Dear Readers,

Weekend family expeditions to the shopping mall, a night out at a fancy restaurant inthe city, travels abroad... With its multi-trillion Rupees economy, annual GDP growthrate of 9% and rising urban middle class, India is headed towards an era ofconsumerism never before experienced.

But there is another side of the picture that most of us are at least dimly aware of: theincreasing gap between haves and have-nots; unplanned urbanisation and over-exploitation of natural resources; threats to our cultural and natural heritage; the plightof impoverished farmers and artisans; and the rapid disappearance of local small-scale industries and traditions.

Is the fashionable lifestyle of the urban consumer the engine of India�s growth, orwill it in fact prove incompatible with sustainable development in the long run? Themagazine you have in your hands was created by people who firmly believe inshopping and having fun � and that there are ways of doing so that will actually helpthe sustainable development of our country. As the choices available to the Indianconsumer proliferate in our globalised world, this magazine spotlights the quality,diversity and creativity that exist within India itself.

Launched in association with the National Institute of Fashion Technology (NIFT),and in collaboration with SRISTI Innovations/Indian Institute of ManagementAhmedabad (IIM-A), Power of Creativity Magazine aims to reveal the creative wealthof India and tell you about innovative ideas, initiatives and individuals in the areas oftraditional crafts, heritage conservation, tourism, engineering, environmentalprotection and local empowerment.

The magazine itself is an expression of the Power of Creativity. Our logo wasdeveloped by Chiara and Sian, two young designers from London�s Royal College ofArt. The layout was done by a team of NIFT teachers and students, and the photoand the design of the enclosed TRIFED brochure by Vidid and Jonathan, youngstudents from NIFT.

Featured in this first issue of Power of Creativity Magazine are two of the mostemblematic textiles of India � hand-crafted Varanasi brocade and Chanderi weaving.While the beauty of the products is enticing, little is known about the struggle of theartisans behind them, who face tough competition from the machine loom and otheremerging countries.

As part of its initiative to support local creativity for community empowerment,UNESCO New Delhi is collaborating with the Tribal Cooperative MarketingDevelopment Federation of India Ltd (TRIFED) to market tribal arts and craftsinternationally. The brochure on Tribes India inserted in the magazine is one of thefirst outcomes of this joint endeavour, with innovations underway to make shoppingat TRIBES a learning experience.

India abounds with examples of creativity serving local empowerment. Tsunamika �a little doll made out of left-over scraps of cloth designed by Upasana Design Studioin Auroville � now provides a livelihood for fisherwomen of the Tsunami devastatedcoast of Tamil Nadu. Humble terracotta art revived by the designer Jinan B in thesmall village of Aryuvacode in Kerala has rescued the villagers from an economic andcreative slump. The NGO Friends of Vrindavan makes cash out of trash by creatingcolorful baskets which are marketed internationally.

Be Conscious!Be in!

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In a different sphere, a creative individual, Margi Sathi, has rekindled the ancientart of Kutiyattam Sanskrit Theatre, while with extraordinary entrepreneurial skill,Jaipur Virasat Foundation has promoted the concept of �festivals fordevelopment� as a means to showcase the range of Rajasthani cultural traditions� places, peoples and skills � and link them to our global world. Meanwhile,instead of rejecting parents unable to afford school tuition for their children, thecreative minds of Khata have developed livelihood activities for mothers withinthe school itself.

Heritage conservation is another area where ingenuity is required. How can wemake it a source of local development? How to link the growing flow of touriststo the sustainability rather than the destruction of heritage sites? How canvisitors access these wonderful places and stay there in comfort with minimumnegative impact on the local communities and the environment, while generatingnew employment and social enhancement opportunities for them? And how caninnovation in technology serve visitors and inhabitants alike? Our magazine aimsto answer these questions with examples from Rajasthan and Karnataka ofgovernments and associations that are working to safeguard India�s heritage.The Honey Bee Network of creative grassroots innovators also showcases someideas to improve visitors� experience at World Heritage Sites in India. Read themand get some ideas for your next holiday trip!

For my colleagues and I at UNESCO New Delhi Office, putting together thisfirst issue of the PoC Magazine, and more generally, working in India has beenan extraordinary privilege. We thank the many people of the many worlds withinthis country who are supporting UNESCO in offering a platform for socialchange.

Making globalisation socially inclusive, and pegging growth to the maintenanceof cultural and natural diversity by creatively merging tradition with modernity,can be India�s greatest contribution to the world.

Let us collectively refute the divisive forces of growth and halt all forms ofbigotry. Through conscious choices when you shop, eat out and go on holidays,and by promoting social justice in your daily life at home and work, you too, cancontribute to the lasting growth and strength of India. We look forward toreceiving your comments, ideas and articles on the power of creativity forsustainable development for the next issues of the magazine.

Minja YangDirector, UNESCO New Delhi Office

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CCCCCONTENTSONTENTSONTENTSONTENTSONTENTS

DIRECTORMinja Yang

EDITORIAL TEAM(UNESCO)James BaerMoe ChibaShivaa Rawat

(NIFT)Dimple BahlToolika GuptaRuby KashyapKripal Mathur

ENGLISH REVISIONJames Baer

LAYOUTShinto Kallattu

PUBLISHED BYL.B. Associates (Pvt) Ltd.H-108, Sector 63, Noida - 201301, IndiaTel: 91 (120) 2401280/82Fax: 91 (120) 2401108Email: info@lbassociates.comWebsite: www.lbassociates.com

Disclaimer: The views and opinionsexpressed in Power of Creativity are solelyof the authors and do not necessarily reflectthose of the editors or publisher. Althoughall efforts have been made to ensure thecomplete accuracy of text, neither the editorsnor publisher can accept responsibility forconsequences arising from errors or omissionsor any opinions or advice given.

Any reproduction of printed materials andphotos is permitted only with reference toPower of Creativity.

66666 TTTTTRADITIONALRADITIONALRADITIONALRADITIONALRADITIONAL C C C C CRAFTRAFTRAFTRAFTRAFT77777 Weaving a Legacy

1 01 01 01 01 0 Uma Prajapati on the Plight of Varanasi Weavers of India

1 21 21 21 21 2 Kriti Gallery Brings Varanasi�s Weavers to the World Once More

1 51 51 51 51 5 Girls from Chanderi Start Dreaming Big

2020202020 IIIIINTNTNTNTNTANANANANANGIBLEGIBLEGIBLEGIBLEGIBLE H H H H HERITERITERITERITERITAGEAGEAGEAGEAGE2 12 12 12 12 1 Kutiyattam

2424242424 CCCCCREAREAREAREAREATIVETIVETIVETIVETIVE C C C C COOOOOMMMMMMMMMMUNITIESUNITIESUNITIESUNITIESUNITIES2 42 42 42 42 4 Friends of Vrindavan

2 92 92 92 92 9 Tsunamika, An Emblem of Survival

3434343434 Kumbham Murals�Revealing the Power of Craftspeople

4 040404040 Katha

4242424242 HHHHHERITERITERITERITERITAGEAGEAGEAGEAGE FOFOFOFOFORRRRR D D D D DEEEEEVELVELVELVELVELOOOOOPMENTPMENTPMENTPMENTPMENT4343434343 The Heritage House: A New Horizon for Urban Development

4949494949 Amber Fort: A Conglomeration of Ancient Legacies

5656565656 Deogarh

6666644444 Festival to Boost

6868686868 Hoysalaya Heritage: A New Destination for Bangalore�s Yuppies?

7777744444 Linking Heritage and Livelihood: Kishkinda Trust in Hampi,Anegundi

8383838383 Innovations that Work

8686868686 Sustainable Practices in the Hospitality Sector: �A Wake-up Call�

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7

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sensitivities osensitivities osensitivities osensitivities osensitivities of their weaf their weaf their weaf their weaf their weaverververververs,s,s,s,s,

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gogogogogold and silld and silld and silld and silld and silver zver zver zver zver zari.ari.ari.ari.ari.

It is said that when Buddha attainedNirvana, his body was wrapped in aBenares fabric, which shot rays of

dazzling blue, red and yellow. As ancient atext as the Rig Veda refers to thehiranyadrapi, a shining, gold-woven cloth.The Mahabharata mentions a similarmanichera and the Ramayana describes thedemon god Ravana as donning a gold fabric.Pali literature mentions the Kaseyyaka (silkof Benares) worth a hundred pieces of silver.

For literally ages, the ancient and mysticalcity of Varanasi has been a centre of silkproduction, and it is still one of India�s mostsignificant silk-weaving centres, famedabove all for its brocades. Weavers workcontinuously to produce one fine design afteranother.

Traditionally, silk came from Bengal, CentralAsia or Italy. It now comes from Malda inBengal, Kashmir or Japan. The weaverswork on both punch card and jacquardlooms. Weaving is a collaborative process: a

BY RACHEL ARORA AND NAVNEET RAMAN

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designer stands behind the loom and does thepatterning by arranging the correct sequence of over3,500 warp threads. Another designer manages theseveral spools of different colours in the brocade andoperates the shuttles weaving the base.

The traditional Varanasi weaving centres famous fortheir distinctive styles are Madanpura and Alaipura.Madanpura is known for its traditional andsophisticated designs and shades, woven on lightfabrics. Alaipura on the other hand produces heavybrocaded material mainly used in furnishings. Eitherway, to own Varanasi brocade is to possess a treasureof distinguished craftsmanship. The textiles reveal thesubtle artistic sensitivities of their weavers,distinguished by effective color combinations, intricatepatterns executed to perfection and the use of gold andsilver zari. This thread, known as kalabattun, consistsof finely drawn gold, silver or base metal threadwound around a silk core.

Brocade designs draw inspiration from other artisticmedia as well as from the beauty of the materialsthemselves. Some are composed according to theprinciples of meenakari, a kind of gold enameljewellery: it forms the basis for the pattern executedwith extra threads of gold and glittering, jewel-likecolours. Another rich style boasts complicatedpatterns of hunting scenes where a flowing creeperintermingles with animals, birds, elephants withhowdahs, hunting parties and flowers. And the

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We were quite moved on hearingabout the hardships being faced

by the Varanasi weavers. A craft ofgreat value was lying in shambles. Forseveral months the weavers had no jobsand were living lives of misery andutter poverty. They were facingproblems like starvation and debt andhad no means to sustain themselves.Dealing with the condition of weaversstriving to preserve this ancient craftwas extremely touching. Today, we areequipped for modernisation but weneed to be sensitive towards ourheritage as well. Numerous funds areallotted each year for the weavers butnothing reaches them. Our efforts wereaimed at making the weavers and thefamilies self-reliant enabling them toearn a decent wage for themselves. Abeautiful craft needs to be cherished forgenerations and shouldn�t fade awaywith time.

Uma Prajapati on the Plight ofVaranasi Weavers of India

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famous variety of gold tissue with strikingly delicatepatterns of temple scenes or jaal work in gold andsilver is known as Ganga-Yamuna, for the twocolours of thread.

Sadly, the great legacy of Varanasi weaving hassuffered in recent years from the pressures ofglobalisation and competitive practices. The relativelyhigh cost of raw materials and therefore of wovenproducts led to a decline in demand. Traders withaccess to raw materials and markets were able tomanipulate prices to increase their profits at theexpense of the weavers, while imported fabrics fromother countries placed further strain on the traditionalcraft of Varanasi, and the act banning power loomsfrom producing saris was not seriously implemented.

