india perspectives may june 2015 english

FINEST LITERARY TREASURES OF INDIAN YOGA

PARTNERSHIPSAGAR YATRA

SNAPSHOTSRESTORING HAMPI

CONVERSATIONDR TESSY THOMAS

Volume 29 n Issue 3 n May-June 2015

第29巻第3号 2015年 5月~6月

インドヨガの素敵な話

撮影リストリングハンピ

協力サガールヤトラ

会談テッシートーマス博士

DÉCOR IDEASFor the latest in design, visit Ambiente India, a trade fair for interior decor and home accessories. Products from leading companies as well as upcoming ones will be displayed at this hub for manufacturers, designers and suppliers.

WHEN: June 25-27WHERE: Pragati Maidan, New Delhi

MANGOES GALOREDelhi International Mango Festival is an opportunity to taste over 1,100 varieties of mangoes from across India. It includes eating competitions, quizzes and folk performances, all inspired by the ‘king of fruits’.

WHEN: June 30 - July 2WHERE: Delhi Haat, Pitampura, Delhi

INDIA PERSPECTIVES NOW IN JAPANESEIndia Perspectives will now be published in 16 languages, the latest being the Japanese edition. The inaugural issue of the Chinese edition was released earlier this year. Other languages include Persian, Pashto, Sinhalese and Tamil.

GANGA DUSSEHRAThe day the sacred River Ganga descended to the Earth, bringing with her the purity of heaven, is celebrated as Ganga Dussehra. People bathe in the holy river to absolve themselves of sins and offer donations of 10 edible items.

WHEN: May 28WHERE: On the banks of the Ganga

AUDIO FESTBe part of the 15th edition of PALM Expo, an exposition for pro audio, lighting, live sound, install sound, musical instruments and AV integration industry. With a legacy of 14 successful years, the Expo offers the best from global players.

WHEN: May 28-30WHERE: Bombay Exhibition Centre, Mumbai

DHARAMSALA FILM FESTIVALFilms from across the world will be screened at the Dharamsala Film Festival. With ‘consciousness’ and ‘creativity’ as themes, the line-up will include films that exemplify women empowerment.

WHEN: June 11-13 WHERE: Upper Dharamsala, Himachal Pradesh

FINEST LITERARY TREASURES OF INDIAN YOGA

PARTNERSHIPSAGAR YATRA

SNAPSHOTSRESTORING HAMPI

CONVERSATIONDR TESSY THOMAS


M A Y - J U N E 2 0 1 5 n 3 n W W W . I N D I A P E R S P E C T I V E S . I N

As the first International Day of Yoga is being celebrated on June 21, we focus on this ancient practice that is about harmony between man and nature and a holistic approach to health and well-being. Some classical and authoritative texts on yoga are highlighted in our special feature. We review The Power of Yoga by Yamini Muthana, a book that balances technical and philosophical aspects of yoga and Yoga: Aligning to the Source, a film produced by Ministry of External Affairs and PSBT that explores yoga’s origins.

On the bilateral front, the SAGAR Yatra that comprised Prime Minister Mr Narendra Modi’s recent visit to Seychelles, Mauritius and Sri Lanka envisages a more proactive role by India in developing the economy of the Indian Ocean region. On the anvil is another important venture – Project Mausam – that looks at rekindling long-lost ties across the nations of the Indian Ocean. The Prime Minister’s ‘Make in India’ initiative received a boost with the momentous Aero India 2015 in Bengaluru, a show for Indian and foreign aerospace companies. Meanwhile, Border Haats are being opened up to build Tripura’s trade ties with Bangladesh.

We have a photo feature on the awe-inspiring ruins of Hampi, poised for restoration efforts with the Union Budget of India that targets nine heritage destinations across the country. On July 7 and 8, you can be part of the annual Hemis Festival in Ladakh that celebrates the victory of good over evil with mask dances, prayers and more.

We also talk to heirs-apparent of Hindustani classical music gharanas who are experimenting with their instruments. As a tribute to Nobel laureate Rabindranath Tagore on his birth anniversary on May 7, we take a tour of his ancestral home in Kolkata. Dr Tessy Thomas, the woman behind some of India’s key successes in the field of missile technology, graces the pages of our Conversation section.

India’s innovation capabilities are showcased in two articles, one on solar energy being harnessed to improve winter livelihood in Ladakh and the other on electricity being generated from pine needles in Uttarakhand.

Vikas Swarup

Foreword


34

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C O N T E N T S

10

28

PARTNERSHIP

Colour Code Blue: SAGAR Yatra ....................................................06

PROGRESS

Make in India, the new mantra ..................... 10

PROGRESS

Ushering in the season of change ............................................16

HERITAGE

Literary treasures of Indian yoga .....................................................20

REVIEW

Practical guide to healthy life ...................... 26

REVIEW

Beyond the boundaries of yoga .................... 28

MUSIC

Of purists and passionates ........................... 30

SNAPSHOTS

Awe-inspiring ruins of Hampi ..................... 34

INNOVATION

Taming the spirit of pine ..............................46

INNOVATION

Raising living standards .................................50

LANDMARK

Gateway to a bright future ........................... 55

LANDMARK

First indigenous rotavirus vaccine .............. 58

SUCCESS

The great animation boom ..........................60

CULTURE

Turning clay into gold ................................... 65

ART

Grand convergence of cultures .......................................................68

CUISINE

The saga of Indian chilli .................................74

EXPLORE

Celebrating hues of divinity ..........................80

EXPLORE

The Nobel poet .............................................. 84

CONVERSATION

When sky is the limit ...................................... 88


74

PARTNERSHIP

n 6 n M A Y - J U N E 2 0 1 5IND IA P E R S P E C T I V E S

The reigning colour of Mr Narendra Modi’s SAGAR Yatra was blue, one that envisages a more proactive role by India in developing the blue economy of the Indian Ocean region

Colour Code BlueSAGAR Yatra

text | Manish Chand


Three Countries, One Ocean, One Mission. Colour code: Blue. In March, India’s Prime Minister Mr Narendra Modi travelled to three littoral states of

the Indian Ocean, cutting across two continents, Asia and Africa – Seychelles, Mauritius and Sri Lanka. The first such trip by any Indian Prime Minister, it underscored the growing salience of the Indian Ocean in India’s foreign policy matrix and what the Indian Prime Minister has evocatively called the ‘SAGAR (Security and Growth for All in the Region) Yatra’. A host of pacts were signed and steps unveiled to develop the economy of the Indian Ocean region.

Left: Indian Prime Minister Mr Narendra Modi inspects the Coastal Surveillance Radar System at Seychelles

Above: Mr Modi greets the local public at Seychelles

Seychelles

Marking a significant upswing in India’s maritime security partnership with its Indian Ocean neighbours, India and Seychelles inked four pacts in diverse areas with New Delhi announcing a second Dornier aircraft for the archipelago nation. The four pacts included cooperation in hydrography, renewable energy, infrastructure development and sale of navigation charts and electronic navigational charts. Mr Modi formally launched the Coastal Surveillance Radar Project, a signature project of India that aims at bolstering surveillance capabilities of the island nation.

Mauritius For Mauritius, a key maritime partner, India pledged $500 million Line Of Credit (LOC) for a host of infrastructure projects and signed five agreements, including a key pact on ocean economy. Both countries also reached an understanding to upgrade sea and air transportation network at Agalega Island and the Outer Island of Mauritius. In a landmark step to bolster Mauritius’ maritime infrastructure, Mr Modi also presided over the formal launch of the Offshore Barracuda in Mauritius.

PARTNERSHIP

n 8 n M A Y - J U N E 2 0 1 5IND IA P E R S P E C T I V E S

Left: Mr Modi flags off the Talaimannar-Mannar train at Talaimannar 1650 Pier Railway Station Right: The Indian Prime Minister and the President of Sri Lanka, Mr Maithripala Sirisena offer prayers at the Sri Maha Bodhi Tree in Anuradhapura, Sri Lanka

Sri Lanka In Sri Lanka, India pledged $318 million LOC for the development of railways as the two countries signed four agreements in areas of visa, customs, youth development and culture. Mr Modi pledged support for making Trincomalee a petroleum hub and unveiled a ‘Currency Swap Agreement’ of $1.5 billion to keep the country’s economy stable.

Collective vision

Cutting across the three countries, the focus was on expanding security, economic and developmental cooperation, with the overarching objective of “forging a collective, cooperative vision for the region”. “To me the blue chakra or wheel in India’s national flag represents the potential of Blue Revolution or the Ocean Economy. That is how central the ocean economy is to us,” said Mr Modi at the formal commissioning of the India-built offshore patrol vehicle Barracuda in Mauritius on March 12. “We must promote greater collaboration in trade, tourism and investment; infrastructure development; marine science and technology; sustainable fisheries; protection of marine environment; and, overall development of ocean or blue economy,” he said in defining speech on India’s priorities in promoting the Indian Ocean as an ocean of opportunity for the region.

Key drivers The prime ministerial trip cohered multiple strands of New Delhi’s Indian Ocean diplomacy, which aims at securing a set of interlinked economic, energy and strategic goals. On one hand, there are entwined security challenges including piracy, maritime security, nuclear proliferation and transnational organised crimes. On the other, the Indian Ocean forms the economic lifeline of the ambient littoral countries and is critical to New

Delhi’s energy security. India imports more than around 90 per cent of oil through sea lanes of the Indian Ocean.

The strategic significance of the Indian Ocean, the third-largest water body in the world, and home to sea lanes that nurture some of Asia’s largest economies, can’t be overstated; with its strategic location, the

maritime region has become the fulcrum of a new maritime great game among leading powers here.

With growing incidents of piracy off the Gulf of Aden and the coast of Somalia, the Prime Minister unveiled his vision of advancing maritime security cooperation. “We also support efforts to strengthen our regional mechanisms for maritime cooperation – from dealing with piracy terrorism and other crimes; to marine safety and natural disasters,” he said.

India’s unique geographic location positions it in a preeminent role in shaping geopolitics and

In Sri Lanka, India pledged $318 million LOC for the

development of railways


regional cooperation and freedom of navigation. By dovetailing naval modernisation with its bilateral engagements and vigorous multilateral diplomacy through initiatives like the Indian Ocean Rim Association and the Indian Ocean Naval Symposium, India is set to reaffirm its rightful preeminent role in shaping the Indian Ocean as an Ocean of Opportunity.

Mr Modi helps with the traditional milk boiling before a family moves into a new house in Jaffna, Sri Lanka

Manish Chand is the editor-in-chief of India Writes Network, www.indiawrites.org, a multi-media portal focused on international affairs and India Story.

regional integration of the Indian Ocean Region (IOR) through a web of connectivity, energy and transport projects. The driving impulse of India’s IOR policy is to transform the Indian Ocean into a peace zone of win-win opportunities for all the littoral states and prioritises economic rejuvenation above geopolitical games and military projection.

The new Indian Government has rightfully seized the initiative to impart a fresh momentum and strategic cohesion to the country’s Indian Ocean diplomacy. With its vital national interests on mind, India has been specially proactive in the Indian Ocean Rim Association and hosted the ministerial meeting of the 20-nation grouping in 2012. The IOR is also an important theme of engagement with the 54-nation resurgent African continent and mapping new pathways of cooperation in the region will figure prominently in the third India-Africa Forum Summit New Delhi will host later this year.

