Codonopsis

India Perspectives

SEPTEMBER-OCTOBER 2009

EditorNavdeep Suri

Assistant EditorNeelu Rohra

Vol 23, No. 4 ISSN 0970 5074

India Perspectives is published every month in Arabic, Bahasa Indonesia, Bengali, English, French, German,Hindi, Italian, Pashto, Persian, Portuguese, Russian, Sinhala, Spanish, Tamil and Urdu.

Views expressed in the articles are those of the contributors and not necessarily of India Perspectives.All original articles, other than reprints published in India Perspectives, may be

freely reproduced with acknowledgement.

Editorial contributions and letters should be addressed to the Editor, India Perspectives,140 ‘A’ Wing, Shastri Bhawan, New Delhi-110001.

Telephones: +91-11-23389471, 23388873, Fax: +91-11-23385549E-mail: [email protected], Website: http://www.meaindia.nic.in

For obtaining a copy of India Perspectives, please contact the Indian Diplomatic Mission in your country.

This edition is published for the Ministry of External Affairs, New Delhi by Navdeep Suri, Joint Secretary, Public Diplomacy Division.

Designed and printed by Ajanta Offset & Packagings Ltd., Delhi-110052.

This year Bharat Sandarsh, the Hindi edition of India Perspectives was awarded the First Prize under the

Griha Patrika Puraskar Yojana of the Department of Offi cial Language, Ministry of Home Affairs, India.

Picture shows Hon’ble President of India Mrs. Pratibha Devi Singh Patil handing over the Shield to Ms. Parbati Sen Vyas Secretary (ER),

Ministry of External Affairs on September 14, 2009 at Vigyan Bhavan, New Delhi.

LakshadweepBITTU SAHGAL 2

The Valley of FlowersDEEPANKAR ARON 8

The Height of AdventureRAMESH TRIPATHI 56

Book Review

M F Husain – UntitledAPARNA S REDDY 64

Art AlivePREETI VERMA LAL 68

Tribute

Damal Krishnaswamy PattamalRENUKA NARAYANAN 72

India’s Golden FibrePUPUL DUTTA & APARAJITA GUPTA 73

Sachin TendulkarBINOO K. JOHN 76

Gandhi’s Legacy of Global NonviolenceSAVITA SINGH 20

SanchiBENOY K BEHL 26

Medak CathedralRAMCHANDER PENTUKER 36

Looking Beyond The MoonRADHAKRISHNA RAO 42

KashidaKashmir’s symphony of threadsUPENDRA SOOD 48

Photo Feature

The Dolls of Bengal/OrissaDILIP BANERJEE 52

BhutanAn Eye to HistoryPRAMOD KUMAR KG & NAMITA GOKHALE 78

Kathak DanceLEELA VENKATARAMAN 88

Cover: The Valley of Flowers.Photo: Suresh Elamon.

India Perspectives continues its tradition of providing intellectually stimulating and visually attractive content to its readers. This issue carries an unusually diverse blend of articles, ranging from science, art and history to the crafts, literature, sport and travel.

The decision of the United Nations to issue a commemorative stamp that marks the global adoption of Mahatma Gandhi’s birthday on 2nd October as the International Day of Non-Violence gives us the occasion to refl ect on the profound imprint of Gandhiji on liberation struggles in different parts of the globe.

Chandrayaan 1, India’s maiden mission to the Moon, its historic discovery of water molecules on the lunar surface and the arrival of the Indian tricolour on the moon deserve special mention. The Medak Cathedral, a marvel of Gothic architecture, gives a lateral perspective on India’s rich secular heritage.

The Valley of Flowers in the Himalayas and the coral paradise of Lakshwadeep provide a visual treat for travelers to our country, while Kashida embroidery from Kashmir and woodcraft from Bengal/Orissa highlight the skills honed by craftsmen over the generations.

A lovely narrative on the classical dance form Kathak, an insight into the unrivalled Buddhist heritage of Sanchi, a tribute to the celebrated D. K. Pattamal and a review of the path-breaking e-book on iconic artist MF Hussain attempt to provide the requisite cultural and literary nourishment that our readers have come to expect from India Perspectives.

We bring in a taste of sport by acknowledging the towering contribution of Sachin Tendulkar to the game of cricket and by recognizing the achievement of the fi rst Indian Wing Commander R.C. Tripathi who has recorded the world’s highest sky dive jump in the Everest region.

And we conclude this issue by sharing with you our sense of pride. Bharat Sandarsh, the Hindi edition of India Perspectives, was privileged to be awarded the fi rst prize under the ‘Griha Patrika Puraskar Yojana’ of the Government of India.

Editorial

Navdeep Suri

INDIA PERSPECTIVES SEPTEMBER-OCTOBER 2009 2 INDIA PERSPECTIVES SEPTEMBER-OCTOBER 2009 3

The green turtle saw me before I saw it. I was still learning to dive and my entire focus was on getting my next breath, while keeping Mitali Kakkar, my dive instructor, in direct view. I

became aware of the turtle approaching me from the right only when

it was a metre away. It literally slid up to me, touched (kissed!) my eye mask with its downward pointed beak, then turned and ‘fl ew’ effortlessly away into its deep-blue universe beyond ‘the wall’ that dropped away to nowhere in the Arabian Sea. I had worked to protect turtles virtually all my life and that one wild turtle somehow underscored my life’s purpose.

There is something very comforting about diving in a clear ocean. Like being in nature’s womb. You are so at the mercy of nature that trust and survival merge into one stream. The moment you get over your initial claustrophobia, discover that breathing underwater with air tanks is as easy as apple pie… and let the elements take charge. Other than your breathing you hear no sounds. And, for fi rst timers, everything is new, and magical. On shore, there is also something elemental about going to sleep and waking up to the sound of the sea, from where all land life originated.

I had wanted to visit the Lakshadweep Islands for decades, but had the (erroneous) notion that getting there was well nigh impossible from Mumbai where I live. A late December 1997 fl ight to Cochin, an overnight ferry ride in the famous ‘Tipu Sultan’ plus an adventurous

Aerial view of Agatti island. Kalpeni island.

LakshadweepCORAL PARADISE

BITTU SAHGAL

The islands sit in the middle of the ocean between 220 and 440 km. off the Kerala coast on the north-south Chagos Ridge and share a relatively common biodiversity with such exotic destinations as Mauritius and the Maldives. Remote but not untouched, the islands have become a favoured destination

for adventure-seeking Indians.

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Hawksbill turtle with diver. Coral.

transfer into a ‘Pablo’ – the dinky little boats that are the fl oating taxis for the islands – corrected that misconception.

The trip was smooth and life on Kadmat, the island where Mitali and her team from Reefwatch Marine Conservation run an excellent dive school, was comfortable and aesthetic. As with any infatuation, all I could really think of in Lakshadweep was diving. This, to the point where I spent just one morning, out of ten, birding (large concentrations of terns including the Sooty Tern Sterna fuscata, Great Crested Tern Sterna bergii, White-cheeked Tern Sterna repressa, plus gulls, Western Reef Herons Egretta gularis, Eurasian Curlews Numenius arquata and Pied Avocets Recurvirostra avosetta).

Now, of course, fl ights from Cochin to Agatti make visits to the Lakshadweep Islands even easier. Compared to the Andaman and Nicobar group, Lakshadweep is positively small. The archipelago comprises a mere 36 islands, 12 atolls, three reefs and fi ve offshore sand banks. The land area is a miniscule 32 sq. km., but the lagoons within the fringing atolls extend to around 4,200 sq. km. Only ten of the islands are inhabited. These are (in alphabetical order) Agatti

(which sports an air strip), Amini, Andrott, Bitra (just about 100 people), Chetlat, Kadmat, Kalpeni, Kavaratti (10,000 people), Kiltan and Minicoy.

Kadmat, a sliver of an island, is just 550 m. wide at its broadest and eight kilometres long, with pure sandy beaches and small lagoons on both east and west. Together with Agatti and Bangaram, Kadmat offers extremely high standards of visitor accommodation and resorts here are comparable to the best in the world in terms of their environmental record. Unlike the Andaman and Nicobar Islands, the lagoons here provide placid environments for swimmers and are safe throughout the year.

As with most island cultures, locals are more than just friendly. Many are now expert divers themselves and a handful are among the fi nest marine naturalists in India. They can identify hundreds of reef fi sh and invertebrates on sight.

Apart from seafood, coconuts are an important source of nutrition, but much of the islanders’ food and supplies are subsidised and arrive from the mainland by boat. Most people speak Jesseri, a mixture of

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Malayalam, with a decidedly Arabic infl uence, but Minicoy residents converse in Mahl, which is very different and which they share with the people of the Maldives.

For centuries, the lifestyles and customs of the local islanders (now 60,000 strong) ensured that a wafer-thin lens of subsurface, fresh drinking water remained pure and unpolluted. But they are no longer in control of what others do and this justifi ably worries them even more than the sewage and solid waste that ships dump into their pristine seas.

The islanders do not fi sh in the monsoon; turtle and dolphin hunting is banned, though an occasional animal will be caught and eaten. Green turtles, hawksbills and olive ridleys all breed here and they nest on beaches that are mercifully free from domestic dogs. Reefwatch and other NGOs are working with the island administration to educate young children on the value of places such as Pitti Island, 25 km. northwest of Kavaratti, where Sooty and Noddy Terns nest and where collecting eggs of the Pitti pakshi (Pitti birds) is banned, much to the chagrin of some elders!

No one can claim to have seen the best of India, if they have not been to this paradise on Earth!◆The author is the Editor of Sanctuary Asia.

Facing page: White tipped reef shark (top) and Humpback snappers (below).Squat shrimp (left top); Clown fi sh (middle) and Leopard Moray Eel (left).Su

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The Valley of FlowersText & Photographs: DEEPANKAR ARON

The valley in the Himalayas, home to about 521 plant species is a National Park and a World Heritage site.


Epilobium Latifolium

Cocinea

Pink Pearls

Pink FaertaisPotentilla

Pendicularis

Cynas thuslobatus

Balsam

Brahmakamal

Blue Poppy

Solidasa


Bhaumin Dhaur. Waterfall formed by melting of snow.

The Bhyndar Valley is indeed a marvel of nature. The plants start fl owering May onwards, once the snow starts melting. This continues till September, when the entire region once

again becomes snow clad.

The trek to the valley starts from Govindghat where one can also hire a pony or for that matter even a palki (a sort of palanquin). The trek of about 10 kms until Bhyndar is rather comfortable. After crossing the Bhyndar river, there is a relatively steep climb over the remaining 3 kms of the trek up to Ghangaria. Chants of ‘Wahe Guru’ emanating from hundreds of Sikh pilgrims on their way to Hemkund Sahib (4300 m), more than pep up the atmosphere. Numerous dhabas (eateries) almost one every 200 m, offer refreshing breaks in between.

Bhyndar village is surrounded by mountains, water falls and a forest cover comprising of birch and conifers on the higher reaches. The bark of Birch trees also called Bhojpatra, has been traditionally used for writing ancient texts. Pink and white roses (Rosa Webiana and Rosa Macrophylla) greet us on this stretch, apart from other fl owering plants such as Impatiens (Balsam), Rosocea purpurea, etc. building up the mood.

As we approach Ghangaria, after a trek of about fi ve hours en-mass fl owering of Aster and Sencio (in the month of August) increases the excitement. Ghangaria incidentally has a helipad also, besides an army camp.