The hardship faced by the weavers has finally caughtthe government�s attention and led to a flurry ofinitiatives to save this cultural legacy from extinction.Both the Union Ministry of Textiles and the State ofUttar Pradesh�s Department of Industry haveestablished agencies in the city to support the silksaree industry and the weavers. Cooperative societieshave been formed to give them greater strength innegotiating fair terms for their work. A government-run Weavers Service Center provides technicalsupport to the weavers, such as courses in designing

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Kriti Gallery BringsVaranasi�s Weavers tothe World Once More

The ancient city of Varanasi may seem a worldaway from England�s teeming capital,

London, but it was not always so. Among themany articles displayed at the Great Exhibition ofthe Works of Industry of All Nations, held atLondon�s Crystal Palace in 1851, there was finebrocade exhibited by two weaver brothers fromVaranasi, Mohamand Suleman and AbdurRehman. They received medals for the excellenceof their work, and their brocade joined the otherproducts presented at the Exhibition to form thecollection of London�s Victoria and AlbertMuseum, where it still proudly represents thefame of Varansi craftsmanship.The demise of India�s Rajas and aristocraticfamilies has brought to a close the glory days ofVaranasi�s weaver communities, who must nowstruggle hard against competition from cheapmachine-loom brocades. However, someweavers are finding new hope in the Kriti Gallery,a modern art gallery in Varanasi owned byNavneed Raman. Still only in his early 30s,Raman is busy travelling the world with weaversfrom Varanasi to revive the original fame of thetown�s brocades, and most importantly thedignity of its master weavers.Designers from all over the world use the skillsof master Varanasi weavers like Haji HaseenMohamed � known locally as Haseen Bhai � todevelop fabrics which are sold to high-endfashion industries. Some of the most gorgeousworks at the India Fashion Week in New Delhiwere made possible by Haseen Bhai�s skillfulhands. Sadly, he is yet to receive full credit fromthe Indian fashion industry for his creativity andartistic contributions.Today, thanks to the promotion of Kriti Gallery,Haseen Bhai directly showcases hismasterworks in art galleries abroad, including theUK, France, Germany and the USA. More thanmere fabric, his creations are now widelyrecognised as real works of art � just as was thework of Mohamand Suleman amd Abdur Rehmanback in 1851.In today�s world, as technology andcomputerisation exercise increasing control overthe textile industry, Kriti Gallery reminds us ofthe people behind the products, and the powerof creativity to transform traditionalcraftsmanship into contemporary beauty.To know more about the activities of KritiGallery, visit www.kritigallery.com

BY MOE CHIBA

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and dyeing, and training camps inrural areas. Other programmes senddesigners to institutes like NIFT andNID, or provide training in computer-aided design. The cooperativesocieties have also been linked to theraw materials market, and qualitycontrol is assured through testing.

On the marketing side, brandambassadors have been appointed, anurban Haat with 45 shops is beingbuilt in the city, and the establishmentof a Silk Mark and Handloom Markwill assure customers that theproducts they are buying are of puresilk or have been woven on ahandloom rather than a machine loom.

Gradually, the weavers whose handshold the secret of those rich brocadesare reclaiming their livelihoods, andgiving back to Varanasi its age-oldfame as a centre of one of India�smost revered crafts.

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Girls from ChanderiStart Dreaming BigHow does a traditional Indian craft likeHow does a traditional Indian craft likeHow does a traditional Indian craft likeHow does a traditional Indian craft likeHow does a traditional Indian craft like

the weathe weathe weathe weathe weavinvinvinvinving og og og og of sarees surf sarees surf sarees surf sarees surf sarees survive in a mvive in a mvive in a mvive in a mvive in a mooooodddddern,ern,ern,ern,ern,

globalised world? For the handloomglobalised world? For the handloomglobalised world? For the handloomglobalised world? For the handloomglobalised world? For the handloom

weaweaweaweaweaverververververs os os os os of Chandf Chandf Chandf Chandf Chanderi, gettineri, gettineri, gettineri, gettineri, getting og og og og orrrrrganisedganisedganisedganisedganised

wwwwwaaaaas just the sts just the sts just the sts just the sts just the starararararttttt. Wha. Wha. Wha. Wha. What fot fot fot fot follllllllllowed wowed wowed wowed wowed waaaaas thes thes thes thes the

creacreacreacreacreative empowerment otive empowerment otive empowerment otive empowerment otive empowerment of a whf a whf a whf a whf a whooooole newle newle newle newle new

generagenerageneragenerageneratititititiooooon on on on on of yf yf yf yf younounounounoung wog wog wog wog women.men.men.men.men.

Cradled in the heart of India, beyond the plush forests andscenic valleys, Chanderi is a small weaving town inMadhya Pradesh. It has been a centre of weaving for

centuries. With more than 3,500 weaving families, almost 60%of the population is directly or indirectly dependent on thehandloom business. The delicately spun Chanderi saree in silk orfine cotton, patterned with magnificent Chanderi temples,constitutes an important part of the heritage of this region.

BY SHIVAA RAWAT

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The drape, the artistry and the sheer majesty of theChanderi saree is a secret passed down from generationto generation, echoing the grandeur of a bygone era.

However, Chanderi has not escaped the general crisisfaced by the traditional crafts sector in India. Thedecrease in the demand for the traditional saree and thecompetition from cheap imported machine-loom textilesgradually drove the Chanderi weavers community intosevere difficulties. Lack of direct access to rawmaterials and markets led to exploitation by middle-men.A single drop of oil staining the textile could deter buyersand ruin an entire month of hard labour. Many weaversfound themselves on the verge of ruin, and newspapersreported tragic instances of suicides.

This was the situation that led to the creation of BunkarVikas Sanstha (BVS) in 2004. With the guidance of theUnited Nations Industrial Development Organisation(UNIDO) and the Madhya Pradesh Department of RuralIndustries, some 60 weavers came together in a self-helpgroup, becoming full-fledged entrepreneurs andmanagers of their own business, from materialprocurement to order taking and sales. By doing awaywith their traditional dependence on master weavers andtraders, BVS was able to give significant wage increasesto its weavers and distribute profits among them. Today,

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with more than Rs. 8.3 million in sales under itsbelt, BVS is an apex body of 13 self-help groupscomprised of more than 100 handloom weavers,filling big orders from retailers like FabIndia andthe Craft Councils of Calcutta and Delhi.

Establishing the weavers of Chanderi on a moresolid and equitable economic footing was just thebeginning. The next step was to expand thepossibilities for their work and open doorways tonew livelihoods. UNESCO took up the challengealong with BASIX and One World South Asia, byintroducing a Community Multimedia Centre inChanderi in late 2006. The Centre has threecomputers with internet access and a photocopymachine. This relatively straightforward set-upopens up a host of possibilities. The Centreenables the community to access information onvital issues such as education, health, employmentand human rights; the computers can be used bythe weavers to develop newsletters or a websiteto promote their work and their community; andin time the Centre could be run as a cyber café,bringing additional income to the community.

Workshops quickly raised awareness among theweavers of the potential of information

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technology to improve their livelihood. They weretrained in the use of office applications and theinternet, the set-up of a community webpage and themanagement of the Centre. Girls were given priority inthe training, and when two computer designworkshops were organised with the cooperation ofNational Institute of Fashion Technology (NIFT),fifteen of the most enthusiastic and skilful youngwomen were selected to attend. They became familiarwith specialised software applications for design, andwere taught how to use colour effectively to improvetheir designs, along with the importance of line, shape,texture and pattern.

As part of their assignment, the girls designedbeautiful carry bags for Chanderi sarees andinvitation cards, and a collage poster of Chanderiwith pictures of local motifs and textiles. On a visit tothe Bunkar Vikas Sanathan office they tookphotographs of the motifs of traditional sarees, so asto learn cataloging along with the basics of takingand storing digital photos. Some of the girls wereassigned the task of creating new designsincorporating traditional Chanderi styles, forconversion into fabrics by BVS.

Despite frequent electric power cuts that interruptedthe workshop, the girls enthusiastically completed theircreative assignments on time. Mothers seemed to be

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the happiest about this opportunity forempowerment for their daughters. �Count on meto send my daughter to the workshop; if she islazy, I will whip her till she attends the training,�one of them winked when asked whether shewould not be nervous about having her daughterattend the workshop.

In a small town like Chanderi, there had beenhardly any job opportunities for girls afterfinishing school. A basic knowledge of office anddesign applications has provided the 15 workshopparticipants with a new role within thecommunity, and this in turn helps them generateincome. These 15 young women will themselvesbecome trainers, disseminating the knowledgethey have acquired for the benefit of thecommunity.

The burgeoning success of the CommunityMultimedia Centre can be measured by the girls�overwhelming enthusiasm about the workshopsand their desire to carry forward their families�weaving legacy with a new-found pride. As oneof them said, �It is more about self-sufficiencythan earning higher profits. More than a few extrabucks, it�s our independence that we cherish.�

The women of Chanderi have begun to dream big.

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Kutiyattam

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surviving form ofsurviving form ofsurviving form ofsurviving form ofsurviving form of

Sanskrit theaSanskrit theaSanskrit theaSanskrit theaSanskrit theatre in Keraltre in Keraltre in Keraltre in Keraltre in Kerala,a,a,a,a,

is on an upsurge theseis on an upsurge theseis on an upsurge theseis on an upsurge theseis on an upsurge these

days after itsdays after itsdays after itsdays after itsdays after its

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the UNESCO Masterpieces ofthe UNESCO Masterpieces ofthe UNESCO Masterpieces ofthe UNESCO Masterpieces ofthe UNESCO Masterpieces of

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rise, along with therise, along with therise, along with therise, along with therise, along with the

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and giving new meaningand giving new meaningand giving new meaningand giving new meaningand giving new meaning

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changes in contemporarychanges in contemporarychanges in contemporarychanges in contemporarychanges in contemporary

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remarkable actor Margiremarkable actor Margiremarkable actor Margiremarkable actor Margiremarkable actor Margi

SaSaSaSaSathi stepthi stepthi stepthi stepthi steps in.s in.s in.s in.s in.

BY DR. P. VENUGOPALAN & MOE CHIBA

In a dark room lit by torches, the face of the demonesssuddenly beams with joy, wide-eyed with maternalcompassion at the sight of baby Krishna. She cannot help

but admire the beauty of the baby. We can see her mind waverbetween the sudden rise of love and the order from the king thatshe kill the baby she has been entrusted with. After muchhesitation and torment, she resolves to take the baby in her armsand feed him from her poisoned breast. As the baby sucks ather breast, the demoness�s face looks still and peaceful: thesatisfaction of feeding a baby has momentarily assuaged thedistress of accomplishing the king�s order. But the mizavu drumplays an anxious rhythm. The demoness suddenly opens hereyes, which are now filled by inexplicable fear. She tries to pullthe baby Krishna from breast. But he grows heavier andstronger. The demoness struggles in vain to remove him, but thebaby will drain away all her energy until she dies.

The audience is breathless as it watches the last agony of thedemoness. As the actor, Margi Sathi, ends her performance,applause rises in the hall. The appreciation might seemsurprising, since Kutiyattam is known for its intricate theatricalcodes, which are not easily understandable to the non-initiatedpublic. But Margi Sathi, one of the leading figures among thenew generation of Kutiyattam artists, can captivate the minds ofeven the least-educated audience, so eloquently do hermovements and gestures recreate the realm of Indian epictheatre.

Born in the Thrissur District of Kerala, Sathi joined KeralaKalamandalam, the premier arts academy of Kerala, at the age ofeleven to study Kutiyattam. After completing an eight-yeardiploma course, she did a post diploma with merit scholarship,followed by another two years of study under a scholarshipfrom the Government of India.

