To equip the students with contemporary practices without losing focus of culture of building in the Indian context and continuing its classroom learning beyond the campus into the city, GITAM School of Architecture (GSA) launched a Heritage Club on Sunday. The club organised a programme at the Visakhapatnam’s historic landmark building Hawa Mahal in collaboration with Indian National Trust for Art and Cultural Heritage(INTACH), Vizag, in the presence of Rajmata of Jaypore. The history of development of Visakhapatnam was illustrated by Vijjeswarapu Edward Paul from INTACH Vizag chapter through citation of historic evidence, images and archival material.

https://www.thehindu.com/news/cities/Visakhapatnam/gitam-heritage-club-with-intach-holds-a-programme-at-hawa-mahal-in-visakhapatnam/article67369008.ece, October 1, 2023

The Punjab Chapter of the Indian National Trust for Art, Culture, and Heritage (INTACH) has sounded an alarm over the deteriorating condition of the Kanjli Wetland, situated near the town of Kapurthala and spanning over approximately 183 hectares. INTACH underscored the significance of the Kanjli Wetland, reminiscing about a time when it thrived with biodiversity and played a crucial role in providing essential ecological services. However, it now stands at a critical juncture, demanding immediate attention and comprehensive restoration efforts. Maj Gen Balwinder Singh (retd), state convener of INTACH, revealed that the wetland earned international acclaim in 2002 when it was designated as a Ramsar Wetland of International Importance due to its ecological value. But, at present, it lacks effective sewage treatment and industrial effluent control measures, allowing untreated water to flow into the wetland. Moreover, no action has been taken for many years to combat invasive plant species and reintroduce native aquatic plants. Maj Gen Balwinder Singh said the INTACH had already written a letter to Punjab’’s Tourism and Cultural Minister Anmol Gagan, seeking her intervention to restore the wetland to its former glory.

https://www.tribuneindia.com/news/punjab/kanjli-wetland-deteriorating-says-intach-549512, October 2, 2023

Film Heritage Foundation and Olympic Museum have teamed up for this first-of-a-kind showcase of the history of the Olympics. With India hosting the International Olympic Committee (IOC) session after 40 years in Mumbai between October 15 and 17, the Film Heritage Foundation, in collaboration with the Olympic Museum, has chalked out a first-of-its-kind festival of Olympic films.

The festival, taking place in Mumbai (October 1-7) and in Delhi (October 7-14) is a feast for cinephiles with 33 films and 10 series from the Olympic Channel. The films include Tokyo Olympiad (1965) by Japanese director Kon Ichikawa that has been described as ‘a masterpiece of visual design’; the magnificent Olympia: Parts One and Two (1938) by Leni Riefenstahl; Visions of Eight (1973) made for Munich 1972 that comprised eight sections directed by an array of acclaimed filmmakers including Milos Forman, Claude Lelouch, Kon Ichikawa and John Schlesinger; Alberto Isaac’s Olympics in Mexico (1969) that was nominated for an Academy Award; the first of Bud Greenspan’s ten Official Films, 16 Days of Glory (1986), that travelled out of the stadium to interview the competitors and their families; Carlos Saura’s Marathon (1993) – the Official Film of Barcelona 1992 – that used the men’s marathon as the vehicle to weave the narrative of his vision of the Games. The Olympic Channel series offers a view into the world of Indian Olympians and sportspersons with Jee Jaan Se and An Olympic Tale. Shivendra Singh Dungarpur, founder director of Film Heritage Foundation, spoke to The Telegraph Online.

How did the idea for a festival of films and photographs around the Olympics originate, and how did the Film Heritage Foundation come into the picture?

Shivendra Singh Dungarpur: Our link to the Olympics in the first instance is that Film Heritage Foundation and The Olympic Museum are fellow members of the International Federation of Film Archives (FIAF) of which I am a member of the Executive Committee. Film Heritage Foundation is also well known internationally for the calibre and quality of the events we do, whether it was Reframing the Future of Film that we did in Mumbai with Christopher Nolan and Tacita Dean, or our annual film preservation workshops in association with FIAF. The Olympic Museum — that comes under the umbrella of the IOC — approached us sometime in February this year that with India hosting the IOC session, it would be an ideal time to showcase Olympic films in Mumbai for the first time. I was familiar with one great Olympic film, Olympia (1938) on the 1936 Berlin Olympics directed by Leni Riefenstahl.

I had seen it several times and it’s just an astounding work even today. I had also seen Visions of Eight (1973) on the 1972 Munich Olympics, which is an anthology of films made by several great directors. I was aware that the Olympic Museum had a superb collection of films and what I had seen so far was just the tip of the iceberg. The beauty of this festival is that the films cover over a century of sporting history and will interest everyone from the cinephile to the sports and history buffs and even children.
Tell us something about your collaboration with and involvement of the Olympic Museum and the IOC in putting together the festival.

Shivendra Singh Dungarpur: Putting together the festival of films and photographs took months of work and several Zoom calls and endless emails. For the films, I worked closely with Robert Jaquier, project manager – Olympic Films, Heritage – Images & Sounds, Olympic Museum. I had to watch all the films and then decide which would work best for an Indian audience. I knew that it would be important to include Indian content in the festival both in the films as well as the photographs. And that’s how the idea evolved, of unveiling the stunning work of photographer Poulomi Basu recently shot in Odisha and putting historic photographs of Indians in the Olympics across the city of Mumbai in a tie-up with the BMC.

As far as the Olympism Made Visible photo exhibition was concerned, we worked closely with photographers Dana Lixenberg, Lorenzo Vitturi and Poulomi Basu and had a dialogue with our design team to ensure that we stayed true to their artistic vision and how they would like their work presented.
Given how difficult it was to make people understand that when we spoke about an Olympic film festival, we were not talking about Chariots of Fire or Bhaag Milka Bhaag, I knew that the films that we chose would have to leave an impression on the audience from an artistic point of view, but also showcase the breadth and depth of over a century of Olympic film heritage. What is interesting though is that it also showcases a century of the evolution of film, beginning from black-and-white to colour to Technicolor and from 16mm to 35mm to 70mm and digital formats.

In an age of filmmaking that is increasingly dependent on computer graphics and visual effects and AI, many of these films made over a century are triumphs of analogue film craft from 16mm to 70mm formats. The Official Film of the Olympic Games Helsinki 1952 involved a team of 60 cameramen from nine countries; the London 1948 film was the first Olympic colour film shot by 16 cameramen in glorious Technicolor; in 1936 Leni Riefenstahl captured 1.2 million feet of film for Olympia, shot by more than 50 cameramen from every conceivable angle including underwater; dazzling editing technique and sound design and use of telephoto lenses in the films makes for a breathtaking viewing experience even if you are not a sports aficionado. What can Indian films viewers expect to see? Tell us something about the Olympic Channel Series.

Shivendra Singh Dungarpur: Here I would like to quote Robert Jaquier, who says, ‘The program will highlight India’s achievements at the Olympics, from the many victories in field hockey to medals in individual sports starting in Helsinki 1952 and up to the recent Games. Launched by the IOC in August 2016, the Olympic Channel is a multi-platform global media destination where fans can discover, engage and share in the power of sport and the excitement of the Olympic Games all year round. We selected 10 of their recent original short series which will play before each Olympic film screening. Their screenings in a theatrical environment is a first and a further recognition of their creativity and quality. These short series have a strong Indian and urban focus which will engage local and younger audiences: from the best of India at the Olympics and India’s Olympic hopefuls to impactful stories of women empowerment through sport and refugees’ brave journey to the Olympics; from breaking and new forms of urban sports to the playful meetings of Olympians with cricketers and rock stars.’

As a nation, we are beginning to realise the potential of our sporting possibilities. How do you think a festival like this can help towards that?
Shivendra Singh Dungarpur: I’d like to refer to a quote by the Olympian and badminton champion Aparna Popat: ‘When I began my badminton journey as a child, aspiring to attain sporting excellence, I was immensely inspired by powerful images of the Olympics that I saw on the screen. That inspiration helped me achieve my dream of representing India at two Olympic Games and winning a record 16 National singles titles in a span of 17 years. I strongly feel that the Olympics represents so much more than just the Games and medals. Sport gave me the necessary education and the life skills to learn how to accept, adapt, persist and face challenges. These learnings are what make participating in sport so valuable for the younger generation.’ Whether it’s through the powerful images displayed in the Olympism Made Visible exhibition, or through historic photographs of Indians in Olympics displayed across the city of Mumbai or through the work of great masters in the 33 films, the festival goes beyond the games to the philosophy and humanism of sport and the history of the world told through the prism of sport. When you’re looking at these films, it has all the drama of human striving and endeavour, the highs and the lows of winning and losing, but also the historical, political and social context in which the Games were conducted. This is the reason we have tapped into the network of 1,200 BMC schools in Mumbai so that children can come and watch these films which they would not have access to. We have also tied up with INTACH in Delhi to bring school children to the screening at the IIC in Delhi. Also, with breakdancing becoming an Olympic sport, it has suddenly put a spotlight on B-Boying which is performed in the gullies of Mumbai.

We’ve included a series from the Olympic Channel on breaking in this festival. We are showing that film and that would encourage a whole lot of youngsters, many of whom live in less privileged communities, to dream that they too could become an Olympian. I think the whole purpose is to share the culture and values of the Olympics through film and sport.
(Shantanu Ray Chaudhuri is a film and music buff, editor, publisher, film critic and writer)

https://www.telegraphindia.com/entertainment/festival-of-olympic-films-and-photos-spanning-a-century-begins-in-mumbai-next-stop-is-delhi/cid/1970566, October 3, 2023

Celebrate the architectural genius of ancient India through these architectural marvels on World Architecture Day. We all know about the brilliance of Mughal architecture and the sheer genius seen in Hampi's structures, or the astounding Khajuraho temples built by the Chandelas. However, there are plenty of architectural gems of great masonry and artistry scattered all across India which will leave any history lover and architecture geek happy.