“The weather in the valley changes as fast as the fashion in Mumbai!” This remark by a local chap set our expectations of fi nding a good, sunny day at the valley in the right perspective.

Starting early the next day, we began the trek to the valley by crossing the bridge on Pushpawati river near Pairra, approximately a kilometer from Ghangaria. The route was covered by red and yellow Potentillas, purple and white Asters, yellow Lagularias, etc. Then followed an uphill climb along the north-south direction, beside the right bank of Pushpawati river. The region near the left bank of the river in this part of the valley is called Nagtal, so called due to the presence of innumerable snake lilies (Arisaema Tortuosum). One can cross over to this side by snow-bridges formed during winters and present up to June-July, which are, however, to be tested for their strength. As we proceed along


Hemkund Sahib.Visitors on way to Hemkund Sahib.

the right bank of the river, we are greeted by pinkish purple Geraniums, clusters of pink Pendicularis, groups of white colored Anaphalis, whitish-yellowish Angelica Cylocarpa.

We take a right turn now and start moving towards the north-east direction. We hit a place in the central valley called Baumin Dhaur (3450m), about 4 kms from Ghangharia. New vistas open up at this point with the Rataban peak visible clearly at the head of the valley. This place has some huge boulders. In fact it is from the cave like structure formed by one big boulder, that Baumin Dhaur gets it name (Dhaur meaning cave).

Baumin Dhaur is carpeted in pink by a profuse fl owering of Impatiens Sulcata popularly called Balsam, a dog fl ower like species. The pink carpet consisting of Balsam interspersed with mass fl owering of white colored, pearl like fl owers of Polygonum Polystachum, present one of the most breathtaking views of the valley. In the North and South directions one can see huge mountains surrounding the valley. Numerous streams come from the top of these mountains because of the melting of snow,

forming waterfalls on the way, before they loose their identity in the Pushpawati river.

The next major landmark in the valley is about 2-3 km from Baumin Dhaur called Bistoli-Kundaliyasayn. This region has innumerable species such as the blue Delphiniums, the bell shaped Codonopsis Viridis, big and continuous clusters of small white fl owers called Selenium Tenuifolium, small and exotic pink fl owers coming radially out from about 10 cm long stems called Morino Longifolia, blue spherical fruits found on a shrub spread on the ground called Gaultheria Trichophylla. The sheer variety of fl owers is stunning to say the least.

To reach up to this region from Baumin Dhaur and to go beyond, one has to crisscross many streams without the aid of any bridges. So it’s not uncommon to fi nd your limbs in the middle of a stream, leaving one wet for quite sometime!

About 2-3 km ahead of Bistoli, the river fl attens and diverges, before converging further up. This region is the Drunager-Sevachand area. By the side of the stream, one fi nds profuse

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The trek to the valley starts from Govindghat.

pinkish-purplish fl owering of Epilobium Latifolium. We start our return journey from this point, almost 6-7 km away from Ghangaria.

The return was fast, going down most of the time. We were greeted by a lot of foreign tourists from Germany, Spain, Israel, Holland, etc. Amongst, our countrymen, without doubt the Bengalis dominated the profi le followed by Maharashtrians!

The next day saw us on our way to Hemkund Sahib. It was the second consecutive day, when the sun had not obliged us, but at the same time, the rain gods were also kind enough to spare us! This trek of about 5-6 km involving an ascent to an altitude of about 4300 m from 3000 m, saw us taking the mules for the journey going up, for we decided to preserve our energies for trekking and photographing the fl ora and fauna on the way back.

The trek to Hemkund Sahib led to the sighting of some beautiful fl ower species. There is in fact a time lag between the fl owering at Hemkund Sahib and that at the core of the valley, because of altitudinal differences. Many other species such as Brahmakamal

The valley covers an approximate area of 87.5 sq.km over an altitude varying from 3200m to 6600m, with its main

area of about 10 sq.km running in the east-west direction along the Pushpawati river. The river originates from the Tipra glacier, located at the north-eastern end of the valley. The valley is surrounded by mountains on all sides, notably the

Nar Parbat (5245m) and the Nilgiri Parbat (6479m) on the north, Rataban (6126m) in the North East, Gauri (6590m) in the East and Saptsring (5038m) in the South

and Kunt Khal (4,430m) in the South West – West. The Pushpawati river fl ows down the valley to meet Laxman Ganga at Ghangaria (3000m), base camp from

the valley to form the Bhyndar river. The Bhyndar river then fl ows westwards to merge in Alaknanda, a tributary of the Ganges at Govindghat (1800m), 22 Km

from Joshimath.

(Saussera Oblavata, the state fl ower of Uttarakhand) are found only at high altitudes varying between 3600 and 4500 m. Thus, these were far easier to sight here than in the valley, for one would have to travel very far and high in the valley to locate them. The exotic nature of this fl ower is rather evident in its papery exterior, greenish-yellowish in color, resembling the fl ower of cabbage. It is used as a religious offering in the hill temples.

More than half way up, the sight of the magnifi cent Blue Poppy (Meconopsis Aculeata) with very delicate blue colored four rounded petals, was to seduce us completely. The blue petals encircle the bright yellow pollens in the center. A typical plant about 50 cm high has about 3 to 4 fl owers and the stem has thorn like hairs protecting the fl owers. The blue poppy is also found in the valley in the region around Pairra and Nagtal (usually near rocks and stones).

As we inched closer to Hemkund Sahib, a profusion of fl owers greeted us. The yellow colored Thespesia Lampas; Penduncularis and Cremanthodium Arnicoides, the purple colored Phlomis Bracteosa, the blue-purple, small and beautiful Hackelia Uncinata, the pink colored cylindrical fl owers of Bistora Affi nis were simply a feast for the eyes.

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We now paid our respects at the Gurudwara of Hemkund Sahib, after a holy dip in the Hemkund Lake, which is fed directly by the melting of a glacier nearby. The area is surrounded by beautiful snow-clad peaks including Neelkanth. The peaks are extremely diffi cult to see, in the months of July-August, due to the heavy cloud formations in the region. Interestingly, there is also a Laxman Mandir in this area. It is said that Hanuman (as narrated in the epic Ramayana) had come to this region looking for Sanjivini, the medicinal herb required to revive Laxman, who was injured in the battle against Ravana. Hanuman simply took the whole mountain, not knowing how to identify the desired herb.

The fourth day dawned with the promise of a clear sky. Soon we were rushing at a brisk pace, heading straight towards Baumin Dhaur, to realize the unfi nished dream of admiring a sun kissed valley. The trek today appeared to be quite different. The same route had suddenly come alive with the golden rays waltzing with the mountains, the snow and the clouds.

We soon found ourselves at Baumin Dhaur, with the majestic Rataban smiling at us. But alas, the smile was not perfect. The white clouds had formed above the Rataban (cloud formation at

this height due to the presence of glaciers is very quick), masking the sparkling blue sky. However, this was the closest we came to fulfi lling the dream!

Five days of stay at Ghangaria had culminated in the development of a sort of emotional attachment with the valley. Our return journey from Ghangaria to Govindghat was blessed with a clear sunny sky. The same Bhyndar Village, surrounded by sunlit mountains, a clear blue sky dotted with the occasional sparkling white

Pushpawati river (above) and Rhododendrons (right).

clouds, presented a grand sight in stark contrast to the overcast view, we had on our way to Ghangaria fi ve days back!

A thought was, however, taking root in our minds. The next visit to the valley, we knew would be in the end of June/early July, The Bhyndar Valley.

so that we could possibly catch an entirely different view of the valley. A view, that would be full of red Rhododendrons, the exotic Lady slipper orchids, the variously colored Primulas and the en-mass fl owering of red Potentillas, meadows full of snow-white Anemones. A different riot of colors would lie in store then…◆The author is a travel writer.


Mahatma Gandhi is remembered today for the outstanding

contribution he made not only to the freedom of India, but to the cause of world peace. He taught us the doctrine of nonviolence, not as a passive submission to evil, but as an active and positive instrument for the peaceful solution of international differences. He showed us that the human spirit is more powerful than the mightiest of armaments.

He succeeded in transforming political activity, with his intense faith in Truth and Nonviolence, into mass movements, which he described as Satyagraha.

Satyagraha is founded on the concept of human dignity and endeavour that gradually evolved into a theory of nonviolent social and political action, which he launched on 11 September 1906 in South Africa. The word Satyagraha is Sanskrit in origin. It is a compound word

Mandela, who came to acquire a distinct iconic status of his own. Nelson Mandela was inspired by Rev. Martin Luther’s fi rm belief in Gandhian principles.

Martin Luther King, Jr., the prominent US civil-rights leader of the 1950s and 1960s, was introduced to Gandhi’s teachings while studying to be a minister. The young man was captivated by the philosophy of nonviolent resistance. He saw that Gandhi’s radical techniques had brought

GANDHI’S LEGACY OF GLOBAL NONVIOLENCE

SAVITA SINGH

Mahatma Gandhi taught the world the doctrine of non-violence, as an active and positive instrument for the peaceful solution

of international differences. The declaration of Oct 2nd, as the International Day of Nonviolence by the UN bears testimony

to the vision shaped by Gandhi.

formed of satya and ãgraha. The word satya (truth) is derived from Sanskrit ‘sat’, which means being or to exist eternally and ãgraha means holding fast, adherence. Together, they imply an insistence on Truth come what may.

The journey of Satyagraha, which commenced from South Africa, travelled to the shores of Dandi, to the sprawling fi elds spread across the seven hundred thousand villages of India and then to the distant shores. The term Satyagraha found popular expression during the Indian Independence Movement, and has become a part of the country’s political lexicon.

It was sheer providence which took the Mahatma to South Africa, the great theatre of action. The fi ght against racial prejudices in South Africa initiated by him was taken to its logical conclusion by the South African people under the charismatic leadership of Nelson

about great social changes in India and wondered if those same techniques would work in his own country. King was impressed that Gandhi had learned to free himself from the hatred of his oppressors. He appreciated the Gandhian thought that if you freed yourself from rage, you could accomplish good for all mankind. Gandhi took Jesus’s message of “love your enemy” to a new level.

In the words of Rev. Martin Luther King Jr., leader of the civil rights movements in the United States of America, “the choice is not at all between nonviolence and violence but between nonviolence and annihilation”. King claimed that Gandhi had been the fi rst to grasp the truth that “Darkness cannot drive out darkness, only light can do that. Hate cannot drive out hate: only love can do that…what was new about Mahatma Gandhi’s Satyagraha movement in India was that he mounted a revolution on hope and love, hope and nonviolence.”

Like Gandhi and Martin Luther King, Jr., Nelson Mandela of South Africa became a leader because of extraordinary circumstances. An activist who spent 27 years in prison, Mandela helped free South Africa from apartheid and became the fi rst black president

Albert Einstein

Dr. Martin Luther King Jr. (1929-1968) waves to the crowd of more than 200,000 people gathered on the Mall during the March on Washington after delivering his ‘I Have a Dream’ speech, Washington, DC on 28th August 1963.


of that country in 1994. Perhaps the greatest impact of Gandhi’s teachings on Mandela and the ANC was that of tolerance. Mandela’s party brought together Hindus, Muslims, Christians, and Jews. These diverse people were bound by a common goal – freedom from colonial rule. For his ability to fi nd this “common ground”, as he called it, Mandela was awarded, in 1993, a special honour – the Nobel Peace Prize. In his acceptance speech, Mandela echoed Gandhi’s words. He insisted that he “was merely the representative of millions of people around the world who recognized that an injury to one is an injury to all”. During his visit to India in 1990, soon after his release he had said, “Gandhi holds the key for the future of mankind, follow him with all your determination”.