Way ahead

Indian Ocean diplomacy will acquire greater force and solidity under the new Indian Government which has its own vision of trans-regional connectivity, spanning the Middle East, Africa and Asia. The Indian Navy has played a pivotal role in securing the country’s vital interests in the region; its starring role in escorting more than 1,000 ships to safety from pirates in the Gulf of Aden has burnished India’s credentials as a key player in the security of the region and created huge goodwill.

Underpinning these varied and multifarious efforts is the idea of global maritime commons – a guiding principle that animates New Delhi’s Indian Ocean diplomacy, with its focus on synergy,

Mr Modi pays homage to the Aapravasis at the Aapravasi Ghat,

Port Louis, Mauritius

text | Pallava Bagla

PROGRESS

n 1 0 n M A Y - J U N E 2 0 1 5IND IA P E R S P E C T I V E S

Aero India show witnessed enthusiastic participation of Indian and foreign aerospace companies

Make in India,the new mantra

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Bengaluru in southern India is the hub of information technology, but for a few days, all eyes in this hi-tech city were peeled towards the skies away

from computer screens. High-speed low flying runs, rolls, somersaults and formation flying enthralled spectators. Airplanes of all shapes and sizes dazzled audiences as part of the 10th edition of the Aero India show held from February 18-22, 2015. Fighter jets, large cargo planes, helicopters, vintage propeller driven planes and unmanned aerial vehicles all danced in the skies to enthrall enthusiastic crowds. India’s indigenously made fourth generation Tejas aircraft performed to accuracy and earned applause.

According to the Ministry of Defence, Government of India, 635 aerospace companies and nearly 300 CEOs from India and abroad including delegates from 42 nations

participated. Hundreds of stalls displayed their hi-tech wares.

The aerial display began with an Indian Air Force (IAF) vintage Tiger Moth plane reminding of India’s modest origins in an earlier era of warplanes. Transcending to

today and aptly in keeping with the Make in India theme, two indigenous creations – Light Combat Aircraft and a Light Combat Helicopter – f lew in quick succession displaying India’s technological leap in aircraft production. The frontline Russian made Sukhoi-30 MKI of the IAF left the gathering

spellbound with its versatility and agility, performing the vertical Charlie to perfection. Not to be left behind were impressive displays by an American fighter jet F-16 and the French Rafale jet fighter. Aerial stunts were performed by few foreign aerobatic teams like the Breitling Wingwalkers from the UK

High-speed low flying runs, rolls,

somersaults and formation

flying enthralled spectators at

the show

(Facing page) Hindustan Aeronautics Limited’s (HAL) Light Combat Helicopter; Above: Indian Prime Minister Mr Narendra Modi at Aero India 2015

PROGRESS


performed atop the wings of f lying airplanes. The show-stopping moment was provided by Sarang, the IAF’s helicopter display team, in their sprightly coloured, peacock-themed, Advanced Light Helicopters. For the first time, two women officers also participated.

In a first, Indian Prime Minister Mr Narendra Modi inaugurated the mega event which in a way was kick-starting his pet programme of Make in India, making the country the hub for manufacturing defence equipment. At the inauguration, Mr Modi said, “This, the largest ever Aero India, reflects a new level of confidence within our country and global interest in India. To many of you, India is a major business opportunity. We have the reputation as the largest importer of defence equipment in the world. That may be music to the ears of some of you here. But this is one area where we would not like to be

Number One! Our security challenges are well known. Our international responsibilities are evident. We do need to increase our defence preparedness. We do have to modernise our defence forces.”

The Indian Air Force Station at Yelahanka, on Bengaluru’s outskirts, was converted into a mega-specialised trade fair with participation of 250 Indian companies and 300 foreign firms vying to do commerce at the bi-annual air show. All major aerospace companies like Rolls Royce; Airbus Industries; Boeing, Lockheed Martin among many others made their

presence felt. Indian giants like Hindustan Aeronautics Limited (HAL); Bharat Electronics Limited (BEL); the Kalyani Group and Tatas showcased their products and looked to make joint ventures with overseas partners. Towards that after India liberalised the limits

The show-stopping

moment was provided by Sarang, the

IAF’s helicopter display team

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M A Y - J U N E 2 0 1 5 n 1 3 n W W W . I N D I A P E R S P E C T I V E S . I N

of foreign direct investment to a maximum of 49 per cent, the Kalyani Group and Israel’s Rafael Advanced Defence Systems inked a joint venture. The chairman of Kalyani Group, Mr Baba Kalyani said, “Rafael has been an active participant in the Indian defence market. As part of the alliance, we hope to develop military applications based on our own proprietary technologies.” Kalyani Group aims to do business worth $100 million in the next two years. India’s defence minister Mr Manohar Parrikar, an IIT-trained engineer, said, “With the security scenario, India becoming self-sufficient in defence production is important. Make in India is immensely important and this is an important time for ensuring that business deals are struck.” India is powering its navy too. In February, the Indian government sanctioned the making of seven stealth frigates and six

nuclear-powered submarines, the combined cost to be over 1̀ lakh crore. It has asked HAL to manufacture about 70 Pilatus trainer aircraft while acquiring 38 of these planes from the Swiss company.

Indian President Dr Pranab Mukerjee, speaking in the Parliament, said, “The Make in India programme aims to create a wholesome eco-system to transform India into a manufacturing hub… Stress is being laid on research and innovation while focussing our attention on manufacturing for creating more jobs.”

Towards this goal, Mr Modi said, “In India, the defence industry in the Government sector alone employs nearly two lakh workers and thousands of engineers and scientists. They produce an output of nearly $7 billion annually. It supports a large pool of small and medium enterprises. Our defence

Left to right: Sarang helicopter display; Yak-52D and Yak-50 of the Yakovlevs team from the UK; Pilatus PC-7 Mk II manufactured in Switzerland

All major aerospace

companies made their presence

felt at the Indian Air Force Station

at Yelahanka

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PROGRESS


industry in private sector is still small. But it employs thousands of people. This is despite the fact that nearly 60 per cent of our defence equipment continues to be imported. And we are spending tens of billions of dollars on acquisitions from abroad. Studies show that even a 20-25 per cent reduction in imports could directly create an additional 100,000-120,000 highly skilled jobs in India. If we could raise the percentage of domestic procurement from 40-70 per cent in the next five years, we would double the output in our defence industry. Imagine the impact in terms of jobs created directly and in the related manufacturing and services sector.

Think of the spin-off benefits on other sectors in terms of advanced materials and technologies. That is why we are focussing on developing India’s defence industry with a sense of mission. This is why it is at the heart of our Make in India programme. We are reforming our defence procurement policies and procedures. There would be a clear preference for equipment manufactured in India. Our procurement procedures will ensure simplicity, accountability and speedy decision making. We have raised the permitted level of Foreign Direct Investment to 49 per cent.

Above: Breitling Wingwalkers from the UKRight: Civil variant of Indian Air Force’s Dhruv helicopter

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This can go higher if the project brings state-of-the art technology. We have permitted investments up to 24 per cent by Foreign Institutional Investments. And there is no longer a need to have a single Indian investor with, at least, a 51 per cent stake. Industrial licensing requirements have been eliminated for a number of items. Where it is needed, the process has been simplified. We are expanding the role of private sector, even for major platforms. Our goal is to provide a level playing field for all.”

The world is welcoming India’s new pitch. Mr Frank Kendall, the American Under Secretary of Defence, writing in The Hindu newspaper, said, “Our governments and industries can work to strengthen India’s industrial base to not only Make in India but

The author is science editor for NDTV and author of Reaching for the Stars: India’s Journey to Mars and Beyond published by Bloomsbury in 2015

to make the region and the world a safer place.” India and the US have embarked on what are termed “pathfinder” projects as part of the new Defence Technology Trade Initiative (DTTI) which include jointly making jet engines and aircraft carrier technology.

While big ticket deals eluded this air show, over 3.5 lakh visitors enjoyed the spellbinding display with Mr Modi emphasising that our aerospace industry alone needs about two lakh people in another 10 years. Major opportunities exist for global giants to make India the low cost reliable hub for manufacturing aerospace equipment as the Government gives this sector the wings it needs to f ly.

Audiences were spellbound by the breathtaking performances


PROGRESS

Project Mausam is a multi-disciplinary project that rekindles long-lost ties across the nations of the Indian Ocean and forges new avenues of cooperation and exchange

Ushering in theseason of change

Project Mausam was launched by India in partnership with member states in the 30th Session of World Heritage Committee meeting

held at Doha, Qatar in June 2014. The project aims to enable a significant step in recording and celebrating this important phase of world history from the African,

Arab and Asian-world perspectives. “The primary focus area of Project Mausam is transnational world heritage nomination of cultural trade routes and maritime cultural landscapes across the Indian Ocean. This transnational nomination will be based on specific themes emerging from centuries of cultural exchange among the Indian Ocean

A ship carved on the Borobudur Temple in Indonesia


Right: St. Cajetan’s Church, Old Goa, India

Below: Stone town of Zanzibar, Tanzania

countries such as indentured labour, sites linked to exchanges of Buddhism, Hinduism, Islam and Christianity, Fortified Port Settlements, Navigational Landmarks, sites linked to Cowrie trade, Spice trade etc,” explains Ravindra Singh, Secretary, Ministry of Culture, Government of India.

‘Mausam’ or Arabic ‘Mawsim’ refers to the season when ships could sail safely. The distinctive wind system of the Indian Ocean region follows a regular pattern which facilitated

the movement of people, goods and ideas across the Indian Ocean, enabling cultural

interactions and exchange until when steam-powered cargo carriers reduced reliance on sailing ships. The knowledge and manipulation of the monsoon impacted ancient and historical trade, local economies, religion, politics and cultural identities. The commodities exchanged through

these networks included a wide array of objects – aromatics, medicines, dyes, spices,

Knowledge and manipulation

of the monsoon impacted ancient

and historical trade and local

economies

LEGENDUNESCO Cultural SitesUNESCO Natural SitesUNESCO Cultural Sites in dangerUNESCO Natural Sites in danger

Map of the Indian Ocean ‘World’


PROGRESS

in the Indian Ocean. It will promote research on themes related to study of maritime routes through international scientific seminars and meetings and by adopting a multidisciplinary approach. It will encourage the production of specialised works along with publications

for general public, to promote a broader understanding of the concept of a common heritage and multiple identities.

Reviving lost linkages

with nations: Countries along the Indian Ocean have shared links with each other for millennia. Project Mausam

seeks to transcend present-day national and ethnic boundaries documenting and celebrating the common cultural values and economic ties of the Indian Ocean ‘world’. This will strengthen ties between countries across the Indian Ocean and set a precedent for new bridges of cooperation and continued interactions.

grain, wood, textiles, gems, metals and plant and animal products – and were transported through voyages and sold at markets or bazaars along the Indian Ocean littoral. Present-day national identities and perceptions of the past are deeply interwoven with age-old ties.

Project goals

The project aims to explore the multi-faceted Indian Ocean ‘world’ – collating archaeological and historical research to

document the diversity of cultural, commercial and

religious interactions

Project Mausam seeks

to transcend present-day

national and ethnic boundaries

Stone sculpture on the coast of Bali, Indonesia


Creating links to existing

World Heritage sites: Proving a platform to connect discrete Cultural and Natural World Heritage sites across the Indian Ocean ‘world’ by providing a cross-cultural, transnational narrative.

Redefining ‘Cultural Landscapes’:

Identifying gaps in listing of sites and filling in lacuna by providing a holistic, multi-layered perspective and drawing relationships between existing categories of ‘Natural’ and ‘Cultural’ heritage. This would redefine the concept of ‘Cultural Landscapes’, allowing a fresh, multi-faceted approach to relationships.

