Ip may june 2013 by Indian Diplomacy

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INDIA VOL 27 NO. 2 MAY-JUNE 2013

PERSPECTIVES

INSIDE WILD WATCH On a jungle safari GLOBAL PERSPECTIVES President’s state visit to Bangladesh BCIM CAR RALLY Building bonds FESTIVAL Puri Rathyatra

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P O T P O U R R I

EDITORIAL NOTE

Puppet theatre Ishara International Puppet Theatre festival, April 8-16, in Delhi, Gurgaon and Chandigarh, witnessed a mélange of new and ancient puppetry from Russia, Israel, Bulgaria, Iran, Portugal, Italy and Spain. Believed to have been born in India, puppetry in recent years has combined with dance and theatre.

Ayurveda e-books

IPL 2013 The sixth edition of the Indian Premier League was played across India, from April 3 to May 26. The IPL 6 saw a total of 76 matches of the Twenty20 cricket format between the nine franchises. The new additions included a team, Sunrisers Hyderabad; two international stadiums at Raipur (Chhattisgarh) and Ranchi (Jharkhand); and cricketers like Australia’s Ricky Ponting.

Ayurveda has taken the digital route to reach the global audience, as Kerala Tourism launched two e-books on the Indian healing system in April. The books are Panchakarma: Ayurveda’s Mantra of Rejuvenation, on holistic rejuvenation therapy, and Ayurveda: The Mantra of Niramaya, an introduction to the system using texts from ancient scripts to modern research papers.

Tribal festival

Bonjour India

The three-day-long Shad Suk Mynsiem (or dance of happy hearts) took place in Shillong from April 13 to 15. During the annual thanksgiving dance festival Khasi tribesmen offer prayer to God for a bumper harvest. Men and women, dressed in traditional fineries, dance to the beats of drums and pipes called tangmuri, the queen of musical instruments.

The three-month-long festival of France in India, Bonjour India 2013 concluded on March 31. The exuberant festival of artistic creation travelled to 15 Indian cities and presented 150 events – from visual arts, theatre, music, dance, literature and gastronomy – involving over 300 artists and experts.

Travel Bazaar The 6th Great Indian Travel Bazaar took place in Jaipur, Rajasthan from April 1516, with an objective to reinforce India as a world-class tourism destination. Organised by the Department of Tourism, Government of Rajasthan; Ministry of Tourism, Government of India; and Federation of Indian Chambers of Commerce and Industry, the business-tobusiness mart hosted foreign buyers, Indian sellers, policy makers and investors.

he Indian summer has arrived. The mercury levels are rising and people are busy making most of the longer days. This is the time to enjoy mangoes, melons, cool drinks and some pre-monsoon showers. May and June are also the months when action shifts from bigger, warmer cities to cooler, quieter places in hills and forests, where many Indians head for vacation. This time, we too couldn’t resist the temptation of visiting a few places ourselves and share with our readers accounts of our excursions to places they too can explore. The double edition begins with our escapade to India’s five prominent national parks. Though Corbett in Uttarakhand, Ranthambore in Rajasthan, Panna and Pench in Madhya Pradesh, and Gir in Gujarat are only a few of the many wildlife destinations India has, the reserves possess unique natural vistas and diverse flora and fauna to captivate just any one driving in. The next on our route is Uttarakhand — the state in the foothills of Himalayas and a paradise to all kinds of travellers, from families and adventure enthusiasts to nature lovers and soul searchers. While we may be travelling, we are not missing on India’s ongoing festive celebrations. The edition brings to you engaging accounts of Hola Mohalla and Lord Jaganath Rathyatra from Punjab and Odisha, respectively. Besides we observe Mahavir Jayanti, the birth anniversary of Lord Mahavira (celebrated on April 24 this year), the founder of Jainism, by paying a visit to the magnificent Jain temples in Ranakpur, Rajasthan. The May–June edition covers the maiden foreign tour of President Pranab Mukherjee to Bangladesh. The visit was not just memorable for the President, but was also crucial, as trade between the nations is on an upswing. Also finds place in the double edition is the two-day BRICS Summit that took place in the South African city of Durban in March. Not just summits and tours, India’s friendly relations with its neighbours can be seen, lived and cheered at its borders too. One such remarkable initiative was the firstever BCIM (Bangladesh, China, India and Myanmar) 2013 Car Rally. About 80 participants in 20 cars embarked on this 12-day-long rally to cover 3,000 km throughout the partner nations, with an aim to boost trade and encourage people-to-people contacts. Enjoy the edition!

Riva Ganguly Das

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INDIA

PERSPECTIVES May-June 2013 n VOL 27 No. 2/2013

Editor: Riva Ganguly Das Assistant Editor: Ashish Arya

MEDIA TRANSASIA TEAM Associate Editor: Jyoti Verma Assistant Editor: Aashruti Kak Junior Features Writer: Pallavi Paul Creative Director: Bipin Kumar Editorial Coordinator: Kanchan Rana Design: Ajay Kumar (Assistant Art Director), Sujit Singh (Sr. Visualiser)

MAY-JUNE 2013

Production: Sunil Dubey (DGM), Ritesh Roy (Sr. Manager), Devender Pandey (Manager), Jeetendra Madaan (Assistant Manager - Prepress) Chairman: J.S. Uberoi President: Xavier Collaco Financial Controller: Puneet Nanda Send editorial contributions and letters to Media Transasia India Ltd. 323, Udyog Vihar, Phase IV, Gurgaon 122016 Haryana, India E-mail: feedback.indiaperspectives@mtil.biz Telephone: 91-124-4759500 Fax: 91-124-4759550 India Perspectives is published every month in Arabic, Bahasa Indonesia, English, French, German, Hindi, Italian, Pashto, Persian, Portuguese, Russian, Sinhala, Spanish, Tamil and Vietnamese. Views expressed in the articles are those of the contributors and not necessarily those of the Ministry of External Affairs.

This edition is published for the Ministry of External Affairs by Riva Ganguly Das, Joint Secretary, Public Diplomacy Division, New Delhi, 0145, 'A' Wing, Jawahar Lal Nehru Bhawan, New Delhi-110011 Tel: 91-11-49015276 Fax: 91-11-49015277 Website: http://www.indiandiplomacy.in

Potpourri

Wild watch: On a safari to India’s National Parks

Global Perspectives: President’s visit to Bangladesh

Partnerships: BRICS Summit, Durban

BCIM Car Rally: Building bonds

Festival: Puri Rathyatra

Tradition: Hola Mohalla

Book extract: Wonder of the Age

Photo feature: Uttarakhand

Heritage: Astronomical observatories

Temple trail: Jain temples of Ranakpur

Music: Delhi Jazz Festival

Exhibition: Basketry Dialogues

Landmark: 100 years of Indian cinema

Verbatim: Leila Seth

Text may be reproduced with an acknowledgement to India Perspectives For a copy of India Perspectives contact the nearest Indian diplomatic mission.

COVER PHOTO: A TIGER SPOTTED IN RANTHAMBORE NATIONAL PARK / INDIAPICTURE; COVER DESIGN: BIPIN KUMAR

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W I L D WAT C H

Jungle Escapade Summer months are the best time to spot wildlife in their natural habitat. India Perspectives makes most of the moment at five eminent national parks of the country

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CORBETT NATIONAL PARK

FOLLOW THE PUGMARKS Named after a conservationist, Corbett offers nature lovers an ideal experience

he story of the man behind Corbett National Park, in Nainital, Uttarakhand, is synonymous with the story of wildlife protection. Jim Corbett started out as a hunter for pleasure, turned into a life-saving specialist hunter of maneating tigers, and finally, became a die-hard conservationist, a videographer and a still photographer. Besides tigers, Corbett is a safe haven for 50 mammals, 580 kinds of birds and 25 reptile species. It is a playground for the tiger, Asian elephants, the Himalayan black bear, the sloth bear, smaller felines, wild dog and colourful birds. The time was the first week of May, perhaps one of the best times for spotting wildlife in a park. After entering Corbett at Dhangari, the inaugural drive to Dhikala, a dancing peacock, sambar deer, and finally, a herd of 10 wild elephants set the mood in right perspective. We moved towards the high bank and a forest range called Gairal. The former, also called the Crocodile Point, offers distant but fine views of crocodiles and gharials. At the Ramganga river, we got nice panoramic views, especially before the Gairal forest rest house, where the river forms a bend. The safari comes to an end, with the king of the jungle elusive. â&#x20AC;&#x201D;Deepankar Aron

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N AV I G AT O R The nearest airstrip serving Corbett is at Pantnagar (80 km) and has flights from Mumbai and Delhi. The nearest railhead is Ramnagar, 51 km from Dhikala. The distance between Delhi and Corbett is around 225 km and is a five-hour drive.