In 1988, Sathi joined Margi, Thiruvananthapuram�s premiercultural institution, founded in 1974 for preserving the traditionalclassical art forms of Kerala. A programme of revitalisation ofKutiyattam was started in 1990 with support from the KendraSangeet Natak Academy. Since then, Sathi has been learning newperformance texts, rehearsing them and staging at least oneperformance every week at Margi. A top artist in the field, MargiSathi leaves no stone unturned in her effort to preserve thetraditional aspect of the theatre. In all her performances, shestrictly adheres to tradition and has managed to maintain

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Kutiyattam is the oldest surviving form of Sanskrittheatre in Kerala. This dance form dating back

some 2000 years, and based on the work of dramatistslike Bhasa, Kulasekharavarma, Sakthibhadra, wastraditionally performed exclusively for Brahmins in theprecincts of temples called Kuthampalam. The play ischaracterised by a highly codified grammar of stageperformance including make-up, mudras (handgesture) and facial expressions, which are defined inthe manuals known as Attaprakarams andKramadeepikas. The former describes the differentmoves of actors and how they enact the prose orverse in the drama, while the latter lays emphasis onthe background information not explicit in the text ofthe play as well as make-up details and the manner ofstage entries and exits. The play is accompanied byslokas (songs in Sanskrit verse) and drums calledmizavu to reinforce the context of the narrative.Just like pantomime, the extraordinary feature ofKutiyattam lies in the capacity of the actors torecreate the stories and events with facial expressionsand gestures. Currently, several associations in Keralaare working actively for the promotion of this ancientart and also give performances all over India.For further information, visit: www.kutiyattam.in

Kutiyattam, a Brief Introduction

unadulterated the rustic charm of the art form alongwith the authenticity of its traditional grammar andexpressive eloquence.

Margi Sathi was one among several of hercontemporaries who got an opportunity to present therole of Sita, in Acts I, III and VII ofAscharyachoodamany, an ancient choreography revivedby Margi and on which she worked for about 18 years,a formative period in her performing career. Hercontinuous stage experience led her to embark on thewriting of a performance manual in Malayalam, whichwas published in 1999. SreeramacharithamNangiarkoothu is a new choreographic text on theRamayana, which had been traditionally playedexclusively by male actors and was conspicuouslyinaccessible to female performers. In the preface to thiswork, Guru P.K.N. Nambiar, a distinguished authorityon Nangiarkoothu, writes, �It is indeed a Herculean taskto script a performance manual for the Ramayanatheme, which has a plenitude of tense dramaticsituations woven around a structured story line, andwhich strictly conforms to the highly sophisticatedtechnical formats and ritualistic concepts of Kutiyattamand is also complete in itself. The author who venturedto produce this comprehensive manual deserves by allmeans the loftiest of compliments.�

Sreeramacharitham Nangiarkoothu opened the door towomen performers to present not only Sita�s role but

also the roles of all the male characters such as Rama,Ravana, Lekshmana and Hanuman. This step initiatedthe emancipation of women in Kutiyattam theatre.Sati�s other choreographic work, Kannaki Charitham,defies convention by taking as its primary source anon-Sanskrit text � Silappadikaram, which is a classicfrom the second century BC written in the Dravidiantongue of Tamil. It is remarkable for the power of theheroine, Kannaki, who vividly illustrates theShakespearean adage �Hell hath no fury like a womanscorned�.

Margi Sathi has performed in several Europeancountries as well as in the USA. In October 2001 sheperformed at the UNESCO Headquarters in Paris beforea specially invited assembly of more than 500 guestsfrom all over the world, to mark the proclamation ofKutiyattam as a UNESCO Masterpiece of Oral andIntangible Heritage.

Margi Sathi is both a preserver of the great traditionalart form of Kutiyattam and an innovator. She defiesconvention by creating new choreographies for femaleperformers, yet her work is based on her solidknowledge of tradition. Her inspirational efforts andachievements have been instrumental in the revival ofKutiyattam as a traditional art form, holding out thefirm prospect of a new generation of budding artistsfalling in love with the richness of Kerala�smagnificent heritage.

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answer, turning waste bags into baskets – and trash into cash!answer, turning waste bags into baskets – and trash into cash!answer, turning waste bags into baskets – and trash into cash!answer, turning waste bags into baskets – and trash into cash!answer, turning waste bags into baskets – and trash into cash!

Friends of Vrindavan

BY JAMES BAER

Friends of Vrindavan

25

You know the feeling: your guests have just leftafter a big celebration at your home, and theplace is a mess. Time to get to work and make

things tidy. Cleaning up may not be a big inconveniencefor most of us, but what do you do when two millionvisitors land on your doorstep? An innovativeorganisation in the town of Vrindavan in Uttar Pradeshhas found the answer, turning waste bags into baskets �and trash into cash!

Vrindavan is the town with the two-million-guestheadache. It has been the place for a party ever sinceLord Krishna favoured it for his transcendental pursuits.Since at least the 16th century, pilgrims have flocked toVrindavan. At festival times, hoards of devotees, sadhusand saints gather at the temples to perform religious rites.Flowers are sold as offerings, and feasts are consumed.It�s a scene familiar to other cities in India, butVrindavan, with just 70,000 residents, suffers more thanmost from the influx of pilgrims and tourists over thecourse of each year. The residents and leaders of thetown are happy to see them, but they do wish they�dtake their trash home with them.

That, of course, is not about to happen. Instead, floralwaste from the rituals is dumped in the river Yamuna,while unconsumed food is thrown into the streets, withno regard for where it goes and who will clean it up.

If it�s not collected right away it attracts pigs and straydogs, and eventually it ends up blocking the drains.

Faced with a cash-strapped municipality that couldn�tcope with post-party clean-ups on this scale, a localNGO, the Friends of Vrindavan (FoV), made an unusualoffer to the town back in 1997. Privatise the streetcleaning, they said, and we�ll take care of the centralarea of Vrindavan for the next two years � for free.

FoV�s street cleaning team was a big hit. The dirtiestarea of the town was selected and cleaned on a regularbasis, along with the frontages of all the major temples.

26

The team was also invited to provide cleaning services inthe run-up to big festivals and other functions. Specialgarbage collection rickshaws were introduced in place ofthe smaller old-fashioned handcarts, and ramps werebuilt at garbage facilities to speed up the unloading of allthe rubbish. Soon, Vrindavan was looking muchimproved, to the delight of its residents and the pleasureof its pilgrims.

But this was just the beginning for Friends ofVrindavan. After two years of hard � and free � work,FoV was a household name, and the organisationdecided to capitalise on the goodwill it had generated bygetting the recipients to subscribe for its services.Businesses in the main market were happy to pay oncethey saw how improved cleanliness led to increasedsales, and the programme was soon replicated in otherparts of town.

Eight years later, FoV�s programme now combinescommunity participation with environmental

27

sustainability and financial success. Alongside its street-cleaning activities, FoV has begun a pilot project fordaily house-to-house garbage collection in a ward of1,500 households. The key workers in this are the rag-pickers, members of the harijan community who havetraditionally been associated with collecting householdwaste. FoV has helped them organise to advocate forfair payment for their services, while also providingtraining to improve their work standards.

Meanwhile, through a process of education,householders are learning to segregate their garbage.The bio-degradable elements are turned into compost,using the so-called vermin method � which has nothingto do with rats! Instead, it�s worms that transform thewaste into high-quality organic manure. Because it�s all-natural, there are no environmental downsides, unlikewith chemical fertilisers. The organic manure is sold in

bulk to hotels, ashrams, nurseries and farms, and retailto visitors at FoV�s own nurseries. These sales helpsustain the cleaning programme.

And what of all the plastic, that non-degradable bane ofmodern life? This is where trash combines withcreativity and crafts in an unusual way. Residents areurged to save their plastic carry bags from shoppingcentres and the vegetable and fruit markets. Womenmembers of the harijan community recycle these intohand-woven baskets, which are sold internationally.This cottage industry is helping some of thecommunity�s poorest to earn a living.

Even with all these achievements under its belt, Friendsof Vrindavan is not resting on its laurels. Educationefforts continue among schools and homes toencourage residents to reduce and recycle their waste.And plans for the future include an independent venturethat will provide the town with its own self-sufficientwaste-recycling plant, processing up to 100 tonnes ofgarbage into high-quality manure daily. FoV hopes thatit will provide the region�s farmers with an economicalalternative to expensive and environmentally harmfulchemical fertilisers. Lord Krishna is doubtless smilingupon the bright sustainable future of his favouriteplayground.

28

5,000 families were affectedin and around Auroville inTsunami, December 2004

29

Tsunamika,An Emblem of Survival

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30

The tsunami that struck South Asia on 26 December2004 hit the coast of Tamil Nadu hard. Washedaway with countless houses and villages was a

significant part of the state�s fishing industry. Withlivelihoods destroyed, the possibility of long-termrecovery beyond the immediate needs of food and shelterwas thrown into question.

Among the groups working to help those affected by thedisaster was one started by Auroville, a self-described�intentional community� on the coast of Tamil Nadu. InFebruary 2005, a handicraft workshop was initiated at theUpasana Design Studio in order to teach life skills to thefisherwomen from seven of the villages in and aroundAuroville. And that was the birthplace of an unlikely butremarkable figure � Tsunamika.

Tsunamika is a doll made of bits and pieces of leftovercloth and threads. But anyone who thinks she is �nothingmore than a doll� would be mistaken. From humblebeginnings, she has rapidly gained international renown asa tangible symbol of hope and regeneration.

Tsunamika was conceived as a way for women to provideincome for themselves, but few anticipated that herpopularity would lead to employment for more than 180fisherwomen. What is more remarkable still is thatTsunamika is not for sale. She is the perfect example ofthe �gift economy� � people give and receive her as apresent, and upon hearing the story that lies behind her,many are inspired to donate time or money to support theburgeoning Tsunamika Relief and Rehabilitation Project.They spread the word about Tsunamika and give her tomore people in their turn. The donations received fromaround the globe enable the women who make Tsunamikato earn income for each doll they create.

Tsunamika now comes in several guises - pin, hair clip,book mark, key chain, pencil decoration, paper clip, andrakhi. She is used by teachers, school children, NGOsand corporations in 50 countries. So much more than amere doll, she has found innovative uses in post-disaster

BY RACHEL ARORA

31Tsunami Survivor with Tsunamika Doll

32

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trauma counselling, women�s empowerment, andeducation. As every child knows, dolls are aperfect vehicle for telling and enacting stories, anda Tsunamika storybook is in the pipeline. Dolls canalso embody the hopes and dreams of those whopossess them, and Tsunamika�s own storyconnects powerfully with many who receive her,offering hope and inspiration.

Meanwhile, the women who create Tsunamika arefinding themselves empowered not justeconomically, but through the deep bond they feelwith those who receive her. Their creativity hasgiven them the means to re-establish a livelihoodfor themselves and their families, and connectedthem more firmly to the world.

Designers initiated in training the village ladies

34

Kumbham Murals�Revealing the Power of

Craftspeople

Kumbham Murals�Revealing the Power of

Craftspeople

35

I had been leading a semi-nomadic life for some timewhile experimenting, learning and placing myselfwithin different communities in different parts of the

country. That changed when I came to Kerala to workwith the potters� community in Aruvacode. My stay wasoriginally supposed to be for six months. At the time,Kerala was a far cry from the kind of place I wouldnormally find interesting, because it seemed devoid ofalmost all traditional craft and folk culture.

I had felt impelled to go to Aruvacode by a news reporton how a simple potters� village had changed to becomea hub of sex workers. The reason for this drastictransformation was a flood of cheap products made ofsteel, aluminium and plastic, which quickly replacedpottery in the markets. In earlier times, local artisans hadalways responded excellently to the local needs of thepeople, as a strong cultural bond held the user and theproducer in unison. But every nuance of modernitybrought with it newer difficulties for the potters. With acollapse in the demand for locally made earthenware, theartisans were left a troubled and distressed lot. Unable tokeep pace with the fancy needs of the new consumerand deprived of their traditional labour, the women of the

village were forced into sex work. That was the situationI hoped to turn around, by revitalising traditional potterycrafts in the village.