In another part of the globe in Czechoslovakia a follower of Mahatma Gandhi, Vaclav Havel drew global admiration for his adherence to nonviolence as a means of socio-political transformation. Under Vaclav Havel, the days of politics of complacency were over. When Havel emerged as the man of the moment for his country, his qualities of leadership and vision caught the imagination of millions all over the world. Small wonder then, to a lot of his fellow countrymen and women ‘Havel’ and ‘Czech’ became synonymous.

Vaclav Havel has acknowledged his deep admiration for

Luther King Jr., Nelson Mandela and Vaclav Havel. Such is the extraordinary richness of Mahatma Gandhi’s ideas that they apply equally to societies at the threshold of development as to those, which are looked upon as the developed countries. Gandhi himself believed that his ideas will be considered by people both within and outside India.

Gandhi’s words made a lasting mark, but he wanted his deeds to be remembered most: “My writings should be cremated with my body. What I have done will endure, not what I have said and written.”

Indeed, the legacy of Gandhi’s deeds is still felt in different parts of the world. Mahatma Gandhi’s message of tolerance and compassion continues to have special meaning even after sixty years since his departure from our midst.

Mahatma Gandhi sacrifi ced himself as an individual to the greater causes of freedom and human rights. In death, he became a symbol of the principles he had lived for – truth and nonviolence. He felt both were essential to attaining world peace. Gandhi knew it would take incredible strength for humanity to achieve this goal, but he thought the effort was necessary:“We may never be strong enough to be entirely nonviolent, in thought, word, and deed. But we must keep nonviolence as our goal and make steady progress towards

the Gandhian principle of nonviolence. He fi rmly believed that “the Velvet revolution of Czechoslovakia would have fi zzled out, if it had departed from nonviolent democratic protest”. He admits that “without Gandhi’s example I would have lacked the right kind of inspiration.”

Mahatma Gandhi’s concept of creative nonviolent non-cooperation – Satyagraha – is an original political idea. Violence as a technique has a history of thousands of years. Nonviolence, as a social philosophy of action, is only just learning its fi rst steps. The future lies before all of us. The great experiment and realisations are yet to come.

There is a search for new values both social and religious, which takes us back to Mahatma Gandhi’s own dialogue with Ruskin, Tolstoy and several other thinkers and later day Gandhian’s like Rev. Martin

it… The truth of a few will count. The untruth of millions will vanish even like chaff before a whiff of wind.”

Perhaps, a world without war, poverty, hunger and intolerance is, indeed, possible. A ray of hope is seen on the horizon. In June 2007, the United Nations declared October 2, the birth anniversary of Mahatma Gandhi as the International Day of Nonviolence.

It is a vindication of the belief, that Albert Einstein had in Mahatma Gandhi when he said: “Let us do whatever is within our power so that all the peoples of the world may accept Gandhi’s gospel as their basic policy before it is too late.”

It also reaffi rms our belief that today, Mahatma Gandhi’s philosophy is looked at as a live experience with potential for transformation leading to a global awakening towards nonviolence.

Nelson Mandela Vaclav Havel

His entire life was dedicated to the cause of interpreting the eternal spirit of Satyagraha. It should be our endeavour to refl ect on how a colossal revolution took place in India under the leadership of Mahatma Gandhi without the violence that occurred in other countries of Asia and Africa. It is an attempt to turn the search light on oneself to fi nd an alternative to violence, which threatens to destroy the very fabric of a civilized existence. It is the process of a dialogue with those who dared to walk the path blazed by Mahatma Gandhi.

Above all, it is our humble tribute to that revolutionary social scientist Mahatma Gandhi and his eternal message to humanity “My life is my message”.

A simple, gentle, and fragile-looking man who grew large and powerful in people’s hearts, Mahatma Gandhi understood the risk of peacefully opposing nations that were armed with weapons and over-run with abuse – but he was not afraid. From boyhood to death, he continued to fi nd comfort in his faith and courage in the truth.

When I look for Nonviolence,Truth says ‘Find it out through me’.

When I look for Truth,Nonviolence says ‘Find it out

through me’.

– M.K. Gandhi◆The author is Director, Gandhi Smriti and Darshan Samiti, New Delhi.

The legacy of Mahatma Gandhi and his doctrine of non-violence

resonate deeply at the United Nations. Non-violence is central

to protecting human rights, achieving disarmament and non-

proliferation, and helping secure peace in conflict-torn countries.

The United Nations will continue to advocate non-violence and

to promote a culture of peace. Ultimately, non-violence must

prevail at every level, from individuals to governments,

for peace to be lasting and true.

BAN Ki-moonSecretary-General of the United Nations

Non-violence is the path to enduring peace.

S. M. KrishnaExternal Affairs Minister of India


UN RELEASES STAMP ON MAHATMA GANDHI

The UN General Assembly in June 2007 adopted resolution 61/271, moved by India and supported

by the 192 member body, whereby it declared October 2 – the birth anniversary of Mahatma

Gandhi – as the “International Day of Non-Violence”. The resolution invites all member states,

UN organizations, regional and non-governmental organizations as well as individuals to commemorate

the day and to disseminate the message of non-violence, including through education and

public awareness.

Marking the International Day of Non-Violence, H.E. Dr. Ali Abdussalam Treki, the President of

the UN General Assembly and H.E. Dr. Asha-Rose Migiro, the UN Deputy Secretary General, unveiled a commemorative stamp and a souvenir card on October 2, 2009 at a function at the Penthouse of

the Dag Hammarskjold Library in the United Nations Headquarters, New York. The one dollar stamp

designed by the world famous artist Ferdie Pacheco of the United States and issued by the United Nations Postal Administration depicts an artistic rendition of

Mahatma Gandhi.

The souvenir card depicts a block of the new stamp and carries messages from the Minister of External Affairs of India, Hon’ble Mr. S.M. Krishna and the

UN Secretary General, H.E. Mr. Ban Ki-Moon.

Unveiling of the commemorative stamp and souvenir card issued by the UN Postal Administration at the United Nations on October 2, 2009. Also seen in the picture from left to right are

Ms. Susan Rice, Permanent Representative of United States, Dr. Ali A. Treki, President of the UN General Assembly, Ms. Asha Rose Migiro, Deputy Secretary-General

of the UN and Ambassador H.S. Puri, Permanent Representative of India.


The Art of the Sunga period, from 185 to 73 BC, lays the foundation of the rich traditions of the art to follow in later centuries. The harmony and interrelatedness of the whole

of creation become the underlying theme. There is always the continuous, undulating vine of life, which brings before us the bounty of the numerous forms of the world around us. These forms are presented with fulsome appreciation of their beauty and their bounteous fertility, which ensures the continuation of life.

These forms of the world are made of the railings and gateways, which separate the ordinary, day-to-day world from the sacred interior. Their representations help us to appreciate all forms of life in their true perspective, as a refl ection of the formless eternal truth towards which we must proceed. Beyond the railings and gateways is a profoundly simple representation: a stupa, to point out the Truth towards which we must strive, leaving behind the attractions and attachments to the world.

SanchiA WONDER OF BUDDHIST ART

Text and Photographs: BENOY K BEHL

The Art of the Sunga period, from 185 to 73 BC, lays the foundation of the rich traditions of the art to follow in later centuries. The earliest Buddhist art, with themes

of the Buddha’s life and Jataka stories, was made under the rule of Sunga kings who all worshipped

Brahmanical deities. These rulers generously endowed the revenue of many villages for the running and

maintenance of Buddhist places of worship.

North Gateway, inner view.Detail, Vessantra Jataka, North Gateway, inner face. Prince Vessantra is a previous birth of the Buddha.

In this Jataka, he exemplifi es the quality of generosity. He gifts everything that he has and is left with nothing.


Queen Maya’s Dream, East Gateway. An excellent example of the narrative scenes is the one depicting the dream of Queen Maya. According to Buddhist lore, the Buddha came to Queen Maya as a white elephant in her dream and entered her womb.

Another tradition which is clearly seen established in this time is that of the king’s patronage (always indirect in the early period) of all sacred monuments. The earliest Buddhist art, with themes of the Buddha’s life and Jataka stories, was made under the rule of Sunga kings, who all worshiped Brahmanical deities. These rulers generously endowed the revenue of many villages for the running and maintenance of Buddhist places of worship.

The city of Vidisha, present day Besnagar in Madhya Pradesh, was on the trade route which connected the plains of the Ganga to the Western Coast. It was also a great market place, at the centre of the vast and fertile plains of Central India. Among the earliest objects to be found here is a large stone pillar with an inscription on it, dated to about 120 to 100 BC. It was set up by a Greek devotee named Heliodorus, in honour of Vasudeva, a name of Lord Vishnu.

At Sanchi, on a low hill next to Vidisha, are the fi nest surviving early Buddhist stupas. Halfway up the hill, is a stupa which contains the remains of prominent Buddhist teachers of


the Maurya period. The railings or vedika made around the stupa date to around 100 BC.

The vedika has medallions and half-medallions with reliefs. Corner pillars at the entrances are fully carved. The deity of prosperity and abundance Lakshmi is here lustrated by elephants, who pour water over her. The relief is shallow and the style is similar to that of Bharhut.

The greatest surviving Buddhist stupa of the BC period is on top of the hill at Sanchi. It is likely that it would have enshrined the relics of the Buddha. The stupa was originally made in the 3rd century BC. There is an Ashokan pillar at the southern entrance of the stupa. In the middle of the 2nd century BC, it was doubled in size and its older wooden railings were replaced with massive stone ones.

By the end of the 1st century BC, the Satavahanas, kings of the Deccan region, extended their rule to central India. They worshipped Hindu deities. However, major stone renovations here in their time, made this stupa one of the most signifi cant of all Buddhist monuments. Four

Facing page: Lakshmi, Deity of Abundance and prosperity, lustrated by elephants, East Gateway. Also interpreted as Queen Maya, mother of Prince Siddhartha. From the earliest Sanchi stupa and

the Bharhut stupa onwards, one of the earliest deities we see in Indic art is Lakshmi, who represents the abundance and riches of nature.

Above: Composite Creature, Stupa II. The depiction displays the oneness of all life forms. It is such a delightful and joyous creature, with the qualities of an elephant, cow, deer and even a horse. All

of creation is seen in a vision full of warmth.


gloriously carved stone gates or toranas, 34 feet high, were made. They were completed in the 1st century AD. The traditions of art established in the time of the Sungas achieve greater sophistication in these magnifi cent toranas.

631 inscriptions on the toranas tell us that the carvings were the donations of the people of Vidisha. The art was created for gardeners, merchants, bankers, fi shermen, housewives, householders, nuns and monks. Almost half the donations were from women.

The massive vedika or railings are plain and without carvings.

The toranas have two upright pillars, which support three horizontal bars or architraves. Between the pillars and the architraves, on the east and on the north, are superbly made elephants. The West gateway has dwarfs. The one on the south has lions.

The dwarfs or ganas are made with rolls of fat and vast bellies which bulge over their dhotis. They have individualized facial expressions. Ganas continue as a favourite motif of the Indian artist, in the centuries to come. They deepen the sense of the reality presented in the art, where the humourous and the

sublime coexist, reminding us that everything has its place in existence. In later times, ganas continue as a most important theme in the temples of Shiva

The veneration of nature’s fertility and abundance, as seen at Bharhut, continues here. Twenty-four auspicious women are made as bracket fi gures on the gateways. On the east torana is a beautifully made Yakshi who holds the branch of a mango tree above her. The notion of the creative vitality of nature and its fruitfulness is convincingly portrayed here. Though she is physically attached to the matrix, she is

treated as though fully in the round. All the details have been carefully articulated on the rear too.