Chennakesava Temple, Somanathapura, Karnataka
One of the most iconic example is Hoysala Architecture, the Chennakesava Temple is located on the banks of the Kaveri river in Somanathapura, Karnataka. Constructed by Dandanayaka Somanatha under King Narasimha III in the 13th Century, the Trikuta (three-shrined structure) temple was constructed in a 16-point star shaped plan. Dedicated to three forms of Vishnu, the temple has innumerable intricately carved depictions of Hindu mythology, the epics Ramayana and Mahabharata, various Hindu deities along with depictions from the life of Shri Krishna. The temple is protected by the Archaeological Survey of India.

Hoysaleshwara Temple, Halebidu, Karnataka

Located in the former capital of the Hoysala Empire, The Hoysaleshwara temple of Halebidu Town in Hassan district of Karnataka, is dedicated to Shiva. Sometimes referred to as the Halebidu temple, it is the largest monument in Halebidu town. Constructed between 1121 CE and 1160 CE, the temple is made out of Soapstone by Ketamalla on the orders of King Vishnuvardhana. This Dvikuta Vimana (two-shrined and two super-structured) temple has numerous detailed and intricate carvings depicting scenes from Hindu legends and mythology including the Ramayana, Mahabharata and Bhagavata Purana.

Kedareshwara Temple, Halebidu, Karnataka

Constructed by the Hoysala King Veera Ballala II and his queen Ketaladevi, the Kedareshwara temple is another archaeological masterpiece in the town of Halebidu in Karnataka. Made out of Soapstone before 1219 AD, this Trikuta (three-shrined structure) temple is dedicated to the Hindu God Shiva. It is protected by the Archaeological Survey of India.

Sun Temple, Modhera, Gujarat Though overshadowed by the more famous Sun temple of Konark, Orissa, the Sun temple of Modhera is a sight to behold. Located on the banks of the Pushpavati river in Modhera village in Mehsana district of Gujarat, it is needless to say that this temple is dedicated to the Hindu Deity Surya, the Sun God. Consisting of the Surya Kund (a deep stepped tank), the Sabha Mandap (assembly hall) and the Guda Mandap (sanctum sanctorum), the temple complex is a masonry masterpiece of the Solanki dynasty. Constructed under the aegis of King Bhimdev I around 1027 AD, the temple complex is echoed to perfection with patterns and engravings of Gods, Goddesses, daily life along with birds, beasts and flowers. Being a monument of national importance, it is protected by the Archeological Survey of India.

Shree Kopeshwar Temple, Khidrapur, Maharashtra Though not as huge as the other temples on this list, the Shree Kopeshwar temple of Khidrapur is a gem in its own terms. Located on the banks of the river Krishna in Kolhapur district of Maharashtra, the 12th Century temple was constructed by Shilahara nd Yadava Kings. The unique temple is constructed in four parts and connected through vestibules while the Swarga Mandap (Heavenly Hall) is supported by 48 intricately carved pillars of different shapes supporting a ceiling open to the sky. The weight of the temple is supported by elephants carved at the base.

Kanchi Kailasanathar Temple, Tamil Nadu Located on the banks of the Vegavathi river, the Kanchi Kailasanathar temple is the oldest structure in Kanchipuram, Tamil Nadu. Built around 700 CE by Pallava dynasty ruler Narasimhavarman II, the temple is almost completely carved out of sandstone. Consisting of numerous shrines, the temple is dedicated to Lord Shiva, and is brimming with innumerable astounding sculptures pf various form of Lord Shiva, numerous depictions of Lord Shiva dancing along with some very magnificent lions.

https://www.outlooktraveller.com/experiences/heritage/lesser-known-temples-of-india, October 5, 2023

The state forest department authorities have identified around 18 ancient rock shelters or caves at Gudiyam village in Tiruvannamalai district. State forest secretary Supriya Sahu told TOI that the caves were discovered when work was on to identify heritage sites inside forest areas as part of the TN Biodiversity Conservation and Greening Project (TBGP). “There are many such clusters of caves in Gudiyam village alone. The department will identify them one by one and heritage tourism will be organized,” she said. Located close to Poondi reservoir, 60km away from the city, the caves are natural elongated structures that end up with rocky shelters. These caves were created in the cretaceous period, which is about 13 crore years ago. The caves were identified using drones and satellite maps of Gudiyam village, said project director of TBGP I, Anwardeen. We also published the following articles recently Metrowater in Chennai has appointed a consultant to study the condition of the city's aging water and sewer pipelines.

The study aims to identify leaks and damage in the existing infrastructure and provide recommendations for repair and replacement. The study will also include mapping the underground infrastructure using geographical information system technology. The findings of the study are expected to be available by December, after which further actions will be taken to improve the pipelines. Currently, the city faces multiple complaints of leaks and overflow in the water and sewer systems.

The Kolkata Metro Rail Corporation (KMRC) has been ordered to pay Rs 62.7 crore to contractors ITD-ITD Cementation as reimbursement for the costs incurred in the EastWest Metro tunneling fiasco and subsequent cave-ins in Bowbazar. The arbitration case stems from a disaster in August 2019, for which ITD had to cover expenses such as compensation for residents, hotel accommodation, and repairs to affected buildings. ITD claimed around Rs 100 crore in costs related to the tunneling accident. Five new habitats have been identified in north Bengal for the relocation of rhinos from congested national parks. The new habitats include Mahananda Wildlife Sanctuary, Nathua forest, Nilpara forest, Nimti in Buxa Tiger Reserve, and Patlakhawa forest.

The plan is to develop these areas into grasslands, the preferred habitat of rhinos. The forest department also plans to set up a pilkhana at Nathua and eight protection towers in these places to monitor the rhinos once they are relocated. The aim is to reduce incidents of infighting and straying among the rhino population.

https://timesofindia.indiatimes.com/city/chennai/pre-historic-caves-identified-using-drones-at-gudiyam-village/articleshow/104200392.cms?from=mdr, September October 6, 2023

Rich in protein, churpi is used as a substitute for vegetables by tribal yak herders in the vegetation-starved cold and hilly mountainous regions of the state. It is also mixed in vegetables or meat curry and is eaten with rice as a staple food in the tribal households. It is considered an integral part of the tangible cultural and tribal heritage of Arunachal Pradesh. Slightly sour and salty churpi, a naturally fermented cheese prepared from milk of Arunachali yak, reared in the high altitude areas in Arunachal Pradesh, has received the Geographical Indication (GI) tag, which boost the the hairy bovine species' conservation.

Rich in protein, churpi is used as a substitute for vegetables by tribal yak herders in the vegetationstarved cold and hilly mountainous regions of the state. It is also mixed in vegetables or meat curry and is eaten with rice as a staple food in the tribal households. It is considered an integral part of the tangible cultural and tribal heritage of Arunachal Pradesh. The National Research Centre on Yak (NRCY) based at Dirang in Arunachal Pradesh, an agency under the Indian Council for Agriculture Research, in December last year had submitted an application seeking GI tag to boost its conservation. The GI tag, which was approved recently, would provide a geographical identification and prevent production of the items in other places.

"The registration of yak churpi of Arunachal Pradesh as a GI will serve the cause of yak conservation and yak pastoralists' socio-economic upliftment. This assumes significance given the fact that the yak population in the country has been declining at a fast pace due to enormous hardships and dwindling gains associated with pastoral yak rearing," director of NRCY, Mihir Sarkar told DH on Wednesday. Yaks are reared in high altitude areas in the Himalayan region but the Arunachali yaks are a unique breed in respect to their body shape, size, strain and weight. Arunachali yaks are also the only registered yak breed in India, Sarkar said. There are nearly 1,000 yak herders, mainly belonging to the Brokpa and Monpa tribe in West Kameng and Tawang districts.

The breed is reared by tribal yak pastoralists who migrate along with their yaks to higher reaches (at an altitude of 10,000 ft and higher) during summers and descend to mid-altitude mountainous regions during winters. "Since the product is prepared at such a high-altitude, it is also expected to provide benefits to the tribal herders against cold and hypoxia besides providing enriched nutrition," Vijay Paul, principal scientist of NRCY, who was associated with the GI application process, said. Yak milk is creamy white, thick, sweetish, fragrant and rich in protein, fat, lactose, minerals and more solids than cow milk. Although raw yak milk is scarce due to the remote habitat of yak rearing, most of it is processed into traditional products like chhurpi (wet soft cheese), churkam (hard cheese) and Mar (butter), and a small portion of raw milk in the form of butter tea for their own consumption.

https://www.deccanherald.com/india/arunachal-pradesh/arunachal-yak-churpi-getsgi-tag-to-boost-conservation-2712983, 16, 2023

Cultural heritage tourism initiates travel to experience authentic activities, stories of the people living centuries ago, tangible and intangible heritage, artifacts, food, clothing, and music. Cultural heritage tourism focusing on celebrating the Divine Feminine forges unique and enriching travel experiences that invite individuals to explore the rich tapestry of human spirituality, mythology, heritage and cultural traditions that revere feminine deities. This form of tourism offers a deep dive into the diverse and fascinating world of goddess worship, providing insight into the role of women in society, spirituality, and the arts. The divine feminine extends beyond one belief system, and can be used as a spiritual lens to balance our perspective. The existence of the divine feminine suggests that complementary energies exist within each being. This seminar aims to explore the rich tapestry of cultural and heritage traditions and tourism related to the worship and veneration of feminine deities across the world.

Objective:
The primary objective of this international seminar is to promote an understanding and appreciation of Cultural and Heritage tourism centered around the Divine Feminine in various cultures, religions, and regions.

