walls. How nice it would be to be caressed by nature and human touch instead. If I as a visual artist listened to a dancer speak about her art, the details of her taal, mudra etc., it would inspire and encourage me, and vice versa. The same in case of a dialogue between, let’s assume, an author and an actor. It would be immensely enriching to have such a stage where there is free exchange of different creative ideas. I feel that confluence of creative activities will further enrich Delhi cultural’s atmosphere.

I am extremely delighted to be a Delhiite and part of its art scene and will be happy to further contribute to its growing cultural heritage. The author is a contemporary artist, famous for her work with watercolour.

- The Indian Express, April 11, 2015

It’s kind of comical to see how instantly Mohit Sameer Mehta’s face registers anger when a reckless motorist cuts in front of his car hastily, and a few metres down the road, a cyclist refuses to give any indication before changing lanes.

It’s funny because Mehta gets annoyed as quickly as he cools down, and then promptly goes back to getting irritated. Mehta, the Director at the National Ballet and Academy Trust of India (NBATI), has learnt to deal with such minor disturbances the city throws at him from time to time. They, in a way, prepare him for the bigger challenges of life. Safe to say, he has learnt his lessons well.

An English literature student, Mehta has no formal training in ballet. He owes all his knowledge to his friend and apartment mate who he studied with in college at the City University in New York. “She’d been learning since she was a child. I was so inspired by her technique that I began to invest a lot of time learning from her. I must say, she was really good at what she did, and as uncanny as it may sound, she always reminded me of people back home, in Delhi, who just like her were always extremely obliging when it came to extending a hand of help. I’ve come to value such men and women, and through my institution, I try to uphold these finer values of being a human being,” he says.

NBATI, the city’s first classical Western ballet school, has conducted lessons for close to 400 students, from children aged 2.5 years to adults, since its inception in 2002. For the director, there’s nothing better than seeing the kind of aspirations some of these children and their families come with to the sessions.

More than anything else, Mehta believes that it’s seeing his students grow into graceful dancers, who know their techniques well. It makes a mentor like him most proud. “It’s remarkable that more and more people want to learn different dance forms and harbour dreams of becoming professionals. They’re learning that the field of dance is an ever-expanding one and it has the potential of turning around an individual’s personality for the better,” he says, adding, “I’ve not seen this kind of enthusiastic spirit to get trained in the performing arts anywhere except in Delhi,” he says.

Delhi has a lot of people with an innate desire to work hard. While, that could be true of people from most places, Mehta believes that the way people toil here is quite distinct. “Being in a metro city makes you extra diligent. You have to be hard-working because there’s competition at every step. But the city is competitive in a good way, since it gives you a sense of purpose and a sense of achievement,

if you succeed, instilling confidence and faith in your own abilities,” he says, adding, “Living here has certainly made me work harder. I am forever thinking about ways of improving the facility, taking on more students and increasing the faculty to keep our standards of dance education high. I have to however say, I’ve never regretted spending extra hours at work, since each moment of earnest effort has always found recognition; one that’s mine to cherish for the rest of my life.”

- The Indian Express, April 11, 2015

Cycling Yogis has drawn up elaborate plans to celebrate its third anniversary.

Cycling Yogis, a Chennai-based cycling group that organises regular heritage rides around the state is turning three on April 24. To celebrate the third anniversary and World Heritage Day, they are organising a ride till Dakshinachitra on April 19.

“We chose Dakshinachitra because it celebrates the culture, art, architecture, lifestyles, crafts and performing arts of South India. The ride will start from Santhome Inn located on Santhome High Road at 5.00 am. We will ride through Adyar, OMR, to reach the finishing point. We will also halt at Muttukaddu during the ride for an interactive session about the heritage of Buckingham Canal,” says Ramanujar Moulana, founder of Cycling Yogis.

Usually, these rides consist of sessions where the organisers talk about the history of the places and the monuments. This time, they get to enjoy the experience at the culturally-rich Dakshinachitra. “The program will include a tour of the heritage museum and the participants will also get to see folk performance,” he says. They will arrange for a small video presentation about Cycling Yogis. “We are also releasing a customised stamp of R. Sundararajan, who is a role model for many. This, according to us, was a perfect way to honour someone who has been promoting cycling all his life,” he says.

On this day, they will launch the ‘Cycle to Work’ campaign, which will be spearheaded by Sharad Nambiar, chief operating officer, Dakshinachitra. “He is a resident of Tambaram and cycles to work every day. We will utilise the stage to promote the concept. We will encourage the group members to do the same,” says Ramanujar. Hemant Kumar Sinha, Sports Secretary, Government of Tamil Nadu, will be the chief guest at the event. After the event, participants will be brought back with their cycles. Registration is mandatory and the ride is free-of-cost.

> - The Hindu, April 11, 2015

Some broken terracotta potteries and small balls, estimated to be dating back to 1500BC-1000BC, have been discovered during digging of a road stretching from Bihar State School Examination Board (BSEB) building to the corner of approach road of Sinha library. This has surprised the archaeologists here.

An archaeologist said a passer-by noticed some old terracotta material dumped in the soil dug and informed them on late Saturday evening. A four-member technical team headed by deputy director, Bihar museum, Sunil Kumar Jha visited the spot on Sunday, collected some of the artefacts and brought them to Patna museum for further study. The other three team members were Shankar Suman, Shankar Jai Kishan and Shiv Kumar Mishra.

Jha told TOI: "In the preliminary stage, we can say that these terracotta findings date back to 1500-1000BC. We will soon submit a preliminary report to the state directorate of archaeology for necessary action." He did not rule out the possibility of their link with the ancient Patliputra. "Similar terracotta potteries, balls, animal figurines and beads were found during the demolition of the old Dak Bungalow and construction of the present-day Loknayak Bhavan, and piling work of Mahatma Gandhi setu," he said.

The discovery of Mauryan period artefacts prompted the Archaeological Survey of India to conduct excavation at the Dak Bungalow site in early 1990 but the work was discontinued due to seepage of water after about a month. On the basis of pottery and other findings, the site was dated back to the Mauryan period, the ASI journal said.

Some of the artefacts found at the old Dak Bungalow site are kept at K P Jayaswal Research Institute. No further study has been done to ascertain the historicity of the site, said an official.

- The Times of India, April 12, 2015

Nagercoil Chapter of the Indian National Trust for Culture and Heritage (INTACH) has urged the government to maintain the heritage building ‘Chathram’ in Ozhiginasery here.

R.S. Lal Mohan, district convenor, INTACH, told The Hindu that the heritage building was constructed by the then King of Travancore, Sreemoolam Thirunal, during the 19th century for security men to take rest at times of peace.

The building has a peculiar architecture with domes on two sides with a watch tower and a ‘Chank’ mark on the front top of the building. The building was raised on strong stone pillars with the Madras Roofings and wooden reapers. However, the building was in a bad shape with vegetation grown on its walls, broken windows, beams and railings. Besides, the walls had been covered with fungus, posing danger to the occupants.

“During the Quit India Movement, many freedom fighters were lodged here, as it was used as police outpost then,” recalled Dr. Lal Mohan. It was for the government to protect the building from further damage without affecting the colonial architecture, he urged. Now, the building was occupied by the Office of the Inspector, Economic Offences Wing, and the Deputy Superintendent of Police, Forensic Department of the District Police.

Meanwhile, police officials working from this building told The Hindu that a new building was being constructed near the office of the Superintendent of Police, and they would be shifted there as soon as the works were over.

However, the backyard of the building had turned a haven for antisocial elements after dusk, as a number of liquor bottles were seen strewn around the building, sources said.

- The Hindu, April 13, 2015

With piped water supply going completely haywire in Balangir district, people here are facing one of the worst water crisis ever. While ground water level has decreased in Bongamunda, Saintala, Khaprakhol and Gudvella blocks, the situation is no different in villages under Lathore and Sindhekela gram panchayats where most of the ponds and rivulets have dried up. Some of these dried up water bodies are river Lanth in Belpara, Arjuni Nullah in Bangomunda and river Rahul in Gudvella. Many of the villagers are yet to get piped water supply connections, making things worse.

For 400 households in Kapilabhata village under Bangomunda block, there are just two tubewells to meet the water requirement. Similarly in Dharuakhman village under Belpara block, the lone tubewell does not suffice. Women have to walk till outskirts of the village to collect water from a nullah. Goutam Bag, a resident of Bhalukuna village in Turekela block, said they are facing water scarcity as most of the water bodies have dried up and there is only one tube well in the village. Executive Engineer of Rural Water Supply and Sanitation (RWSS), SC Mahanta said defunct tubewells are being repaired to solve water crisis and if the situation prevails, water will be supplied to the villagers by tankers.

At Balangir town, water scarcity has become a common feature during summer. The town with a population of more than one lakh, often faces acute water scarcity due to irregular water supply by the existing piped water project. The project supplies water to the town from river Mahanadi in Sonepur. Tikrapara, Malpara, Rameswar Nagar, Talpali Para, Radharani Para, College Chowk, Shanti Para, Sudpara, Mahalaxmi Nagar and Railway Station Road of Balangir town are the worst hit during this time of the year.

Sources said the town has a demand of 13 million litre per day (MLD), but the PHD supplies just nine MLD. There are around 2000 legal water connections in the town. Apart from the piped water project, locals depend on stand posts in the town and water is also supplied by the Municipality through four tankers daily.

- The Indian Express, April 13, 2015

The only Jewish synagogue of Gujarat, the 81-year-old Magen Abraham Synagogue at Bukhara Mohulla in Khamasa in the Walled City, now has the state archaeological department's nod to be included in the city's heritage list. The list has been prepared by heritage and conservation committee and INTACH for the Ahmedabad Municipal Corporation (AMC). In a letter written by the director of state archaeology Y S Ravat, to the heritage cell and the municipal commissioner, Ravat has suggested that the synagogue be included in the category of heritage buildings.

The letter was in response to the representations made by the Bene Israel Jewish community, highlighting issues related to encroachments at its entrance and security of the small 139-member Jewish community. "During important state events we have high profile guests of government of Israel coming to this temple. Though there is a SRP point, the recent clutter of residential apartment buildings around the synagogue has raised security concerns after the Mumbai 26/11 attacks," says Sahitya akademi award winner Esther David.

This synagogue belongs to the Bene Israel Jewish community of Gujarat and was consecrated on September 2, 1934. Before, it was built, there was a small prayer hall near Pankornaka in the Walled City. This synagogue has an Indo-Judaica architectural form and old religious artefacts. It has Grecian pillars, a triangular roof, a high ceiling; artistic grills, stained glass windows and chandeliers which lend an ethereal glow.

- The Times of India, April 13, 2015

The krithis of Muthuswamy Dikshitar are complex — be it to sing or to dance to. They contain themes ranging from social, mundane, spiritual to astrology and astronomy. He has several samudaya krithis (sets of krithis) to his credit. His compositions abound in metric and rhythmic varieties.The artiste fraternity and scholars have been exploring Dikshitar’s krithis from several points of view.

A dance exposition held on last Friday at Seva Sadana, Malleshwara titled Panchabhutalingam under the aegis of Sadguru Sri Thyagabrahma Aradhana Kainkarya Trust was led by the patron of culture and art Radhakrishna and a dance promoter and consultant Usha R.K. Usha, who has been appointed as member, secretary, Intangible Cultural Heritage, Ministry of Culture, Government. of India deserves to be commended for her efforts to promote dancers.

Panchabhutalingam refers to the Lord as an embodiment of Panchabhutas or five elements such as Prithvi (Earth), Aapa (water), Tejas (Agni or Fire), Vaayu (Air) and Akaasha (Ether or space). The most venerated vaggeyakara of the Musical Trinity fame Muthuswamy Dikshitar in his stunning Pancha bhuta stala krits not only portrays the sthalapuranas (tales and importance of the land) of five distinct temples located in various places of Tamil Nadu but also highlights the spiritual greatness of each Linga installed therein.

The mentor of the programme Usha and the dancer-choreographer Poornima Gururaja did extremely well in selecting the five krithis such as Anandanatana Prakasham (Kedara raga), Sri Kaalaahastheesha shritajanaavana (Huseni raga), Jambupathe maam paahi (Yamuna Kalyani raga), Arunachala Natham smarami anisham (Saranga raga) and Chintaya maa kanda moolakandam (Bhairavi raga; Prithvi tatva or earth) which had reference to five elements (five bhoothaas that are vital to creation) in them.

Chintaya maa kanda explains Lord Shiva as Somaskanda (as the trinity of Shiva, Uma and Skanda) enshrined in Kanchipuram. He is revered as a representation of the element earth which is the first of the Pancha bhootaas. Shiva is eulogized as the Prithvi Linga in the madhyama kaala sahitya of the composition.

The second tatwa of the five elements, that is the water (Aapa), is attached with the Linga through the Yamuna Kalyani krithi Jambupathe maam paahi. Lord Shiva is worshipped as Pancha bhoota maya prapancha Prabhu. The line “Taapopashamana ambudhi Ganga Kaveri Yamuna kambu” (He is of the form of water, the great ocean and the rivers such as Ganga, Kaveri, Yamuna) underscores this point. Lord Shiva at Tiruvannamalai enshrining the element of fire (Teja) is described in the krithi Arunachala Natham set to Saranga raga. He is referred to as 'Tejomaya Linga' (a fiery Shiva Linga). Shiva as 'Vayu Linga' is interpreted in the Huseni krithi Sri Kalahastisa. The element 'air' as one of the five elements is referred in the line sameeraadhaara (the basis of the element air).

The fifth and the last of the Pancha bhootaas, ‘Aakaasha’ is attributed to Shiva Linga at Chidambaram in Kedara krithi Ananda Natana Prakasham (bhukti mukti prada daharaakaasham) He has been described in the form of the yogic space. These inputs were captivatingly visualized by the choreographer Poornima Gururaja and a set of accomplished dancers. Young vocalist G. Ravikiran sang marvelously.It was good to see the various rhythmic intricacies (which is a commonality in Dikshitar krithis) in the form of tala, beats and speed variations being explored to the fullest extent for attractive nritta components.

This certainly broke the possible monotony that might have otherwise crept in. The dancers Dr. Sowndarya Srivathsa (Prithvi---earth), Gowri, Sneha, Adithi, Prithvi and Sowndarya (Aapa, water), Surya Rao (an apt selection of a male dancer for Agni, fire), Radhika Ramanujam (Vaayu, air) and Jai Quehaeni (Aakasha, Ether, space) proved their nritta, nrithya and abhinaya capabilities. Young vocalist dazzles Young vocalist Ramakrishnan Murthy accompanied ably by Charumathi Raghuraman (violin), Patri Satish Kumar (mridanga) and Giridhar Udupa (ghata) dazzled in his recital for Sri Seshadripuram Rama Seva Samithi during Sri Rama Navami celebrations.

He opened with the popular Bhairavi ata tala varna and followed it with Samaja Varada crowned with scintillating swaras. Appropriate to the day (Wednesday), he sang Dikshitar’s krithi on Budha (Budhamashrayami in Nattakuranji raga, though he seemed to have missed something in it. An excellent Todi was served for Dachukovalena and its beauty was furthered in the form a solid alapana, neraval and swaraprastara. He kept intact the bhaava. Ramanama payasake was sweet on the ears.

Raga, tana and Pallavi in Begade with tana and swaramalika was the highlight of his recital. The ragaalapana proceeded in two phases. The manner in which he transitioned from one raga to the other was simply remarkable. The good team work and understanding between the main artiste and the accompanists was praiseworthy. Ramakrishna allowed the violinist Charumathi to render her own choice of ragas during the tana malika. The pallavi line Lokavana chatura maam pahi in two kalai chaturashra triputa tala was manipulated with a rich manodharma.

The swaras were also featured in the same ragas of tanamalika (Begade, Gowla, Shahana, Shanmukhapriya, Suruti and others). Though the rendition of two tani avartanas was a surprise treat, the second one for adi tala tended to be long drawn. Rangapura vihara was moving. Before he wound up his concert with a tillana, he sang a refined shloka in ragamalika.

- The Indian Express, April 13, 2015

Restoring Maluti's terracotta temples in Dumka has been a priority for renowned bureaucrat-turned-conservationist S.K. Mishra much before the tableau inspired by them earned Jharkhand its Republic Day glory this year.

Now 83, the 1956-batch IAS officer had been close to Prime Ministers Rajiv Gandhi and Chandrashekhar and principal secretary to three Haryana chief ministers, among other plum postings. But, the top bureaucrat's passion is conservation, undimmed despite his advancing years. One of Indian National Trust for Art and Cultural Heritage (Intach) founding members, he set up Indian Trust for Rural Heritage Development (ITRHD) in 2011, which he currently chairs.

Fascinated by Maluti's terracotta temples, which Mishra calls "exquisite", he met chief secretary Rajiv Gauba on April 10 to work on a plan for their conservation and restoration.

"The temples are exquisite works of art and need conservation and restoration," he told The Telegraph in an exclusive interview on April 11 at the Khukri guesthouse in Doranda. "Much before Maluti got feted (read: terracotta tableau earned the state second prize at Republic Day parade), we at ITRHD have been trying to work out a plan for its conservation. In 2012, during chief secretary R.S. Sharma's tenure,

we had worked out exhaustive plans and got US-based Global Heritage Fund, Tatas and CCL to agree to part with funds for the project. But, nothing moved at the state government level here. I kept on writing several letters but got no reply. At this moment, we are working in six states, but Jharkhand is the only one where we have not made any headway," Mishra said. So how was the meeting with chief secretary Gauba on Friday?