As at Bharhut, we pass male fi gures at the entrances. One fi gure is in Indic garb, a dhoti and turban. Another wears Greek garments and carries a foreign-type of shield and spear.

The reliefs on the toranas bring us the Jatakas of the Buddha’s previous lives, as well as events from the life of Gautam Buddha. The setting of the stories richly refl ects the lives of the towns and villages at the time when the art was created. The Sanchi reliefs are the most important

Detail, the Unending Vine of the Natural Life Force, South Gateway. The art of Bharhut and Sanchi brings us the undulating vine, which carries the numberless forms of the natural world.

Detail, Monkey Brings Honey for Lord Buddha, Pillar, North Gateway. When Siddhartha decided to give up his extreme asceticism, a monkey brought honey for him to eat. Siddhartha had realised that depriving his body of nourishment in rigorous self-denial only weakened his body and his mind. He needed the full and positive health of his mind to concentrate and meditate best.


visual record of the architecture and lifestyles of the period.

The focus is still not on the personality of the Buddha. ‘Buddhahood’ is still represented by symbols. The wheel represents the fi rst teaching of the Buddhist Dharma; the Bodhi tree represents Enlightenment; while footprints and an umbrella over a vacant space proclaim the presence of the Enlightened One.

The toranas of the stupa at Sanchi present a view of the overfl owing activity of life. Whereas the fi gures at Bharhut were single ones, those here are in large groups of many fi gures. They are in a variety of poses and in the midst of exuberant life. They are no longer

the Buddha’s close disciples Modgalyana and Sariputra. The one torana here was also made under the supervision of the Satavahanas in the 1st century AD. As in the earlier stupas, here is a vision of the world which sees the unending rhythm in all of creation. The vine of creative blossoming moves with a pulsating life through the vedika. It brings to us life in many forms: fl owers, fruit, animals, humans and mythical creatures.

The stupa at Sanchi has an inscription on the Eastern gateway which mentions that the exquisite carvings on the gateways are the work of ivory carvers of Vidisha. Indeed, the stone is so fi nely carved here that it refl ects the care and detail of work on delicate ivory.

In the meantime, the Satavahanas and the Kstrapas ruled over the vast Western and Eastern Deccan regions. While the kings personally worshipped Brahmanical deities, they encouraged Buddhist establishments. Scores of caves dedicated to the Buddha and numerous impressive stupas were made in their rule. (First published in Frontline.)◆The author is a renowned art-historian, fi lm-maker, and photographer.

The Sanchi artists utilized multiple perspectives and view-points. This allowed them to present that view through which the object or person was most easily recognized. Events that occurred and fi gures that are in the distance are represented in the upper part of the panel, while those fi gures which are closest to the viewer, are shown in the lower section. The technique of receding perspective is not employed here. As all elements are considered important they are presented large and in clear detail. Another feature of Indian art seen from earliest times is that the leaves of a plant or tree are made large, so that it could be recognized.

Another smaller stupa at Sanchi contained the relics of

depicted only frontally; instead three-quarter profi les are also seen. The Sanchi artist depicts a wide range of expressions effortlessly.

Top: Detail, Graceful Devas, Enlightenment Scene, West Gateway, inner face. This scene is one of the fi nest sculpted at Sanchi, with gentle and graceful expressions on the faces of the fi gures. These devas are gathered on the occasion of the Enlightenment, to pay homage to the Buddha.

Above: Lord Indra with Vajra, Pillar of East Gateway. One of the earliest deities seen in Buddhist art is Lord Indra. The vajra or thunderbolt which he holds in his hand later became the symbol of the Vajrayana school of Buddhism.

Worship of Stupa, Pillar, North Gateway. As images of individual personalities were not shown in Indic art at this early stage, symbols such as this stupa indicate the Buddha in the art of Sanchi.


Blazing with colour the stained glass art of this 19th century Cathedral evokes

reverent fervour.

Text & Photographs: RAMCHANDER PENTUKER

Medak CathedralA VIVID EXPRESSION OF GOTHIC ARCHITECTURE


About 80 miles from Hyderabad, perched on the dry Deccan Plateau, a monument with a difference raises its spires into the bright blue sky. Scattered around are ruins of temples,

Buddhist mounds, mosques and typical Telangana hamlets with their red tiled roofs. At a distance on a high hill stands a lost fort forgotten by history. That is what you see of this place from the window of your car as you drive into the heart of this town – that is Medak.

Medak is the headquarters of the district of the same name. It is a small town today, but its history and archaeology reveal that it was a fl ourishing metropolis of Buddhist culture in ancient times. I came here scanning the horizon for the sight of the great church that the people of Medak hewed out of rock, a good century ago.

The slow appearance of the church spire, then the emerging mass of immense stone masonry as I neared it, was a welcome sight. For a while I was lost in a Gothic dream. Popularly known

as “Medak-Church”, it is the signature landmark of Medak and is renowned for its vivid expressions of Gothic architecture and huge pointed windows of stained glass bearing the scenes from the life and genealogy of Christ, including the “Nativity” and the “Ascension” of Jesus Christ to Heaven. The church stands fi rm like a solid rock, awe-inspiringly tall amid a sprawling compound. It claims to be one of the largest in the country. More than 3000 souls

Angels announce the birth of Jesus.

Clockwise from top left: Birth of Jesus; crucifi xion; at the feet of the Lord, the holy mother gazing on the crucifi xion; stained glass art inside church and luminous

painting on the stained glass western window.


come to pray here as one when the house witnesses a great Mass for pilgrims during its annual celebrations.

As I entered the church, I was greeted by a distinctly cool whiff of air. Even as my eyes started adjusting to the dark interiors in contrast to the bright sun outside, I was struck by the sheer extensiveness of the Cathedral. As I walked in, the muted notes of an organ fl oated gently through the air and died out slowly and sonorously. Suddenly, I was surrounded by brilliant shafts of coloured beams of light streaming in through the huge stained glass windows set in the

birth of Jesus appears on the west window, while the east side window features the scene of his crucifi xion. As the day waxes, they are illuminated in turn. The luminous quality of stained glass is so jewel-like that the camera cannot fully capture the effect.

Designed by the British architects Bradshaw & Co., the church was built during

high walls on either side. The next moment I was standing right in front of the stained glass mural of the “Ascension of Jesus Christ”. Blazing with colour this 19th century stained glass art, one of the most beautiful creations by the hand of man, evoked the reverent fervour of the Middle Ages. Looming large above the altar, dwarfi ng both the priest and the multitude, Christ ascends to heaven.

For each façade of stained glass art inside, the artist carried out a different Biblical theme. The

World War-I, between 1914 to 1924, and it took a full decade to complete. It stands as a monument to the years of strife and turbulence the world witnessed during that period. Legend has it that during the same period, Medak was stricken by famine. The village folk approached Rev. Charles Walker Posnett, a British missionary then posted at Medak. He helped the needy and asked for their labours to raise a church there. The people of Medak did their devoted best and built the church. The stained glass windows came from London, crafted by an English artist, Sir Frank O Salisbury. The rich adornment in stone and glass which blends harmoniously with each other, makes it a most captivating sight.

In those days, few people in the town were literate and colour pictures were scarce. The translucent quality of paintings suspended in space served as a picture book on the life of Jesus. Even now in the age of television and digital imaging, these stained glass windows are nevertheless beautiful and riveting. The stained glass art of the Medak Church is in a class by itself.◆The author is a travel writer and noted lensman.

The church stands fi rm like a solid rock amid a sprawling compound (left) and inside a prayer mass is in progress (below).

Ceremonial tonsure, thanksgiving to the Lord (right); children preparing for a stage show at the church on the eve of its annual festival (below) and merchants at the church’s annual fair (bottom).


As pointed out by G. Madhavan Nair, the then Chairman of the Indian Space Research Organisation (ISRO), the message of Chandrayaan-1, which was hoisted into space in October

2008, is vocal and clear: as far as space is concerned, India is a developed country. Describing the detection of water on the moon as a historic event of great signifi cance for the future of the deep space exploration programme, Nair observed “So far no mission has confi rmed the presence of water on the moon positively”.

It was the Moon Mineralogy Mapper (M3), one of the fi ve international payloads onboard the Rs.3860-million Indian moon mission which revealed that far from being dry, the moon harbours water in the form of molecules. In a way, this path-breaking discovery, arguably the most exciting in space exploration, stands

India has now a new brand ambassador. Chandrayaan-1, India’s maiden lunar probe, has made an epochal research breakthrough by fi nding the strongest ever evidence of the

presence of water on the moon. Chandrayaan-1, has in the eyes of the world, become a vibrant symbol of India’s surging

technological prowess and scientifi c acumen .

out as a splendid example of collaboration between the scientists from ISRO and NASA (National Aeronautics and Space Administration) of USA. The wealth of data made available by M3, built by Brown University and Jet Propulsion Laboratory (JPL) for NASA, has shown that the chemistry of the moon is totally different from what was envisioned earlier. “Widespread water has been detected on the surface of the moon. You have to think outside of box on this. This was expected a decade ago,” said Carle Pieters, the M3 principal investigator and a Planetary Geologist at Brown University. In the same vein, Jim Green, Director of Planetary Science Division of NASA headquarters in Washington DC observes, “water ice on the moon has been something of a holy grail for lunar scientists for a

Fully integrated Chandrayaan-1 spacecraft (left) and loading it to Thermovac Chamber (right).

Looking Beyond The MoonRADHAKRISHNA RAO

Moon Impact Probe integration with Chandrayaan-1 spacecraft.

very long time. This surprising fi nding has come about through the ingenuity, perseverance and international cooperation between ISRO and NASA.”

Clearly, this exciting discovery has gone to show that Chandrayaan-1 – originally designed for a life span of two years – despite having its mission terminated prematurely, has been a huge success since it has met all the objectives set for it. Nair drove home the point that the Indian moon orbiter has realized more than 95% of the scientifi c goals set for it. “Finding presence of water or ice on the moon was one of the major scientifi c objectives of Chandrayaan-1,” noted M. Annadurai, the Project Director of Chandrayaan-1.Scientifi c objectives apart, Chandrayaan-1 was also aimed at upgrading India’s technological capability

and providing challenging opportunities for bright, young scientists in the area of planetary research. “From the launch pad and reaching its precise orbit around the moon and landing the MIP (Moon Impact Probe) on the lunar surface and gathering data, we have crossed all the milestones,” says Nair.

According to ISRO, the M3 payload has detected signs of water and hydroxyl on the surface soil and rocks at widely diverse zones of the sunlit regions of the moon. This has dispelled the long held view that the moon is bone dry and water on the moon is found only in craters in the shadowed polar regions. As pointed out by Nair, the presence of water on the moon could pave way for a host of activities including the setting up of observatories, human bases, launching deep space inter-planetary missions by using the moon as the base and also extracting fuel for rockets. Of course, mining of the lunar resources including Helium-3, a green and rich energy source, could be another benefi cial fall out of the discovery of water on the moon.