Track 1: Cultural Heritage Tourism Sites and Goddess Worship
Track 2: Cultural Heritage Tourism Trails and the
• Case studies of famous goddess temples and pilgrimage sites.
• Comparative analysis of different goddess worship traditions.
• The role of goddesses in indigenous cultures and their impact on tourism.
• Digitalisation and Sustainable Cultural Tourism
• Preservation and conservation efforts at sacred sites.
• Promoting gender diversity in tourism leadership and workforce.
• The Sacred feminine: Culture, Heritage and Gender
• Mapping Sacred Spaces
Dr. Triloki N Pandey, Prof. Emeritus, Anthropology, Dept. of Cultural Anthropology,University of California, Santa Cruz, Annapurna Pandey,Anthropologist Dept. of Anthropology, University of California, Santa Cruz, officials of Intach, scholars from India, Europe, US will enrich the seminar with their contributions. We welcome interested persons to contribute papers/ presentations.

https://indiaeducationdiary.in/iittm-bhubaneswar-intach-bhubaneswar-proudly-announces-one-day-international-seminar-on-cultural-heritage-tourism-celebrating-the-divine-feminine/, October 9, 2023

The Indian National Trust for Art and Cultural Heritage (Intach) has signed an MoU with Delhi Police to convert a heritage building on Ashoka Road into a museum on the city's police force. The museum, conceptualized as a "hybrid" institution, will utilize static displays and state-of-the-art technologies. The project aims to restore the building's columns and fireplaces, and will feature 10 galleries showcasing the history, training, and achievements of Delhi Police. The museum will also include interactive exhibits, a cafe, library, souvenir shop, and a memorial hall for fallen officers.

https://m.timesofindia.com/city/madurai/20-sovereigns-of-gold-stolen-from-house/amp_articleshow/104412967.cms, October 10, 2023

The Indian National Trust for Art and Cultural Heritage (Intach) has signed an MoU with Delhi Police to convert a heritage building on Ashoka Road into a museum on the city's police force. The museum, conceptualized as a "hybrid" institution, will utilize static displays and state-of-the-art technologies. The project aims to restore the building's columns and fireplaces, and will feature 10 galleries showcasing the history, training, and achievements of Delhi Police. The museum will also include interactive exhibits, a cafe, library, souvenir shop, and a memorial hall for fallen officers.

https://m.timesofindia.com/city/madurai/20-sovereigns-of-gold-stolen-from-house/amp_articleshow/104412967.cms, October 11, 2023

To be held from December 9-15, the inaugural Biennale will feature seven specially curated thematic displays, and highlight the ‘modern architectural marvels of modern India’. Come December, the national capital’s iconic Red Fort will house for a week the replicas of some landmark Indian buildings and structures, including the new Indian Parliament, Tamil Nadu’s Velankanni Railway Station, and Srinagar’s Shalimar Bagh as part of the country’s maiden art, architecture and design biennale. The India Art, Architecture and Design Biennale, 2023 (IAADB), being organised by the Union Culture Ministry from December 9-15 is likely to be inaugurated by Prime Minister Narendra Modi on December 8. The week-long festival will see each day built around a uniquely conceptualised theme, complemented by exclusively curated exhibitions. The exhibitions, accompanied by interactive installations, have been designed in both physical and digital forms for an immersive experience.

A coffee table book would be brought out on each theme, with 75 items each marking the 75 years of Indian Independence, sources in the Culture Ministry told The Hindu. The themes are ‘Doors of India’, ‘Gardens of India’, ‘Baolis (step-wells) of India’, ‘Temples of India’, ‘Architectural Wonders of Independent India’, ‘Indigenous Design’, and ‘Women in Architecture and Design’. Apart from the exhibition, there will be panel discussions and interactive sessions with the audiences to increase awareness of India’s built heritage.

The exhibition is being curated by the National Gallery of Modern Art along with the National Council of Science Museums, the Archaeological Survey of India, the Lalit Kala Akademi, the Council of Architecture, and the outreach department of the Ministry of Education. The themes will cover art, mythology, belief, popular culture, architecture, well-being, ecology, and heritage. The first day on the ‘Doors of India’ will celebrate several unique doors and gateways of India, while the second day on ‘Gardens of India’ will present different gardens. The third day will be dedicated to the ‘Baolis of India’ and explore how they were perfect examples of a cultural space as well as their evolution from utilitarian structures to heavily ornamented works of art.

The section on ‘Temples of India’ will focus on four styles — Dravida, Nagara, Vesara, and standalone temple architecture. The theme on the architectural wonders of Independent India will include modern Indian landmarks, including the new Parliament, the Indian Institutes of Technology ITs of Delhi and Gandhinagar, and the Dudhsagar Dairy in Mehsana, Gujarat. A separate section features women in Indian architecture. The concept note for the programme highlights its focus. “A newly Independent India came with the vision of a new character, identity and innovation. Stepping away from the usual architectural wonders of pre-independent era, this day will celebrate the modern architectural marvels of modern India,” the concept note says. The Biennale will also be an introduction to the cultural space in Delhi at Red Fort. At the Museum Expo 2023, held in May this year, five Memorandums of Understanding (MoU) were signed between the Culture Ministry and the cities of Mumbai, Kolkata, Delhi, Ahmedabad, and Varanasi denoting special cultural spaces for citizens.

https://www.thehindu.com/news/national/the-first-ever-india-biennale-to-be-held-at-delhis-red-fort/article67420903.ece, October 12, 2023

Journey through India's ornithological renaissance led by three indomitable spirits dedicated to the world of feathers and flights. India's diverse avian population attracts not just the birds of the air, but also passionate birdwatchers. Some enthusiasts have etched their mark in the annals of India's ornithology, demonstrating an obsession that transcends ordinary interest.

Let's delve into the lives of three such notable bird aficionados from India. Dr. Salim Ali - India’s Foremost Ornithologist: Dr. Salim Ali 's tryst with birds began in his youth when he identified a unique yellowthroated sparrow. This serendipitous encounter sparked a lifelong affair with ornithology. Often dubbed the "Birdman of India," Ali's legacy is profound. His extensive research took him to every nook and cranny of India, documenting myriad bird species. His magnum opus, the "Handbook of the Birds of India and Pakistan", co-authored with S. Dillon Ripley, remains a touchstone for avian studies in the subcontinent. Beyond his publications, Dr. Ali championed bird conservation, significantly influencing India's ecological conservation policies. Rathika Ramasamy - Capturing Avian Beauty: Rathika Ramasamy 's photographic journey is a testament to her deep love for birds. Hailing from Tamil Nadu, a visit to the Bharatpur Bird Sanctuary cemented her commitment to capturing the beauty and behavior of birds.

Her photos, a blend of art and precision, have earned accolades globally. But Rathika's mission is not just to photograph; she's an avid advocate for bird conservation. Through exhibitions, workshops, and seminars, she propels the cause, inspiring many to view birds beyond their beauty and understand their ecological significance. Nikhil Devasar - Community Builder: Nikhil Devasar 's contribution lies in his ability to bring bird enthusiasts together. As the founder of the "Delhi Bird Group," he has fostered one of India’s largest bird-watching communities. This platform allows members to share sightings, photographs, and engage in insightful discussions. Devasar, an accomplished author, has also spotlighted lesser-known bird species and their habitats.

His community-driven initiatives and literary contributions underscore the importance of collective effort in conservation. Birds, with their vibrant colors and melodic chirps, have always enchanted humans. For some, like Dr. Ali, Ramasamy, and Devasar, this fascination evolved into a lifelong commitment. Their remarkable endeavors in research, photography, and communitybuilding have not only enriched India's ornithological landscape but have also heightened awareness about the importance of conservation. Their 'crazy' passion serves as an inspiration for budding ornithologists and conservationists alike.

https://yourstory.com/2023/10/indian-avian-aficionados-legacy, October 12, 2023

01 Natural places in India that are on UNESCO Tentative Heritage list

At present, there are 50 sites in the UNESCO Tentative List. Meaning, these 50 sites have been nominated to be included in the prestigious list of UNESCO World Heritage Sites. What we have here is a list of some of the most interesting natural sites that are on the Tentative List. These sites have been selected for their exceptional cultural, historical, scientific, or natural significance.

02 Geoglyphs of Konkan Region of India, Maharashtra and Goa
The geoglyphs on the laterite plateaus of the Konkan region is one of the best examples of prehistoric rock art in India. There are a total of nine places under this site, with eight in Maharashtra (Kasheli, RundhyeTali, Devache Gothane, Barsu, Devi Hasol, Jambharun, Kudopi, Ukshi), and one in Goa (Pansaymol).
03 Jingkieng jri Living Root Bridge Cultural Landscapes, Meghalaya
Ever wondered how Cherrapunji, one of the wettest places in the world, has been able to keep any rain-related natural disasters at bay? The Jingkieng Jri or the Living Root Bridges have a tremendous role to play here. These root bridges that the local Khasi communities have built across more than 75 villages have helped the region escape the ill-effects of incessant rains in the region. Exceptional traditional knowledge and skills for the win here.
04 Bhedaghat-Lametaghat in Narmada Valley, Madhya Pradesh
Here, we have the outstanding beauty of the marble rocks, the Dhuandhar Falls and several dinosaur fossils. Apart from being a natural beauty, the region is a hotbed for paleontological finds. The marble canyons of Bhedaghat are also sometimes referred to as the Grand Canyon of India.
05 Satpura Tiger Reserve, Madhya Pradesh
Did you know that Satpura Tiger Reserve is part of the Deccan bio-geographic zone of India? Here’s another shocker – Satpura Tiger Reserve is also known as the northern extremity of the Western Ghats. That’s because, a total of 42 known species of the Nilgiri area are also found here. The region of Satpura is also home to more than 50 rock shelters, the oldest of which is around 10,000 years old.

06 Garo Hills Conservation Area, Meghalaya
The Garo Hills Conservation Area (GHCA) is a place of great biodiversity. The area comprises Nokrek National Park, Balpakram National Park, Siju Wildlife Sanctuary, Reserved Forests of Tura Peak, lmangiri, Rewak and Baghmara. The buffer area of GHCA includes Baghmara Pitcher Plant Sanctuary, Angratoli Reserve Forest, and a number of community-owned forests.
07 Cold Desert Cultural Landscape of India, Ladakh and Himachal Pradesh
The unique cold deserts of India have captured the imagination of travellers for a long time. The Cold Desert Cultural Landscape of India comprises places like Ladakh, Spiti and parts of Kinnaur in Himachal Pradesh.
08 Chilika Lake, Odisha
Chilika Lake is the largest brackish water lake, and also the largest lagoon in india. The lake is also the largest wintering ground for several migratory bird species in the Indian subcontinent. The lake and the surrounding areas are also one of the biodiversity hotspots in the country. For this rich biodiversity, the lake was also declared as a Ramsar Site.

09 Narcondam Island, Andaman and Nicobar Islands
Narcondam Island is one of the remotest places in India. It is home to the endemic and endangered Narcondam Hornbill. This bird species is found nowhere else in the world. The Narcondam Hornbill is protected under Schedule I of the Wild Life Protection Act of India.