A �DO NO HARM� TRAINING METHODA fundamental premise of the training at Aruvacode isthe cultural, aesthetic and creative superiority of thetrainees, compared to the �developed� mainstream ofIndian society. So the training programmes basicallyattempt to help the individuals regain the wisdom andconfidence which is embedded within their owncommunities and culture.

During the first training conducted in 1993, it was verydifficult to convince the women about their abilities. Webegan with drawing straight lines, circles, etc. in freehand and only then moved on to exploring clay andmaking objects that gave free vent to their imagination.But that changed after I came across a potter girl inMana Madurai scooping out the opening of a smokelesschoola in a perfect circle! I realised the futility ofimporting training methods such as drawing lines andshapes that were better suited to urban people alienatedfrom an artistic heritage. I re-assessed my understanding

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“Designer meets Artisans”,“Designer meets Artisans”,“Designer meets Artisans”,“Designer meets Artisans”,“Designer meets Artisans”,

as told by Jinan B.as told by Jinan B.as told by Jinan B.as told by Jinan B.as told by Jinan B.

BY JINAN B.

36

37

of the indigenous/traditional process oftransmitting skills, and our subsequent trainingprogrammes incorporated rather than ignoredthese traditional aspects.

My recent work in initiating creativity among thepotters� children has convinced me that theintervention of trainers in natural learningprocesses should be restricted to erecting a fenceagainst outside influences that corrupt the genuineaesthetic sensibility and sense of perfection of thecraftspeople. The realisation dawned on me thatwhat is actually happening in the name of teachingand training rural and artisan communities is alltoo often the corruption of their sense ofknowing.

DESIGN PROCESS & PRODUCTEVOLUTIONOne of Kumbham�s most significant feats has beenin the area of design and product development.Ongoing efforts and experimentation have helpedKumbham introduce a range of product designsfrom household items to architectural andlandscaping products, table accessories, gardenfurniture and even the prototype of a completeliving space. I wanted the aesthetic quality ofwhatever they made to be rooted in their ownculture. I therefore limited my role simply toincorporating utilitarian aspects into their creations.It was a slow process and the products thatevolved were developed at a natural pace.

38

39

All these efforts did not automatically ensure that thepotters could now earn a living through their craft.Marketing of crafts poses challenges to the livelihoodof a completely different nature. All through the latenineties I had been spending lots of time witharchitects around the country, trying to get them toapply crafts in their work. But the architects seemedunable to break free from preconceived thoughtprocesses. Over the years I have realised thatarchitects, designers and artists � in fact the entirerange of professionals churned out by our western-oriented education system � display a complete lack ofappreciation of crafts as living traditions. Even whensome of them liberally �apply� craft in their works,what they seek is an ethnic effect that feels mummifiedand museum-curated.

The western model of design methodology is a�factory process� which bypasses craftspeople - theircommunity, their knowledge systems and their culture.Even in a very practical sense, in a country like ours,such a factory approach cannot provide solutions toproblems related to livelihood of millions of ruralpeople. What my interactions with architects finallytaught me was that it is necessary intervene at severallevels to change the attitudes of a host of players, if weare to safeguard the wealth of rural creativity.

Despite these challenges, I�m deeply satisfied that ourwork has borne fruit. The impoverished artisancommunity that had been unable to conserve itstraditional crafts has become a group of potters whoseskills are once again in demand. About 500 productshave been introduced by Khumban, and they gracecorporate offices, prestigious hotels such as Taj andfine private residences. And they are available at shopsin all the major cities of South India as well as Delhi.

To learn more about the work and the products of the Kumbhammurals: www.kumbham.org

40

A RAVAGED PAST AND A RAY OF HOPE

The small winding lanes splashed with dirt and grime gave wayto tiny mud houses where thousands of children lived in thegrip of extreme poverty and unhygienic conditions. In New

Delhi�s Govindpuri, children with no education, no food and noproper place to live were caught in the claws of ignorance andilliteracy, with no scope for visualising a bright future. Their parentsleft them unattended, the mothers working as domestic help in bighomes and the fathers either unemployed or earning a negligible wagethat could not support their family.

Katha Kazana, a self-help group for mothers established by the NGOKhata, emerged as a solitary helping hand for the women ofGovindpuri. It all began in 1990, as part of a community revitalisationprogramme that aimed to be a catalyst between society andunderprivileged children, between families and the governmentworking at a grass-roots level. Project Katha Khazana was launchedas part of this new co-operative for mothers. Women soon foundthemselves stepping into new roles, becoming part of the economicmainstream and shouldering the responsibility of providing for theirfamilies which had traditionally rested with the menfolk. It was theemergence of a new era in Govindpuri. Katha Khazana is now anindependent business, catering lunches for corporate offices andselling bakery products. Its primary customers include corporates likeHCL, the Taj Group of Hotels and NGOs like Navdanya and CRY.

EDUCATION FOR LIVELIHOODSKatha Khazana is just one aspect of what Katha does. Initiated byGeeta Dharmarajan in 1988, the group�s main focus is the overalleducation and entrepreneurial training of the residents of Govindpuri.

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for them.for them.for them.for them.for them.

BY RACHEL ARORA

41

The path has not been an easy one, but Katha has beenable through education to offer new rays of hope.

Kathashala, a learning centre for children, men andwomen, introduced the power of creativity to enhancelearning. Kathashala is divided into three parts: a pre-school with a crèche for the children of workingwomen, the school proper and a support centre. Each ofthese place nurture the talents of their students, enablingmen, women and children to become skilled workersand even take on the role of trainers themselves.

The crèche for working women provides relief to allmothers in the area by offering them the option ofleaving their children to the care of Katha. The nominalenrolment fee of Rs. 100 includes daycare and healthfacilities, along with a meal each day. Mothers in theirturn are educated about child welfare.

A RADICAL MODELKathashala has evolved as a gurukul for all, envisioningan education that will build the abilities and sensitivitiesof the child, providing her with the skill-set to gainemployment in a rapidly changing economic scenario.But this is no ordinary educational institution. Imaginegoing to a school where there are no books, no fixedsyllabus, no fixed teachers or students. That is whatKathashala is! Katha means �story�, and the unique anddynamic strategy of storytelling was adopted as the basisfor education. A theme is picked quarterly, and storiesare formed which stay in sync with the governmentsyllabus on the basis of the child�s level. All subjects,including arithmetic, science, English and arts revolvearound the theme. The theme�s various aspects areanalysed rigorously to see what can be learned fromthem. The theme is discussed by teachers at every level,and research sessions are organised, based on whichdifferent teaching modules are created. This process isknown as Vidduniya.

By letting learning revolve around storytelling, art,theatre and music, the imaginations of the children aretapped, enabling them to learn from the environmentrather than just becoming bookworms. They are simplyless likely to forget things that they have learned fromtheir basic surroundings. Kathashala has over onethousand children enrolled in the school today, of which400 are from the nearby government school, frequentingthe support centre for tuition and additional support thatwill harness and further develop their skills.

LEARNING AND CREATINGKatha has branched out into other related aspects oftraining and education. Katha Information Technologyand E-commerce School (KITES) is a computer and ITeducation centre backed by a specialised faculty. Thereare basic and advanced education courses for childrenand adults. Meanwhile, at the School ofEntrepreneurship the skills and interests of children andadults are identified and they are given specialisedtraining in a variety of arts and crafts. These are later

sold in handicraft marts and exhibitions, as a means ofgenerating revenue for the children and their parents.Various vocational trainings are also offered, includingelectrical, baking, tailoring and cutting. Katha alsoarranges for experts to come and buy the students�products and services, which in turn generates revenuefor them. Come Diwali, Katha is buzzing with creativeactivity, as children create beautiful candles, diyas andcards which are sold in melas and shops.

Dilli Haat is one of the major buyers of Katha�shandicraft products. The famous crafts market in Delhiis one of the places where you can get a delicious tasteof the fresh baked cakes and confections at which thechildren have become adept. Need a birthday cake? Noproblem � Dilli Haat is the place to go, and you can enjoyyour celebration knowing that the children of Govindpuriare better off as a result.

OUT ON THE STREETSKatha sees outreach as an important part of its mission,and the students are the best people to do it. Katha hasthree RTVs fully equipped with computers and books.Every week, children studying in Katha go out, gatherstreet children at traffic signals, and sit below the treesto talk with them about education and its benefits.Sometimes the street children are brought to Katha toenjoy snacks and make new friends. Over 45,000 streetchildren are covered under this project. Excursions tothe zoological gardens and museums are organized on aregular basis to enhance the learning process. Katha alsohas community schools operating in ten remote areas ofIndia where people are living below the poverty line andstruggling to survive. Katha Community Schools (KCS)work with the children, who often fall prey to childlabour, stressful migration and various forms of abuse.

Katha has brought about a radical change in the lives ofeconomically backward children and their families,helping them to find their voice and providing them withthe necessary skill sets to stand on their own feet. Withother centres located in Mumbai, Chennai and Calcutta,Katha is using the power of creativity to strive for theestablishment of a better society nationwide.

To learn more about the extraordinary activities of Katha, consult:www.katha.org

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The Heritage House A New Horizon for Urban Development

The Heritage House A New Horizon for Urban Development

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a herita herita herita herita heritage hage hage hage hage house.ouse.ouse.ouse.ouse.

BY NICOLE BOLOMEY

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How best to show the residents of an historic citythat the heritage of their buildings is one of thebest resources for improving their lives?

Restoring a heritage building, even if it is just a simplehouse, can be a real engine for economic development.But as with so much in life, it�s seeing that is believing.That is why the concept of the �heritage house� hasbecome popular in Europe and Asia. A heritage house isgenerally a traditional house within the heritage zone of acity that is carefully restored. The heritage house makeslocal people aware of the potential of their own historicalbuildings, and it encourages support from both publicand private groups to use their heritage as a tool forsocial development. Heritage houses demonstrate howconservation and restoration can reduce poverty,

generate employment, help with waste management,improve water systems, and encourage environmentalregeneration as a whole. The local craftsmen involved inthe restoration of the heritage house are then able to usetheir experience in other properties.

The concept of a heritage house includes more than aphysical property, however. The house plays host to ateam of technical experts, which supports the process ofheritage based development of the area, ranging from theorganisation of exhibitions and workshops to givingtechnical advice; and from the development of projectproposals to tap a variety of existing government schemesto establishing credit schemes for private restorationprojects.

A house in Ahmedabad: before and after restoration

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The heritage house serves as a focal point,disseminating information throughpartnerships with research organisations. Itbrings people, initiatives, and money togetherto make heritage preservation a vital elementof sustainable development. Some cities inIndia and other parts of the world havealready taken the initiative to host a heritagehouse.

AHMEDABAD�PERFECTLYRESTOREDA few years ago the city of Ahmedabad tookthe initiative to develop the AhmedabadHeritage Centre, which is very similar to aheritage house. A team formed by theAhmedabad Municipal Cooperation incollaboration with the French governmentsupports access to credit for homeownersand offers technical advice on architectureand engineering for restoration. 60 buildingshave been perfectly restored so far,enhancing not just the appearance of the cityto visitors, but the quality of life of the low-income families who live in these houses. Inrecognition of this, a representative of theAhmedabad Heritage Centre recently receiveda Citizens� Award.