In yet another landmark fi nding, the SARA (Sub Kev Atom Refl ecting Analyser) payload onboard Chandrayaan-1 has found that water on the moon is generated internally. SARA payload was contributed by


the European Space Agency (ESA) by way of collaboration between Swedish Institute of Space Physics and Space Physics Laboratory of the Thiruvananthapuram based Vikram Sarabhai Space Centre (VSSC), the largest space establishment under ISRO. The SARA data has revealed that the moon acts like a big sponge by constantly absorbing electrically charged particles spewed by the sun. Hydrogen molecules in these particles interact with the oxygen present in dust particles found on the lunar surface to produce water.

Perhaps the crowning glory of the Indian lunar probe has been the discovery of water by the Indian built 29-kg MIP payload while crashing on the lunar surface on Nov. 14, 2008 coinciding with the birthday of the fi rst Indian Prime Minister Jawaharlal Nehru, who had

envisioned the need for India to stay ahead in science and technology. “The MIP while falling on the moon picked up strong signals of water particles. It was varying from the moon’s equator to the poles. These variations from equator to poles coincided with the fi ndings from M3” states Nair. Incidentally, MIP was meant to provide ISRO an insight into the technology of robotic space landing systems.

One big achievement of MIP was the planting of the Indian national fl ag on the lunar surface. For this payload which was included in the Chandrayaan-1 mission, at the behest of the former Indian President and well known space scientist Dr. A.P.J. Abdul Kalam, featured the painting of the Indian tricolour on all its sides. And with this signal achievement India became the

fourth country in the world to put a robotic probe on the moon and plant its national fl ag. Moments after the fl awless MIP crash-landing on the surface of the moon, a joyous Nair said, “We had promised the country that we will deliver the moon and we have done it.”

Profi ling the achievement of Chandrayaan-1 during 312 days of its mission life, ISRO says that it has completed around 3,400 orbits and made available more than 70,000 high quality images, some of which provide a breathtaking view of the lunar mountains and craters in the permanently shadowed regions of the moon. Incidentally, this challenging and complex mission to the moon, was taken up by ISRO with a view to strengthen India’s position as a forward looking space power keen on exploring the deeper reaches of outer space with a greater vigour in the years ahead. The fl awless launch of Chandrayaan-1 on October 22, 2008 by means of the four stage reliable Indian space workhorse PSLV (Polar Satellite Launch Vehicle) and its subsequent insertion into the lunar orbit has catapulted India into the elite group of countries – USA, Russia, China, Japan and ESA – which have launched probes to earth’s nearest celestial neighbour. Indeed, for a developing nation that began its space journey in a modest way back in 1963 with the test fi ring of a 9-kg. sounding

rocket from the fi shing hamlet of Thumba on the outskirts of Thiruvananthapuram, Chandrayaan-1 marks a giant leap ahead. Moreover, Chandrayaan-1 is known to have cost only a fraction of the investment on similar probes launched by other space faring nations including China and Japan. “With a miniscule budget, we have mastered cutting edge space technology” quipped Nair.

The discovery of water on the moon by Chandrayaan-I has opened up the exciting possibility of reorienting the mission goals of the follow on lunar probe Chandrayaan-II slated for launch during 2012-2013 by means of the three stage Geosynchronous Satellite Launch Vehicle (GSLV). In this context Dr. Kalam has suggested ISRO go deeper into the lunar crust for water by employing

PSLV-C11 Lift off.Chandrayaan-1 spacecraft undergoing pre-launch tests.

the robotic penetrator. “This discovery of water is all the more important because this comes after fi ve decades of space research efforts by many nations. I suggest ISRO and NASA work on Chandrayaan-II to help explore the depths at which water is available by drilling holes on the lunar surface, using a moon surface robotic penetrator.”

Chandrayaan-II will be a Indo-Russian project. While ISRO will be responsible for the main orbiter, Russia will develop the main robotic rover with a landing system. Along with the originally planned 50-kg Russian rover, Chandayaan-II will now be reconfi gured to include a 15-kg Indian built rover. Both these rovers which will make a soft landing on a lunar site to be identifi ed using data from Chandrayaan-I will collect soil and rock samples and subject them to chemical analysis to look for further evidence for water and Helium-3. “We are making a mid course correction for Chandrayaan-II. We will mine the moon’s surface much deeper to fi nd more water,” remarks Nair.

Beyond Chandrayaan-II, ISRO is looking at the possibility of going in for a sample return mission to the moon. For this mission, ISRO would need a heavy lift off rocket. The semi cryogenic rocket propulsion system being developed by ISRO could help meet the thrust


The phenomenal success of Chandrayaan-1 mission is now spurring ISRO to work on realizing India’s fi rst manned fl ight slated for a take off in 2015. As envisaged now, it is planned to develop and launch a fully autonomous orbital vehicle carrying two to three crew members to 400-km low earth orbit and its safe return to earth. A man rated version of GSLV-MKII is expected to be the preferred vehicle for launching India’s manned space capsule. ISRO would need to develop several new and innovative technologies to ensure foolproof life support system, safety, reliability and an emergency crew escape system for the manned fl ight. In order to sharpen the technological edge for the fi rst ever Indian human mission to space, ISRO is planning to launch its second space capsule

recovery experiment during 2010-11.

As part of the manned fl ight, ISRO in association with the Institute of Aviation Medicine (IAM) will be setting up a state of the art astronaut training facility in Bangalore. Further, a third launch pad to support the manned fl ight will be set up at Satish Dhawan Space Centre (SDSC), the “Indian cosmodrome” in Sriharikota island on India’s eastern coast. While the space suite for the mission will be developed by Vikram Sarabhai Space Centre (VSSC), the special menu for the Indian astronauts will be developed by the Mysore based Defence Food Research Laboratory (DFRL). Under the Indo-Russian space cooperation agreement, Russia is expected to assist ISRO in astronaut training as well as building the

Indian built 29-kg Moon Impact Probe (MIP).

manned capsule. The Russian offer to fl y an Indian astronaut to International Space Station (ISS) sometime in the fi rst half of the next decade could help India fi ne tune its manned fl ight mission. ISRO on its part views the manned mission as a national endeavour involving as it does several scientifi c and academic institutions, research organisations as well as industrial enterprises in the country.

To stay ahead in the race for the fi nal frontiers, ISRO has lined up several deep space missions for launch during the course of the next decade. Among them are an orbiter probe to Mars and a mission to the asteroid belt. Similarly, a mission to Venus is also not ruled out.

Though ISRO’s gaze is fi rmly fi xed on far off planetary bodies, its feet are fi rmly rooted on the ground. For right since its inception, the thrust of the Indian space programme has been on exploiting the fruits of space technology to spur the pace of national development. “The continuing expansion of space applications programme such as village resources centres, telemedicine, tele-education, disaster management support and outreach through direct to home television, reiterates the increasing role played by Indian space systems in providing direct benefi ts to society” observes Nair. ◆The author is a freelance writer.

required for the sample return mission. ISRO has also hinted at the possibility of mining the lunar resources. “If we fi nd minerals on the moon, the next logical step would be to collect them and get them back to earth” says Nair. Though right at the moment, a human

landing mission to the moon is not on the radar of ISRO, it is speculated that circumstances including the dynamics of global space exploration would ultimately nudge India to take up a project to send a human landing mission to the moon by 2020.


Indian craftsmen are world famous for their magnifi cent workmanship. They have produced the most beautiful textiles, further decorated with embroidery enhancing its beauty. History explains the infl uence of

travellers, artisans, artists, art of neighbouring countries and states on Indian embroidery which is a manifestation of the artistic creativity of the people.

This is particularly true in case of the northernmost state of India, Kashmir, known for its beauty. The area, with its enchanting natural beauty and inexhaustible fl ora and fauna, serene lakes, gardens of perpetual

spring and an abundance of rainbow colours has inspired innumerable writers, poets, artists and craftsmen. It was but natural for the weavers to be infl uenced by the pristine beauty of this state. The best known embroidery is Kashida of Kashmir. Kashida shawls are world famous for their beauty, colours, motifs, artistic appearance and texture.

The shawl industry fl ourished under Sultan-ul-Abedin during the 15th century. He identifi ed, selected and brought the most talented craftsmen and weavers from Persia to revive the extinct art, bringing a new phase in the craftsmanship by

introducing and moulding the whole composition, structure and style of stitches with

various colour combinations. This change led to a close resemblance between Persian and Kashmiri embroidery especially in the motifs. The Persian fl oral designs were artistically transformed to almost naturalistic fl owers of Mughal art. Thus, many Indo-Persian fl ower designs are seen in Kashida. The demand for Kashmiri Shawls increased in the Mughal period and a reference is made in Ain-i-Akbari. The 18th century saw the shawls being draped by high society European ladies.

Kashida as a cottage industry involves almost all the family members. This art has become

Kashida

Text: UPENDRA SOODPhotographs: BIMLA VERMA

Embroidery is an essential and enriching part of the craft tradition of India. The international appeal of Indian embroidery has been

growing in recent years.

The beauty of this Pashmina shawl lies in its almond motif on the palluav. A craftsman at work (top) and a fi ne specimen of a Pashmina shawl with a Mughal style fl owery motif (below).

KASHMIR’S SYMPHONY OF THREADS


hereditary with the father passing on the skill to his sons. The boys in the family at a very young age start learning the art of Kashida with a very simple stem stitch on inexpensive shawls and continue to enhance their skills by repeating the motifs on small samples, beginning by fi rst outlining them. By the age of sixteen they attain skill, delicacy and profi ciency in the craft. After at least 20 years of continuous practice they commence with fi ne work on the expensive Pashmina and Shahtoosh shawls.

The dealer provides the cloth and design. However, the craftsmen enjoy the liberty of choosing the threads and colour combinations. Before commencing the embroidery work, the selected design is traced on the fabric by professional tracers called Naquashband. The design is outlined with Kalam, the pen. Though motifs are picked up from nature, new designs have continuously been added depending upon fashion and the consumer’s demand. A large variety of fl owers of fabulous colours and varied shapes and sizes namely lily, lotus, tulip, saffron, iris, bunches of grapes, as well as birds like the kingfi sher, parrot, woodpecker, magpie, canary all appear in Kashida.

lustrous silk threads replaced them. Rayon and cotton threads with fast colours are also used abundantly.

This incomparable embroidery style adds to the beauty not only of Kashmiri shawls, but also silk sarees, dress materials, cushion covers, bed covers, purses, veils and articles of daily use. It has retained its rich traditional heritage while adapting to the customer’s demands and contemporary trends.◆The author is a freelance writer and TV Programme Producer.

Editor’s note: Shahtoosh shawl is woven from the wool derived from the Tibetan antelope, also called the Chiru. To protect this animal from extinction, weaving, sale and purchase of Shahtoosh shawls have now been banned.

The Chinar leaf is the motif most abundantly used. The delicate stems meandering all over, slender Lancelot leaves fi lling the interspaces attempt to surpass even Nature’s own profusion. Animal and human fi gures are not common but some old pieces depicting hunting scenes popularly known as Shikargah can be seen in the museums in Srinagar.

Later, the cone shaped mango motif, the Kalka (paisley) or Badami Buta (the decorative pattern looks like an almond or bud) emerged in Kashmir embroidery. The motif originating from Persian art exhibits the infl uence of Indo-Persian art, during the 17th and 18th century. The ground fabric on which embroidery is done is composed of various types of wool like Pashmina, varieties of silk cotton, chinon and linen.

Usually the embroidery is on the undyed material with white or cream background. However, according to the demand of consumers fabrics are dyed in different colours. The embroidery thread employed earlier was fi ne quality woolen yam. Gradually, rich and

An aesthetically embroidered Pashmina shawl in vibrant colours.