10 Neora Valley National Park, West Bengal
The Neora Valley National Park (NVNP) is a virgin forest, the most undisturbed patch of forest in West Bengal, and a place rich in biodiversity. The national park is also an important part of the Kanchenjunga landscape.

11 Desert National Park, Rajasthan
This is the best place to experience Thar Desert’s ecosystem. The Desert National Park is an interesting place to visit because on one hand, it appears to be a place with a hostile environment. On the other hand, the national park supports an amazing array of wildlife including the Critically Endangered Great Indian Bustard, desert fox, and Indian spiny-tailed lizard to name some.

12 Keibul Lamjao Conservation
The Keibul Lamjao Conservation Area comprises Keibul Lamjao National Park as its core area, and Loktak Lake and Pumlen Pat as its buffer area. Keibul Lamjao National Park is the last natural habitat of the endangered Sangai deer. The national park is also the world's only floating national park.

13 Namdapha National Park, Arunachal Pradesh
Did you know that the forests of Namdapha and adjoining areas are among Asia’s last great remote wilderness? The dense forest of Namdapha supports an amazing collection of native bird species and the royal Bengal tiger.

14 Wild Ass Sanctuary, Little Rann of Kutch, Gujarat
The salt mudflats of Little Rann of Kutch is the only home to the wild ass or the Indian onager. The Wild Ass Sanctuary is an incredibly interesting place to visit. Here, you can see the salt pans, and a number of bird species including flamingos, pelicans, common cranes and demoiselle cranes to name some.

15 River Island of Majuli in midstream of Brahmaputra River in Assam
The dynamic Brahmaputra River has carved this island, which we all know as the largest river island in the world.



https://timesofindia.indiatimes.com/travel/destinations/natural-places-in-india-that-are-on-unesco-tentative-heritage-list/photostory/104362162.cms, October 12, 2023

Hundreds of standing stones, some 8m tall, stand sentinel in Nartiang, Meghalaya, with their origin shrouded in fantastical folklore. It was a stroke of luck that brought me to the monoliths of Nartiang in Meghalaya on a February afternoon. Up until a decade or so ago, India's north-east, including the state of Meghalaya was considered too remote for most travellers. Today, it's one of the nation's most sought-after destinations, so much so that a deluge of tourists often creates unprecedented traffic situations, as on that afternoon. My family and I had set out on a day trip from state capital Shillong to Cherrapunji, a town known for being one of the wettest places on Earth. However, the serpentine queue of cars that was also headed there and to other popular destinations such as Dawki and Mawlynnong budged inch by inch, testing our patience with every passing minute. After being stuck in traffic for more than four hours, a suggestion was made to double back to the city as a last-ditch attempt to save whatever remained of the day. A quick online search revealed other must-visit spots in the vicinity of Shillong.

Most were familiar, but one intriguing new name emerged. "Visit Nartiang for its mysterious monoliths," one listicle mentioned, playing up the "mysterious" angle with an eerie-looking photo of tall stones huddled together while failing to furnish any further details. Google Maps came to the rescue; the place was barely two hours south of Shillong and the route was devoid of traffic too. That is how I found myself standing in the shadow of the giant monoliths of Nartiang. While similar structures, roughly carved from single blocks of granite into upright pillars or horizontal slabs, are found at locations throughout Meghalaya, Nartiang is home to the densest and largest collection in the region. As we entered the site, I could see several hundred monoliths of all sizes packed on a small hillock, some lying prostate, others rising tall and vying for attention alongside huge trees. A perpetual mist hung about the place, adding to the air of mystery. The site was unmanned and there was only a dusty signboard to provide information. Among the few facts listed, one grabbed my attention: "The tallest menhir is 8 metres high and 18 inches thick and according to Jaintia legend was erected by a giant named Mar Phalyngki."

My curiosity piqued, I wanted to know more about the stones. But the place was empty apart from a bunch of kids playing football in an adjoining park. However, later that day I met a village elder named Maryo Symblai who told me the story of the monoliths that has been orally passed down over generations. "Back in the day, Nartiang didn't have a bazaar and the nearest one was at Raliang," she said. "On one such bazaar day, a Jaintia giant named Mar Phalyngki was caught in torrential rain on his way back. He requested to borrow an umbrella from the Raliang chief's youngest daughter, but she wanted to test his legendary strength instead.

'Why don't you go lift that huge stone in the bazaar and use it as an umbrella?' she teased. Emboldened by her challenge, he did just that, but before reaching Nartiang, he placed it in a forest when the rain had ceased." The anecdote that Symblai narrated sounded more fiction than fact to my untrained ears. "Our ancestors weren't the average 5ft-something Meghalaya men of today; they were quite the giants back then," she added earnestly, noticing the look of incredulity on my face. "Mar Phalyngki was known to be 7ft tall and was a Syiem (chieftain) of the Mars (an honorary title granted to strong, powerful and honest statesmen)."

But how did so many monoliths come to be in one place, I asked? According to Symblai, people passing by the stone could hear noises like that of a thriving marketplace. It was decreed that the stone was sacred, and that the forest around it be cleared for a bazaar. More such monoliths were brought in to beautify the place, resulting in the large collection seen today. The folktale made it clear that these ancient monoliths have long been of great importance to locals. Eager to know more, I started researching both the Jaintia people and the stones. The Jaintiapur kingdom was a matrilineal kingdom that extended from the province of Sylhet in present-day Bangladesh to the hills of Meghalaya, and their people were believed to have been exceptionally tall and strong, although no official evidence exists. Given its cool climate and ideal location in the hills, Nartiang served as the summer capital of the Jaintiapur kingdom and the monoliths are believed to have been erected during their reign between 1500 CE and 1835 CE.

According to Dr Vinay Kumar, assistant professor in the Department of Ancient Indian History, Culture & Archaeology at Banaras Hindu University, the monoliths in Meghalaya including Nartiang may have served as megalithic tombs. "The Khasi and Jaintia people of Meghalaya and the Nagas of Assam erected single standing stones or alignments of stones in honour of the dead," he wrote in The Tribal Tribune, an online academic publication focussed on India's tribal communities. Before the advent of Christianity in the early 19th Century under British rule, most of the Jaintias were Hindu, which meant that their departed were cremated. The ashes of the deceased were taken by clan members, and according to Kumar, deposited in a free-standing cist (an ancient burial chamber) built of enormous single stone slabs, some as big as a small house. Those structures remain today as the monoliths of Nartiang, Cherrapunji, Jowai, Maoflong and Lailugkot, he wrote. The flat horizontal stones, or dolmens, were meant for women, while the upright ones, or menhirs, were for men.

"Yet, Nartiang remains a curious case, for there's no concrete proof of how and why such a large concentration of these monoliths came to be present in one place," said Samuel Sawian, who runs a travel company offering offbeat experiences focused on the history and heritage of Meghalaya. "Possibly, the tallest stone was erected for someone important in the clan, and the rest were added for other members over a few generations. The site progressively became a marketplace, and the stone slabs were used as stalls to display and sell wares or to sit on and rest," he said. The monoliths continued to play an important role in Jaintia society, even after the kingdom began to lose its power with the advent of colonial rule. In the early 1800s, after establishing its foothold in Bengal, the British East India Company was eager to expand its land revenue areas. They began exploring regions farther east and came upon the Jaintiapur kingdom in Sylhet.

In their attempts to gain control of the territory, the British exiled the Jaintiapur raja (king) to the hills in the north in 1835. The raja chose his summer capital Nartiang deep in the northern hills as his new seat of power and continued his political affairs from there. "Nartiang's political importance grew once the Jaintia king was forced to abdicate his seat in the Sylhet plains. The area with the monoliths too gained prominence for different activities, such as the coronation of rajas or for conducting judicial and administrative deliberation," said Dr Reeju Ray, a historian and author of Placing the Frontier in British North-East India. "It thus appears that the Nartiang monoliths may have had some political significance too."

Even though the folktales surrounding the Nartiang monoliths sound fantastical, it's evident that these structures served real purposes through the ages. "There is a certain overlap of myth and memory in the case of the Nartiang monoliths. The locals' account of how the place came to be is based in myth or folklore. But they also remember it for the purpose it served their ancestors – as a weekly marketplace, a memorial, a place for political gatherings. That is how oral history works, it blends fact and fiction into collective memory," Ray said. Today, the Nartiang monoliths serve no purpose except to stand as towering relics from a time gone by. Detailed archaeological work is yet to be carried out to explore the exact whys and hows of the site. Even though the folklore and more substantiated historical accounts offer some insight to the site, the mystery of the stoic stone giants lingers on.

https://www.bbc.com/travel/article/20231013-the-mysterious-monoliths-of-meghalaya, October 12, 2023

Durga Devi, the formidable goddess renowned for her triumph over the demon Mahishasura, occupies a significant place in India's cultural and religGuwahati and the broader region of Assam share a profound historical connection with the worship of Devi Durga? Manjil Hazarika, the Head of the Department of Archaeology at Cotton University shed some light on our curiosity, "The worship of Durga, also knancient history in the Indian subcontinent. This assertion finds support in both archaeological findings and literary sources. In early texts, Durga is rher as the primordial energy. The visual representation of Mahishasuramardini-Durga in the form of icons began evolving as early as the 2nd to 1st cExcavations in Guwahati and across Assam have unearthed idols of Devi Durga.

Hazarika said, "Idols of Durga in her Mahishasuramardini form havin various parts of Assam, including Guwahati. Notable findings were made during excavations at Surya Pahar and Ambari."

As per the information provided by Hazarika, these idols, dating back to different time periods, provide insights into the enduring legacy of Durga Dfound during the Surya Pahar excavation is believed to belong to the 8th to 10th centuries CE and is now housed in the Surya Pahar Site Museum. Treligious heritage of the region, connecting us with the spiritual practices of our ancestors. Significantly, the idols discovered at Ambari, including the colossal sixteen-handed Durga, date to the 11th to 13th centuries CE.

These invaluable aMuseum, where they serve as a bridge between the past and the present, offering insights into the evolution of art and devotion over time. The idols of Durga, particularly those from the aforementioned centuries, exhibit differences when compared to contemporary representations, servicultural influences through the ages. Furthermore, the existence of Durga Puja in Guwahati and Assam is well-documented, with historical records suggesting that during the rule of the Aroyal household. Rakhi Patowary, Assistant Professor of History at JB Law College, highlighted the significance of historical accounts like the Buranjis, which providPhuleswari, the wife of Ahom king Siva Singha, notably performed Durga Puja with grandeur during their reign.

