Diplomatist Bureau

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India’s rich culture and heritage is looked at with awe by the entire world. Time magazine once described India as a kaleidoscope of contrasts. India is complex and colourful, and off ers a multiple of evolving patt erns within one

framework.

American novelist Mark Twain’s apt description comes to my mind – “India is the cradle of the human race, the birthplace of human speech, the mother of history, the grandmother of legend and the great grandmother of tradition.”

Th e diversity of India is amply refl ected in the climatic conditions, religions, customs, cultures, att itudes, languages, arts, music, theatre, etc. Mercedes and BMWs jostling for road space with ox carts and motorcycles are a common sight in this rich and vibrant country. Th anks to the intrinsic values of India that manifest in its myriad forms, the world is left mesmerised.

Today, there is need to introspect and look within as a nation and a society. I believe that the Idea of India is celebrating its diverse and inclusive character. Let’s sign off the year 2016 with Diplomatist Annual Edition Indian Heritage, which is a celebration of India. It’s not for nothing that they used to refer to India of old as sone ki chidiya or ‘golden sparrow’. Today is the world of glitt erati, and India is all about the brand and the bling!

India leads the pack in unique fashion accessories. A fusion of fashion and functionality, India’s bling factor is making heads turn. Th ere’s a huge market for things that are ‘Indian’, be it Gold & Diamonds, Apparel & Textile, Home Furnishings, Indian Silk, Indian Leather, Indian Handicraft s & Gift s, Yoga, Dance and Music. Th e Indian Heritage is a chronicle of all that and much more.

I wish to take this opportunity to thank Guest Editor Smt. Meira Kumar, Photo Editor Ms Ann Aquilina, Publisher Ms Linda Brady Hawke and the entire Diplomatist team for their months’ of dedicated eff orts in putt ing this edition together.

Be a part of the celebration of India like never before.

Merry Christmas & a very Happy New Year 2016!

Alankar SrivastavaEditor-at-Large

Celebrating the Idea of India“India’s cultural heritage stands for synthesis of the different cultures that have come to stay in India, that have infl uenced Indian life, and that, in their turn, have themselves been infl uenced by the spirit of the soil. This synthesis will naturally be of the spirit of the soil. This synthesis will naturally be of the Swadeshi type, where each culture is assured its legitimate place, and not of the American pattern, where one dominant culture absorbs the rest and where the aim is not towards harmony, but towards an artifi cial and forced unity.”

– Mahatma Gandhi

A Celebration of Indian Heritage

Photo EditorAnn Aquilina

Mrs Ann Aquilina is a Photojournalist by profession. For almost 25 years, she worked for News Limited in Australia, and her photographs featured regularly in national and suburban newspapers and magazines, covering a wide range of historical, political, cultural, social and sporting events.

Her career took her to many parts of Australia and beyond, photographing some of the most important events in Australia’s history from the start of the 1990s until she completed her career as a photojournalist. Apart from the political personalities at the national, state and local levels, Ann Aquilina has also photographed major sporting fi xtures, including a wide range of events at the Sydney Olympics and Paralympics in the year 2000, as well as numerous cricket tests, rugby and soccer games.

On a social level, Ann Aquilina has always enjoyed mixing it with everyday people, photographing candid scenes from day-to-day life. She has a keen photographic eye for what matt ers, and is able to frame in her photographs unusual incidents which no one else recognises, but which for her stand out in her everyday experience.

With a love of history, she takes great care in photographing cultural activities, as well as buildings and monuments, both old and new. Ann Aquilina is very conscious of the fact that in photographing an item, whether it be historical or contemporary, she is creating an image which in itself makes an historic or cultural statement.

Currently, Ann Aquilina is doing her fi rst stint as the spouse of a Head of Mission, having arrived in New Delhi with her husband John Aquilina, the High Commissioner of Malta, a litt le over two years ago. For the past 12 months, she has been the President of the Spouses of the Heads of Mission (SHoM), organising activities, and providing support for all of the spouses, but particularly networking with new arrivals so as to help them to sett le into their new environment. Additionally, she has undertaken extensive work in assisting the Delhi Commonwealth Women’s Association (DCWA) to raise a lot of funds for the health institution, which they run for the needy persons and children of New Delhi.

Ann Aquilina is soon to leave India, as her husband John has just been appointed as Malta’s new Ambassador to China. She will be looking forward to expanding on her role as the spouse of a Head of Mission in a new country.

2 EXTRAORDINARY AND PLENIPOTENTIARY DIPLOMATIST Annual Edition 2015


Guest EditorSmt. Meira Kumar

Date of Birth: 31.03.1945

Family Details:• Married to Manjul Kumar, Advocate Supreme Court of India

• Son Anshul, daughter-in-law Manica, grand-daughter Anahita

• Daughter Swati, son-in-law Ranjit, grand-daughter Amrita, grand-son Anhad

• Daughter Devangana, son-in-law Amit, grand-son Farzan

Family History: • Daughter of late Babu Jagjivan Ram, freedom fi ghter, crusader for social justice

and Deputy Prime Minister

• Mother, late lndrani Devi, freedom fi ghter, social worker and author of many books

Education: • Senior Cambridge

• B.A., LLB, M.A. (English)

• Advanced Diploma in Spanish

Language :

Profi cient in English, Spanish, Hindi, Sanskrit, Bhojpuri

Indian Foreign Service:

• Joined the Indian Foreign Service in 1973

• Served in the Embassy of India, Madrid, Spain; High Commission of India, London, U.K.; and Ministry of External Aff airs, Delhi

• Member, Indo-Mauritius joint Commission to Mauritius, 1984

• Member, Offi cial delegation accompanying the President of India on State visit to Mauritius, People’s Democratic Republic of Yemen and Yemen Arab Republic, 1984

Parliamentary Career:

• Member of Parliament (Congress), 8th Lok Sabha from Bijnor, U.P. {Resigned from the Indian Foreign Service to enter politics aft er late Prime Minister Rajiv Gandhi, asked her to contest the Bijnor bye-election}

• Member of Parliament (Congress), 11th Lok Sabha from Karol Bagh, Delhi. Was one of the two Congress candidates to win in Delhi

3EXTRAORDINARY AND PLENIPOTENTIARY DIPLOMATIST Annual Edition 2015

• Member of Parliament (Congress), 12th Lok Sabha from Karol Bagh, Delhi. Was the only Congress candidate to win in Delhi

• Member of Parliament (Congress) 14th Lok Sabha from Sasaram, Bihar, the Constituency held by Babu Jagjivan Ram for over 50 years. Won with the highest margin in Bihar

• Member of Parliament (Congress) 15th Lok Sabha from Sasaram, Bihar

• Among the very few leaders to win Lok Sabha elections from three diff erent States

• Member, Indian Parliamentary Group

• Member, Inter Parliamentary Union

Congress Party Responsibilities: • General Secretary, All India Congress Committ ee, 1991-92, 1996-99

• Member, Congress Working Committ ee, 1991-2000, 2002-2004

Ministerial Responsibilities: • Union Cabinet Minister for Social Justice & Empowerment, 2004-2009

• Union Cabinet Minister for Water Resources, 2009

Delegations Abroad: • Leader of the Indian Parliamentary Delegation to 129th Assembly of Inter

Parliamentry Union,Geneva,Switzerland,7 to 9 October 2013.

• Leader of the Indian Parliamentary Delegation to the Seventh Conference of Association of SAARC Speakers & Parliamentarians,Male,Maldives,21 - 23 December,2013.

• Leader of the Indian Parliamentary Delegation to Slovenia,27 - 31 May,2013.

• Leader of the Indian Parliamentary Delegation to Belarus,20 - 22 May,2013.

• Leader of the Indian Parliamentary Delegation to Myanmar,12 - 15 February,2013.

• Leader of the Indian Parliamentary Delegation to Sixth Conference of the Association of SAARC Speakers and Parliamentarians at Islamabad, Pakistan, 4-6 November, 2012.

• Leader of the Indian Parliamentary Delegation to the 127th Assembly of the Inter-Parliamentary Union held in Quebec City, Canada, 21-26 October, 2012

• Leader of the Indian Parliamentary Delegation to 58th Commonwealth Parliamentary Conference at Colombo, Sri Lanka, 11-15 September,2012

• Leader of the Indian Parliamentary Delegation to CPA Mid-Year Executive Committ ee Meeting at Tonga, 17 to 21 April, 2012

• Leader of the Indian Parliamentary Delegation to New Zealand, 13 to 16 April,2012

• Leader of the Indian Parliamentary Delegation to the 126th Assembly of the Inter-Parliamentary Union held in Kampala, Uganda, 31 March - 5 April, 2012.

• Leader of the Indian Parliamentary Delegation to Pakistan, 21-25 February, 2012

• Leader of the Indian Parliamentary Delegation to Chile, Uruguay and Paraguay 13-20 January, 2012

• Leader of the Indian Parliamentary Delegation to the 21st Commonwealth Speakers and Presiding Offi cers Conference, Port of Spain, 7-12 January, 2012

• Leader of the Indian Parliamentary Delegation to Iran, 2-5 November, 2011

• Leader of the Indian Parliamentary Delegation to 125th Assembly of Inter Parliamentary Union, Bern, Switzerland, 16-19 October, 2011

• Leader of the Indian Parliamentary Delegation to Japan, 2-6 October, 2011

• Leader of the Indian Parliamentary Delegation to 57th Commonwealth Parliamentary Conference, London, United Kingdom, 21-28 July, 2011

• Leader of the Indian Parliamentary Delegation to Denmark, 16-18 June, 2011

• Leader of the Indian Parliamentary Delegation to Sweden, 13-15 June, 2011

• Leader of the Indian Parliamentary Delegation to the Second G-20 Speakers’ Consultation Meeting at Seoul, 18-20 May, 2011

• Leader of the Indian Parliamentary Delegation to Vietnam, 14-17 May, 2011

• Leader of the Indian Parliament Delegation to the 124th IPU Assembly held in Panama City, Panama, 15-20 April, 2011

• Leader of the Indian Parliamentary Delegation to Mexico, 11-14 April, 2011

• Leader of the Indian Parliamentary Delegation to 3rd CPA Asia Regional Conference, Colombo, Sri Lanka, 11-16 February, 2011

• Leader of the Indian Parliamentary Delegation to United Kingdom, 15 to 19 January, 2011

• Leader of the Indian Parliamentary Delegation to the Meeting of Standing Committ ee of CSPOC at Isle of Man, 12 to 15 January, 2011

• Leader of the Indian Parliamentary Delegation to the 123rd IPU Assembly Geneva, 1-8 October 2010

• Leader of the Indian Parliamentary Delegation to 56th Commonwealth Parliamentary Conference, Kenya, September 2010

• Participated in the Sixth Annual Meeting of Women Speakers of Parliament held in Berne on 16-17 July 2010, Fourth and Fift h (Final) Meeting of the Preparatory Committ ee held in Geneva on 18-20 July 2010 and 3rd World Conference of Speakers of Parliament in Geneva from 19-21 July 2010

• Leader of the Indian Parliamentary Delegation to Mongolia, 26-30 June, 2010

• Leader of the Indian Parliamentary Delegation to Hungary and Luxembourg, 7-13 June, 2010

• Leader of the Indian Parliamentary Delegation to Bhutan, 26-29 May, 2010



• Leader of Indian Parliamentary Delegation to Commonwealth Parliamentary Association Mid-Year Executive Committ ee Meeting in Swaziland, 8-13 May, 2010

• Leader of the Indian Parliamentary Delegation to the 122nd IPU Assembly, Bangkok, Th ailand, March-April, 2010

• Leader of the Indian Parliamentary Delegation to Mauritius, 17-22 January, 2010

• Second Meeting of the Preparatory Committ ee of the Th ird World Conference of Speakers of Parliaments in New York, 16-17 November, 2009

• Leader of the Indian Parliamentary Delegation to the 121st Assembly of the Inter-Parliamentary Union, Geneva, October 2009

• Leader of the Indian Parliamentary Delegation to 55th Commonwealth Parliamentary Conference, Arusha, Tanzania, September, October 2009

• Leader of the Indian Parliamentary Delegation to Austria, 14-17 September, 2009

• Leader of the Indian Parliamentary Delegation to the meeting of Speakers of Lower Chambers of G-8 and outreach countries, Rome (Itlay), 12-13 September, 2009

• Offi cial visit to Belgium, 2008

• Offi cial visit to Mauritius, 2007

• Offi cial visit to Egypt, 2007

• Accompanied President Dr. Abdul Kalam on State visit to Tanzania & South Africa, 2004

• Leader, Indian Non-Government Delegation, to United Nations Preparatory Committ ee Conference against Racism, Racial Discrimination, Xenophobia and Related Intolerance, Geneva, 2000

• Member, all party delegation of MPs to conference on Towards Detente in the Sub-Continent, Islamabad, Pakistan, 1999

• Chief Speaker, Golden Jubilee Celebration of India’s Independence, University of Hull, England, 1997

• Leader, Congress Party delegation to POSSAC Conference, Athens Greece, 1996

• Leader, Congress Party delegation, to World Conference on Solidarity with Cuba, Havana, 1994

• Leader, Congress Party delegation to inaugurate Indian National Congress of America, San Francisco, 1994

• Member, Government of India delegation to the United Nations General Assembly, New York, USA, 1994

• Member, Congress Party delegation to Mauritius for MMM (the ruling party) Conference, 1993

• Chief Speaker, Guru Ravidas Birth Anniversary celebrations, United Kingdom, 1993

• Leader, Indian delegation to Detroit, USA for Conference on Democracy, 1989

• Leader, Congress Party delegation to Sweden for Socialist International Women Conference, 1989

• Participant, Inter-Parliamentary Conference, Bulgaria, 1987

• Member, Congress Party delegation to Mauritius for MMM (the ruling party) Conference, 1987

Social and Cultural Activities:

• Committ ed towards ensuring social & economic equity, empowerment of weaker sections. Especially active in movements relating to social sector reforms, human rights and democracy.

• Former President, All India Samta Movement

• Former President, Ravidas Smarak Society, Varanasi, from 2000-2006

• Former Chairperson, Meera Kala Mandir, Udaipur

• Chairperson, Jagjivan Ram Sanatorium Dehri-on-Sone, 2000-2006

• Former, President, Jagjivan Seva Ashram, Sasaram

• Former, Chairperson, Rajendra Bhawan Trust

• Member, Supreme Court Bar Association, from 1986

• Managing Trustee, Jagjivan Ashram Trust, Delhi, 1985-2004

• President, RVAKV Society Delhi (institution for blind girls), 1992-98

• Member, Senate Punjab University, 1987-91

• Member, Senate Patna University, 1969-71

• Member, Governing Body, Indian Council for Cultural Relation (ICCR), 1987-92

• Chancellor, Central University, Bihar

Special Interests:

• Writing poems in Hindi, many of which have been published

• Reading (contemporary history, fi ction)

• Indian Classical Music and Dance

• Rifl e shooting

• Equestrian

• Preservation of cultural heritage, ancient monuments, Indian craft , textiles



CONTENTSAnnual Edition 2015

1010 1414 2828 3636

10 Fighting Intolerance

12 Photography... Preserving Cultural

Heritage

14 Hand-Loomed Heritage: Khadi – All

Indian Handcrafted Fabric

18 Form, Symbol and Beyond - Kathak

24 A Search for Divine Grace

28 Indian Silk: A Symbol of Royalty and Prestige

32 Indian Leather Industry: An Investment Opportunity

36 Indian Cinema: A Masterpiece of Culture and Heritage

DISCLAIMER: The views and opinions expressed in this magazine are solely those of the authors and do not necessarily refl ect those of the editors or publisher. Although all eff orts have been made to ensure the complete accuracy of text, neither the editors nor publisher can accept responsibility for consequences arising from errors or omissions or any opinions or advice given.

4242 5252 5656 7474

Edited, Printed & Published by: Linda Brady HawkeOwned by: L. B. Associates (Pvt.) Ltd, H-108, Sector 63, Noida - 201301U. P. India

Published from: L.B. Associates (Pvt) Ltd, H-108, Sector 63, Noida - 201301, Gautam Budh Nagar District, Noida, UP, Delhi NCR, India, Tel: +91 120 2427280, 2427419, Fax: +91 120 2427108, Email: [email protected], Websites: www.diplomatist.com, www.lbassociates.com

Managing Editor: William Hawke, [email protected] Editor-at-Large: Alankar Srivastava, [email protected] | Associate Editor: Ashish Pandey

Senior Business Manager - KC Mishra, [email protected] | Manager Sales - Surya Prakash, [email protected] Layout & Design: Atul Kumar | Webmaster: Uday N Jha, [email protected]

42 Gold & Diamonds: Jewel in India’s Crown

48 UNESCO World Heritage Sites of India

52 Capturing India’s Rich Essence

56 World in Awe of India’s Soft Diplomacy

64 Manipur: A Unique Cultural Mosaic

66 The Sound of Distant Drums

70 Assam: The Colourful Heritage

Capital of North East

74 The Rich Heritage of Nagaland

East or West, Guangxi Landscape Is the Best

Guangxi Zhuang Autonomous Region, located in the southern border of China, relying on south-east Asia, and bordering upon Vietnam, is a fascinating destination boasting beautiful landscapes, enchanting sub-tropical beach scenery, simple and unsophisticated ethnic customs, as well as the mysterious border scene for sight-seeing and vacationing in four seasons. Its capital is Nanning, and its most famous tourist city is Guilin.

From 28 May-3 June, 2015, a group of Indian Travel businessmen successfully took part in the China-AESAN Expo Tourism Exhibition in Guilin and a familiarization trip in Guangxi Region. All of them are fond of this exotic and lovely destination. Th ey can tell you what the fi ve unique features of Guangxi tourism are.

“Guilin is a vibrant city, with culture, History and business. Th e tourism czars fr om all ASEAN countries were under one roof at the CHINA-ASEAN Tourism Exhibition, which should ensure that there is a lot of Indian presence in this show to make the destination of Guangxi popular.”

- Mr. Anish Gandhi, Joint Chairman of Primemedia Group of Companies

Th e fi rst one is the natural landscapes of karst landforms spread over the region, which is famous for green hills, clear water, fantastic caves and spectacular rocks, and represented by Guilin Scenery. Th e second one is the sub-tropical beach scenery around the Beibu Gulf, which is known for the clean seawater, white and fi ne sands, and genial sunshine, and is represented by Beihai Silver Beach, the No.1 beach in China. Th e third one is the simple and unsophisticated ethnic customs. Inhabited in the autonomous region are 12 nationalities including Han, Zhuang, Miao, Yao, Dong, Jing etc., who keep well their own charming traditions and customs. Th e fourth is the mysterious and charming border scenery and folkways. And the fi ft h is the abundant historical culture.

Advertorial

“Th is new China (Guangxi) is fantastic and a must-visit. Th e sceneries and landscapes there do not leave you….and I am still moving with them as a memory.”

-Mr. Vikas Khanduri, CEO of Holiday Merchants

So, Guangxi Region can provide a series of tourist products to meet diff erent needs of diff erent tourists. Nowadays, Guangxi is promoting 7 characteristic tours listed as follows: Tour of the Golden Tourist Belt along the Guihai (Guilin—Beihai) Expressway, Tour of Guilin Scenery and Folklore, Tour of Folkways of the Southern Border, Tour of Coastal and Border Area around the Beibu Gulf, Tour of Eco-environment, Landscapes and folklore in West Guangxi, Tour of Famous Historical, Cultural and Religious Sites in East Guangxi, and Tour of Zhuang Folklore in the Hometown of Liu Sanjie (the Th ird Sister Liu) .

“Nanning is a big metropolitan city and a popular stop-over point for travelers to cross border to Vietnam and vice versa . It can be as enjoyable as any other cities in China. One thing that I notice is the charming old Chinese lifestyle in Nanning still well kept intact although the city is undergoing modernization.”

- Mr. Amitabh Sarma, Senior Manager of Jungle Travels India

Th e communications and tourist facilities in Guangxi are modern and convenient. Touring in Guangxi, you will be deeply impressed by the beautiful landscapes, charming folklore, enchanting seashore…And you will surely fi nd: East or west, Guangxi landscape is the best.

For more information about the destination of Guangxi Region, please log on to www.travelchina.gov.cn or htt p://en.gxta.gov.cn/.


With curtains about to fall on 2015, its time to sign off the year with

Diplomatist Annual Edition Indian Heritage – A Collector’s Edition.

Indian Heritage Guest Editor Smt. Meira Kumar, in an exclusive interview with Diplomatist Editor–at–Large Alankar Srivastava, shares her thoughts on intrinsic elements of Indian heritage, tolerance and

much more. Read on…



Fighting IntoleranceQ Tolerance has been the hallmark of Indian civilisation and cultural

heritage. What do you think of the raging debate about tolerance versus intolerance in India?