Achieving transnational nomination

under World Heritage: Advocating for ‘Indian Ocean Maritime Routes’ to attain transnational nomination under world heritage tag, increasing scope for visibility, research, sustainable tourism, heritage development and promoting other cultural conventions across the Indian Ocean region.

Initiatives within India: Kerala in south India is making efforts to revive the two-millennia-old Spice Route. Besides re-establishing Kerala’s maritime trade relations with 31 countries associated with the Spice Route, the project seeks to prompt modern travellers to undertake voyages and

excursions. In the process, there would be revival of cultural, historical and archaeological exchanges. Project Mausam also aims to include a significant research component. The Project is also in perfect tandem with UNESCO’s changing perspectives on protecting heritage and fostering creativity.

There are many plans in near future. “India will host an international conference with 39 member states of the Indian Ocean Region in September-October this year to arrive at a collective strategy for transnational nominations under Project Mausam. The tentative list for Maritime Trade Routes/ Cultural Landscapes as per collective strategy and site selection is proposed to be finalised by April 2016 for submission to UNESCO World Heritage Centre,” shares Singh.

Left: Lighthouse at Aguada Fort, Goa, India; Right: Temple at Tanah Lot, Bali, Indonesia

Project Mausam is in tandem

with UNESCO’s changing

perspectives on protecting

heritage

HERITAGE


While yoga traces its origins to the Vedas, numerous books have made it popular globally

Literary treasuresof Indian yoga

text | S Sridharan

Yoga, with its roots in India, has been practiced from time immemorial. While it continues to be a part of daily life in most Indian homes, it

started gaining popularity when foreigners, settled in India, started evincing interest. The credit for introducing and creating a special place for yoga in the hearts of global citizens goes to Swami Vivekananda who penned books on all four forms of yoga – karma yoga (yoga of action), jnana yoga (yoga of knowledge), raja yoga (yoga of meditation) and bhakti yoga (yoga of devotion). Today, yoga is so popular worldwide that June 21 has been declared ‘International Day of Yoga’.

Yoga traces its origin to the Vedas. Written in Sanskrit, the Vedas are among the oldest literature in the world. Though there are references to yoga in the Vedas, these are scattered, often not direct and exclusive. Natarajasana


Even today, Yoga Sutra by Sage Patanjali is, respectfully, considered the

source text of yoga

Over the years, numerous texts have been written, born out of the experience of yogis, practitioners of yoga. The techniques involved were systematically documented and a number of texts are available in the market today. A few of these standout as ancient, classical and authoritative texts...

Yoga Sutra

It is to the credit of great sage Patanjali that an exclusive text for yoga came into existence. It is in sutra form of literature and hence popularly known as Yoga Sutra. Even today, it is considered, respectfully, as the source text of yoga.

Patanjali is believed to have walked the earth between 150 BCE and 450CE. The sutras, which are the teachings of Patanjali, need commentaries to understand and explore. Even

today, new commentaries continue to appear on this valuable text. Patanjali is considered as the incarnation of the serpent lord Adishesha and held in high reverence.

There are 195 sutras which have been divided into four sections. Each section is called pada.

In this text, yoga is defined as “the ability to direct the mind towards a chosen object and sustain the focus without any distractions.” The central message of Yoga Sutra: “Let us take steps to deal with the pain yet to come.” It shows a way through yoga to live a healthy and

happy life and to manage stress. It lists a number of tools for practice, the

famous being the ‘light-limbed path of yoga’. The eight limbs are yama (external disciplines), niyama (internal disciplines), asana (postures),

Natarajasana variationDandayamana-Janushirasana Ekapada Kapotasana

HERITAGE


Above: The various representations of Sage Patanjali; Below: Natarajasana variation

pranayama (breathing exercises), pratyahara (control of senses), dharaea (concentration), dhyana (meditation) and samadhi (total integration). This text is unique in bringing out the subtle dimensions of the way the mind functions. Through the practice of Antanga yoga, the mind is brought under control which reveals the true nature and character of the self which is beyond pain. The final goal is to make the self release from its bondage to Nature and become independent.


Hatha Yoga Pradipika

This text gives the teachings of Lord Shiva to Parvati on yoga. This tradition is called Hatha Yoga. In text form, it comprises verses in Sanskrit authored by Yogi Svatmarama. There are in total 389 verses that have been divided into four chapters. Hatha yoga means ‘ joining of two forces called ha and tha’. They are also known as prana and apana which flow in the two nadis called ida and pingala. It is through the practice of pranayama with the three bandhas that this union is achieved. The practitioner ultimately achieves the highest state of mind called samadhi. The practice for achieving this state includes asana, pranayama, mudhra and nadanusandana.

Yoga Yajnavalkya Saahita

The teachings on yoga by great sage Yajnavalkya to his wife and disciple Gargi are recorded in this text. It has 462 verses divided into 12 chapters or adhyayas. According to this text, the union of jivatma (individual soul) with paramatma (universal consciousness) is yoga which is called samadhi. This is achieved through ashtanga yoga consisting of yama (external disciplines), niyama (internal disciplines), asana (postures), pranayama (breathing exercises), pratyahara (control

Yoga Rahasya or The Secrets

of Yoga was originally written in

Sanskrit in the form of verses

of senses), dharana (concentration), dhyana (meditation) and samadhi (total integration). This text emphasises the importance of living a disciplined life according to the ancient scriptures apart from the practice of yoga to

achieve desired results.

Yoga Rahasya

Yoga Rahasya, The Secrets of Yoga is in as Sanskrit verses. Its teachings are attributed to Sage Nathamuni, a south Indian Vaishnavite saint. The text is believed to have been lost over time and revived

by Yogi Tirumala Krishnamacharya (1888-1989), acclaimed as Father of Modern Day Yoga nationally and internationally. He was a great Sanskrit scholar who had formal education in Vedas and allied

Yoga Sutras by Patanjali

Hatha Yoga Pradipika by Yogi Svatmarama

Yoga Rahasya by Sage Nathamuni

Lotus position

Yoga Yajnavalkya Saahita by Sage Yajnavalkya

HERITAGE


Ailments of the mind and

body are of three kinds:

adhyatmika, adhibautika and

adhidaivika

subjects. Born in Karnataka, he trekked the Himalayas to reach Kailash Manasarovar and learned under Yogi Ramamohana Brahmachari. His text has 267 verses called shlokas and is divided into four chapters – introduction, application, reflection and parts and the whole of man...

Prakaranaadhyaya: The first three verses are a prayer to the teachers of this lineage. The teachings start with the introduction of two types of yoga – bhakti yoga (path of devotion) and prapatti yoga (path of surrender). Bhakti yoga is the eight-limbed yoga while prapatti yoga is six-limbed. The eight limbs of bhakti yoga are yama, niyama, asana, pranayama, pratyahara, dharaea, dhyana and samadhi. This is the same as antanga yoga of Patanjali. Both paths of yoga are to be taken up only with a guru’s grace. It

proceeds to say Narayana is the lord present in the hearts of all beings. He is the material and instrumental cause of the world. He instigates all beings to do their duties. After mentioning the six limbs of surrender (prapatti), the author begins the work stating: “Women are said to be

specially qualified for the practice of yoga.” Diseases and ailments of the mind and body are of three kinds – adhyatmika, adhibautika and adhidaivika. The author gives an elaborate treatment of Pranayama and the use of breathing in asanas.

Asanas are described with variations and shown to play a key

role in pranayama. Specific purposes served by important asanas are discussed as is the importance of bandhas during pranayama.

Viniyogadhyaya: The viniyogadhyaya deals with yoga in the order of production,


maintenance and destruction. Some asanas are to be done before one completes the 25th year. Restrictions on the type of food are also indicated. Treatment of physical ailments is dealt with. Breathing pattern is indicated to overcome certain ailments. Duration and nature of pranayama are also to be studied by the preceptor and taught to the student.

Vimarshanaadhyaya: Vimarcanadhyaya deals with the need to be disciplined while undertaking yogic practices. The unsteady

nature of the mind and body is attributed to wrong food habits and have to be corrected by meditating upon god and worshipping Him.

The author describes the asanas and food which a pregnant woman should have according to her circumstances.

Pranayama is the only remedy for them to get rid of ailments.

Kaladhyaya: What makes a person treat certain matters as favourable or otherwise to him is discussed in Kaladhyaya. A detailed account is given about human behaviour which leads men astray. Man has to guard himself from pitfalls.

The author describes the asanas which

a pregnant woman should

undertake along with what to eat

S Sridharan is trustee, Krishnamacharya Yoga Mandiram, Chennai and member, Governing Body of MDNIY, New Delhi.

(Facing page): Padangustha Padma Utkatasana; Right: Balasana

REVIEW


The Power of Yoga by Yamini Muthana demystifies the profound nature of yoga while giving useful tips to both beginners and regular practitioners

Practical guideto healthy life

Rarely in the exhaustive list of books on yoga can you point out one name that strikes a balance between the technical

and the philosophical and Yamini Muthana’s The Power of Yoga is one such rarity. A student of the Mysore-based yoga guru BNS Iyengar for over 22 years, Muthana who also runs her yoga institute in Bengaluru, decided to demystify the profound nature of yoga to


(Facing page) Chakras – the body’s energy points; Above: Step-by-step visual representations make yoga exercises easier to understand

make it more relevant for the current lot of yoga enthusiasts. Her book is an exact reflection of her thought, filtering as much philosophies she can shrouding this ancient technique to reveal its scientific nature. However, she keeps its spiritual aspect intact with an introduction to the chakras and the true philosophy of yoga.

Extremely reader-friendly and useful, the content has been presented in the most comprehensive manner with the help of bullet items, highlights, subheads and an extensive set of step-by-step pictorial representations.

What adds an extra dimension to the book are the ‘caution’ and ‘important’ boxes which not just explain the nuances

of a particular asana but also underline the technical aspects of it. For example, the caution pointer for the Matsyendrasana states that the spinal twist will compress the diaphragm and breathing could be restricted saving us from a panic attack! Many caution pointers like these are

spread across the book making the readers aware of the minute details, ensuring it is a useful read for both the beginners as well as regular practitioners.

The book aims to demystify the profound nature

of yoga and make it relevant for practitioners

today

REVIEW


Yoga: Aligning to the Source, a documentary produced by PSBT and the Ministry of External Affairs elaborates on the forms and benefits of yoga, weaving in aspects of Indian spiritualism to reinforce understanding of this ancient science

Beyond theboundaries of yoga

The ancient Indian science of yoga, derived from the Sankrit word yuja which means to bind, align and hold, has become one of the world’s

favourite holistic health practices. From gyms in the US to cultural halls in China, yoga has become one of the most practiced forms of exercise and therapy. Millions globally practice some form of yoga in their quest for holistic health.

Yoga: Aligning To The Source, a short documentary film produced by Public Service Broadcasting Trust and the Ministry of External Affairs, and directed by Raja Choudhury, introduces audiences to yoga. This film explores the origins of yoga, its development and practices, its integration across religions in India, the science behind it and its successful spread world over. It demonstrates how yoga can be a comprehensive set of tools for life, for realigning one’s mind and body in equilibrium and for accessing a higher sense of consciousness.

The 27-minute film takes you on an enchanting journey through the evolution and meaning of yoga and tries to answer pertinent questions: What really is yoga? Where did it come from? What does its practice do to your body and mind? How did it spread around the

world? Can it bring you into balance with your deepest self and nature?

The film, through interactions with renowned yoga practitioners, enlightens us on the scriptures, interpretations and acceptance across various dynasties and generations.