This cultural influence extended tocults, who also celebrated Durga Puja within their royal household. Historical evidence, such as H.K. Barpujari's "The Comprehensive History of Assam," indicates the exchange of cultural practices, with the Ahom kBehar to learn the art of crafting clay idols for the puja. This historical evidence underscores the deep-rooted significance of Durga Puja in Guwahatthe more widespread Sarvajanik Durga Puja in the post-colonial period. The rich historical tapestry of Assam further reveals the connection between Durga Devi and the region. Rakhi Patowary further highlighted the discas well as sculptures of various Hindu deities, at various locations throughout Assam. Notable findings include terracotta sculptures from sites in Guwahati, particularly the Ambari site and Cotton College site, dating back to the early mextends beyond terracotta, with stone sculptures of these deities unearthed at numerous ancient sites across Assam, further underlining the deep-rootDurga Devi. One of the most striking variations lies in the different findings is the artistic styles. Ancient idols of Durga often feature intricate details and craftsmThe clothing, jewellery, and facial expressions of the deity provide clues about the artistic influences of that era. Iconography is another aspect in which variations can be observed.

Symbols and attributes associated with Durga have evolved over time, with diffegoddess, reflecting changing religious and social contexts. Comparing these variations allows us to appreciate the adaptability and inclusivity of the used in crafting these idols may vary, reflecting the availability of resources during different historical periods. Ancient idols might be made from stcontributing to aesthetics and textures. In contemporary times, Durga Puja in Guwahati and Assam continues to thrive, blending elements of the past with modern interpretations. Some arttheir Durga images, adding a layer of contemporary relevance to this age-old tradition. As Guwahati and Assam celebrate Durga Puja, the diverse idols, both ancient and modern, collectively form a rich tapestry that tells the story of devDevi remains an enduring symbol of strength, courage, and the victory of good over evil, transcending time and cultural shifts and continuing to be enchanting region of India.

https://www.guwahatiplus.com/exclusive-news/guwahatis-deep-historical-links-with-maa-durga, October 13, 2023

The Indian National Trust for Art and Cultural Heritage (INTACH) has urged the Odisha government to declare the Forestry school at Champua in Keonjhar district as a heritage institution. The original name of the School was “Orissa State Forest School” and it was set up in 1927 by Dr. H.F.Mooney, the advisor to the Eastern States for imparting training in forestry to the foresters of the province of Bihar, Orissa and Eastern State Agency. It was the only Institute of its type at that time in Eastern India. In 1939, it was renamed as the Eastern State Forest School. Post-independence it was once again renamed as the Nicholson Forest Training School, being named after J.W. Nicholson, IFS who was the first Conservator of Forests of Orissa. Spread over an area of 8 acres, the school has a colonial building with an old-world charm. There are trophies, antique guns, old photos etc. on its walls.

The furniture all belongs to the early period. The building is well-conserved by the Forest Department with very few changes. There was a rich library of books on forestry in the initial days, whatever is left should be properly preserved. Intach’s Keonjhar Chapter Convener Ajay Nayak has written to the Government to declare the School and its building as a heritage institution. Intach’s State Co-convener Anil Dhir recently visited the Forestry School and is of the opinion that a small Forestry Museum should be set up at the place and made ready by the centenary of the School which will happen in 2027. Dhir also said that the Forest Department has many heritage properties spread all over the state which include, bungalows, forest lodges, offices, rest houses, training centers, watch towers etc. which are being repaired and renovated on new lines, destroying the heritage values. These colonial relics of the past should be properly conserved due to the rich legacy they carry. Intach Odisha is soon undertaking a project to list all these heritage properties of the Forest Department all over the State.

https://pragativadi.com/intach-seeks-heritage-institution-status-for-nicholson-forest-training-school-at-champua/, October 16, 2023

The event involves sketching of various notable monuments in the city by artist Wilson Souza. The Mangaluru Chapter of Indian National Trust for Art and Cultural Heritage (INTACH) organised the third edition of “Exploring Namma Mangaluru,” a series for sketching the heritage sites of Mangaluru on October 14 and 15. It involved the sketching of various notable monuments in the city by artist Wilson Souza. The sketching journey began at the Old DC office and proceeded to iconic landmarks, including the Kutchi Memon Mosque, St. Paul Church, and Rosario Cathedral recently. It continued on Sunday, October 15, from Ramakrishna Mutt to the Light House, St. Aloysius Chapel, and the CSI Shanthi Cathedral in Balmatta. Along with Mr. Souza, Syed Asif Ali, an artist and professor at Mahalasa College of Visual Art, also sketched specific sites.

William Pais, Director, Gallerie Orchid, and author of ‘The Land Called South Kanara,’ and ‘Echoes of the Corridors’, was the chief guest during the commencement of the event at the premises of the Old DC Office, Fort Road on Saturday. Addressing the gathering, Mr. Pais emphasised the valuable heritage left by the ancestors. “INTACH and Art Kanara Trust have rendered silent efforts in preserving and promoting both the tangible and intangible heritage of our region. The remarkable sketches of our heritage sites by Mr. Souza will serve as enduring documentation,” he said.

Mangaluru INTACH convener Subash Chandra Basu informed that this is a part of the Mangalore Art and Archival Project by INTACH and Art Kanara Trust aimed at documenting the important natural locations and built heritage of Magaluru. Two sketching sessions were conducted earlier with artists Syed Asif Ali and Jeevan Salian. The series will conclude with an exhibition of the sketches and photographs at the Kodial Guthu Centre for Art and Culture. A monograph dedicated to the citizens of Mangaluru will also be released. Various artists and INTACH members, including Nemiraj Shetty, Rajendra Kedige, Santhosh Andrade, Harish Kodialbail, and students from Mahalasa College of Visual Arts, participated.

https://www.thehindu.com/news/cities/Mangalore/intach-organises-third-edition-of-exploring-namma-mangaluru/article67430614.ece, October 17, 2023

Srinagar Smart City Limited and the Kashmir chapter of INTACH have joined hands to conserve vernacular elements of Kashmiri architecture, including colonnaded walkways, decorative pilasters, and exposed moulded brickwork. A project that recreates the past glory of Srinagar’s Maharaj Gunj market, which has disappeared from sight with encroachment and deviations for several decades, throws new light on rare architectural elements introduced in Kashmir by Dogra Hindu kings between 1846 and 1947. Now, Srinagar Smart City Limited and the Kashmir chapter of the Indian National Trust for Art and Cultural Heritage (INTACH) have joined hands to conserve vernacular elements of Kashmiri architecture, including colonnaded walkways, decorative pilasters, and exposed moulded brickwork in their efforts to bring that past to life again. “The [Maharaj Gunj market] area has a rich mix of vernacular and colonial architecture. Most residential buildings lining the streets are mixed use, with shops on the ground floor and living quarters on the upper floors, constructed in the taq or dhajji dewari styles.

Some of the houses going up four floors still bear testament to the rich architectural legacy of Srinagar, with highly ornate exteriors and interiors,” Saima Iqbal, principal conservation architect with INTACH, told The Hindu. One of the approach roads from the beautiful 607-year-old Budshah Tomb has already been uplifted with a subtle colour palette, including lime for the walls and brown for the windows. A uniform, traditional character of fenestrations is already changing the character of the location. Shop shutters are being realigned, and repainted with an appropriate colour. A uniform wooden signage has been designed for all the shops, with standardised typeface and size. However, the restoration is not easy, considering the scale of deviations and encroachments. ”Most of the buildings have rusting roof sheets, decaying wooden soffits, and eaves boards — all these will be replaced and repaired. To restore the historic character [of the site], many inappropriate interventions are being reversed,” Ms. Iqbal said.

Located in the heart of Shehar-e-Khaas, the interior of Srinagar’s old city, the Maharaj Gunj market was established by Maharaja Ranbir Singh to provide fillip to Kashmir’s trade and commerce. “In the pre-1947 era, Maharaj Gunj transcended regional boundaries, attracting traders from prominent cities such as Amritsar, Lahore, Karachi, Rawalpindi, and even parts of Central Asia, who embarked on journeys to this bustling hub in their pursuit of expanding commercial prospects,” Saleem Beg, convenor, INTACH-Kashmir, said. The market once housed Khatri businesspeople, who introduced a different lifestyle to the city. “From primarily dealing in textiles, spices, and copper goods, the market subsequently diversified to include commodities that were unavailable to the local Kashmiri community,” Mr. Beg said. The market also facilitated the export of prized items from Kashmir, including saffron, shawls, paper, and fruits.

"Maharaj Gunj’s strategic location along the banks of the Jhelum river rendered it an attractive destination for traders from diverse locations within Kashmir, particularly those who accessed the marketplace via the river,” Mr. Beg added. In 1932, Mr. Beg said, a trade directory commended Maharaj Gunj as one of the finest markets in India.

“Sheikh Mohalla, adjacent to the market, was a centre of trade and commerce, where Kashmiri art goods, alongside consumables, were traded mostly by Kashmiri traders,” Mr. Beg said. The Srinagar Smart City Mission’s revival programme is likely to throw a spotlight on the city’s rich cultural heritage, including old shrines, tombs, mosques, temples, and a gurudwara. “Urbanised habitation along the Jhelum river was identified as an important heritage zone in the first heritage listing prepared by eminent conservationist and architect Romi Khosla in 1989,” Mr. Beg added.