Th e cliche is that India is a land of religious tolerance. No, I disagree. Tolerance is a negative word. It implies that we merely endure and suff er one another. It suggests an uneasy co-existence. India is far, far more than that. We respect each other. We admire and appreciate our diversity. We engage in and celebrate each others’ religious practices. Otherwise, in my husband’s village Jagdishpur in Bihar, the Hindu community would not take part in the Tazia procession during Muharram. Or, the Muslim scroll painters of West Bengal would not paint icons of Gods and Goddesses. Th ere are thousands and thousands of such examples.

I am proud that my country is home to most of the religions of the world as also to innumerable sects including those of non–believers. We have been living together for centuries and this phenomenal ability to live together is not only our hallmark but also our strength. Th is strength should not be undermined as any att empt to destroy it would be counterproductive.

In post-independent India, the Union and State Governments have ensured that their patronage is not extended to any particular religion. Th ese Governments have hitherto remained equidistant from all religions and beliefs. However, recently many people have begun to strongly feel that the government at the Centre is being partisan towards one religion and is intolerant of some of the others. I think, those at the helm of aff airs, must urgently address these concerns and take corrective steps. Th e secular character of India must be nurtured if we are aspiring to be a great nation.

Q Flexibility, adjustment and adaptation are identifi ed with Indian Culture. Comment

I wish it was so. But, the truth is that the Indian culture is painfully burdened with its inherent contradictions. Flexibility, adjustment and adaptation form only one part of it, the other part being unyielding rigidity and intolerance. Th e reason for it is not far to fi nd. As we all know, our culture has been deeply infl uenced by Hindu religion, a religion so profound as to profess olqèkSo dqVqEcde, (the world is my family) and even go beyond in pursuit of self realisation. However, that is more in theory and may be at spiritual level. In day-to-day life, in religious rituals and in att itude formation, it perpetuates the caste system. I wonder why this hierarchical structure built on inhuman exploitation has been given socio-religious sanctity instead of being dismantled by

the profoundness of the Hindu religion? And, it saddens me to see that the caste system has crept into other religions too. Th e entire Indian society has been engulfed by its dark shadow.

Caste killings, arson, rape, incapacitating humiliation, not to speak of subtle forms of discrimination are the order of the day. Some get reported, most don’t. But even one such incident is a blot on the society. Unfortunately, it never did, nor does it today weigh heavy on our collective conscience.

Th is is the paradox of the Indian culture that it needs to overcome.

Q Th e ancient Indian spiritual heritage proposes the concept of creating wealth in a righteous manner for the benefi t of all. Refl ect on its relevance in the

contemporary world.Th is concept will always be relevant. At a time when materialism is sweeping us off our

feet and the means no longer matt er, we need an anchor to hold on to. Th ankfully, we have an anchor in the form of our old value system which has been re-enforced by Gandhi. In this globalised and highly competitive world, I know, it is quite a challenge to adhere to the concept of means justifying the end. However, we must realise that the tendency to create wealth through dubious means for the benefi t of a few will lead to a dangerous world from where, perhaps, there would be no return.

Q What are the steps that the Government must take to make the heritage fabric Khadi more att ractive for youth?

Khadi is unique. It is not just a fabric. It is a legend. Nowhere in the world has a cloth created history the way khadi has. Th is handspun, handwoven fabric became the symbol of our freedom movement, gave a sense of empowerment to the millions of Indians of that era and dealt a crushing blow to the British economy.

Th e need of the hour is to promote this power cloth and thus generate self-employment. Th e Government should observe a ‘Khadi Day’. Th ose engaged in spinning and weaving khadi must be given fi nancial and other assistance by the Government. Upholstery, tapestry and linens used in the railways, government guest houses, ITDC hotels, ministries, public sector offi ces should be of khadi. Famous designers and fashion houses should be urged to use khadi. If fi lm stars and eminent personalities are encouraged to wear khadi, I am sure, their fans would follow suit. Th e ration shops under the public distribution system must provide subsidised khadi.



Photography...Preserving Cultural HeritageAnn Aquilina


As the saying goes, a picture tells a thousand words. So it is more than a litt le ironic to be using so many words to talk about pictures. A person’s choice to take a photograph, and how the photograph is taken, is in itself a personal statement. A

photographer does not just record an image, but makes a specifi c decision to record the image in the fi rst place. Secondly, the photographer makes a choice about how to record the image. It is not surprising, therefore, that several persons photographing the same image can provide diff erent aspects of that image in their photographs, depending upon their personal interpretation of what they are photographing.

In essence, photographers do not only record a person, an object or an event. Th ey make a statement about that object or that person, or the event in question. So when one talks of the importance of photography in recording and preserving a nation’s cultural heritage, one needs to look at much more than the image being photographed. In eff ect, the photograph created by the photographer assumes an importance of its own. And this is one of the reasons why photographs themselves become part of the cultural heritage of a nation, and such photographs are preserved as cultural items, quite separate from the heritage of the images these photos convey.

With its wealth of natural diversity, monumental and cultural buildings, past and present, as well as the vast array of sacred buildings refl ecting a broad range of religious beliefs, India is an incredible resource for professional photographers. It is not surprising, therefore, that many of the world’s top photographers, at some stage in their lives, head for India to make their personal statements through photographs about India’s rich, diverse, colourful, natural and cultural history.

Two such outstanding professionals are photographer Steve McCurry, universally recognised as one of today’s fi nest image makers, and Amit Pasricha whose photographs of India’s monumental and sacred buildings

know no equal. It is said of Steve McCurry’s photos that while his portraits have an extraordinary immediacy and impact, his pictures of spectacular landscapes catch such details that are oft en missed in real life by the casual onlooker. Th e same may be said about Amit Pasricha, who in an Introduction to one of his two outstanding photographic books on India, Th e Monumental India Book, stated “As I educated myself about each of the subjects, I found that every monument, despite the att rition of time, or the intruding urban sprawl, or the occasional over-enthusiastic ‘restoration’, had nevertheless preserved its character. You just had to wait inside it or outside long enough, until you saw it.”

Both of these photographers convey strong statements, and all of us have much to learn from their experience and expertise. In essence, there is no such thing as a casual photograph, irrespective of its relatively casual circumstances, or the manner, in which the photograph is taken. Whether recording events, photographing portraits, landscapes, monuments or buildings, the photograph is in essence a statement by the photographer. Th ere is a basis for argument, therefore, that no one, irrespective of how inexperienced a photographer may be, is really an amateur photographer, as the photographs in many ways are as much a statement about the photographer, as they are about the subject matt er of the photographs. Th erefore, leaving aside the plethora of technological issues that one may experience, every image, irrespective of its photographer, whether professional or so-called amateur, in itself becomes an item of heritage.

Until relatively recent times, we have been used to putt ing large number of photos into albums, recording major or minor events that we experienced individually, as families, or with friends or colleagues. Usually, we would go to a lot of trouble methodically labelling and dating these albums. In time, these albums themselves become part of our heritage or the heritage of our family. Oft en these albums will be passed down from one generation to the next, creating the historical thread that bound the generations together.

Digitisation, for those who have become adept with

modern technology, has now made it much easier to store thousands of images which can be put onto a CD or hard disk and preserved for all time. Th e sheer volume of the images that can be kept has made most of us less particular about the photographs that we preserve than was the case previously, when volume and space dictated that we had to be selective in what we retained, and in what was discarded. How many persons have gone through the agonising experience of ‘Will I?’ or ‘Won’t I?’ when making a judgement about which photograph is to be mounted, and which photograph is to be left in the cardboard shoebox, or even thrown away. For the curious, it begs the question about what aspect of culture, what part of heritage, may have been discarded along with such photographs.

In India, with such an outstanding amount of human, natural, cultural and religious diversity, there is so much to be treasured, so much to be preserved, so much to be remembered. Whether, like Amit Pasricha, one waited and waited ‘inside it or outside long enough, until you saw it’ to get the personal sense about what was wanted in the photograph, or whether one instantly photographed an image that stimulated the senses, the image itself becomes as much a projection of one’s persona as the sounds that are utt ered, or the words that are writt en. Pictures may indeed tell a thousand words, but what the pictures say is as much about each of us, and become as much a part of our heritage, as the heritage of what these pictures preserve.

The writer is the President, Spouses of Heads of Mission (S.H.O.M.), New Delhi. She is a Photojournalist by profession. For almost 25 years, she worked for News Limited in Australia, and her photographs featured regularly in both national and suburban publications covering a wide range of historical, political, cultural, social and sporting events.





Hand-Loomed Heritage

Khadi commands a sentimental value for Indians. It is oft en associated with Mahatma Gandhi. Someone said that the fi rst true Indian designer was Gandhi because of his appeal to the Indians to wear khadi garments. Th at appeal

was necessitated because of the need of creating self-reliance and proving unity of India to English. Khadi also symbolised the need and importance of indigenous manufactured goods. Khadi represented India’s resistance and revolution. Khadi was also the face of the Indian identity. Many people get confused between charkha with kargha (handloom). Th e basic diff erence between the two is while khadi is hand made; handloom yarn is processed at the mills. Khadi is not just a cloth, it is a whole movement started by Mohandas Karamchand Gandhi. Th e Khadi movement aimed at boycott ing foreign

goods and promoting Indian goods, thereby improving India’s economy. Mahatma Gandhi began promoting the spinning of khadi for rural self-employment and self-reliance (instead of using cloth manufactured industrially in Britain) in 1920s India, thus making khadi an integral part and icon of the Swadeshi movement. Th e freedom struggle revolved around the use of khadi fabrics and the dumping of foreign-made clothes. When some people complained about the costliness of khadi to Mahatma Gandhi, he started wearing only loincloth. Th us, it symbolised the political ideas and independence itself, and to this day most politicians in India are seen only in khadi clothing. Th e fl ag of India is only allowed to be made from this material, although in practice many fl ag manufacturers, especially those outside of India, ignore this rule.

OverviewKhadi is a versatile fabric. It has the unique property

of keeping the wearer warm in winter as well as cool in

summer season. Th is fabric has coarse texture and gets easily crumpled, therefore in order to keep it fi rm and stiff , starch is to be added. Th is fabric on washing is more enhanced - the more you wash, bett er it looks. Khadi is not easily worn out for years together, at least for 4-5 years. Very att ractive and designer apparel are made by doing handwork on the garments made from it. Khadi spinning is generally done by girls and women and weaving mostly by men. During spinning of khadi, the threads are interwoven in such a manner that it provides passage of air circulation in the fabric. Apart from this unique property, it also provides warmth in winter season which is quite surprising factor. Khadi cott on is required to be starched so that it does not get easily crumpled. It comes in many colours and is not harmful to the skin as synthetic fabrics. Th is cott on is very soothing in summer season as ample amount of air ventilation is present. It has the capacity to absorb moisture therefore; it easily soaks the sweat and keeps the wearer cool and dry.

Khadi – All Indian Handcrafted Fabric


Diplomatist Bureau



Khadi cott on comes in plain as well as in printed fabrics. Th e most common outfi t made from khadi cott on is the ‘Kurta’. Many types of apparel are manufactured from khadi cott on like saris, salwar suits, fabric yarns, western tops, shirts, trousers, skirts, handkerchief etc. It is a very durable fabric. In khadi silk, the ratio of khadi and silk fabric is 50:50. Th is fabric requires dry cleaning. It shrinks about 3 percent aft er the fi rst wash. It is quite an expensive fabric. Khadi silk provides a royal and rich look. Th e various types of apparels made from khadi silk are salwar kameez, kurta pajama, saris, dupatt as, shirts, vest and jackets. Apparels like kurta, jacket, sari blouses require lining to be given to ensure its longetivity. Previously khadi was dyed in earthy colour tones and was used to make traditional garments but now designers are experimenting by dyeing khadi with striking colours like limegreen, violet, baby pink, turquoise blue, etc. Stylish garments like mini skirts, halter neck tops, racer tops, tunics, etc are made from khadi. Khadi is hand woven and hand spun fabric which takes time to be made. It is mainly manufactured in rural areas of India. In previous times, it was considered as the fabric for the poor rural workers & farmers. But wearing khadi is no more for the poor, many high profi le personalities and economically sound people prefer to

wear it. It is considered as one of the most beautiful Indian fabric. Th e khadi wearer gets a royal and distinguishable look due to its fall and style. It symbolises luxury and uniqueness.

Policies of Government Khadi and Village Industries Commission (KVIC) is

the Indian government body which promotes the usage of khadi. Khadi production and selling comes under the small scale industry sector. Th is government body was created by an act which was passed by the Parliament. Th is gave a boost to the khadi manufacturing sector of India, as a result many new outlets of Khadi Gramodyog opened all over the country. Th ese shops sell stitched as well as unstitched khadi fabrics. Every year starting from 3rd October to January 29th all Khadi Gramodyog Bhavans provide discount to the public on various khadi products. It comes under the category of Indian handloom. Th is sector also generates employment for the rural population of India. Indian government conducts various exhibitions and trade fairs in India and abroad to promote this fabric.

Th e small scale industries engaged in manufacturing of khadi gets economic redemption for the raw materials and production costs by the Indian government. According Source: Khadi Gramodyog Saghan Vikas Samiti, Bassi

to a recent survey, it provides employment to 14.97 lakh of people, the total annual production of khadi is 111.49 million sq. mtrs.

Khadi over the decades has moved from a freedom fi ghter’s identity fabric to a fashion garment. Today, there is such an increasing demand for khadi that despite thousands of workers involved in spinning and producing khadi fabric, the demand of the market does not get fulfi lled. Th e days ahead should be more encouraging for khadi, indisputably.

Khadi and Village Industries Commission (KVIC) is the Indian government body which promotes the usage of khadi. Khadi production and selling comes under the small scale industry sector. Th is government body was created by an act which was passed by the Parliament. Th is gave a boost to the khadi manufacturing sector of India, as a result many new outlets of Khadi Gramodyog opened all over the country.



Dance

Form, Symbol and Beyond - KathakGuru Shovana Narayan

EXTRAORDINARY AND PLENIPOTENTIARY DIPLOMATIST Annual Edition 201518



The search within man, conscious or unconscious, is never ending. Th e desire to know, lean upon and address the Higher Being, the Ultimate, embracing the concept of the Absolute is an unconditional reality. Th is concept of the Infi nite that is

beyond form and beyond att ributes transcends limited, conditional, everyday existence. To understand the awesome ‘whole’ led to the fi nite form and att ribute and fi nally to symbols that would translate these concepts. Herein, words are but symbols for the relations of things to one another and to us.

Space and time symbolising the Infi nite and the Universe, defi ne all that physically exists, be it matt er, energy and momentum. Governed by physical laws, margins are exerted that defi ne its fi nite-ness. Within these margins, communication centres on forms and symbols. It is the concept of space within artistic manifestations that is paramount. It is a space that includes gestures, body movements, speech, accessories (including costumes, etc) and emotions; space that includes the arena of lighting and stage sett ing; space that includes impact on society and societal psychology. Herein, the ‘margin’ movements in dance (or rather performing arts) over time have impacted aesthetics and sensibilities. Th e word margin defi nes parameters but these parameters have been constantly in a state of evolution depending on the era and the socio-political conditions of the era. If space is a constant factor then the dynamic quality of movements that is in contact with virtual bodies in the surrounding space changes the space of performance.

It is the line and the circle that together lead to forms and symbols. Th e line is the ideal zero-width containing a number of infi nite points. It is also the shortest connection between two points. Th erefore, what is man seeking? His latent search is for that shortest connection to the Ultimate! Recognising that his own life is but almost of

zero-width in this cosmos, yet he is also aware that living each of the moment of life is but infi nity in terms of existential pain. Th e circle that is perpetually turning in on itself, expanding and contracting, has an interchangeable centre and circumference. It has neither beginning nor end.

Varying approach to utilisation of space has led to the evolution of diff erent Indian classical dance styles. If the body is perceived in its natural stance, the fl ow of movements acquire its own particular fl avour whereas if the body is perceived in triangles, then the fl ow of movements becomes geometrised and further if the approach is in the shape of an ‘s’, then the curvaceous nature of all body movements is enhanced. Th ese in turn impact the tempo, speed and footwork that become so characteristic of each style. Th e triangular stance allows the medium speed while, the curvaceous stance requires a rhythmic tempo that allows the hip sway to the fullest while a natural stance provides the large canvas of tempo from the ‘ati-vilambit’ to the ‘ati-drut’ as also the central point enabling the ‘chakra bhramari’ (pirouett es reminiscent of spinning top).

Th e Kathaks believe that the body has to be in a positive and receptive state as a prelude to ‘sadhana’ and that the fl esh has then to be ‘awakened’ from dormancy, and which can be achieved through a proper basic position of the dancer. Since the body is made up of the fi ve elements comprising of earth, water, fi re, air and ether or space, the Kathak maintains his basic contact with the earth in the shortest linear route. According to the Lakshmi-tantra, with the place of the fi re being at the heart and the breath being a vital point of contact between the self and the body so as to enable the vital airs of the body in purifying the nerve circuits and imparting vitality to the subtle centers of the body, the Kathak achieves it by maintaining contact at the heart with the two hands in an ‘arala mudra’. Breath, as well as time, is the form of the Devi Tripurasundari.

In the basic position of the Kathak wherein the two hands are in an inverted yogic position near the breast and

Th e Kathaks believe that the body has to be in a positive and receptive state as a prelude to ‘sadhana’ and that the fl esh has then to be ‘awakened’ from dormancy, and which can be achieved through a proper basic position of the dancer. Since the body is made up of the fi ve elements comprising of earth, water, fi re, air and ether or space, the Kathak maintains his basic contact with the earth in the shortest linear route

the main axis of the body maintains a vertical position, two triangles are formed. Th e triangles as fertility symbols and the vertical axis denoting the gravitational pull together symbolise the continuity of life. Th e resultant upward arrow is symbolic of the yearning of the ‘jivatma’ (soul) for total surrender of the ‘self ’. Th e union of the two triangles at the base leading to a circle also symbolises the union of Shiva and Shakti manifesting in the creation of the universe. Th e three ends or corners of the triangle represent the three ‘gunas’ or principles of ‘satt va’ (equilibrium, truth and purity), ‘rajas’ (passion and great activity) and ‘tamas’ (emotional and mental darkness).

Similarly, the pose in which one hand is raised above the head while the other is stretched out stems from the basic role of the Kathak as the priest story-teller who is the medium between the congregation and the Lord. In other words, the Kathak seems to say that ‘whatever I receive from the Lord, I pass on to the world’. Another symbolic interpretation is that the hand above the head represents the peacock feather of Krishna while his left arm encircles Radha.

Th e ‘natwari nritya’ aspect of Kathak classical dance from the Indo-Gangetic belt bases itself on the rhythmic mnemonics ‘ta thai thai tat’. Th ese are att ributed to Krishna for it is believed that these rhythmic syllables emanated from the feet of Krishna when he danced his ‘tandava nritya’. However, the earliest reference to Kathak is from 4th century BC in a Prakrit verse that dwells upon the ‘shringar dance’ of the Kathaks at Benaras before Lord Adinath. Th us, the ‘natwari nritya’ of Kathak has rhythmic mnemonics that do not use rhythmic syllables of the ‘mridanga’ percussion instrument for the latt er is associated with Shiva.

In the descending scale of realities, the spiral is a symbol, denoting eternity as is the symbol of the lazy eight. However, within dance where space is the canvas and body becomes the paint brush, the eternal cyclic aspect of existence can best be denoted through pirouett es (the ‘bhramari’). It is this philosophy that is at the fountain head



of the pirouett es (‘cakra bhramari’) in Kathak. Th is is the essence of the ancient Sanskrit verse :

‘Om Purnamadah Poornamidam Poornat Poornamudachyathe

Poornasya Poornamadaaya Poornamevavasishyathe’

(Th at is Absolute, Th is is Absolute, Absolute arises out of Absolute, If Absolute is taken away from Absolute, Absolute remains).

Th e form of presentation also has its own symbol. According to the noted ‘thumri’ singer, late Naina Devi, the exposition of Kathak denotes the philosophy of life itself. Th e fi rst signs of life, breath and the early stages of creation and childhood are represented by the ‘uthaan’, ‘thaat’, ‘amad-toras-tukras’. ‘Gat nikas’, ‘gat, bhava’, ‘thumri’, ‘bhajan’, ‘kavitt a’, ‘pada’, ‘dhrupad’, ‘chaturang’, etc denote the stage of adolescence and ‘grihastha ashram’ (symbolic of preservation), replete with emotions. Th e last stage of liberation is accompanied by a fl urry of activity, convincingly portrayed through the ‘dhamar’, ‘paran’, ‘pirmilu’, ‘tatkar’, ‘chakkar’ and the ‘tarana’. Th e ‘tarana’

represents a state of ecstasy in the union of the soul with God, where words become meaningless.