It dwells into the five koshas of the body, asthangana (eight-limbed paths) and the four yogas from Bhagwad Gita. It

further dwells on how yoga is more than a form of exercise and elaborates on its identity as a way of living.

Yoga is only partially understood as being limited to asanas or yogic postures. As such, its benefits are by and large believed to be only at the physical level. Most people fail to realise

text | Aarti Kapur Singh


the immense benefits yoga offers in uniting the body, mind and breath. When one is in complete harmony with one’s surroundings, the journey of life is calmer, happier and more fulfilling.

Yoga guru BKS Iyengar holds forth on the development of positive thinking and positive brain. Yoga teacher Sunaina Mathur’s narration of the five disciplines of how you conduct yourself and your relationship with the world is insightful and educative. Senior politician Dr Karan Singh’s portion came as a surprise since not many people are aware of his study of this science.

This film not just elaborates on the form, practice, benefits and science of yoga, but in doing so, weaves in aspects of Indian spiritualism to reinforce the understanding of the ancient science. Delving into the concepts of prakriti, purush, aham, srijan and similar aspects of mythology, the film synthesises and integrates history with tradition. In explaining the history of yogasutras, the narrative flows into explaining why yoga works. With much more to offer, the film explains the benefits of yoga in a profound manner.

The 27-minute film takes you on

an enchanting journey through

the evolution and meaning

of yoga

Stills from the documentary

MUSIC


Before sitar maestro Pandit Kartick Kumar’s son, Niladri Kumar, started strumming mesmeric inflections on the electric version of his acoustic

sitar, he was struggling to add a microphone to the instrument. Back in late 1980s when Niladri was yet to create the zitar, a unique combination of sitar and guitar, modifying this stringed instrument even a little drew immense flak. His skill was questioned and his strength ridiculed. “People said I lacked strength and that’s why I needed a microphone to aid my sitar,” recalls Niladri.

Circa 2015: While raging debates of purists versus mavericks simmer down and Hindustani classical music broadens its horizons even further, Niladri entertains larger audiences with his amplified meends (a glide from one note to another) at concerts where his fingers caress the fiery red zitar with five strings against sitar’s 20.

A new symphony

Compromising on purity of tradition for Hindustani musical gharanas never came easy. While zitar’s journey was marked with obstacles, sarangi’s love affair with electro-pop was inundated with allegations.

Sarangi legend Ustad Sabri Khan’s grandson, Suhail Yusuf Khan’s collaboration with rock fusion band, Advaita, was looked down upon. Eighth-generation sarangi player of Moradabad Senia gharana, 27-year-old Khan confesses many people even said his sarangi skills have become impure. However, it did not

deter his spirit and thus followed technical adaptations. Khan started using finer cello strings instead of the traditional ones in his sarangi to amplify the notes.

Sound of music

Predominantly, Indian classical music, whether Hindustani or Carnatic, has

We talk to heirs-apparent of Hindustani musical gharanas who have struck an amplified note to give classical music fresh appeal

Of purists andpassionates

text | Shashi Priya

As the scions of traditional

gharanas take charge,

innovation and improvisation

are natural


Suhail Yusuf Khan plays his improvised sarangi

MUSIC


remained a solo art with just one vocalist or instrumentalist unfolding a raga. Jugalbandi (when two musicians collaborate) too is not a frequent affair. No wonder then that the sound of Indian classical instruments drown when played alongside amplified electronic sounds and technical adaptations in Indian classical instruments do not come as a surprise. The notes of Khan’s sarangi were no exception. They were initially overpowered by rock instruments till he replaced its strings with that of the cello. In fact, Khan’s uncle, Kamal Sabri, has replaced his sarangi’s fifth string with a cello’s for a better pick up and sound as well. “It does not change the sound much but amplifies it and takes less time to pick up the pitch,” Sabri

The electric sarod, with a

magnetic pickup, went through a

guitar processor to create over

100 tones

says. Agrees Kumar, adding, “Another major reason that led to the birth of the zitar was that when collaborating with international artistes, the sound of my acoustic sitar became inaudible

when played alongside electronic instruments like electric guitar and drums.”

Legendary sarod player Ustad Amjad Ali Khan’s sons, Amaan and Ayaan, could not agree more. Two years back, Amaan introduced a bewildered classical music audience at Blue Frog, Mumbai, to an all-new sarod. This black sarod, equipped

with a magnetic pickup, went through a guitar processor to create more than 100 tones. “Over the years, we have tried our best to make the sarod reach out to a new audience that perhaps would not be at a classical concert,” says Amaan.

Niladri Kumar created the zitar, a unique combination of the sitar and guitar


Amaan Ali Khan (above) and his brother Ayaan created the electric sarod

All the world’s a stage

As the scions of traditional gharanas take charge of their realms, innovation and improvisation find way into Hindustani classical music. “I don’t want to classify my music, I just want to play,” says Kumar who has worked with the likes of tabla maestro Zakir Hussain, legendary English guitarist John McLaughin and Swedish bass guitarist Jonas Hellborg.

Amaan and Ayaan have also collaborated with Allman Brothers, guitarist Derek Trucks, American folk song writer Carrie Newcomer and Grammy-nominated oud player Rahim Alhaj. “We can collaborate with musicians across the world without diluting the content. Music is a universal language as it transcends boundaries and can bring people closer, not segregate them into categories,” says Amaan.

Electric sarod: With a magnetic pick up, this goes through a guitar processor to create over 100 tones.

Sarangi with cello strings: Finer cello strings instead of the traditional ones amplify the notes.

Zitar: Five strings and a magnetic pick up keep it at par with the amplified sounds of western instruments.

STRINGS OF CHANGE

KARNATAKA

HAMPI

SNAPSHOTS


This UNESCO World Heritage site, former capital of the ancient Vijayanagara empire, is among the nine World Heritage sites included in India’s recently announced budget for restoration

Awe-inspiringruins of Hampi


GOOD TO KNOW

BEST TIME TO VISIT November – February

HOW TO REACH Hubli airport is 144 km away. Take a train to Hospet, 12 km away. Regular buses ply from major cities.

ALSO SEE Hampi Dibba, Monkey Temple

Virupaksha Temple

SNAPSHOTS



Dotted with ancient ruins, Hampi is a unique amalgamation of rugged natural beauty and rich religious history. Millions of years of

volcanic activity and erosion have resulted in this fascinating landscape. While most of the architecture is inspired by the Vijayanagara Empire (1336-1646), there are some constructions which predate it, like the Jain temples on Hemakuta Hill. Hampi has a core area of 41.8 sq km, but with the buffer zone, it adds up to 236 sq km. The site is spread on the north and south of the Tungabhadra River linking two districts. Ruins are divided into two main areas: the Sacred Centre around Hampi Bazaar and the Royal Centre towards Kamalapuram.

Left: Stone Chariot in Vitthala Temple is an icon of Hampi Above: A sculpture of Lord Krishna at Hazara Rama Temple

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SNAPSHOTS


Temple tales

With large dimensions, florid ornamentation, bold as well as delicate carvings, stately pillars, magnificent pavilions and traditional depictions of the Ramayana and the Mahabharata, Hampi temples stand a class apart. Each has its own speciality.

There are interesting motifs of marine creatures on the Malyavanta Raghunathaswamy Temple walls. Virupaksha is the largest existing temple here and has been extensively renovated. Its nine gopurams (towers) rise above all structures at Hampi.

Vitthala Temple, with massive monoliths of Lakshmi, Narasimha and Ganesha, is well-known. Its slender pillars emit musical tones

Top: Landscape of ruins behind the Vitthala TempleAbove: Lakshmi Narasimha statue near Krishna Temple(Facing page): Virupaksha Temple

SNAPSHOTS


Left and below: Ancient ruins of royal elephant stables


when tapped. The impressive stone chariot sculpture in the complex is a Hampi icon.

The Hazara Rama Temple complex has elaborate frescoes, a sprawling courtyard and well-laid gardens. Over a thousand carvings depict the Ramayana.

Krishna Temple Complex has been recently excavated, restoration work still in progress. There is a sacred tank or the Pushkarani located on its eastern side.

Architectural high

Hampi has palaces, aquatic structures, ancient market streets, royal pavilions, treasury buildings and more. The Royal Enclosure, spread over 59,000 sq m, includes fortified walls, gates and towers, palaces, stables and a beautiful stepwell. A number of stone aqueducts connect around 20 wells and ponds here. In fact, the whole of Hampi is crisscrossed with a network of canals of varying sizes that connect

SNAPSHOTS


Left: Ancient remains on Hemkunta HillBelow: Sunset at Malayvanta Raghunath TempleRight: Krishna Temple

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everything – temples, palaces, agricultural lands... These are still used for irrigation.

The Queen’s Palace is located at the middle of the zenana (female) enclosure and is the largest palace base excavated in the Hampi ruins. Don’t miss Lotus Mahal inside, the socialising area for royal women. There is a lotus bud carved on the centre dome.

The archways, balcony and the domed construction resemble a half-open lotus bud. Nearby are elephant stables, a row of magnificent stone structures.

Bheema’s Gateway is an imposing edifice named after the mighty Bheema, one of the five Pandavas from the Mahabharata. It depicts Bheema with his wife Draupadi along with scenes from the epic. Its smart design has won praise – it looks like a blind spot and has sudden turns that made it difficult for an invading army on horses and elephants to manoeuvre.

The Mahanavami Dibba is another must-see, a multi-level structure atop which kings used to address public gatherings.

Getting around

Visitors find it easy to explore Hampi on two-wheelers, available on rent. Hampi Bazaar is home to most eateries

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SNAPSHOTS



for Indian treats like idli and dosa and thali meals (assortment of vegetables, curries and breads). Western delicacies are also on offer. Take home jewellery and embroidered textiles of nomadic Lambani tribes. Saturated coloured fabric pieces are put together as collages on shawls, wallets, bags, skirts and bedspreads with mirror pieces and cowry seashells to add interest.

Bright future

Archeological Survey of India, Bengaluru Circle, is working on improving facilities in Hampi, promising an improved landscape, greater aesthetics, wider roads, clean toilets, wi-fi connectivity and CCTV cameras along with more conservation and restoration efforts.

Above: One of the complexes in Vitthala TempleRight: Fine carvings in the ruins(Facing Page): Erstwhile Paan Supari Bazaar outside Hazara Rama Temple

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INNOVATION


text | Siddharth M Joshi

An Indian NGO has found productive use of pine needles, once the cause of many a fire in the hills, by generating electricity from them

Taming thespirit of pine


Whatever the case may be, they pose a huge threat to the jungles and ecological system.

Watching it from close quarters all these years was Rajnish Jain and his wife Rashmi, co-founders of the non-profit organisation, AVANI.

They decided to expand the scope of their rural voluntary establishment and take on

“harnessing the destructive energy” of the pine needles in Berinag village in Pithoragarh district of Uttarakhand. The NGO dreamt of developing a technology that utilised the abundance of pine needles in keeping with the motto of capacity building and sustainable rural development.

This ambitious hope pronounced itself as “electricity”.

They are known as Saur Urja in the area because of their extensive work with solar energy which saw electrification of 25 villages.

When I was a kid, my Almora home in the Kumaon hills of Uttarakhand, was surrounded by a thick

cover of pine trees. Anytime a southward breeze blew, we could smell the familiar whiff of resins. On some summer nights, the forest would come ablaze in circular patterns. Years passed and the green cover began to reduce, so much so that on a recent visit, I was shocked to be able to count them.