"INTACH has built on the work initiated by Romi Khosla, and undertaken digitised mapping of Srinagar with emphasis on the heritage area of the old town. Maharaj Gunj, with its vernacular, monumental, spiritual and riverine heritage figured prominently in this mapping project,” he said. Mr. Beg said those buildings that are in structural distress will be strengthened before proceeding with any conservation interventions. The project is likely to offer new urban experiences for tourists exploring Srinagar. “The area is dotted with monumental heritage in the form of shrines, temples, and a gurdwara. The famous 15th century funerary heritage of the Sultans of Kashmir is also there. The project will bring back the historic essence [of the Maharaj Gunj market],” Mr. Beg said.

https://www.thehindu.com/news/national/other-states/revival-of-dogra-architecture-at-srinagars-maharaj-gunj-market-brings-a-beautiful-past-to-life/article67446456.ece, October 18, 2023

The Indian National Trust for Art and Cultural Heritage (Intach) has signed an MoU with Delhi Police for restoration of a heritage building on Ashoka Road that once housed police officers. It will be converted into a museum on the history and transformation of the city's police force. The trust had recently restored Barh ki Chowki, one of Delhi's oldest police posts constructed in the early 1800s. Intach has conceptualised the museum as a "hybrid" institution, using static displays integrated with state-of-the-art technologies. This 1920 building used to be the residence of four police officers including Kiran Bedi. There are four wings, two on the ground floor and two on the first floor.

The project will restore the beautiful columns and fireplaces currently hidden by modern additions like tiles. Two of the four fireplaces will be restored while all the columns on the first floor, which were covered by brick walls, will also be restored. Delhi Police has a long history dating back to the first kotwal of Delhi in 1237 through to the organised policing established by the British after 1857 to the reorganisation of the force in 1946. A Vijaya, director and head of the architectural heritage division, Intach, revealed that the aim of the project was to restore, conserve and use the heritage building as a police museum.

"The existing police museum at Kingsway Camp only has a static exhibition. The newly proposed one will have digital and interactive exhibits along with static ones," said Vijaya, adding that the "world-class" museum would employ modern technology such as projections and touch screens. Rummanuddin Siddiqui, senior architect, Intach, added "The museum will aim to educate and generate awareness about the history, the theoretical and physical training of police personnel and their role as professionals." The storyline of the city's police will be displayed in 10 galleries. At the entrance will be an orientation room, where a brief introduction to the museum will be available to the visitor. The next gallery will have a historical perspective of Delhi Police, like how it was once a part of Punjab Police and how the capital's force evolved over the years.

Another gallery will show the transition and transformation of the city cops in terms of their uniform, arms, communication, transport, etc. While the right wing of the ground floor will have a cafe, library and souvenir shop, the first floor will showcase the seven different training centres of the cops through videos. Another gallery will have material related to the canine unit of the Delhi police. There will also be exhibits on how Delhi Police works and solves cases and these will be exemplified through FIRs dating back to 1800.

One gallery will be on the diversity of Delhi Police, with the original appointment letters of the first woman inspector and first woman sub-inspector on display. Other galleries will showcase the achievements and milestones of Delhi Police and a picture gallery will project slides on how the cops helped people during Covid, natural calamities and other crises. The last two galleries will consist of a memorial hall where people can sit and pray for officers who laid down their lives in the line of duty. A gallery for kids with fun exercises like quizzes is also on the cards.

https://timesofindia.indiatimes.com/city/delhi/heritage-building-that-once-housed-police-officers-to-turn-into-museum/articleshow/104229461.cms?from=mdr, October 20, 2023

Standing at heights ranging from 10 to 60 feet above the ground, the Erra Matti Dibbalu (red sand dunes or red sand hills) used to catch the attention of any motorist driving along the Visakhapatnam-Bheemunipatnam beach road, with their bright red colour against the backdrop of a blue sky, till a few years ago. Now, visitors have to park their vehicles on the roadside, and walk through the pathway between trees to have a glimpse of the red sand dunes. Trees and shrubs have grown all around, and even on the red sand hills, blocking the magnificent view from Beach road. Tourists, who wish to see the awe-inspiring sand hills, will now have to take a detour either a little ahead of INS Kalinga junction towards Nidigattu and reach JV Agraharam or from the Bheemunipatnam side to reach JV Agraharam behind the hills.

Panoramic view
A view point was set up towards the landside-end of the red sand hills during the tenure of the previous government. The high tower gives a panoramic view of the red hills, the green trees in between and blue waters of the Bay. “The red sand (a mixture of sand and mud) is getting eroded gradually during the rains, posing a threat to its existence. We used to walk from one peak to the other through the pathways at one point of time,” says Gurunadh of JV Agraharam village, who was relaxing on the tower. Unfortunately, there are no direction boards showing the way from Beach Road to the view point either from Bheemunipatnam side or from the Nidigattu side.

Geo heritage site
The Erra Matti Dibbalu, which have been declared as one of the 34 national geo heritage sites, had formed during the last glacial maxima (LGM), estimated to have occurred globally around 18,500 years ago. The coast line of the Bay of Bengal is estimated to have been about 50 km inwards into the land during the LGM. Archaeological evidences of Stone Age tools from microlithic, mesolithic and paleolithic eras had also been found in the region. The red sand dunes have also been popularised by movies shot here during the past few decades. A doctoral thesis titled “Quartenary Environment and Prehistoric Cultural Development: A Micro Level Study on East Coast of India” was submitted by Alok Rath in February 1996, under the guidance of professor Thimma Reddy of the Department of Anthropology, Andhra University, Waltair. During the study, trial trenches were dug up and stone tools of pre-historic men and pottery of that period were unearthed, which indicated that Erra Matti Dibbalu have been home to the early man.

“Climatic changes with interglacial periods, change in coastline, vertical fall in the sea level with the sea receding by about 100 metres, and continental shelf exposed the sand,” says D. Rajasekhar Reddy, convener of the Indian National Trust for Art and Cultural Heritage (INTACH) Visakhapatnam chapter. “During high and low tides, the sand is carried away by the wind for some distance and deposited there. Though the sand dunes must have formed during the interglacial period, some 18,500 years ago, the process might have started over 20,000 years ago. The red colour of beach sand is due to the presence of ferrous minerals (added to water they acquire a rusty red colour over a period of time),” he adds. “During the formative stages, Erra Matti Dibbalu must have gone through climatic changes, sea level variation, monsoon changes and mineral changes. The sand dunes attracted mud particles over a period of time, which gave them the binding strength. The presence of mud in the sand dunes led to the vegetation and plant cover.

The Calcium Carbonate, present in water, led to the formation of rhizoliths around the roots of plants,” he says. “We need to protect its natural beauty. I had organised a seminar in 2012 on national geo heritage sites, during which the need to protect Erra Matti Dibbalu was discussed. In 2014, the Centre had declared it as a national geo heritage site, and asked the State government to initiate measures to protect it. In 2016, the State had also declared it as a protected site and put up a board to that effect,” he says. The Geological Survey of India (GSI) had demarcated an extent of 300 acres as protected area. “There is, however, a need to create a buffer zone around this site to prevent encroachments.”

Under threat
“The levelling of the land by the Visakhapatnam Metropolitan Development Authority (VMDA), a little away from the geo heritage site, is a matter of grave concern. In the absence of a clear demarcation of the heritage site, inferences can be drawn according to ones whims and fancies,” says environmental activist Sohan Hattangadi. “Levelling is being done only about 8 metres away from the edge of the Erra Matti Dibbalu on its western side. Though there is no direct encroachment, ‘commercial activity’ close to the site can disturb it by means of overflowing sewage water, dumping of garbage and even closure of the entry to the site from the western side (JV Agraharam side),” says Mr. Sohan. However, V. Ravindra, Joint Commissioner of VMDA, clarified at a media conference recently that “there are no encroachments at Erra Matti Dibbalu as far as the protected area is concerned. A housing layout is being developed away from the site at JV Agraharam village.” “The Revenue officials had procured ‘D’ patta lands from farmers under the Land Pooling Scheme (LPS), and handed it over to us (VMDA) for development. The farmers would have to be given 900 square yards per acre, and the remaining land will be handed over to VMDA, as part of its 15% share for the 75 Jagananna Housing layouts developed at various places in the district,” VMDA Estate Officer Laxma Reddy told The Hindu.

Tools found
“We have found tools used during the microlithic, upper paleolithic and mesolithic eras, which suggest that a river was flowing beside the dunes and joining the sea near the Erra Matti Dibbalu area. The river might have changed its course over a period of time due to tectonic movements,” says Thimma Reddy. “The river might have deposited gravels and pebbles. Studies by the National Institute of Oceanography (NIO) and the GSI have indicated the presence of beaches, 20 km into the land area, from the present coast,” he says. The sea level was much higher during the Holocene (12,000 years ago) period, which had resulted in the deposition of coastal sand up to 1 km inside.

This explains the reason for places far away from the coast such Siripuram, KGH, Poorna Market, Endada, M.V.P Colony and Isukathota, marked by 40-50 m loose sand in the sub surface, equivalent to dune sands or red sands, which acquired red colour due to oxidation of unstable minerals in sands, says M. Jagannadha Rao, former Vice-Chancellor of Adi Kavi Nannaya University, and former professor in the Department of Geology in Andhra University. In December 2011, Dr. Kutikuppala Surya Rao, a popular physician, social activist and life member of INTACH, in a letter to the then Chief Justice of AP High Court, had appealed to the court to issue directions to the officials concerned to take steps for the protection of red sand dunes.
Nature’s gift

“It has happened only in two or three places in the world and that too once in thousands of years. The one in Vizag is unique and such an awesome sight may not be seen in thousands of years to come. This splendid nature’s gift should be protected for the benefit of future generations,” Dr. Surya Rao noted in his plea to the AP Chief Justice. “The site is likely to be encroached due to pressure on land and real estate activity in the region. If any part of Erra Matti Dibbalu is destroyed due to construction activity, it will be a great loss for the heritage of Visakhapatnam as well as the State. Construction activity will wipe out valuable archaeological evidence,” the INTACH member noted in his letter. Article 49 of the Indian Constitution, under Part IV, which deals with the Directive Principles of State Policy, provides for protection of monuments, places and objects of national importance.

It shall be the obligation of the State to protect every monument or place or object of artistic or historic interest declared by or under law made by Parliament to be of national importance from disfigurement, destruction, removal, disposal or export, as the case may be. The Preamble to the Ancient Monuments and Archaeological Sites and Remains Act of 1958 says: An Act to provide for the preservation of ancient and historical monuments and archaeological sites and remains of the nation, importance for the regulation of archaeological excavations and for protection of sculptures, carvings and other like objects.