An woollen shawl in papier-mâché stitch with fl oral design (left above); embroidered pashmina shawls in different colours and styles (above) and an exquisitely embroidered jacket with traditional fl owery motifs (left).


From the dawn of civilization man has had an intense relationship

with nature. Wood is a basic natural product which man has used for various purposes over the millennia. He has used it to light fi re, to build shelter, to make utensils and weapons and even to carve images of deities and fi gures of dolls and toys. India has a rich tradition of woodcraft. The intricate designs of inlay-work, simple wood carving and painting are popular with both art-lovers and connoisseurs.

Photo Feature

ART IN TIMBER

The Dolls of Bengal / Orissa

Text & Photographs: DILIP BANERJEE


Sambalpur district in Orissa and Burdwan district of West Bengal have a particularly strong tradition of woodcarving. Generations of craftsmen have been engaged in this profession for centuries. Generally, ‘Gambri’ wood is used for carving because of its smooth surface. At fi rst, the craftsman draws the outline of the image in pencil on the surface of the wood. Later, he carves out the image with the help of a chisel. Usually, the craft piece is painted with artifi cial colours but sometimes the original colour of wood is retained to maintain the natural look. Sometimes powdered colour is used for painting. The craftsman brightens the images with his paintbrush and the colour is dried under the sun. It is then burnished to ensure shine and durability.

Figures of deities like Durga and Lord Jagannath are immensely popular among devotees. But nowadays there is a special demand for images of owls in different shapes and sizes. Brightly coloured owls or fi nely designed wooden dolls are no doubt a special attraction in a well-furnished drawing room. ◆The author is a noted lensman and writer.

Wg Cdr Tripathi maneuvering his parachute through strong winds for fi nal approach into the landing area. Mt Everest (8848M) is seen at the backdrop behind the parachute.

Photo by Leo Dickinson, famous British adventure action fi lm maker and a photographer.

WORLD RECORD SKYDIVE JUMPThe Height of Adventure

RAMESH TRIPATHI

From time immemorial, man has dreamt of conquering the elements. Wind, rain, gravity, sky, sunlight dominate

man’s life. In pursuit of his dream to overpower the elements, he has performed daring feats.


Raffell, Leo Dikinson and Tripathi from left to right.

Ramesh Tripathi

The art of skydiving belongs to the intrepid spirit of mankind. Skydiving

is actually a human activity beyond the terrestrial edge of routine human existence. It is a step into the blue away from the relative safety of an airborne platform. This step is a challenge to gravity. It is also a challenge to the birds and their monopoly over the skies. However short it may be, it is also a divine existence high above the Earth where Man is the master of his own destiny.

Being a Para Jump Instructor for close to two decades now, I got the chance to undertake parachute jumps on various training and operational occasions both by day and night from different altitudes. Having made a parachute jump earlier during the airborne training of the Special Forces from height (29,500 ft above ground level, AGL), slightly higher than that of the Everest, using the fi xed wing aircraft, I wished if I could actually climb to that height as well someday. It was this inspiration that motivated me and I formally got into mountaineering in 1992. Thereafter there was no looking back and I found myself invariably on top of some of the moderate peaks in the Garhwal and Himachal region. Like any other mountaineer, I also dreamt of getting a glimpse of Mt. Everest and my obsession was rewarded when I fi nally got to be a part of the fi rst ever IAF

close to Everest and see the massif which otherwise cannot be seen even by the Everest climber. There was this spark at that moment which fi lled me with inspiration for making a high altitude parachute jump over the mountains. I did not imagine that I would someday get an opportunity to jump over the Everest region.

I consider myself lucky to possess the dual qualifi cation of being a mountaineer and a skydiver, a perfect combination to fulfi ll my passion and experience the unique adventure of a ‘Skydive over Mt. Everest’. My interest in the project developed last year when I heard of the British team already working on this new feat. It was through the internet that I got in touch with the chief coordinator in Britain. With my background and experience, I was straightaway given a slot for the jump which was to take place in September 2008. I shared my professional experience and even guided them on a few aspects. However, due to reasons beyond my control I could not join the maiden jump which was undertaken from an altitude of 12,600 ft at Syangboche airfi eld en route to Everest base camp. A total of 41 skydivers made solo and tandem jumps from a Pelatus aircraft which was brought from Switzerland only for this purpose. The price quoted per jump on the website was UK Pounds 20,000!

I was given an offer once again by Leo Dickinson and Ralph Mitchell. Both the contenders were already in the mountains, acclimatizing and preparing for the jump. This left me with very little reaction time to prepare myself. Soon, I got the offi cial permission for the jump from the Nepal Tourism Ministry. I began preparations on a war footing and there was a lot to be done – ticketing, seeking permission from my Headquarters, arranging clothing and gear etc. It was 18 Sep. 09 (Friday) and the

countdown for the Everest jump had begun...

I booked my airlines ticket for 20 Sep. 09 and was due to leave Delhi at 1030 hrs. I got a phone call from the handling agency at 5 O’clock in the evening that the airlines had cancelled their fl ights for the next three days. I was shocked! Highly anxious, I requested for the next available fl ight. I had to pay double the fare but was assured that I would reach Kathmandu by 0930 hrs. While I was checking the confi rmation (Indian Air Force) expedition to

Mt Everest in 2005.

At 0515 hrs of 30 May 2005, when I stepped over the top of the world from the North side, not only was I fi lled with joy but the immediate thought haunting me at that moment was to retreat as quickly as possible without wasting any time. With the exhaustion and inhospitable conditions at that altitude, my mind was working for shortcut options to return back to camp. At that moment another brilliant idea struck my mind and I sincerely wished I had a parachute to fl y down to reach the base camp. After spending barely 10 minutes all alone with my Sherpa Ang Sona on the top enjoying the sparkling panoramic view of the entire Tibet plateau, I quickly started my descent. All the while struggling on the narrow track of the north east ridge, I was thinking as to how exhilarating it would be to fl y

of the ticket, I received an e-mail from Kathmandu sent by Himalaya Expeditions, who were coordinating the jump, saying – ‘Wg. Cdr. Tripathi if you reach by 0900 hrs on 20 Sep. you are in, else you miss the jump’! Helicopter takeoff was scheduled from Kathmandu at 1000 hrs. So the problems had began! I again asked for a change in my booking but now the fare was almost three times!

After a short hospitality session at the Maharaja Lounge of the Indira Gandhi International


challenge, to fi ght against all odds – high altitude and the brutal elements of nature. High wind conditions, sub zero temperatures, strong wind conditions, lack of oxygen, low pressure, chances of drifting away and landing into crevices and glaciers, restricted area for landing etc are real diffi cult conditions for undertaking such ventures in that region.

There were low sheet clouds over Lukla and hats off to the pilot who fl ew adventurously through the vertical clouds, barely managing a safe landing. Lukla is at 9000 ft. plus and offers high altitude sickness as

a welcome toast to the visitors. I moved to the lodge, sipped a cup of hot tea and slept for two hours for faster acclimatization. All my moves were deliberately slow to avoid exertion and facilitate acclimatization. I had to be extra careful since the height gain was rapid enough to trap me into acute mountain sickness (AMS). I spent about 30 minutes doing Yoga (breathing exercises). I prepared my parachute, oxygen equipment and clothing late at night.

Next day as planned, the take off was at 0800 hrs. I had been telling the pilot to advance the takeoff, as early morning

hours offer good conditions for jumping. But later, I came to know that it was a requirement from Leo Dickenson and Ralph Mitchell who were already waiting for the helicopter to arrive at Gorekhshep. Leo is a renowned fi lm maker and has made many documentaries for the Discovery and National Geographic channels including the famous Balloon Expedition over Everest in which he himself was on board the balloon.

Leo was ready with his camera and wanted good light conditions for shooting at Gorekhshep. The helicopter got

Tripathi trekking to the helipad before getting airborne. View of snow-clad ridge before fi nal approach for landing.

Ram

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Airport on 20th Sep., I boarded the fl ight. The wheels fi nally rolled at 0745 hrs, the weather was fi ne and knowing the hectic schedule coming my way in Kathmandu, I judiciously utilized the time and quickly went to sleep after running through the jump check list again and again.

The weather was bad in Kathmandu and the helicopter fl ight was delayed to 1400 hrs in the afternoon. During interaction with the crew of the helicopter, I familiarized myself with the exit procedures from the aircraft. It was not new to me since I had logged

close to 700 jumps earlier from helicopters. But this was the fi rst time that I was jumping from a French AS 350 B2 series helicopter.

Jumping in the Everest region in close proximity to Mt. Everest is something special and more challenging. One looks like a small dot on the vast canvas. But it is most satisfying as one gets to see the panoramic view of the snow clad Himalaya ranges and a view of Everest massif at close proximity. A glimpse of Everest fi lls me with inner strength, to stand tall but with humility. The Everest jump is special as it is a real

Ram

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hi


getting numb. This added to my diffi culty in pulling the parachute controls. I had carried the tricolor to fl y it in the air but could not manage this due to the cold. My toes were also getting cold and I feared the landing impact. Due to thin air at that altitude, the parachute was descending very fast. It was just about 4 minutes in the air and soon I fl ared the parachute for a smooth landing. The landing impact was slightly high but I was happy with my landing. I waved to my friends in jubilation and once again facing Sagarmatha joined hands to thank her. The helicopter

skydive in the Everest region is something different and special.

I am a much contented man today. I don’t know what exactly inspired me and triggered the spark in me to undertake the memorable skydive jump over Everest region, yet it makes me proud to triumph over the untried, something unique that has brought Glory to the Air Force and the country...◆The author, conferred with the highest civil award in adventure ‘Tenzing Norgay National Adventure Award’, is presently leading the IAF ‘Mission Seven Summits’ project of climbing all the highest peaks of the seven continents.

B2 helicopter landing at Gorakhshep to pick up skydivers after the successful skydive jump.

airborne at 0750 hrs from Lukla and in the next 10 minutes we were hovering over Phireche. Thick sheets of clouds covered the valley beyond and thwarted our attempt. The mission was aborted and soon we landed back at Lukla. The entire valley was soon covered with clouds. We fi nally postponed the programme for the next day but this time take off was to be at 0615 hrs.

I peeped through the window of my room which opened into the valley towards the south. The sky was looking good. As planned we got airborne next day (on 22 Sep 09) sharp at 0630 hrs and the helicopter landed at Gorekhshep at 0650 hrs. Due to weight limitations of the Helicopter, only one jumper at a time could undertake the jump. It was Leo Dickinson, Ralph Mitchell, and lastly me who were to jump one by one.

I exited at 0750 hr at 22000 ft AGL facing the Everest in the north direction. The western and the entire south face of Everest was visible. It was just 4 seconds after the exit that I punched my parachute and soon I was under the colourful canopy – descending. My eyes were fi xed on the Khumbu glacier and were trying to locate our ITBP camp (for the Everest attempt) at the Base Camp. I could not see it as my eyes became watery due to cold winds making my vision blur. As such, unlike other seasons, this time there were not many expeditions from the south side. Anyway a glimpse of Everest was really satisfying. I joined my hands in prayer and wished if I could get a chance again, to climb Everest from the south side.

It was freezing cold and my fi ngers and toes were landed to pick us up and by

0900 hrs we were fl ying back to Lukla. After refueling we exited from Lukla avoiding the approaching clouds and were back in Kathmandu by 1500 hrs.