"He assured us of support this time. A committee with (state) officials of art and culture and tourism secretaries along with one of our representative has been formed to work out further action plans. We have demanded an initial state share of Rs 6 crore for work to begin in phases," Mishra said. He stressed that there was no time to lose. "Terracotta temples are unique. Of the over 100-plus structures, around 60 exist today that can still be restored. So, there has to be some urgency," he said.

He also urged the government to think of the big picture. "Restoration only can't help. The whole area has to be developed as a tourist and cultural zone. Famous pilgrim site Tarapith (in Bengal's Birbhum district) is close by, but there is no proper road connectivity from Maluti. Along with restoration, creating tourism infrastructure will be the key to giving Maluti temples their rightful place," he said. So if all goes well, how long will Maluti take time to become international tourist hub? "A minimum of five to seven years is required provided there are no bottlenecks," he said.

How did he get interested in art, culture and conservation? "I was posted at the Centre as the secretary of art and culture in the 80s. Then, we introduced a concept called Festivals of India where we promoted our culture in US, France, Japan and many more. I was the director general of these programmes. Intach too was formed during this time and I was a founding member." Though Intach became a global brand over the years, Mishra said he realised it got restricted to urban areas.

"There is a need to address rural pockets, not just for conservation but for overall development and preservation of culture, related cuisine, practices, buildings. That's how we began ITRHD in 2011 with top brains of the world working in tandem," said the man who has been instrumental behind setting up the National Institute of Fashion Technology and the renowned Surajkund fair. Ever affable, he promises his memoirs "soon" and relates a humorous anecdote.

"When Bhajan Lal became Haryana's chief minister, he appointed me as his principal secretary, but Morarji Desai wanted him to remove me. Bhajan Lal asked me what should I do, I said please remove me, so he told me to take a department of my choice. I said give me Scheduled Caste, tourism and art and culture. But, Lal Singh, who the SC minister then, had been my peon once. So, when I went to office, he sat on the floor with folded hands. It was embarrassing, but every time he saw me, he would fold his hands and sit on the floor. I had to ask the CM to remove me from the department."

What was it like being the bureaucrat for top names of the nation? "Let me put it this way. I worked with many politicians, many of whom were each other's foes but loved me," Mishra smiled.

- The Telegraph, April 13, 2015

Governor Kalyan Singh congratulates people on Himachal Day

Father of the Indian Constitution Babasaheb BR Ambedkar was an archangel for the poor and downtrodden and fought for equal rights of both men and women, particularly the Dalits.” Chief Minister Virbhadra Singh said this today while paying floral tributes to BR Ambedkar on his 124th birth anniversary at Ambedkar Chowk, Choura Maidan.

Others who paid tributes to the architect of the Indian Constitution were IPH Minister Vidya Stokes, BJP MLA Suresh Bhardwaj, Mayor Sanjay Chauhan, former MLA and Vice-Chairman, Water Management Board, Harbhajan Singh Bhajji, DC Dinesh Malhotra and PR Director MP Sood. Meanwhile, Governor Kalyan Singh and CM Virbhadra Singh congratulated people on the occasion of the 68th Himachal Day. The Governor said Himachal, known as Dev Bhoomi, was blessed with immense natural beauty and rich cultural heritage.

Celebrations in Nurpur Nurpur: The Bahujan Samaj Party (BSP) celebrated the 124th birth anniversary of Dr BR Ambedkar at Rehan near here on Tuesday. The party had organised a state-level Ambedkar Jayanti Samaroh, where ML Tomar, UP MLA and state BSP in charge, presided over.

The chief guest paid floral tributes to Dr Ambedkar and lit candles. He exhorted people to follow the footsteps of Ambedkar. Vijay Nayyar, state BSP president, who also addressed the gathering said the Virbhadra Singh government had failed in undertaking a balanced and equal development of the state as it had been carrying out development activities only in selected Assembly constituencies. State BSP vice-president Vijay Bahri and general secretary Dr Om Prakash Chowdhary were also present on the occasion. Ambedkar remembered

Hamirpur: It was the Constitution of India that brought prosperity in all sections of society and led India to be world power. Chief Parliamentary Secretary (CPS) Inder Dutt Lakhanpal said so at a function organised by Himachal Pradesh Scheduled Castes and Scheduled Tribes (SC/ST) Employees Association to celebrate the 124th birth anniversary of Dr BR Ambedkar here today. He said the contribution of Dr Ambedkar could not be ignored and would be remembered for ever. Prem Kaushal, Chairman, APMC, Kuldeep Pathania, Vice-Chairman, KCC Bank and Suneel Sharma, member, Private Institutions Regulatory Commission, were also present. Harmony Day in Mandi

Mandi: The district unit of the Bharatiya Janata Party today observed the birth anniversary of Dr BR Ambedkar as Harmony Day at Maigal in Drang area of the district. The function was presided over by district Scheduled Castes cell president Manohar Lal, while district president Jawahar Thakur and Drang block president Mohan Lal were also present.

After paying floral tributes to Dr Ambedkar, Jawahar Thakur said Dr Ambedkar throughout his life fought for the eradication of social and economic inequality and discrimination so that the suppressed Dalits, poor and women could take benefit from the laws incorporated in the Constitution. Dr Ambedkar made several provisions in the Constitution for the equal development of different sections of society, he said.

- The Tribune , April 14, 2015

An internationally acclaimed Madhubani painter Baua Devi, 70, of village Jitwarpur in Madhubani district made Bihar proud when PM Narendra Modi on Sunday presented her artwork to the Lord Mayor of Hannover. Baua Devi took 11 days to complete her painting on canvas which depicts various stages of life, nature and the interconnection between nature and life on earth.

The art of Madhubani paintings was pioneered by Baua Devi after whom her company has been named. Baua's company has been exporting Madhubani paintings worldwide. Her work has been widely exhibited in France, Japan, Germany, Spain, England and the US. She received the national award in 1984. She was also awarded by Japan government in 1994 and from Haryana tourism in 1996. Baua's son Amaresh Jha told TOI over phone from New Delhi that she had made this painting last year on a 6x4 canvas. It was sold to a New Delhi-based store, 'New Earth Gallery' for Rs 77,000.

A jubilant Jha said it is a matter of pride for Bihar in general and Mithlanchal in particular. It is a great honour to a painter by PM Modi. "My mother is one of the oldest and renowned manufacturers, distributors and exporters of Madhubani paintings," Jha said. The painting is done with fingers, nib-pens and matchsticks, generally using natural dyes and pigments and is characterized by eye-catching geometrical patterns.

A group of traditional Madhubani painting artists still reside at Jitwarpur and Ranti villages. Baua's style is notable for combining exquisite craftsmanship, dynamic yet austere compositions, and brilliant colour. The painting was traditionally done on fresh plastered mud wall of huts but now it is also done on cloth, handmade paper and canvas.

Another acclaimed Madhubani painter of Ranti, Raj Kumar Lal, said Baua had showcased her skill last year along with 99 other painters here at the invitation of the state culture department which has also brought out a directory of artists. A famous German writer, Albrecht Frenz, had published a book, Madhubani Bilder (pictures), after staying for nearly a month at Baua's place in 2005, Jha said. He has written about her beautiful artwork.

Much of the colour in her work is actually done by her husband late Jagannath. Besides painting the 'nag kanya', Baua's imagery includes scenes from folk tales and Hindu myths, images of gods and goddesses, and religious symbols such as Shiva lingam. Baua still lives at Jitwarpur, the village where she was born.

- The Times of India , April 14, 2015

With a view to address water scarcity problems in future, the Maharashtra Navnirman Sena (MNS) called on Nagpur Improvement Trust (NIT) to make rain water-harvesting system mandatory for every new house or scheme within city's jurisdiction.

A delegation under party vice-president Hemant Gadkari recently met NIT chairman Shyam Wardhane and submitted a representation in this regard while citing shocking observations by noted water expert Rajendra Singh, who toured some areas Vidarbha and Marathwada recently. A release by MNS informed that Wardhane responded positively to the MNS demand.

Gadkari warned that Nagpur too would suffer similar drought like Marathwada and may turned into a desert if steps were not taken now to save the precious water. He said in many parts of drought-hit regions, there water was inaccessible even after boring till thousand metres due to depleting levels and imbalance in the environment.

He lamented that rules regarding rain water-harvesting system were in place, but civic authorities didn't pay attention to it. The MNS had earlier submitted similar representation to Wardhane's predecessor, but it didn't move further. The party was making efforts in this direction since last couple of years by meeting with various local leaders and apprising them of the lurking dangers.

- The Times of India , April 15, 2015

When ACAP Humber Arm set out to test the quality of fresh water bodies around the Bay of Islands and Humber Valley, the purpose was to make sure everything was at the standard expected for the area. Eleven months later, thetesting is complete and the results are favourable.“There’s nothing out of the ordinary,” said Greg Moore, ACAP’s research manager on The Freshwater Quality Monitoring, Bay of lslands and Humber Valley project.

ACAP undertook the study in partnership with the Community University Research Alliance (CURA) H20 Wet-Pro program — a community based water monitoring and management program at St. Mary’s University in Halifax. Other partners include the Department of Environment and Conservation, Environment Canada and Indian Bay Ecosystem Corp. Conducting the study allowed ACAP to stretch from its normal marine-based water monitoring to the fresh water side.

Thirty-four sites around the Bay of Islands and Humber Valley were selected for monitoring. Moore said the program looked for sites with a known fish habitat, those that saw heavy recreational use, some in residential and some in commercial areas — all sites that could lead to different impacts on the water quality.

The monitoring, which was conducted every two weeks, began in June 2014 and continued until about November when winter set in. A small number of sites were monitored in February. The samples collected were measured on 11 parameters and all showed what ACAP had been hoping to see.“There was nothing to worry about.”Moore said the information gathered will serve as a good baseline for early detection of changes in water quality that could be seen through future studies. He noted ACAP hopes to continue the study into 2015 and beyond.For now, the data gathered will be stored on an online database that will eventually be made public. It can also be obtained by contacting ACAP.

-www.thewesternstar.co, April 15, 2015 Is Bengal only about ‘rich cultural heritage’? Of the 30 scientists selected for the Indian National Science Academy (Insa) awards last year, 13 were Bengali. If we go through the employer roll of NASA, a significant percentage will be Bengali names. Yet, while sending New Year greetings to Bengalis, US secretary of state John Kerry mentioned the "rich cultural heritage" but forgot to talk about the contribution of this community to the field of science and social studies.

It is not only the US secretary of state, speaking on behalf of Barack Obama, who recognizes this community as a cultural-minded one. Padma Shri author and poet Nabaneeta Dev Sen feels the community has always been associated with Rabindranath Tagore and Satyajit Ray instead of Jagadish Chandra Bose or Meghnad Saha.

"I would say that we have brought it upon us because we ourselves don't remember entrepreneurs like Amar Bose who owns the company that produces the most sought-after speakers. Even the rest of India is not too much aware of them because Bengalis don't know how to flaunt them. When we organize a community gathering abroad, for example a Bangasammelan, it is all about art. Thus, it gets stuck in people's mind," she added. She feels Bengalis need a new image-building, which will go beyond their cultural characteristics, by constantly talking about these unsung heroes of Bengal.

People who are not associated with the field of art find it difficult to go beyond this branding and make a mark. Noted economist, Abhiroop Sarkar, for instance, feels that this cultural-branding will not do the community any good. "Being recognized as a culturally-inclined community has several connotations, like we are not business-minded or hard-working and tend to be over-imaginative. Sometimes, this works against us," he added.

The idea that Bengalis are only service-minded is heard very frequently but people who have established themselves in the field of commerce trash this idea. Former BNCCI president Sandip Sen pointed out that Bengal used to be the cradle of entrepreneurship. "We can only say that Bengal couldn't keep up with the times because of the post-Independence socio-political turmoil," he felt.

This idea also did not go down too well with the youth. Suranya Sengupta, a college student studying commerce, felt 'branded' because of Kerry's comment. "I feel this is to trigger the emotions of the huge Bengali population living in the USA," she said.

Some, however, have found it nothing stirring. Parambrata Chattopadhyay, for instance, felt that almost all communities are branded. "If someone's a Gujrati, he has to be a businessman. We always picture a Tamilian in a 'lungi'. We shouldn't bother too much about this cultural tag we carry and should keep doing what we like doing best," he added.

Former footballer Chuni Goswami also understands why for a foreigner it is not unnatural to give Bengalis this tag. "Bengal's contribution in the field of cricket, the number one game in India, has been quite insignificant ever since Sourav Ganguly retired. If we had a Saina Nehwal or Sania Mirza from Bengal, probably we would not have been branded this way," he shared.

"While the contribution of Bengalis in fields of art and literature is undeniable, it is also true that Bengalis have contributed to other disciplines as well, including business, science, technology and statistics. For example, P C Mahalanobis pioneered the subject of statistics long before anyone considered it to be a subject in its own right. Having said that, however, Bengalis are now a decaying race, especially in Bengal, and a serious soul-searching is needed to revive the glory," said Ambarish Mitra, senior principal consultant, Oracle.

- The Times of India , April 15, 2015

Four human skeletons, believed to be 5,000 years old, have been found by archaeologists from the site of Harappan civilisation at Rakhi Garhi village near here. Archaeologists of Haryana Archaeology Department in collaboration with Seoul National University, South Korea and Deccan College, Pune recently found four human skeletons at the site.

Prof. Nilesh Yadav, co-director of the project, said this is the first time that skeletons have been recovered during the excavation in the village, which is 60 km from here in Hisar district. The excavation in the village started in 2012.

These skeletons are of two men, one woman and a child. The height of the skeletons of the men is five feet and six inches and both were aged about 50 years while the height of the skeleton of the woman is five feet and four inches and was aged around 30 years.

The child's age was believed to be around 10 years. These skeletons will be sent to laboratory for DNA test, Yadav said. Besides pottery with grains of food, bangles, toys, mini wheels and sling balls of different sizes have also been recovered from the excavation site.

Archaeologists also recovered a seal which has some tiger-like figure inscribed on it. They believe that it was used in trade or for some other purposes. Tools which could have been used for fishing and hunting purposes have also been recovered. The excavation work was spread over an area of 50 acres and the archaeologists are still working on three mounds numbering 4, 6 and 7.

- http://zeenews.india.com/, April 15, 2015

K.K. Mohammad, project archaeological director, Aga Khan Trust for Culture, visited heritage sites in Bidar on Monday and Tuesday. He and his wife Rabiya went around the Karez or Surang Bavi underground aqua duct on the outskirts of Bidar, and Narasimha Jharni, Gurudwara Guru Nanak Jhira, Bidar fort, and Ashtur tombs.

The restoration expert who retired as regional director from the Archaeological Survey of India, is now overseeing the restoration of monuments in Hyderabad. Mr. Muhammad said he was fascinated by the medieval era water structures in Bidar district.

- The Hindu, April 15, 2015

In order to give the much-needed boost to the tourism sector in the State, the Andhra Pradesh Tourism Development Corporation (APTDC) has proposed two Buddhist Heritage Tourism Circuits covering 21 prominent Buddhist sites spread over eight districts.

According to official sources, the state government has submitted a proposal to the Union government involving an outlay of about Rs 1,300 crores for development of tourism-related infrastructure in these identified areas. One Budhist Tourism Circuit will cover West Godavari, Krishna, Guntur and Prakasam districts while the other one joins Visakhapatnam, Vizianagaram, Srikakulam and East Godavari districts.

“The project consists of developing basic infrastructure, including roads, power and water supply besides drainage systems. It also proposes undertaking of local awareness programmes on tourism and preservation of heritage sites apart from enabling local communities to participate in the planning and implementation of local tourism development,” said K Lakshminarayana, chief consultant, Andhra Pradesh Project Facilitators and Consultancy Services Limited (APPFCS).

“As part of the proposed project, an MoU will be signed between the Archaeological Survey of India, the Union government and the APTDC along with AP Archaeology and Museum department for conservation of all Buddhist Heritage sites in AP,” he said.

- The Indian express, April 15, 2015

The Archaeological Survey of India (ASI) has issued as many as 166 demolition notices for unauthorized constructions within 100 meter radius of protected monuments in Agra, but barring one case, the authorities concerned have not taken any action to remove the encroachments. The notices were issues from 2010, when the amendments in the Ancient Monuments and Archaeological Sites and Remains (AMASR) Act came into effect.

Surprisingly, the local administration has not taken action in any of the cases, barring one instance where the Allahabad high court intervened and directed the district magistrate to remove a slum dwelling close the walls of the Akbar's tomb in Sikandra. According to ASI data, the maximum number of unauthorized constructions exist around Akbar's tomb in Sikandra (88), followed by Itimad-ud-daula (28), Fatehpur Sikri (21), Agra Fort (20) and Taj Mahal (9).

A senior ASI official said besides sending notices to the district magistrate to act on them, over 200 notices were also issued to the owners of those buildings and establishments to remove unauthorized constructions. However, no response was received from them, added the official.

He said district officials were reminded several times to initiate action in the matter, but except for assurance, nothing was done. According to Ancient Monuments and Archaeological Sites and Remains (AMASR) Act, the 100 meter radius from the limit of a protected monument is a prohibited area where no new construction can be done without seeking permission from the competent authority, in this case National Monument Authority. Even for any repair and renovation work, the property owner is liable to seek permission from the ASI. The penalty for violating the rules includes two years imprisonment or Rs 2 lakh fine or both.

When contacted, newly appointed ASI superintendent archaeologist Bhuvan Vikarm said he would go through the files and remind the local administration to take necessary action. DM Pankaj Kumar said, "We would provide appropriate security officials if they want to carry out any demolition drive, and if it comes under our jurisdiction, we will do that soon."