It took some growing up to realise that the pine needles or pirul, as we call them, were to blame. They are highly inflammable due to a high calorific value and low density. And their carpet on the forest f loor causes rainwater to drain down the slope rather than be absorbed in the soil.

Sometimes villagers set them on fire to get rid of unwanted shrubs and at others, fire spreads uncontrollably due to negligence.

It was proved that pine needles could be used as feedstock for a

biomass gasifier to produce electricity

At work on the 9 kW gasifier

INNOVATION


The aim is to generate clean

energy, jobs and restore biodiversity by stopping

forest fires in the region

set up Avani Bio Energy Pvt Ltd in 2012 in order to commercially utilise the electricity thus produced and get connected with existing power grids. Funds were pitched from organisations such as New York-based Acumen Funds, a Power Purchase Agreement (PPA) was signed with UPCL, and a

permission to collect pine needles on large scale was picked from the forest department. Finally, a 120 kW commercial plant was setup at Chachret village in Pithoragarh district. As of now, a couple of thousand units have been dumped in the grid. This aims to generate clean energy, jobs and restore biodiversity by stopping forest fires.

“An average pine needles’ collector can make up to `25,000 a month as we pay them at a rate of 1̀ per kilo. During the shedding season, forests are covered with a huge number of them. Almost 1,200 tonnes in less than 200 hectares of forest land,” Jain explains.

Jain travelled places with his hypothesis of using pine needles as fodder for creating electricity but was turned down everywhere on grounds of impracticality. “The density of pine needles was too low is what they all said,” shares Jain. Without a background in scientific research, he continued to experiment on his own and finally managed to overcome the density problem by chopping pine needles into smaller pieces, and developing a technology which is in final stages of being patented. With this success, it was proved that pine needles could be used as feedstock for a biomass gasifier to produce electricity. But the work had only begun.

AVANI set up a fully operational 9 kW plant, within the campus, as a pilot that worked favourably. Out of the 9 kW of electricity produced, 1.5 kW was used for running the system and the rest was available for other productive uses such as welding and calendering. Taking it a step further, the NGO

Pine needles are used as feedstock for the biomass gasifier


The proposition has given options to the unemployed and women of the area. There is a team of local technicians hand-trained by Jain himself who carry out the operations with dexterity. The process of gasification also produces a by-product – high-quality charcoal in powder form which, in turn, is converted into charcoal briquettes. These work as top-level fuel for rural kitchens, easily replacing wood, saving forests.

The use of briquettes ensures better health for women who would then cook in a smokeless environment. They come cheaper than other fuels and may be purchased for cash or in lieu of pine needles. Where localites welcomed

the enterprise by donating lands, there are many challenges. The biggest among them is a lack of industrial culture in the area due to which people are discouraged from being actively involved. “Young men don’t want

to collect pine needles. They would rather move out of the village to bigger towns or cities,” opines Jain about a problem that clubs with it a deeper issue of out-migration.

AVANI Bio Energy Pvt Ltd plans to expand and go smaller. Jain says, “Smaller units are easier to manage and have the

capacity to reach deeper into villages. The idea is to get local entrepreneurs involved, who can control and manage the supply chains, operations and retail of the charcoal.”

Use of briquettes ensures better

health for women who

would then cook in a smokeless environment

An average pine needles’ collector can make up to `25,000 a month as we pay them at a rate of `1 per kilo. During the shedding season, forests are covered with a really huge number of them. Almost 1,200 tonnes in less than 200 hectares of forest land”

Rajnish Jain, co-founder of non-profit organisation AVANI

Left: The 120 kW gasifier; Right: Charcoal cooking

INNOVATION


Ladakh Ecological Development Group (LEDeG) harnesses solar energy to improve winter livelihood in the cold desert region of Western Indian Himalayas

Raising livingstandards

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Kargil town

INNOVATION


Passive Solar House (PSH), a climate responsive architectural concept that incorporates features like orientation of buildings, shading devices and

using appropriate building materials in order to conserve energy used in heating, cooling and interior lighting of buildings by utilising sun energy, has been introduced in the trans-Himalayan region of Ladakh in the rain shadow area of the Greater Himalayas. The aim is to maximise heat gains from the sun, make provision for heat distribution, storing solar energy within the building and maximising heat losses in cold climatic conditions.

The region is considered well-placed in terms of global solar radiation. There are 250-300 cloud-free days a year here and annual

average global solar energy on a horizontal plane varies from 5,530-6,360 Whr/m2/day. However, for PSH, the critical data is global solar radiation during winter months at 90 tilt as the house walls are horizontal. A detailed data on solar

energy in the region collected at horizontal, 20/ 35/ 50 and 90 tilt revealed the annual average global solar energy is least at 90 tilt with 4,300 Whr/m2/day which is 1,230 Whr/m2/day less than the energy at horizontal plane.

However, if peak winter months (November-February) data is considered, the average global solar

radiation at 90 tilt is 5,417.5 Whr/m2/day which is 1,735 Whr/m2/day more than the horizontal plane. Likewise, during peak summer months (May-August), average radiation is 3,090 Whr/m2/day, approximately 42 per cent less

Designs and insulation techniques are used to minimise heat loss in Ladakh homes

The aim is to maximise heat gains from the sun and store solar energy

within the building


than winter months; average. This observed high seasonal variation is favourable for SPH because during winter months, it provides maximum energy. During summer, the observed low radiation helps avoid overheating due to wall and roof insulation. The actual global radiation for PSH at a particular site differs significantly from house to house here. In small cities, high house density and resultant building shade can be another problem for harvesting available solar radiation. Plus houses in mountain areas are scattered and constructed on southern slopes.

In Ladakh, bestowed with immense solar energy potential and locked up, contrarily, with six-seven months of freezing climatic conditions, harvesting this abundant, reliable, affordable and inexhaustible natural resource becomes imperative for space heating and other day-to-day needs. Ladakh Ecological Development Group (LEDeG), an NGO, has long been involved in harnessing solar energy amid various natural adversities. Passive solar architecture for space heating aims at collecting

Trombe Wall (TW) or Solar Wall: South-oriented double glazed window frame, for maximum heat absorption during day, in front of black painted concrete wall (8”1’) [insulated walls, roof and flooring]. The heat is transferred slowly into the room and is released during the night. The air in the space between the glass and the wall becomes hot and circulates inside the room through the holes located at the bottom and top of the wall.

Direct Gain (DG): South-oriented large double glazed windows, insulated walls, roof and flooring. The sunlight is absorbed by the materials in the house which get warm, store heat and re-radiate it back, thus warming up the space.

KNOW THE TECHNIQUES

solar radiation during daytime. The barren, inhospitable geo-climatic conditions provide insufficient heating biomass to cope with temperatures. Space heating during winter months becomes inevitable for survival.

Energy vulnerability is widely recognised as a factor reinforcing poverty. Majority of people here do not have access to reliable and basic energy facilities and heavily depend on biomass-based energy inputs. Firewood shortfall and expensive imported conventional fuels result in a situation of high energy vulnerability. Ladakhi houses are thermally poorly efficient and room temperature falls below -10C. Traditional chullahs (stoves) fuelled with cow dung, wood and bushes are used to cope up besides kerosene and/ or LPG-based heating systems, depending on affordability and availability.

The magnitude of scarce natural resource usage causes irreparable environmental damage. Air pollution is another hazard. LEDeG has attempted to encourage use of solar energy, local resource-based insulation techniques, improved kitchen stoves and architectural designs.

Over 500 homes have received support from LEDeG

INNOVATION


by international NGOs including Group for Renewable Energy Environment and Solidarity and Dutch group, Inter-Church Organisation for Development Cooperation.

With tremendous environmental, social, financial, health and hygiene and energy impacts, solar passive architecture is gaining

popularity in the remotest villages of Ladakh. LEDeG has persistently been striving to familiarise all stakeholders of this technology and its long-lasting impact on balanced growth and global health. In-depth monitoring of the initiative reveals a remarkable decrease of about 65 per cent in

fuel wood consumption, approximating two tonnes of biomass. Uprooting of scarce wild bushes is minimised, allowing regeneration process to happen and to contain desertification besides saving considerable amount of dung used to enrich soil fertility and to increase moisture retaining capacity of the sandy soil texture.

LEDeG attempts to improve kitchen stoves to reduce useage of scarce natural resources

Trombe System technology has been developed on the principle of passive solar gain and minimisation of heat loss through various designs and insulation techniques.

In 1984, LEDeG installed 75 solar passive systems, in partnership with Ladakh Project as demonstration phase. After two decades, solar passive architecture has seen unparalleled growth – NGOs, army and local government have also adopted the technology.

From 2003 to 2014, with support from Indo-Canadian Environmental Facility (ICEF), 116 homes in remote villages of Changthang area of Durbuk block of Leh district have been constructed with Trombe and direct gain technology. Two rooms per house are upgraded; one with Trombe Technology and another for direct energy gain. Over 508 families in Leh and Kargil districts of Ladakh have received technical support and construction materials from LEDeG to build solar houses supported

Over 508 families in Leh

and Kargil districts of

Ladakh have received support

from LEDeG

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.net


Building Tripura’s trade ties with Bangladesh is part of India’s efforts at boosting friendly neighbourly relations. This will help integrate the rest of North East into Indian economy and open way for trade with South East Asia

Gateway to abright future

LANDMARK

LANDMARK


The marketplace has the potential to revolutionise bilateral trade and improve

living standards in both countries

Generally, political freedom betters economic opportunities. However, there are cases when newly independent regions find themselves

worse off. This is what happened to India’s North East in 1947. The country gained Independence from British rule and awoke to “life and freedom” as India’s first Prime Minister put it, but Partition and the consequent establishment of East Pakistan (liberated in 1971 to become modern-day Bangladesh) meant a large part of the new nation found itself cut-off from the ‘mainland’, almost overnight.

The erstwhile kingdom of Tripuri received a raw deal. Part of the ancient kingdom directly under the British crown became present-day Bangladesh in 1947 while the rest of it joined the

Union of India in 1949. So Tripura, as we know it today, is landlocked on three sides by Bangladesh while other North Eastern states are left with a tenuous geographical connect to the rest of the country through the ‘chicken’s neck’.

The economical implications of these changes have been devastating. The new lines disrupted the old business patterns and nearly destroyed the region’s commercial eco systems.

Road links from North East, which passed through East Pakistan, were severed; the Assam Railway segment was cut off from Indian Railways; Bengal’s jute industry was decapitated and the loss of Chittagong Port meant

that Indian tea and timber industries had to take a circuitous route to Calcutta (now Kolkata) Port. It is only when one understands the scale of disruption during Partition can one appreciate the

The Border Haat was inaugurated on January 13, 2015 by Minister of State (Independent Charge) for Commerce & Industry, Ms Nirmala Sitharaman and Bangladesh’s Commerce Minister Mr Tofail Ahmed


importance of the first India-Bangladesh border haat set up in Tripura. The marketplace has the potential to revolutionise bilateral trade and dramatically improve living standards of border populations in both countries.

Inaugurated on January 13 by Minister of State (Independent Charge) for Commerce & Industry, Ms Nirmala Sitharaman and Bangladesh’s Commerce Minister Mr Tofail Ahmed, this market is located in the southern Tripura district on Indian side and Feni district on Bangladeshi side. It opens once a week and nationals from both countries living within a 5 km radius can trade locally produced goods and crops. The specialty – currencies of both countries are accepted and no local taxes are imposed on the sale of 16 designated items which includes crops, spices, minor forest products (excluding timber), fish, dairy and poultry products and

cottage industry items. Four other border haats have been planned in Tripura – one in Sipahijala district, two in Dhalai and a fourth in north Tripura.