(Clockwise from above) A herd of elephants, a waterfall and a tiger complete the picture of Corbett National Park

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PA N N A

N AT I O N A L

PA R K

THE JUNGLE OF DELIGHTS Besides the big cat, Panna offers a great bird watching experience

N AV I G AT O R Khajuraho is the nearest airport and railhead. The bus stand in Madla village near the Park connects it to Khajuraho. One can get buses and other public transport vehicles that connect the Park with all of Madhya Pradesh and nearby states.

PHOTO: STEPHEN CUNLIFFE

(Clockwise from above) A crocodile about to get into the Ken river, a sambar, an Indian roller and a safari vehicle at Panna

pread over 542 sq km in the Vindhya range, the Panna National Park was carved out of the hunting reserves of the erstwhile Panna, Chhattarpur and Bijawar states. Predominantly an open forest, it is situated at the junction of the Gangetic plains and the Deccan peninsula, and the Panna hills provide the catchment area for the Ken river, the lifeline of the park. The park is open from mid-October to end-June. As we entered the park, the forest guide told the driver about a ‘movement’ throughout the night. ‘Movement’ is referred to tiger moving around in his area. The area of one tiger can be anything from 50 km to 125 km, and at times overlaps the area of one or two tigresses. Following the trail, soon we crossed a vehicle parked by the side. We thought they had stopped because of the call, but the stupefied occupants were luckier than that — they had just spotted a tigress nonchalantly crossing right in front of their Gypsy, and disappearing into the thicket beyond the clearing. For us, it was the most disheartening moment of a safari, missing the tiger by mere seconds. Tiger spotting is an obsessive activity. If you haven’t spotted one, you’ll keep returning till you’ve actually seen one; and if you’ve already seen one, you’ll keep returning to get more of it. —Nivedita Panwar

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G I R F O R E S T N AT I O N A L PA R K

ABODE OF THE LION

Visit the Gir Forest National Park for the Asiatic lion and marsh crocodiles

ujarat’s Sasan Gir National Park is the last remaining lair of the majestic Asiatic Lion. With the 2010 census indicating that lion numbers stand at 411, besides the 40,000-plus spotted deer, 10,000 sambar deer, wild boar, antelope, marsh crocodiles and some 500 leopards, the park is the best place to witness wildlife. The best period for visiting the park is mid-October to mid-June; November and February are the best months for sighting the lions. If planning a safari in your own vehicle, it’s necessary to apply for a permit at least three months in advance. But most visitors choose to take a guided jeep safari, for which foreign nationals are charged a different rate to that paid by Indian visitors. I got to the city of Junagadh, gateway to Sasan Gir National Park, aboard the comfortable Girnar Express. As it turned out, my anticipation of being able to see lions in the wild was amply rewarded. A group of lionesses with their cubs cavorted, oblivious to the presence of the jeep and its passengers. To be able to see natural lion behaviour at such close range was something I just had not expected — and all the passengers remarked that their own expectations had been well exceeded. —Graham Simmons

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N AV I G AT O R The nearest airport is Keshod, and railheads are Sasan Gir and Veraval, but the most convenient airport and railway station is Rajkot. Buses run from Junagadh and Veraval, and Volvo buses between Ahmedabad and Junagadh, from where one can take a mini bus. PHOTO: VISHWA KIRAN

(Clockwise from above) A lion family, a small waterfall, a spotted deer and a spotted eagle present a perfect view of Gir

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R A N T H A M B O R E N AT I O N A L PA R K

(Clockwise from above) Greylag geese, tiger, spotted deer, Hanuman langur and temple ruins at Ranthambore

THAT MAJESTIC ROAR

N AV I G AT O R By air, Jaipur (180 km) is the nearest airport. The Park is around 11 km away from the Sawai Madhopur railway station. A good network of buses connects Sawai Madhopur to all the major cities within Rajasthan.

The Park is as much known for its picturesque ruins and lakes as for the tiger

ocated in the Sawai Madhopur district of Rajasthan, the Ranthambore National Park is home to the tiger, bear, nilgai, chital, crocodiles, civet cats and leopards, and over 350 species of birds, and is known for its amazing lakes, the Ranthambore Fort and ruins of Raj Bagh palace. The pleasant months to visit the park are October and April. Since tigerspotting is the name of the game, most visitors take every opportunity to visit the park for a glimpse of the king of the jungle at home. This means waking up at the crack of dawn and setting off to the jungle. But, this is a jungle and not a zoo, so, no one can guarantee a sighting. However, one is hopeful that the majestic animal will give us an appearance. With this clear objective in mind, we enter the park. Within five minutes of turning off from the metalled road onto the jungle track, our guide tells us that a vehicle just up ahead has seen a tigress cross the path. The guide hears the roar of a tigress, and tells us that it is mating season and she is with a tiger nearby. Then, we too hear her roaring, and are told that hearing the roar of a tiger is rarer than seeing one. Small consolation, as our tigress and her mate do not deign to give us an audience. The jungle safari soon ends but we leave with a promise to come back, to relive the beauty of Ranthambore.

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P E N C H

N AT I O N A L

PA R K

FROM THE JUNGLE BOOK For over 400 years, Pench has been known for its natural beauty

or anyone who has ever read The Jungle Book, a trip to Pench National Park, located on the southern boundary of Madhya Pradesh, bordering Maharashtra, is not only a visit to a fabulous forest, but also a trip down memory lane. But, much before Rudyard Kipling, Pench was recognised for its natural beauty by Abul-Fazl, a minister of Emperor Akbar, in his book Ain-iAkbari, accounting the details of Akbar’s administration. The reserve covers 758 sq km, of which 299 sq km is the core area, and is off limits to visitors, giving more protection to the wildlife. But that still leaves a whopping 464 sq km in which you can spot a lot of animals. The tiger is the obvious star of Pench, but bear and Indian wild dog, or dhole, are also high on the list of any keen wildlife enthusiast. We were lucky to see dhole, for they do not stay in any one place for a long time. Soon, we heard the alarm call of a barking deer, followed by a second and a third call. “Quick,” the forest guide told our driver, and off we bounced through the forest for quite a distance. “Stop!” he suddenly whispered. And there was a tigress lolling around in the grass, as relaxed and lazy as could be. We wouldn’t have spotted her, if our guide hadn’t triangulated the three alarm calls.