As far as nature of unauthorized constructions are concerned, ASI officials informed that in most cases, people have constructed an extra room or made structural modifications in the buildings and houses. "Many small hotels and guest houses run near Taj and an additional room means extra revenues. During our inspection, we identified such constructions and clicked their pictures. In our communique to the DM, we specifically circled those areas with red to avoid any confusion. Our job is limited to informing the local authorities about the same and it is their responsibility to take actions."

Sources cited political pressure and communal flare-up for the administration not initiating action against the defaulters. "In many cases, the offenders belong to a particular community and officials do not want to annoy them. This is a major reason for the officials overlooking the Supreme Court's directions and the provisions of the Act," stated officials.

- The Times of India, April 16, 2015

China will ban water-polluting paper mills, oil refineries, pesticide producers and other industrial plants by the end of 2016, as it moves to tackle severe pollution of the country's water supply.

The long-awaited plan comes as the central government steps up its "war on pollution" after years of industrial development that have left one-third of China's major river basins and 60 percent of its underground water contaminated.

Growing public discontent over the environmental degradation has led to increasing scrutiny of industrial polluters. China's largest energy company China National Petroleum Corporation last month agreed to pay 100 million yuan ($16 million) in compensation after it was accused of leaking benzene into the water system in Lanzhou in northwest China. But experts say much more needs to be done to protect China's scarce water resources.

"Water is the bottleneck to China's industrial development. Coal miners and factories located in western regions are suffering from water shortage, and if their discharge of dirty waste water is not treated, the pressure will increase," said Alex Zhang, president of McWong Environmental Technology, a United States-based water technology company.

The new plan - published by the State Council, China's cabinet - aims to raise the share of good quality water, ranked at national standard three or above, to more than 70 per cent in the seven major river basins, and to more than 93 percent in the urban drinking water supply by 2020.

Impact on water will become a key consideration in future industrial expansion, said the cabinet, adding that it will restrict building of petrochemical and metal smelting factories along major river basins. "We will fully consider the capacity of our water resources and environment, and determine city planning, project location, population and industrial output according to water reserves," it said.

China currently controls water usage by allocating volume permits to each province, and requests for additional water for new projects will be refused in regions already exceeding their allocated quotas, said the cabinet. The government is targeting a cap on overall water consumption at 670 billion cubic metres by 2020, and wants to cut agricultural water use by more than 3.7 billion cubic metres by improving irrigation efficiency by 2018.

Tiered pricing for residential water users will be rolled out nationwide this year to encourage conservation. Non-residential users will be charged progressive fees for overshooting quotas under a plan to enter into force by 2020.

- The Times of India, April 16, 2015

After the signing of Kashi-Kyoto pact by Prime Minister Narendra Modi and his Prime Minister of japan Shinzo Abe on August 30, 2014, the first delegation from India will be visiting Kyoto and Tokyo from April 20. During the visit the delegation will study the technologies in Kyoto that can be replicated in Kashi.

Initially, the Ministry of urban development of Government of India had decided to send an eight-member delegation but, the size of delegation was revised recently. Mayor Ram Gopal Mohaley said, "Now five-member delegation will go to Japan to study the technologies adopted by Kyoto to become a smart city by maintaining its heritage and culture."

Apart from mayor the joint secretary of Ministry of urban development, divisional commissioner RM Srivastava, district magistrate Pranjal Yadav and municipal commissioner Umakant Tripathi will be a part of the delegation, said Mohaley.

The delegation will study the liquid waste and solid waste management, urban transport, heritage byelaws, zero hoarding policies, construction of heritage cultural centre on public-private partnership model, assistance for textile cluster and tourism. Mohaley said the main focus would the technologies for liquid and solid waste managements and mobility plan (urban transport), which are urgent needs for Varanasi. He expected that after the visit the priorities will be set for implementation of Kashi-Kyoto pact.

After Modi signed the Kashi-Kyoto pact the vice-mayor of Kyoto, Kenichi Ogasawara had arrived Varanasi with a delegation in October 2014. During his visit he said that his city was all set to offer its expertise to conserve the heritage, upgrade the infrastructure and co-operate in the fields of art and culture. In March a Kyoto University team also visited Varanasi when it studied waste management, ghats along the Ganga and various heritage sites and modifications required for infrastructure development of the city.

Earlier, the delegation also comprised vice-chancellor of Banaras Hindu University Prof GC Tripathi and one more point of signing of a MoU between BHU and Kyoto University on heritage management was also included in the identified areas of collaboration. However, no official has confirmed whether the proposal of signing of this MoU has been removed from the itinerary of delegation's visit after the revision or not.

- The Times of India, April 17, 2015

The environment ministry has decided to make sewage collection and transport mandatory across India in a measure aimed at stopping the discharge of untreated sewage into water bodies and groundwater.

The notification from the ministry will be issued to all states, who agreed on the urgency of the issue at a recent meeting in the national capital. “We are taking action so that no untreated sewage is released in water bodies or underground water. We are making collection, transportation, treatment and finally reuse of sewage mandatory. Reuse for all non-potable purposes like in industrial process, gardening, cleaning of railway tracks and irrigation. We are issuing notification for it. This is a major decision,” said MoEF special secretary Shashi Shekhar.

In India, partially or untreated sewage is the biggest source of deterioration of surface- or groundwater quality and is responsible for 70% of the pollution in streams and water bodies. As per official data, at present only 24,578 million litres per day (MLD) of sewage treatment capacity has been developed against a total sewage generation of 57,000 MLD.

As per estimates of the environment ministry, a sum of around Rs.2.25 trillion will be needed for sewage collection, transportation and treatment of sewage across the country. Over 60% of the sewage generated in the country goes untreated due to a lack of funds for developing sewage treatment systems. However, the ministry is not impressed with the argument advanced by states that they don’t have enough funds for sewage treatment plants (STP).

Shekhar said that during two meetings earlier in April of all state environment ministers and of state pollution control boards, the environment ministry also suggested ways in which states could generate funds for setting up STPs. States were encouraged to adopt the Tamil Nadu model or develop their own for setting up STPs. A resolution to make sewage treatment mandatory was passed in the meeting.

The Tamil Nadu model involves charging customers for sewage collection. The state government also has partly funded the setting up of STPs. “Sewage is the main cause of water pollution. Sewage treatment can no longer be delayed for want of money. The time has come for it. The message was that if one state can do it, others can also do it. We have also prescribed standards for treated effluent of sewage—basically what should be the quality after treatment,” Shekhar added. Water from rivers, lakes or streams contaminated with untreated sewage has an impact on human health as well as aquatic life.

The environment ministry proposed that state pollution control boards and other authorities prohibit the use of freshwater or groundwater for all non-potable purposes such as cleaning or flushing, etc. at metro trains stations, railways, automobile workshops, bus depots and industries, and for horticulture and irrigation. Instead, the ministry said, it should be made mandatory for them to use treated wastewater.

Use of treated wastewater for flushing in new housing groups was another suggestion. Environmentalist Manoj Misra said it is a welcome step but hoped the notification would be properly implemented. “I think it could make a huge difference and this is something which was long overdue.

This is something which is part of the whole urbanisation challenge. In urbanisation, water management is usually the last priority as everyone wants fresh water but once it leaves their house no one is bothered. Now this (proposed notification) could mainstream making wastewater a useful resource,” said Misra, who is convener of the Yamuna Jiye Abhiyaan, an organization that has been working to clean and revitalize the Yamuna river for nearly a decade.

- http://www.livemint.com/, April 17, 2015

Forest Research Institute Director PP Bhojvaid has laid emphasis on floral biodiversity towards ensuring cleanliness in the Ganga. Bhojvaid was addressing the inaugural session of the two-day First Consultation Meeting for Uttarakhand on “DPR Preparation of Forestry Interventions for Ganga” being organised by the Forest Research Institute, here. This meeting is being organised under the project sanctioned by the National Mission for Clean Ganga (NMGC), Union Ministry of Water Resources, River Development and Ganga Rejuvenation.

He said the Ganga, one of the most sacred rivers of the country, was a lifeline to a large population and its degradation was a matter of concern.

“Increased population growth and associated industrial development and deforestation have influenced the water flow adversely. Further, an increased dumping of waste water into the river has aggravated the problem by reducing the self-cleansing capacity of the river through dilution maintained by ecological flow,” Bhojvaid pointed out. Kunal Satyarthi, Head of the Silviculture Division, gave a brief report about the project and its objectives. He said Uttarakhand, with about 450 km length of the Ganga’s total length of 2,500 km, has 14 drains which discharge 440 million litres of sewage per day.

Dr S Chandola, MD, Uttarakhand Forest Corporation, deliberated on the details of possible forestry interventions in preparation of a detailed project report for the Ganga. He stressed on the need of wider participation of various agencies and stakeholders to augment the quantity and quality of water in the river.

Experts and stakeholders from the Indian Institute of Technology’s, National Institute of Hydrology, Remote Sensing, Forest Survey of India, Soil Conservation, National Ganga Authority, AMU, State Departments of Forest, Irrigation, Peyjal Nigam, Agriculture, Pollution Control Board, Biodiversity Board, Hydroelectric projects and various NGOs are participating in the meeting. They would deliberate on the project formulation and implementation and identify the opportunities to make the Ganga clean.

- The Tribune, April 17, 2015

As armed groups in Syria and Iraq destroy priceless archaeological sites, European authorities and dealers are on high alert for smaller, looted artefacts put on sale to help finance the jihadists` war. Stolen-art expert Chris Marinello, director of Art Recovery International, said he has been shown photographs of items being offered from Syria that were "clearly looted right out of the ground".

"You could still see dirt on some of these objects," he told AFP. They included cylinder seals, Roman bottles and vases, although Marinello said it was unclear whether the items were still in Syria, were in transit or had arrived in the key markets of Europe and the United States.

Concerns about looting during the Syrian war have increased following the advance of the Islamic State group through parts of Syria and Iraq, and recent propaganda videos showing their destruction of ancient sites such as Nimrud.

The UN Security Council in February demanded UN states act to stop the trade in cultural property from those two countries, amid warnings that they represented a significant source of funding for the militant group. Experts say it is impossible to put a value on antiquities looted from Syria, which has been home to many civilisations through the millennia, from the Canaanites to the Ottomans.

The London-based International Association of Dealers in Ancient Art (IADAA) estimates the entire legitimate antiquities market in 2013 was worth between 150 and 200 million euros ($160-215 million). Marinello said reputable dealers are "being very careful not to touch anything that could remotely be part of this recent wave of looting". But Hermann Parzinger, an archaeologist and president of the Germany-based Prussian Cultural Heritage Foundation, said there was an "enormous market" from private buyers.

He warned that the cultural costs were huge, telling AFP: "The context which is so important to reconstruct the history of these civilisations is completely destroyed."Italy has proposed that world heritage body UNESCO create a military taskforce to protect cultural sites in war zones, but many experts believe little can be done to stop the current destruction. Instead, they are forced to wait until the conflict ends and watch in horror as priceless historic sites are destroyed and the spoils gradually emerge onto the market. Vernon Rapley, a former head of the art and antiquities squad at London`s Metropolitan Police, expects many Syrian items to be held back to avoid flooding the market, as occurred after the US-led invasions of Iraq and Afghanistan.

The looted artefacts were likely to be "hauled up in warehouses either in the country or near the country, and only linked to the art trade in small pieces and at a later stage", he told AFP. Stephane Thefo, who leads an Interpol unit dedicated to fighting the illegal trafficking of cultural goods, agreed that many items may disappear for years -- but insisted that tackling the trade was the best way to combat looting.

The French policeman would like to see tougher national laws on trafficking of cultural goods, something Germany is currently considering. "We have to act by seeking to narrow markets for the illicit trade, hoping that by curbing the demand, the supply would eventually decrease," Thefo said.Identifying looted objects is no easy task, however, not least because cultural crime is rarely a police priority. The law puts the onus on the authorities to prove an item is illegal and a long delay in an artefact being sold, or multiple owners, make it hard to establish provenance.

At a conference at the V&A museum in London this week on the destruction of cultural property in conflict areas in Iraq and Syria, Mali, Libya and Yemen, archaeologists stressed the need for proper inventories of heritage sites. They noted that objects that have been photographed and digitally catalogued are more likely to be recovered. Interpol is currently building a database of stolen objects, and James Ede, a London dealer and IADAA board member, urged cultural bodies to share their information with dealers.

"This material will necessarily surface on the open market sooner or later. The challenge therefore is to identify it and where possible to return it when it is safe to do so," he said.

- http://zeenews.india.com/, April 17, 2015

According top priority to the tourism and hospitality sector, AP chief secretary IYR Krishna Rao on Thursday instructed tourism department officials to come up with an action plan to help the sector achieve double digit growth and vigorously promote AP tourism.

"To strengthen tourism, the department has to facilitate and implement PPP tourism projects and also strengthen the sector with a strong team of experts who can look into finance, project structuring and PPP, project management, legal aspects, procurement, media and public relations," the chief secretary said while conducting a review of the departments of tourism, culture, sports, archaeology, museums and IT.

"Till the desired investments happen and major projects start operating, there is a need to attract more domestic and international tourists to the state through mega festivals and fairs, national and international road shows. The main target of the tourism department for 2015-16 should be ensuring better occupancy of APTDC hotels and resorts with better management and implementation of the new tourism policy with the best incentives," stated Rao.

He also asked the tourism department officials to focus on religious or temple tourism, especially at Tirupati, by ensuring the best facilities for tourists when it comes to provide darshan and hospitality in the temple city. The CS also urged universities and other government Institutions to get involved in maintaining and upgrading museums and also taking up heritage conservation to protect monuments in the state.

Besides tourism, the CS said strengthening of the district sports authority cadre is also on the agenda by engaging professional coaches, making changes in the design concept of stadiums with commercial viability for maintenance, mobilization of resources of annual state budget for sports, 5% additional surcharge on excise duty, 3% additional cess on all property taxes, 3% on sand cess and revival of existing stadia under PPP mode. "We have 16 best players who have won medals at national and international tournaments. These players need international exposure, which will help AP clinch gold medals at the Olympics and other international events," he said.

The AP government has already assured establishment of sports schools at Vetajangalapalem in Anakapalli assembly constituency and establishment of high-altitude sports training centres at Lammasingi, Araku Valley in Visakhapatnam district and Horsley Hills at Madanapally in, Chittoor district.

- The Times of India, April 17, 2015

Prithvi Theatre and an elitist sports club in the city will collaborate and present a seven-day festival of performing arts at the Mahalaxmi Racecourse, starting April 27. To be held on the ground of the racecourse, this event will showcase a variety of productions.

Eminent theatre personalities like Naseeruddin Shah, Ratna Pathak Shah, Rakesh Bedi, Anjan Srivastava, Sonali Kulkarni along with others will be performing in plays like White Lily Aani Night Rider, Ismat Apa Ke Naam, Taj Mahal Ka Tender and Chinese Coffee. The festival will kick off with a musical show by The Symphony Orchestra of India.

- The Times of India, April 17, 2015

A ceremony to present Intach Hyderabad Heritage Award- 2015 will be held at Salarjung Museum on Saturday. Uday B. Desai, Director, Indian Institute of Technology, Hyderabad will attend as chief guest, while Santanu Mukherjee, Managing Director, State Bank of Hyderabad, will be the guest of honour.

Also, Intach Heritage Annual-2015 will be released on the occasion. 19th Indian Plumbing Conference today

Indian Plumbing Association (IPA) is organising the 19{+t}{+h}Indian Plumbing Conference on Friday and Saturday at Novotel & HICC complex, Cyberabad. M. Srinivas Chary, Executive Director, HMWS&SB will attend as chief guest, a press release said.

- The Hindu , April 17, 2015

With a host of activities including theme quizzes, walks in the Old Walled City and fort areas and workshops and lectures on restoration, Delhi today marked the World Heritage Day with much enthusiasm. Heritage body Indian National Trust for Art and Cultural Heritage (INTACH) and Delhi Metro organised a 'heritage walk' early in the day to spread awareness about the city's cultural and architectural legacy.

"We held an open heritage walk at the Puran Qila in the morning, which was attended by Delhi Tourism Minister Jitender Singh Tomar. Later in the evening we are also hosting an open quiz at Delhi Haat at INA, titled 'Sawal Dilli Ka', to make people engage with their city and its history and heritage," Convener, INTACH's Delhi Chapter, AGK Menon told PTI. The ruins of the fort site, constructed between 1530 and 1538, is from Mughal emperor Humayun's city of Dinpanah. The walk was led by an architectural conservation expert.

Delhi Metro too marked the day with a heritage walk from Chawri Bazar to Chandni Chowk, delighting participants with cultural and gastronomical wealth the region houses. "The walk covered many locations of great historical importance such as Jama Masjid, Red Fort, Gauri Shankar Mandir, Gurudwara Sisganj Sahib and the famous Paranthe Wali Gali," a metro official said. Experts from city-based 'Delhi Walks' conducted the nearly two-hour-long tour and explained in detail about the importance of various monuments. More than 50 people participated in the event, he said.

Delhi has three world heritage sites - Red Fort, Humayun's Tomb and Qutub Minar. Non-profit organisation Aga Khan Trust for Culture (AKTC) too marked the day by celebrating the legacy of the country. "We held a heritage walk in the morning for children and about 600 of them turned up. The walk in the area was guided by local people of Nizamuddin Basti and then conservation experts also explained the craft techniques used traditionally in restoration process," Project Director, AKTC said.

"Later quizzes were held in several batches for children. Awareness workshops - focused on Rahim's life and works - and at the tomb of Abdur Rahim Khan-i-Khanan on Mathura Road were also held.