Th us, the phrases ‘ta-na-na-na’ or ‘deem-de-re-na’ are repetitive and hypnotic.

In the above ‘margi’ presentation of Kathak, the tempo accordingly moves from the slow to the sedate, medium pace, thereon to the intoxicating tempo, fi nally rising to a crescendo.

Th e stage of crescendo is really a higher state of involvement where words become

meaningless and the dancer, dance and the viewer have transcended the need of text so as to be bound together to share that ultimate bliss.

On the anatomical plane, the devotional mind through rendition of the ‘ishtapada’

(‘vandana’), the initial introductory rhythmic

patt erns

of ‘uthaan’, ‘amad’, ‘thaat’ are symbolic of the head (‘moordhanga poornam’) . Th e ‘trotakam’ consisting of ‘toras - tukras’ and the ‘bhava paragah’ are symbolic of the bosom, while the heart is symbolised through ‘gatis’, ‘bhavas’, ‘kavitt s’ and ‘abhinaya’ sequences. Similarly, the ‘parangah’ encompassing ‘paran’, ‘pirmilu’ and the ‘tatkar’ are reminiscent of the fast pace of pulsating life of the body and the feet. Th e ‘tarana’ is the ultimate sublimation of the entire persona.

Seeking to capture time are the elements of ‘tala’ and rhythmic patt erns. Th e ‘tala’ is a cycle of beats with pre-determined number of beats, having its own accents of emphasis, imparting a uniqueness of its own to that particular ‘tala’. Perceiving and measuring time, the Kathaks consciously feel, shape, divide, compose and harness time through rhythmic patt erns and melodies to convey feeling. It is the Kathak alone that dances the ‘tala’ and not merely and only ‘set to a tala’.

Dance rendition revolves around themes. It is evident that eulogising creation and nature, themes centred around verses to the Almighty. Values were transmitt ed impacting societal psychology through enactment of myths. Medieval India saw a number of invasions that had far-reaching eff ects. Men away on batt lefi elds left behind women with suppressed emotions. Th e home grown religious philosophies were now coming into confl ict with the religious philosophy of the invaders. Vaishnavism and its central theme of Krishna and Radha provided the perfect answer. Radha not only helped women to identify themselves with her and through her, gave vent to their suppressed emotions but the fl ute of Krishna and the yearning of union with Krishna provided the bridge between Vaishnavism and Sufi sm . Th us, Krishna and Radha themes became all too apparent in all the Indian performing art genres. Th is also led to the evolution of

several new styles of music, dance and opera – be they the ‘thumri’, the ‘jhoola’, the Haveli Sangeet,

the ‘ashtanayika’, Vrindaban Raas leela and the Manipuri Raas.

‘Solah sringar’ (or beautifi cation) of maidens has been an eternal subject for

poets, sculptors and dancers. Kalidasa’s description of the heroine in his works writt en

around 400 AD focuses on an uninhibited description of the full youth of the maiden:

“avarijita kinchidivah stanaabhyam vaso vasanam tarunarkaragam

paryapt pushpastavakavanambra sancharini pallavini lateva”



i.e. wearing an apparel of the colour of the rising sun and bent forward with her heavy breasts, her movements were like that of a creeper heavy with buds.

In fact, ‘ghunghat’ seemed to be absent from the texts of those periods. It may be presumed that it was not much in vogue and hence did not form an important part in dance delineations! It was shortly, aft er the ‘bhakti-kal’ (period of religious renaissance) that there are references to the ‘ghunghat’ (veil). Romance was suggestive and was personifi ed by shy glances of the eyes (‘nazar’), quivering lips and trembling hands and long tresses of hair in contrast to the earlier explicit references to romantic fervour. Th us, ‘ghunghat ki gat’ (gait showing the drawing of a veil across the face) and various kinds of glances through the diaphenous veil became part of the Kathak repertoire.

with times. Sculptures of 3rd century BC reveal the presence of both ‘lehenga’ and the ‘pyjama-kurta’, the 5th century AD sculptures in addition to the two, also show ‘dhoti’ to be in vogue. Th is trend continued with minor variations through the medieval period, but it was the 20th century that saw quite a few dance styles making a conscious eff ort to translate costumes and poses as shown on temple sculptures. Th is was because of the sudden quest of identity that surfaced during the colonial period and to fi nd legitimacy and antiquity through such translations. In few modern dance delineations, everyday costumes have also found their way in stage presentations.

Th us, lines and circles together with margins of space and aesthetics have impacted dance at several levels – horizontally as well as vertically in time in terms of repertoire, themes, movements and presentations. Th e universe and man's consciousness (the macrocosm and the microcosm) consisting of the continuum, parallelisms and intersections forming a dynamic whole, form the philosophical pillars of dance renditions. Within the totality of the universal continuum, limited by space-time, dance represents the transient formations of nature's perpetual motion!

“ghunghat ke pat khol re tohe piya milenge” (Kabir)

(i.e. “draw the veil away from your face for your beloved stand before you”. Here, the beloved refers to God). …… OR

“kabahun mile naina gori se, ghunghat kaadhe ot khari re”

Similarly, early texts do not seem to have reference to nose pins or nose rings but medieval literature does. And therefore it is no coincidence that yet again in the context of ‘shringar’, movement of wearing or denoting a nose ring or a nose pin is as common as their textual visibility.

Th e form of costume is yet again a most eff ective symbol. Aesthetics in costumes also have been changing

Th e writer is Padmashri & Sangeet Natak Akademi awardee

References1. Indian Classical dances (2005) by Shovana Narayan, Shubhi2. Rhythmic Echoes and Refl ection (1998) by Shovana Narayan, Roli 3. Manuscript Library, Kameshwar Singh Darbhanga Sanskrit University,

Darbhanga, Bihar4. Brihadaranyaka Upanishad5. Kumarasambhava by Kalidas, Bharat Prakashan Mandir, Aligarh6. Krishna – Th e Playful Divine (1993) by Pavan K Varma, Penguin Books7. Patna Museum8. Photo Library, Archaeological Survey of India

1 ‘Indian Classical dances’ (2005) by Shovana Narayan, Shubhi2 ‘maggasirasuddhapakkhe nakkhhate varanaseeye nayareeye utt arpuratt hime

diseebhage gangaye mahanadeeye tate savvokathako bhingarnatenam teese stuti kayam yehi raya adinaho bhavenam passayi’ (ancient Prakrit text, 4th century BC) ie in the month of magha, in the period of shukla paksha nakshatra, to the north of Varanasi, on the banks of the Ganges, the shringar dance of the Kathaks pleased Lord Adinatha. (Manuscript Library, Kameshwar Singh Darbhanga Sanskrit University, Darbhanga, Bihar)

3 Brihadaranyaka Upanishad4 ‘Rhythmic Echoes and Refl ection’ (1998) by Shovana Narayan, Roli5 ‘Krishna – Th e Playful Divine’ (1993) by Pavan K Varma, Penguin Books

Glimpses of India1, 2. Humayun’s Tomb, Dr. Moritz Mc Gekeler, Germany3. Pushkar lake, Rajasthan, Alejandra Guastavino, Argentina4. Ann Marie Everitt, Embassy of the USA

1 2

3

4

Through the Lens



A Search for Divine GraceBenoy K Behl

An artist presents the world around him, shaped by how he sees it: by his perceptions and beliefs. Th e early art of India is a valuable record of the vision of one of the most ancient civilisations in the world. It brings before us a vision of great compassion.

It is a view of the world that sees a harmony in the whole creation. It recognises the same in each of us, in the animals, the fl owers, the trees, the leaves and even the breeze

that moves the leaves. All that there is, is seen to be a refl ection of the divine. Th e phenomenal world of separated beings and objects seen around us is considered to be an

illusion, perceived and brought to us by our senses. Th is information provided by our senses is of a personal and not an objective nature.

Absorbed in this, we are blinded to the reality beyond. Th e primary illusion is the perception of ourselves as individual entities: this leads us on a path of egoic existence. On this path, we are distanced from the truth. Th e high purpose of life is to seek reintegration with the one; to perceive ourselves as part of the beauty of all creation; to see oneself as a part of the divinity of existence. And thereby to lose the pain of a life caught in the web of endless desires.

Th e aesthetic experience is considered to be of great value in Indian thought. Our experience of beauty, when we respond to a sunrise or to a great work of art, is seen to be a moment when we perceive the grace that underlies the whole of creation. In that moment, the veils of illusion of the material nature of the world are lift ed and we see beyond…in that instant it is not our material preoccupations that fi ll our consciousness and thereby blind us to the greater reality.

Indian philosophy states that the moment of the aesthetic experience is ‘akin to Brahmananda’ or the fi nal ecstasy of salvation itself. Th erefore, art has played the most important part in the Indian subcontinent. In fact, the Chitrasutra of the Vishnudharmott ara Purana, which was penned in the 5th century AD out of earlier oral traditions, is perhaps the oldest known treatise on art in the world. It states that art is the greatest treasure of mankind, far more valuable than gold or jewels.

Parvati, Chola Bronze, Tamil Nadu, 14th century

Collection: Saraswati Mahal Art Gallery, Thanjavur. Photograph by Benoy K Behl

The bronzes of Tamil Nadu are among the masterpieces of Indian art. The depiction in the garbha griha (sanctum sanctorum), such as a Shiva Linga, was made closest to the formless divine. Images of deities in human form were also made, so that devotees could respond to the eternal concepts, through shapes with which they were familiar. In South India, there developed a tradition of Utsava murtis, in which these deities came out of the garbha griha and even the temple, to give darshan to the devotee. This resulted in portable images of the divine, made out of bronze, such as this Parvati.



Buddha Preaching, Sarnath, 5th century

Collection: ASI Museum, Sarnath. Photograph by Benoy K Behl

Birth of the Buddha, sculptural relief, Phanigiri, Andhra Pradesh, 1st century AD; this site was mainly excavated between 2001 and 2007

This is the classic image of the Buddha that was developed in the Gupta period. The mudra, or gesture of the hands, suggests that he is teaching and setting in motion the wheel of the Dharma. The wheel is also seen in the panel below. The inward look, with the gaze centred on the tip of the nose, conveys a great sense of peace and tranquillity.

Phanigiri is in the Krishna Valley in Andhra Pradesh. This is a stupa’s vedika or railing relief, depicting the birth of the Buddha.

The fertile valley of the Krishna River was the cradle of civilisation in the eastern Deccan. At the dawn of the first millennium, it was known in the world for its fine textiles, particularly those made from cotton. There was a flourishing trade with Rome and large quantities of Roman coins have been found in this region.

This area became one of the greatest centres of Buddhism and over 140 early Buddhist sites have been listed in this region.

Queen Maya gave birth to the Buddha while standing under a sal tree. The artist depicts her in the continuing style of the Shalabhanjika, who presents the flowering abundance of nature.

Photograph by Benoy K Behl

Buddha head, Gupta period 5th century

Collection: National Museum, New Delhi. Photograph by Benoy K Behl

In the Gupta period, the form was created to express the spiritual state of the Buddha - one who has left behind the turbulence of the material world. Behind lowered eyelids, the look is within. The mind is not disturbed by the illusions of the passing world, it is still. It is not the conquest of the world, but the conquest of the mind, which is the subject of this art.



Th e making of art in India has been a form of meditation: a process of a life spent in worship and discovery. Th e creation of the beauty of form is, for the sculptor, a joyous rediscovery each time, of divine glory. For the Indian sculptor, the grace of divinity is everywhere. Th e stone before him contains the image of divinity and it is for him to but remove the outward aspects and to release that form. Th e process of making an image is not only a personal joy of discovery and creation, it is also one of sharing the grace inherent in the world with others.

As the ego and belief in one’s identity is considered to be an illusion of our limited sensibilities, the focus was never on the individual. For about a thousand years in early times, up till the 7th century AD, vast quantities of art were produced in India. Th is depicted deities, mythical creatures, animals, plants, trees, forms, which combined these beings in a great harmony, and also common men and women. Yet this art never depicted the kings under whose rule the works were created. Nor was the name of the artist mentioned.

According to the Chitrasutra, personalities are too unimportant to be depicted in art. Th e purpose of art is a noble one, to show the eternal, beyond the ephemeral. Th us, works of art were meant to convey the Truth as experienced yet again by the artist. No thinker or artist claimed that it was solely him who had seen the Truth. Each teacher of the ancient period in India, including the Buddha

Durga, Mahishasurmardini, Mamallapuram, Tamil Nadu, 8th century.


There is a depiction of Durga as Mahisasuramardini, where she kills the demon of ignorance in the form of a mahisha or buffalo. This 8th century depiction is one of the marvels of the treasure of Indian sculpture.

In Indic thought, the only evil is that of our own confusion, or lack of knowledge of the Truth. Deities such as Shiva and Durga are shown attacking and vanquishing the demons of our ignorance. The battle of Durga and the mahisha is one such depiction of the victory of knowledge over ignorance, of good over evil.

and Mahavira, states that he only follows in the footsteps of others who went before him. Th e emphasis was on the loss of the ego and not the perpetuation of it. Art was a prime vehicle of the communication of these ideas.

One of the greatest contributions of this philosophic stream is that there are no barriers placed between the spiritual world and the world of the senses. Th e art of this tradition is a fulsome sharing of the life experience, in all its aspects. It sees our perceptions, from the sensory to the highest realms of the spiritual, as a continuous path. It harnesses our faculties and perceptions to help us understand and reach out to the divine, through all that is around us.

Th is philosophy does not seek to deny our response

to the splendour of the world around us. In fact, it sees this beauty as a refl ection of the glory of the divine. Th us, the human form is not presented in a manner that would awaken base desires that burden us. Instead, Indian art recognises the grace in all human and other forms and seeks to elevate us through our aesthetic response.

Th e ancient and medieval sculpture of India is naturalistic. However, it is inherently diff erent from art that att empts to portray only the transitory shapes of the objects of the world. Here, naturalism is the expression of that sense which moves beneath the surface of objects, that inner being of the trees, animals and people: the spirit which moves the whole of creation. Th e richness and complexity of the life-experience is presented.

Th e ancient and medieval sculpture of India is naturalistic. However, it is inherently diff erent from art that att empts to portray only the transitory shapes of the objects of the world. Here, naturalism is the expression of that sense which moves beneath the surface of objects, that inner being of the trees, animals and people: the spirit which moves the whole of creation. Th e richness and complexity of the life-experience is presented



Benoy K Behl is a fi lmmaker, art historian and photographer based in New Delhi

Shiva, Koranganatha Temple, Tamil Nadu.


Bodhisattva, Tabo Monastery, Spiti, Himachal Pradesh, 11th century.


Early Chola sculpture. This temple is of the late 9th or early 10th century. The Chola temples of this time have some of the finest sculptures.

A benign and peaceful Shiva as Dakshinamurti is made on the south of the tower. It is a view of the world the artist shares with us, which is filled with the harmony of the natural order. There is none of the turmoil and ceaseless confusion created by our egos and material desires. As the devotee goes around the temple, he perceives the world in its deep essence of beauty and quietude.

The serene face of the Bodhisattva displays the sublime quality of the classic art of India. This is one of the clay sculptures on the walls of the Tabo monastery, which constitute a Vajradhatu Mandala.

In the late 10th and early 11th centuries, King Yeshe Od of Guge is believed to have initiated the making of 108 monasteries across his kingdom (parts of Ladakh, Lahaul-Spiti, Kinnaur and Western Tibet). This was known as the Second Diffusion of Buddhism in the trans-Himalayas. These early monasteries became the backbone of Buddhism that continues till today.

Our perception of the material world is not denied. Th e dynamic play upon our minds of ever-changing perceptions, the dance of illusion which veils eternal reality, is described as lila. In the search of the truth, the experience of this lila is not denied. In fact, there is a celebration of the divinity contained within the forms of the world. Th is is seen through the ancient and medieval period in Indian art, where the human form is used as a vehicle to express philosophic ideals.

Th ere are no gods in the early philosophic vision of India. Th ere are deities: deities who are the personifi cations of concepts and qualities. Th ese qualities are within us and by looking upon the deities brought to us in art, by meditating upon these, we imbibe those fi ne qualities. When we are fi lled by that grace, there is no space left for base desires and pain: we have become that deity. Th ere are many images of deities trampling the demons of ignorance. However, the demons smile as they are vanquished. In this world, where all is seen as part of a cosmic whole, there is no anguish fi nally. Th e achievement of knowledge and the dispelling of ignorance are likened to a victory.

Th ere is evidence everywhere in Indian monuments of a great cosmopolitan culture from earliest times. Th ere is Buddhist art and pillars in India, which were patronised by Greeks, Parthians and others from faraway lands. Infl uences of art from everywhere were received warmly and some of them continued in the fl ow of art through the centuries. Artistic styles, motifs and iconography spread swift ly in early times to all corners of the country. Th erefore, we fi nd that there were pan-Indian themes and artistic styles, since ancient times. Regional variations and colour add further richness to these traditions.

What survives today of the early art of India is only a small fraction of what would have been created. Yet it consists of such vast numbers of monuments and sculptures that it staggers the mind. Th e corpus is gigantic and spread to every corner of the subcontinent.



A Symbol of Royalty and PrestigeK V Thomas

Indian Silk



Silk with supreme splendour, natural sheen, lightweight and feather touch and long durability is aptly described as the ‘Queen of Textiles’ world over. No wonder, Cleopatra, the legendary Queen of ancient Egypt and an epitome of physical beauty and elegance appeared in white silk gown

when she fi rst met Mark Antony! Queen Elizabeth I of England switched over to silk stockings, once she felt the smoothness of this natural fi bre!

Silk continues to be a symbol of aristocracy, affl uence and amity. Th us, a hand-woven silk sari and shawl were presented to Ms Michelle Obama, US First Lady during her visit to India in 2015, whereas President Obama in 2010 was honoured with the world’s lightest silk gold - sari and a scarf, woven by a Karnataka silk farmer.

India, the world’s second largest producer of silk aft er China has an ancient silk culture. Th e 6000 kilometre Silk-Road/Route, derives its name from the trade in silk by caravans and merchants from the East and the West extending up to the Mediterranean. Legend goes that eggs of the silkworm and seeds of the mulberry tree were smuggled into India as early as in 140 BC. Th e sub-Himalayan region was the homeland of silk from time immemorial.

Basically, the silk industry can be classifi ed into two parts. Th e fi rst one is sericulture that includes operations such as Mulberry cultivation, silkworm egg production, silkworm rearing and disposal of cocoons. Th e second part more industrial in nature involves reeling, twisting, dyeing, weaving and printing. Th e prosperity of the industry depends mainly on the status of sericulture. Th e production of silk directly depends upon the quality of reeling cocoons. India excels in both the areas by virtue of ideal climatic and topographical conditions and the presence of highly experienced artisans and workers.

Unlike other major silk producing countries such as China, Japan, Russia and Italy, India commercially produces all four varieties of silk namely Mulberry, Tussar, Eri and Muga. In 2014-15, Mulberry accounted for 74.51 percent; Tussar 8.48 percent; Eri 16.46 percent and Muga 0.55 percent of the total raw silk production in the country. Geographically, three traditional states namely Karnataka, Tamil Nadu and Andhra Pradesh together produced 80 percent of India’s total silk. Th is silk belonged to Mulberry variety. Th e rain forests of Bihar, Jharkhand, Orissa, Chhatt isgarh, Madhya Pradesh, Andhra Pradesh and Maharashtra produce the Tussar silk. Eri silk is produced in Assam, Bihar, West Bengal and Orissa, whereas Muga is exclusively produced in the North Eastern region, particularly Assam.



exported across the globe. Kashmir has both handlooms and power looms and produces white plain silk called ‘Tabby’. Th e Kashmiri handicraft s, carpets, silk fabrics and tweaks are major products of tourist-att raction.

In the case of Karnataka, the interest taken by Tippu Sultan helped the industry to take fi rm roots in the old Mysore state during the latt er part of the 18th century. Th e salubrious climatic conditions of the region coupled with the keen interest shown by governments and private players accelerated the growth of the industry to more and more areas in Karnataka. For example, the TATA group established the Tata Silk farm in Bangalore in 1896 that produced healthy eggs and off ered training in sericulture. From the very beginning, Karnataka was in the forefront in extending Research & Development (R&D) support, quality control measures and fi nancial assistance to this industry. In early 1900s, the services of a Japanese expert were obtained; who contributed a great deal for making several innovations for the all round development of sericulture particularly in producing good quality cocoon. A number of institutions for research and technology up gradation came up in the state. Th ey included - Sericulture Research Institute in Channapatna (1955); Central silk Technological Research Institute (CSTRI) in Bangalore (1982); Central Sericulture Research and Training Institute

Th e sericulture sector in India has now spread across 52360 villages and emerged as one of the major providers of employment. Around 8 million people are employed mainly in rural and semi-urban areas; majority of them belong to socially and economically backward sections including rural women and tribals. Th e country’s rich cultural traditions, amazing diversity of silk garments in tune with geographic and demographic specialities and the rapid growth of fashion industry opened new employment opportunities. Kancheepuram silk (Tamil Nadu), Banaras brocades & sarees (Utt ar Pradesh), Chanderi fabric (Delhi), Pochampalli Ikat (Andhra Pradesh), Mysore silk (Karnataka), Bhagalpur silk (Bihar), Tabby silk ( Jammu-Kashmir), Muga saris (Assam) are some of the internationally renowned brands in which thousands of weavers, artisans and workers are engaged.