It is no coincidence then that Tripura is being prepared as a nodal point. The region

has historically been one integrated economic unit and it is in the

fitness of things that pre-Partition trade and communication links be restored to leverage the full potential of the region.

Political stability (in India and Bangladesh) and infrastructure

development (such as Akhaurah-Agartala rail link) will be other

key factors. If these factors can be aligned and Tripura-Bangladesh ties strengthened, the whole project that can be quickly scaled up to bring the rest of the North East under its ambit. This, in turn, can serve as India’s gateway to South Asia as envisioned in the North East Vision Plan 2020.

Clockwise from top: Trading at Border Haat; Designated space for the Haat; Agartala check post at the Indo-Bangladesh border

LANDMARK


Made in India, Rotavac is expected to help significantly reduce infant deaths in the country and other parts of the world

First indigenousRotavirus vaccine

The effort has been lauded as an example of India’s capabilities for high-end research


The most common cause of severe diarrhoea among children has found an indigenous solution in the form of the Rotavac vaccine which

was launched by Prime Minister Mr Narendra Modi in March. Developed by Hyderabad-based Bharat Biotec India Limited, it is expected to help significantly reduce infant deaths due to Rotavirus diarrhoea in India and other parts of the world. The deadly Rotavirus causes over 4,50,000 deaths worldwide and 1,10,000 deaths in India annually, including 80,000 children.

A result of the partnership among the department of biotechnology, Bharat Biotech and several Indian and international organisations, the successful launch of the first indigenously developed and produced vaccine is the result of an effort spread over 25 years.

Bharat Biotech India Limited was involved in the development and production of the vaccine and was selected in 1997-98 by the India-US Vaccine Action Programme and the standard government procedures. This

is the third such vaccine available globally against Rotavirus and, at the current prices, the cheapest.

Foreign companies currently sell Rotavirus vaccines in India at 1̀,100 per dose while Bharat Biotech proposes to sell Rotavac for 6̀3 per dose to the government of India and

other low-income countries.The Prime Minister

remarked that India is characterised by large size and diversity and continues to face a number of socio-economic challenges. He hoped that the development of the vaccine would inspire higher levels of research, development and manufacturing activities in

India, not just in medical science but also in other advanced areas of science and technology.

Bharat Biotech has filed four global patents around the technology of Rotavac in more than 20 countries.

Their facility in Genome Valley in Hyderabad has an installed manufacturing capacity of 300 million doses per year.

Indian Prime Minister Mr Narendra Modi at the launch of Rotavac

Bharat Biotech has proposed

to sell Rotavac for `63 per dose,

the cheapest Rotavirus

vaccine globally

SUCCESS


text | Nidhilekha Sahai

Indian animation is experiencing a unique phase of growth where it is steadily evolving into an industry in its own right. Driving this change are animated superheroes of today: Chhota Bheem, Hanuman, Little Krishna...

The greatanimation boom

Indian animation characters are largely drawn from mythology


From the first stop-motion animation film created by Dadasaheb Phalke, the father of Indian cinema in 1941 to Chhota

Bheem, an animated comedy-adventure television series launched in 2008 by Green Gold Animation Inc., Indian animation has travelled a long way over the last seven decades.

Though past efforts at animation such as the landmark animated film Ek Aur Anek Ekta made in 1974 by Films Division of India and successful animated TV series such as Ghayab Aya established a sound beginning for animation in India, the huge demand for technical skills created by foreign production houses limited the flowering of the Indian animation industry.

Over the years, Indian animators have significantly contributed in creating animation characters and providing special effects for global giants such as Walt Disney, Warner Brothers, Sony, Pixar and

Dreamworks. The large English-speaking workforce, low cost of production and state-of-the-art equipment, coupled with low demand in the domestic market led to the emergence of Mumbai, Chennai, Bengaluru, Hyderabad and Trivandrum as the country’s major animation outsourcing hubs.

Animators in India have also contributed to globally acclaimed films such as Life of Pi and Prometheus. In recent years, Indian animators are combining technical know-how with creativity to make their own productions. The release of Hanuman, the first popular 2D animated Indian movie, in 2005 marked the beginning of the creation of

localised content. The film revolves around Hanuman, one of the main characters of the epic Ramayana.

Bollywood attempted to create its first commercial animation film in 2008, Roadside Romeo. Produced by Yash Raj Films and distributed by Disney India, the film was a small step towards ownership of

Indian animators have

significantly contributed

to global giants such as Walt Disney

A still from Kochadaiiyaan, the first 3D motion capture feature film

SUCCESS


content in Indian animation. Kireet Khurana’s Toonpur Ka Superhero (2010), the first Indian film to combine live action and 3D animation, starring Bollywood actors Ajay Devgn and Kajol, garnered moderate success. Arjun: The Warrior Prince, an animated film directed by Arnab Chaudhuri and produced by UTV Motion Pictures and Walt Disney Pictures that was released in 2012 in India and the US simultaneously, was acclaimed for its content and production. The year 2014 saw the release of the first 3D motion capture feature film, Kochadaiiyaan along with Chaar Sahibzaade and Mighty Raju: Rio Calling.

On the small screen, indigenous characters such as Krishna, Ganesha and Chhota Bheem are slowly outranking Tom & Jerry, Popeye and Doraemon. Ashish SK, CEO of Big Animation (I)

Pvt Ltd, that created the Little Krishna series, explains mythology was a good place to start because, as quoted in a media report, “Every time you make a character, you have to spend probably twice or thrice the amount to make the character into a brand,” so to reduce risks to a minimum, “you go with all the stories and brands that already exist”. First telecast on Nickelodeon channel in May 2009, the series is based on interesting incidents from the childhood of Indian god, Krishna.

Surpassing Little Krishna’s popularity is Chhota Bheem. Launched in 2008, it is

an animated comedy-adventure television series by Rajiv

Chilaka, CEO of Green Gold Animation Inc.

Though it is a take-off on the character

of Bheem from the Indian epic, Mahabharata, Chilaka ensured

Chhota Bheem did not remain limited to

mythology. “I wanted

Little Krishna earned tremendous success; Below: Roadside Romeo was Bollywood’s first commercial animation film A still from the animated Hindi film Chaar Sahibzaade

Source: FICCI-KPMG Indian Media and Entertainment Industry Report 2014

ANIMATION INDUSTRY FUTURE REVENUE PROJECTIONS

2013

Compound Annual Growth Rate: 7.1%

12.0

10.0

8.0

6.0

4.0

2.0

0

Animation Services Animation Production Projected figures

2014P 2015P 2016P 2017P 2018PIN

R Bi

llion

P


to create a character for children which would be ours exclusively,” he said in an interview.

Easily the first successful Indian animated TV series, Chhota Bheem is recognised across India, even finding place in merchandising such as children’s apparel, school products and comics. Add to this the co-production treaties signed by India over the years with the UK, Italy, Germany, Poland, France, New Zealand, Spain and Brazil that have encouraged collaborations and pooling of expertise, talent and technology.

Animators can now come together and exchange creative ideas and technical know-how at platforms such as Anifest India, the biggest annual animation festival in the Indian subcontinent started in 2005 by The Animation Society of India (TASI), a Mumbai-based non-profit organisation. Another popular platform is the 24FPS Animation Awards started in 2003 by Maya Academy of Advanced Cinematics (MAAC), an animation academy that provides education in 3D animation, VFX, filmmaking, graphics design and gaming.

There is huge demand for localised animation content. As Ketan Mehta, MD, Maya Digital Studios, states in FICCI-KPMG Indian

Media and Entertainment Industry Report 2014, “International TV channels, that now have a stronghold in the Indian market, have started realising the need for domestic content to reach out to their audience and the demand

A still from the animated Hindi film Chaar Sahibzaade

Chhota Bheem, a well-known

television series

SUCCESS


“I believe this is an encouraging step by the ministry to drive the animation, gaming and VFX segments. With this step, the youth of the nation will be encouraged to seriously consider playing an important role in developing the sector further,” said Aruna Kumar, media and broadcast relationship head of Maya Digital Studios. The proposal is not only expected to increase revenues and generate employment but also support the ownership of intellectual property by Indians in this sector.

Toonpur Ka Superhero was the first Indian film to combine live action and 3D animation

for local content is growing rapidly vis-a-vis international programming.”

The success of indigenous animation productions such as Kochadaiiyaan, Chaar Sahibzade, Hanuman, Little Krishna and Chhota Bheem are all indicators of this shift. The FICCI-KPMG 2014 report valued the Indian animation, visual effects and post-production industry at a whooping `39.7 billion in 2013 with a growth rate of 12.4 per cent in 2014. Of this, the share of animation services and animation production comes to `12.7 billion in 2013. With a projected Compound Annual Growth Rate (CAGR) of a healthy 7.1 per cent for 2013-2018, it is not long before the Indian animation industry will be at par with global players.

Taking cue from Indian Prime Minister Mr Narendra Modi’s Make in India initiative, the Union Ministry of Information & Broadcasting (I&B) has announced setting up of a National Centre of Excellence for Gaming, Animation and Visual Arts in the 2014 Budget. The centre is expected to be a training ground for animation, 3D visual effects and gaming.

Bal Ganesha’s characters earned huge applause


Terracotta votives across the world may just be coming from a village in Rajasthan

Turning clayinto gold

text | Kalyani Prasher

Terracotta plaques depicting daily village life

CULTURE

Phot

ogra

phs:

Jais

hree

Kha

mes

ra

CULTURE


Artworks are dried for nine days

Turning clay into art is a way of life for the people of Molela, a village in Rajsamand district in Rajasthan, 50 km from Udaipur

city. It is called the Potters’ Village and families of craftsmen like Lakshmilal or Dinesh Chandra Kumhar have been living here for centuries, turning clay into gold. These potters are famous for creating terracotta plaques depicting votive images, passing the talent from one generation to the other, each bringing its own touch to the art.

Terracotta is a ceramic material used for building construction and decorative arts since ancient times in cultures around the world. The name literally means ‘baked earth’. It is made from natural clay that gives it a characteristic reddish-brown colour which varies slightly

depending on the clay used. Terracotta may be glazed for extra durability or to provide colour. It is a waterproof and sturdy material and ancient sculptures made from it are still in excellent shape.

Like all art forms, Molela’s terracotta art has evolved with time. Earlier, terracotta gods were tall idols. The art has transformed into plaques and tiles used for decoration. The dusty desert landscape of Molela is punctuated with myriad colours as artisans lend colour to neutral terracotta hues while they create creative and

modern designs. Molela terracotta art is no longer

restricted to gods and goddesses. Artisans have started depicting scenes from life around them. However, traditional designs and shapes remain evergreen, art and

Molela terracotta art

is no longer restricted to gods

and goddesses; artisans depict

life around them


them to the world,” explains Om Prakash, OS Marketing, RUDA.

RUDA also trains and helps organise workshops. “The idea is to take the art form to the world. We want the creative process to prosper in Molela. We even brought a terracotta prototype from NIFT

once. The interesting thing, however, is that even though some amount of

modernisation has taken place in terms of designs, the most

popular ones remain the old styles like avatars of Lord Vishnu and other impressions of gods,” informs Om Prakash.

Murtikala, as this art is locally known, is done by

kneading rice husk and dung into clay which is then flattened

to make a slab on which votives are shaped. The entire art is handcrafted

without the use of any moulds or machines and with only the help of craftsmen tools like chisels and potter’s wheel. Prefer buying these art works directly from the artisans as it is mutually beneficial for them and you.

religion combines in Molela and forms the fabric of daily life.