—Christine Pemberton

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N AV I G AT O R Nagpur is the nearest airport and railhead. From Nagpur, drive to Khawasa (80 km), from where Pench’s Touria Gate is just 12 km away. By road, reach Nagpur and Jabalpur, drive on NH 7, and reach Khawasa. PHOTO: CHRISTINE PEMBERTON

(Clockwise from above) Jungle and elephant safaris, a cheetal and an open air machan that allows one to sleep out

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President Mukherjee during the Guard of Honour at Hazrat Shahjalal International Airport

armth and a touch of nostalgia marked President Pranab Mukherjee’s maiden visit to Bangladesh after taking over the country’s highest office. A grand reception at his in-law’s home in Narail, a visit to Nobel laureate Rabindranath Tagore’s country home in Kushtia, giving a convocation speech at Dhaka University and being conferred the prestigious Liberation War Award — President Mukherjee’s visit in early March was memorable in more ways than one and helped strengthen the historical and cultural bonds between the two neighbours. Touching on the close relations, President Mukherjee, in his speech at Dhaka University where he was conferred an honorary doctorate, said his visit at a personal level was “an emotional journey”. “I have my roots in the soil of Bengal, and have imbibed its language, traditions and culture. My wife was born in Narail and started her education here. I have grown up reading the compositions of the same poets as you, listening to the same songs which both our people love and walked along the banks of the same rivers which inspire the songs that make us all similarly wistful,” he said. Lauding the economic and social progress of Bangladesh, President Mukherjee also spoke of the close linkages between the two countries. “India and Bangladesh are interlinked like no other nations on earth. Our destinies are interwoven just like our history and our geography. Within our resources, India remains committed to supporting the comprehensive development of Bangladesh and the aspirations of its people.” While receiving Bangladesh’s Liberation War Honour, amid a standing ovation from more than 200 dignitaries, including from abroad, present at the Presidential Palace, President Mukherjee’s speech touched upon the charged and emotional events leading to the creation of Bangladesh in 1971. President Mukherjee, who was

GLOBAL PERSPECTIVES

TOGETHER, IN PAST AND FUTURE President Mukherjee’s visit to Bangladesh reinforced the ties between the two neighbours TEXT: RANJANA NARAYAN

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Bangladesh Prime Minister Sheikh Hasina calls on President Pranab Mukherjee in Dhaka

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Bangladesh President Md Zillur Rahman (right) greets President Mukherjee on his arrival in Dhaka

conferred the honour for his valuable contribution to the 1971 Liberation War — in which India played a critical role, said, “I feel humble as I receive this prestigious award and I feel that my contribution was modest. As I stand here tonight, I am filled with memories of the events of 1971. I was 36 years old and an MP when the people of Bangladesh engaged themselves in their liberation struggle.” He recalled that on June 15, 1971 he had the privilege to initiate a discussion in the Rajya Sabha and he suggested that India should accord recognition to the government of Bangladesh in exile. He said India has an abiding interest in the allaround development of Bangladesh. “As in 1971, so in 2013, the people of India stand beside the people of Bangladesh. We will walk with you as equal partners, shoulder to shoulder, arm in arm. We are both inheritors of an undivided civilisational legacy. It is no wonder that India and her people share a special connection with Bangladesh.” Prime Minister Sheikh Hasina, in her speech at the event, described President Mukherjee as “a real friend” of Bangladesh who “braving all obstacles from different quarters stood beside us when the war was waged at the call of Father of the Nation Bangabandhu Sheikh Mujibur Rahman and played a big role in mobilising support of the international community for our independence.” Poet laureate Rabindranath Tagore is another factor binding the two nations. Tagore’s songs, poetry and dance-dramas are equally popular in India and Bangladesh. The two countries jointly celebrated the 150th birth anniversary of the Nobel laureate on whose compositions their national anthems are based. President Mukherjee had as finance minister visited Dhaka in May 2011 for the closing

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POET

LAUREATE TAGORE IS A FACTOR BINDING THE TWO NATIONS. TAGORE’S SONGS, POETRY AND DANCE-DRAMAS ARE EQUALLY POPULAR IN INDIA AND BANGLADESH

(Above and left) President Mukherjee during his visit to Bangabandhu Memorial Museum, Dhaka

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President Mukherjee was presented the degree of Doctor of Laws Honoris Causa by University of Dhaka

INDIA

(Above) President Mukherjee and Bangladesh PM Sheikh Hasina inaugurate the broad gauge locomotive and tank wagon under Line of Credit; and (right) President Mukherjee lays wreath on the portrait of Bangabandhu Sheikh Mujibur Rahman

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WOULD FUND UPGRADATION OF THE SEWERAGE OF KUMUDINI HOSPITAL COMPLEX IN TANGAIL AND CONSTRUCTION OF A STATEOF-THE-ART WASTE WATER TREATMENT PLANT SYSTEM

ceremony of the Tagore birth anniversary celebrations. Taking their close bonding over Tagore further, President Mukherjee during this tour visited Tagore’s country home in Shilaidaha in Kushtia district, where the poet had penned several of his famous lyrics. The President said he was “quite impressed” by the way the articles of the poet have been preserved at the heritage site. The President visited Kumudini hospital complex at the Kumudini township in Mirzapur, Tangail, where he announced that India would fund upgradation of the sewerage of Kumudini complex, as well as construction of a state-of-the-art waste water treatment plant system. At the Dhaka Cantonment railway station, President Mukherjee along with Bangladesh Prime Minister Sheikh Hasina inaugurated the broad-gauge locomotives and tank wagon of Bangladesh Railway supplied under the $1 billion Line of Credit extended by India. In mid-February, India had handed over 20 Ashok Leyland buses to Bangladesh as part of the Line of Credit. The President made his maiden visit to the ancestral home of his in-laws in Narail where he was accorded a traditional reception. The President and his wife Suvra Mukherjee were offered sweetmeats and other gifts and showered with love and attention. In keeping with the red carpet ceremonial welcome, the President was accorded at Dhaka airport on his arrival, where the then Bangladesh President, Md. Zillur Rahman was there to receive him, when leaving Dhaka Prime Minister Sheikh Hasina was there at the airport to see him off. (Ranjana Narayan is Associate Editor with Indo-Asian News Service. She was part of the media delegation that accompanied the President to the state visit to Bangladesh)

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PARTNERSHIPS (From left) Prime Minister Dr. Manmohan Singh; President of the People’s Republic of China, Xi Jinping; President of South Africa, Jacob Zuma; President of Brazil, Dilma Rousseff and Russian Federation President, Vladimir Putin

A NEW WORLD ORDER The BRICS Summit in Durban decides to set up a development bank and contingency reserve arrangement in case of a payment crisis afflicting a member TEXT: MANISH CHAND

n the balmy South African coastal city of Durban, where Mahatma Gandhi once honed weapons of anti-imperial struggle, the leaders of the world’s five emerging economies scripted a new anthem of liberation in the form of BRICS development bank, which is poised to become the pivot of a new democratic world order. The seeds of the bank were sown in New Delhi, nurtured in Durban, and is set to bud and bloom in the next few months. Defying sceptics, the two-day BRICS summit, from March 26-27, 2013, culminated in a unanimous decision by the leaders of Brazil, Russia, India, China and South Africa to set up a BRICS-led bank that will finance development and infrastructure projects not just in emerging economies, but also in the larger global South. The leaders of the five emerging economies, which account for over a quarter of global GDP, also endorsed a $100-billion contingency reserve arrangement that will be deployed as a last resort, in case of a serious balance of payment crisis afflicting a BRICS country. The contingency fund envisages contributions of $41 billion by China, $18 billion each by India, Brazil and Russia, and $5 billion by South Africa. “We have decided to enter formal negotiations to establish a BRICS-led new development bank based on our own considerable infrastructure needs, which amounts to around $4.5 trillion over the next five years, but also to cooperate with other emerging markets and developing countries in future,” said South African President Jacob Zuma, the host of the first BRICS summit held on African soil. The Summit also saw important steps in deepening the framework of intra-BRICS cooperation. These pivotal steps included the setting up of a 25-member BRICS Business Council and the BRICS Think Tanks Council that seeks to provide thought leadership to a new dialectics of development, business and geopolitics epitomised by the BRICS. Some sceptics say the Durban Summit fell far short of expectations, but the fifth outing of emerging powers has proved to be the most substantive one, capping five years of incremental efforts to infuse greater strategic, geopolitical and economic content in a grouping that was born in the crucible of the 2008 global financial crisis. Yes, a lot of hard work remains to be done to get the details of the bank right,

AFP

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THE SUMMIT SAW

THE COLLECTIVE RESOLVE OF BRICS TO COOPERATE AND CONSULT ON A RANGE OF CROSS-CUTTING ISSUES, FROM PIRACY AND TERRORISM TO NEW-AGE THREATS LIKE CYBER WARFARE