In the silk industry map of India, Karnataka and Jammu and Kashmir have prominent place. While a major percentage of Indian silk is produced in Karnataka, Jammu and Kashmir is the traditional home land of superior quality silk. Legend goes that silks exported from Kashmir by the Moors found their way as rich merchandise of India to the European countries as early as 14th century. Now, the state takes pride in rearing the best cocoon. Th e silk products from the state known for their quality are

(CSR&TI); Mysore (1961); International Centre for Training and Research in Tropical Sericulture (ICTRETS), Mysore (1980). Th e formation of exclusive seed areas, launching of World Bank-aided Karnataka Sericulture Project in 1980s and the National Silkworm Seed Project, etc were major landmarks in the development of this industry in Karnataka. Over the years, Ramanagaram, near Bangalore has become India’s largest cocoon market.

Despite such covetous advancements in the silk industry, Karnataka now faces serious challenges in this sector. According to latest status reports of this industry, Karnataka’s 60 percent share of country’s silk production has fallen to around 35 percent; mulberry acreage that was highest in the country during 1998-99 has declined more than half and the export earnings have drastically come down as bulk of the silk yarn has been sold to silk-producers of neighbouring states such as Andhra Pradesh and Tamil Nadu. Th e spectacular IT boom and the huge real estate development in the state are the major causative factors that adversely aff ect the silk industry. Around 30,000 agricultural families involved in mulberry cultivation have left the job as they found more lucrative income generating sources.

Th e Central Silk Board (CSB) formed in 1948, as the apex body of silk industry in India, adopts diff erent strategies to overcome such challenges and promote silk in diff erent ways. At the instance of Central Silk Board, more and more states such as Utt ar Pradesh, Orissa, Bihar, Rajasthan, Kerala and Jharkhand have started rearing of silkworms with the larger participation of tribals and other weaker sections. Th e CSB with the help of research and training institutions was successful in providing scientifi c and technological support for enhancing production and productivity for sustainable sericulture through innovative approaches. For example, by popularising three mulberry varieties namely Victory-1 (V-1), Anantha and Vishala for sericulture farmers, the production and quality of cocoon could be considerably improved. Th e Board’s operations led to marginal increase in the production of Eri and Tussar silk, particularly in Bihar and Jharkhand. Meanwhile, the National Bank for Agriculture & Rural Development (NABARD) has been extending fi nancial support to tribal women in Bihar for running Tussar silk reeling units. Th e silk producing states have introduced special incentives and concessions to the new entrepreneurs in this sector.

Over the last fi ve years, the domestic production of silk has shown an increase of around 30 percent, while the import of raw silk has come down around 38 percent. Th e export earnings showed a decline largely due to global economic turmoil that began in 2008. Th e demand from the US and European countries, the biggest markets for



The writer is the author & public policy scholar

Indian silk products has come down. Meanwhile, China has made signifi cant inroads into major Indian markets through competitive pricing of products. Added to this was the weaker Indian rupee that adversely aff ects exports. In 2014-15, the total silk exports stood at $449.7 million. Readymade silk garments formed the largest segment (67.7%), while natural silk yarn, fabrics and made-ups comprised 27.8 percent of silk export earnings. Th e US and UAE are the major markets for the export. Th e other major countries which import Indian silk are UK, Italy, Spain, France, Germany, Saudi Arabia, Afghanistan, France, Italy and Germany,

Th e Indian silk industry that has vast opportunities at global level is now at crossroads. On one hand, the

domestic demand for silk is high, which is largely met through import from China. Th ough anti-dumping duty on Chinese silk has been introduced in 2006, China continued to export raw silk/silk fabric to India as the demand is more than the domestic supply. On the other hand, China which accounts for around 85 percent of global silk market aggressively pursues its export policy of capturing more and more markets in the Europe and the Middle East. While more stringent measures are to be taken to discourage the dumping of Chinese silk in India, what is more signifi cant is the formulation of sound strategies to boost up our export.

Th e fi rst and foremost task is to ensure the quality of silk products. For that purpose, we have to increase the

production of bivoltine silk that has great demand in the global market. Secondly, more imaginative and aesthetic approach needs to be developed to ensure novelty and diversity of the products. Th e textile/garment industry is fast changing world over with fashion designing/ technology trying to create a dream world. Gone are the days when people were fond of traditional silk sarees or dresses; now majority of the younger generation - indigenous and alien - have the craze for readymade garments, mostly of hand-embroidered. Th us, our focus should be more on fi nished silk apparel for export. Same is the case with made-ups such as scarves, gowns, cushion covers and accessories of apparels. Indian silk carpets, especially from Jammu and Kashmir have much demand in USA and Europe.

Another area of interest is the by-products of silk industry that should be fully tapped for export. For example, silk yarn is always used for pure gold zari that is used for weaving, embroidery, tassels or as drawstrings for fancy purses and necklaces. Such items have great demand in many foreign countries. Similarly, the bark from mulberry trees that are annually pruned is utilised for making so-called ‘eco-friendly paper’. Silk oil/liquid and silk powder are used by the cosmetic industry in products for moisturising and conditioning the skin and hair, in styling mousses for hair, and in some face powders and eye shadows. Recently in 2014, the government of India permitt ed export of dried silk worm pupae to the European Union. Waste pupae are used as animal feed. Th ey are also used in the making of certain soaps. Th e Tokyo University has developed a powder based on silk scrap, which can be added to foods and drinks to increase their nutritive value. Many of these by-products have much demand in global market. Showcasing such products through appropriate strategy will defi nitely boost up our export. No doubt, Indian silk with its rich heritage, royalty and prestige is poised for a leap forward in the global market.

Indian Leather Industry An Investment OpportunityDiplomatist Bureau



One of the most widely traded commodities in the world, leather holds a special place in the trade basket of India due to substantial export earnings and growth. Being the fi ft h largest export of leather made goods in the world, India employs 2.5 million people. Th e growth in demand for leather is driven by the fashion industry, especially footwear. Apart from this, furniture and interior design industries, as well as the automotive industry also

demand leather. Th e total production of the Indian leather industry stands at $11 billion with great

potential for exports and a huge domestic market. Exports have grown from $1.42 billion in 1990-91 to an all-time high of $6 billion in 2013-14. Exports are projected to grow at 24 percent per annum over the next fi ve years. Th e domestic market is expected to double in the next fi ve years.

Strong Raw Material BaseIndia is endowed with 21 percent of the world’s catt le and buff alo and 11 percent

of the world’s goat and sheep population. India produces 2 billion sq. feet of leather, accounting for 10 percent of the world leather requirements. Th ere is no import duty on the import of raw hides and skins, semi-processed leathers like wet blue, crust leather or fi nished leather.

SectorsTh e largest centre of the industry is in Jajmau suburb of Kanpur. Th e major

production centers for leather and leather products in India are located here:• Tamil Nadu - Chennai, Ambur, Ranipet, Vaniyambadi, Vellore, Pernambut,

Trichy, Dindigul and Erode• West Bengal – Kolkata• Utt ar Pradesh – Kanpur, Unnao, Ramaipur, Agra, Noida, Saharanpur;

Maharashtra – Mumbai• Punjab – Jallandhar• Karnataka – Bangalore• Andhra Pradesh - Hyderabad• Haryana - Ambala, Gurgaon, Panchkula, Karnal and Faridabad • Delhi• Madhya Pradesh – Dewas• Kerala – Calicut and Ernakulam/Cochin





Sector Policy• Th e Integrated Development of Leather Sector

(IDLS) sub-scheme implemented as part of the ILDP has signifi cantly contributed to capacity modernisation and technological up gradation of the leather sector.

• Capital goods (machinery) required by the industry can be imported without import duty under the Export Promotion Capital Goods (EPCG) Scheme of Foreign Trade Policy, subject to meeting the export obligation of six times the duty saved in six years.

• As a measure to boost manufacturing in the leather footwear segment, excise duty has been reduced from 12 percent to 6 percent for footwear costing between Rs 500 and Rs 1000.

• Th e tanning industry has adopted Zero Liquid Discharge (ZLD) systems to meet environmental regulations.

• Under leather technology, innovation and environment issues, a sub-scheme of the Indian Leather Development Programme (ILDP), assistance is provided for technology benchmarking and environment management for the up gradation of Common Effl uent Treatment Plants (CETPs), for Solid Waste Management and for holding environmental workshops.

• State governments have a single window clearance system in place to fast-track clearances for the establishment of production units.

ExportsTh e major markets for Indian Leather & Leather

Products are Germany with a share of 15.01 percent, UK 11.15 percent, Italy 10.85 percent, USA 9.02 percent, Hong Kong 7.38 percent, France 6.25 percent, Spain 6.08 percent, Netherlands 4.07 percent, Belgium 2.32 percent, China 2.54 percent, UAE2.24 percent, Australia 1.39 percent. Th ese 12 countries together accounts for nearly 78.30 percent of India’s total leather & leather products export. India’s Export of Leather & Leather Products to the European Union touched $3116.52 million in 2011-12, accounting for a share of 64.01 percent in India’s total leather export trade of $4868.71 million.

Sources:http://www.makeinindia.gov.in/sector/leather/http://www.ibef.org/exports/leather-industry-india.aspxhttp://www.iilfl eatherfair.com/leatherfair/leather_industry.php

Drastic GrowthIndia’s leather industry has grown drastically,

transforming from a mere raw material supplier to a value-added product exporter. Today, around 50 percent of India’s leather business comes from international trade.

At 45.3 percent, footwear accounted for the lion’s share of leather exports, followed by leather goods with 22.2 percent, and fi nished leather with 20.6 percent share in April-Jan 2015. In 2014–15 (up to January 2015), footwear recorded the maximum increase in exports, followed by saddlery and harness, and leather goods

Growth Drivers• High growth potential on exports, the ready

availability of leather, the abundance of essential raw materials and rapid strides in the areas of capacity modernisation and expansion, skill development and environment management, coupled with a favourable investment climate has made the Indian leather industry a favourable investment destination.

• With 55 percent of the workforce below the age of 35, the Indian leather industry has one of the youngest and most productive workforces.

• Th e Indian government has put in place an array of measures for skill development and skill up gradation of the workforce.

• Under the National Skill Certifi cation and Monetary Reward Scheme of the National Skill Development Corporation, fi nancial assistance is given for the training and certifi cation of both the existing workforce and new workers in the leather industry. 20,000 workers have been enrolled under this scheme for training and certifi cation, as of August, 2013.

• Th e Human Resources Development sub-scheme under the Indian Leather Development Programme (ILDP) implemented by the Department of Industrial Policy and Promotion, aims to provide skill development training to the unemployed for placement in the leather industry while upgrading skills of the existing workforce at the shop fl oor level and imparting training to trainers.

• More than 50,000 youth have already been trained

and placed in the industry in the last 100 days with 1,44,000 more expected to be trained annually.

• Th e Footwear Design and Development Institute (FDDI) has established itself as the premier training institute for the provision of skilled manpower in the leather industry. It has 53 training centres across the country including eight branches.

Th e entire leather product sector is de-licensed, facilitating expansion on modern lines with state-of-the-art machinery and equipment. Under the IDLS sub-scheme of ILDP, 30 percent grant is provided on the cost of plant and machinery for Micro and Small units and 20 percent for other units, with a ceiling of Rs 20 million for each product line. Under the MLC sub-scheme of ILDP, 50 percent grant with a ceiling of Rs 1.25 billion based on size is provided for the establishment of Mega Leather Clusters to boost infrastructure facility and support services for production and export. Under the Leather Technology, Innovative and Environmental Issues sub-scheme of ILDP, assistance is provided for up to 50 percent of the project cost with a ceiling of Rs 500 million for up gradation/installation of Common Effl uent Treatment Plants (CETPs) to address environmental pollution caused by leather units.

Reasons to Invest• Th e total production of the Indian leather industry

stands at $11 billion with great potential for exports and a huge domestic market.

• Exports have grown from $1.42 billion in 1990-91 to an all-time high of $6 billion in 2013-14.

• Exports are projected to grow at 24 percent per annum over the next fi ve years.

• Th e domestic market is expected to double in the next fi ve years.

• Comparative advantages in cost of production and labour costs.

EXTRAORDINARY AND PLENIPOTENTIARY DIPLOMATIST Annual Edition 2015EXTRAORDDINAARRY AND PLEEEENNNNNIPOTENTIARY DDIIPPPLLOOMMAATTIISSTT AAnnnnuuaaaaaallllll EEddiittiioonn 220001155

WHERE THE WORLD DISCOVERS INDIA

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Craft House features a range of teas hand-picked fresh from the tea gardens in Darjeeling and Assam, full of delicate fl avours of pure whole-leaf as well as blended assortments. For those seeking harmony of the body, mind and soul there is the Home Spa collection including beauty enhancement products based on the principles of Ayurveda, and aroma oils and incense to synergize the senses with nature. At Craft House, the rich and mystical heritage of India is presented through hand woven Shahmina and Pashmina shawls, stoles and muffl ers in an array of weaves, colors, embroidery and prints. Also on off er is merchandise made from silk and other fi ne materials such as scarves, ties and accessories like bags, footwear and clothing. In addition, Craft House also stocks unique lifestyle products such as home décor range, object d’art etc. Craft House, a shopper’s paradise, also off ers exclusive and exquisite designer jewellery consisting of precious and semi-precious jewels set in gold and silver.

Craft House, having won the mandate and loyalty of visitors to India and discerning locals, added in its portfolio, ‘Delhi Bazaar Craft House’, the exclusive Indian store concept at state-of-the-art integrated International Departure T3 at Indira Gandhi International Airport (IGIA), the second largest terminal in Asia. With ‘Delhi Bazaar as its central theme, the 4000 sq feet store showcases the best merchandise India has to off er to world travelers transiting through the T3 terminal. Th e Delhi Bazaar Craft House, the nouvelle concept by Craft House, is tagged as the biggest Indian profi le store at the airport. It is the only uni-brand store in the terminal to showcase premium merchandise manufactured and produced in India, displayed in a hassle-free ambience appealing to foreign as well as Indian clientele. An ideal blend of the traditional and contemporary India, the strong local knowledge, established infrastructure and passion is refl ected in the spirit and philosophy of Delhi Bazaar Craft House.

All in all, Craft House interprets Indian culture and craft smanship with a vibrant sophistication and dynamism of the 21st century, utilizing the best of materials from luxurious silk to the fi nest pashmina and precious metals and stones, to create a range of contemporary luxury lifestyle products that are hand craft ed by Indian artisans and craft smen.

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Indian CinemaA Masterpiece of Culture and Heritage

Anna MM Vetticad


It’s 6 pm on a Sunday and an ocean of humanity has gathered at Kairali theatre in Th iruvananthapuram – capital of the southern Indian state of Kerala – where the Kannada fi lm I Am Not He…She is about to be screened. Kannada is the language of the neighbouring state of Karnataka, but that’s clearly not a barrier for this crowd of

committ ed cinema lovers, a large number of them from the local community. A gaggle of young men seated on the steps is playing an Indian drum that resonates through the complex. Others – men and women – seem to be enjoying the music as they wait for the doors to open. Th ere is a buzz of anticipation all around. Some of the waiting multitude are animatedly discussing cinema, others the rain that has drenched the city this week. Th e downpour and the possibility of a busy weekday ahead have not dampened their enthusiasm though for the fi lm they are about to see.

Director B.S. Lingadevaru’s I Am Not He…She is based on the true story of a transgender person who, despite being an outcaste in the conservative rural society she was born into, goes on to become an award-winning theatre artiste and activist in her adulthood. It is being screened here as part of the International Film Festival of Kerala (IFFK), which draws a massive audience for prett y much every single cinematic off ering despite the prevailing weather conditions. Th eir passion, of course, is unsurprising because when it comes to movies, rain and

sunshine are hardly likely to act as deterrents for citizens of this cinema-crazed nation.

Th ey say India has two national religions: cinema and cricket. Th e country’s love for fi lms does not stop at consumption though. India is both a voracious consumer and a prolifi c supplier of this art form. In the 100-plus years since the magic of moving images fi rst cast their spell on the public here, the country has also grown to become one of the world’s largest fi lm producers, along with the US and Nigeria. What distinguishes this, the Earth’s second most populous nation, from the other two though is that India does not make fi lms in just one language, it has thriving fi lm industries in multiple languages; and unlike other countries across the globe that have found their home industries being overshadowed or entirely eclipsed by the Hollywood juggernaut over the years, India’s industries remain the primary source of cinematic content for the domestic audience despite a parallel interest in Hollywood and other world cinema.

Any foreigner trying to understand Indian society and culture would fi nd in Indian cinema a showcase for this country’s occasionally overwhelming, oft en confusing, sometimes exasperating, always fascinating diversity.

And any Indian diplomat looking for a global brand ambassador as eff ective as Hollywood, hamburgers and jeans have been for the US, need look no further than the arts, especially Indian cinema with its potential to reach and charm billions of people across the globe, as it has charmed and gently enslaved India’s own 1.2 billion inhabitants.


Any foreigner trying to understand Indian society and culture would fi nd in Indian cinema a showcase for this country’s occasionally overwhelming, oft en confusing, sometimes exasperating, always fascinating diversity


38

SOUND, COLOUR, LIGHTS, ACTION!To appreciate contemporary Indian cinema, it is

important to understand the journey. Motion pictures fi rst came to this country almost

as soon as this technology-driven art form was born, as Ashish Rajadhyaksha and Paul Willemen note in their richly detailed Encyclopedia of Indian Cinema. Just months aft er they held their fi rst public show in Paris in December 1895, France’s Lumiere Brothers - the world’s fi rst fi lmmakers - visited India to introduce this new invention to the people here. Several short fi lms were released in the 10-plus years that followed.

Although there is an ongoing debate on who made the fi rst truly Indian full-length feature fi lm, historians usually att ribute that achievement to Dhundiraj Govind Phalke – popularly known as Dadasaheb Phalke–whose Raja Harishchandra was released in 1913. It was a silent fi lm based on the legend of a king who never broke his promises or lied and suff ered great hardships as a result. Phalke is widely considered the Father of Indian Cinema since Raja Harishchandra led to the birth of the Indian fi lm industry.

It was clear from the moment the fi rst fi lm was unveiled that India had collectively fallen in love. Th e country’s appetite for fi lms was insatiable and those who took it upon themselves to fulfi l this public demand ensured that they kept pace with advancements in global technology.

And so in 1931, director Ardeshir Irani released India’s fi rst talking picture, Alam Ara, a romance between a prince and a commoner steeped in palace intrigues and intra-family rivalries. Th is fi lm’s success also heralded the advent of an Indian cinematic staple: the musical.

Other countries see musicals as a specifi c genre, for India they are the norm and not the exception. A majority of Indian fi lms feature songs, some playing in the background but most of them actually being sung or lip-synced by characters in the story.

Alam Ara, which was made in a blend of the Hindi and Urdu languages, featured seven songs. History texts tell us that the country’s fi lmmakers were already very competitive at the time and that Irani raced to complete his fi lm before other talkies could be released, since he had envisioned the impact that sound would have on cinema. Th e fi lm was made in the western Indian city of Mumbai where many of the early fi lms were produced. Mumbai would later go on to be considered the country’s entertainment capital, and home, of course, to the Hindi language fi lm industry now popularly known worldwide as Bollywood.

For most of the world, Indian cinema is synonymous with Bollywood, but the Telugu and Tamil industries are just as cash-rich and make roughly the same number of fi lms each year. Th e Telugu industry based in the southern Indian state of Andhra Pradesh is popularly known as Tollywood, while neighbouring Tamil Nadu is home to the Tamil industry, a.k.a. Kollywood. Th e country’s other large industries are in the Malayalam, Bengali and Kannada languages set in the states of Kerala, West Bengal and Karnataka respectively, with smaller centres producing fi lms in various languages including Marathi, Punjabi, Bhojpuri and Assamese. Together, they churn out over 1,000-1,500 fi lms each year.

Th e multiplicity of language industries in this one country is not a new development. By the time Alam Ara was released in 1931, it had become evident that viewers would not be satisfi ed with fi lms in a single language and that the country’s many mother tongues would perforce be refl ected in its cinema. Th ough Alam Ara came fi rst, the same year witnessed the release of the maiden Telugu and Tamil talkies, Bhakta Prahlada in Telugu and Kalidas in Tamil. Th e music mania among Indian fi lm-goers was evident in all these fi lms, though perhaps rarely as clearly as it was in Kalidas, which featured not one or two or even the seven notched up by Alam Ara, but a total of 50 songs.