A house in Ahmedabad: before and after restoration

Consultation with inhabitants, Ahmedabad

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LUANG PRABANG�HARMONISED CITYThe inclusion of the city of Luang Prabang in Laoson UNESCO�s World Heritage List in 1995 was theimpetus to successfully restore its architecturalheritage. The establishment of a heritage housebrought together several government ministries,private actors and civil society groups, andattracted sizeable amounts of funding from abroad.Many of the six hundred classified buildings havenow been restored along traditional lines. Thepeople of Luang Prabang have created what istoday an architectural treasure trove, guided in theconstruction, repair, and extension of their housesby the heritage house. And Laotian culturalministry officials reckon that this experience hassignificantly affected not just Luang Prabang�sprosperity, but the way development is conductedthroughout the city.

RHONE RIVER�A NATURAL ENTITYUnique in its own way, the Rhone River Centre(Maison du Fleuve Rhone) project brings togetherthe knowledge, usages, and territorial entitiesassociated with the most highly developed river ofFrance. The Centre is the country�s only culturaland scientific institution of its kind. Its mainobjective is the promotion of the Rhone River�s

cultural, natural, scientific and economic values and itsrole for common prosperity.

Over the past fifteen years, the Centre has developedcultural projects, conferences, workshops, andpedagogical activities for youth, and a Rhone Festival. Aninteresting plan in the pipeline is the introduction of a largemultimedia unit for presenting programmes on the riverenvironment, using a large-scale three-dimensional model.

VARANASI�A PALACE OF RIVER ANDHERITAGEAs one of the oldest cultural hubs of India, the city ofVaranasi is steeped in traditional culture, myth, andlegend. In order to keep alive this heritage, a networkhas been established between the local chapter of IndianNational Trust for Art and Cultural Heritage (INTACH),the Benares Hindu University, the Mayor and MunicipalAdministration of the city and other stakeholders.Together, they are founding a heritage house called thePalace of River and Heritage. With technical supportfrom the French Rhone River Centre, it is planned torevive a ruined historic property high above the RiverGanga. The project will cover a range of activities, fromexhibitions to a research library on the history andculture of Varanasi. But the core activity remains theestablishment of a technical team giving advice to peoplewho wish to restore their houses.

Restored Traditional House, Luang Prabang, Lao PDR

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East Façade of Amber Fort Palace

Exquisite Paintings on Ganesh Pol

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Located in a valley of the Aravalli Range, thefort palace of Amber is a fascinating blendof both Hindu and Muslim architecture,

reflecting the styles of its various builders. Overcenturies, they created the complex whose layersof history are still visible today. Amber Fort�simposing appearance against the skyline isenhanced by its stone ramparts and its towers ofgreen quartzite, red sandstone, and white marble.Gateways and chhattris are set handsomely intothe exterior. From the ramparts there is apanoramic view of Moata Lake, which was usedto provide water to Amber, feeding the hamaamsand fountains inside the fort palace.

Built over a span of 138 years during the reigns ofvarious kings, the fort as it exists today owesmost of its construction to Maharajaha Mansing I(1589-1614). The original fortificationsmetamorphosed into imperial architecture underMaharaja Jaising (1621-77). Although amagnificent fortress for many decades, Amber�sglory degenerated after the kingdom�s capitalshifted to Jaipur during the time of MaharajaJaising II (1699-1743).

Though much of the fort lies in ruins now, theastute visitor can sense the fascinating times it

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its ancient monuments, andits ancient monuments, andits ancient monuments, andits ancient monuments, andits ancient monuments, and

Amber Fort is no exception.Amber Fort is no exception.Amber Fort is no exception.Amber Fort is no exception.Amber Fort is no exception.

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A Conglomeration of Ancient LegaciesAmber Fort

BY JYANESWAR LAISHRAM

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represents. Ruined havelis remind you of Amber�sheyday during the era of the Rajasthani kings. If youhave ever seen maharajas travelling on the backs ofhuge elephants in movies, then you have an idea ofthe modern visitor can still experience on theapproach to any of Amber Fort�s three mainentrances. Inside, the palace offers a sequence ofcourtyards progressing from the most public to themost private. Most of the courts for royal functionswere constructed on the east side with views ofMoata Lake, whereas other support activities werehoused on the west side.

Every corner of the palace has its own particularfunction. For example, Jaleb Chowk � the lowest one� was for mass gatherings. The Diwan-i-aam wasused for public hearings and the Diwan-i-khaas for themain administrative functions, while Zanana Chowk(also known as Mansingh Mahal) was a residentialarea. Of all the courts, Diwan-i-khaas � the mostimportant in the political hierarchy � is the mostformal, with exuberant architectural decorations.

It is easy to sense the bygone beauty of thesecourtyards, where baradaris, water bodies, gardens,and gateways articulated the settings. The entire palaceis punctuated by vividly decorated chambers. Thereare frescos painted in vegetable colours, such as onGanesh pol, the elaborate mirror works of SheeshMahal, artefacts in stone and sandalwood, and thedazzling paintings on the walls of the dining room. Thegorgeous latticework of jalis adorns most of the

facades, modulating the harsh light and creating patternson the floors and walls of the havelis.

Despite the activity generated by the tourism industry,Amber Fort is more resonant of former glory than ofpresent-day magnificence. A certain melancholy can stillbe felt in the rather decayed edifices dotting the ruggedlandscape. Abandoned in 1728, the fort palace remainedunused or misused for more than 277 years. But now thepresent government of Rajasthan has embarked upon anambitious plan to bring the ancient fort back to life. In2005, it initiated a conservation report together with aproposed renovation and assessment plan for the entirecomplex. Many areas were found to be suffering seriousdecay due to seepage of moisture, roof leakage, andblocked drains. In addition, modern architecturalaccretions disfigured the historic ambience of themonument.

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progressing from the most publicprogressing from the most publicprogressing from the most publicprogressing from the most publicprogressing from the most public

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courts for royal functions werecourts for royal functions werecourts for royal functions werecourts for royal functions werecourts for royal functions were

constructed on the east side withconstructed on the east side withconstructed on the east side withconstructed on the east side withconstructed on the east side with

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support activities were housed onsupport activities were housed onsupport activities were housed onsupport activities were housed onsupport activities were housed on

the west side.the west side.the west side.the west side.the west side.

Kesar Kyari, a Garden in Moata Lake

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One of the Courtyards inside Amber Fort

Lake and hills near Amber Palace

52Interior and grill work of Amber Palace

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In order to implement the renovation, AmberManagement and Development Authority (ADMA)was established with funds from the government forthe renovation project in 2006 and 2007 for whichconservation architect Dr. Minakshi Jain wasappointed. As of now, the authority has started torestore two of the courtyards, the west façade andthe eastern entry areas. In their attempt to restore thespatial ambience of the monument, the authority hasremoved various modern buildings around the fort.Funds have been allocated to implement touristattractions such as sound and light shows andelephant alighting platforms. It is estimated that 45percent of the lost images of Amber palace will berestored by the end of the project. The authorityexpects that the west areas will be fully revitalisedwithin two years.

The strategic plan for Amber Fort focuses not juston the fort palace but on tourism as a broadconservation and development strategy. This goesbeyond physical renovation to cover visitormanagement, the discreet addition of physical

Interiors

Carved Marble Panel

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North Wall of Jaleb Chawk

West court area, passage being repaired

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facilities for tourists, andtourism promotion. Anestimated Rs 48,33,84,000 hasbeen sanctioned for the overallreconstruction strategic plan.

Great effort is being expendedto re-establish the real essenceof the fort palace of Amber,and an immense amount ofexpertise, manpower, andresources is still required. It isestimated that funds forsubsequent phases in 2008 andbeyond will be raised throughpartnership and donation driveswithin and outside India. Butthere is no doubt that the fortpalace of Amber is soon goingto sport a new look � onederived from olden days. Youwill have to be there toexperience it!

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amount of expertise, manpower, and resources is required.amount of expertise, manpower, and resources is required.amount of expertise, manpower, and resources is required.amount of expertise, manpower, and resources is required.amount of expertise, manpower, and resources is required.

Ceiling

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Stark, silent boulders rose out of the Earth. The road snakedthrough the rugged terrain, past cactus flowers andstretches of sun-burnt grass. The brown earth blushed

purple under my gaze, the landscape preparing me for the dramathat was to unfold. The gold of the desert climbed up the stoneand lime walls of the mahal, zooming in on the domes, thecourtyards that beckoned, the terraces that lured. Immense,powerful, standing tall, like a sentinel. What was it? A timecapsule? Antiquity played silent music as I walked up the stonesteps smoothed by millions of footsteps that had trudged up tothe palace. I knelt down to touch the stones, wanting to feel theiroldness, to hold history in my palms. History plays a virtual realitygame here. Ages ambush. I was shunted into a past which thrivesin the now. A painted arched doorway with a temple of the�kuldevta�. Hands joined together instinctively: the place

BY MITA KAPUR

Deogarh Mahal is aDeogarh Mahal is aDeogarh Mahal is aDeogarh Mahal is aDeogarh Mahal is a

stronghold of one of thestronghold of one of thestronghold of one of thestronghold of one of thestronghold of one of the

sixteen Umraos of Mewar,sixteen Umraos of Mewar,sixteen Umraos of Mewar,sixteen Umraos of Mewar,sixteen Umraos of Mewar,

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years ago, Nahar Singh ji,years ago, Nahar Singh ji,years ago, Nahar Singh ji,years ago, Nahar Singh ji,years ago, Nahar Singh ji,

the Rathe Rathe Rathe Rathe Rawwwwwaaaaat ot ot ot ot of Df Df Df Df Deogarh,eogarh,eogarh,eogarh,eogarh,

opened the formidableopened the formidableopened the formidableopened the formidableopened the formidable

gagagagagates otes otes otes otes of his pf his pf his pf his pf his palalalalalace tace tace tace tace tooooo

guests, giving new meaningguests, giving new meaningguests, giving new meaningguests, giving new meaningguests, giving new meaning

ttttto woo woo woo woo words like restrds like restrds like restrds like restrds like restooooorararararatititititiooooon,n,n,n,n,

cococococonsernsernsernsernservvvvvaaaaatititititiooooon and heritn and heritn and heritn and heritn and heritage.age.age.age.age.

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Deogarh

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commanded respect. This was Deogarh Mahal, astronghold of one of the sixteen Umraos of Mewar,dating back 300 years. Ten years ago, Nahar Singhji, the Rawat of Deogarh, opened the formidablegates of his palace to guests.

Up till now, words like �restoration�, �conservation�and �heritage� had remained a rather confusingcacophony. But as I climbed higher, turned intonarrow passages, reached the courtyard with themarble throne and was accosted by old paintings,huge cauldrons, cracks on the walls, a heavilycarved wood palki that served as a bar trolley (bigenough to be a bed, should you get drunk!), thosewords began to sink in and make sense. But this wasjust the beginning. A labyrinth of uneven staircases,narrow alleys, brackets, trellised windows anddoorways unfolded the plot. Mysteries unraveledslowly. Each turn that I thought would take meaway, brought me closer to horses streaking by,swords clashing, battle cries. Each room opened upa tale. There was romance and intrigue, espionageand action, dreams and daring, passion andpilgrimage. Yes, spaces translated to feelings. Yes,interiors spoke of the spirit. Yes, walls stood witnessto the passage of centuries, just as they were built.As they were meant to be.

I didn�t need an aerobics instructor with all the �stepups and step downs�. The sheesh mahal, room no.1,

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took my breath away. Belgian mirrors burst light intomyriad hues. Nahar Singh ji�s cradle, its original redvelvet preserved under a glass top, served as a table.Plump cushions in royal reds and ermines for you to lieback on and look into mirrors that reflected back somuch more than just appearances. The sitting room inthe suite, where I chose to have my tea by the jharokhalike a maharani, looked into the main courtyard. Eventhe tea was poured from a brass ketli with a handle.Bunches of grapes glowing from Murano glass lit upthe ceiling. The arch behind the bed draped in colouredbeads merged into the traditionally patchworkedbedcover. A love seat sunk deep into an archedwindow, a munshi style writing table, old sepiaphotographs of the family casually clustered on tables.Ranjit Singh�s portrait sparks off stories of his love for

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opulence, evident in the grandeur of the sheesh mahal hehad made.