Dr Manmohan Singh with Ms Dilma Rousseff during the Summit

but the fact that the leaders of the countries, with their distinctive trajectories of economic growth and national priorities, could join hands and declare the “viability” of a BRICS-led bank in times of the continuing slowdown is in itself a signature achievement. For India, which took the lead in shaping the development bank, the fruition of the key ideas that flowed from the 2012 New Delhi Summit was a moment of special pride and resonance. “It gives me great satisfaction to note that one of the ideas that we first discussed at New Delhi, that of instituting a mechanism to recycle surplus savings into infrastructure investments in developing countries, has been given a concrete shape during the Durban Summit,” said Indian Prime Minister Manmohan Singh. “Our Finance Ministers will now work to develop the details of this project,” he said, adding, “The BRICS development bank initiative has opened the doors to new possibilities of cooperation.” India’s Finance Minister P. Chidambaram is upbeat about completing the processes relating to the bank by the time Brazil hosts the next summit in 2014. “We should have a nearly complete document when the leaders meet again in Brazil next March,” Chidambaram told media after the Summit. The basic structural features of the bank, including the initial corpus capital; the governing board; and headquarters of the bank will entail intense negotiations. There are lingering differences over the corpus of the seed capital, which range from $50 billion to $100 billion. From New Delhi’s point of view, the $100 billion corpus could distort internal balance within the grouping, as the economies and capacities of the five BRICS countries are not the same. Indian officials have underscored that equity is the cardinal principle that should underpin the bank and feel that any deviation from this principle could lead to a replication of asymmetries of the Bretton Woods institutions. The Durban Summit also saw an infusion of greater strategic and geopolitical content in the grouping that has remained focused on issues of global economic governance and recovery. This new convergence was reflected in their collective resolve to cooperate and consult closely on a wide array of cross-cutting issues, ranging from piracy and

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DR MANMOHAN SINGH

URGED BRICS COUNTRIES TO WORK INDIVIDUALLY AND COLLECTIVELY TO MAKE ECONOMIC DEVELOPMENT MORE BROAD-BASED AND INCLUSIVE

(Clockwise from left) Prime Minister Singh with Mr Vladimir Putin, Xi Jinping and Jacob Zuma on the sidelines of the Summit

terrorism to new-age threats like cyber warfare. Moving beyond economics, the BRICS leaders forged a collective stand on mitigating the suffering of the Syrian people and underlined the need for a Syrian-led national dialogue to achieve lasting peace in the West Asian nation. They also warned the West against military adventurism in Iran, an assertive stance that marks the emergence of an alternative BRICS narrative on pressing international issues. “We express our deep concern with the deterioration of the security and humanitarian situation in Syria and condemn the increasing violations of human rights and of international humanitarian law as a result of continued violence,” said the eThekwini Declaration that was issued at the end of the Summit. Though the Durban Summit ended on a high note, the road from Durban to Brasilia will be fraught with challenges and prospects of new initiatives to add more traction to the $14 trillion grouping. Outlining the future trajectory, Dr Singh underlined that “the progress over the past five years encourages us to set higher ambitions, seek new avenues and set new goals for our cooperation.” The suggestions made by the Indian leader, along with the ideas offered by other BRICS leaders, have the potential to make the grouping a more powerful and credible platform in reconfiguring the global order. The suggestions included expanding intra-BRICS trade and investment so that the BRICS remain the driver of global economic growth and enhancing collaboration between institutions in BRICS countries to forge relevant solutions in areas such as energy, food security, education, healthcare, sustainable development and ITenabled public services. Dr Singh also urged BRICS countries to work individually and collectively to make economic development more broad-based and inclusive and underlined the need to “work more cohesively in international forums to advance the agenda of sustained global economy recovery and promote a balanced outcome on issues such as trade, sustainable development and climate change, in a manner that protects our shared interests and those of the entire developing world.” —Manish Chand is Editor-in-Chief of India Writes, an e-magazine focused on international affairs

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BCIM CAR RALLY

BUILDING BONDS, FOSTERING FRIENDSHIP

The first-ever BCIM Car Rally was flagged off in Kolkata on February 22, 2013, by the Chief Minister of West Bengal, Mamata Banerjee, in presence of Confederation of Indian Industry (CII) President Adi Godrej, CII Director General Chandrajit Banerjee and other dignitaries. The rally entered Bangladesh on the same day through Petrapole Border.

PHOTOGRAPHS: ASHLEY BAXTER & PARVEZ KALEEM TEXT: SHIVAM SHARMA

The historic Kolkata–Kunming BCIM (Bangladesh, China, India and Myanmar) 2013 Car Rally was flagged off in Kolkata in February. About 80 participants from four partner nations embarked on an epic 3,000-km journey in 20 cars to the Chinese city of Kunming, via Jessore, Dhaka, Sylhet, Silchar, Imphal, Ka-Lay, Mandalay, Ruili, Tengchong and Erhai Lake, Dali. The first edition of the12-day-long rally was organised through the active participation of the partner nations to boost trade and encourage people-to-people contact in the BCIM region. India Perspectives brings to you the snapshots of the rally

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The rally participants visited the National Martyrs’ Memorial near the capital city of Bangladesh, Dhaka. Seen in the photograph, all 20 cars lined up at the Memorial

A common sight in Bangladesh, the citizens extended warm welcome to the rally. At different instances, they handed out snacks and water bottles to the participants.

During the run in Bangladesh, the rally crossed several rivers through bridges, but the highlight was ferry crossing through Padma river.

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The convoy en route Sutankandi (Bangladesh–India) border; the rally entered back in India on the fourth day through Silchar, Assam.

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With magnificent landscapes and a breathtaking natural beauty around them, Ka-Lay to Mandalay was a memorable drive for participants driving in Myanmar.

The rally received nothing less than a heroic welcome while entering back in India from Bangladesh. The following day, the rally drove through Silchar (Assam) and Imphal (Manipur) before entering Myanmar. After a long dayâ&#x20AC;&#x2122;s drive, participants witnessed a spectacular performance by Manipuri dancers.

On the sixth day the rally entered Myanmar through Porder Bridge, Moreh Border on NH39. A significant landmark in the rally route, half of the bridge falls under India and the other half under Myanmar. Seen in the photograph: MD of Tata Motors Karl Slym driving the control car into Myanmar.

Visit to Myanmar can never be complete without visiting a pagoda. The car rally visited a pagoda near Mandalay en route Ruili, China

The rally was greeted by people wherever it went. Seen in the photograph is a human tunnel formed by residents en route Myanmar.

The rally participants from Myanmar included two film actors and one pop singer. Seen in the photograph, actress Aye Myat Thu with locals during a tea break.

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On the eighth day, the rally entered Ruili, the border town of China, through Myanmar.

After completing a week-long run through three countries, the convoy arrived in China, the ultimate destination of the BCIM Car Rally.

After long drives, the rally participants got a chance for sightseeing. Seen in the photograph are participants sharing a light moment in Dali, China.

The rally was flagged down in Kunming, China, on March 5, 2013. The rally covered 3,000 km across four countries in 12 days from Kolkata to Kunming. A group photograph of the 80 rally participants.