The feat came only one year after Nepal fi rst started allowing skydiving in the high altitude region around Mount Everest. The previous record landing was also in the shadow of Mount Everest at a drop zone (Syangboche) at 12,350 ft made last year. Skydiving is very popular and a simple sport all over the world. It’s a weekend sport in Florida, Chicago and many other places but a

Leo Dickinson ready to capture the skydive jump from B2 helicopter.

Leo D

icki

nso

n


Maqbool Fida Husain lives away from his motherland. Yet his tastes and textures, his colours and contours resonate the dawn and dusk of India. He tells his story and reaches out

to modern generations through ‘M F Husain – Untitled’, a new and unique autobiographical e-book that breaks fresh ground in many aspects.

“This is not a fi lm script. These are scenes from real life…” says the iconic artist about his autobiography. And you can hear him say so in this fi rst of its kind e-book.

This e-book turns Husain’s autobiography into a multi-media feast where his sketches are animated and his words get a voice. In fact, the avant-garde treatment of the autobiography is what makes this e-book truly unique. This is perhaps the fi rst time that work has been

Book Review

M F Husain – UntitledAPARNA S REDDY

The autobiographical e-book turns into a multi-media feast where his sketches are animated and

his words get a voice.

done on art-animation and that too on Husain’s art and an e-book like this has been produced in the modern Indian lingua franca.

‘M F Husain – Untitled’ adds animation to Husain’s art and a voice to his word. Bringing the world of Husain alive on the screen, it kickstarts a new era of user-friendly and enthralling digital publishing in the country.

In fact, it takes the e-book genre, as we understand it, to a new level. It fi nds inspiration in epic traditions as well as in new age technology, the e-book format, the designing techniques of ‘manga’ and creates a pictorial narrative of a man who refuses to be confi ned into categories, who straddles decades with the same ease as he straddles life. This e-book attempts to touch new horizons in telling the story of M F Husain, in the way he wants to tell it.

In line with its tradition of producing much admired books on literary icons, Jiya Prakashan, led by cultural activist Kamna Prasad, has harnessed cutting edge information technology in this e-book to tell the story of this living legend. A combination of music, readings, animations and the written word enhance the pleasure of book reading into the richness of an audio-visual experience you can enjoy on your computer or on your television screen. “We have tried to do something novel through this electronic book as a loving homage to Husain, the quintessential avant-garde,” says Kamna Prasad.


modern linguistic mix create a stream of consciousness unique to Husain. His themes fi nd inspiration in the India of Ramlila, Mother Teresa, Satyajit Ray and Madhuri Dixit even as the narrative in this e-book imitates his canvas. He thinks in images. His language is vivid. And his style as deeply seated in India’s syncretic traditions, as it is truly global.

“When we took the idea to Husain, he was very excited and would enquire with me often about its progress. The process took us over a hundred days to produce the e-book which has forty chapters, a message from Husain and more than a hundred animations,” says Kamna.

“Our aim is to map his 94 year long creative journey, to give you a rich and vivid experience of Husain’s craft, images and language, to get his entire world to the modern reader who now transforms into being a viewer, a listener and a connoisseur at the same moment. That is the impact Husain’s timeless strokes are known to have. This experiment puts Indian publishing at par with digital publishing the world over,” she says.◆The author is a noted documentary fi lm-maker, media consultant and journalist.

In an exclusive message that makes the fi rst of its kind video frontispiece of the e-book, M F Husain says, “Today, the world of art is one. Beauty and art are present everywhere. All one needs is a perceptive eye. Today, all art forms are merging together and age-old sensibilities are fi nding a fascinating global expression through versatile and wide-reaching new media. This electronic book is an experiment that tells my story in a path breaking style, using the contemporary media. And I found this experiment of Kamna Prasad very exciting.”

Husain has laid his heart bare through this e-book. As the title frame and the e-book cover suggests, it’s the painter painting himself. The icon M F Husain is often in conversation

with the artist Maqbool. And sometimes a narrator presents the story of the two and allows people to see them ‘Through the Eyes of a Painter’. An excerpt:

“Oh my Maqbool, did you see M F? But I know your colours,

with which you paint my statues so lovingly; you are a colourful guy who can dye anyone in your colours. And this M F, he seems a foreigner. Looks like an agent of the East

India Company. A marketing whiz. He has created four museums in his name, in

four corners of India in just 40 years. But we both like one thing about him… foreigners simply looted India, but M F – whichever way he is… all his ways, all his mistakes are ours.”

The clarity with which Husain remembers incidents from his early days astounds you.

The way Maqbool tells one on M F is fascinating. This e-book is a vibrant a chronicle of a 94-year-long creative journey. A glimpse into what distinguishes

the extraordinary from the ordinary.

His sketches, his telegraphic style of writing and the


ART ALIVESubodh Gupta, a small-town boy, is today the toast of the

art world. The author met him in his studio to fi nd out what makes the man tick.

It is a nail that I fi rst stumble upon. The artist’s studio is under construction and the

hammer is on an overdrive. I walk gingerly, there are wood shavings on the fl oor and in one corner hang black pots, held tenuously by a rope. In another corner a humongous skull mould is lying languorously. From polythene bags peep thousands of stainless steel pots and pans waiting for their mundane destiny to metamorphose into pricey installed art. Subodh Gupta, the painter, sculptor, installation artist, video art maker

canvas are imprints of tiny hands, on the fl oor kitchen utensils made immaculately in white marble are tidily arranged. A gleaming Macintosh is perched on a large wooden table, not too faraway a sculpted human spine stands smeared with paint. Through the door walks in a man looking dapper in blue striped linen and a white tee, his hair cropped short, his eyes framed with black spectacles, a green jade bead bracelet on his right wrist and a sleek black watch on his left. I had not seen Subodh Gupta’s photograph

is still two fl ights of stairs away; in the still-being-built house I encounter the art much before the artist.

I walk up. Between the thuds of the hammer, I hear a giggle. It is his little daughter with a pink bag stacked with crayons and colour pencils. On a white

PREETI VERMA LAL

before but I guess it is him. There was something about the man in that squeaky clean white tee. Has to be an artist, I thought. I extend my hand. I was right. He was Subodh Gupta.

“I never thought I would be an artist,” Gupta begins his story. That one-liner now almost sounds like an epiphany from a man whose installations have not only been raved about across the world but have also fetched unheard of money. Dubbed the enfant terrible of Indian art, Gupta has created so much buzz in the art world that now even before he picks up his brush or chisel, people jostle to sing paeans or pour money. But for this Capricorn the drive, the salvation lies somewhere else.

First, the beginnings, the story, though. “Growing up in a sleepy tehsil in Bihar, all I knew was I wanted to do something

different. What? I had no clue.” In that dusty little town, forget dreams and inspirations, there was not even enough visual art to stare at. All the art Gupta could pry on was the calendars of gods and goddesses that invariably adorn the walls of Hindu homes. Gupta went to the local school and it was hurriedly concluded that like all other men in his family, Gupta too would join the Railways. But destiny – and Gupta – had other designs. Still unsure about life’s ‘what’, he walked the linear path of academics in Patna’s BN College, heavily interspersing it with theatre where other than donning grease paint he also painted posters. Someone noticed that beautifully calligraphed hand and goaded Gupta to join an art college. Ironically, the fi rst attempt to join an art college failed; however, when he did join next year, a fi ve-year

course stretched to seven years, followed by years of struggle, experimentation, and a quest for that “something different”.

That quest would make him travel miles to Delhi, his next home. “I could not speak much English then, but I knew whatever I wanted to do I had to be in the thick of things. Delhi, then, was the obvious choice,” remembers Gupta of his days in the Lalit Kala Academy Guest House where he paid a meagre Rs. 6 as rent. Money ran out soon, but luck smiled. The artist from Khagaul found a place in galleries next to the Husains and the Tyeb Mehtas. “But that is not what I wanted to do, I had to be different.” That ‘different’ had not found its moorings yet and the artist was restless to fi nd a stroke beyond the canvas.

That long-awaited answer came from the unlikeliest of


medium – 29 squat stools turned into an artistic installation at Delhi’s Sanskriti Kendra where Gupta was doing a residency with six other artists from abroad. “That was the turning point, that was different and I knew this is what I wanted to do.” For inspiration – and medium – Gupta did not have to look too far. He peeped back into childhood and his love for cooking which resulted in that much-talked of kitchen phase in the artist’s life. “When I was growing up, stainless steel was such a luxury; I still remember those fi rst six steel utensils at home. More importantly, what you see, what you experience in childhood always stays etched in your mind…” Very soon those ‘steel’ connections became ubiquitous in Gupta’s world – pots, pans and a lotus coming together for The Way Home installation; countless utensils welded together for a colossal

skull; pots cluttering the doors of a cathedral in Europe; numerous painted chimtas (tongs) hung together artistically. And yes, the most-raved about Saat Samundar Paar (Across Seven Seas), a room-size conveyor belt with aluminum suitcases and bundles that borrows the theme of migration and fetched a whopping 550,000 pound sterling under the hammer.

For Gupta art stepped beyond the kitchen and into the cowshed, rather cow dung that transcends the Western defi nition of cow excreta into something pure, something used to cleanse evil. “During special pujas and festivals I would pick cow dung for my mother who would make gods out of that,” remembers Gupta who no longer practices the rituals of religion. Besides splashing his cow canvases with real cow dung (for example his canvas titled Gauri), Gupta created a 9-minute video where

cow dung on his body is being hosed away. “That’s cleansing, catharsis for me,” adds the artist who no longer paints much on canvas and admits that video installations are an intermittent affair.

Gupta has been compared variously to Marcel Duchamp who had the audacity of turning a urinal into art and to Damien Hurst, the British artist, but he defi nitely does not fi nd them fl attering. “Why should I be called the Damien Hurst of India? I am Subodh Gupta. That is what I want to be known as,” he insists. Subodh Gupta the artist who gained recognition in the West before the Indian critics and collectors woke up to him. “It is sad, but true,” says Gupta and adds hurriedly that an exorbitant price tag is not essentially great art. “No, the most expensive art is not the best of art. Not necessarily,” adds the artist who does not subsist

on all the ballyhoo about the tags that his art works fl aunt. For him, art is about the process of creativity, the satisfaction, that urge to create something different... Perhaps that is why he never reviles the struggle that came his way, “I learnt from those days, those experiences... Every small moment stays with you, everything stays with you. If you are focused, you can achieve anything...”

Gupta never digressed from that focus. Not when he was walking that dusty path alone, not now on the paved alley where fame waits at every bend. He walked that dusty path with the belief that his destination had to be different. Very different. The destination that looked distant once, is his now. But Gupta has not lost focus. For him, it is all about art. The rest is redundant. ◆The author is a noted writer and photographer.


RENUKA NARAYANAN

A REVOLUTIONARY CARNATIC SINGERDamal Krishnaswamy Pattamal

Tribute

Padma Vibhushan Damal Krishnaswamy Pattamal passed away on Thursday

on July 16, at her home in Chennai. The frail 90-year-old Carnatic singer had been affl icted by severe arthritis for over a decade.

That did not deter her, however, in July 1999 from singing in an 18-hour Carnatic music concert in Chennai for the Kargil soldiers’ benefi t fund.

Pattammal is celebrated in Indian music history as the fi rst woman musician from an orthodox family to sing Carnatic music in public, at a time when ancient taboos sternly constricted the lives of ‘upper caste’ women.