Sound was soon followed by colour. All the fi lms being made in India till the 1930s were in black and white. Six years aft er he released Alam Ara, in 1937, Irani produced the fi rst indigenously processed, full-length colour fi lm Kisan Kanyain in Hindi. Th is was not the fi rst time Indians were seeing colour on screen, but it was the fi rst time that the colour they saw was completely the work

Although there is an ongoing debate on who made the fi rst truly Indian full-length feature fi lm, historians usually att ribute that achievement to Dhundiraj Govind Phalke – popularly known as Dadasaheb Phalke–whose Raja Harishchandra was released in 1913

Still fr om Raja Harishchandra

Still fr om Alam Ara



of domestically present expertise. A few years earlier, V. Shantaram had made a Marathi fi lm with some colour scenes, but his fi lm was processed in Germany.

Due to the technological and fi nancial challenges involved, even aft er Kisan Kanya, colour did not immediately become a staple in Indian fi lms. Th is would happen only a couple of decades later.

Although Indian fi lms are made at a fraction of the cost of Hollywood fi lms, Indian cinema has notched up several achievements in technical departments. Nine years aft er Hollywood had Moses dividing the sea on screen in Cecil B. DeMille’s Th e Ten Commandments (1956), cinematographer Marcus Bartley received widespread acclaim for his marvellous and enduring visuals of the ocean in the Malayalam fi lm Chemmeen (1965). More recently in 2012, Telugu director S.S. Rajamouli made a highly special-eff ects-driven fi lm called Eega with the central character being a man who is reborn as a fl y to take revenge on his murderer and protect the woman he loved in his lifetime. Th e quality of Eega’s digitally created insect hero came as a pleasant surprise in a country where fi lmmakers still largely steer clear of expensive, high-tech, SFX-ridden ventures.

In that regard, 2015 marks an important milestone in the country’s fi lmmaking odyssey, with the release of Rajamouli’s SFX extravaganza Bahubali: Th e Beginning that

was simultaneously made in Tamil and Telugu. Bahubali is one of the most expensive Indian fi lms till date, with a reported budget of INR 120 crore ($18 million), earning INR 600 crore ($90 million) worldwide.

It is not widely known among the general public that many Hollywood fi lms over the years have outsourced their SFX work to studios based in India – inexpensive by the standards of Hollywood’s deep pockets yet arguably not so accessible to Indian fi lmmakers with their relatively limited budgets. With Bahubali, at last India got to see a home-grown story complemented by primarily home-grown, world-class special eff ects of the same standard as the best that Hollywood has presented to the world over the years.

TAKING INDIA TO THE WORLDIndia’s comparatively smaller fi lm budgets have also

meant for long that money for marketing is also very limited. Despite this, Indian cinema has for decades enjoyed pockets of interest worldwide purely on its artistic merit and/or entertainment value. As early as 1946, Chetan Anand’s Neecha Nagar – a fi lm about the feudal system that allowed landlords to exploit poor peasants – shared the top prize at the prestigious Cannes Film Festival in France.

Stars like Raj Kapoor and Nargis were popular in the former Soviet Union where Kapoor’s Chaplinesque on-screen tramp found wide appeal in the 1950s and ’60s. Th ese are icons who managed to transcend boundaries

of nationality and race, and appeal to audiences beyond the Indian community abroad. Th ey are unique too in the sense that their fi lms were commercially driven. Th e larger mass of Indian fi lms that have gained recognition abroad in earlier decades were drawn primarily from India’s parallel cinema movement of the 1960s and thereaft er, which delivered more artistic productions viewed by many in India as offb eat and therefore appealing to a niche domestic audience, though this was not necessarily always the case.

Th e parallel cinema movement was led by fi lmmakers who chose to explore subjects that were vastly diff erent from the fantastical, oft en unrealistic melodramas created by mainstream fi lm makers. Among the luminaries of what was described as the ‘Indian New Wave’ were Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Mani Kaul, Shyam Benegal, Adoor Gopalakrishnan and G. Aravindan who made their fi lms in Bengali, Hindi and Malayalam. Th ese directors told stories with socio-political concerns and a realistic narrative style. Th eir works were toasted at festivals abroad as much as they were lauded at home. Ray was even conferred a Lifetime Achievement Oscar and is widely seen as one of the all-time global greats of cinema.

Mass-targeted Indian commercial cinema though has had less luck abroad. Th is is partly because, unlike Hollywood fi lms, Indian fi lms are not made in languages that are widely understood internationally. Th ey have been further hampered by their marketing budgets and a defeatist satisfaction with their dedicated international



audience of Indian origin. Some of that has changed though since the mid-1990s with at least commercial Hindi cinema investing more in trying to win over newer audiences.

It would only be fair to add that international festivals have so far gravitated towards only certain themes from Indian fi lmmakers. Th e song ‘n’ dance of mainstream commercial cinema has for too long been viewed by them as over-the-top exotica, while depictions of the country’s poor and downtrodden have been accepted with open arms. Th e unspoken att itude seems to be that fi lms from a Th ird World country ought to be focused on its least fortunate citizens and that stories of the country’s more privileged classes are jarring.

It is, therefore, not surprising at all that the only three Indian fi lms to have earned Oscar nominations in the Best Foreign Language Film category – Mother India (1957), Salaam Bombay (1988), Lagaan (2001) – were set among India’s poor. Salaam Bombay also won the Camera d’Or at the Cannes Film Festival. Th ese were lovely fi lms no doubt, but their success certainly does provide an indicator of what the Oscars and international fi lm fi estas consider acceptable fare from a developing nation.

Th at being said, it’s impossible to say with certainty which came fi rst: the lack of marketing by Indian producers or the First World’s penchant for only a particular kind of cinema from this country. With at least

one of those hurdles being increasingly crossed, with at least some Indian producers now making a concerted eff ort to seek out non-traditional audiences, the sight of screaming multi-racial crowds at the Berlin Film Festival greeting the team of Karan Johar’s My Name Is Khan (2010) are likely to become more frequent. Th e gradually rising global collections for Indian fi lms have meant more money to market subsequent fi lms, and so a ripple eff ect has been set off .

Familiarity breeds greater familiarity and consequently, greater interest. So it doesn’t hurt that actress Aishwarya Rai Bachchan, as the brand ambassador of a global beauty major, has become a frequent, much photographed guest at the Cannes Film Festival; or that Irrfan Khan is already respected in the West for his many acclaimed on-screen

cast, particularly Suraj Sharma who went on to play a signifi cant role in a season of the major American TV series Homeland; or that Homeland also starred Nimrat Kaur who was earlier the toast of the Toronto International Film Festival for her work in the Hindi-English fi lm Th e Lunchbox; or for that matt er that this year, Bollywood’s It girl Priyanka Chopra is making waves in the US, playing the lead role in the prime-time ABC television series Quantico.

Th ese cross-cultural exchanges will undoubtedly play a role in increasing the audience for their work in Indian cinema, just as Penelope Cruz, Javier Bardem, Marion Cotillard and Monica Bellucci’s occasional forays into American cinema have made their work in their home industries – Spanish, French and Italian cinema – of greater interest across the world.

Simultaneously, as commercial Indian cinema has begun to peddle itself more assertively in markets outside, India has also been witnessing another ‘New Wave’ that is making international fi lm lovers sit up and take notice. In 2012, producer-director Anurag Kashyap’s Gangs of Wasseypur was part of the coveted Director’s Fortnight that runs parallel to the Cannes Film Festival. In the same year, Cannes’ offi cial selections included Ashim Ahluwalia’s Miss Lovely, Vasan Bala’s Peddlers and Uday Shankar’s 1948 fi lm Kalpana restored by the World Cinema Foundation.

Th is year has brought with it several global accolades for a number of Indian fi lms. Masaan – a tale of caste, class, love, romance and sexual adventure in the northern Indian town of Varanasi, and directed by newcomer Neeraj Ghaywan – won two awards at Cannes. Gurvinder Singh’s Punjabi fi lm Chauthi Koot - a look back at the tension-ridden days of terrorism in Punjab - was also one of the

performances there; or that the multiple-Oscar-winning Slumdog Millionaire (2008) – albeit a British production – ended up providing a platform to Freida Pinto, Khan, Anil Kapoor, musician A.R. Rahman, sound designer Resul Pookutt y and others, placing the international spotlight fi rmly on them; or that Kapoor went on to play a major role in the much acclaimed HBO series 24; or that Ang Lee’s Oscar-winning Hollywood fi lm Life of Pi (2012) brought global att ention to its entire Indian



The writer is a Delhi-based fi lm journalist and author of The Adventures of an Intrepid Film Critic. She is on Twitter as @annavetticad

offi cial selections at the festival’s sought-aft er Un Certain Regard section.

Masaan’s cinematographer Avinash Arun directed the Marathi fi lm Killa, which won a Crystal Bear in the category of fi lms for children at the Berlin Film Festival 2014. Killa is an endearing fi lm about a boy coping simultaneously with the loss of his beloved father and the shift to a new town with all its accompanying diffi culties. At the world’s oldest fi lm festival, Venice, the same year, debutant director Chaitanya Tamhane’s Marathi fi lm Court – a stinging indictment of India’s somnolent, apathetic judicial system – earned a Best Film Award in the Horizons category and a Lion of the Future Award for Tamhane. And this year, Tamil director Vetrimaaran’s story of police brutality, Visaaranai, took centrestage at Venice along with debutant fi lmmaker Ruchika Oberoi’s take on loneliness and isolation in contemporary Mumbai, Island City. Oberoi won the festival’s Fedeora Award for Best Debutant Director and Visaaranai was chosen for the Amnesty International Italia Award.

Th ere are fi lm analysts who believe that Indian mainstream fi lmmakers ought to change their storytelling style, cut down their fi lms’ standard two-hour-plus running time and give up song-and-dance to make themselves more appealing to cash-rich Western audiences and the fi lm festival circuit. To do so would, on the contrary, be unwise, undesirable and self-defeatingly slavish towards foreign fi lm-viewing and fi lmmaking sensibilities. Aft er all, India’s great strength right now is that indigenous creations remain the fi rst choice of cinema for domestic viewers. Nothing is worth the risk of losing that home audience for hypothetical gains abroad. Th e idea ought to be to make good fi lms that appeal to Indian viewers, to invest more in original writing, special eff ects and marketing, while telling stories in a style that comes naturally to us rather than trying to ape auteurs abroad. Or as Shakespeare put it in Hamlet: “Th is above all – to thine own self be true.” International audiences will naturally follow.

In a recent interview to the news agency Press Trust of India (PTI), when asked if Hollywood would be the next step for her now that she is starring in Quantico, Priyanka Chopra said: “I have an agent in America since fi ve years but I do work on my own terms. I am a star here in Hindi cinema so I don’t want to do anything for the heck of it. I have no desperation to prove a point to someone. I would do fi lms there if it excites me.” Indian fi lm industries would do well to take a leaf out of this young actress’ book, and actively seek out international platforms without compromising on their cinematic integrity or traditions. Read: greater worldwide earnings, but on our own terms.

Aft er all, Indian cinema’s distinctiveness is what

has att racted those foreigners who have discovered the country’s fi lms with minimal eff ort from Indian producers and their marketing teams. Analysing Mani Ratnam’s 1987 Tamil fi lm Nayakan for Time magazine’s All-Time 100 Best Films list in 2005, fi lm critic Richard Corliss wrote:

“His (Mani Ratnam’s) movies, oft en dramatising social unrest and political terrorism, churn with narrative tension and camera energy that would be the envy of Hollywood directors, if they were ever to see them. Nayakan, an early, defi ning work in his career, tells the Godfatherish tale of Velu, a boy who embraces a life of crime aft er his father is killed by the police. Velu has trouble juggling his family life with his life-and-death mob “family”; Ratnam has no such diffi culty blending melodrama and music, violence and comedy, realism and delirium, into a two-and-a-half-hour demonstration that, when a gangster’s miseries are mounting, the most natural solution is to go singin’ in the rain.”

Corliss’ essay on Nayakan – starring Tamil fi lm stalwart Kamal Haasan in the lead - is an ode to and an acceptance of India’s cinematic traditions. Th e key to greater box-offi ce earnings abroad, though, is indicated in this sentence “…would be the envy of Hollywood directors, if they were ever to see them”. Th e public cannot be expected to watch fi lms that they don’t know are out there. Supplementing

good quality with strong marketing while retaining its individuality and heterogeneity is no doubt the way forward for India.

If Shakespeare were to write a guidebook for Indian fi lmmakers, he might have modifi ed his advice thus: “To thine own self be true, but make sure that thou art known to those other than thy self.” Even as things stand now, India is a growing soft power. Indian cinema has dedicated niches of fans across the world and the potential to grow much larger in the coming years.

Films and fi lm stars, like all artists, are global ambassadors of their nation’s culture, customs and even politics. What Hollywood has achieved for American foreign policy and business interests is immeasurable. Indian cinema has the potential to do the same for India. Money earned at overseas turnstiles is but a fraction of the potential gains from international cinematic success. Regular consumers of a country’s cinema would naturally be more open to everything else that country has to off er. Just ask the audience yelling out their appreciation for Priyanka Chopra earlier this year as she did an impromptu Bollywood dance on the US TV show Good Morning America. Or have a word with those fans at Berlin screaming out the words “Shah Rukh Khan”.

Films and fi lm stars, like all artists, are global ambassadors of their nation’s culture, customs and even politics. What Hollywood has achieved for American foreign policy and business interests is immeasurable. Indian cinema has the potential to do the same for India. Money earned at overseas turnstiles is but a fraction of the potential gains from international cinematic success


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Ashish Pandey

Gold and gemstones share a central and complex role in Indian culture and rituals for a variety of reasons. Not only the jewels store a certain value for Indians, but also share a symbol of wealth and status.

Despite having a large quantity of reserves of gold, diamond and gemstones, India imports a sizeable portion of gold and other jewellery. Th e country is the largest consumer of gold, accounting for more than 20 percent of the total world gold consumption.

Gold and diamonds constitute the two major segments of the jewellery sector in India. Gold alone accounts for around 80 percent of the jewellery market. Out of the gold jewellery produced in India, a major portion is consumed locally in the domestic market.

Gemstone ReservesKey states with gemstone reserves and mining

potential are Maharashtra, Madhya Pradesh, Orissa, Chatt isgarh, Bihar and Andhra Pradesh. Orissa has deposits of ruby and has about 20 varieties of various gemstones such as rhodoline, garnet, aquamarine, etc. Andhra Pradesh has gold and diamond bearing areas, as well as occurrences of semi-precious and abrasive stones spread over diff erent districts. Diamonds are mined only at Panna in Madhya Pradesh by the National Mining Development Corporation (NMDC).

Ancient India and Signifi cance of Wearing Gold Ornaments

Ornaments and Jewels are considered fashionable all over the globe. But in ancient times, Indians and majority of Hindu women used these ornaments, mainly made of gold and some silver, with so beautiful craft ing and designs, all the good work handcraft ed by goldsmiths. Th ey wore jewellery items not just for show, but with some inner meaning to it.

Th ere were 36 kinds of essential jewellery & ornaments used during Vedic era, each signifying body mechanism. Th ough the rich, aff ordable and King’s family had it all, even the poorest of poor did wear most common items. Most of the jewels & ornaments are not in common use these days.

Ear SteadTh is ornament is mostly made of gold with

innumerable designs and fashions. Th is is considered to be the most important ornament and from childhood days Hindu girls adorn this ornament. Ear piercing takes place on completion of one full year.

Human anatomy, a precise location of parts in our body, was an easy accessible subject for the astrologers in those days. Th ey found out that half of the problem occurring for human body is either because of renal failure or of bowel not cleared daily. And rest half is by food habits and diet propositions. And they easily got the link, that an

Gold & DiamondsJewel in India’s Crown



important nerve connecting the brain, cervical and kidney is passing through a persons right ear and if the pressure there could be controlled, then the kidney functioning can be just maintained and protected from damages. Also piercing their ear and wearing some ornamental stead found another mode of controlling the kidney bladder.

MookuthiIt is widely believed that nose is exclusively for sensual

smell and breathing only. However, in well established practices, this theory manipulates, that it connects with emotional, sexual and romantic propositions too. Th at’s what the decorative ornaments and jewels to the nose apparently causes - not only beautifying, but also signifi cantly adds value to the marital life as well.

A piece of stead-like ornament worn by women in their nose commonly known as nose-ring and nose stead known as Mukkuthi or Mookuthi in Tamil and Nath in Hindi. Th e custom to wear this ornamental jewel is typically diff erent from one state to other, one caste to other and even diff erent among communities. Some use it in their left nose, some at right and few wear it in both sides of their nose. Th ough it is mainly used for beautifying appearance, the in-depth meaning can’t be termed as unfound myth. It is considered as a breath regularizing and some say it is just to eliminate the poison coming out while exhaling carbon. But traditions apart, every community and caste, without any barrier uses this nose-stead. According to the Indian medicine, the female who get her nose pierced is assumed to experience less pains while delivering the child. Th e reason behind this belief is, through piercing some vein is pressed that makes the childbirth easier. It is said that Ayurvedic medicine associates nostril’s piercing location with the female reproductive organs. Th at’s why you need to get the ear pierced by an experienced goldsmith, who knows by touching the skin, whether or not any nerve passes through the specifi c portion. While piercing the ear or nose, no passing nerve system should be disturbed or wounded, hence much care has to be taken for piercing. Th e Abharana Bhushana Vidhi states, that wearing a nose ring or a nose stead is a must for a women, if one needs to enjoy life in its pleasurable counts. Also, the oculists believed, it is very diffi cult to bring into control or hypnotise or mesmerise the women who wear such sort of Mookuthi, functions as a controlling the brainwave length thus avoiding a surrender to the opponent who try to hypnotise.

BanglesTh e Bangles used by women are normally in the wrist

part of ones hand and its constant friction increases the

blood circulation level. Also the pulse beat in this portion is mostly checked for all sorts of ailments. Further more the electric charge passing out through outer skin is again reverted to one’s own body because of the ring shaped bangles, which has no ends to pass the energy outside but to send it back to the body. Th is way a women gains her strength which is presumably wasted otherwise. So the ancient Hindus gave shape to the item called bangles and later it got moulded in to many shapes and designs to add more att raction and beautifi cation. Amongst other varieties of ornaments bangle is most important for any women. It is felt and that if it is made of gold then only it gives you the aforesaid values & meaning.

RingTh e most vital is its function and connectivity, the

fourth fi nger from the thumb, known as the ring fi nger is identifi ed with the Star-Sun. It is widely believed, that the nerve passing through this fi nger is evenly spread to the entire brain neuron cells and any frequent metallic friction caused in this fi nger is very good for one’s health. It also improves one’s general capacity in handling her life with ease and confi dence. Th at’s why all over the world, they use gold rings for men and women, very commonly in this fi nger.

Mangalsutra or Th irumangalyamEvery married woman used to get a Mangalsutra. Th is

is mostly made in gold as an identifi able mark for married women. Hindu women hold the Mangalsutra, to be a very signifi cant bond with their husband. Th is too is believed to regularise a women’s blood circulation. Th is is also said to control the body pressure levels to a maximum extent, as Indian women tend to work hard, more than their male counterparts. Th e most important thing to note about this Th irumangalyam is that it should always be hidden or covered in the inner garments. Just because of the constant friction of the metal gold touching the body portion directly, the eff ect will be more to gain the said benefi ts. However, if the same is worn outside the clothes and making it visible to everyone, then the eff ect is reduced

OddiyaanamJewellery knowingly used by Indian women as Hip

Belt. But the usage of this is not common. It is very particularly used to control women from gett ing fat and to avoid fl abs in hip and pot belly.

Mett iIt is worn by Indian married women in general and is

made of silver. Th is is a ring with two or three line rounds, worn in their second fi nger from toe (Bichiya in Hindi). By wearing this in both feet, it is believed, that their menstrual cycle course is regularised with even intervals. Th is gives good scope for conceiving to married women. Also it is said just because that particular nerve in the second fi nger from toe also connects the uterus and passes through heart. Because of this, the constant friction caused while walking and doing all sorts of chores during a day, it revitalises the productive organs. Silver being a good conductor, it also absorbs the energy from the polar energies from the earth and passes it to the body, thus refreshing whole body system.

Supportive Government PoliciesIndia is home to largest cutt ing and polishing centre of

diamonds in the world. Th e sector is ably supported by the government through its favourable policies. Th e banking sector with around 50 banks provides nearly INR 3 billion of credit to the Indian diamond industry. It is considered to be diamond polishing and processing capital of the world as its artisans are skilled in processing small-sized diamonds.