"Later in the evening, the restored Mughal-era Batashewala Garden Tomb complex, spread over 11 acres, adjacent to World Heritage Site of Humayun's Tomb will be thrown open to the public," he said. Proposed by the International Council on Monuments and Sites (ICOMOS), April 18 was endorsed as The International Day for Monuments and Sites by UNESCO in 1983, popularly known as the World Heritage Day.

2015 also marks 50 years of France-based ICOMOS. In the evening, INTACH is also holding a talk on 'Bringing Old Buildings to Life'. The Delhi Circle of Archaeological Survey of India (ASI) also held a photo exhibition at the Red Fort on the city's baolis to mark the occasion.

- The Tribune, April 18, 2015

US president Barack Obama said today that climate change poses the world's biggest single threat. "Today, there's no greater threat to our planet than climate change," Obama said in his weekly address, which had an environmental theme to mark Earth Day on April 22. "Climate change can no longer be denied, or ignored," he added, noting that 2014 was the hottest year on record.

The United States is the second largest greenhouse gas emitter after China, and Obama has pledged to reduce US climate pollution by 26-28 percent from 2005 levels by 2025. "This is an issue that's bigger and longer-lasting than my presidency," Obama said.

"This is the only planet we've got. And years from now, I want to be able to look our children and grandchildren in the eye and tell them that we did everything we could to protect it." Obama said he would travel to the Florida Everglades, a region known for its tropical wetlands, on Wednesday to talk about the ways in which climate change affects the economy.

"Rising sea levels are putting a national treasure -- and an economic engine for the South Florida tourism industry -- at risk," Obama said of the famous wetlands. Obama, who has made the fight against climate change one of his priorities, hopes to help seal a global deal at an international climate conference in Paris in December.

- The Times of India, April 18, 2015

Artist Lorenzo Quinn recalls the time he had made a sculpture for the Vatican. It was of St Anthony, and the team drove it over to St Peter's Square in a truck. The 35,000-strong crowd, Quinn recalls, mostly ignored it. Their attentions were reserved or the Pope, who arrived shortly and proceeded to bless the sculpture. "And the moment he blessed it, they began throwing things at it—scarves, jackets—because it was now a saintly piece and they wanted some part of them to touch it," says Quinn, laughing. "And I realized that the sculpture was no longer mine. It now belonged entirely to them."

Viewers' reactions to his public art pieces have continued to fascinate the actor-turned-artist throughout his two-decade-long career. On Monday, he plans to observe Mumbaikars' response as well, when an exhibit of his sculptures and paintings opens at the city's new art gallery, Odyssey. It's the debut show for the Lower Parel space.

Quinn is also the first among the international artists that UK-based Halcyon gallery plans to bring down to Mumbai, as part of its collaboration with Gallery Odyssey. "This is a very exciting time for us," says Paul Green, Halcyon's director. "I'm keen to see how visitors to the gallery find Lorenzo's work. The works have an underlying theme of spirituality, which I feel is something that the people here will identify with. It's a remarkable collection."

Quinn's work has been part of several private collections, and has been exhibited in cities like Barcelona and London. Among his commissions is 'The Tree of Life', produced for the United Nations and issued by the organisation as a stamp in 1993. The work was erected outside St Martin's Church in Birmingham to commemorate those who died in the second World War. His public art includes 'Encounters', a massive globe enclosing a pointing hand, which was unveiled in 2003 opposite the Museum of Modern Art in Spain's Palma de Mallorca.

Some of Quinn's sculptures can also be found in the path leading up to the gallery, with corporate suits bustling past. To live with a work of art every day is an experience hard to put into words, says Green. "A lot of people will wake up to Lorenzo's sculpture, they will touch it, and spend so much of their day with it. To do that with a work that has emerged from an artist's thoughts and feelings—it's a very special thing."

- The Times of India, April 19, 2015

On Saturday's fine April morning — that offered a perfect balance of warmth and cool — a group of 30 residents of the city gathered together to reclaim their space in the city. Young and old, professionals and students came together for 'The Times of India's Heritage Walk at the Capitol Complex, and explored the space that had remained isolated from the citizens for years. Guiding the lot was heritage expert and former Chandigarh College of Architecture principal Rajnish Wattas, who took them through the corridors of the high court, assembly, and the secretariat. The group went through light and shade, exploring the interplay of colours and the play of light, as Le Corbusier intended it to be.

As the walk started from the Tourism Information Centre, walking through rows of banyans, ashoka, and cassia trees, Wattas explained that some of these have been preserved since Corbusier's time. "Chandigarh is one of the very few cities to have the Tree Conservation Act," he said, explaining their significance in the open environment of the Capitol that was deliberately kept away from the rest of the city to house the pillars of democracy.

Proceeding to the high court, where the colours stand out in the concrete buildings, Wattas pointed out at the 'double roof' and its shape. "When you stand beneath that, between the three pylons, you would understand that it's a symbolic umbrella - the protective umbrella of the law," he told the group. The mighty 18.3 metre high pylons add to that effect. As the walk went through the corridors of the court, Wattas also talked about the significance of colours in the building - added by Corbusier to break the concrete drab. The group was also taken to the Open Hand Monument, which was created in 1984. Standing tall at 85 feet, the hand rises from the 'trench of contemplation'.

Looking towards the assembly building, Wattas informed the group that it was inspired by the cooling tower of a thermal plant, which Corbusier saw on his way to Ahmedabad, and enquired about its curious shape. As the sun went higher, inching towards noon, the group reached the Tower of Shadows, which was named the 'Tower of Shades' by Corbusier. "It was his lab for cutting of the sun. It was created in such a manner that the sun outside could not affect the inside of this structure," he added. From there, the group could also see the Martyr's Memorial and the Geometric Hill.

At the entry gate of the Punjab and Haryana assemblies, they could not just see the hand-painted door by Corbusier himself, but also got a chance to get inside, where the skylight filtered the light to a soft beam through the sky. Talking about the material used in the Punjab Assembly, he added that a sound-absorbing material had been used inside the assembly to keep outside noise in check. The images and symbols that Corbusier picked up during his sojourns across the country also reflect in the Assembly. With the secretariat being the last stop, with a walk up 10 floors on the ramp, the walk ended with a breath-taking view of the Capitol Complex, and further of the city - the perfect conclusion to a two-hour long journey through the lanes of history.

SNIPPETS Blocks of concrete? While some people have often criticized Corbusier's architectural marvels in Chandigarh as blocks of concrete, Rajnish Wattas explained that it was the only way he could have built it, with the use of local material and labour. "India wasn't a very developed economy, and labour was manual. The centuries-old pyramids were also built with manual labour," he added.

Selfie with Open Hand! As Saturday's Heritage Walk proceeded from the High Court to the Open Hand, the monument faced them in all its glory. "You are lucky that its front is toward us. Sometimes, people would come here for a photograph with the Open Hand, and it would be grumpy and face the other way!" added Wattas. Speculations about shapes

Heritage expert Rajnish Wattas shared many a joke during the walk - as to how people speculate about the meaning of shapes in the Capitol Complex, without understanding their architectural significance. "Those rectangular blocks there in the high court - these are often referred to as shoe blocks. The circular chamber on top of the assembly building is also called an inverted ice-cream cone!"

- The Times of India, April 19, 2015

The genius and distinctive artistry of celebrated musicians is best experienced through their work. Music speaks for itself, touching and moving the hearts of listeners in ways that sound trite if verbalized, but for the student of music, not only is the genius of an artiste to be experienced and enjoyed but also studied, examined and re-examined in minute detail. It is with the dual purpose of providing the opportunity to both experience and study the magic of Begum Akhtar’s unique voice and singing style that the National Center for Performing Arts makes available 18 compositions recorded during a private concert hosted by businessman and patron Khatau Vallabhdas at his residence in Walkeshwar,

Mumbai, in the year 1952. Although Begum Akhtar recorded prolifically from the time she turned sixteen years of age, and her studio recordings are valuable documents of her inimitable artistry, a recording made in the intimate setting of a chamber concert performed at the home of a connoisseur and patron, provides an invaluable glimpse into the ambience in which music was made and heard some sixty-three years ago. In 1952, when this recording was captured on tape during a live concert, Begum Akhtar (1914-1974) would have been thirty-eight years old, highly acclaimed and sought after as the reigning queen of ghazal,

and also considered a leading exponent of thumri and dadra. Performing for an adoring audience, as is evident from the abundantly audible appreciation, the great singer offers a rich repertoire of bol-banao thumri, dadra, hori, chaitiand several ghazals by master poets in the course of the evening. The recording of this mehfil which continued for more than three hours, is replete with many invaluable gems from Begum Akhtar’s repertoire, her girlish giggle, her waah for her accompanying musicians, the smile in her voice as she receives fulsome praise, and of course, the rousing appreciation she receives from her fascinated listeners throughout the concert.

Although Begum Akhtar was an outstanding exponent of the thumri-dadra and ghazalforms, she is best remembered for her unique rendering of ghazals in a musical style that relied heavily on her training in Hindustani classical music from ustads including Abdul Wahid Khan of the Kirana gharana, and Ata Mohammad Khan of the Patiala gharana. Contemporary ghazal gayaki has no doubt distanced itself from classical music and leans more towards melodies based on chordal structures and movements. But in the past the rendering of Urdu poetry either relied on the tarannum style, or on raag-based melodies.

The inclusion of the notation of a ghazal (jo ke naam haq na liya bhalaa, vo jiya to kya, na jiya to kya) in raag Des and taal Pashto by Vishnu Narayan Bhatkhande in his mammoth compendium of Hindustani classical compositions titled Kramik Pustak Maalikaa (first published in the early part of the 20th century) suggests that ghazals formed part ofraagdaari sangeet repertoire. Begum Akhtar’s rendering of ghazal too rested on a foundation that was steeped in raagdaari music on the one hand, and a deeply intrinsic understanding of Urdu shaayari. In the seven ghazals that form part of this collection, her classic raag-based style of ghazal gayaki is amply evident, as is her consummate intimacy with the literary form of ghazal.

“Har jafaa har sitam gavaara hai, Itnaa keh do ke tu hamara hai…”comes from the pen of Shakeel Badayuni (1916-1970), a poet whose ghazals (including her signature “Ae mohabbat tere anjaam pe ronaa aya”) Begum Akhtar immortalised. This particular ghazal is rendered in a style that was favoured by hereditary women performers who sometimes danced and performed abhinaya to ghazals. The first line of the couplet is sung loosely over the rhythm maintained on the tabla with an eight matra span of the Keherwa taal.Pitched near the taar shadja, Begum Akhtar’s achingly beautiful voice with its expressive yearning, spreads out the words of the first line of each couplet without pinning them to the theka. But the second line of the sher releases the tension created in the previous line with its return to the melodic refrain, further heightened by the tabla playing the theka in double time, with variations and patterns appropriate for accompaniment to dance.

In this mehfil Begum Akhtar presented as many as three ghazals written by Shakeel Badayuni. Her rendering of Shakeel’s “Aankhon se door subah ke taare chale gaye, neend aa gayi to gham ke nazare chale gaye” in a Mishra Gara based melody set to the six matra Dadra taal, receives a tremendous response from the audience. The 17 minute long rendition provides several pointers for aspiring ghazal singers. Maintaining the dignified restraint typical of both Urdu poetry and her style of presentation, Begum Akhtar never lets the element of elaboration come in the way of the prosodic scheme of the poetry. Each misraais presented only as many times and with just enough subtle variations as to make the listener wait in eager anticipation for the next misraa.

Occasionally, fleeting insertions of phrases from other raags like Kafi, Patdeep, and Khamaj are ushered in tantalisingly and aesthetically for brief moments. Before revealing the misraa-o-oolaa and the misraa-o- saanii Begum Akhtar sings quicksilver phrases in aakaar that create a lovely aamad for each misraa. Tabla and sarangi accompaniment for this ghazal is exemplary, brilliant, brief and restrained. The swaying gait of the theka enhances the beher of the poetry creating a superb backdrop on which the singer places each misraa. Unfortunately, no information is available regarding the accompanists for this mehfil.

Ghame-e-ashiqui se kehdo rah-e-aam tak na pahunche, mujhe khauf hai ye tohmat mere naam tak na pahunche is composed in a text book interpretation of raag Kedar replete with the characteristic meend from dhaivat and pancham to shuddha madhyam. Once again, the accompanying musicians skillfully steal opportunities between couplets to embellish both melody and rhythm, and are rewarded with appreciation from Begum Akhtar herself as well as from members of the audience.

The two ghazals by Jigar Moradabadi (1890 -1961) included in this collection are “woh ada-e-dilbari ho, ke nawa-e-aashiqana, jo dilon ko fateh kar le, wohi fateh-e-zamaana” and “ Is ishq ke hathon se hargiz na mafar dekha, utani hi badi hasrat jitana hi udhar dekha”. The former is loosely based on the melodic foundation of the Kanhada family of raags and set to theKeherwa taal. Skilfully enhancing Jigar sahab’s words with the added dimension of music, Begum Akhtar judiciously selects certain words to elaborate upon. For example, in the couplet “ teri doori-o-huzoori se hai kuch ajeeb aalam, abhi zindagi haqeeqat, abhi zindagi fasaana” she elaborates on the word “doori”, in a manner that leaves the listener experiencing distance and space, as well as the sense of being far away and yet so near, stated in the couplet.

Begum Akhtar presents the second Jigar Moradabadi ghazal “Is ishq ke hathon se hargiz na mafar dekha..” in raag Mishra Tilang set to the Keherwa taal. The tabla accompaniment once again complements the singer’s artistry beautifully, at times enhancing the excitement, at other times creating a sense of anticipation, and even falling silent on occasion when the singer presents the first line only to join in seamlessly with the taal as the second line of the couplet is introduced by the singer. Sounds of the singer’s laughter, the audience’s appreciation and even snatches of conversation, possibly between the singer and members of the audience can be heard, presenting an aural picture of the leisurely, informal and yet intensely charged ambience of the chamber concert or mehfil.

“Wo dil mein hain magar dil ki pareeshani nahin jati..” in Mishra Bhairavi set to the Keherwa taal shares some common elements with the six other ghazals included in this collection. Each of the ghazals is loosely based on a raag, but the singer prevaricates towards other raags with the ease that only an artiste well versed and trained in the raagdari system can accomplish. All the ghazal compositions follow a sthayi-antara pattern, with the first and second lines of the opening couplet usually sharing identical melodies and forming the sthayi. The first line of each of the subsequent couplets forms the antara, and is often rendered floating over the rhythm, while the second line of the couplets repeats the melody in the sthayi. The use of laggi is frequently employed in between couplets, and towards the end of each ghazal presentation.

Of the two bol banao thumri compositions presented in the concert, “Dehke bina naheen chain suratiya” is a familiar and often-rendered thumri composition in raag Khamaj. But the other, “Tosay laagi preet” is rendered in Mishra Chandrakauns, an unusual choice of raag for a thumri composition since most thumri compositions are based on raags such as Khamaj, Kafi, Des, Tilang, Bhairavi, Pilu and Gara. The occasional use of pancham and komal nishad, strongly reminiscent of the characteristic phrase employed in Jogkauns, (a raag from theKauns family introduced by Jagannathbuwa Purohit “Gunidas” sometime around the 1940s) may suggest to some listeners that the composition is based on Jogkauns. But the total omission of shuddha gandhaar and the infrequent but musically significant insertion ofshudhha rishabh if considered in conjunction with the previously mentioned use ofpancham and komal nishad would point to an interpretation of Chandrakauns(http://www.parrikar.org/music/malkauns/lhk_chandrakauns.mp3 ) favoured by some exponents of the Agra gharana.

Given the fact that one does not usually hear bol banaaothumri compositions in Chandrakauns, could this perhaps be a more recent composition, or an experiment by Begum Akhtar herself in attempting to present a thumri in an unconventional raag like Chandrakauns? She focuses most of the elaboration in this thumrion the bol “laagi” and the elaboration is more reminiscent of the khayal style than on thebol banaanaa or play of words from the song text considered characteristic of thumri gayaki. Displaying yet another departure from convention, she presents the familiar “Dekhe bina naheen chain suratiya”, with distinct traits of raag Gara, instead of the classic Khamaj thumrimode followed by other performers. Khamaj reappears in the bol banaao around thepancham, but only fleetingly and not before she inserts several flourishes with the distinct flavour of raag Rageshri.

The well-known Khamaj thumri rendered in the 16 matra Jat taal, is reincarnated as a Gara thumri possibly early on in the performance, but remains replete with the expressive longing and yearning that the song text demands. With the mukhdapinned up high at taar shadja and beyond in the characteristic dha ni Sa, dha ni re phrase ofGara, this interpretation of the thumri could well leave a singer out of breath, but reaching up to komal gandhar in the taar saptak, the consummate artiste is able to hold her own. With the mukhda itself placed so high in the octave, she does not spare much time for the antara, stating the lyrics of the antara only once before returning to the mukhda and moving on to the laggi section of the presentation. Begum Akhtar presented some of her signature pieces at this concert, and among them is her popular dadra “Chaa rahi kaali ghata”.

There is a delicious languor in the pace she sets for the dadra, and the lilting gait established by the tabla complements the song text “Jiya mora lehraye hai”, reminding one of the swaying movement of the jhoola traditionally installed during the monsoon in North India. Since this is a dadra inextricably associated with Begum Akhtar, there are several renditions of it that have been recorded in her voice. In many of these renditions the antara is sung in the upper octave and usually in the classic ma pa ni sa movement towards taar shadja typical of raag Des.