Nahar Singh ji, an educationalist and a historian, hasinculcated in his family a deep understanding of thenexus between history and restoration. �How that agewas lived and by whom� is the basic principle of allrestoration work done in the palace. The familyemployed no architect, but took the work into their ownhands, with the three ladies, Bhooratna Prabha Kumari,Namrata Kumari and Bhavna Kumari being the creativebrains of the restoration. The brothers, Veer Bhadra andShatrunjay put into action all that was planned. Eachroom has its own character and colour, its own�vintage�. Bhavna recalls pulling out old blocks of aparticular period to have fabric printed to suit eachroom, to suit the person who had lived there and his

period. An intrinsic and detailed study of Deogarh�shistory in all its components has gone into the making ofthe mahal. Old furniture, paintings, frescoes andarchitectural styles are used as emblems to create arecurrent theme. The lotus on the domes and archesfinds itself repeated in a lotus-shaped swimming pool.

It�s a tour in itself to go around the palace. Each roomreveals an effort that has been not simply to redo wallsand halls, but to create a whole atmosphere, keeping itsculture alive. Walking on the terraces (there are somany), the town and the lake sprawl before you. Thedomes are symbols of life itself. The circular ghadadenotes wealth, the next circular piece, amal denoteshealth, the third circle stands for prosperity. Earthycharm, rooted in the local mitti forms the weft andwarp, the corners and the coves of the place. �We are

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unique in our oldness. We are not a �fad property�,haven�t used art deco or zen designs to sell ourselves.�It�s just simply them. Lamps stand on elephant ghantis,old cannon balls round off flower beds instead ofrounded river pebbles �imported� from the Ganges. Silkborders on curtains that were designed like old chicks,pankhis and brass torches used as lights. Deogarhserves as a case study in product originality. It is anexperience, not just another heritage hotel.

Bijay Vihar, named after Bijay Singh ji has railway shutterwindows and old style railway sinks. The bed sitsregally with a backdrop of intricate jaali work and youcan bathe nestled in mehrabs with pigeons cooing on theledge. The Jogmaya has an old Durga temple in thebedroom. A heavy riveted wooden door guards it. A highdome over the bed gives the room an uplifted feel. Redmuslin curtains, velvet love seats, a writing table andcoloured glass windows add to the enchanting mood.

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The Gokul Ajara is a vital combination of low dado ofpainted processions, gopis surrounding Krishna, withinlaid mirrors in floral motifs on the walls. Low ceilingsgive this room a warm, cosy ambience. You stepthrough the study area into the bedroom, old carved andhand painted wooden chests work as bed side tables.The blinds, sheets, bed spreads are all in colours that arevery Rajasthan, the fabric and the block prints are local.The bathing robe, tailored in the angrakha style, is madefrom local fabric by the residents of Deogarh. Thebathing area is partially open to the skies with aGulmohar peeping in. Relaxing in the Jacuzzi strewnwith rose petals, holding a fistful of sun drenchedsky�sheer bliss!

The homto has an elephant procession running on itswalls in natural stone colours that have faded over theyears. Kishan Kunj, a Hawa Mahal look-alike, has acanopied ceiling of stars, trellised windows in stainedglass evoking images from Krishna�s life. Kishan Singhji, to whom this room is devoted, was a believer.Ironically, Jaswant Niwas, where a plot to poisonJaswant Singh ji�s beloved queen was thwarted, nowserves as the honeymoon suite. (The queen was savedby the Rawat himself who tasted the poisoned foodbefore she could.) Mayur Mahal makes you behold apeacock in coloured glass and semi-precious stones asyou climb down an old wrought-iron stair case from thesitting area into the bedroom, which has windowsrunning down from the ceiling.

The West Wing, originally the zenana, the MythologyWing, the Chitrashala dedicated to artists like Raja Ravi

Verma and Bagta, Baijnath, Chokha, all from theDeogarh School of painting, valorise culture and a veryRajput grain of life. This word in fact means means raj(dharti) ka put (putra) not, as is commonly believed, theson of kings. As raj puts, they have done a worthy jobof restoring and conserving the ages within the walls,the cracks, the crevices. Copper switches, sinks andtaps are all locally manufactured. It�s quite clear thatslick development like shiny marble was not the aim.Instead, it was to protect a way of life. It would havebeen a folly to fill a 16th-century fort with French periodfurniture. The terraces are used for moonlit dinners,cane moodas are left casually for guests to sit on andtake in the sounds, smells and sights of the town.Serenity lives here. It seeps into your being as youmeander your way through narrow passages, peep outof balconies, cross courtyards, encircle a huge kadaiwhich balances your morning cuppa. Simplicity isrampant. Belief in the old is what is new. Fifty-fiverooms spell out �We are your home, while you are here.�

All this and yet much more. All hi-tech facilities areavailable. The air conditioning is non-obstrusive, theOyster showers melt into mosaic walls, Internetconnections are in place. There are televisions, but whoneeds them around here? And why go in for a massagein a regular padded massage room when you can get itdone under the sky, with the crisp morning breezefanning you, birds chirping and soft silence kneading outall the tension knotted in your shoulders? Antiquity addsa freshness. In Khamagani hokum, reverberates thecultural identity of Deogarh.

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Festival to BoostRajasthan is known as a land of colours and

festivity. This culturally vibrant state offers livelycities, golden deserts, magnificent forts and rich

crafts. In recent years, visitors to Jaipur � the famousPink City and the state�s capital � might be forgiven forthinking that there is more year-round music andfestivity filling its streets than ever before, and theywould be right. For that, they have the efforts of somecreative and entrepreneurial residents of Jaipur to thank,people who have heard the fascinating and complexstories of Rajasthan�s performing artists andcraftspeople, and seen the sorrow that sometimes liesbehind their smiles.

Tourists throng Jaipur to witness the fine art and richtraditions of the city, but they rarely give much thoughtto the livelihoods of the artists whose handiwork orperformances are seen against the backdrop of the city�sfamous palaces and other monuments. These are thepeople who have preserved the traditional crafts forwhich Rajasthan is renowned, carrying forward a legacypassed on to them for generations. Yet thousands of localartists live in extreme poverty and wake up each daywondering how they will survive. Their meagre earningsare incapable of supporting their families.

This is the paradox of Rajasthan: while rich in traditionalarts, crafts, historic habitations and cultural resources, itis considered one of the most backward of India�s states,with low economic and life security indices. It has anunparalleled range of arts, crafts and traditional practicesstill passed on within the family. But as economicpressures mount and traditional ways are questioned, suchpractices are being abandoned by the younger generation,in a process that will be inevitable unless arts and craftsare connected to increased income.

BY JAMES BAER

Tourists throng Jaipur to witnessTourists throng Jaipur to witnessTourists throng Jaipur to witnessTourists throng Jaipur to witnessTourists throng Jaipur to witness

the fine art and rich traditions ofthe fine art and rich traditions ofthe fine art and rich traditions ofthe fine art and rich traditions ofthe fine art and rich traditions of

the citthe citthe citthe citthe cityyyyy, but the, but the, but the, but the, but they rarely rarely rarely rarely rarely give my give my give my give my give muchuchuchuchuch

thought to the livelihoods of thethought to the livelihoods of thethought to the livelihoods of thethought to the livelihoods of thethought to the livelihoods of the

artists whose handiwork orartists whose handiwork orartists whose handiwork orartists whose handiwork orartists whose handiwork or

performances are seen against theperformances are seen against theperformances are seen against theperformances are seen against theperformances are seen against the

bbbbbackdackdackdackdackdrrrrrooooop op op op op of the citf the citf the citf the citf the cityyyyy’’’’’s fs fs fs fs faaaaammmmmousousousousous

pppppalalalalalaces and oaces and oaces and oaces and oaces and other mther mther mther mther mooooonununununuments.ments.ments.ments.ments.

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The threat of a vanishing cultural heritagegalvanised a group of concerned citizensof Jaipur who already had a successfulhistory working with crafts, arts,education, heritage and tourism. In 2002they formed the Jaipur Virasat Foundation(JVF) to address the socio-economiccrisis being faced by the state�s artists andcraftspeople. The Foundation is motivatedby a vision that goes far beyond theconcept of charity, to make traditionalculture economically viable while at thesame time promoting Rajasthan on theinternational stage.

It�s a big challenge: how do you meet thegoals of protecting cultural diversity,alleviating poverty and creating sustainableeconomic development? JVF foundertrustee Faith Singh believed it was possible to find a wayof empowering both the urban and rural poor, enablingthem to earn a secure livelihood by providing a basis tocombine traditional skills with the needs andopportunities of modernisation. Singh�s confidence camefrom her twenty-five years of experience working withthe clothing line Anokhi, which she founded. Anokhi hassustained the year-round, full-time livelihood of severalhundred people employed in designing and producingblock-printed fabrics, and has inspired numerous similar

enterprises. Singh was convinced that what had workedfor one traditional Rajasthani industry, enabling itspractitioners to compete and succeed in a globalisedworld, could work for other aspects of culture also. Butwith such a diverse range of cultural practices andproducts, a different approach would be needed.

That approach is called �Festivals for Development.�JVF decided that the best way to showcase Rajasthan�scultural traditions � and to make it economicallyattractive for their practitioners to keep on working in

66

the field � was to take a leaf out of the book of themany cities round the world that offer culturalfestivals. And so, for the past five years, the JaipurHeritage International Festival has offered a range ofcultural events � performances, exhibitions and shows� that showcase traditional arts and crafts. Whilebased on the Pink City, the Festival draws artists,performers and craftspeople from around Rajasthan,and visitors from much further afield than that. Whatbegan as a community initiative, organised by a groupof committed citizens and professionals, has grown tobe supported in its more recent incarnations by theGovernments of India and Rajasthan, by UNESCO andby motivated individuals and companies.

From this beginning, the Festivals for Developmentprogramme has taken new directions. Spring 2007

67

saw the Jaipur Literature Festival presented inconjunction with the Heritage International Festival,attracting such world-famous writers as SalmanRushdie and William Dalrymple. In October 2007, JVFhas expanded its programme to present a RajasthanInternational Folk Festival (RIFF) in Jodhpur. JodhpurRIFF highlighted some of the region�s most vitalcultural assets � the singers, dancers, instrumentalistsand storytellers of more than 15 Rajasthani folkcommunities, many unknown as yet to the outsideworld. Joining them will be performing artists ofnational and international standing, making JodhpurRIFF a unique combination of local and world music.

These festivals are not just a short burst of activity.Quite apart from the constant planning that isnecessary to develop a varied and full programme fordiscerning audiences, Festivals for Developmentstimulates year-round creative work in local schoolsand communities, inspiring innovative interventions incultural tourism, crafts and design. The hope is tocombine these with initiatives in urban planning,management and restoration that are being undertakenby the state government of Rajasthan, JFV and othersto conserve the historic environment of Rajasthan�scities.

Notwithstanding the annual struggle for financialresources � sponsors and donors � to make eachyear�s festivals happen, and the daunting long-termchallenge of taking the festival model to other townsand cities in the region, JVF is optimistic about thefuture. Faith Singh prefers to look far forward, just asthe traditions JVF is working to preserve reach far intothe past. She observes, �The late Komal Da, the greatauthority on Rajasthan cultural traditions and localknowledge, who opened the eyes of so many of us to

the value of local knowledge and arts and crafts, advisedme at the beginning of this journey called JVF that weshould think for seven generations.�

While busy planning for this year�s and next year�sfestivals, JVF keeps a clear eye on its long-term vision:that tradition need not fall victim to inevitablemodernisation, but instead can be a vital component ofthat process, delighting visitors and tangibly enrichingthe quality of life of some of Rajasthan�s poorest butmost creative citizens.