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FESTIVAL

WHEN

Gods

GO ON A HOLIDAY

LARGER-THAN-LIFE IDOLS, CHARIOTS AND A SEA OF HUMANITY MAKE PURI RATHYATRA A SPECTACLE

TEXT: UTTARA GANGOPADHYAY

he annual Jagannath Rathyatra or the Chariot Festival in Puri, Odisha, is around the corner. It is the occasion when believers from across the world congregate in Puri for a glimpse of the journey of Lord Jagannath, Lord Balabhadra and their sister Subhadra, aloft three wooden chariots, from the 12th-century-old Jagannath Temple to their aunt’s temple a little distance away. This is also the time when devotees pull the ropes of the chariots, dance, sing and partake of the blessed offerings. The three giant chariots rolling down the Bada Danda or Grand Avenue of Puri, pulled by a sea of people, amidst chants and cries of Jai Jagannath, is a spectacle one can’t forget. Tucked in the eastern sea coast of India, Puri is better known for the 12th century temple dedicated to Lord Jagannath. Every year, on the day of Asadh Shukla Dwititya (falling in June−July), the three idols leave the temple for a five-kilometre chariot ride to their aunt’s home, Gundicha Temple, where they stay for the next seven days. The chariots — built anew every year by the same family of craftspeople — are lined up in front of the temple the day before. The first to roll out is the Taladhvaja housing big brother Lord Balabhadra. Sister Subhadra starts next, seated in her chariot, Darpadalan, followed by chariot Nandighosa of Lord Jagannath, the star of the show. It is this grand spectacle that gave the word ‘juggernaut’ (meaning huge) to the English lexicon.

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AFP

Thousands of devotees gather to pull the chariots during the Rathyatra

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THE RITUALS

AFP

(From left) A devotee dressed in a colourful costume; the Gundicha Temple; and a child sitting on the edge of a chariot

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AFP

OF THE RATHYATRA ARE CONDUCTED BY DAITAPATIS, THE DESCENDANTS OF THE TRIBAL KING BISWABASU

The first day of the festival is marked with numerous rites and rituals of which the most famous is the pahandi and the chhenrapahara. The pahandi consists of unfastening the idols from the pedestal, lifting them and carrying them all the way to the chariot. The idols are heavy and it is not easy to carry them through the surging crowd. After the idols are seated on the chariots, the ruler of Puri sweeps the chariot with a golden broom. Known as chhenrapahara, it is a lesson in humility — everyone is equal before the Lord. Interestingly, while all rites and rituals observed daily in the temple are conducted by Brahmin priests, the rites and rituals associated with the Rathayatra are only conducted by a special group of attendants called daitapatis, descendants of the tribal king Biswabasu. Pilgrims and visitors start arriving the day before the festival and the town is swamped by a sea of people. The visitors include a good number of foreign travellers. Rooftops around the temple and makeshift galleries now sell tickets to visitors for a better view of the spectacle. Otherwise, one can mingle with the crowd. On the ninth day of the festival, the idols embark on their return journey to the main temple, known as Bahuda Yatra, and remain in the chariot for one more night. The sunabesh or adorning with gold ornaments is held on the tenth day. The next day, the idols return to the temple probably as tired and happy as the pilgrims.

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SIX HUNDRED

COOKS, 400 HELPERS, AROUND 752 EARTHEN OVENS AND ABSOLUTE SANCTITY HELP PREPARE THE HOLY MEAL

FOOD OF THE GODS n important element of the Chariot Festival is the blessed food, known as Mahaprasada, which the temple kitchen prepares on a massive scale to ensure that no one goes hungry. Mahaprasada is a 56-course meal consisting of Sankhudi and Nisankhudi, which stand for cooked food and dry food, respectively. Six hundred cooks, 400 helpers, around 752 earthen ovens and absolute sanctity help prepare the holy meal, which includes four types of rice. Kanika (rice made in clarified butter and sugar), salted rice, plain rice, mahura (mixed vegetable curry), besara (mixed vegetable with black mustard seeds) and raita (cucumber and tomatoes in yoghurt) are the most popular preparations. Once the cooking is done and offered to the deities, it is offered to Goddess Vimala. After she partakes of the offerings, it is called Mahaprasada. A legend has it that when King Indradyumna finished building the Lord Jagannath Temple at Puri, he went to invite Lord Brahma to bless the edifice. As Brahma was meditating, it took him a long time. When he came back, goddess Vimala had taken possession of the temple. She agreed to vacate the abode if another temple was built for her in the same courtyard and that she would be the first to receive the Mahaprasada. She was appeased and the tradition is being maintained since then. The tradition of Mahaprasada began during the reign of King Yayati Keshari. It was disrupted for some years, but was later resumed. There is no change in the menu since it was introduced in the 12th century.

The Mahaprasada being sold to public in Ananda Bazaar, in Puri

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—Mona Lisa Jena

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TRADITION

HOLY WARRIORS A STRIKING SHOWCASE OF ARCHERY, HORSE RIDING SWORDSMANSHIP AND COMMUNITY BONDING MAKE HOLA MOHALLA DIFFERENT

TEXT: SANDEEP GOSWAMI

or three days in March, the twin towns of Anandpur Sahib and Kiratpur Sahib, in Punjab, resound to the battle cries of Nihang (an armed Sikh order) warriors. Upholding a tradition started by the tenth Sikh Guru Gobind Singh, the community gathers in huge numbers to watch the Nihangs put up a scintillating display of mock battles and skills using traditional weapons. Called Hola Mohalla, the festival has swordsmanship, tent-pegging, saddle-less horse riding and a variety of martial skills to symbolise revelry on subduing the aggressor. The celebration of Hola Mohalla dates back to the early 1700s. Guru Gobind Singh realised the importance of acquiring the capability to defend his people against oppression, as well as the constant need to keep his forces fighting fit and in high spirits.

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AFP

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In the open fields surrounding the Holgarh Fort, near Anandpur Sahib, he initiated the tradition of mock battles between groups of Nihangs. Observed after Holi, the tradition blends the spirit of victory and gaiety associated with spring. The Nihangs move about in groups, called jatthas, live together in tented encampments, called chawannis, carry their weapons of war on their person, and even cook and eat in iron utensils. Each jattha specialises in some method of warfare and is peopled by experts unique to that group. The Nihangs, dressed in their royal-blue robes and sporting fiercelooking weapons, gravitate at Anandpur Sahib from all over India for the festival. War cries resound and puffs of gulal fill the clear blue skies. The camaraderie and oneness amongst the gathered Sikhs is

THE NIHANGS, DRESSED IN THEIR ROYAL-BLUE ROBES AND SPORTING WEAPONS, GRAVITATE AT ANANDPUR SAHIB FROM ALL OVER INDIA

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underscored by the sincerity with which they perform community service or kar sewa, irrespective of their financial or social status. Voluntary community kitchens or langars are set up at Anandpur Sahib. The third Sikh Guru Amar Das, initiated this system of community kitchens with the aim of removing inequality amongst his followers — exhorting them to sit on the floor together and share common food. The third day of the festival is its high point. Nihangas begin their day early with a bath and prayers followed by the preparation of parshada (food offered to God), which is distributed to pilgrims throughout the day. This is succeeded by recitals from the Guru Granth Sahib, followed by ardas (seeking forgiveness for any inadvertent errors during the holy recital), and the bhog ceremony,

THE WARRIORS MOVE ABOUT IN GROUPS, CALLED JATTHAS. EACH JATTHA SPECIALISES IN SOME METHOD OF WARFARE

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THE ONENESS AMONGST THE GATHERED SIKHS IS UNDERSCORED BY THE SINCERITY WITH WHICH THEY PERFORM KAR SEWA AND LANGARS

during which a part of the parshada is offered to the Guru Granth Sahib, and the rest is distributed. By noon, the Nihangs are ready for their annual procession, led by the Panj Pyaras representing in spirit the five Sikhs, who were willing to sacrifice their lives on the bidding of Guru Gobind Singh. A procession starts from gurudwara Takht Sri Keshgarh Sahib and passes through other important gurudwaras of Qila Anandgarh, Lohgarh Sahib and Mata Jitoji to return at the Takht from where it started, followed by a display of military skills by the participating jatthas at Shahidi Bagh. The mock battles and skilled displays continue till sunset. Awards and citations (saropas) are handed out to honour the skilled and the brave. And the day ends on a note of high spirits and fullfledged festivity. n

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Brush Strokes from History BOOK EXTRACT

Asad ibn Kariba launches a night attack on the camp of Malik Iraj: folio from a Hamzanama series Delhi–Fatehpuri Sikri, ca. 1570