However, in this rendition, she situates much of the elaboration in the lower and middle parts of the octave, possibly because she chose a key that was higher than the key she usually selected for this composition. This by no means takes away from the rendition, which is as expressive and poignant as any of the other versions. “Piya ke aawan ki laagi beriyaa” is a charming dadra in the Purabi dialect rendered in the 14 matra Deepchandi taal. Abandoning the raag-based elaboration utilised in her thumri and ghazal renditions, Begum Akhtar adopts a kehen or utterance that borrows from folk music. The insertion of an Urdu verse to complement the simple but charming song-text was conventional practice among thumri singers of the past, but this practice is rarely followed by present day thumri exponents. This rendition provides an example of this practice.

Another delightful dadra borrowing from folk music of Uttar Pradesh is the popular “Sundar sari mori maike mein mayl bhayi” in Dadra taal. In a brief and attractive rendition, expressively rendered, Begum Akhtar provides a glimpse into her familiarity with the folk traditions of the Gangetic plains. She abstains from any complex raag-based elaboration in this rendition, but states the song text with a flair that delights her listeners immensely.

In yet another simple dadra adapted from folk music “Mori o preet lagi ehi raat, Hum gawanwaa naaheen jaab”, she gives voice to a young bride reluctant to leave her maternal home, who refuses to go to her husband’s home for the “gauna” ritual that marks the consummation of marriage once a child bride comes of age. Shades of raag Shivaranjaniadd an element of poignance in the rendition, and once again, the insertion of Urdu couplets to complement the song-text is employed.

Another dadra “Pat raakho na raakho tohaar marji”, is similarly rendered in Keherwa taal, but with ample traces of raag Shivaranjani, this time without the inclusion of any Urdu couplets or Brajbhasha dohas. “Aaye balam karam more jaage” also favours folk music and is rendered as a relatively faster paced Dadra. The famous catch in Begum Akhtar’s voice that stole many hearts is clearly evident in this rendition, especially as she lets her voice soar high. The playful “Hamaar kahi maano Raja ji” also points to the association between thumriand the folk music of Uttar Pradesh. Accompaniment on the tabla enlivens the short rendition by shifting between Dadra and Keherwa taals.

Seasonal songs forms such as hori and chaiti form an integral part of Purab ang thumrirepertoire. Begum Akhtar provides her audience with an example of chaiti by very briefly presenting “Sovat nindiya jagaaye ho Rama” based on raag Jogiya and in the 16 matra Addha taal. The three and a half minute rendition provides a sampling that briefly states thesthayi and antara, but does not include any substantial elaboration. The hori “Kesariya angiya rang daaro” in Keherwa taal is presented with all the playful coquettishness appropriate for such a celebratory piece. And yet the singer creates ample space for elaboration, both melodic and rhythmic. These 18 tracks extracted from the recording of a longer mehfil provide a magnificent glimpse into the world of Begum Akhtar, her charismatic personality and inimitable music to which homage is being paid by her many admirers and followers on the occasion of her centenary. Glossary (inputs from Aneesh Pradhan):

aakaar – lit. the vowel ‘aa’. In musical parlance, it refers to the use of the vowel ‘aa’ for melodic improvisation and elaboration. aamad - point of entry abhinaya - mime dance ang - In Hindustani music, this refers to ‘type’. antara – the second part of a melodic composition in Hindustani vocal or instrumental music beher - meter bol - word

bol-banao thumri - a subcategory of the thumri form that is sung at a slow speed, allowing for melodic elaboration that is not strictly bound to the taal framework chaiti – a seasonal song form sung during Chaitra, the first month of the Hindu calendar dadra - a form of vocal music from the Hindustani system, closely associated with thumri, but it is distinct from the latter in its pace, longer song-text and manner of elaboration. Like thumri, dadras are composed in particular raags, but performers can exercise liberty in moving out of the original raag without compromising the aesthetic of the composition. dhaivat - the sixth swar of the octave doha - couplet gandhaar – the third swar of the octave gayaki - vocal style

gharana - literally household, but in musical parlance signifies individual musical styles pursued by hereditary musicians, their progeny and disciples ghazal - a poetic form, originally in Persian and Urdu, but presently seen in many languages like Hindi, Marathi and Gujarati. It is also considered as a form of vocal music from the Hindustani system, when composed to raag and taal. hori - a song-form describing Holi, the festival of colours, and the exploits of the mythological figure Krishna, his friends and consorts. Also called holi, this song-form is found in folk music of northern India, but variants exist in Hindustani classical music repertoire that include similar imagery in the song-text, but are elaborated upon according to the parameters of raag and taal. jhoola - rope swing kehen - utterance

khayal - a form of Hindustani vocal music composed in a particular raag and taal. The song-text has two parts called sthayi and antara. komal – When used as a prefix to the name of a swar, it refers to the flattened version of that swar. laggi - rhythmic section in tabla accompaniment to thumri, dadra and allied forms madhyam - fourth swar in the octave matra - lit. amount. A count or unit of time in a taal ordinarily considered synonymous with the English term ‘beat’. However, matra refers not just to the beat but also the space between the two beats. It is the duration of space between consecutive matras that determines the tempo. meend - gradual unbroken glide from one to the other swar

mehfil - performance, normally used in the context of a chamber concert misraa - individual line of the couplet misraa-o-oolaa - first line of the couplet misraa-o-saanii - second line of the couplet mukhda - literally translated to mean face or countenance. In musical parlance, it refers to the first line of the composition. nishad - seventh swar of the octave. pancham - fifth note of the octave

raag - term denoting the melodic framework of art music in India. Briefly, every raag is said to create a mood with the help of specific swars that are used in a predetermined manner but are open to elaboration and spontaneous improvisation, provided the ground rules of the raag are not broken. Forms of music have evolved over centuries to encapsulate the seed-idea of every raag, and each of these forms has its grammar, rules and conventions, which allow or restrict the freedom of interpreting the raag.

raagdaari sangeet - system of music based on the principles of raag rishabh – the second swar of the octave saptak – scale of seven swars sarangi - a fretless bowed instrument with a skin-top sound board, used to accompany vocal music but also featured as a solo instrument shaayari - poetry shadja - the first swar of the octave sher - couplet

shuddha - pure or perfect. When used as a prefix to the name of a swar, it refers to the natural swar. sthayi – the first part of a melodic composition in Hindustani vocal music taal - term denoting the cyclical pattern of rhythm in Indian music represented by mnemonic syllables that can be reproduced on various drums swar - refers to a note taar - upper octave tabla - a pair of upright twin hand drums primarily used in northern India to accompany vocal and instrumental music and Kathak performances. It also possesses a rich solo repertoire. tarannum – a melodic template for reciting Urdu poetry

theka - universally accepted sequence of strokes that demarcate the framework of the taal thumri - a form of vocal music that originally incorporated dance and gesture. Thumri song- texts speak of romance, union and separation of lovers, and also incorporate the sensuous and erotic. ustad - teacher waah – word used to express appreciation

- http://www.dnaindia.com/, April 19, 2015

The culture and tourism department today conducted a heritage walk to spread awareness about the monuments in the city. Bhubaneswar is known for its treasure trove of heritage sites. Today, on the occasion of World Heritage Day, school students and residents explored the sites in the Old Town area of the city that houses over 200 small and big ancient monuments.

The heritage walk is an annual event that started from Rajarani Temple, like every year, on the occasion. Early in the morning, those who wished to walk down the heritage corridor gathered around the 10th century temple. Folk artistes, who performed Ghoda Nacha, Chhau, Sahi Jata and so on, were seen in colourful attires to march along with the heritage walkers.

Conch blowers and drummers, too, made for a mega carnival. Over 500 school students in T-shirts and caps, distributed by the organisers, held banners with tips on preserving monuments and also made an effort to spread awareness about the heritage sites. The walkers that included culture minister Ashok Panda and department secretary Aravind Padhee went up to about a thousand in number. The heritage trail route went towards Ravi Talkies Square from the Rajarani Temple and covered various majestic monuments and temples built between the 7th and 11th century.

Though many more were left out in the sidelines of the bylanes of Old Town during the march, several significant ones were covered. "I'm amazed to see the huge monuments. It speaks tonnes about the rich history of the state and the city. We must be given more information about them in our academics and school syllabus," said Priti, a school student.

- The Telegraph, April 19, 2015

Heritage conservation rules state that ancient archaeological sites shouldn't be tampered with. Surprisingly, for a change the government authorities in the region seem to be diligently following these rules at least ever since Cyclone Hudhud hit the Port City six months ago. But it is not any concern about the city's heritage that seems to have prompted this hands-off approach. It is yet another manifestation of the gross neglect of heritage by the government authorities.

Forget about new ventures or completion of proposed projects such as establishing heritage museums in every district or division of museum antiquities among the two states, signs of the government's apathy can been seen everywhere in Vizag - be it the surreptitious overnight demolition of the Kurupam Market structure in November 2013, heritage structures languishing in the Old Town-Kothaveedhi area or the inability of the authorities to put up a heritage conservation committee over a year after it was mooted.

While the promised Rs 1 crore replica of the Kurupam Market is nowhere in sight and the site now houses 60 new shops, the century-old Queen Mary's Government High School is like a heap of ruins and never got the funds intended for its restoration. The other historic Old Town spots include the Town Hall, 16th century European cemetery, Queen Victoria's pavilion, St John Church and School, St Aloysius School, Light House, Isak Medina Dargah, Abu Sarang Street, Lavender Canal as well as the mid-13th century hilltop dargah and mosque.

"Historic evidence and inscriptions of Old Town heritage structures bear a testimony to the fact that Visakhapatnam was a busy sea trade centre and home to rich merchants in the 11th century. Much before the 1857 Revolt, it was in the Old Town area that the first mutiny of Indian sepoys against the Britishers took place in 1788, in which a British officer was killed. The place also housed India's first school exclusively for young widows in the early 20th century," pointed out Intach convener P V Prasad.

"Several little-known fascinating historical facts could have enticed tourists and visitors to the neglected and dingy Old Town of the Port City, if the government had shaken its lackadaisical attitude and revived heritage tourism," added an Intach source.

However, except gathering coal dust from the nearby Port area, the Old Town Tourism Circuit doesn't look like it will feature on the tourist map anytime soon. Intach sources pointed out that the civic authorities had allocated crores of rupees under the city development plan for conservation and makeover of Old Town but all such plans seem to be in the back burner.

Neglect is also slowly obliterating the Dutch colony of Bheemilipatnam (said to be India's second oldest municipality) and the natural or geo-heritage sites like the Megalithic Dolmens of Srikakulam and Erramatti Dibbalu of Bheemili are slowly but surely vanishing due to neglect and exploitation.

In the former Dutch settlement of Bheemili, established in the mid-17th century, more than 16 major buildings and sites were identified for their historic and heritage value but unfortunately 70% of them have fallen prey to rapid and unplanned urbanisation while the remaining have been knocked off by Hudhud.

"Some of the buildings can still be restored and Dutch village conserved only if the government shows the spine to deal with land sharks and real-estate crooks," said heritage conservationist Rani Sarma, pointing out that the biggest mistake AP made was to club tourism and archaeology departments together, which have conflicting interests.

"Time and again, ministers, bureaucrats and government officials come up with tall talks of revamping heritage tourism in the district. Sometimes, it's about Old Town makeover, while at times, it's about the Dutch structures and Buddhist heritage sites of Bheemili but ultimately, plans don't progress beyond paper," said another heritage conservationist.

- The Times of India, April 19, 2015

Amid celebration by Bharatiya Janata Party workers outside his residence on Saturday morning, mayor Ram Gopal Mohaley left for Kyoto with a delegation of officials.

The mayor along with divisional commissioner, district magistrate and municipal commissioner boarded a flight at Babatpur Airport for Delhi. In Delhi, a joint secretary of ministry of urban development also joined them and the delegation left for Tokyo in the evening. Mohaley is leading the delegation.

It may be recalled that Prime Minister Narendra Modi and his Japanese counterpart Shinzo Abe had signed Kashi-Kyoto pact on August 30, 2014 to develop Varanasi as a smart city on the line of Kyoto. After it, Kyoto vice-mayor Kenichi Ogasawara had arrived in Varanasi with a delegation in October 2014.

In March, a Kyoto University team also visited Varanasi to study waste management, ghats along the Ganga and various heritage sites and modifications required for infrastructure development of the city.

From India, it is the first delegation to reach Kyoto and Tokyo to see the technologies of liquid waste and solid waste management, urban transport, heritage byelaws, zero hoarding policies, construction of heritage cultural centre on public private partnership model, assistance for textile cluster and tourism.

The delegation will study these aspects for four days in Japan. Before leaving the city, Mohaley assured the supporters that visit of this delegation will pave way for processes needed to convert this holy city into a smart city by maintaining its heritage and culture. In Delhi, a joint secretary of ministry of urban development also joined them and the delegation left for Tokyo in the evening. Mohaley is leading the delegation.

- The Times of India, April 19, 2015

Picturesque areas in the city may soon breath fresh air, thanks to the civic body's first ever heritage conservation committee, which is aiming to take the legacy of beautiful architectures and natural landscapes to new heights.

The five-member committee, which was formed on April 17, wants to ensure conservation of centuries old buildings in the city with people's participation. In 2012, the Kolhapur Municipal Corporation (KMC) had notified 89 structures as heritage sites.

"We are not a red-tape committee. We are not against development. I want to make sure that every heritage structure in this historical city tells its own story using sophisticated technology and attracts tourists from across the country and abroad," said Amarja Nimbalkar, the first chairperson of the KMC's heritage conservation committee, while talking to TOI.

In 2012, the urban development department (UDD) of the state government sanctioned regulations for the conservation of heritage buildings, precincts and natural features in the areas under the KMC. However, the establishment of the committee was pending with the UDD for three years. In the meantime, the town planning department of the KMC restricted development of those structures, which were tagged as heritage.

The order issued by Sanjay Saoji, undersecretary of the UDD on April 17, mentioned that the committee shall come into existence from the date of publication of the resolution. Besides Nimbalkar, the other members of the committee are city-based environmental activist Uday Gaikwad, principal of New College of Architecture Sandeep Dighe, Vaishali Nayakawade and assistant director of town planning. The committee members had worked with KMC on various other projects, which may help them establish a unique mechanism to convert the heritage sites into tourist-attraction centres.

"Besides taking care of the notified structures, we will focus on having sophisticated surveillance system at the buildings. We will invite views of several associations such as architects, engineers and other prominent groups for the purpose. We can have light and sound shows at some places, including Bhavani Mandap," Nimbalkar said.

Moreover, some open areas and rare plants are also on cards of the committee. For instance, the Town Hall museum building is tagged as a heritage site; the committee is looking to extend its status to natural resources as well.

"There are a few rare plants in the city. My focus will to protect them as well too. The act empowers the committee to protect such rare plants. We will make sure the place attracts tourists. Besides, we will also monitor cleanliness at all the heritage sites," Gaikwad said.

"The heritage conservation committee can only allow development or changes in the buildings tagged as heritage sites. We have received three proposals for developing such sites which were held privately for the past couple of years. Now, the committee will decide how to develop these structures keeping the heritage value at the core," said Dhananjay Khot, additional town planning officer. Gradation of heritage bldgs

* Grade I: No external change is permissible. Use of building is restricted * Grade II-A: Same as grade-I, but new construction may be allowed in open land within the premises in compatible a manner with the heritage building. The new construction should not obstruct the view of heritage building in any case * Grade II-B: Horizontal and vertical addition and alteration of the building may be allowed in compatibility with the heritage building * Grade III: A plaque depicting the history of the building should be provided. Demolition may be allowed where the structure has no architectural importance Structures needing immediate protection

* Bhavani Mandap is a heritage structure comprising mandap, Ambabai or Mahalaxmi temple, Faras Khana, Hujur Paga and Juna Rajwada * Khasbaug Maidan, Keshavrao Bhosale Natyagruha, Rankala Lake, New Palace Museum, Shivaji University and Temblai temple City development plan

* The city development plan for the KMC prepared in 2006-07 clearly stated that heritage sites need to be preserved and beautified * Its history and importance must be conveyed to tourists. A light and sound show should be introduced at Bhavani Mandap wherein the rich history of Kolhapur and its significance is emphasized

* The city should formulate a heritage management plan by setting up state-of-the-art infrastructure and facilities at the heritage sites/parks * Heritage parks should be developed so that various cultural programmess and shows could be organized

- The Times of India, April 21, 2015

A group of six artists met during Kochi-Muziris Biennale and decided to take art to other places with the aim of creating a culture of appreciating serious art. And the result was a group show, 'The Sixth Sense', which opened at the Mahatma Mandiram on Sunday.

"We have a culture of appreciating art, but the problem is that we don't get the chance to see serious art, as the exhibitions happen in big cities," said artist Suresh Koothuparamba, who coordinated the show.

The artists - Suresh Koothuparamba, Binuraj Kalapeetom, Anirudhan Ettuveetil, Saju Thuruthil, R S Babu and Sreedharan T P - are settled in various parts of Kerala and have a serious approach towards contemporary art practice. Though the group shows in small towns are mostly restricted to the local artists, here this show has a pan Kerala character.

Though it is the feminine mystic merged with the colours of nature which inspires the creative fire of Suresh, there is a unique blend of hues in his compositions that reflect his experience as a sculptor.

At the same time, the celebration of colours and femininity, which appears in the works of Saju, has a different plane altogether. While Suresh keeps the lines at bay, Saju explores the possibility of lines and it flows like musical notes.

Coming to Sreedharan's paintings, the femininity gives way to the world of childhood. Inspired by KCS Paniker's series 'Words and Symbols', the artist brings to life the inner feeling of childhood through symbols attached to their age, like the page of a children's magazine. But it is the duality of the object and the reflection that fascinates Babu. Be it the human figures or the sights of nature, it appears as a form of duality. An image becomes total only when it has the reflection, he believes. This could be the reflection of the self as well.