Presently, India exports about 95 percent of world’s diamonds according to statistics released by the Gems and Jewellery Export promotion Council (GJEPC).



Jewellery Market in NumbersIndia earns a large chunk of its foreign exchange

through export of gems and jewellery. Th e size of the Indian gems and jewellery market was $30.1 billion in 2011 and is expected to be $45 billion by 2015 on the back of increasing domestic demand.

Th e sector provides employment to around 1.8 million people. In the next fi ve years, the sector is expected to create additional employment for around 1.1 million people.

Th e hub of India’s jewellery industry is Mumbai that receives the majority of the country’s gold and rough diamond imports. Mumbai has a considerable number of modern, semi-automatic factories and laser-cutt ing units, the majority of which are located in the special economic zone. Most of the diamond processing, though, is undertaken in Gujarat, (primarily in Surat, Bhavnagar, Ahemadabad and Bhuj) and in Rajasthan ( Jaipur).

Major PlayersTh e gems and jewellery market essentially comprises

sourcing, processing, manufacturing and selling of precious metals and gemstones such as gold, platinum, silver, diamond, ruby, sapphire, among others. Th is industry is highly unorganised and fragmented with 96 percent of the total players being family-owned businesses.

Currently there are more than 500,000 gems and jewellery players across the country, with the majority being small players. Modern retail players have only 4 percent to 6 percent share, which is perhaps one of the lowest when compared to other sectors such as apparel, footwear, books and music. At the same time, India is gaining prominence as an international sourcing destination for high-quality designer jewellery. Global

companies such as Walmart and JC Penney procure jewellery from India. Some of the major brands in the Indian jewellery segment are Gili, Tanishq, Carbon, Oyzterbay and Trendsmith.

Th e major players in the Indian gems and jewellery retail sector are Reliance Retail, Damas Jewellery, Gitanjali Gems Ltd., Swarovski, Diamond Trading Company, Vardhaman Developers, Dubai-based Joy Alukkas, Viswa and Devji Diamonds and Gold Souk India.

Gold Monetisation SchemeLately, the ruling National Democratic Alliance

(NDA) government has come up with a Gold Monetisation Scheme in order to make productive use of the 20,000 tonnes of gold lying idle in the Indian households.

It is a scheme that facilitates the depositors of gold to earn interest on their metal accounts. Once the gold is deposited in metal account, it will start earning interest on the same.

When a customer brings in gold to the counter of specifi ed agency or bank, the purity of gold is determined and exact quantity of gold is credited in the metal account. Customers may be asked to complete KYC (know-your-customer) process. Th e deposited gold will be lent by banks to jewellers at an interest rate litt le higher than the interest paid to customer.

Both principal and interest to be paid to the depositors of gold will be ‘valued’ in gold. For example if a customer deposits 100 gm of gold and gets one per cent interest, then, on maturity he has a credit of 101 gram.

Th e interest rate is decided by the banks concerned.

Th e tenure of gold deposits is likely to be for a minimum of one year. Th e minimum quantity of deposits is pegged at 30 gram to encourage even small deposits. Th e gold can be in any form, bullion or jewellery.

Customer will have the choice to take cash or gold on redemption, but the preference has to be stated at the time of deposit.

Sector OutlookA FICCI-Technopak report estimates that gems and

jewellery exports will grow to $58 billion by 2015. It also estimates that the domestic market for gems and jewellery will touch $35 billion to $40 billion by 2015.

Strengths of India • Highly skilled, yet low-cost labour;• Established manufacturing excellence in jewellery

and diamond polishing;• India is the most technologically advanced

diamond cutt ing centre in the world;• Opportunity to address one of the world’s largest

and fastest-growing gems and jewellery markets;• Opportunity to leverage India’s strengths to address

the global market.One of the most encouraging trends visible in the

Indian gems and jewellery market is that the country is now beginning to move towards branded jewellery and consumers are increasingly accepting modern retail formats.

It is expected that, going forward, traditional players will coexist with modern players — this is, in fact, the trend in international markets where independent jewellers still hold signifi cant market share.



Glimpses of India1. Jama Masjid, Christian Wagner, Germany2, 3, 4. Ann Marie Everitt, Embassy of the USA5. Dr. Gabriele Ney, Germany6. Joana Daniel, Wrabetz Austria 7. Golden Temple, Amritsar, Christian Wagner, Germany

2

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UNESCO World Heritage Sites of IndiaDiplomatist Bureau


There are 32 World Heritage Sites in India that are recognised by the United Nations Educational, Scientifi c and Cultural Organisation (UNESCO) as of 2014. Th ese are places of importance of cultural or natural heritage as described in the UNESCO World Heritage Convention, established in 1972. Th e Convention concerning the protection

of the World Cultural and Natural Heritage was adopted on November 17, 1997 following the General Conference of the UNESCO held from October 17, 1972 to November 21, 1972. India’s fi rst two sites inscribed on the list were the Agra Fort and the Ajanta Caves. Over the years, 30 more sites have been inscribed. Here, we will focus on but a few of the Cultural World Heritage sites.

Agra Fort Near the gardens of the Taj Mahal stands the important 16th century

Mughal monument known as the Red Fort of Agra. Within its 2.5-km-long enclosure walls, this powerful fortress of red sandstone encompasses the imperial city of the Mughal rulers. It comprises many fairy-tale palaces, such as the Jahangir Palace and the Khas Mahal, built by Shah Jahan; audience halls, such as the Diwan-i-Khas; and two very beautiful mosques.

Ajanta Caves Th e fi rst Buddhist cave monuments at Ajanta date from

the 2nd and 1st centuries BC. During the Gupta period (5th and 6th centuries AD), many more richly decorated caves were added to the original group. Th e paintings and sculptures of Ajanta, considered masterpieces of Buddhist religious art, have had a considerable artistic infl uence.

Near the gardens of the Taj Mahal stands the important 16th century Mughal monument known as the Red Fort of Agra. Within its 2.5-km-long enclosure walls, this powerful fortress of red sandstone encompasses the imperial city of the Mughal rulers. It comprises many fairy-tale palaces, such as the Jahangir Palace and the Khas Mahal, built by Shah Jahan; audience halls, such as the Diwan-i-Khas; and two very beautiful mosque




Taj MahalAn immense mausoleum of white marble built in

Agra between 1631 and 1648 by order of the Mughal emperor Shah Jahan in memory of his favourite wife, the Taj Mahal is the jewel of Muslim art in India and one of the universally admired masterpieces of the world’s heritage.

Mahabodhi Temple Complex at Bodh GayaTh e Mahabodhi Temple Complex is one of the four

holy sites related to the life of the Lord Buddha, and particularly to the att ainment of Enlightenment. Th e fi rst temple was built by Emperor Asoka in the 3rd century BC, and the present temple dates from the 5th or 6th centuries. It is one of the earliest Buddhist temples built entirely in brick, still standing in India, from the late Gupta period.

Khajuraho Group of MonumentsTh e temples at Khajuraho were built during the

Chandella dynasty, which reached its apogee between 950 and 1050 AD. Only about 20 temples remain; they fall into three distinct groups and belong to two diff erent religions – Hinduism and Jainism. Th ey strike a perfect balance between architecture and sculpture. Th e Temple of Kandariya is decorated with a profusion of sculptures that are among the greatest masterpieces of Indian art.

World Heritage Sites of India

(Date behind name is date of inscription)

Cultural • Agra Fort (1983)

• Ajanta Caves (1983)

• Buddhist Monuments at Sanchi (1989)

• Champaner-Pavagadh Archaeological Park (2004)

• Chhatrapati Shivaji Terminus (formerly Victoria Terminus) (2004)

• Churches and Convents of Goa (1986)

• Elephanta Caves (1987)

• Ellora Caves (1983)

• Fatehpur Sikri (1986)

• Great Living Chola Temples (1987)

• Group of Monuments at Hampi (1986)

• Group of Monuments at Mahabalipuram (1984)

• Group of Monuments at Patt adakal (1987)

• Hill Forts of Rajasthan (2013)

• Humayun’s Tomb, Delhi (1993)

• Khajuraho Group of Monuments (1986)

• Mahabodhi Temple Complex at Bodh Gaya (2002)

• Mountain Railways of India (1999)

• Qutb Minar and its Monuments, Delhi (1993)

• Rani-ki-Vav (the Queen’s Stepwell) at Patan, (2014)

• Red Fort Complex (2007)

• Rock Shelters of Bhimbetka (2003)

• Sun Temple, Konark (1984)

• Taj Mahal (1983)

• Th e Jantar Mantar, Jaipur (2010)

Natural • Great Himalayan National Park Conservation Area

(2014)

• Kaziranga National Park (1985)

• Keoladeo National Park (1985)

• Manas Wildlife Sanctuary (1985)

• Nanda Devi and Valley of Flowers National Parks (1988)

• Sundarbans National Park (1987)

• Western Ghats (2012)

Sourced and edited from http://whc.unesco.org/en/list/251



Sun Temple, KonarkOn the shores of the Bay of Bengal, bathed in the rays

of the rising sun, the temple at Konark is a monumental representation of the Sun god Surya’s chariot; its 24 wheels are decorated with symbolic designs and it is led by six horses. Built in the 13th century, it is one of India’s most famous Brahman sanctuaries.

Mountain Railways of IndiaTh is site includes three railways: Th e Darjeeling

Himalayan Railway (78-km long); the Nilgiri Mountain Railway (46-km long); and the Kalka Shimla Railway (96-km long). Th e Darjeeling Himalayan Railway, oft en referred to as the ‘Toy Train’ was the fi rst, and is still the most outstanding, example of a hill passenger railway. Opened in 1881, its design applies bold and ingenious engineering solutions to the problem of establishing an eff ective rail link across a mountainous terrain of great beauty.

Chhatrapati Shivaji Terminus (formerly Victoria Terminus)

Th e Chhatrapati Shivaji Terminus in Mumbai is an outstanding example of Victorian Gothic Revival architecture in India, blended with themes deriving from Indian traditional architecture. Th e building, designed by the British architect F W Stevens, became the symbol of Bombay as the ‘Gothic City’ and the major international mercantile port of India. Th e terminal was built over 10 years, starting in 1878, according to a High Victorian Gothic design based on late medieval Italian models. Its remarkable stone dome, turrets, pointed arches and eccentric ground plan are close to traditional Indian palace architecture. It is an outstanding example of the meeting of two cultures, as British architects worked with Indian craft smen to include Indian architectural tradition and idioms, thus forging a new style unique to Bombay.

Hill Forts of RajasthanTh e site, situated in the state of Rajasthan, includes

six majestic forts in Chitt orgarh, Kumbhalgarh, Sawai Madhopur, Jhalawar, Jaipur and Jaisalmer. Th e eclectic architecture of the forts, some up to 20 km in circumference, bears testimony to the power of the Rajput princely states that fl ourished in the region from the 8th to the 18th centuries. Enclosed within defensive walls are major urban centres, palaces, trading centres and other buildings including temples that oft en predate the fortifi cations within which developed an elaborate courtly culture that supported learning, music and the arts.

Th e temples at Khajuraho were built during the Chandella dynasty, which reached its apogee between 950 and 1050 AD. Only about 20 temples remain; they fall into three distinct groups and belong to two diff erent religions – Hinduism and Jainism. Th ey strike a perfect balance between architecture and sculpture. Th e Temple of Kandariya is decorated with a profusion of sculptures that are among the greatest masterpieces of Indian art





Capturing India’s Rich Essence

Mukesh Kumar Gautam

India’s heritage is a story that unfolds with every century and creates history with every landmark achievement that upholds its rich diversity. Th e assortment in nature, people, culture and tradition is an unforgett able experience. Each element in India leaves behind an indelible emotion and cherishes its existence in memories. Th e local exceptionality

when combined with the unifi ed grandeur across all states presents a kaleidoscopic vision for the world to behold. For centuries, India has been an intriguing cynosure for the world and the cultural infl uences of foreign invaders has mildly percolated within Indian customs to create an enhanced heritage in all forms – art, dance, music, sculptures, and architecture. India’s diversity is meant to be celebrated and made eternal by capturing its essence in the camera lenses.

Qutb Minar and its monuments, Delhi, located to the south of Delhi, is a complex with Qutb Minar as the centrepiece, which is a red sandstone tower of 72.5 metres (238 ft ) height with a base of 14.32 metres (47.0 ft ) reducing to 2.75 metres (9.0 ft ) diameter at the top. Built in the beginning of the 13th century, the complex of structures



comprises itineraries, the Alai Darwaza Gate (1311), the Alai Minar (an incomplete mound of the intended Minar or tower), the Qubbat-ul-Islam Mosque (the earliest existing mosque in India), the tomb of Iltumish, and an Iron Pillar. Th e complex is a testimony to the Islamic depredations during the period as seen from the materials used for building the complex which are those that were removed aft er destroying Hindu and Jain temples; a shining iron pillar of 7.02 metres (23.0 ft ) height (without any trace of rusting) erected at the centre of the complex, with inscriptions in Sanskrit, of the Chandra Gupta II period is a moot witness. History records its construction, initially by Qutubuddin Aibak in 1192, its completion by Iltumish (1211–36) and again by Alauddin Khalji (1296–1316). It underwent several renovations by subsequent rulers, following damage to the structures due to lightning. It was inscribed under the UNESCO World Heritage List under Category IV for its unique representation of the Islamic architectural and artistic excellence.

Humayun’s Tomb, Delhi, the fi rst tomb built with several innovations, set at the centre of luxurious gardens with water channels, was the precursor monument to the Taj Mahal (built a century later). It was built in 1570 and was inscribed as a UNESCO World Heritage Monument in 1993 for its cultural importance. It was built in 1569–1570 by the second Mughal Emperor Humayun’s widow Biga Begum (Hajji Begum). Its architecture is credited to Mirza Ghiyath


and its Mughal architectural style has been acclaimed as the ‘necropolis of the Mughal dynasty’ for its double domed elevation provided with Chhatris. Apart from the tomb of Humayun, the funerary also has 150 tombs of various members of the royal family. Th e tomb is built with a char-bagh (fourfold) layout with two gates, one on the south and the other on the west. It has a number of water channels, a pavilion and a bath. Th e tomb set on an irregular octagonal plinth has a raised dome of 42.5 m height, covered by marble slabs and decorated with chhatris.

Th e Lotus Temple, located in New Delhi, India, is a Bahá’í House of Worship completed in 1986. Notable for its fl owerlike shape, it serves as the Mother Temple of the Indian subcontinent and has become a prominent att raction in the city. Th e Lotus Temple has won numerous architectural awards and been featured in hundreds of newspaper and magazine articles. Th e Lotus Temple is open to all, regardless of religion, or any other distinction, as emphasised in Bahá’í texts. Th e Bahá’í laws emphasise that the spirit of the House of Worship be that it is a gathering place where people of all religions may worship God without denominational restrictions. Th e Bahá’í laws also stipulate that not only the holy scriptures of the Bahá’í Faith but also those of other religions can be read and/or chanted inside the House of Worship regardless of language; while readings and prayers can be set to music by choirs, no musical instruments can be played inside. Furthermore

no sermons can be delivered, and there can be no ritualistic ceremonies practiced.

Nainital is a glitt ering jewel in the Himalayan necklace, blessed with scenic natural splendour and varied natural resources. Dott ed with lakes, Nainital has earned the epithet of ‘ Lake District ‘ of India. Th e most prominent of the lakes is Naini lake ringed by hills. Nainital has a varied topography. Some of the important places in the district are Nainital, Haldwani, Kaladhungi, Ramnagar, Bhowali, Ramgarh, Mukteshwar, Bhimtal, Satt al and Naukuchiatal. Nainital’s unending expense of scenic beauty is nothing short of a romance with awe-inspiring and pristine Mother Nature.

Th e journey to the Holy Shrine of Mata Vaishno Devi is an enchanting journey, which culminates at the Holy Cave where she merged Her Human form with the astral form of her creators.

Th e former summer capital of the British in India, and the present capital of Himachal Pradesh, Shimla, has been blessed with all the natural bounties which one can think of. It has got a scenic location, and is surrounded by green hills with snow capped peaks. Th e spectacular cool hills accompanied by structures made during the colonial era create an aura that is very diff erent from other hills.

Sukhna Lake in Chandigarh, India, is a reservoir at the foothills of the Himalayas, the Shivalik hills. Th is 3 square km rainfed lake was created in 1958 by damming the Sukhna Choe, a seasonal stream coming down from the

Shivalik Hills. Th e lake was created by Le Corbusier and Chief Engineer P L Verma.

Goddess Durga is omnipresent, she takes diff erent forms and it is believed, that Goddess Durga’s ‘ansh’ is in every object that is both animate and inanimate. Th is celestial deity is worshiped for ten days, each year during the Durga Puja.

Lord Ganpati, the God of wisdom and the benevolent deity of the dynasty of Peshwas who ruled Maharashtra, inculcates a special culture in the state. Ganpati is the herald of auspicious beginnings and is the beloved deity of all.

Sources:UNESCO Report Bahai House of Worship Rafati, V.; Sahba, F. (1989). ‘Bahai temples’. Encyclopaedia Iranica.http://nainital.nic.in/www.maavaishnodevi.orgwww.hpshimla.nic.inhttp://www.durga-puja.org/about-us.htmlhttp://www.ganeshchaturthi.com/#

This article is authored by Mukesh Kumar Gautam, Founder – MKGpictures, a company that specialises in photography and focuses on arresting the subtle nuances of life, nature and people in camera. He may be contacted at [email protected]


Photo Courtesy: Mukesh Kumar Gautam



World in Awe of India’s Soft DiplomacyI R V Rao



India’s soft power in the form of yoga, ayurveda, etc has mesmerised the world. Lately, there has been a signifi cant increase in the awareness of Indian culture. Yoga has evolved over thousands of years to embrace

a wide range of styles and disciplines. Th e word yoga means ‘union’ in Sanskrit, the language of ancient India, and its signifi cance has never been more relevant today. Many people think that yoga is just stretching. But while stretching is certainly involved, yoga is really about creating balance in the body and mind through developing both mental strength and fl exibility. Th is is done through the performance of poses or postures, each of which has specifi c physical benefi ts. Th ere are many types of yoga that are practiced but almost all styles are based on diff erent postures and it’s important to fi nd the right style for you.

Jnana Yoga is the Yoga of KnowledgeTh is is not knowledge in the intellectual sense, but the

knowledge of Brahman and Atman and the realisation of their unity. Th ere are seven stages to Jnana, involving study, self-realisation, desire, and protection of the mind. Th is form of yoga develops indiff erence to objects and non-att achment with the world.

Hatha YogaIt is the most popular form of yoga practiced in the

western world. It is the use of yoga postures or asanas. Hatha yoga att empts to balance the mind and body via physical postures or ‘asanas’, purifi cation practices, controlled breathing, and the calming of the mind through relaxation and meditation.

Kundalini yogaIt is the most powerful form of yoga and focuses on

awakening the energy which is found at the base of the spine. Kundalini is, without a doubt, one of the more spiritual styles of yoga. It focuses on breath and movement and challenges its students both physically and mentally.

Swara YogaSwara yoga focuses on controlling and manipulating

the fl ow of breath into the nostrils. It demonstrates that the fl ow of breath dominates each nostril alternately and regularly. Th e fl ow of breath changes from one nostril to the other periodically, thus balancing the entire system, which is the key objective of Swara Yoga.

Raja YogaTh e aim of Raja Yoga is self-realisation or liberation.

However, the masters simplifi ed its technique so that everybody could practice it easily and safely to improve

their physical as well as mental health. Raja Yoga focuses on directing one’s life-force to bring the mind and emotions into balance. Th e aim is to focus on an object of meditation or on the lord himself.

Kriya YogaTh e practice of Kriya Yoga is based on breath, the brain

and the spinal cord. Th e goal of Kriya Yoga is union with the divine. It works with the spiritual energy located deep within the spine. Since Kriya Yoga is based on breath, you can practice this special technique during the whole day and in whatever activity you do.

Mantra YogaMantra yoga is an exact science where the mantras are

signposts to the wandering mind, steering it to an ideal state for meditation. Repetition of mantras completely engages the mind, off ering a means of gett ing closer to the divinity within.

Power YogaPower yoga is the western version of the Indian

Ashtanga Yoga which emphasises on developing one’s physical fl exibility and nurtures the desire for self-discipline. Power Yoga moves more quickly than regular Yoga, and as such gives more cardio output. In regular Yoga, the focus is on holding one’s posture, but in Power Yoga the focus is on the movement.

Bikram YogaBikram Yoga class is a 26-posture (Asana) series that

is done in a heated room set to 105 degrees. Every posture is intended to be practiced in a given order, to the best of one’s ability. Th e heated rooms ensure the fl ushing out of toxins, among other benefi ts. Th is yoga is a medicine, a process by which the individual can reverse the eff ects of poor posture and chronic ailments. In a relatively short period of time and with regular practice, the body will transform, gaining in strength, stamina and fl exibility.