Parts of Erra Matti Dibbalu are also within the prohibited CRZ. In WP 8177/2007, the AP High Court has directed the District Collector, Visakhapatnam, to ensure that no violation of CRZ is allowed to take place. Dr. Surya Rao had appealed to the AP High Court to issue instructions to AP Chief Secretary, District Collector, Visakhapatnam, and Vice-Chairman, VUDA (now VMDA), to take all the necessary measures to protect the entire stretch and prevent any encroachments.

https://www.thehindu.com/news/cities/Visakhapatnam/vizags-erra-matti-dibbalu-cries-for-attention/article67205817.ece, October 20, 2023

Kasaragod district has become the first district in India to officially designate its own tree, flower, bird and species. The decision is a testament to the region’s rich biodiversity and natural heritage. The official tree of the district is ‘Kanjiram’ (Strychnos nux-vomica Linn), a species deriving its name from ‘kasara’, meaning wormwood, from which the name of the district originates. This declaration has played a vital role in conserving these trees, preventing their unnecessary felling. The district bird is the White Bellied Sea Hawk, which is native to the region spanning from Mahe to Manjeswaram. Notably, it is listed under Schedule I of the Wildlife Protection Act, and its nest-building habits play a crucial role in protecting the trees where it resides. Kasaragod has also chosen the Cantor’s Giant Softshell Turtle, locally known as ‘Bheemanama’, as the district species.

This rare species is listed on the Red List of Endangered Freshwater Turtles and relies on estuaries for laying eggs, making its conservation particularly critical. n declared as the official bird of Kasaragod district, Kasaragod district has become the first district in India to officially designate its own tree, flower, bird and species. The decision is a testament to the region’s rich biodiversity and natural heritage. The official tree of the district is ‘Kanjiram’ (Strychnos nux-vomica Linn), a species deriving its name from ‘kasara’, meaning wormwood, from which the name of the district originates. This declaration has played a vital role in conserving these trees, preventing their unnecessary felling.

The district bird is the White Bellied Sea Hawk, which is native to the region spanning from Mahe to Manjeswaram. Notably, it is listed under Schedule I of the Wildlife Protection Act, and its nest-building habits play a crucial role in protecting the trees where it resides.. Kasaragod has also chosen the Cantor’s Giant Softshell Turtle, locally known as ‘Bheemanama’, as the district species. This rare species is listed on the Red List of Endangered Freshwater Turtles and relies on estuaries for laying eggs, making its conservation particularly critical.

The district flower, ‘Periya Polathali’ or Crinum malabarica, with its distinctive white flowers tinged with red, is another remarkable addition to the list. This plant is found exclusively in the streams originating from the laterite hills in Kasaragod, emphasising its significance. The decision to officially recognise these natural elements was taken jointly by the district panchayat and the Biodiversity Management Committee. The initiative seeks to celebrate and conserve the rich biodiversity and natural heritage of the region, which is increasingly threatened by development and other activities.

District panchayat president Baby Balakrishnan highlighted how the declaration played a pivotal role in safeguarding natural treasures. For instance, the district recently denied permission to cut around 21 Kanchira trees in Poinachi, where a solar plant project was proposed. The new-found status of the tree as the district’s official tree has given impetus to conservation efforts, she told The Hindu. Shyam Kumar Puravankara, a member of the District Biodiversity Management Committee, said that conservation efforts did not just benefit birds and other species but also their habitats. Protecting the White Bellied Sea Hawk, for instance, safeguards trees and their surroundings.

https://www.thehindu.com/news/national/kerala/kasaragod-becomes-first-district-in-india-to-declare-official-tree-flower-bird-and-species/article67439175.ece, October 22, 2023

Unesco International Council on Monuments and Sites (ICOMOS) expert Lim Chen Sian, accompanied by senior officials of Archaeological Survey of India (ASI) and state directorate of archaeology embarked on his three-day visit of Ahom-era maidams (mound burials) at Charaideo district, vying for Unesco World Heritage status, on Saturday. The historic site, located in upper Assam, is known for pyramid-like mound burials of Ahom kings and queens. Charaideo was the first permanent capital of the Ahom kingdom, of which revered Ahom King Chao Lung Siu-Ka-Pha was the founder. Charaideo maidams have been India’s sole nomination for recognition as a Unesco World Heritage Site in cultural category this year. Sian and the senior officials were given a traditional welcome by local stakeholders. Sian took part in furalung rituals of the Ahoms on the ASI campus and also had a glimpse of the site before his scheduled visit to the core of the proposed World Heritage Site on Sunday. An exhibition has been arranged at the site to give information about Charaideo maidams, its history and life during the days of the Ahom kingdom that lasted for 600 years. According to historical chronicles, wives, attendants, pet animals and huge quantities of valuables were buried with the departed kings in the maidams.

Sources said on Sunday, Sian will visit the maidam area. On Monday, he will inspect the buffer area of the site and later in the day will have discussions with local stakeholders and residents. Sian is also scheduled to meet the group of ministers from the state looking after Charaideo conservation works and the chief minister. Additional director general (Conservation and World Heritage) of ASI Jahnwij Sharma, Assam director of archaeology Deepi Rekha Kouli, cultural expert to the state government KC Nauriyal among other senior government officials accompanied Sian. If selected, 90 royal burials at Charaideo will be the only cultural heritage site in entire northeast to get the coveted status. In January, Assam CM Himanta Biswa Sarma had written to Prime Minister Narendra Modi to inform him that the state government had submitted the World Heritage Nomination Dossier of the cultural heritage site of maidams to the Archaeological Survey of India (ASI), for onward submission to Unesco for evaluation in the current-year cycle. These Maidams have already met the technical requirements, following which ICOMOS visit is taking place.

https://timesofindia.indiatimes.com/city/guwahati/unesco-icomos-expert-arrives-at-assams-charaideo-district-vying-for-world-heritage-status/articleshow/104246759.cms?from=mdr, October 23, 2023

According to the local residents as well as the area councillor, the structure in Humayunpur is a temple. The facade bears a fresh coat of white, embellished with brick-coloured tiles; inside, deities can been seen placed prominently in a niche, flanked by posters of gods and goddesses even as a long brass prayer bell hangs right in the middle of the structure. According to the local residents as well as the area councillor, the structure in Humayunpur is a temple. The claims, though, are at odds with what official records state. The structure is notified as a 15th-century tomb or Gumti, as per the Delhi Gazette from May 2010 and is a notified heritage site under the Municipal Corporation of Delhi (MCD). It also finds mention in the list of unprotected notified heritage monuments of the Delhi government. The new look of the structure is a result of “crowdfunding” carried out by residents of the area, according to Aam Aadmi Party’s (AAP) area councillor Sarita Phogat, adding the the structure has always been a temple.

“There were Radha-Krishna idols in the temple for a long time. I have lived in this area for 36 years and I’ve seen a temple here since I first moved in,” said Phogat. On the renovation work, she said, “There is no government involvement. The villagers have crowdfunded the project to beautify an old temple. It had been in a decrepit state for a long time.” Humayunpur resident Rajvir Singh echoed Phogat’s statements. “My family has lived here for four generations and the temple was always used by the elders of the village to pray,” he said. “Earlier, people didn’t have money to renovate. So, the temple was left to decay.

It was only after the village elders took a decision in 2018 that we came together and renovated it,” Singh said. In March 2018, The Indian Express had first reported that the Gumti was being painted white and saffron and idols placed inside it. At the time, then Deputy Chief Minister Manish Sisodia had ordered an inquiry into the matter. In a letter to the Delhi government’s Art, Culture and Language (ACL) Department, he had said that the incident “not only violates heritage-related laws but is also an attempt to disturb peace and harmony in the area”. Now, however, no representative of the Delhi government was forthcoming in responding to the issue despite multiple attempts. Speaking to The Indian Express on condition of anonymity, a resident of the area said she had raised concerns over the renovation work with the Minister of State for Culture and MP Meenakshi Lekhi, Malviya Nagar MLA Somnath Bharti, and area councillor Phogat but to no avail.

Both Bharti and Lekhi were unavailable for comment. The resident claimed she took up the matter with the Residents Welfare Association (RWA), which said the temple rests on private property. According to officials from the MCD’s heritage cell, any alterations or renovations to a notified heritage building must be done with the permission of the MCD Commissioner, the New Delhi Municipal Council’s Chairman, or the DDA Vice-Chairman. Even if the structure is on private land or is private property, due permission must be taken to make any changes, they added. However, they said that the cell’s hands are tied when it comes to taking action. Officials said that since the cell does not have legal backing, it cannot take action without a letter from a complainant. If it receives a complaint, officials said that they would raise the matter with the Heritage Conservation Committee — a body headed by the Union Ministry of Housing and Urban Affairs — which has legal backing to enact the provisions of Annexure II of the Unified Building By-Laws for Delhi, 2016. The annexure mentions that failing to notify relevant agencies of renovations or changes to a heritage structure, or in other words, carrying out unauthorised renovations, would attract penal action under the Act.

The Delhi chapter of the Indian National Trust for Art and Cultural Heritage (INTACH) was supposed to take up restoration work of the monument, in collaboration with the Archaeology department in 2017, but faced protests by local residents. Rami Chhabra, founder and president of Streebal, an NGO that shares a boundary wall with the monument, said the renovation work could pose a danger to children. “I am worried that this fragile structure in the adjacent public park is being tampered with without due authorisation… it could collapse on small children who play in our grounds,” she said.

Meanwhile, with the platform around the structure jutting out into the busy colony road following an expansion, a few residents of the B6 Colony had registered their protest citing traffic problems in a recent RWA meeting. A memo from the meeting read that residents of Humayunpur village have assured that “they will do all efforts to maintain cleanliness and orderliness of traffic around this temple” and that “there is no further grievance on this matter”.

https://indianexpress.com/article/cities/delhi/notified-as-15th-century-tomb-in-records-work-on-at-hectic-pace-at-temple-in-humayunpura-8974153/, October 24, 2023

In a significant move towards preserving the rich cultural heritage of Meghalaya, the state government has declared two archaeological sites in East Khasi Hills as “protected sites".