And it is his reflection of the self that takes shape in the creative oeuvre of Anirudhan. An artist who does not pursue a singular theme or emotion, his works are like the change of season, which can also happen to the human existence. He explores the power of line in his works.

Coming to Binuraj, the colours and lines become mutually complementary. Though his works are primarily abstract in nature, one can see the forms making their appearance in a suggestive manner. And that adds to the momentum of his composition that hide the cheers and pangs of humanity.

- The Times of India, April 21, 2015

Rinko Nagami's love affair with India began way before she met her Malayali husband. A visit to the country in 1985 had her hooked. Since then, the manga artist has been an ambassador of south Indian culture and cuisine in Japan, bringing out books on the country that fascinates her.

Nagami's latest manga, 'Rinko Nagami's South India is so delicious!' hit the stands in Tokyo on March 9, 2015. "I wanted to draw the attention of Japanese people to south Indian food," says Nagami, whose husband Koodathodi Chami has been running a south Indian restaurant, Kerala Bhavan, in Tokyo since 2004.

Over the years, the number of Japanese coming down to south India — Tamil Nadu, Andhra Pradesh, Telangana, Kerala and Puducherry — has gone up. "In 2014, the numbers touched 1,019 for south India and 836 for Tamil Nadu," says Deputy Consul-General Koji Sugiyama.

According to him, a majority of Japanese come down on business and stay for two to three years. "As on 2014, there are 1, 209 Japanese companies in India, with 225 in TN," he says. "The Japanese Chamber of Commerce & Industry (JCCI) in Chennai celebrated its 10th anniversary in February 2015. Ten years ago, there were only 24 Japanese companies which were members of JCCI but in 2014, there were 180."

With an increasing number of Japanese coming down, and a common love for rice and Rajinikanth, there is a growing interest in south Indian culture and cuisine in Japan. "South Indian and Japanese culture may be very different in many ways but there are also interesting similarities. For instance, we have a festival called Dondo-yaki which is akin to Bhogi,

the day preceding Thai Pongal in Tamil Nadu. In the middle of January, we also burn old things and cook rice porridge with Japanese dal, like Pongal. During another festival, Hinamatsuri, usually celebrated by girls, people display dolls at home just like you have kolu during Navarathri in south India," says Shinji Kashima, who along with artist Hiroyoshi Takeda, call themselves Masalawala, and specialise in dishing out south Indian meals to the Japanese.

Recently, the duo, along with photographer-writer Akira Io and his wife Haruna brought out 'Visual Guide of South Indian Culture', a Japanese book that covers cooking, cinema, performing arts and rituals, wherein they introduce Carnatic music, Bharatanatyam, Kathakali, Pongal, and Jallikattu to Japanese readers through their point of view.

"The basic concept was in my brain for a long time. I had written a small book on Carnatic music with chief editor of Sruti magazine V Ramnarayan. After my return to Japan, I wanted to do a similar visual guide of south Indian culture," says Akira. The work was distributed, with Akira and Haruna writing about music, dance and handicraft, while Masalawala wrote about cuisine and cinema. The book was released in October last year.

"Previously, only naan and curry were known to the Japanese. But recently south Indian cuisine is getting featured in Japanese media and exclusive restaurants have emerged in metropolitan areas such as Tokyo," says Hiroyoshi. "Also, many Japanese are now leaning Carnatic music, classical dances such as Bharatanatyam, Kuchipudi, and Mohiniyattam as well as Ayurveda." Rajinikanth's 'Muthu' and later 'Enthiran' spurred a renewed interest in Tamil cinema. In fact, Masalawala will soon appear in the 3D film 'Jumbulingam' as crazy Rajini fans.

For Kaoru Katori, it was the strong urge to introduce the range of south Indian cuisine that drove her to collaborate with Chennai-based Akemi Yoshii to work on 'South Indian Homestyle Curries & Spice Dishes'.

"It's a pity that many people in Japan have not yet known those fascinating South Indian cuisine. I feel frustrated that most Indian restaurants in Japan are tandoori restaurants. And I know many people — though still a minority in Japan — are aspiring to cook south Indian dishes that they have come to love," says Kaoru, who has been running Kitchen Studio Paisley Culinary School in Tokyo since 1992 and has published many cookbooks. She started her research for the book in 1995. "I have tried to illustrate the distinctive characteristics of each south Indian state through the recipes I chose," says Kaoru, whose book will be released in July.

All of them do extensive research. Kaoru learned recipes not only from Hindus but also from Muslim and Christian families. Akemi, who is married to Purushotham, a Tamilian, did the coordination for Kaoru's research on South Indian cuisine. "We did field work in Chennai, Hyderabad, and the Chettinad region. And I have overseen the section on Tamil cuisine," she says.

Rinko spent three months on research. "I interviewed my husband, Kaoru Katori and Masalawala, among others. I also wrote down my memories of the food my husband's family in Kerala cooked for me," she says.

Since these books have a niche market, some of them do find it difficult to get publishers. But that is also slowly changing. "After I got married to an Indian, I published several works that introduce India to my Japanese readers," says Rinko. "The publishing company that I worked with first contacted me about the book on south Indian cuisine as the editor, Kawamura, is a great fan of my previous works." - The Times of India, April 21, 2015 Ahom monuments have no hidden tunnels: Survey

The first Ground Penetrating Survey (GPR) in the northeast, undertaken at two Ahom monuments in Sivasagar district early this month, has not revealed the existence of any secret tunnel. The survey was carried out by IIT-Kanpur, in collaboration with the Guwahati circle of the Archaeological Survey of India (ASI), over a period of five days at Talatal Ghar and Ahom Royal Palace (Kareng Ghar), both in Sivasagar district.

The GPR survey is a non-destructive method used by experienced archaeologists and geologists across the world to detect the presence of hidden sub-structures. Conventional excavation damages historical monuments and leaves permanent scars on them. Rumours about the existence of secret tunnels beneath Talatal Ghar will finally be laid to rest, even though the survey carried out by wave signals found positive readings in the monument's garden.

While a detailed interpretation of the wave signals is awaited, experts believe that the readings point to a 'double foundation' laid by Ahom builders to protect the building from earthquakes. "We found some positive readings beneath Talatal Ghar. We received signals denoting the existence of structures between 1.9 meters and four meters. The readings came from beneath the garden, towards the left-hand corner of the monument. We are processing the readings and it will take some time," said Javed Malik, associate professor of IIT-Kanpur and noted geologist.

He added, however, "We didn't come across any reading that could prove the existence of any tunnel beneath Talatal Ghar. As for the Ahom Royal Palace, more exploring needs to be done," added Malik. Tales about the existence of tunnels, secret treasure chambers, labyrinths and people getting lost in these monuments have been gaining ground over the last few decades. Such tales have fed into the intrigue and mystery of the two Ahom treasures.

"It is believed that forts and palaces abound with hidden chambers and tunnels. Some do have such structures, but not all. The readings that suggest the existence of a sub-structure beneath Talatal Ghar could refer to a double foundation built as earthquake-resistance. The Ahoms were master builders," said Milan Kumar Chauley, superintending archaeologist, ASI's Guwahati circle. "Further interpretations of the wave signals are required. The people who carried the survey need to visit the place once again," he added.

The readings provided by wave signals are denoted in different colours signifying earth, bricks and other substances. Using state-of-the art machinery, the survey involves physical sensory techniques and uses different electronic gadgets. The GPR survey is an important tool as it helps locate archaeological sites through imagery and mapping.

- The Times of India, April 21, 2015

Taking a cue from the recent controversy over tiger population in the state, Athagarh forest division has chalked out elaborate measures to ensure an error-free elephant census. It will be carried out from May 26 to 28. Official sources said forest officers will sight the pachyderms and record their population from 37 watchtowers to be built across the division.

"We use direct sighting technique to estimate the number of elephants in the division. We have identified the spots and the water bodies, frequented by the elephants. The watchtowers will be built at these sites," said divisional forest officer (DFO), Athagarh, Arun Mishra.

Fifty-seven units with three members each will be formed to keep tabs on the elephants, he added. The last census was carried out in 2012 and it had put the elephant population in the division at 131.

Around 300 people, including forest officers and members of Bana Surakhya Samiti (BSS) and social organizations (working for animals), will be involved in the census work. Wildlife experts from Delhi will be invited to train them and supervise the study along with senior forest officers of the division, the DFO said.

"To make them well-versed with the techniques, training will be imparted thrice," said Mishra, adding, "The BSS members are mostly local villagers and we have to educate them about the specifications they have to keep in mind while counting the elephants. This will help us to avoid mistakes."

- The Times of India, April 21, 2015

Air pollution which is known to cause poor lung and heart health may also cause a stroke, a new research suggests. The findings of the research, which has been published in British Medical Journal, are based on an analysis of 103 studies, involving 6.2 million hospitalizations and deaths because of stroke in 28 countries.

TOI spoke to India's top neurologists who said it was possible. "At AIIMS also, we have initiated a study to analyze the link between air pollution and stroke," said Dr Kameshwar Prasad, professor and head of the neurology department. He added that there has been a significant increase in stroke cases in the country which cannot be explained by unhealthy lifestyle and other identified risk factors alone.

Dr Shakir Hussain, chairman of Stroke & Neurointervention Foundation, said more than 50% of the stroke patients that he sees are below 45 years of age. "Of them, some are non-smokers, who have normal blood pressure and do not have diabetes. The role of environmental factors in triggering neural disorders cannot be ruled out in such cases. It requires detailed investigation," he said.

The doctors say vehicular emissions include ultrafine particles and gases such as carbon monoxide and sulphur dioxide which get into the bloodstream. "The pollutants cause thickening of the blood and also initiate formation of cytokines which trigger stroke," said Prasad.

The AIIMS study, he added, would involve assessing the date and time of stroke in admitted patients and the level of air pollution in their localities. "Several studies conducted in other parts of the world, including the recent one from British Medical Journal, clearly show strong association between incidence of strokes and air pollution. In India, the pollution levels in cities are very high and if our study reveals a similar association then we would urge the government to take action," said Prasad.

He said role of pollutants is more prominent in ischaemic stroke cases in which the blood vessels supplying oxygenated blood to the brain get blocked. It constitutes nearly 85% of all stroke cases. The rest are haemorrhagic stroke cases, in which bleeding from a damaged blood vessel in or around the brain damages or puts pressure on the brain tissue.

"In western countries, even 40 microgram per cubic metre of particulate matter is considered hazardous but the average presence of such pollutants in Delhi ranges from 150-200 microgram per cubic metre," said Dr Sundeep Salvi, director of Chest Research Foundation. Recently, National Green Tribunal banned all diesel-run vehicles over 10 years old in Delhi.

- The Times of India, April 21, 2015

It is hard to believe villagers in Haryana, known for their hookah and beedi consumption, had maintained excellent dental hygiene and adopted sophisticated food preparation methods around 5500 years ago.

But Archaeology Survey of India's (ASI) excavation at Haryana's Rakhigarhi site - which is now feted as the biggest Harappan site with 350 hectares - has found good dental hygiene in the dozen skeletons it dug up between 1997 and 2009.

"Dental health of the skeletons is good. Calculus formation is common but caries are less in frequency. There is not much of antemortem (after death) tooth loss," said the ASI report submitted to the Union culture ministry in December 2014. Pointing out non-eruption of the third molar (popularly known as wisdom tooth) in the skeletons, the report has attributed this to "sophisticated food preparation methods that resulted in reduction of masticatory stress".

The biological anthropology for the ASI report was done by Dr S R Walimbe in 2011. According to the report, the Harappans at Rakhigarhi mainly ate wheat, barley and bathua (a leafy vegetable like spinach).

The report also said that residents of Rakhigarhi relied heavily on dairy products which included curd and milk. "Excavations have recovered a high percentage of buffalo bones from all occupation levels," it said. Of the 23 sites, within 15km radius where the excavations were done, the report said farming activity was restricted to 4-5km area at four places which are now referred as Gamra, Budana, Haibatpur and Lohari Ragho 3.

The report added that 10 out 12 skeletons had all 32 teeth intact, pointing to extreme robusticity of glabellar region (the area between eyebrows and nose). According to a study, hookah smokers in Haryana villages consume on an average 50-100g tobacco mixture per day. Smoking hookah can affect the dental hygiene and cause gum diseases.

- The Times of India, April 21, 2015

The body of a tiger on Thursday was found floatingin a feeder canal of river Sharda, about 1.5 km from Barahi forest range of Pilibhit Tiger Reserve. The body bore no marks of any external injury. The PTR authorities have sent the body to the Indian Veterinary Research Institute (IVRI) in Bareilly for postmortem. Where the officials of PTR did not make any comment on the cause of death, environmentalists suspect that the tiger was poisoned.

According to divisional forest officer of PTR Kailash Prakash the tiger's body was found in the downstream of Hardoi branch. He declined comment on whether fighting with another big cat had resulted in death as there was no marks of injury on the body. He said he was awaiting the postmortem report.

However, vice-president of Wildlife Biodiversity Conservation Society Amitabh Agnihotri and secretary of Save Environment Society T H Khan expressed apprehensions that the feline had been poisoned by poachers as its body had been found in a water body near Barahi forest range.

Agnihotri said the forest area of Pilibhit district adjourns Shukla Phanta Wildlife Sanctuary of Nepal. Since there is no wire fencing between the two forest belts, there is no check on infiltration of poachers from Nepal. He said recent joint search and seizure operation by the Special Task Force of Uttar Pradesh and the Wildlife Crime Control Bureau had clearly confirmed that poachers were active in Pilibhit Tiger Reserve area. He suspected that as the tiger's body had sunk in the water, the poachers could not take it away.

Agnihotri was of the view that a pesticide could have been used to poison the animal because after its consumption, the animal becomes restless and rushes to drink water. By which time, the toxic substance takes effect and it drowns and that is what happened in case of the tiger.

Khan said Bengal tigers are good swimmers and ruled out drowning as possible cause of death.

- The Times of India, April 23, 2015

The Archaeological Survey of India (ASI), it seems, has become inattentive in implementing the ban on wearing shoes while walking around Taj Mahal's main mausoleum. The ban was imposed as walking with shoes on damages the marble architecture on the floor.

Visitors can often be seen walking about the main mausoleum wearing shoes and there is no one present to stopg them. The stairs leading to the main mausoleum have already been covered with wooden planks to avoid further wear and tear on the marble surface.

Rules say visitors are required to buy cloth-made shoe covers for their shoes or go bare feet on the main mausoleum. In order to make visitors take off their shoes before entering the mausoleum, shoe racks have been placed at the entrance. ASI staff is supposed to ensure that no one gets into the white marble area of the Taj with their shoes on.

A senior ASI official said there is no official record on when the ban came into existence but said it was started as a means of giving respect to the graves located inside the main structure. Initially, this practice mostly concerned some religious sentiments but later it also became a matter for conservation.

"Shoe covers serve both purpose. It helps in protecting the marble floor and also ensure respect to the dead," the official added. The ban has been placed to ensure that the marble does not get damaged or worn out with lakhs of people walking on the white marble surface every day.

However, on many occasions due to a lackadaisical approach of the ASI staff, this rule has not been implemented properly. Moreover, it looks like a free-for-all situation with tourists littering the garden area, near the mausoleum. When contacted, Ram Ratan, conservation assistant, denied that such problems happen on a regular basis. He said he strict instructions had been issued to attendants to ensure that the ban on shoes is properly implemented.

Meanwhile, after the news of visitors walking on the marble floor with shoes spread, members of the Uttar Pradesh Aman Committee met ASI officials and raised their objection. Its chief, Munnawar Ali, said, "We told the officials that it had hurt our sentiments and has also caused harm to the mausoleum, our national heritage."

- The Times of India, April 23, 2015

Not many know that Fort St. George still retains the national flag hoisted on August 15, 1947, K. Murtheshwari of Archaeological Survey of India (ASI), said.

While speaking at the 375{+t}{+h}anniversary of the completion of Fort St. George [stage 1], organised by ASI and Madras Heritage Lovers’ Forum here on Thursday, she said, “The flag, measuring 12X8 metres, and made of silk, has been put up for display in the museum.” S. Suresh of INTACH, Chennai chapter, said the museum had an excellent collection of stamps from all the colonial powers including Great Britain, Netherlands and France.

He said Madras was a thriving centre during the Stone Age. “It has been called the classic ground of prehistoric archaeology. The first Palaeolithic tool discovered in Asia was in Pallavaram in May 1863,” he said. Mr. Suresh handed over a special cover with a stamp featuring Fort St. George to K. Lurdusamy, superintending archaeologist of ASI, TN Circle. Historian V. Sriram spoke of a free app, ‘Chennai Walkabout’, mainly created for Fort. St. George.

- The Hindu, April 24, 2015

Nine artists from the city will display their works at the Sanskruti Arts Festival, a mega art event to be held at Upvan Lake in Thane, Maharashtra. Over 150 artists from across the country will participate in the three-day festival that begins on Friday.

The visual artists include Amarnath Sharma, Arunanshu Chaudhary, Bhavsingh Bambhaniya, Praful Singh, Sandeep Pisalkar, Kunal Chaudhary,Siddharth Kanwar, Govind Biswas and Aishrjya Kanwar.

They are among the 95 visual artists who are participating in the festival from across the country. The artist will be showcasing their works in the form of installations, sculptures and paintings surrounding a lake in Thane.

The festival will present a display of classical and contemporary music, classical dance, visual arts, performing arts, culinary arts and literary fest. The festival will also witness workshops on music and painting among others.