Simple hand-forming techniques are involved in making these plaques. First, clay is dug locally and then mixed with donkey manure, roughly in a 1:4 ratio to give the clay pliability. Then, a slab is made with distinctive dome-shaped top; the edges are raised to form the rim of the slab. The figures are formed with the fingers and must be hollow so they do not burst in the kiln. They are completed by adding accessories on them like jewellery made of tiny balls of clay. The plaques are dried for nine days. The firing is done in a temporary kiln.

Rural Non-farm Development Agency (RUDA), which promotes micro-enterprises in Rajasthan, has a big role in bringing these artisans to the fore. “We take these artisans to large-scale exhibitions in Jaipur and New Delhi. The idea is to expose

Traditional terracotta lanterns; Below: Plaque with a traditional depiction of Lord Ganesha

GOOD TO KNOW

BEST TIME TO VISIT October-April

HOW TO REACH Udaipur Railway Station is 47 km away. Or make a one-day trip from Udaipur, 60 km away.

TOURIST TIP Visit in the first half of the day to see potters at work.

ART


Deccani art embodies the spirit of trade and exchange prevalent between the 16th and 19th centuries

Grand convergenceof cultures

we are more in tune with that ethos,” said Dr Kavita Singh, co-curator of Nauras. This might explain why the Metropolitan Museum in New York recently showcased an even more expansive show of Deccani art culled from

70 global lenders. The exhibition at National Museum may only be a small window into this multi-cultural world in comparison but the pieces on show were larger-than-life.

Take for example, Al-Buraq, an opaque water colour, which depicted a mythical creature who carried Prophet Muhammad on

a night journey from Mecca to Jerusalem and back. The imagery was derived from many sources such as the Chinese-looking dragon that forms the tail, Persian-looking lions and the Indian elephant at its heart. “The painting was executed by an artist in Golconda in the 18th century but carries impulses from half the world,” said Singh.

If you could have touched the Pichhwais, displayed as part of National Museum’s exhibition, Nauras: The Many Arts of the Deccan, you would have probably

come away with specks of real gold on your fingers. This late 18th century work extensively painted with gold, depicting the monsoons in Brijbhoomi (land of Lord Krishna), is one of the many masterpieces reminiscent of the highly integrated, hybrid and secular art that f lourished under the Deccan Sultanates between the 16th and 19th centuries.

Deccani art has mostly remained hidden from public gaze, perhaps overshadowed by the more opulent and better recorded Mughal art. “In recent years, however, due to globalisation and the circulation of ideas and influences, every place has become trans-cultural. Now the complex, overlapping, cosmopolitan cultures of the Deccan are easier to understand, and

text | Poonam Goel

Deccani art has mostly

remained hidden from public

gaze, perhaps overshadowed by Mughal art


A Pichhwai painted with gold

ART


Perhaps the most significant exhibit of the grand convergence of several cultures was a late 18th-century temple hanging embroidered with scenes from the Ramayana. Made in Vijayanagara, this preserved memories of the city’s architecture 200 years ago where temples were made in classical Dravidian temple tradition but royal buildings were constructed in Islamic style. The main scene was of Lord Rama’s coronation being witnessed by the gods and guardians, all of whom stand under the Islamic-style cusped arches used in the Vijayanagara palaces.

A magnificent kalamkari coverlet was another example of Deccani cosmopolitanism. The figures surrounding the Persian king

(Above) King Aurangzeb’s armour(Top) Temple hanging depicting the Ramayana(Right) Al Buraq – a watercolour of a mythical creature


in his palace were from diverse regions including Armenia, the Mughal kingdom, China and Turkey.

A series of 44 Ragamala paintings of late 16th century depict intricate handling of miniature art. Its style is f lamboyant and showcases the hybrid vision that f lowered in the Deccan as a result of Rajasthani idioms brought in by Rajput generals of the Mughal army. Miniature art from the Deccan, in turn, was supposed to have influenced Rajasthani and Pahari courts. “The Ramayana series with some 450 illustrations made for Maharana Jagat Singh of Mewar in the 17th century had, at least, one volume completed by a Deccani artist,” revealed Singh.

ART


Left to right: Buraq sculpture; Metalware decor item; Bidriware huqqa base

Use of rich and luminous colours had, in fact, stayed on in the work of contemporary artists from the region like Thota Vaikuntam, Chippa Sudhakar and Laxam Goud. “They have remained true to their roots and the classical influences of portraying divinity and folk stories can be seen in their work even now,” says Gallerie Ganesha director Shobha Bhatia. Deccani art embodies the spirit of trade and exchange prevalent during those times.

The story of tobacco, first introduced in Bijapur by the Portuguese, later becoming a major export from the region, could be succinctly understood through many of the silver inlaid bidriware huqqa bases. Fortunately, many of the skills like kalamkari and bidriwork survived the test of time, even though the quality of calligraphy and marbling exhibited would be hard to match today.

Left to right: Ragmala painting; Artistic representation of Malik Ambar, an African in the royal court; Kalamkari coverlet

CUISINE


Add something spicy and delicious to your high-tea table with this Indian recipe

Nothing fishyabout it!

cubes or fingers; place them in a bowl, rub in vinegar and salt and marinate for 30 minutes; drain and pat dry again with paper towels.

2. Mix all ingredients for the marinade and rub into the fish. Marinate for 20 minutes.

3. Heat oil in a wok (kadhai), deep-fry the fish pieces a few at a time over medium heat until crisp; remove and drain; arrange on a platter, garnish with lemon wedges. Serve hot.

AMRITSARI FRIED FISH

Preparation time 15 minutes; Marination

50 minutes; Cooking 20 minutes; Serves 4

Ingredients

750g fish fillets; ½ cup vinegar, 1tbsp salt, oil, lemon. For marinade: 2tbsp ginger, 2tbsp garlic paste, 2tsp carom seeds, 1tsp white pepper, ½tsp salt, ½ cup gram flour, orange food colour, ½ cup water

Method

1. Wash fish fillets, pat dry with paper towels and cut into even-sized

Courtesy: Fabulous Flavours: Brunch, High Tea, Cocktails, part of a series of cookbooks brought out by the External Affairs (Ministry's) Spouses Association, New Delhi

Golden brown, succulent Amritsari Fried Fish

CUISINE


Think chillies and it is difficult not to think of Indian cuisine. Known for its f lavour foreplay and generous use of

chillies, Indian curries are synonymous to them. The perception, interestingly, is not entirely untrue. In fact, laal maas of Rajasthan and rogan josh from Kashmir are known for the use of chillies – though of completely different varieties and pungency levels. While the former is known for Mathania Mirch that imparts a fiery red colour, rogan josh is famous for the sweet spicy taste of the Kashmiri Mirch.

It is said Portuguese voyager Vasco da Gama exchanged chillies for a place to

camp when he landed in India in 1498. Little did he realise that India, back then, had chillies growing wildly, at least the hottest variety, Naga Jolokia and

Naga Viper. Ayurveda, the science of

living, propagated the use of spices in food – and in some texts directly indicating to chillies – as it believed that food cooked with the right spices helps preserve nutrition. Also, chillies control bloating! Whether

this is true is debatable. However, there is no contesting that chillies became popular in India which, during the time, was in a transitionary phase culinary-wise as traders and missionaries were

In the history of spices, if there is one condiment that has been accorded the status of being ‘hot’, it is chillies

The saga of Indian chilli

text | Madhulika Dash

Chillies were the first spice

Vacso da Gama exchanged for

a place to camp when he landed in India in 1498

Boriya Mirch


Clockwise from below left: Bisi bele bhaat; Laksa; Pork

vindaloo; Balchao; Sorpotel; Phaal curry; Fish rechado – all

use different varieties of chillies

CUISINE


getting newer techniques and dishes into the country. With da Gama came two dishes: Pork vindaloo and sorpotel. Significant Goan dishes today, both are known for spiciness. The Portuguese got Peri Peri chillies to India which became an intrinsic spice of the Goan masala.

As newer variations were grown, chilli reached other regions of India. In Rajasthan, it took the shape of a powder, used in most dishes. Down South, Madras Pari, a special variety, became quintessential in temperings. Bhavnagri Mirch became a choice for mirch ka salan as one could play around with its spice factor. Due to its low capsaicin

11 SHADES OF INDIAN CHILLIES

MANIPURDhani

MIZORAM Dhani

MAHARASHTRASannam, Nalcheti

ANDHRA PRADESHSannam, Mundu, Madras Pari, Tadappally, Hindpur

MADHYA PRADESHSannam,

TAMIL NADUMundu, Kanthari

KARNATAKAByadagi

KERALAKanthari

GUJARATJwala

HIMACHAL PRADESHKashmiri Mirch

JAMMU AND KASHMIRKashmiri Mirch

Dhani Scarlet, highly pungent

Sannam Red /reddish hot/very hot

Nalcheti Red, very pungent

Mundu Yellowish red/scarlet hot/ fairly pungent

Madras Pari Bright red, hot

Tadappally Red, thick, mildly pungent

Byadagi Red, pungency low/almost nil

Kanthari Ivory white, small, highly pungent

Jwala Light red, highly pungent

Kashmiri Mirch Deep red, fleshy pungency-negligent

Hindpur Red, very pungent



CUISINE

SHAPES OF HEAT

Sankeshwari Mirch: Medium high spicy, often found in

Konkan food.

Boriya Mirch: Often used in tempering.

Kashmiri Degi Mirchi: Long, deep red and wrinkled, whole-dried Kashmiri chilli is mildly hot.

Bedgi or Byadagi Chilli: Karnataka specialty is medium on hotness and colour. An essential in Goda Masala.

Tarvati: This translucent, shiny chilli is used for commercial red chilli powder.

Reshampatti: Broad and short, this medium-hot chilli is used for stuffed pickles.

Gundu Chilli: Small, round and shiny, must in South Indian recipes.

Naga Viper Chilli: A hybrid of Naga Jolokia and Trinidad Hybrid made by Englishman Gerald

Fowler, it is one of the hottest chillies.

Naga Jolokia Chilli: A single Naga Jolokia can spice up a preparation of, at least, 200 people.

Piri Piri Chilli: Also called the ‘African Red Devil’, it is hot and identified by its thin, cylindrical shape with reddish-orange tint.

Light Green Chilli: Best served with vada pav, these look brilliant but are the least spicy.

Dark Green Chilli: These tiny chillies are as good as dynamite; often used for tempering

lentil curry.

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content, Byadagi Chilli works for dishes requiring minor spiciness – bisi bele bath, sambar, chutneys and Udupi dishes along with pickling. Ellachipur Sannam, the quintessential hari mirch, was used across the country to add sharpness to the dishes.

Guntur Sannam, another South Indian chilli identified by its wrinkled texture, was used for spicing dishes. Kerala-grown Kanthari White became the choice for temperings and pickles to help digest food.