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Wonder of the Age: Master Painters of India 1100-1900 is a vividly illustrated publication dedicated to the most eminent Indian painters from the era. A selection of photographs taken from the book

Extracted from:

WONDER OF THE AGE MASTER PAINTERS OF INDIA 1100-1900 John Guy and Jorrit Britschgi PUBLISHER: MAPIN PUBLISHING IN ASSOCIATION WITH THE METROPOLITAN MUSEUM OF ART, NEW YORK PRICE: ` 2100 PAGES: 224; 165 ILLUSTRATIONS AND 3 MAPS

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Nanda touches Krishna’s head after the slaying of Putana: folio from a Bhagavata Purana manuscript Delhi–Agra region, North India, ca.1540

ainting in India is ancient, and of two kinds. It was used to decorate the interiors of both palaces and places of worship, and it was deployed to illustrate texts in manuscripts, both secular and sacred. Early in their development, all Indian religions experienced the precariousness of relying exclusively on oral transmission and became aware of the necessity of a written tradition. The traditional medium throughout most of India’s past has been the palm-leaf manuscript, both fragile and resilient. It not just provided the vehicle for transmitting the vast body of Indian thought for more than 2000 years, but was a medium for the visual arts in the form of illustrated manuscripts. The other stream of early painting — again, of which almost nothing survives — was that of mural painting, both temple and palace decor. Works of literature, notably dramas and romances, must have been a regular feature of court culture, and manuscript editions may well have incorporated illustrated covers from an early period. All these traditions of paintings — for temple, palace, and dramatic arts alike — share a common ancestry.

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The village beauty: folio from the Guler Bihari Satsai series Guler, Himachal Pradesh, ca. 1785

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Hanuman paying homage to Rama: folio from a Dasavatara series Mankot, Jammu, ca. 1700-1710

Rao Jagat Singh of Kota at ease in a garden Kota, Rajasthan, ca. 1660

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Wonder of the Age: Master Painters of India 1100-1900 captures this ancestry by featuring 110 works by many eminent painters in the history of Indian art. The remarkable paintings, dating from 1100 to 1900, were selected according to identifiable artists, and they refute the long-held view of anonymous authorship in Indian art. Traditionally, Indian paintings have been classified by regional styles or dynastic periods, with an emphasis on subject matter. The introductory essay of the book outlines the origins of early Indian painting of the first millennium. The following sections examine manuscript painting as it evolved from palm-leaf to paper, the early Hindu–Sultanate paintings, the golden age of the Mughal Painting, the emergence of traditional painting as an independent art form, and its demise with the coming of photography. Biographies of the artists and a glossary of their major literary sources provide valuable context. A few such artists are Basawan, ‘Abd al-Samad, Manohar, Farrukh Beg, Keshav Das, Aqa Riza, Abu’l Hassan, ‘Abid, Mansur, Balchand, Payag, Bhavanidas, Nainsulk, Mir Malan Khan, Shivalal and Mohanlal. n

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P HOTO F EATU R E UT TAR AKHAN D

Picture Perfect

Blessed with magnificent glaciers and snow-clad peaks, dense forests and places of pilgrimage, Uttarakhand is a place for everyone

The Shivling peak and a lake in the Himalayas

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(From left) Families on vacation at Kempty Falls in Mussoorie; and shikara boats at Tallital Lake in Nainital

Heights Ensconced in the mighty Himalayas, Uttarakhand is a beautiful break any time of the year. Its peaks (highest being Nanda Devi, at 7,817 m), glaciers, passes and meadows, give a perfect backdrop to its many hill stations. The famous getaways include Mussoorie, Nainital, Almora, Ranikhet, Pithoragarh, Pauri and Munsiyari.

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(Clockwise from left) Flowers bloom in Har-ki-dun Valley; a climber in Garhwal; and white water rafting in Rishikesh

Nature Blessed with verdant patches and a perfect balance of flora and fauna, enjoy Uttarakhandâ&#x20AC;&#x2122;s best at Rajaji National Park, Nanda Devi National Park, Askot Sanctuary and Corbett, among others. High on adventure, the state also has options of mountaineering (at Bhagirathi, Chowkhamba, Pindari, Sahastrataal and Gaumukh, to name a few), trekking, skiing (at Auli, Dayara Bugyal, Munsiyari and Mundali), skating, water and aero sports (at Pithoragarh, Jolly Grant and Pauri).

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(Clockwise from top) Devotees at the religious sites of Haridwar, Kedar Nath Temple and Hemkund Sahib

Pilgrimage A paradise for devotees, Uttarakhand is dotted with numerous sacred shrines and temples. The most prominent are Yamunotri, Gangotri, Badrinath and Kedarnath, which are collectively called Chhota Char Dham. Haridwar, Rishikesh, the temples of Mansa Devi, Chandi Devi and Dhari Devi, and the Sikh shrine of Hemkund Sahib are other holy sites.

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TEMPLE TRAIL

AN EPIPHANY IN MARBLE

Every year, thousands of devotees visit Ranakpur, the revered centre of Jain worship in Rajasthan TEXT: DON ALNEY

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nuggled in the Aravalli Hills, in Rajasthan, and situated on the banks of river Maghai lies the 15thcentury marble dream of Ranakpur, one of the five holiest places of Jain pilgrimage and worship. Unlike other religious places, the four-temple complex has no congested bazaars and hustle and bustle of crowd, but a distinct character of prayerful peace, soul-satisfying serenity and a marvelous architecture. The sense of seclusion and the pacific ambience of the place is in quiet harmony with the ascetic ideology of Jainism. An inconspicuous inscription on a wall in the main

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temple tells us that Dharnaka, a rich and reputed Jain merchant, built it. Legend has it that he drew inspiration from a dream featuring a heavenly vehicle mentioned in Jain scriptures. Deeply moved by this vision, Dharnaka decided to build a similar structure, in the form of a temple. He requested land from Rana Kumbha, the ruler of Mewar, on which to translate his dream into a temple of unparalleled beauty. In 1394, Rana Kumbha donated a large tract in the foothills of the Aravalli range for the proposed temple. The creation of Dharnaka’s marble marvel took all of 50 years. On completion, it was dedicated to the deeply venerated Lord Adinath, the first of the 24 Jain Tirthankaras, or enlightened sages. The conceptual magnitude and aesthetic grace of the

Adinath temple has transformed it into an epiphany in marble. Enshrined in the sanctum sanctorum is the Chaumukha, or four-faced image of the first Tirthankara. The temple sprawls over 48,000 square feet with its 29 halls, 86 chapels, five spires and 20 domes. It is widely believed that these are supported on 1,444 magnificent pillars, each carved distinctly different from the other. It is also believed that there are nine cellars under the main temple for safe storage of the temple’s sacred images, in case of any emergency. The ingenuity of the architect’s designs is evident from the positioning of these 40-foot-high pillars; from any of the four corners of the temple, the visitor’s view of the central, four-faced image of Lord Adinath remains unobstructed. Curiously, one of these pillars bears

GETTING THERE By Air: The nearest airport is Udaipur (80 km away). By Rail: Falna (35 km away) is the nearest railhead on the Delhi−Ahmedabad sector. By Road: A good network of bus services joins Ranakpur with many places in the state. (Previous page) Jain devotees during a ceremony; (current page, clockwise from right) a woman selling flowers; a priest; and a man making sacred sandalwood paste inside the temple

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IN THE NEIGHBOURHOOD Sadri: Visit the old shrine of Khudabaksh Baba, and Varahavtar and Chintamani Parsvanath Jain temples Ghanerao: Jain and Hindu temples of Gajanan Desuri: Temples of Lord Shiva, Lord Hanuman and Navi Mata, and an ancient mosque Muchhal Mahavira: A temple that has a statue of Lord Mahavira with a moustache Blessed with beautiful sculptures, the temple complex is appreciated by devotees and tourists alike