68

Hoysala Heritage:A New Destination for Bangalore�s Yuppies ?

Hoysaleshwara Temple, Halebid

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69

Driving down from Bangalore on a bumpy, dustyroad for four hours amid farms and small townsof unplanned modernity, one is not prepared for

the spectacular sight that awaits at Belur and Halebeedu:spectacular temples that take the breath away with theirfine detailing and skilled craftsmanship. Located in theHassan district of Karnataka, the sites of Belur andHalebeedu were the capital seats of the Hoysala Empirefrom the beginning of the 11th century until the early 14th

century CE.

According to Karnataka folklore, a young man, Sala,encountered a tiger near a temple which he struck dead.And as the word �strike� translates to �hoy� in HaleKannada (Old Kannada), thus the name Hoysala wasderived. The Hoysala Empire of South India is known forits exquisite temple architecture, which is an offshoot ofthe Western Chalukyan architectural style, with distinctDravidian influences. And the Chennakesava Temple atBelur and the Hoysalaeswara Temple at Haleebidu are twoof the finest examples of Hoysala art.

Begun over 900 years ago, the Chennakesava Temple took103 years to complete. Its facade is filled with intricatesculptures and friezes, with no portion left blank. TheHoysaleswara temple, too, is a masterpiece in terms of itssculptural detailing and walls that are covered with anendless variety of gods and goddesses, animals anddancing girls. This magnificent temple, guarded by a NandiBull, was never completed, despite 86 years of labour.

The Hoysala temples are an architectural marvel: built on aplatform 3-5 feet hight, they have a star-shaped plan andare made of balapada kallu, or soapstone, which iselaborately carved. The temple sculptures themselvesreplicate this emphasis on delicate craftsmanship, with afocus on depicting the beauty and grace of the femininephysique.

However, these temples are not the only marvels left by theHoysala empire. If you are willing to roam around Belurand Halebeedu on the bumpy unpaved roads, you will beamazed to discover a number of further jewels of Hoysalaarchitecture, hidden within small villages like Belavadi,Arkere or Doddagaddavalli.

Besides the beautifully carved temple complexes, theHoysala region also abounds in lakes, tanks and step wellsthat are well worth seeing. The distinctive regional style isfurther reinforced by the houses, with white, single- ordouble-storey walls topped by sloping, clay-tiled roofs.The paved stone streets, and the houses� ornate doors,their handmade clay tiles and decorative brackets andcolumns add to the ambience of these historic towns.Entering one of these houses offers a wonderful surpriseat the sight of massive, richly carved pillars which, theowner will proudly explain, date back to the time of hisgreat great-grandfather.

Recognising the immense potential of the region as a majortourist destination, especially for Bangalore yuppies craving

BY SHIVAA RAWAT & MOE CHIBA

70

Chennakeshava Temple, Belur

71

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an escape from the daily hassle of noise and traffic in the bigcity, Karnataka State, in association with UNESCO, initiated aprocess in 2006 of developing a new heritage itinerary stretchingfrom Belur and Halebeedu to the adjoining villages, on the themeof the Hoysala Kingdom. The itinerary aims to expand thebenefits of tourism across the region, by encouraging tourists tostay at least a night or two in Belur and Halebeedu and spendtheir money in ways that will benefit the local population.

The aim of the State Government is not to create yet anotherluxury tourist facility exclusively for the rich foreigners. Toooften around the world, enterprises like that are established tothe detriment of the needs of the local population. Karnataka isfollowing a different model, one that realises that tourism mustserve local empowerment, because a development strategywhich does not secure the support of local population can neverbe sustainable. This means, for example, providing not just theinfrastructure for hotels or guest houses, but improving basicinfrastructure for the local population, including water,electricity supply, sewage and garbage disposal.

Giving local people the chance to benefit economically fromtourism is just the beginning of Karnataka�s holistic approach.Hand in hand with this goes a strategy to help local communitiesappreciate the importance of preserving the local heritage andculture that constitute the primary assets for tourismdevelopment. In the context of growing globalisation andurbanisation, the cultural monuments on one�s own doorstep caneasily be seen as unfashionable or unimportant. Belur andHalebeedu have suffered from a general disregard for the ancientstructures beyond the main temples. Fort walls, moats and

Garuda Pillar, 12th Century Old Kannada Inscription,Halebidu

73

Tourism is a double-edged sword. While it is one of the fastgrowing business sectors in India, contributing to 6% of

India�s GDP, its economic and social impacts remain veryuneven between and within States. The impact of large-scaletourism on the environment is often negative; the majority ofthe revenue generated by large international tour operatorstends not to flow to the destination but back to the country ofthe operators; and while tourism benefits from the marketingof natural and cultural heritage, heritage preservation rarelybenefits from the revenue that is generated.

In support of the Indian Government�s efforts to make atangible link between tourism and local empowerment,UNESCO, with the endorsement of the Union Ministry ofTourism and Culture, launched in 2006 the concept of the�Indian Heritage Passport� as a means to market qualitytourism destinations, facilities and initiatives which are aimedforemost at encouraging the holistic protection and promotionof local cultural and natural heritage, the education oftravellers, and concern for the local environment and localemployment generation. Only those tourism destinations andfacilities complying with some of the above criteria will bepromoted under the Heritage Passport label. Five States �Karnataka, Rajasthan, Tamil Nadu, Madhya Pradesh and WestBengal � have agreed to launch pilot projects for theprogramme. The Karnataka Hoysala Itinerary will be one ofsuch itineraries to be promoted under the Heritage Passport.

Indian Heritage Passport ProgrammeUNESCO Endorsed Quality Heritage Tourism

water gates have either been demolished orhave not been fully excavated. Newconstruction around the temples threatens toundermine the unique heritage value of thesites, depriving the local population of theirmost precious asset for empowerment.Promoting an appreciation of their richcultural heritage amongst the local people istherefore very important, and will becomeeasier as the local population begins tobenefit from the tourism in the region.

From this point on, possibilities abound.Tourism doesn�t have to be limited tovisiting the major temples: it can providealternative, supplementary means ofemployment for the local population.Traditional handicrafts such as soapstonesculptures and wood carvings usingtraditional motifs can be marketed with bothtraditional and innovative designs. Peoplecan be trained to cater for foreign visitors,presenting local cuisine in an attractivemanner. And the plentiful number of localassociations for dance and music could bemobilised. The queen of Hoysala wasknown to be an excellent dancer:Karnataka�s plans for the sites could keepher spirit alive and well, to the delight ofvisitors and the well-being of Hoysala�smodern-day inhabitants.

Linking Heritageand LivelihoodKishkinda Trust in Hampi, Anegundi

Linking Heritageand LivelihoodKishkinda Trust in Hampi, Anegundi

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World Heritage Site of Hampi: an elaborated traditionalwater system combining utility and architectural beauty

76

Anegundi, the cradle city of Hampi, is located tothe north of the Tungabhadra River. The villagehas a distinct character, with humble,

whitewashed flat-roofed houses with inner labyrinthsthat contrast with the four main roads that form a simplesquare.

With its many ancient temples, Anegundi falls within thecore zone of the Hampi World Heritage Site, declared byUNESCO in 1986, thus requiring the local population tomaintain its traditional buildings and appearance.However, for the villagers of Anegundi to be trulyinvolved in conserving their historical surroundings, theyneeded to be self-sufficient.

The Kishkinda Trust (TKT) was born out of this simpleinsight: that for any heritage conservation to take place in

BY SHAMA PAWAR SHAPIRO Anegundi, it must first and foremost benefit the peopleof Anegundi economically, culturally and socially.Raising community awareness and participation inheritage conservation for development are conductedfrom the community training centre established withUNESCO support in 2001.

With further support from the Ministry of Tourism andUNDP, TKT initiated the Rural Tourism Project in 2004,aiming to link tourism with the preservation of thephysical and cultural characteristics of Anegundi village.By converting several old houses into tourism facilities,the project has provided expanding employmentopportunities to the local people, enhancing their lives.

Among our activities, the rangoli, or clean streetcompetition, was one which made a huge impact on theimprovement of the village atmosphere. Rangoli is asimple and traditional method of keeping the entry of the

77A Traditional House in Anegundi

Landscape of Hampi - Anegundi

Handicraft shop settled in a traditional house in Anegundi

78

79

Seens from the village of Anegundi

Traditional house converted into a guest house

80

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house pleasant and pure, with the floor swept with cow dung anddecorated with rice or stone powder patterns. The competitions greatlyencouraged the women villagers to be part of the heritage conservationendeavour.

The simple yet versatile spaces of the old houses really spur theimagination of The Kishkinda Trust�s members to develop various usesfor the structures. The buildings have been converted into attractive guesthouses, craft shops, libraries and restaurants. Seeing the growing interestamong the community is exciting. No fewer than 90 house owners haveapproached us so far to restore their houses as tourism facilities.

There is no dearth of inspiration for TKT as it comes from whatsurrounds us. The striking boulder formations, the river and thecombination of rice and banana fields contrasting with massive stonestructures create an atmosphere of miniature paintings.

The simplicity of the village setting of Anegundi provides a real sense ofcomfort that any visitors would be happy to experience, especially afterseeing the awesome monuments of Hampi. Today, several areas within thevillage have become small oases, inspiring visitors and the localcommunity alike with the benefits of conserving heritage as source oflocal empowerment. This is a real achievement for us, and one we�re veryproud of.

(Established in 1997, The Kishkinda Trust (TKT) assists the villagers of Anegundi at agrassroots level to build capacity in order to incubate businesses and to conserve theirhistorical heritage. TKT runs several unique programmes which are seamlessly integratedwith the lives of the local people and which empower them economically.To know more about the programmes of the Trust, visit http://www.thekishkindatrust.org.)

Handloom workshop: craft development constitutesone of the important activities of The Kishkinda Trust

82

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83

The standing remains of the bazaar at Vittala Temple, one ofthe four grand temple complexes in ancient Vijayanagara,

now part of the World Heritage Site of Hampi

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BY JYANESWAR LAISHRAM AND ANTOINE POIRSON

Innovations That Work

84

Solar-Powered Boat by Ganesh Ghimire, Assam:A motorboat that runs without fuel may sound impossible,but this solar-powered boat uses a panel that stores thesun�s energy. The boat has an aluminium propeller insteadof a heavier iron one, so that it takes less energy to run.It�s also less noisy than a conventional boat � andcompletely pollution-free. The solar-powered boat canprovide rides on bodies of water for tourists withoutspoiling the tranquillity of the natural surroundings. And it�sparticularly useful for water-borne adventurers who wishto observe wildlife, since it allows for a silent approach.

World Heritage Status virtuallyguarantees that a cultural site will seean increasing influx of visitors, and

UNESCO and the State Government of Karnatakaare focusing on the development of Hampi fortourism in ways that will enhance, rather thandamage, the area and contribute to the economicwell-being of its local residents.

One of the challenges is to provide proper facilitiesfor visitors to the Hampi site, which extends overnearly one hundred square miles. Water, electricpower and transportation all need to be providedwithout polluting or otherwise damaging theenvironment. After all, tourists eventually leaveafter their visit, but the residents call Hampi home.Low-cost, environmentally friendly andsustainable: these are the watch-words for thetechnology that is needed at Hampi. And a possiblesource for a range of solutions has emerged in theHoney Bee Network. It�s not high-tech, but it isundeniably creative, innovative � and Indian!