Power Yoga moves more quickly than regular Yoga, and as such gives more cardio output. In regular Yoga, the focus is on holding one’s posture, but in Power Yoga the focus is on the movement



Ayurveda - Th e Science of Life Ayurvedic medicine — also known as Ayurveda

— is one of the world’s oldest holistic (whole-body) healing systems. Derived from its ancient Sanskrit roots — ‘ayus’ (life) and ‘ved’ (knowledge) — off ers a rich, comprehensive outlook to a healthy life; its origins go back nearly 5,000 years. Ayurveda was expounded and practiced by spiritual rishis, who laid the foundations of the Vedic civilisation in India. Th ey organised the fundamentals of life into proper systems.

Ayurveda off ers a unique blend of science and philosophy that balances the physical, mental, emotional and spiritual components necessary for holistic health. Th e best thing about Ayurvedic treatment is that they are individualistic. Th e treatments are based on the fi ve elements of the universe — Earth, Fire, Water, Air and Space. According to Ayurveda, each person will be infl uenced by certain elements more than others. Th is is because of their prakriti, or natural constitution.

Ayurveda categorises the diff erent constitutions into three diff erent doshas:

Vata Dosha: Th is is where the air and space elements dominate.

Pitt a Dosha: Th is is where the fi re element dominates.

Kapha Dosha: Th is is where the earth and water elements dominate.

An Ayurvedic physician takes into consideration these doshas to measure the equilibrium levels of the body and accordingly a wellness path is organised. For each

element, there is a balanced and imbalance expression. An important goal of Ayurveda is to identify a person’s ideal state of balance, determine where they are out of balance, and off er interventions using diet, herbs, aromatherapy, massage treatments, music, and meditation to re-establish this balance.

Spa treatments that are based on Ayurvedic knowledge work at a very deep level to thoroughly cleanse the body of toxins and remove physiological imbalances. Th e treatments can be for general health and wellness or catered toward treating a specifi c ailment. Some of the well-known ones that assure radiance and invigoration include:

AbhyangaTh e Abhyanga therapy treats the whole body

physically, mentally and emotionally while balancing the doshas. Its rhythmic motion helps to relieve joints and muscles from stiff ness and makes all body movements free.

ShirodharaTh is is a powerful Ayurvedic treatment that calms the

nervous system and restores the body’s natural ability to heal. Lukewarm oil is poured in a continuous stream onto the forehead, while one receives a gentle massage on the head.

Snehana Th erapy Snehana is a warm oil therapy that is applied to the

client. Snehana means ‘love’ and through this nourishing, nurturing, warming therapy the vata dosha is brought back into balance. It is also called the ‘potli massage’ or ‘herbal pouch treatment.’

SwedhanaSwedhana is a traditional steam therapy designed to

open tissues with the saturation of heat and moisture. Once the tissues are open, deep seated toxins can be released through the pores of the skin, thereby reducing infl ammation, improving circulation, and promoting healing and restoration.

UdwarthanamaTh is is a typical deep and dry massage using herbal

powders. Th e dry powder massage helps to reduce blood cholesterol and obesity, while imparting mobility to the joints and strengthening the muscles.



PanchakarmaPanchakarma (fi ve actions) is a cleansing and

rejuvenating program for the body, mind and consciousness. It is known for its benefi cial eff ects on overall health, wellness and self-healing. Th e Panchakarma therapeutic process appears quite simple in its application. However, its eff ects are powerful and eff ective. It is a unique, natural, holistic, health-giving series of therapeutic treatments that cleanses the body’s deep tissues of toxins, opens the subtle channels, and brings life-enhancing energy thereby increasing vitality, inner peace, confi dence and well-being. It is important to note that the expertise and guidance of a Panchakarma specialist is a must for the diagnosis and therapy for optimal results.

India - Th e Wellness DestinationTh e Ayurvedic diet is one that not only nourishes the

body but also restores balance of ‘Tridoshas’, which is very much essential for maintaining good health. Depending on our dosha, or constitutional type, some foods can be benefi cial, and others should be avoided. Th ese same foods may have the opposite eff ect on another dosha. Th e science of Ayurveda teaches that the right diet is the foundation of healing. For maximum health and vitality, the ideal diet is one that balances our doshas.

Ayurveda categorises food under three kinds: Satt vic, Rajasic and Tamasic.

Th e main consideration when categorising foods as Satt vic, Rajasic, or Tamasic is their eff ect on the human organism. Do they create heat or dryness in the body? Do they create extreme cold? Do they stimulate the human organism —including the glandular secretions and the psy-chic centres (chakras)? Do they have an extended nourish-ing eff ect? What are the aft ereff ects? Are the foods readily digestible, or do they take some time and energy to digest?

Satt vic is a trait of the mind which induces harmony, balance and clarity. Fresh fruits and vegetables, milk, dry fruits, nuts, honey, jaggery, herbal teas are some of the foods that promote satt va.

Rajas is the feature of mind which induces energy and action, and the need to create. Ready to eat canned food, ice-cream, paneer, garlic, vinegar, pickles are examples of foods that promote Rajas.

Tamasic is an att ribute of the mind which evokes darkness, inertia, resistance and the need to stop. Alcohol, all meats and fi sh, eggs, tea, coff ee, fried food etc promotes tamas.

Food not only nourishes the body, it aff ects the mind and consciousness as well. As our physical constitution is characterised by diff erent proportions of Vata, Pitt a, and Kapha, we also have a mental constitution determined by the satt va, rajas, and tamas. Th ese three qualities awre universal and equally necessary to maintain our psychological balance.

Spa Breaks India is a hot favourite wellness destination among

tourists. Seeking Ayurveda and other alternative therapies, many tourists plan spa holidays across various places in India. Some of the must visit places to recharge and rejuvenate are:

As our physical constitution is characterised by diff erent proportions of Vata, Pitt a, and Kapha, we also have a mental constitution determined by the satt va, rajas, and tamas. Th ese three qualities awre universal and equally necessary to maintain our psychological balance


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Kaya KalpIn close proximity to the Taj Mahal is the ITC

Mughal, Agra which houses Kaya Kalp — Th e Royal Spa. Th is premier resort and spa, is spread over 35 acres and off ers a truly royal Mughal experience with its exquisite interiors, impeccable service and extraordinary cuisine. Kaya Kalp — Th e Royal Spa, is India’s largest spa at over 99,000 square feet. With a harmonious blend of Mughal and contemporary design, it off ers an oasis of tranquility, where holistic therapies and services are off ered in royal style. Eight luxurious treatment suites provide varied experiences of opulent luxury, including a Royal Mughal Hamam — the fi rst luxury hamam in India, outdoor rain showers in enclosed gardens, a regal beauty saloon, and a water therapy room with steam, whirlpool, and sauna.

Contact details: ITC Mughal, Agra, Taj Ganj, Agra, Utt ar Pradesh-282001Website: www.itchotels.in

Ananda in the HimalayasLocated near Rishikesh, Ananda in the Himalayas

is the world class destination spa. It is the fi nest spa in the country and has beautifully blended the traditional Indian system of Ayurveda with the more contemporary western spa approach. Th e spa provides unique and exotic massages, spas and water therapies. Body treatments here include various types of exfoliation and body wraps treatments. Once the residence of the then Maharaja of Tehri-Garhwal, it is dedicated to today’s traveller, who is looking for the ultimate escape.

Contact details: Ananda in the Himalayas, Th e Palace Estate, Narendra Nagar, Tehri-Garhwal, Utt aranchal- 249175 Website: www.anandaspa.com


61

Sereno SpaLocated in the Park Hyatt Goa Resort and Spa,

Sereno Spa is an unique health and wellness oasis that off ers holistic treatments through a blend of unique therapies. A visit there promises to be a transformational experience, integrating mystical traditions and philosophies of old world India with the contemporary spa principles of aromatherapy and energy healing. Spread over 36,000 sq feet, it is an award winning wellness spa destination set in the lush beachfront gardens in the idyllic regions of south Goa.

Contact details: Park Hyatt Goa Resort and Spa, Arossim Beach, Cansaulim, South Goa -403712Website: www.goa.park.hyatt .com

Jiva SpaLocated at the Taj Lake Palace, Udaipur, Jiva Spa is

in a league of its own. Th e place off ers exquisite suites with special arrangements and décor for an opulent spa experience. Most of the massages and therapies are off ered on the boat. Th e royal boat blends the aura of the Taj Lake Palace, Udaipur and the rejuvenating experinece of the Jiva Spa. Th is majestic vessel off ers a dramatic lake view of the hotel. A true fl oating spa, on board is a double spa suite, relaxation lounge, steam room and shower, while on deck you’ll fi nd a soaking pool, day bed and dining area. Spa journeys combine Indian-technique massages with treatments like scrubs and wraps, using local herbs and spices.

Contact details: Taj Lake Palace, Udaipur, P.O. Box No 5, Lake Pichola, Udaipur-313001 Website: www.tajhotels.com

Kairali Healing VillageExperience Ayurveda in the land of its origin,

South India. At the Kairali — Th e Ayurvedic Healing Village, the Ayurvedic treatment is also about gett ing back to nature. Th e resort is set amongst 50 acres of lush land in the Palakkad district of Kerala, and there is even a stream running past each cott age. Like a refuge among the wilderness, this health resort has pollution free surroundings with soothing waterfalls and fountains. Designed to be the fi rst of its kind in the world, this resort combines the healthy integration of healing, ayurvedic and fi tness programmes that restores vigour and zest back into your life.

Contact details: Kairali — Th e Ayurvedic Healing Village, Olassery, Kodumbu, Palakkad District,Kerala-678551Website: www.kairali.com

Ayurveda believes that the right diet is the foundation of all healing.

The writer is the Asst. Director, India Tourism, Dubai


1. Ann Marie Everitt, Embassy of the USA2. Dal Lake, Srinagar, Kashmir Alejandra Guastavino, Argentina3. Flower market (looking down on lots of activity with marigolds),

Frederic Erdt, Germany4. Christian Wagner, Germany 5. Alejandra Guastavino, Argentina6. Lady in Sari, Frederic Erdt, Germany7. Natalie Daalder, Australia

1 2 3

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5

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Glimpses of India

7

A Slice of India’s North East

Manipur A Unique Cultural MosaicSalam Rajesh

Manipur has a fairly interesting mix of people and bio-geographical features. Although the land mass is limited, with only 22,327 sq km in total area, there is

pluralism in its native population and its bio-geographical character. Around 90 percent of the state is hill area and the remaining 10 percent is plain area mixed with rolling plains and river valleys. Th e hills are inhabited by more than thirty ethnic tribes having diff erent languages, dress and costume, living habits and customs. Th e plain is inhabited by a mixed population of Meitei, Chakpa, Meitei Pangan (Muslims) and tribal communities.

Th e pluralism in Manipuri society presents a unique cultural mosaic. While the tribes have an assorted variety of ritual worships and festivals, dress and costume, dance and music, craft and folk traditions, there is equally an interesting variety in Meitei and Chakpa cultural properties. Lifestyle, typical of house types with ethnic interpretations and expressive dress code, is the focal point of an interestingly varied cultural mosaic. Th ere is a large repository of cultural element in the form of the numerous performing art styles such as folk and classical dance and music, and visual art such as the peculiar and characteristic wood carvings and other relief sculpture on traditional tribal houses, and design patt erns and motifs on clothing used by the native population.

Th e Element of Nature in Folk TraditionsIn literal terms, Manipur is endowed with nature’s best.

Th is small state in the far east of the Indian subcontinent presents an interesting phenomenon for study to nature observers. Th e diversity in geographical character presents a composite picture of mountainous terrain, subalpine meadow, grassland, subtropical rainforest, deciduous forest, rolling plains and river valleys. And hence, there is a wide diversity of fl ora and fauna in the state.

Flowers in Manipur are associated with cultural traditions of the native people. Specifi c fl owers are culturally relevant to particular group of people or a community. For instance, the white pseudo rhododendron fl ower that blooms in the uplands of Laimaton range is associated with the folk tradition of the Kharam tribe. During the Nungah Rathor Kahoi festival in spring, the fl ower is adorned by the teenagers as sign of freshness of youth. Interestingly, according to Rongmei folk tradition, the red rhododendron fl ower (Rhododendron arboreum) is conceived as female (or, the concept of femininity)



and the white rhododendron fl ower (Rhododendron johnstoneanum) as male (masculine gender).

Th e Kombirei (Iris bakeri) is relevant to the Meitei. Th e transition of spring and summer seasons is embodied in the fragrance of the iris, which has inspired many literatures singing its beauty. Th e appealing soft azure blue colour of the Kwaklei higok (Vanda coerulea) has left its imprint on Meitei textile, wherein we have the ‘Kwaklei higok machu’ choice of colour in women’s wear such as the traditional Innaphi. Th e Kwaklei higok fl ower is also adorned by the Meitei noblemen and courtiers on their headgear during the observance of the Kwak-tanba (shooing away the crows) ritual, which is associated with the act of driving away the evil elements and to usher in well-being and prosperity to the community.

Th e fl owers of the peach (Chumprei mapan) is culturally relevant to the Maomei tribe. Th e soft pink colour in the traditional shawl and lower garment of the Maomei women is taken from the hue of the peach fl ower that blooms during March-April. Interestingly enough, the colours of the rainbow fi nd refl ection in the clothing of the Poumai women and in the festive headgear of the Poumai men. Th ere are many such elaborate instances to show the closeness that the native population has with the elements of nature.

Nature and its Infl uences in Folk Art Performances

Performance styles vary in a multi-plural ethnic society. Th e range of thematic treatment also varies according to the diff erent belief systems and practices in life. Folk dance and music are a form of expression of a community’s celebrations in life - in conformity to their beliefs in diff erent interpretation of the passages in life, such as their belief in origin and migration, of their vigourity in hunting and in batt le, of their closeness to the elements of nature, and of their ritual att achment to the various life-cycles including birth and death rituals.

In the context of the tribes in the hill districts of Manipur, the performance of dance, song and music is an integral process of the ritual celebrations in life. Annual and periodic ritualistic festivals are incomplete without the performance of dance, song and music, which in a sense adds vigour and recreation to the otherwise mundane life of an agrarian community who spend most of the time in the seasonal year working in the jhum fi elds or harvesting minor forest produces.

Man and nature are entities that have bearings upon one another. Th e inter-dependence is unmistakeable. Man lives off nature, and whatever man commits is refl ected upon nature. Man, by natural instinct and continued

observation of nature, have taken much from nature to give expression to art and craft s, dance and music.

It is typical of tribal communities to draw elements from nature to give shape to various forms of dance. For instance, imitation of the fl ight of the hornbill is a common feature among the Teddim-Chin and Zoumi groups. Th e movement patt ern of the serpent is seen among the Meitei, Kharam, Chothe and Zeliangrong. Th e movement patt ern of spading, sowing, weeding and harvesting of crop is a natural element in diff erent dance forms of the Meitei, Tangkhul, Maomei, Maram, Poumai, etc. Th e enactment of the hunterer-gatherer lifestyle is a common feature in the dance forms of many of the tribes in the state, thus exhibiting their adaptation to the natural surroundings for their very existence.

Apart from the actual imitation or recreation of the element of nature and natural processes in dance, the adaptation of natural colours and aspects of nature in the dress and costume of the dancers is also notable. We have a glaring example in the vibrant costume of the tribes in the northern parts of Manipur. Th e voluminous yet interesting headgear worn by the Maomei, Poumai and Maram folk dancers is a re-creation of the rays of the sun. Matching this is the imitation of the colours of the rainbow that we see in the vibrant headgears of men and in the dance costumes of women. Th e combination is striking, and it gives us the feeling of being one with the elements of nature.

Talking about adaptation, there is a visible contrast in the movement patt ern of the native people who live in the uplands and those who live in the lower plains. Adaptation to a lifestyle in rough terrain had given shape to a vigorous, bold movement patt ern that we see in the dance forms of the Tangkhul, Maomei, Maram, etc. Th e slower pace and less vigorous movement patt ern that we see in the dance forms of the Kuki-Teddim Chin groups indicate a lifestyle adapted to less inhospitable terrain. Th e use of walking sticks in dance by Maomei or Tangkhul women is an indication of their upland living habit wherein they need support to climb up the steep mountain sides. Th e vigourity of their dance movement is an indication of their tough lifestyle.

Spirituality is a binding factor that brings man and nature closer to one another. Th e belief of man in spirituality is given expression in the process of ritual dance. Th is is defi ned in the ritual process of communicating to the divine beings. During the ritualistic festival of Chiithuni of the Maomei tribe or the Meitaal kaap of the Kharam tribe or the Gaan-ngai of the Rongmei tribe or the Yarra of the Tangkhul tribe, it is traditional to communicate to the divine beings or the spirits by chanting ‘hoi-hoi’ in chorus. Th e vigourity of the chanting creates an exciting, colourful

performance. Dance, in itself, becomes a medium of enfolding man and nature in one single entity.

Summing upNature and its elements are, therefore, amply

refl ected in the culture and lifestyles of the diff erent native population living in the uplands and the plains of Manipur. Th e closeness to nature is refl ected in the way how the native people had adapted aspects of nature in their clothing, ornamentation and decor of their traditional houses. Symbolic interpretations or representations of the fl owers, insects, birds, animals, and the heavenly bodies are seen in the textile design of the native people, and in the architectural design of their traditional houses. Similarly, we fi nd the expressions of the beauty of fl owers, birds, animals, lakes and hills in the folk songs and dances of the native people. In summing up, it would not be an exaggeration to say that for the native Manipuris, nature is very much a part of their lives.

The writer is a researcher based in North East

Courtesy: neScholar Magazine, North East India


67

The Sound of Distant DrumsMina Zoliani

If you walk around any town in Mizoram on a Sunday morning, you will most probably hear the ‘boom-thump-thump-boom’ of drums beating in churches all around you. It is the sound of the drums that quicken the pace of church-goers as they hurry, afraid to be late for service. Called ‘khuang’ in the Mizo language, drums have always been an intrinsic part of

Mizo culture and history.From days old, Mizos have handed down generations

mainly three types of traditional drums - khuangpui (the big drum), khuanglai (the medium-sized drum) and khuangte (the small drum). It would not be wrong to say that any social, cultural or religious event of the Mizos today centres around these drums. Whether it is a joyous occasion or a death in the family, a festive celebration or a religious gathering, the moods and emotions of the Mizo people are led and tempered by drum-beats.

I met 68-year-old Zathuama, who lives in Lunglei in South Mizoram, and is famous for the perfect-pitched drums that he makes for a living. He was born in Changpui, when chiefs still ruled over most villages in Mizoram. His fascination with drums began when as a young boy, along with other children of his village, he would run to where the men and women gathered together on weekend evenings to drink rice beer and sing and dance, aft er a week’s hard toil in their fi elds. On such occasions, in which the whole village including the chief himself participated, songs were lustily sung to the beats of the medium-sized drum ‘khuanglai’. Th e throbbing drum-beats seduced the people to dance in abandon, forgett ing the tiredness of their bones and the week-long burning sun on their backs. Th is drum was about 14

inches around the middle and tapered to about 10 inches towards both ends, a bit similar to the traditional ‘dholak’ and unlike the present day modifi ed drums. Zathuama told me that drums similar to this original shape are still used in ‘Tuichangral’ or the villages on the eastern part of Mizoram, close to the Myanmar border.

Th e tribal Mizos surrendered to Christianity aft er the British entered the Lushai Hills (as Mizoram was known then), and were soon followed by zealous Welsh missionaries eager to convert people. Th e missionaries on seeing the mesmerising eff ect of the drums on the natives, who fl ew into frenzied dance over the beats, soon put a ban on the use of drums in church and other Christian gatherings. Th is proved a major setback for the traditional drums, which had till then held centre-stage in the customs and way of life of the Mizos. Th us declared ‘worldly’ by the missionaries, drums and dancing were continued to be frowned upon for a long time even aft er the foreigners left Indian shores. However, as Mizos could never be happy without their khuang, bereft of which they could neither sing nor dance to their heart’s content, drums were once again slowly admitt ed into the church services and other Christian fellowships. Th ere was now no stopping the re-popularity of the drums, which spread like raging fi re and Mizos once again started singing and dancing like true-blue Mizos, quickly leaning away from the rather stiff notes of Western tonic sol-fa and the even stiff er atmosphere that it had brought to their gatherings. Th e importance of drums in Mizo social, cultural and religious history is marked even further by the fact that when Mizoram celebrated 100 years of Christianity in the state in 1994, one of the endeavours was to fi nd the biggest tree trunk and make the biggest drum in the world to mark




the celebrations. Th is huge centenary ‘khuang’ is now proudly showcased in the courtyard of the Mission Veng Presbyterian Church in Aizawl.