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an inscription relating how a Jain monk persuaded Mughal Emperor Akbar to ban hunting, sale and consumption of meat on days of religious significance for the Jains. Images of the 24 Tirthankaras are sculpted on the porticos around the shrine, with each mandap (covered structure with pillars) possessing a spire adorned with little bells on top. With every gust of breeze, the temple corridors echo the tinkling of the bells, creating an illusion of ethereal music. The carvings of the temple of Lord Adinath give the impression of a lace-like effect with floral scrolls, dancing goddesses and scriptural scenes. There are three other smaller temples; two of these are dedicated to the Jain saints, Parsvanath and Neminath. Both face the main temple. The fourth, Surya Mandir, is

dedicated to the Sun God. Its polygonal walls are embellished with opulent carvings of warriors mounted on horses and solar deities riding splendorous chariots. A breathtaking sight, the temple is a masterpiece of intricately carved motifs. The most remarkable thing of the complex is the wonderful play of light and shade on its exquisitely cut pillars. It is believed that each pillar changes colour from golden to pale blue after every hour during the day. With the temples reclaiming the glory in the last three decades, devotees and tourists continue to stream in from distant places. Some visit to express gratitude, a few in quest of solace and hope for the morrow, and many attracted by the architecture. n

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HERITAGE

THE TIME-KEEPERS Though centuries old, the significance of India’s astronomical observatories has not eroded with the advancement in science TEXT: DEEPIKA KHURANA

erived from the words ‘instrument’ and ‘formula’ or ‘calculation’, the Jantar Mantars were constructed between 1727 and 1734 by Maharajah Jai Singh II of Jaipur in his native territory of west-central India. A spectacle of India’s scientific heritage, one might ask why these were required over a century after Galileo had invented the telescope. In all probability the Indian ruler knew of the telescope, but the Jantar Mantars were different. The traditional instruments employed here were designed to calculate the precise positions of celestial objects, crucial knowledge of which was required to determine horoscopes and to pinpoint auspicious days. Jai Singh was passionately interested in mathematics and astronomy, and adapted and added to the designs of earlier sight-based observatories to create architecture for astronomical measurement. Primarily influenced by the Islamic school of astronomy, his designs incorporated elements from early Greek and Persian observatories. But the instruments of the Jantar Mantar were more complex, and in certain instances, were completely unique in design and function. Though there were five such observatories originally built at Delhi, Jaipur, Mathura, Ujjain and Varanasi, all but the Mathura observatory still exist. We visited the two main observatories at Jaipur and Delhi, besides the latest India has got, to know how significant is this heritage today.

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Jantar Mantar, Jaipur Inscribed on UNESCO’s World Heritage List as “an expression of the astronomical skills and cosmological concepts of the court of a scholarly prince at the end of the Mughal period,” the Jantar Mantar at Jaipur first seems like a collection of weird buildings contorted beyond belief. On a closer look, the genius of the construction becomes apparent. One of the highlights of the Jantar Mantar are the 14 major geometric devices on the ground for measuring time, predicting eclipses, tracking stars and determining the celestial altitudes and related ephemerides. The most imposing is the mammoth sundial, known as Samrat Yantra, in the centre of the observatory. It is the world’s largest sundial that can tell the time with an accuracy of two seconds. Its triangular gnomon, 90 feet high, is angled at 27°, the latitude of Jaipur. A staircase rises 27 metres (88.5 ft) to a small cupola where notable readings like that of timing of eclipse and the arrival of the monsoon season were announced. If used correctly, the giant sundial can predict accurate time with just a 0.6 second margin of error.

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Jantar Mantar, Delhi The Jantar Mantar, located near Connaught Place in New Delhi, differs from its twin at Jaipur. Apart from the fact that it is built of the local red sandstone, the observatory is a giant version of a spherical sundial. The other two major instruments here are Jai Prakash and Mishra Yantra. The Jai Prakash was used to find sun’s position through the shadow cast by two intersecting wires on a concave hemisphere. The hemisphere was marked with altitude and azimuth circles, tropics and declination circles. On the other hand, Mishra Yantra — meaning mixed instrument — combined different devices in one and indicated ‘noon’ in various global cities. Mishra Yantra was the only structure in the observatory not invented by Jai Singh II, who was well versed with the advances in European astronomy while he was building the Delhi astronomical observatory. Students of astronomy and Vedic astrology often visit this scientific wonder to take some lessons, and it won’t be wrong to say that the observatory is the single most representative work of Vedic thought that still survives, apart from the available text.

PHOTOS: NITIN JAIN

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Modern Day Sundial The latest addition to India’s attempts with the sundials is the giant gnomon at the Barapullah flyover in New Delhi, believed to be the biggest one made in brass and steel. “Brass has been used to give it a longer shelf life and mild steel has been used for its strength in the inner structural frame,” explains the sculptor artist Gagan Vij. Conceptualised by Delhi Development Authority and floated into a working 3D sculpture by Vij, it is built under the structural guidance of Indian Institute of Technology (IIT), Roorkee. After approximately three years and `21.1 million, the sundial — weighing 42 tonnes and measuring 12.7m high and 24.5m long — shows correct solar time. “It does not show the lunar time or zodiac time like the Jantar Mantar at Delhi and Jaipur. Opposed to your clock time, it shows the local time, or the Indian Standard Time (IST), as calculated in Allahabad. For example, it is noon by the sundial when the shadow of the gnomon disappears. But your watch set to the IST will read 12.21pm at that time, as Delhi is 21 minutes behind Allahabad,” says Vij.

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MUSIC

All that

Jazz

AN INTERNATIONAL FESTIVAL BRINGS TOGETHER JAZZ MUSICIANS FROM ACROSS THE GLOBE TO DELHI TEXT: PALLAVI PAUL

he spectators at the green environs of Nehru Park, in New Delhi, stood enthralled as musicians at the Third Delhi International Jazz Festival (March 1518) showcased their talent, weaving together a mesmerising performance that transcended the boundaries of lands and identities. Organised by the Indian Council for Cultural Relations (ICCR) annually, the event is by far the largest jazz festival in India. It was first conceived in 2011 by the ICCR as a present to Delhi on its centenary, considering it to be a tool of cultural contact. Popular across Asia, Africa, North America and Europe today, the festival establishes jazz as a common language among varied cultures. “Global cities such as Montreal, London, Stockholm and Edinburgh have a world-class jazz festival that is not just named after the city, but almost defines its cultural ethos. With a truly international jazz festival, Delhi too has been included in the list,” said Dr. Suresh K Goel, Director General, ICCR, adding, “The festival this year had well-known names such as New Bone Quintet from Poland, Sindi & Mimi from South Africa, Ararat from Israel, Sachal Vasandani from the USA, Imany from France, and Malcom Braff Trio from Switzerland, among others.”

The festival was free to the public and featured ten international and four Indian bands. A participating band, Radha Thomas Ensemble presented an eclectic mix of jazz sprinkled with Indian influences. Thomas grew up listening to jazz and learning Indian music, but preferred to stay in the West to develop her jazz fusion band. Another participant and a pioneer of jazz vocals in Bogota, Gina Savino believes that the new Colombian jazz is all about its people. Savino can sing in Spanish, English and Portuguese and does her own music and improvisations that are not swing or traditional jazz. “I try to tell a story through my music. In my new project, A Place, I tell about the Gereja people,” she said. The festival for the first time witnessed participation from the USA, as Sachal Vasandani, an American jazz singer of Indian origin, gave a noteworthy performance. The irresistible line-up also included well-known Indian artists such as Louis Banks — the man who ignited the jazz movement in India, Dhruv Ghanekar, Toshanbar and Spanish saxophonist Jorge Pardo, who has a personal style of flamenco jazz. The Delhi International Jazz Festival 2013 was webcast live on all four days, making it available to a worldwide audience, truly making the affair international. n

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EXHIBITION

Basketry

Dialogues... ... gave India–Africa relations a creative direction TEXT: JYOTI VERMA