The Honey Bee Network is a coalition ofindependent organizations that do research ongrassroots innovations and ideas that come forthnot from academia or research laboratories, butfrom people in towns and villages around thecountry who see problems and dream up practicalsolutions. They are inventors pure and simple,focused on finding simple but effective ways tomake life easier, more productive, or moreefficient, particularly in the many parts of thecountry where infrastructure is deficient. Oftentheir ideas are based on cultural knowledge that isspecific to their region, but the applicability may bemuch wider.

Over the past ten years, with the support of theIndian Institute of Management Ahmedabad(IIMA) and with active collaboration of the entitiessuch as Society for Research and Initiative forSustainable Technologies and Institutions(SRISTI), National Innovation Foundation (NIF),Gujarat Grassroots Innovation AugmentationNetwork (GIAN) as well as volunteers from allover India, Honey Bee Network has gathered anextensive database of nearly 10,000 grassrootsinnovations, forming a knowledge centre forformal and informal scientists, policy makers,other innovators, green entrepreneurs, andeducationalists all over the world. Some of theseideas have already been developed as commerciallyviable products, and UNESCO is hopeful that someof the best of them will be tried out at Hampi, tohelp the site�s sustainable development as a touristattraction. If they are as successful, their usecould be extended to other World Heritage sites.Take a look at some of these ingenious innovationsbelow � you may come across them on a futurevisit to a UNESCO World Heritage Site!

E-bike by Kanak Das, Assam: Riding a bicycle overbumpy terrain can be tiring, but the e-bike takes a lot of thestrain out of the activity. It runs on a 12-volt battery that isrecharged automatically when the bike is being ridden,allowing the rider to travel without pedalling much of thetime. What�s novel about the e-bike is that its battery isrecharged by the forces induced on bumpy tracks. Thismakes it ideal for rural, off-road travel. A spring under theseat captures the energy released from the thrust of ridingon the rough track and converts it into electrical power.The e-bike has better pick-up speed than normal mopeds,cruises at 10 km/h and can go more than twice as fast if therider chooses to pedal. While the range of the battery islimited � about 2 km � this is plenty for many visitors totourist sites, and external recharging of the battery allowsfor trips of up to 10 km, enough for the hardiest ofadventurers at a World Heritage Site!

Natural Water Cooler by Arvind Bhai Patel,Ahmedabad: Given the increasing awareness of globalwarming and the ways in which consumption of electricity

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contributes to this threat, a nature-friendly, non-pollutingwater cooler sounds like a good idea. The natural watercooler is a low-cost, energy-efficient, andenvironmentally friendly innovation that both cools andfilters water. A unique aspect of this invention is that noexternal power is needed to run the cooler. Suchtechnology is tremendously useful in remote villageswhere no electricity is available, not to mention publicplaces like railway stations, bus stops and libraries.

Zero Head Water Turbine by Nripen Kalita, Assam:Generation of energy can be a difficult and costlyprocedure. The zero head water turbine is an answer tofrequent power cuts and high monthly electric bills.Invented by Nipen Kalita, the turbine is a low-cost,energy-efficient design that harnesses flowing water togenerate electricity as well as to pump water for furtheruse in many purposes like irrigation and otheragricultural purposes. In a country like India where lackof electricity is one of the most vulnerable factors inrural areas, the zero head water turbine is particularlyvaluable concept. It can generate two kilowatts ofelectricity � more than enough for normal domestic use,and with applications for public sites such as touristcentres, too.

Septic Tank Baffle System by Rajesh TR, Kerala:Getting rid of waste isn�t something we spend too muchtime thinking about, but it�s essential for maintaininghealthy surroundings, whether at home or in publicplaces. When piped sewage systems are not available, aseptic tank is the solution, but maintenance can be a

problem. That�s where inventor TR Rajesh comes in,with his septic tank baffle system. It�s an effluentfiltering device that is technically more advanced than anormal septic tank, yet it is more easily affordable andrequires no skills or technical knowledge formaintenance. It also reduces the space requirement ascompartmentalization of the tank is not required and thetank can also be made in many shapes and forms whenthis baffle system is integrated into it.

Beauty Care Umbrella by Dulal Chaudhury, Assam:In India�s seasonally changing climates, umbrellas servemore than a single function: they protect from the sun aswell as the rain. This umbrella from Brahmaputra Valley,Assam, is made of mechanically weaved muga silk. Thechange in process from manual weaving to mechanicalweaving does not just make the umbrella waterproof andstain-resistant, but it also protects the skin fromultraviolet (UV) rays on sunny days. The silk blocks 80percent of UV rays, as against 40 percent that areblocked by a normal umbrella. So the user can lookstylish and stay healthy!

Camel-Driven Bus by Mewaram Jangid and RadheyShyam Mishra, Rajasthan: This invention, whichoriginated in Rajasthan in 1980, was developed totransport schoolchildren. The driver uses reins to guidethe camel, and the four-wheeled, double-decker unitcomes with brakes in case the camel gets tooenthusiastic! The camel bus can transport up to 80children at a time. It�s a simple and affordable localsolution for mass transport over shorter distances.

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Sustainable Practices in the Hospitality Sector:�A Wake-up Call�

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In India, water is honored as �Lok Mata� � the folkmother � and rivers and water bodies weretraditionally given the status of tirtha, a sacred

body. However, the pressures of modernity areexerting an immense pressure on the country�s waterresources. Unrestrained urbanisation andindustrialisation are depleting underground watertables; aquifers are being over-pumped and rivers aredying or declining.

By 2005, the per capita availability of water in India,which had been 5,000 cubic meters per year in the1950�s, had been halved to about 2,500 cubic meters.The Central Ground Water Board estimates that atpresent level of exploitation and misuse, the reservoir ofunderground water will dry up entirely in fifteen Statesby 2025. By 2050, fresh drinking water is expected tobecome very scarce as well.

This looming crisis does not just affect the domestic,agricultural and industrial sectors. Water consumptionpatterns in the tourism sector are also intimidating.According to a recent report, the average waterconsumption of a typical five-star hotel room is 1,500litres per day. A 50-room hotel will therefore consume75,000 liters per day just for its guest rooms, not tomention the additional water requirements for thekitchen, garden and swimming pools.

Hotels are like industrial plants that work round theclock, and the continuous use of water and energy isinevitable. However, some establishments are learning toconserve water and reduce their consumption. Simpleprocedures like regular monitoring for leaks, turning offirrigation systems when it is raining, and installing low-flow toilets and shower heads make a big difference.Some hotels make sure their kitchen staff don�t userunning water to thaw frozen food or wash vegetables.And out in the gardens, the buzzword is xeriscaping:keeping only native, drought-tolerant plants that thrive ona minimal amount of water.

A more long-term investment to conserve water israinwater harvesting: collecting rainwater by a variety ofmethods and directing it into the ground to prevent waterlevels from declining. Historically, Indians have been theworld�s greatest water harvesters. Archaeologicalevidence shows that water harvesting was practisedfrom ancient times. Harvesting systems proliferated �whether fed by rain, streams or rivers � and differentecological zones had systems adapted to local needs. InRajasthan there were artificial wells built in chains;Southern Magalia developed an intricate network ofbamboo pipelines to carry water over inhospitable terrainand to function as a drip irrigation system for betel leaf

BY SHIVAA RAWAT

Temple tank, Andhra Pradesh (Rangareddy District)

Dug well, Madhya Pradesh (Ujjain District)

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Terrace farming, Uttrakhand, Kumaon

Recharge tank, Andhra Pradesh (Mahbubnagar District)

Roof top harvesting

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plantations. The Mughal-era groundwater based supplysystem in Burhanpur town in Madhya Pradesh is so wellengineered that people use it even today.

In general, however, ancient recharge systems andstructures such as tanks fell into disuse with the passageof time, particularly as land was taken up forconstruction and people began to rely on the governmentto provide water. In cities today, most rainwater flowsinto storm drains and is lost. But as water availabilitybecomes an increasing concern, attention is being turnedonce more to methods for rainwater harvesting. Thistakes two main forms: storage of rainwater on thesurface for future use, and using rainwater to rechargegroundwater levels. In agriculture, rainwater can beharvested through techniques such as terrace farming,contour trenching, and so-called micro-catchments.Gully controls, check dams and percolation ponds areused to harvest water or run-off from streams. Directsurface run-off harvesting includes roof-top watercollection, temple tanks, tankas, kundis and ooranis.

Hotels are learning that rainwater harvesting is not just asimple and cost-effective way cut to recharge aquifers: ithas other advantages too. Rainwater is ideal for irrigationand other operations that do not require potable water.Using rainwater for laundry operations can significantlyreduce the consumption of detergents and other laundrychemicals, because it is soft and free from dissolvedminerals and heavy metal impurities.

The benefits of rainwater harvesting have spurred acommitment among leading hoteliers to educate,motivate and train their staff in water conservationpractices. Orchid Hotels, ITC Hotels, Ananda in theHimalayas and the Taj Group of Hotels have set upsystems to address the issue of water conservation.Bathroom water efficiency and drip irrigation are just thefirst steps. For example, comprehensive rain water

harvesting systems have been installed in all ITC hotelbuildings. Given that it�s not unusual for the roof of ahotel to be 60,000 square feet in size, the amount ofrainwater that can be conserved in this way alone isconsiderable. India�s water problems are serious andthreaten to become colossal. So it is encouraging that thecountry�s own heritage of water technology points theway towards a solution.

Check dam, Andhra Pradesh

ITC Hotel Grand Central, Mumbai

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We would like to express our gratitude to all those who gave us the possibility to complete this publication. We want to thank theAll India Artisans and Craft-workers Welfare Association (AIACA) for background study, Mr. Navneet Raman (Kriti Gallery) forbackground information, Ms. Nandita Raman for photographs on page 9 and NIFT for the photos of the textile in Weaving aLegacy; Mr. Ravinder Dweidi for background materials, Mr. Byron Aihara for photographs of the weavers, and NIFT forphotographs of the textiles in Girls from Chanderi Start Dreaming Big; Ms. Amritha Talwar of Katha for her contribution ofphotograph and background materials to Katha; Friends of Vrindavan for photographs and materials in Friends of Vrindavan; Ms.Uma Prajapati for her material contribution and www.tsunamika.org to Tsunamika; Jinan B. for text and photographs inKumbham Murals; Minakshi Jain for background materials and photographs, www.andrewhammel.com, www.muskoxfever.netand www.indiaunbound.com.au for the photographs in Amber Fort; Ms. Mita Kapur for text and photographs in Deogarh; Mr.Antoine Poirson for the background study on seven innovations for Hampi, IIMA for information of the products, Ms. NicoleBolomey for photographs of Hampi Heritage Site, www.nif.org.in and www.nifindia.org for photographs of the products inInnovations that Work; Ms. Shama Pawar Shapiro for text and photographs and Ms. Nicole Bolomey, UNESCO for photographsin Linking Heritage and Livelihood: Kishkinda Trust in Hampi; Dr. Jyoti Hosagrahar for background study and photographs, andwww.answers.com for photographs in Hoysala Heritage; Mr. Debashish Nayak for photographs of Ahmedabad in The HeritageHouse: A New Horizon for Urban Development; Mr. Bhanu Neupane, UNESCO, for background materials and orientations, andMr. Faisal K. Zaidi, UNESCO for background information and photographs in Rainwater Harvesting; Dr. P. Venugopalan forbackground information, Invis Multimedia (Thiruvananthapuram) for close-up pictures of Margi Sathi, Centre for Developmentof Imaging Technology (Thiruvananthapuram) for photographs of the stage performance in Kutiyattam.

Acknowledgements

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