- The Times of India, April 24, 2015

Unearthing of terracotta figurines of elephant at 2,500-year-old Tarighat site at Durg district is being believed as another indication that complements connection of Chhattisgarh's ancient traders with South Africa. Archaeologists claim Tarighat was one of the richest international trading centres in central India.

They feel that the shape of elephant figurine is indisputably like those found in South Africa. However, with Indo-Scythian and Indo-Greek coins excavated, the site is said to be not only one of the richest trading centres of import-export in Chhattisgarh, but also a hotspot of affluent lifestyle. Earlier, figurines of Giraffe-like animal and women with unique-knotted hairstyle excavated from the site supported the idea of traders having some connection with South Africa.

Excavation director and archaeologist JR Bhagat said, "The elephant has large ears and spine bones visible on its back, identical to elephants found in Africa. Elephants of that physique can't be found in Asia. Tarighat has indicated at being a trading market during 2nd and 3rd century BC."

Bhagat said that archaeology is a deep and argued subject, hence, scope for more research is always possible. "Chhattisgarh might have had affluent and glorious past but I am yet to find clearer links of Tarighat to international market," he said. Partially buying the idea, anthropologist (retd) Ashok Tiwari, former curator, Museum of Man, Bhopal said, "The elephant figurine's anatomy isn't like that of an Indian elephant rather it looks similar to African breed which has slant forehead, large ears and spinal column visible on the back. Few may argue that elephants in those times would have looked that way."

Tiwari explained that ancient traders might have travelled to Africa and would have made figurines after returning for decorative purpose. Another archaeologist CL Raikwar said, "Elephant figurine is small-sized and looks like a country art (lok kala). Country art often is result of artists' imagination, though it's also argued that ancient artists engraved what they saw in their surrounding."

Tarighat site resumed excavation recently after getting renewal of licence for excavation by Archaeological Survey of India (ASI). Chhattisgarh archaeology department director Rakesh Chaturvedi pronounced the site as one of the most important ones in state.

- The Times of India, April 24, 2015

The stormy Board of Trustee (BoT) meeting of Indian Museum showed the director B Venugopal way out. Jayanta Sengupta, the current director of Victoria Memorial will assume the charge of the director of Indian Museum from May 15. The BoT also sought explanation from the director why the museum authority has failed to nail the persons responsible for vandalism that caused irreparable damage to archeological treasures of the country. Earlier Venugopal sought relief from the post and sought a repatriation.

Indian Museum has hogged limelight at its bicentenary celebration of the oldest and the biggest museum in Asia all for wrong reasons. During the shifting of 3rd Century BC Rampurva Lion Capital, the National Building Construction Corporation (NBCC), broke it into two pieces. The Museum not only tried to hide the fact but also made conservation head Sunil Upadhyay scapegoat in front of the ministry of culture probe team. Sunil Upadhyay mysteriously disappeared. CID, Bengal, which was entrusted with probe by the Supreme Court, is yet to find any clue.

Not only was the mask gallery inundated by the free-flow of water from the roof having been repaired by NBCC, the 2nd Century BC Yaksha statue's feet got damaged. Though the museum tried to brush it off as 'flaking, a natural process,' ToI got hold of photographs showing how museum officials tried to fixed the broken part of the feet with adhesive. In fact, ASI team that visited the museum subsequently found it an act of vandalism.

The latest is the vandalism of 1st century AD Votive Stupta of Gandhara region during the routine maintenance. The glass top of the cover broke into pieces on the Stupa damaging the Stupa. Yet again the NBCC workers were engaged to put silica gel, while the preservation officers were kept out of the loop. The BoT members asked the director why NBCC workers were engaged in the maintenance. "How could they quantify the amount of silica gel required to arrest humidity that has accelerated the flaking of the artefact?" The director, of course, could not give satisfactory answer.

The museum authority was also questioned on why the post of the education officer of the museum left irregular. The director said that the recruitment of the education officer happened during a stay by the court and thus incurred contempt of court. BoT members then asked for the court order. The museum authority could not back their claim with any document. The governor Keshrinath Tripathi asked for a consultation of the solicitor general of India.

The museum interns, students of museology, who took all the trouble to ensure the bicentenary celebration a thumping success, were thrown out of the museum by the authority. They were brought back for next six month, with the museum suffering from serious manpower. One of the key reasons why museum authority did not like their presence in the museum was that they pointed out a lot of irregularities.

The BOT members also suggested some immediate introductions, including a guide book for visitors. A store house of the country's heritage, the museum still lacks proper signage, scanty historical texts. "Guide book is very basic thing even for small museums. But unfortunately, Indian Museum does not have one even after it crossed 200 years, where crores of rupees are spent on renovation of the building," said museologist and BoT member Sachindranath Bhattacharya. BOT members also urged the museum authority to throw open the souvenir shop that has been kept shut for quite some time.

- The Times of India, April 24, 2015

Thousands of Delhiites who have been unable to repair or modify their houses because they live close to ASI-protected monuments are likely to get some relief with amendments proposed to the ASI Act 2010 that would relax restrictions around these structures.

The Act, as it stands now, imposes a blanket ban on all construction within 100 metres (prohibited zone) of any monument protected by the Archaeological Survey of India and allows limited construction in the next 200 metres (regulated zone). A draft being prepared by ASI's legal bureau in consultation with the Union culture ministry proposes to divide all centrally protected monuments into A, B and C categories. Restrictions around category A monuments — world heritage and large, important sites — are likely to stay.

"But monuments under category B will have reduced prohibited and regulated zones, while category C monuments will have the least protection with the prohibited zones being reduced till roughly 25m," said an official involved with preparation of the proposal.

ASI maintains over 3,500 monuments across the country, with 174 of them in Delhi. Although the regulated and prohibited zones haven't been fixed yet, sources said the category A monuments are likely to get maximum protection. Under category B, the prohibited zone may be reduced to 50m. Regulated areas will also change accordingly, said sources. All monuments other than the category A sites will be marked based on size, significance and location.

"The culture ministry recently suggested several changes to the first draft. The second draft will be submitted to the ministry soon," said a source. The move spells relief for thousands of Delhiites who are unable to undertake any construction owing to the stringent ASI rules. Most of the 174 protected monuments in the capital are located in densely populated, residential areas such as Green Park, Mehrauli, Hauz Khas, Malviya Nagar, South Extension and Nizamuddin.

When the Ancient Monuments and Archaeological Sites and Remains Act 1958 was amended in 2010 to afford better protection to India's heritage, it stalled the lives of hundreds of thousands of people living in the protected zones. Plots remained empty, houses started to crumble and growing families could not build more floors as no construction or even modification was allowed in these areas. Though National Monuments Authority (NMA) has started granting permissions on a case-to-case basis since 2011, Delhiites have always complained about the "unreasonable" ASI Act.

- The Times of India, April 24, 2015

As part of an initiative to improve inland fish resources, the Kerala State Fisheries Resource Management Society (FIRMA ), under the Fisheries Department, has decided to set up fish sanctuaries with the participation of the local communities.

“One of the fish sanctuaries under the project will come up at Pazhoor in the Piravom panchayat,” a press statement from the FIRMA stated. The project to set up fish sanctuaries is an attempt to save the inland fish resources from depletion. Change in habitation,

over exploitation and conditions that do not support natural propagation have been adversely affecting the fish in inland water bodies and rivers in Kerala. The FIRMA is planning to establish fish sanctuaries in the Sasthamkotta lake, Pampa and Muvattupuzha river. It will also distribute seedlings of local fish varieties, and launch awareness campaigns among the local fisherfolk.

The fish sanctuary project at Pazhoor will be inaugurated by Minister for Fisheries and Ports K Babu at a function to be held at Dheevara Sabha Hall in Kalambur at 5:00 pm on Friday. On the occasion, the Minister will also inaugurate construction of two coastal roads undertaken by the Harbour Engineering Department in the Piravom panchayat.

- The Indian Express, April 24, 2015

Avni Varia grew up in Ahmedabad where her father Vithaal Varia studied design at the National Institute of Design (NID). “My father was from a potters’ village near Halol, and studied at the university of Vadodara and then at NID. My sister and I grew up in Ahmedabad, went to a good school and learnt design at the institute. As we are from a community of potters called Varia in eastern Gujarat, when we would visit our village we would help in making pots, playing with clay and watching pottery being sold,” she says.

Though Varia feels that pottery is a dying art, she is trying to revive it. “Pottery is on the decline now. This made me realise the importance of bringing crafts back to daily use, which will create livelihood opportunities in villages and city slums.” Before she started working with her community, Varia conducted a skill training programme of hand embroidery in Ahmedabad. She registered an NGO called Aadhar in 2003, and “held an exhibition of their work at Karnavati Art Gallery, which was inaugurated by dancer Mrinalini Sarabhai.”

After finishing her MA in heritage studies from London Metropolitan University, she returned in 2010 and got the idea of promoting crafts among potential stakeholders through films. “I wanted to show documentaries and audio-visuals on handlooms and handicrafts in schools to children who are so disconnected from their culture, heri tage and rural India, but got a lukewarm response,” she says. “Then, some heritage activists discussed the annual Ahmedabad Heritage Week where organisations unrelated to each other put together individual events that become part of a week-long festival every year,” says Varia. The festival was held in November 2012 with jury-selected films shown at nine venues in Ahmedabad.

The festival caught the interest of the audience, students and people who were interested in films, design, heritage and craft-based social development. “We began getting letters from filmmakers saying they had more films to show. This led to my making this an annual event,” says Varia. “After the festival, selected films travel to other cities to create more awareness about the handicrafts. The festival will travel across the globe to different audiences to promote India’s handicraft heritage’’.

Apart from the events, Varia is also working on the basic issues faced by artisans. “We are maintaining details of all the practicing potters of the Varia community and plan to create a cooperative of potters, document their work and look at product modification and development for contemporary markets with marketing to urban area. We are also documenting history through interviews of elders from our community and collecting archival photographs,’’ she says. She has also created a brand for potters of the Varia community with a logo, graphics and packaging.

Varia is happy that shops in Ahmedabad specialising in organic or traditional products have started stocking pottery from the Varia villages. “We hope to create a model that can be replicated among other potter communities in Gujarat, and later India,” she adds.

- The Indian Express, April 25, 2015

Former general secretary of Shiromani Gurdwara Parbandhak Committee (SGPC) Kiranjot Kaur has said withdrawal of the dossier for getting the Golden Temple on the Unesco World Heritage Site list was a wrong decision. Kaur, who had relentlessly worked to prepare the dossier, blamed the ignorance of then SGPC leadership and misinformation campaign for withdrawal of the dossier at the eleventh hour.

"Dossier was withdrawn one month before the meeting of world heritage committee of the Unesco to put the Golden Temple on the list by the then SGPC president Bibi Jagir Kaur. It was a wrong decision and based on misinformation," Kaur told TOI on Saturday.

Kaur said that the ongoing social media misinformation campaign that the world heritage committee of Unesco would consider the Golden Temple for inclusion in the list during its upcoming meeting in June was baseless. "The Golden Temple is not being considered for the World Heritage Site tag," she said.

She said that SGPC had hired Delhi-based Indian National Trust for Art and Cultural Heritage (INTACH) to prepare the nomination dossier and paid Rs 20 lakh. While claiming that getting the world heritage status would have not in any way interfered in the functioning of SGPC, she said that the dossier had two parts - core precinct which included the Golden Temple complex and buffer zone which had the municipal corporation area.

"Management body of the core precinct is the SGPC and the buffer zone is under the control of the state government. The dossier included state government's commitment that any development in the buffer zone would be planned with permission of SGPC but there will be no interference in the Golden Temple complex," she said.

She said the idea of getting the Golden Temple a heritage status was not a stray thought but well-considered. The SGPC executive committee then headed by Kirpal Singh Badungar decided to get the Golden Temple listed with Unesco after concerns shown by community about karsewa (voluntary service) by various groups, especially about fixing of marble that was killing the art and architectural heritage in the gurdwara which required to be conserved.

"Unesco can help by providing experts in various fields to conserve the art work and architecture of the Golden Temple. Heritage conservation is still a new field for India, nothing near the level of European experts. Also being on heritage list of Unesco increases the visibility of Sikhs and the Golden Temple in the West where Sikhs face so many issues connected with their identity and the religion," she said.

- The Times of India, April 26, 2015

Beyond colossal loss of human lives, if there is anything perhaps equally overwhelming in Nepal's earthquake tragedy, it is the monumental damage the country's iconic heritage has suffered due to the calamity.

The powerful temblor measuring 7.9 on the Richter scale on Saturday practically levelled the nation's tangible cultural history, robbing it of its architectural jewels, including the landmark Dharhara Tower, in an eerie reminder of the 1934 quake that claimed over 10,000 lives. The 19th century nine-storey minaret, a UNESCO World Heritage site, which once offered a panoramic view of the Kathmandu Valley, turned into graveyards for over 200 people.

Over 2,000 people have been killed in the wake of the calamity while more than 5,000 are injured. Built in 1832 by the then Prime Minister of Nepal Bhimsen Thapa, the tower was also extensively damaged in the 8.3- magnitude earthquake of 1934, worst in Nepal's recorded history. It was later rebuilt and opened to the public, only to be reduced to a rubble this time.

The architecture of the tower was designed in Mughal and European style. A small statue of Lord Shiva was placed on the top of the tower. The tower also suffered damages in the 1834 earthquake. The Kathmandu Valley inscribed in the World Heritage list in 1979 include the Durbar Squares of Hanuman Dhoka (Kathmandu), Patan and Bhaktapur, the Buddhist stupas of Swayambhu and Bauddhanath and the Hindu temples of Pashupati and Changu Narayan.

Tragedy came to revisit all the three Squares, as the sites had suffered extensive damage in the 1934 disaster too. The brick-and-wood architecture, symbolic of the Himalayan nation, now symbolise death and devastation. The 1934 earthquake had also robbed Kathmandu of its historic Ghantaghar, as the iconic clocktower was reduced to a heap of debris. And, though the landmark was rebuilt with a new design, a page of history was lost forever. Kathmandu's Basantapur Palace, built in European-style in 1908 as part of the ancient Royal Palace, has also been extensively damaged.

"The Durbar Squares and the Palace and the Dharhara Tower, they represented us, they represented Nepal and its culture and beauty, and it's all gone now. The loss of inheritance has made bearing the loss of human lives, even more difficult," Luxmee Maharjan, former journalist at the Kathmandu-based Himlayan Times said. Many heritage lovers took to social media like Facebook and Twitter to share old, sepia-toned photographs, while some posted recent images, juxtaposing them with their appearance post the tragedy.

- http://www.indiatvnews.com/, April 26, 2015

When Simer Sokhi took to Bharatnatyam as a career, he broke many stereotypes. Today, he is proud of the choice he made...

Amarjot Kaur He dances his way through a cobweb of stereotypes attached to his career as a Bharatnatyam dancer. And while he braves each step with a movement of grace, he silences a gamut of prejudiced comments shot his way, not with words, but with actions. Based out of Kalka, Simer Sokhi, 21, was only 14 when he started learning Kathak, after which he took to Bharatnatyam at 17. As for the journey, Simer shares it has been a mix of bumpy rides and shoe-bites but adventurous nevertheless. In Chandigarh to perform at the Tagore Theatre, Simer shares how a man wearing a pair of ‘ghungroos’ would blow the living daylights out of those with lesser tolerance for anything but a stereotypical idea of a ‘macho man’.

“For a long time, I did not tell my father that I wanted to become a Bharatnatyam dancer and take up dancing as a professional career. So, the only ones in my family, who knew that I was learning how to dance were my mother and my aunt,” begins Simer. A hobby that stemmed out of passion, later developed into an option of professional career, but then it was not really an easy choice for Simer. “I come from a Sikh family and the idea of me becoming a Bharatnatyam dancer did not settle well with my father, so even when I got through Kalakshetra, Chennai, which is the finest institute for training in performing arts,

it took much time for me to convince my father,” says Simer. Fortunately, Simer’s mother, who he says was an immense source of support, acknowledged her son’s love for dancing and waved a green flag his way as he started to chase his dream! “Initially, my kathak teacher, who knew my sitar and tabla teacher told him of my love for dancing and he encouraged me and also convinced my father to let me go to Kalakshetra,” he says. With his parents blessings that changed the course of his destiny, and hard work that added to his perseverance at Kalakshetra, Simer learnt the nuances of Bharatnatyam.

“Those four years at Kalakshetra were a massive learning experience for me as they gave me a lot of exposure,” he reminisces. While talking of the challenges he faced, he shares, “You know what people said… aapka beta dancer hai? You son just dances? Please stop him from dancing. These voices were a constant noise in my head all these years and that too, from my relatives, neighbours, and who not! That was a little demoralising, but then I was really inspired by dancers like Birju Maharaj and Navtej Johar. So, I just ignored all that people had to say,” he signs off.

- The Tribune, April 26, 2015

The unusual mounds in a Hisar village attracted attention a century back, though it was much later that Rakhigarhi’s Harappan link was recorded. Considered the Indus valley civilisation’s largest human settlement, the site, where four skeletons were excavated recently, however faces irreparable loss and neglect rather than the expected bevy of excitement. Nine mounds of Rakhigarhi village sit atop a huge slice of ancient Indian history — a human settlement spread well over 300 hectares dating back close to 5,000 years.