The proposed sites are:
1. The archaeological site located at Myrkhan within Mylliem Block, East Khasi Hills.
2. The Megalith Monuments at Rynghep, Nongkseh, East Khasi Hills.
This proposal falls under Section 3 (1) (2) of the Meghalaya Heritage Act 2012, which aims to safeguard and promote the historical and cultural treasures of the State, according to a notification issued by Commissioner and Secretary of Arts and Culture department FR Kharkongor on Wednesday. Objection to the issue of this notification, if any, received within thirty days from the date of issue of this notification will be considered by the Government, the notification said.

https://hubnetwork.in/meghalaya-govt-declares-myrkhan-archaeological-site-megalith-monuments-as-protected-sites/, October 24, 2023

Bastar celebrates Dussehra in the most unique way! This vibrant festival is celebrated in the Bastar district of Chhattisgarh and is distinct from the common Dussehra celebrations in India. Let’s find out what makes Bastar Dussehra a unique experience: Longest Dussehra celebration: Bastar Dussehra is noted for being one of the longest festivals in India and the world! It goes on for over 75 days and commences on the day of the new moon in the Hindu month of Ashwin and concludes on the day of Vijayadashami. Danteshwari Devi: The worship of Danteshwari Devi holds immense significance for the tribal communities. They consider her to be the guardian deity of their land, and Dussehra is a time for tribal people to express their devotion. She is also the Family Goddess of Bastar’s royal family.

Unique ritual of animal sacrifice: Unlike the traditional effigy burning of Ravana, Bastar features the unique custom of sacrificing animals. Local deities are believed to demand these offerings. A tribal thing: The festival is an important part of the cultural heritage of the tribal communities in the Bastar region. Processions: The highlight of Dussehra in Bastar is the grand processions that are marked by the participation of tribal communities. The use of traditional instruments and vibrant costumes adds to the festive atmosphere.

Worshipping of local deities: The festival involves worship of various local deities and spirits. The tribals consider these deities the guardians of their villages and forests. Pat Jatra ritual: The Pat Jatra is a ritual wherein the first wood is brought from the forest to build chariots to carry local deities. Artistic Expressions: The festival provides a platform for local artists to showcase their skills. Intricate and artistic murals and paintings are created to adorn the walls of the houses in the Bastar region. Cultural Significance: Bastar Dussehra is not only a religious festival but also holds great cultural significance. It provides insights into the rich cultural heritage of the tribal communities in the region.

https://timesofindia.indiatimes.com/travel/destinations/bastar-dussehra-the-longest-75-day-dussehra-celebration-in-india/articleshow/104472049.cms, October 24, 2023

New Delhi will soon be home to the world’s largest museum! Yes, you read that right. Named as Yuge Yugeen Bharat National Museum, the new museum will replace the National Museum that is set in the Janpath area, Delhi. As per the reports, the new museum will feature eight thematic segments, and each will narrate the story of India spanning across 5000 years. Sounds interesting, right? Let’s find out more such interesting facts about this much-awaited museum: Location: The upcoming museum is located on Kartavya Path, which was previously known as Rajpath. The museum will be housed at the North and South Blocks, which currently have several ministries and departments including External Affairs Ministry, the Defence Ministry and the Prime Minister’s Office. Size: The new museum will be spread in an area of over 1.17 lakh sq m and will feature 950 rooms spread over a basement and three storeys.

Theme: According to officials, the museum will feature eight thematic segments, including:
Ancient Indian knowledge

Ancient to medieval Medieval Medieval to transition phase Modern India

Colonial rule when the Dutch, the British, the Portuguese and others came to India The freedom struggle

100 years from 1947 onwards

Artefacts: All the old artefacts and rich collections of the National Museum will be shifted to the buildings of the North and South Blocks as part of the new museum. Virtual inauguration: PM Narendra Modi launched a virtual walkthrough of the upcoming museum on the International Museum Day on May 18.

https://timesofindia.indiatimes.com/travel/destinations/worlds-largest-museum-to-come-up-in-delhi-details-here/articleshow/104502809.cms, October 24, 2023

New Delhi will soon be home to the world’s largest museum! Yes, you read that right. Named as Yuge Yugeen Bharat National Museum, the new museum will replace the National Museum that is set in the Janpath area, Delhi. As per the reports, the new museum will feature eight thematic segments, and each will narrate the story of India spanning across 5000 years. Sounds interesting, right? Let’s find out more such interesting facts about this much-awaited museum: Location: The upcoming museum is located on Kartavya Path, which was previously known as Rajpath. The museum will be housed at the North and South Blocks, which currently have several ministries and departments including External Affairs Ministry, the Defence Ministry and the Prime Minister’s Office. Size: The new museum will be spread in an area of over 1.17 lakh sq m and will feature 950 rooms spread over a basement and three storeys.

Theme: According to officials, the museum will feature eight thematic segments, including:
Ancient Indian knowledge

Ancient to medieval Medieval Medieval to transition phase Modern India

Colonial rule when the Dutch, the British, the Portuguese and others came to India The freedom struggle

100 years from 1947 onwards

Artefacts: All the old artefacts and rich collections of the National Museum will be shifted to the buildings of the North and South Blocks as part of the new museum. Virtual inauguration: PM Narendra Modi launched a virtual walkthrough of the upcoming museum on the International Museum Day on May 18.

https://timesofindia.indiatimes.com/travel/destinations/worlds-largest-museum-to-come-up-in-delhi-details-here/articleshow/104502809.cms, October 24, 2023

The World Day for Audiovisual Heritage (WDAH) is observed on October 27 every year to draw attention to the significance of audiovisual documents and to urge people to take immediate action. We may learn about the lives and cultures of people from all around the world through audiovisual archives. They serve as invaluable testimony to our common history and a crucial source of knowledge. They aid us in our growth and understanding of the world we all share. The preservation and accessibility of audiovisual heritage are crucial goals for both memory institutions and the broader public. UNESCO designates October 27 as the World Day for Audiovisual Heritage (WDAH) to underscore the significance of safeguarding these materials and making them accessible to present and future generations.

World Day for Audiovisual Heritage 2023: Theme
This year, the theme for the World Day for Audiovisual Heritage is “Your Window to the World”. In order to recognise organisations and individuals that work in audiovisual preservation and preserve our cultural legacy for future generations, UNESCO and the Coordinating Council of Audiovisual Archives Associations (CCAAA) are organising this special day.

World Day for Audiovisual Heritage 2023: History And Significance

On October 27, 1980, during the 21st General Conference of the United Nations Educational, Scientific and Cultural Organization (UNESCO) in Belgrade, Serbia, the Recommendation for the Safeguarding and Preservation of Moving Images was adopted. This recommendation marked a significant step in recognizing the importance of preserving and safeguarding audiovisual materials for their cultural and historical significance. The importance of protecting audiovisual legacy is emphasised on this day. Events including panel discussions, special screenings, local programming, and competitions are held to raise awareness of the value of preserving the audiovisual legacy.

World Day for Audiovisual Heritage: 5 Museums To Visit in India
This year on World Day for Audiovisual Heritage, here are five museums that you can visit:

National Museum, New Delhi The National Museum, which is housed in the centre of the nation’s capital, is a monument to India’s rich cultural legacy. Numerous objects, such as textiles, paintings, sculptures, and archaeological discoveries, are kept at the museum. India’s historical martial traditions are also reflected in the National Museum’s remarkable collection of weapons and armour.

Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai The Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), formerly the Prince of Wales Museum, is a veritable gold mine of Indian art and history. Numerous objects are displayed at the museum, such as ornamental art, miniature paintings, and antique sculptures.

Indian Museum, Kolkata
One of India’s oldest museums, the Indian Museum in Kolkata was established in 1814 and is a vital archive of the nation’s cultural history. This enormous collection spans several fields, such as geology, art, anthropology, and archaeology. A rare Egyptian mummy and an amazing fossil collection are also housed in the Indian Museum.

Salar Jung Museum, Hyderabad
The Salar Jung Museum is well known for its outstanding art and antiquity collection. The museum collection has a wide variety of unique items from several civilisations, including ancient India, Europe, and the Middle East. In addition, the Salar Jung Museum has a large library, armaments, and an amazing collection of manuscripts.

City Palace Museum, Udaipur
The City Palace Museum in Udaipur, situated on the shores of Lake Pichola, provides an insight into the lavish way of life led by the royal family of Rajasthan. The City Palace complex has several areas that visitors can explore, each of which highlights a distinct facet of Rajput tradition. The museum also has an impressive collection of historical weaponry, which includes the well-known Maharana Pratap sword.

https://www.news18.com/lifestyle/world-day-for-audiovisual-heritage-2023-theme-history-significance-and-5-museums-to-visit-in-india-8634022.html, October 27, 2023

INTACH (Indian National Trust for Art and Cultural Heritage), led by its convener, Major General Balwinder Singh (Retd), hosted an inter-school state-level heritage quiz at the Army Public School in Beas today. The event was conducted at the Field Marshal Sam Bahadur Manekshaw Auditorium, drawing participation from nine schools across the state. These schools had earned their place in the state-level quiz after they won in their respective district chapters organised by INTACH.

The quiz commenced with a captivating video showcasing INTACH’s national activities, emphasising the collective duty to safeguard our cultural heritage for future generations. The competition was fierce, with schools from various districts showcasing their academic prowess, turning the quiz into a gripping battle of intellect and nerves. Spring Dale School, Amritsar, emerged victorious, earning the INTACH state-level quiz trophy. They will represent Punjab at the national-level INTACH quiz scheduled for December 2023 in New Delhi. The chief guest for the quiz competition was Deputy Commissioner Kapurthala, Captain Karnail Singh. He presented the prizes to the winners, highlighting how the heritage quiz not only promotes healthy competition but also instils a profound sense of pride and responsibility among today’s youth towards our cultural heritage.

https://www.tribuneindia.com/news/jalandhar/9-schools-compete-in-state-level-heritage-quiz-558418, October 29, 2023

Indian National Trust for Art and Cultural Heritage (INTACH) and the Kalinga Heritage Preservation Trust (KHPT) members have urged Odisha Chief Minister Naveen Patnaik for construction of a Global Sun temple in the state. In a memorandum to Chief Minister Naveen Patnaik, the members of both the organisations have expressed that it would be highly impossible to undertake such a grand and herculean project without the support of Odisha government. The members have expressed that the Ram Mandir at Ayodhya was successfully completed as it was a matter of national pride, the Sun Temple will also be a structure of a global pride.

http://www.uniindia.com/news/east/odisha-intach-sun-temple/3078856.html, October 30, 2023