Mizos by tradition have a very close-knit community, fl ocking to each other in times of joy or sorrow. When there is a death in the community, every Mizo family sends at least one representative to the funeral service and to console the bereaved family. Th ey have traditional dirges or ‘khawhar in hla’, which they sing to keep the family from missing their dead ones too much, and as these songs are mostly laced with the Christian promises of a sorrow-less life in heaven, they serve to comfort the family by reminding them that their dead ones are in a far bett er place than this weary world. Th is is accompanied by a duet of big and small khuang and men who are oft en specially invited for their services. Even today, this condolence-singing with drums or ‘khawhar in lengkhawm zai’ goes on for three days; and during this period, young boys and girls help the family by doing all the house chores of cleaning, cooking and even serving the guests.

Th e big drum or ‘khuangpui’ is now used mostly in churches, when people sing hymns set to the Western tonic sol-fa, which is largely favoured by the younger crowd. When the singing switches over to the Mizo style preferred by the elders; both the big and small drums are used together. Although Mizos are expert singers and can easily swing from one style to the other, it is the second style of

singing ‘lengkhawm zai’ with both drums that brings the people to their feet and makes them dance and wave their hands in high fervour in times of praise and worship. Th at is the magic of the ‘khuangte’!

I asked Zathuama where and from whom he learnt to make drums, whether it was a family profession handed down generations. Imagine my surprise when he told me that he made his fi rst drum in 1987, when he was already 41-year-old. “Th ere was only one set of drums in our entire locality, and one day it so happened that there were two consecutive deaths in the area and we were in a fi x. It then struck me that I could try my hand at making drums and solve the problem,” he said. He told me that aft er he made his fi rst set of khuang, he was also the fi rst one to use it at a funeral service and the sound was much appreciated by the people, who praised his handiwork saying the sound of his drums made them sing louder and their feet lighter while dancing. Th is is how he got into drum-making, even while he was still in government service.

“Th e demands never stopped from that day onwards. So I started gett ing up early in mornings and spent an hour or two making my drums. In the evenings when I returned home from offi ce, I would go straight to my litt le workshop without even entering the house and continued my work. Th is oft en made my wife shout at me, asking me to put an end to my new-found craze for drums,” he says with a nostalgic smile. He lost his wife in 2006, and he told me that once she understood that there was no

talking him out of his drum-making business, she heartily

supported him and would sit beside him helping him with litt le chores. He said he misses the tea and snacks she used to bring him when he was totally immersed in his work, worried because he sometimes even forgot meals and would continue late into the night. “Th e sound of drums would ring in my ears and my heart as I made them, and I always knew exactly how they would come out and whether the pitch would be right, because the drums that I made were already born deep inside me,” he told me. Aft er his pension in 2010, he could fi nally take up drum-making as a fulltime profession, soon earning his well-deserved title of ‘King Drum-maker’ and is now oft en invited to be the resource person at seminars and workshops on Mizo cultural history. Th e modern drum, the kind that Zathuama makes, came into popular use sometime in the 1980s, using the same traditional rawhide and hollow tree trunks. Zathuama told me that cow skin was the best for big drums because its thickness gave a nice bassy ‘boom’ sound. For the medium and small drums, he preferred to use deer skin, as it was thinner and had a higher pitch. In the traditional Mizo style of singing, both the big and small drums are used simultaneously, the smaller ones beaten faster in perfect tandem with the slower pace of the big ones. Th is style of two drums beaten at the same time is today used in all social, cultural or religious dos.

ytalking him out of his drum-making

business, she heartily

Th e modern drum, the kind that Zathuama makes, came into popular use sometime in the 1980s, using the same traditional rawhide and hollow tree trunks. Zathuama told me that cow skin was the best for big drums because its thickness gave a nice bassy ‘boom’ sound



Photo Credit: Sangtea Leo Pachuau (Mizoram)


The writer is the Information Public Relation Offi cer, Govt of Mizoram

Zathuama proudly told me that except perhaps for a handful of churches, all the drums used in Mizoram today are made by him. He has sold 561 small drums, which he sells for INR 2500, and 448 big drums, which costs INR 7500. His customers include Mizos living abroad and even tourists, who want to take back a piece of Mizo culture with them. Till April 2015, his total earnings totalled up to INR 27, 15300 and he proudly tells me, as he points around his beautiful litt le house, “My drums have paid for most part of the building and the beautiful wooden linings on the walls. It is a talent from God, and I truly feel that I am serving Him by making drums that accompany the beautiful songs sung in His praise.”

Mizos also have a number of traditional dances - cheraw, chheihlam, sarlamkai, parlam, chawnglaizawn, khuallam. Th ese were performed in diff erent festivals, at rituals, in honour of guests and also to mark victory at war. In each of these dances, it is the small drum ‘khuangte’ that controls the steps and the dancers sway and swirl to the drum-beats. Most of the musical instruments used at the time of festivals and dances were simple percussion instruments such as the khuang (drum), dar (gong), seki (mithun horn), bengbung and talhkuang (both indigenous xylophones), as well as a variety of wind instruments such as rawchhem, tumphit, mautawtawrawt, phenglawng and

buhchangkuang. Among these, it is the drum that had ruled and still rules any music composition and singing.

An interesting folklore I’ve heard is that of the fi rst Mizo songstress, Hmuaki, who composed many beautiful songs and couplets. So good was she with her talent for instant poetry that the simple-minded villagers, instead of respecting her talent, decided that she was a threat for the Mizo tribe as she was so quick in composing songs, she might fi nish composing ‘all the songs in the world’ and there would be nothing left for others to compose. So they decreed that Hmuaki be buried alive, with the litt le drum that she carried around with her wherever she went, composing and singing her songs. Th e story goes that aft er they buried her, for the following three days and nights the villagers could hear her litt le drum beating from inside the grave. Th en there was silence and the villagers heaved a sigh of relief that the great composer was now dead and the stage once again empty for other talents.

Every time I read this story, I can hear her drum-beats resounding from her grave and it gives me goose-bumps all over. Poor woman! If she were alive today, she might have been awarded the ‘Padma Shree’, who can tell? Sadly, she was born at the wrong time. However, her great legacy lives on and Mizoram is proud of the many women writers, poets and composers, who today rub shoulders equally with their male counterparts. We can boast of famous women writers and composers such as Lalsangzuali Sailo, Buangi Sailo and Khawlkungi, to name just a few, who are much respected and have been awarded with national honours in literature.

“So, what actually goes into making a drum?” I asked Zathuama. With a sprightly spring in his step, he led me down to his litt le work shed and showed me the tools and explained the simple methods that were used in making a Mizo drum. He got his regular supply of rawhide from local butchers and the tree trunks were sent to him from Zawlpui village. Th e fi rst step was to carefully slice and shave away all the meat, fat and hair from the skin, which was then left out to dry in the sun for a day or two. Th en soaked in water in which wood-ash had been mixed that made the hard dry skin soft and malleable again. Th e tree trunks he chopped to the desired size and diameter, smoothening out the outside and leaving the inside a bit rough and uneven. “Th e rough inside does not disturb the pitch, in fact it modulates it so that the vibrating sound does not go out of hand,” he told me. To complete it all, he put round metal rings at both ends, which clasped the skin tight, so that even if the skin loosened aft er prolonged use, it could be screwed tight back to its original tautness. Th is was a trick he said he fi rst saw in a set of drums on one of his visits to the capital Aizawl. “But the round iron clasps I

saw were not as smooth and well-designed as mine are,” he told me, pointing to his drums, “they had merely put the iron rings around the ends so that the hide would not slip while beating the drums.” So, aft er he returned home, he sat down and designed his own patent of iron rings for his drums and to prove that it was worth its weight, he showed me how it could be easily loosened or tightened for the desired pitch, and told me his design was ‘foolproof ’.

“How many students do you have? Are there others who have shown an interest in learning your trade?” I asked him. Zathuama shook his head, pursed his lips and told me, “Since my wife passed away, no one has shown much interest in my work, except my litt le grandson who helps me aft er school. I know of only one other man in Aizawl who makes these drums.” I can sense his sadness that the younger generation did not value tradition and culture anymore, and was not keen on learning this age-old craft smanship because it meant hard manual work and did not bring quick money. I put my arm around his rather frail shoulders, gave him a squeeze to show my appreciation and our smiles were enough to say that we will both not give up in telling a Mizo story to all who cared to listen.

It is late evening now and I bid goodbye to Zathuama, thanking him for being a gracious host and for his patience with my many questions. I have decided that I will make a short documentary fi lm on his life and his drums. Maybe that will inspire a few young people to learn the trade and keep this very vital Mizo tradition alive for future generations.

As it is with other indigenous races all over the world, Mizoram and the Mizos are somewhat lured into the modern-day trap of thinking ‘all that glitt ers is gold’. And yes, perhaps years will pass in pursuit of this modern ‘gold’, but I know and I trust that someday my people will once again heed to the sound of the distant drums and the eff orts of Zathuama in keeping our tradition alive will not go in vain.

A salute to you, Zathuama! May your tribe increase!

Assam The Colourful Heritage Capital of North EastShahida Parveen Choudhury

Assam is the gateway to the north-east, a state known for its breathtaking scenic beauty, rarest fl ora and fauna, loft y green hills, vast rolling plains, mighty waterways and a land of fairs and festivals. Known in the ancient lore as the kingdom of Pragjyotisha and Kamrupa, the capital Pragjyotishpura having been situated in or near Guwahati. It originally included in addition to modern Assam, parts of modern Bengal and modern

Bangladesh. Th e name Assam is of recent origin. It came into use aft er the conquest of Assam by the Ahoms. It is also known that ‘Assam’ is derived from the word “Asama” meaning uneven. Assam is almost separated from central India by Bangladesh. Nagaland, Manipur and Myanmar bound it in the east, Bengal in the West, Bhutan and Arunachal Pradesh in the North and Meghalaya, Bangladesh, Tripura and Mizoram in the South. It is dominated by the mighty Brahmaputra, one of the great rivers of the world (length equal to 2900 kms), which not only has a fertile alluvial plain for growing rice, but also is famous for tea. Earthquakes are common.

Th e capital of the state is Dispur and the largest city is Guwahati, which is also one of the fastest growing cities of the world. Guwahati has many places of interests with its lively urban culture, ancient temples, scenic natural features, and the recreational activities. Guwahati is also situated within a radius of 200 km from many blessed destinations such as natural parks, wildlife sanctuaries, hill stations, and colourful cultural landscape.

Th ere are several interesting and lively places inside the city.

Th e key att ractions of the city are:

River CruiseOne of the major att ractions of Guwahati is the River Cruise on the

Brahmaputra. To go on a cruise on the mighty river is a thrilling experience. Sitt ing aboard luxurious cruise vessels, tourists can relax and enjoy the beautiful view of the sunset in the evening hours.


Umananda TempleSituated on the peacock island in the middle of the

Brahmaputra, this temple, built in 1664, is a Shiva temple. It is believed that Lord Shiva by using his third eye burnt Kamdeva at this place. Every year Shivaratri is celebrated in this temple in all glory. Many believe the island to be the world’s smallest human inhabited island.

Srimanta Shankardev KalakshetraShankardev Kalakshetra is a place that visitors

should defi nitely go to, while in Guwahati. Shankardev Khalakshetra gets its name from the great Vaishnava saint and scholar of Assam, Srimanta Shankardeva. It is a multipurpose cultural complex that aims at protecting, promoting and preserving the cultural heritage of the diff erent communities and tribes of Assam and the entire northeast.

ShilpagramSituated adjacent to Srimanta Shankardev Kalakshetra,

this is the one and only Craft s Village of the North East Zone Cultural Centre (NEZCC).It had made landmark in the promotion of the varied arts and cultures of the people of the North-East.

It also holds regular cultural events throughout the year in its open air stage auditorium.

Nehru ParkSituated at heart of the city, at Panbazar, near Cott on

College, Nehru Park is another place that visitors should never miss. Th e highlights of the park are the concrete statues of Bihu dancers, Ojapali dancers, Deodhani dances, Jhumur dances, Bhoor tal dances etc. Th ere are altogether 45 concrete statues depicting these various aspects of Assamese life and culture.

Assam State MuseumAssam State Museum home to many rare artifacts of

the Ahom Kingdom. Many articles, equipments, dress materials belonging to the glorious and rich past of Assam can be found here. Many antiques, statues, manuscripts, writt en on Shashi-paat and other valuable articles are also preserved and displayed here.

Kamakhya TempleKamakhya Temple situated some 5 km. away from

the main city on the Nilachal Hill, is one of the most sacred Hindu shrine and place of worship of India. Th e female power is worshiped here in the form of Goddess Kamakhya. Ambubachi Mela is celebrated every year in the middle of June in this temple, to celebrate the end of the Goddesses’ menstrual cycle. Huge numbers of devotees from across the country gather here during this auspicious festival.



Shahida Parveen Choudhury is an Assamese by nature – she cherishes Assam as the melting pot of a large number of multi-ethnic, multi-linguistic and multi-religious societies and hence believes the state is aptly called ‘India in Miniature’

Dipor-BilA huge wetland, Diporbil is a great way to escape the

crowd of the city. Home to many species of birds, some of which come from distant lands, the lake has been tagged as an important bird area by various organizations. Sometimes, in the winter, one can see a group of more than 10,000 birds.

Dance and Music of AssamAssam is known for beautiful dance and music form of

the Assamese. Each occasion is observed with enthusiastic fervour in Assam. Celebrated with much vigour each form of dance and music is Assam is extraordinary. Some of the famous dances of Assam are Bihu Dance (the most popular dance performed by young boys and girls characterised by brisk stepping, fl inging and fl ipping of hands), Satriya Nritya, a beautiful classic dance of Assam, Bhor Tal Nritya , an extension of Sankari culture, Chah Baganar Jumur Nach ( Jumur dance of tea garden), Bagurumba dance of Bodos, Mishing’s Ali Ai Ligang. Th ere are many other folk dance forms in Assam like Husari and Bihunas, Dhuliya and Bhawariya, Deodhani, Zikirs, Mohauhau or Mahkheda and Apsara-Sabah.

Bamboo and Cane Culture of Assam Assam is rich in sylvan resources and most of its forests

are richly stocked with bamboos and canes of various species. Bamboo is a raw material of great versatility and forms an integral part of the lifestyle and economy of Assam. Special mention may however be made of the forests of Mizo Hills, Cachar, Mikir and North Cachar Hills, Nowgong and Lakhimpur districts. While touring in the hill districts, one sometimes wonders at the vast expanses of bamboos and canes. Th e important species of bamboos of economic value are the Muli (Melocanna bambusoides), Dalu (Teinostachyum dalloa), Khang (Dendrocalmus longispatnus), Kaligoda (Oxytenanthera nigrociliata) and Pecha (Dendrocalamus Hamilton-ii). Th e Muli and the Dalu have great commercial importance, the former for pulping, constructional and fencing purposes, and the latt er for the mat and basket industry.

Th e making of bamboo and cane products is perhaps the most universal of all the craft s practiced by a large number of artisans scatt ered throughout the State. It is practiced as a household industry and no mechanical

MajuliOne of the largest river islands in the world is the island

of Majuli, located in the midst of the mighty Brahmaputra River. Back in the days, the island was spread across an area of more than 1200 square kilometers. However, erosion of land because of the river has left it to a size of just 420 square kilometers today. Nevertheless, the island is a rich bio-reserve. It is visited by several migratory birds which makes it a fantastic place for birdwatchers. Colourful tribes inhabit the land, which are skilled in mask making and pott ery making.

Assam has enjoyed a reputation for unspoiled natural beauty, substantial biodiversity, tea plantations, and friendly people. Th e Brahmaputra, the lifeline of the valley which shares its name, fl oods the nearby land with fertile silt every year to ensure a rich harvest. It is bound on either side by marshy land covered with thick jungle grass, interspersed with patches of rice fi elds and terraced tea gardens. Th e great Indian one-horned rhinoceros is one of Assam’s most noteworthy fauna.

Over the centuries, people of various ethnic, religious and linguistic backgrounds have been att racted by the fertile river valleys of Assam, and adopted them as their home. Th e people of Assam are mosaic of various cultures.

device is used. Cane and bamboo products are used for a wide range of purposes and extensively used in every household.

I will conclude my article with famous poem writt en by Assamese Poet Hiren Bhatt acharya

Touching the garden of dreams,these words of mine

have the beauty of life’s fl ow,the intimate heat of time,

I have no inventions of my own,as if a farmer resides within me,I place the words in my tongue

to see which has what taste,fondling them in my palm,

I measure their warmth,I know that word is

the child of man’s great creationpossessing the lustre of blood.

An ordinary poet am I,in these words of mine

that have passed fr om shoulder to shoulder,is man’s cruel experience,

history’s ruthless scratch.


Alice Yhoshü

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The Rich Heritage of

NagalandAlice Yhoshu



Nestled in the hilly regions of the North East India, the state of Nagaland is known for its nature-endowed picturesque landscape coupled with its diverse tribes and their rich culture. For those who take pleasure

in serene countryside with lush background, Nagaland will not disappoint. Th e captivating natural beauty, the rich biodiversity, pleasant climate, the unique history and multi-ethnicity, and the hospitality, for which the Nagas are known, make Nagaland a tourist hotspot.

All the eleven districts of the state have their own share of exotic places to charm, special food to tease and challenge your taste buds, and mythical lore to captivate your imagination. Th e Nagas encompass people from sixteen recognised tribes and several sub-tribes. Each tribe is unique in character and has its own distinct customs, traditions, dialect and att ire.

Th e colourful traditions of each tribe are depicted in the diff erent tribal festivals, which revolve around the agricultural cycle throughout the year as agriculture has been, and still largely is, the mainstay of the Naga life. Traditional folk songs and dances are an integral part of these festivals and it is through these that the oral history has been carried over for generations. Rituals and off ering of prayers to a divine being for a bountiful harvest constitute the main theme of the tribal festivals. Some of these festivals are Sükrünye of the Chakhesangs in January, Sekrenyi of the Angamis in February, Zeliang Meileingi in March, Aoleang Monyu of the Konyaks and Monyu of the Phoms in April, Moatsu of the Aos in May, Sumi Tuluni and Chang Naknyulem in July, Medümneo of the

Yimchungrü in August, Mongmong of the Sangtams in September, Tsoküm of the Khiamniungans in October, Lotha Tokhu Emong and Rengma Ngada in November, to name a few. Owing to its many tribal festivals that take place throughout the year, Nagaland has popularly been dubbed as the ‘Land of Festivals’. Th e festivals are carried out in a spectacular display of colours, music and feasts.

Recently, the state government, in an eff ort to preserve and promote the rich heritage of all the tribes under one roof, started the Hornbill Festival that takes place from December 1-10 every year. Aft er acquiring an area of land from two villages 10 km away from the state capital and naming it Kisama - Th e Naga Heritage Village, the state government turned the area as the main venue of the Hornbill Festival. It now serves as a cultural centre.

Traditional Naga huts/morungs distinctive of each Naga tribe have been constructed in Kisama in resemblance to a typical Naga village. All the tribes come together during the Hornbill Festival in a vibrant cultural interaction and celebration. Although a portrayal could hardly make up for the exquisite landscape and diversity of Naga culture, the Hornbill Festival serves well as a concise platform for tourists who seek to experience the Naga way of life on a budget and limited time.

Visitors get to see and experience the Naga traditional songs and dances, indigenous games and sports, and taste local cuisines and brews besides many others. Traditional handicraft s are also put up on sale by local entrepreneurs that make good souvenirs for visitors to take home.

Over the years, the Hornbill Festival, which was designed to revive and showcase the rich cultural diversity of Nagaland, has metamorphosed into one of the biggest cultural extravaganzas where all the states of the North East keenly participate.

An array of activities form a part of the mega event such as the Hornbill Literature Fest, World War II Peace Rally, Naga Chef competition, Glocal Film Fest, Hornbill International Music Festival, North East Cultural Ensemble among many others. Th e Hornbill International Rock Contest that boasts of carrying the highest prize money in the country for a competition in the rock genre is also one of the main features of this ten-day festival. Bands from across diff erent states and metro cities of India come to vie for the famed title along with the prize money worth INR 10, 00, 000.

Look past the lone railhead and airport that connects it to the rest of the country and the rural bumpy rides into the interiors of the state, Nagaland is all about sublime experiences with its beckoning sights and sounds, the people and their culture, and the food and brews.

The writer is a journalist based in Kohima




1. Pushkar, Rajasthan, Alejandra Guastavino, Argentina2. Raoudha Laouani El Azouz, Embassy of Tunisia3. Taj Mahal, Mc Gekeler, Germany4. Spice Market, Mc Gekeler, Germany 5. Spice Market, Christian Wagner Germany6. Humayuns Tomb, Mc Gekeler, Germany7. Streets of Jaipur, Rajasthan, Alejandra Guastavino, Argentina8. Dr Gabriele Ney, Germany

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