Excavation led to its being described as the biggest of the nearly 2,000 sites of the Harappan era or the Indus village civilisation in the subcontinent. The Rakhigarhi site is considered bigger even than Mohenjo-daro, now in Pakistan. That, sadly, seems to be no big deal. Though the Archaeological Survey of India has declared mound numbers 1, 2, 3, 5 and parts of 4 as protected area and deployed a watchman, Haryana Archaeology Department’s Deputy Director Ranvir Singh says it is still owned by the village panchayat as the ASI has not acquired it. Mounds 6, 7, 8 and 9 remain under private ownership of farmers, who plough the land for a living.

Superintending archaeologist, Chandigarh circle, GN Srivastava, says there are several encumbrances in notifying the sites. “It features in UNESCO’s tentative list of proposed world heritage status sites, but encroachments on archaeological sites and monuments is a big issue in Haryana,” he adds. Global Heritage Fund, an international organisation working for the protection of endangered sites in the developing world, has included Rakhigarhi among Asia’s 10 most significant archaeological sites facing irreparable loss and destruction. “It is one of the largest and oldest Indus sites in the world, which is facing threat due to development pressures, insufficient management and looting,” it says.

Dr Amarendra Nath, former Director (Archaeology) of ASI, who carried out excavations at Rakhigarhi from 1997 to 2000, stresses the need for preservation, but adds: “We are not like Europe and America. They try to protect sites by preparing heritage plans and have specific laws and bylaws. Though we also have such bylaws, it’s not possible to implement it in a place like Rakhigarhi. The panchayat is the local body which is not capable to protect and preserve such kind of sites.” The vagaries of nature and encroachments, he says, are almost uncontrollable and result in damage.

“There needs to be an administrative will to mend things at the government level. The locals are the stakeholders at such sites and their cooperation is a prerequisite,” Dr Nath maintains. Though a Punjab and Haryana High Court order of 2008 had directed the ASI to remove all encroachments from the ancient or protected monuments, including Rakhigarhi, and submit a report on a petition filed by Munshi Ram, a resident of Batala town in Punjab, the case is lingering with the affected persons (encroachers) getting the orders stayed.

Dr Nath says it is difficult to dislocate residents even if they are offered a well-laid-out colony. “There is also no policy to rehabilitate people sitting atop these sites. It’s but natural for them to start utilising the open space for putting cow dung cakes, tying their cattle.”

Villagers like Vazir Singh Sirohi, the sarpanches of twin villages Rakhi Khas and Rakhi Shahpur, Rajbir Malik and Rajbir Sheoran, and panch Dharampal Singh have been developing the site and lobbying with the state government for its preservation for many years. Rajbir’s son Dinesh Singh says 80 per cent of mound 6 — a residential site — and 7, a burial site where human skeletons were unearthed recently, have been destroyed due to cultivation and lifting of soil. “Though some villagers recover antiquities while ploughing, we ensure nobody destroys the site. Some people own the articles but don’t indulge in illegal trade,” he claims.

A good part of the site has also been destroyed by soil erosion and illegal sand lifting. Vazir Singh, whose contribution to the excavation process has been immense, says successive governments have ignored the site. “A museum is a must. Archaeologists and residents are in possession of a huge volume of artefacts. The village would figure on the world tourism map only if the government is forthcoming,” he adds. Haryana recently decided to preserve the site, with Director General of the Archaeology and Museum Department Ashok Khemka and ASI regional director TR Sharma inspecting the site. A tourist centre could be in the works, but nothing’s final. Dated history of Rakhigarhi

Rakhigarhi’s historicity was noticed a century back, when the Survey of India mentioned the mounds in 1915. In 1969, Prof Suraj Bhan for the first time recorded the mature Harappan traditions in town planning, architecture, art and craft in a part of the site that was excavated. It was in 1997 that Dr Amarendra Nath, then Director (Archaeology) of the Archaeological Survey of India, started work at this site. Last year, two more mounds were discovered. Till then, the archaeological remains spread across 300 hectares made Mohenjo-daro the biggest Harappan site, followed by Harappa, also in Pakistan. Dholavira in Gujarat was the biggest site in India.

As archaeologists unfold the layers and turn the earth over at Rakhigarhi, new facts and findings are emerging that establish it as the largest town of the Harappan era. The ancient city had flourished along the banks of Drishadvati river, a tributary of the Saraswati. It is being termed a cosmopolitan city and a hub of trade and culture during the Harappan civilisation that extended over vast areas in the northwest of the subcontinent. The site has gained prominence in view of its large size and the volume of antiquities and other startling facts that came up during the excavations, indicating it to be the most important of its time.

Of the nine mounds, those numbering 1 to 6 are residential localities. Mound 7 is a cemetery, from where four human skeletons were dug out recently. The ASI has got carbon dating done of mounds 1, 2 and 6, which establishes the preformative age of 5,640 years Before Present (BP), and 5,440 (BP) from samples from mound number 6. Excavations prove the existence of wheat, barley in the mature Harappan era and seeds of “bathua” in the early Harappan period.

Dr Nath, who carried out the excavation from 1997 through 2000, claimed in his report to the ASI last year that Rakhigarhi made a substantial contribution in scientific and technical fields. He wrote: “The Harappans must have prepared a blueprint of the proposed town before providing all the civil amenities. The neatly laid out platforms, streets, drains, the provision of public wells, the separation of industrial area, houses in rows, erection of fortifications, walls in uniform width, and above all, the construction of a granary and religious podium suggest careful planning and efficient execution with precision.”

The most interesting feature of the Harappan civilisation, he says, is its homogeneity — the uniform products of artistes that can be found in all cities and towns throughout the vast territory which came under its influence. “Rakhigarhi occupants produced tools, weapons and ornaments conforming to the standard in the Indus valley. The recovery of intaglio, seals, cubical stones, parallel-sided blades, gemstones, copper implements and earthware similar to Mohenjo-daro and Harappa is significant,” says the report.

Commerce as an idea also existed. The archaeologists are excited that the site still remains largely unexplored and it would take time to touch the virgin soil. Pune’s Deccan College, along with the Haryana Archaeological Department, had resumed excavation in January. They have decided to embark on excavation on a larger scale from next year. Dr Vasant Shinde, Vice-Chancellor of Deccan College and director of the excavation project, says many archaeologists from the US and Cambridge University have enquired about the site.

‘Mound of the Dead’ The ancient city of Mohenjo-daro (Mound of the Dead in Sindhi) sits on elevated ground in Larkana district of Sindh province in Pakistan. It’s spread out over 300 hectares on a series of mounds, which experts say grew as people kept building platforms for houses. The Indus valley civilisation emerged close to 5,000 years ago and thrived for a millennium. The occupants were skilled urban planners, with a bathing area and drainage system in every house. The wealth is evident in artefacts. The Indus river changing course probably resulted in the decline of the civilisation. Korean expertise to the aid

Enthused over the recovery of four skeletons in Rakhigarhi, archaeologists hope forensic scientists will reconstruct the DNA extracted from bones to help decipher the history and origin of the human settlement. Pune’s Deccan College in collaboration with the Haryana Archaeology Department and Seoul National University, South Korea, have been carrying out excavation at the site since January 23. A forensic team from Seoul will arrive in July to process the sampling of the skeletons for obtaining the DNA. Prof Nilesh Jadhav, co-director of the project, along with his team of research scholars — Yogesh Yadav, Malavika Chatterjee and Shalmali Mali — recovered the skeletons at mound 7 in Rakhigarhi.

“The skeletons of two adult males, a female and a child have been found. With the help of forensic experts, we will try to reconstruct their DNA. We tried doing it with the help of a Japanese anthropologist five years ago, when a Harappan-era graveyard was discovered at Farmana village in Rohtak , but failed. Now, scientists from South Korea, equipped with advanced technology, will attempt to reconstruct the DNA,” says Prof Jadhav.

Ranvir Singh, deputy director, Haryana Archaeology Department, says 70 skeletons were recovered at the Farmana site, but they could not extract their DNA because the remains were damaged due to the presence of calcium in the soil. “The soil at Rakhigarhi is sandy so the skeletons are better preserved.” The findings conclude that the disposal of the dead became an elaborate practice. The ASI report reads: “A higher number of earthenware was noted in female burials. Offerings were made of dish-on-stand, bowl-on-stand, goblet, beaker, globular jars, medium and miniature vases, dishes and basin, while the male dead were offered limited items.” However, the grave-pit of another female, which yielded no ornaments, indicated that widows or unmarried women were deprived of such adornments. Antiquities unearthed in rakhigarhi village

Figurines: Of animals and mythical characters and made of terracotta, these give a peak into the toy culture. A dog with a leash, an elephant calf, a four-horn deer, bulls, buffalo, unicorn, mini wheels, miniature lids and sling balls have been found, says Prof Nilesh Jadhav, co-director of the excavation by Deccan College, Pune. Tools: Net sinker for fishing, copper arrow for hunting, sharp chert blades and bone sticks are among the finds.

Beads: Harappan women adorned themselves with articles made of lapis lazuli and carnelian; shell bangles; beads of ivory and jasper; and pendants made of basal and agate. They brought lapis lazuli from Afghanistan; carnelian beads and shell bangles from coastal areas; chert blades from Rohri in Pakistan; and sandstones from Rajasthan. Skilled craftsmen: They knew how to polish beads to a high mirror shine and drill holes. Bead-makers were experts in etching, engraving and inlaying. Manufacturing units: Having thousands of bead rough-outs, waste flakes and cores, tools, implants and bead polishers have also been found. Over 11,000 beads were found in 1997 from Rakhigarhi.

Refined pottery Earthen pots: Complete sets of fired earthen pots, both hand and wheel-made, have been found from the graves, indicating that the Harappans believed in rebirth Terracotta cakes: These, says research scholar Malavika Chatterjee, are triangular and circular, to be used as tiles and for heating purposes Mud-brick: Occupants lived in mud-brick houses and used fired bricks in foundation and drainage

- The Tribune, April 26, 2015

The state has the potential to become a major travel destination with its many forts and monuments and emerge as a cultural-tourism hub Puneetinder Kaur Sidhu Early on in February this year a motley lot largely comprising Europeans was spotted excitedly finding its way around the flatlands of Punjab. Somewhat out of character, one would say, as the state as a whole is not known to be a destination for mass tourism or group travel. Excepting, of course, sundry jathas headed to one or more of its historical or popular places of faith., which is generally a domestic movement with the odd NRI family thrown in. Imagine the surprise then when it was revealed that this group was visiting for purposes reasonably touristy in nature.

For the sake of specifics, they were on a fortress tour; at a personal level, consequent to an irrepressible interest in military heritage and fortifications. In their varied professional capacities, however, as architects, sketch artists, heritage management students, conservation specialists, enthusiasts-at-large, they hoped to study conservation techniques and redevelopment practices. Living legacy

The group helmed by Dr Hans-Rudolf Neumann, Scientific Co-ordinator, European Cooperation Centre of Fortified Heritage (ECCOFORT), was facilitated in large measure by the efforts of the Cultural Resource Conservation Initiative (CRCI) in cobbling together a comprehensive itinerary. “Punjab has the potential to become an international tourist destination. The visitors were particularly intrigued by the forts of Bathinda, Gobindgarh and Bahadurgarh. These three monuments and their setting reveal the ancient, medieval and modern history of the state. Further, the Imperial Highway, as a cultural route, was the passage into India that connected Taxila to Nalanda, the two most important universities of Ancient India,” shares Gurmeet S Rai, Director and Principal Conservation Architect, CRCI.

She adds, “Islam, too, came into India along this route. The throbbing living heritage of Bhakti-Sufi tradition can be experienced here due to this transmission of tradition and knowledge. Punjab is today a melting pot of cultures and the route led to this creation. This can become a brand for Punjab as a cultural-tourism destination.” Coming from the sole voting member from India on the International Scientific Committee of Cultural Tourism at ICOMOS International, this would be a fair assessment.

The visitors’ 10-day tryst with the state’s monumental legacy included visits to fortified structures in varied states of repair and disrepair. From the much-manicured Mughal Sarai at Shambhu to the fading grandeur of Patiala’s Qila Mubarak to the feverish restoration-in-progress at Gobindgarh Fort in Amritsar, they managed to cover a lot of ground. Foraying, as well, into the busy towns of Nabha, Ferozepur, Kapurthala, Nakodar, Phillaur, Doraha and Sirhind — all teeming with layers of history albeit crying for preservation.

While many sites in the afore-mentioned places have received evident makeovers by departments overseeing their upkeep, conservation techniques have often left a lot to be desired. A lament shared by Gizem Dorter, an expert from Turkey. “As a cultural heritage professional it was interesting for me to see conservation practices during the tour, especially the use of traditional techniques and materials. One of the problem areas was the sameness created in some restored sites we visited. In some places, all patina and historical layers have been removed and one homogenous, clean but "historicised" surface is created taking away the interesting aspects of the sites. In order for this to be controlled heritage — architectural conservation professionals should be monitoring the conservation work going on, otherwise sites lose their meaning and history.” Regulations not regulated enough

Other well-meaning professional voices echo her. Says Indira Zuljevic, a restoration architect from Utrecht, “We realised our views on conservation are very similar and techniques differ only when affected by climate and materials. The problem lies at the organisational and management level; in Europe we see it as “too much regulation” and in India as “not regulated enough”. She explained that restoration projects in the Netherlands are funded by public money and partially sponsored by private stakeholders,which typically on completion receive media coverage and those involved their moment of fame. Soon after decay sets in and with any luck the same process repeats itself 40 years later! Her architect-partner Gerco Meijor pipes in,

“We noticed a similar tendency here. In our view, it is not a sustainable solution. To stay in shape, projects, buildings or historical sites should earn their own preservation. To define this we will have to broaden the term conservation to heritage development. The goal is to enhance the sense of experience and participation which will generate a natural obligation for preservation.” Dr Neumann, who having successfully led a insightful tour, invokes the sentiments of many heritage-loving individuals when he says, “Forts and fortresses are symbols of state power, and temples symbols of faith. Together with houses, villages, cities and the people who inhabit them, they form the history of a country. They are worth preserving.”

Refreshing candour, no doubt, but begs further query. After conservation, what? After all, none can escape the reality that most of these structures are now located in the midst of or very close to habitation. “Don’t you see it is this very physical connection with their surroundings that give them opportunity for holistic development? Naturally, parts of the area could keep their function as museums and galleries but it is also easy to imagine vast spaces of big forts redeveloped as offices, health centres, markets, and even living spaces,” proffers the Dutch couple earnestly.

Reviving history Most others believed reutilisation was key. Citing examples of the numerous sarais visited, they said redeveloping theses ancient travellers’ inns keeping their original function in mind would probably serve the best purpose. Presently, save for the one in Shambhu, none of the others could lay claim to any semblance of visitor amenities in or around their modern day avatars. One would say it makes perfect sense. What better way to showcase Punjab’s legendary hospitality than by welcoming all into the expansive folds of its built heritage!

- The Tribune, April 26, 2015

Many Hindu temples including, the iconic Kasthamandap have been destroyed or badly damaged in Nepal's worst temblor in over 80 years in the Kathmandu Valley and many adjoining areas. Several temples, including Kasthamandap, Panchtale temple, the nine-storey Basantapur Durbar, the Dasa Avtar temple, Krishna Mandir, were demolished by the quake.

Kasthamandap, which inspired the name Kathmandu, is an early 16th century wooden monument. Prushottam Lochan Shrestha, a historian, said these monuments could be lost forever, as rebuilding them is technically difficult and expensive. "We have lost most of the monuments that had been designated as World Heritage Sites in Kathmandu, Bhaktapur and Lalitpur.

"They cannot be restored to their original states," Shrestha was quoted as saying by Ekantipur. The powerful temblor measuring 7.9 on the Richter scale on Saturday and aftershocks throughout the day destroyed around 80 per cent of the temples in Basantapur Durbar Square in Kathmandu. Scores of centuries-old historical monuments, including the iconic Dharahara of Kathmandu, were reduced to rubble in the massive earthquake that hit the country on Saturday afternoon.

Dharahara had broken into parts in a similar earthquake that occurred around 83 years ago during the 1934 quake that claimed over 10,000 lives. Similarly, dozens of temples and historical buildings in Patan and Bhaktapur have collapsed or been partially damaged.

- http://indiatoday.intoday.in/, April 26, 2015

In observance of Earth Day 2015, Unesco released its new film Changing Climate, Moving People on April 22 made by The Energy and Resource Institute (TERI). "Climate change is a global phenomenon. Some parts of the earth are more prone and vulnerable to the effects of climate change and it is impacting the lives of the people. The film examines how climate change contributes to the multi-causal nature of migration, and establish the triggers behind migrants' choice to migrate or not to migrate while living in areas affected by environmental change," says Shresth Tayal, area convener, Centre for Himalayan Ecology, The Energy and Resource Institute (TERI) University.

The 35-minute film looks at disaster and climate stress related migration from three different regions in the country -Uttarakhand, Bundelkhand and Odisha. These three states are already amongst the leading sources for internal migration and have been hit by extreme weather events like floods (Uttarakhand), drought (Bundelkhand region) and cyclones (Odisha), which are likely to become more recurrent and stronger as a result of climate change. The film is divided in three parts: each part is looking at a specific region and is investigating the nature of migration from this region. "The film's objective is to increase awareness, engagement and advocacy on the intertwined and complex linkages between moving people and changing climate, and to support the mainstreaming of migration into climate change policies," says Tayal.

The film has been built on the policy recommendations of the National Workshop on Migration and Global Environmental Change in India jointly organised by Unesco and the Government Office for Science, Foresight (GOS), United Kingdom, in Delhi last year. "The government needs to make pro-active policies. Things such as unplanned constructions, regulation of pilgrimage in the mountains for the safety, should be undertaken. If a disaster has taken place, the compensation should be given on time," he concludes.

- The Times of India, April 27, 2015