Few other varieties were known for their heat and pungent taste, like Jwala from Gujarat and Bird’s Eye Chilli from North East. Known to be among the hottest chillies, these are used in meat preparations across India. The hottest stew is an Indian curry that originated in a restaurant in the UK. Phaal curry is grilled lamb or any meat served in hot sauce. Phaal takes its inspiration from North East cooking where chilli is mostly the only condiment used to spice food. When it comes to chillies in Indian cuisine, there are little benchmarks

Ingredients Green chillies: 18-20 large; Oil: 2 tbsp; Sesame seeds: 2tbsp; Coriander seeds: 1 tbsp; Cumin seeds: 1tsp; Roasted peanuts: 1/2 cup; Dried red chillies: 2; Ginger, chopped: 1 inch piece; Garlic, chopped: 6-8 cloves; Mustard seeds: 1 tsp; Onion, grated: 1 medium; Turmeric powder: 1 tsp; Tamarind pulp: 2 tbsp, mixed in half cup water; Salt to taste

Method Slit green chillies lengthwise. Deep fry in a wok. Dry roast sesame, coriander and cumin and grind with peanuts, red chillies, ginger and garlic to make a paste. Heat 2tsp oil in the wok. Add mustard seeds. Once they splutter, add onion. Once golden, add turmeric. Add pre-prepared paste and cook for three minutes, stirring. Add half cup water and bring to boil. Lower flame, cook for 10 minutes. Mix in tamarind pulp. Add fried green chillies and salt. Cook five minutes. Serve hot with chapatti (Indian bread).

MIRCHI KA SALAN (Serves 4)

followed in terms of the usage of chillies apart from a few: Like Mathania Mirch for colour in laal maas, Deghi Kashmir Mirch in rogan josh, Bhavnagri Mirch in mirchi ka salan and Dhani or Bird’s Eye Chilli in Assamese

laksa and thupka. Guntur/ Warangal/ Khammam chilli is the conventional pick for all pickling plans.

An Indian curry originating in a UK restaurant, phaal curry is grilled lamb or

any meat served in hot sauce

text | Supriya Agarwal

EXPLORE


During Hemis Festival, Ladakh comes alive with dances and colourful celebrations. The religious mask dance remains the centre of attraction

Celebratinghues of divinity


Synonymous with peace, tranquility and meditation, Ladakh is known as the “land of high passes”. After a long dreary winter, summer is the

time to rejuvenate with pomp and fervour. Here, rejuvenation is a celebration, a way of attaining supreme truth. The festivals are a perfect concoction of ancient customs, rich culture and celebration of life.

One of the most famous festivals here is Hemis Festival celebrated in Hemis Monastery. Situated 45 km away from Leh, Hemis Monastery is the largest and richest one in the region. It is famous

for its magnificent architecture and the Buddha statue positioned atop a mound overlooking the monastery. This two-day event celebrates the victory of good over evil and commemorates the birth anniversary of Buddhist guru Padmasamabhava who brought Vajrayana Buddhism to Central Asia, China and the Himalayan region. Revered as the second Buddha, Guru Padmasambhava was invited to India in the 8th century to conquer dark forces and transform them into guardians and protectors of dharma. The festival is celebrated every year on the 10th lunar day

Monks carrying holy water across the Hemis Monastery courtyard for purification

EXPLORE


of the Tibetan calendar. This year, it falls on July 7 and 8.

The central courtyard of Hemis Monastery sets the stage: Drums, trumpets and wind instruments commence the celebrations with an early morning ceremony in which thousands of Buddhist followers take blessings from a portrait of Lord Padmasambhava. Uncooked rice, incense sticks, tomas (butter-and-dough dish) and holy water are the main ceremonial items. The chief monk of the monastery carries the holy water throughout the courtyard for purification.

However, the key attraction is the religious masked dance performed by the lamas (monks) around the central f lagpole in the courtyard. Known as Chhams, these dance dramas are performed wearing vibrant clothes and intimidating masks. The dance consists of two parts: the first pays homage to the eight aspects of Guru Padmasambhava. The second part shows Maha Dongcren, a horned masked figure, slaying demonic forces. The eight manifestations of Padmasambhava belong to the tradition of the revealed treasures. It includes

GOOD TO KNOW

BEST TIME TO VISIT May-September

HOW TO REACH Take a flight to Kushok Bakula Rimpochhe Airport, Leh. Or a train to Jammu Tawi, 300 km away. Or drive via Srinagar-Leh or Manali-Leh highways.

ALSO SEE Hemis National Park, the largest in South Asia


the depiction of union with consort, a fully ordained Buddhist monk, a young crowned prince, the Saviour who teaches dharma to people, the intelligent youth, a naked yogi pointing towards sun, fierce manifestation of Vajrakilaya and the Lion of Debate.

These religious dances are used to educate people about the impermanent nature of all phenomena and the victory of mind over ignorance and evil. Blaring horns and hypnotic drums serve as perfect soundtracks for the dance with most movements consisting of measured steps and twirls.

The stunning colours of whirling robes, antique masks and swaying movements create a visual treat. Witnessing the mask dances is believed to remove ignorance and take one closer towards to attaining nirvana. “By watching these mask dances, ‘choreographed’ by celestial beings for enlightened masters, we should receive the blessings of being able to cut through aff lictive emotions and realise the nature of our own mind and wisdom,” says a monk from Hemis Monastery.

Above: Mask dance-dramas called Chhams in progressLeft: Blaring horns are characteristic of Chhams

EXPLORE


If you happen to be travelling towards north Kolkata, it is impossible to miss the tall ornate gates of Jorasankho Thakur Bari (6, Dwarkanath Tagore Lane). Brick

red in colour, the arched top is held in place by columns of different heights and width on either side. The arch is topped by a rectangular structure, on which in Bengali, boldly and brightly, is painted Jorasanko Thakur Bari. Walls have beautiful marble carvings. A long verandah runs in front of the rooms downstairs with balconies right on top on the f loors above.

The name is derived from an erstwhile structure of two similar (jora) wooden bridges (sankho) that existed over a tiny stream that passed this way then. The house, spread

over 35,000 sq m, was built in the late 18th century by Rabindranath Tagore’s grandfather, Prince Dwarkanath Tagore. The land on which the house stands was donated to him by a

rich businessman. Besides its architectural value,

this house holds a special place in the hearts of all Tagore-lovers as India’s first Nobel laureate was born (May 7, 1861) and breathed his last (August 7, 1941) here. The ancestral home of Tagore is, at present, located on Rabindra Bharati University

campus which organises cultural programmes and a festival of arts, Aban Mela, on the poet’s birth anniversary.

It is imperative to leave behind one’s footwear before entering Tagore’s abode,

text | Sutapa Mukerjee

A visit to Rabindranath Tagore’s ancestral home, Jorasanko Thakur Bari in Kolkata, gets visitors up close and personal with the life of India’s first Nobel laureate whose birth anniversary is celebrated on May 7

The Nobel poet

The name of this abode is derived from an erstwhile structure of two similar

wooden bridges


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The Jorasanko house is a vast,

rambling congeries of mansions and rooms,

representing the whims of many generations.

– Edward Thompson

An artistic representation of Rabindranath Tagore

EXPLORE


considered no less than a temple. The house has been transformed into a picturesque museum.

I returned another day to take a tour of this landmark building. As always, when I climbed the stairway and felt the marble with diagonal designs under my feet, I was transported to another era. The view from the balcony took me to the poet’s growing up years. Just like William Wordsworth mentioned in The Prelude that his first teacher was Nature, I understood why Tagore mentioned the same philosophy in most of his writings. Tall trees reach up to the windows while birds chirp ceaselessly from their nests. The lonely little boy (young Rabindra) had Nature as his best friend which was so beautifully translated into verses of his poems.

Paintings and photographs that adorn the walls today tell a story of centuries ago. There are about 40

Left: A bust of Tagore at Thakur Bari

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second gallery, dedicated to his family: Grandfather, Dwarkanath Maharishi; brother Debendranath Tagore and nephew Abanindranath Tagore. The third one depicts the Rennaisance period and personalities of Bengal like Ishwar Chandra Vidyasagar and Dwarkanath Tagore.

I least realised the hours I spent here. As a token of this visit, I bought a few cards and replicas and just allowed Tagore’s music to play in my heart.

original paintings of the poet laureate. The museum has three galleries dedicated to the renaissance period of Bengal, Tagore’s family and the poet. In the first, I took a long time to move from one painting to another and stood gazing at the gifts received by Tagore during different phases of his life. There were some old manuscripts, books, journals and discs neatly placed here. I then strolled into the dining area. This adorned a large low black-coloured rich wooden table with a few backless chairs. Two adjoining living rooms displayed few robes that still draw the same enigma that Tagore wore.

Further down was the ‘sanctum sanctorum’ of this house – the room where Tagore breathed his last. The folding screen doors let me in and I stood silently, experiencing the peace around me. The subtle light was charismatic and from deep within my heart, a line from Tagore echoed poignantly, “And because I love this life, I know I shall love death as well”. Thereafter, I stepped to the

The museum has three galleries dedicated to

the renaissance period of Bengal, Tagore’s family

and the poet

MORE ABOUT JORASANKO THAKUR BARIOpen all days except Mondays, 10am-5pm

Light and sound show

November to January:

6pm-7.40pm

February to June:

7pm-8.40pm

Above: Jorasanko Thakur Bari is spread over 35,000 sq m


CONVERSATION

Dr Tessy Thomas has sky-rocketed to unparalleled success in the field of missile technology

When sky is the limit...


She gets up at 6 am, goes for a walk, watches TV serials and cooks. In her spare time, she plays badminton and chess and one of her

favourite hobbies is gardening. Sounds like the life of any ordinary Indian woman? But Dr Tessy Thomas is definitely extraordinary. She spends 10-12 hours in office, working on some of the most powerful weapons of mass destruction. Popularly known as agniputri (daughter of fire), she was the project director for 5,000 km range Agni V in 2009, based at the

Advanced Systems Laboratory, Hyderabad. Dr Thomas was associate project director for the 3,000 km range Agni III missile and project

director for Agni IV.Her childhood fascination

for math and science charted her future course of action with a school trip to Thumba Rocket Launching Station in Thiruvananthapuram serving as the perfect inspiration. She completed B Tech in Electrical

Engineering and followed it up with M Tech in Guided Missiles and a course sponsored by Defence Research & Development

She spends 10 to 12 hours in office working

on powerful weapons of

mass destruction

A model of Agni V at India’s Republic Day parade

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CONVERSATION

Clockwise from left: Receiving a memento at a lecture series; Sharing a light moment with colleagues; At the Lal Bahadur Shastri National Award ceremony

Organisation (DRDO). In 1988, she joined DRDO and was posted at Hyderabad-based DRDO Lab, working with the navigation and guidance groups. “Then on, it has been a career of inspiration, opportunity and scientific support from colleagues and senior. As a result, I became a designer for long-range missile systems,” she says.

At present, Dr Thomas is director, Advanced Systems Laboratory, DRDO. As part of the Agni missile team, she was involved in modelling and simulation of missile systems.

“During the initial phase of my career, I participated in all technical reviews which helped me understand the system better,” says Dr Thomas who has been with DRDO for the past 27 years. “I have had moments of agony and ecstasy. Working with DRDO has given me both opportunities and courage to handle any problem,” she says.

Inspired by Dr APJ Abdul Kalam’s focussed and goal-oriented approach, she keeps a firm hold on life, taking both successes and failures in her stride. “He introduced openness and teamwork and has been a role model for all of us at DRDO,” says Dr Thomas.

Despite her demanding career, she has managed to find the right work-life balance. “In life comes a phase where one needs to strike a balance between career and home. Once we overcome it successfully, life gets easier and happier,” shares Dr Thomas. While family support has played a major role in her success, she admits facing difficult times on personal front when her son was in school and husband posted out of station.

“But we all managed. Tejas, my son, has been understanding and cooperative. He completed his engineering recently,” she says.

Among other recognitions, she recently won the Y Nayudamma Memorial Award 2014 for her contribution in the field of missile technology.

Despite her extremely

demanding career,

Dr Thomas has managed to strike the

right work-life balance

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