Minister of Commerce and Industry, Anand Sharma at the exhibition

hile baskets are routine, underestimated entities in a household, what caught one’s attention at the Basketry Dialogues: Connecting Cultures exhibition was an exquisite basket with an Indian-style ikkat pattern, made by an artisan from Zimbabwe. Not just this basket, but the lamp in the corner and the kitchenware displayed in the adjoining room narrate the exchange of ideas and heritage between India and Africa, giving the skill of basket weaving and basket weavers a global appeal and vision. The exhibition, held at the Indira Gandhi National Centre for the Arts, New Delhi, from March 2 to 6, was the first milestone achieved by the joint efforts of basket artisans of Zimbabwe and National Institute of Design (NID), Ahmedabad, under the India–Africa Forum Summit II, supported by Department of Industrial Policy & Promotion, Ministry of Commerce and Industry, and Ministry of External Affairs, Government of India. Rooted in the motto, Crafting a Better World through Design, the design intervention project by the NID aimed at empowering the women basketry weavers of Zimbabwe. The objective of the nine-month-long association between the artisans and NID designers was to make products that have tremendous marketing and export potential, and so empower the weavers making them. “Essentially, what has been woven through this endeavour is not simply baskets, but dreams and hopes for an empowered future for the basket weavers of Zimbabwe,” said project head Shimul Mehta Vyas.

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The items were produced from the sisal and bamboo fibres sourced from Masvingo and Honde Valley, in Zimbabwe

Visitors at the exhibition

The items were produced from the sisal and bamboo fibres sourced from Masvingo and Honde Valley, in Zimbabwe. The products not just displayed the skills and hardwork of the artisans and creative vision of NID designers, but also a new way of collective growth in the globalised world. As Rajiv Sethi, head of The Asian Heritage Foundation, aptly put, the bilateral effort and resulting showcase was ‘cultural diplomacy’. “We are now in the second stage of the development of these products, where we will market and retail the baskets,” added Palash Singh, a designer part of the project, “Apart from creating designs that could enhance incomes, the project helped us understand the life of women in Africa. We worked closely with 25 of them and watched their progress throughout. The most satisfying aspect was the sense of empowerment they communicated.” The exhibition was the culmination of the first part of a programme announced at the Africa–India Forum Summit II in Addis Ababa in 2011 in terms of which the NID would work with women basket weavers in five countries in Africa. The programme involved three stages of workshops: two in Zimbabwe and one at the NID campus in Ahmedabad. During these meetings, the Indian designers worked closely with skilled weavers to expand their techniques and apply them to new products and ranges. After Zimbabwe, the development mission will be carried out in four other African nations. n

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LANDMARK

CELLULOID DREAMS

(From left) Information & Broadcasting Minister Manish Tewari; a panel discussion on 100 Years of Indian Cinema; and actor Nagarjuna and director Ramesh Sippy, during the celebrations in New Delhi

Indian Cinema celebrates its 100-year-old legacy with a six-day-long festival TEXT: RADHIKA BHIRANI

f it was Ramesh Sippy and Vishal Bhardwaj from the Hindi film industry, there were Nagarjuna Akkineni and Rana Daggubati from the Telugu film industry. In a show of solidarity, representatives from India’s multi-billion dollar, dynamic cinema world came together for the inauguration of the Centenary Film Festival in New Delhi on April 25. The six-day extravaganza, organised to mark the 100 years of Indian Cinema, was inaugurated by Information and Broadcasting Minister Manish Tewari and Secretary Uday Kumar Varma, amidst actors and film makers, all proud of the legacy they inherited from luminaries such as Dadasaheb Phalke and Satyajit Ray. Southern star Nagarjuna made a poignant point. “From the time I got into the film industry, I used to wish the line between north and south would vanish; and as we have approached the 100th milestone year, I see actors from south going to north, and those from north coming to south. It is the same with directors, who are increasingly picking from southern stories and vice versa. I think that is incredible,” said the actor. Meanwhile, Tewari said the idea behind the festival was to create an

PHOTO: HARSHIT

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(From left) President Pranab Mukherjee presents the Best Actress Award to Usha Jadhav and Best Actor Award to Irrfan Khan at the 60th National Film Awards ceremony at Vigyan Bhavan; and visitors at the Siri Fort Auditorium

event, which “truly epitomises the ethos of the country”. He spoke about how efforts for single-window clearance for foreign filmmakers and for levelling the “playing field” for Indian filmmakers are underway. The Minister said the government was committed in restoring the rich heritage of Indian cinema for which the National Film Heritage Mission had been launched. Praising the film industry, Tewari said that Indian Cinema had a unique and unmatched identity, and the medium had undertaken a technological leap from the black and white silent era to 3D. The festival was celebrated in Siri Fort Auditorium and venues such as Jamia Milia University, Jawaharlal Nehru University and India Habitat Centre. The Siri Fort Auditorium was well-lit and done up with posters of old films to suit the occasion. The foyer area saw a display of old cameras with descriptions, which clearly gave one an idea of the progress the Indian cinema has made over a century since silent film Raja Harishchandra was made in 1913. The celebrations began with an exhibition, Indian Cinema 100 (Celebrating a Century: an Audio Visual Voyage), followed by the screening of silent film Throw of Dice with a live musical orchestra by maestro Nishat Khan. Over the days, the festival hosted screenings of eminent classics and contemporary Indian films by master directors such as Bimal Roy, Guru Dutt, Shyam Benegal, Adoor Gopalakrishnan and their ilk. The celebrations included a three-day workshop conceived by the members of Central Board of Film Certification, a special Satyajit Ray retrospective and display of his artwork, and a play on the life and times of Dadasaheb Phalke. The centenary celebrations culminated in the National Film Awards ceremony at Vigyan Bhavan on May 3. —The writer is Senior Correspondent (Cinema and Lifestyle) at IANS

PHOTO: HARSHIT

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VERBATIM

THE LEGAL EXPERT orn in Lucknow to an engineer of the railways in British India, Leila Seth was the first woman to top the London Bar exams in 1958. After handling legal cases across specialisations in India for coming two decades, she was appointed the first woman judge of the Delhi High Court in 1978 and the Chief Justice of Himachal Pradesh in 1991. She served on the Law Commission of India till 2000 and was responsible for the amendments to the Hindu Succession Act. Smita Singh interviews the veteran and a mother to three equally celebrated children, on her glorious career and life.

Q. As a law professional, what do you think can herald a just society? A. The most important thing is changing the mindset. Laws are a springboard. They lay down a way, a vision, a target. Implementation takes time. First, there is a law, then there is awareness, then comes assertion and then action. It takes varying amounts of time among different categories of people (to assert the law). In some cases it is the more educated and more affluent who assert, but in some cases they are the worst. Q. Do you think a woman in judiciary is good news? A. Yes. Definitely, women look at things differently. A woman brings a sense of compassion and a balanced perspective because she runs her home and deals with domestic justice everyday. Q. How did you balance your career and family? A. As my father once told me, “Remember that change of occupation is relaxation”. So when I got tired of doing legal work I relaxed by doing housework and vice versa. But I must admit that balancing between career and family has been tough. In relationships, the most important thing is to give people space. Love is finding a person who helps you become the best person you can be. Q. You are a famous parent to your equally talented children. Tell us about them. A. My children had chosen their path and they were happy wherever it would lead them. Yes, I was worried that Vikram might end up as a penniless poet in some garage. But anyone who knows him would vouch that if A Suitable Boy had not been a success I am sure he would have been happy leading the life of a penniless poet. Shantum is a Buddhist teacher; he also takes tourists to important Buddhist pilgrimage sites. My daughter Aradhana is a film-maker. She has worked on films like Deepa Mehta’s Earth and Fire and Wes Anderson’s The Darjeeling Limited. n

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“

A WOMAN

BRINGS A SENSE OF COMPASSION AND A BALANCED PERSPECTIVE TO JUDICIARY, AS SHE RUNS HER HOME AND DEALS WITH DOMESTIC JUSTICE EVERYDAY.”

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