Besides being the fi rst woman to break this social taboo, she also broke the gender barrier musically as the fi rst woman to sing a full-length, uncompromisingly classical concert with detailed exposition of ragas in the

suites called Ragam-Thanam-Pallavi, that until then had been an exclusive male stronghold.

Backed by her school-teacher father, Pattammal created a sensation in Carnatic society. Well into her prime, she was awarded the Sangita Kalanidhi by the Madras Music Academy (1970), Padma Bhushan (1971), Kalidas Samman (1998-99) and Padma Vibhushan (1999).

Her passing was deeply mourned by the leading lights of Carnatic music.

“The people like Pattammal, singing honest classical music was the only way to sing. She was a path breaking woman musician who was one of the fi rst feminists without making a big deal about it,” said singer T.M. Krishna from Salzburg.

Said violinist Lalgudi Krishnan, “DKP stood for musical and human values. She had a huge repertoire and was patriotism and bhakti rolled in one.”

“She sang the toughest of compositions and remains our reference. The great mridangam vidwan Palghat Mani Iyer, who never accompanied women, played for her... She remained understated and affectionate,” said singer Bombay Jayashree.◆Source: Courtesy Hindustan Times.

NATURAL JUTE BECOMES TRENDY

PUPUL DUTTA & APARAJITA GUPTA

India’s Golden Fibre

Once associated with dowdy sacks for the cement, sugar and fertiliser industries, the $1 billion Indian jute industry is getting an image makeover thanks to better designed goods

made with this ‘golden fi bre’, rising environmental concern and new marketing strategies.

A wide range of everyday products is available today made with jute, the most popular natural fi bre after cotton, of which India is not just the largest producer, accounting for 60 percent of the world output, but also consumer and exporter.

Such merchandise, which is also making its way to discerning markets in the US and Europe, includes table mats, coasters, cushion covers, curtains, doormats, belts, and even school bags carried by millions of children.

“When we talk about jute, people usually think of sacks or gunny bags,” said Atri Bhattacharya, secretary of the Jute Manufactures Development Council, one of the several organisations promoted by the government to help the industry.

“There are so many attractive items made of jute. It’s so fashionable today.


And the best part is that it is eco-friendly, reusable,” states Bhattacharya, whose council is a representative body of growers, producers and exporters of jute.

The council believes the ban on polythene bags by some states like Delhi are steps in the right direction for the eco-friendly fi bre. That is the reason why the council has launched fresh ad campaigns, like the ones urging schoolchildren to switch to jute bags.

Designers and traders in jute goods said, in bags alone, the offerings today include not just the traditional jute-based sacks but also clutch bags, party bags, laundry bags, rucksacks, gunny bags, totes, shopping bags and wine bags.

The merchandise is now available in the numerous fl ea markets across the country and also at upscale stores like Fab India, the Santushti complex in the national capital, Anokhi designer stores and Nature Design Concepts.

These, the retailers said, also cater to the tastes of the well-heeled shoppers and priced at some Rs.100 ($2) for a plain vanilla bag, goes up to a few thousand rupees, depending on the designs and colours.

“You can carry them with élan,” said Aditi Shukla, a student of fashion design in the national capital. “These green bags will be trend setters soon.”

There are also socio-economic issues associated with jute.

It supports four million farm families, mainly in the eastern states, notably West Bengal, and provides direct jobs to 260,000 industrial workers and 140,000 people in tertiary activities.

“Organic fabric is becoming popular because these materials are biodegradable. Using these natural materials also helps in giving employment. In a way we are contributing to society,” said Ritu Kumar, one of the better-known fashion designers.

“I have personally decided to stay away from man made fi bres because the work has become very mechanical now. With the natural fi bre, there is an endless possibility of experimentation. Hence I am working on it now.”

According to the council, India is the world’s largest producer of jute-based goods, averaging 1.6 million tonnes per annum in the past fi ve years with domestic sales of 1.4 million tonnes and exports of 285,000 tonnes.

India also accounts for more than 60 percent of the world jute production with the bulk of the output coming from West Bengal, followed by Bihar, Assam, Orissa, Andhra Pradesh and Tripura.

According to the textiles ministry, there are 77 composite jute mills in India, of which 60 are in West Bengal, three each in Bihar and Uttar Pradesh, seven in Andhra Pradesh and one each in Assam, Orissa, Tripura and Chattisgarh.

Globally, the cultivation of jute has been going on since time immemorial, even fi nding mention in ancient texts of Africa and Asia. In fact, paper made of jute has been discovered in China, dating back to 200 BC.

In India, too, cultivation of jute has been on for several millennia. But the real organised development of the industry started in the 17th century and the fi rst mill was established in 1855 at Rishra, on the banks of Hooghly, near Kolkata.

Despite a long history, industry experts said, quality and pricing remain two major issues coming in the way of promoting and popularising jute. “But we are looking at these factors. You must understand that unlike polythene, jute isn’t

he explained, adding the same was being done in the tourist destinations of Uttarakhand and Himachal Pradesh, where plastic bags are banned.

“In Delhi, jute bags are also used in an institutional way. The demand is there and it’s fulfi lled accordingly. Unfortunately this does not happen in the same way in Kolkata or other cities,” said Sanjay Kajaria, chairman of the Indian Jute Mills Association.

“Apart from the niche market, we should look at the volumes market where people will use jute bags for their daily use, apart from fancy use. Export is also the way to go,” he added.◆(Source: Indo-Asian News Service)

a standardised product yet,” Bhattacharya said.

“We are also looking at a proper supply chain in cities like Delhi where the off-take is good,”


Sachin Tendulkar is always accompanied by superlatives and has an

aura of a national icon. He has been a sterling example of what single minded devotion can achieve. He has talent no doubt, but he built on that and the national admiration for him is because he has shown the way with ferocious determination.

To spend twenty years as a top-class professional itself is achievement enough and he hasn’t been dropped from the Indian team even once, unless he opted out due to injuries. It is that sheer doggedness that fascinates millions of his fans. Sachin, named after the music maestro Sachin Dev Burman, has indeed whipped up a national orchestra of perpetual adulation.

In the fourth one dayer against Australia at home this year when he scored a blistering 175 in a match which India lost by three runs, it was once again a reminder of the batsman’s way of reinventing himself. It is this constant retaking of the guard, so to say, that has helped Sachin to stay on course.

spinners) and the uppercut over slips in limited over games (which Sehwag also does). His off side strokes are still the best to watch (contrasted with the leg-side wristy shots of Laxman).

The only complaint that one can have today is that he displays more caution than chutzpah. Hopefully soon, maybe at the next World Cup he will throw caution to the winds and for one last time thrill us to the very bones, forgetting any of his responsibilities and being the young boy once again. That raw Tendulkar with the carefreeness of an adolescent genius has been missing for a while.

But he is no longer just a sportsman who stayed around

Career Statistics (1989-2009)

Matches Innings Runs Average Strike Rate 100’s 50’s

Test 162 265 12970 54.73 53.98 43 54

ODI 436 425 17178 44.5 85.79 45 91

for twenty years. Sachin, for millions of young Indians has been a dream and an example of achievement. Thousands of boys have been named after him, millions hope they too had his name, young boys in the many maidans (playgrounds) across the country imagine they are Sachin when they go out to bat. He is the dream and the inspiration of a nation and mothers want their young ones to be like him. That will be what Sachin will be remembered for, his correctness, his upholding of the Indian middle-class virtues and values and keeping his mind, while the world sang his praises and corporates pursued him to endorse their product.

Sachin TendulkarBINOO K. JOHN

Sachin Tendulkar, the icon of many youngsters has completed twenty years in international cricket this year and

continues to wow cricket fans the world over.

In the movie Ab Tak Chhappan, when the encounter cop acted by Nana Patekar, is arrested by the police and taken away, he turns to his son playing cricket and fi elding. Patekar makes him hold the bat and says, “Beta, Sachin Tendulkar banna” (Son, become like Sachin Tendulkar)

That is what every Indian wants. ◆The author is a noted writer and columnist.

Has his style of play changed? How long more will he anchor the team? He has cut out some of his strokes and has been more restrained, for as he explained many times that his role in the team in now of an elder, a mentor who has to drop anchor. As opener in the shorter versions of the game, Sachin is no longer as fl ashy as he was, perhaps content to give that role to his other teammates. Sachin steps out less often, does not try the hook preferring instead to duck to the rising ball, and

often preferring the cover and square drive where he places the ball just in between two fi elders, as if he had a compass to measure the angle of the shot.

Not that the legside is a weak point for him. In the Sydney Cricket Ground in 2003 he hit a double century with almost all strokes going to the legside, a deliberate ploy after the Aussies trapped him on the off-side many times in that series. Brian Lara called this innings the best he had ever seen.

Among the shots not often seen now is the straight batted stop volley which sends the ball past the bowler even before he has fi nished his run-up, a shot which Ganguly also played with élan. Sachin also invented a few strokes: a sort of paddle swipe straight past the wicket keeper (to punish the negative outside-the-leg-attack by Aussie

“The camera is the eye to history…” remarked Mathew Brady, during one of the fi rst ever archival exhibitions, upon the American Civil War. A picture does indeed speak a

thousand words, and the objective veracity of the photographic medium has made it what

Ambassador Pavan K. Varma has called “an accessory to history”.

BhutanAN EYE TO HISTORY

PRAMOD KUMAR KG & NAMITA GOKHALE

Yu Tsho Lake, Lunana.Image courtesy: His Majesty Jigme Khesar Namgyel Wangchuck, King of Bhutan.


As children, we were told that the camera does not lie. But digital technology has now combined the truth of the camera lens with the creative freedom of the paint brush. These portraits and landscapes of Bhutan, to be displayed at the National Gallery of Modern Art, New Delhi, in December 2009, forefront the recent history of a nation and culture which is moving confi dently towards a rooted modernity.

The use of the photograph to create a national narrative has several parallels across the world, but to include friends of the nation in this narrative seems to have been an idea enthusiastically imbibed by successive generations of photographers, both in India and Bhutan. This exhibition closely focuses on the visits of political leaders from India to Bhutan and the reciprocal journeys made by Bhutanese royalty to India. The selection of images also makes

use of documentary photographs and the slot created for them in the offi cial narrative of nations. Contemporary practices of fi ne art photography tend to negate the role of the documentary nature of these photographs and images of rulers meeting other leaders are not considered as not being of artistic importance. But the development of a history of photography across the world very clearly demonstrates the centrality of historic occasions as being signifi cant milestones in national narratives.

After India’s Independence, India’s fi rst Prime Minister, Pandit Jawaharlal Nehru and King Jigme Wangchuck, the Second King of Bhutan signed the Treaty of Friendship and Cooperation in 1949. The treaty was inked by Gyongzim Sonam Tobgye Dorji on behalf of the Bhutanese and by Sir Harishwar Dayal for India (seen in the exhibition). The visit to India in 1954 by the Third King of Bhutan, His Majesty King Jigme Dorji Wangchuck was

The architects of Indo-Bhutanese friendship, 1954. Prime Minister Jawaharlal Nehru greeting His Majesty Jigme Dorji Wangchuck the Third King of Bhutan during the latter’s fi rst State

visit to India after India gained her Independence. Image courtesy: Her Majesty Ashi Kesang Choeden Wangchuck, Queen Mother of Bhutan.

His Majesty Jigme Dorji Wangchuck, the Third King of Bhutan was invited to address the Indian Nation live on All India Radio, a rare honour to visiting Heads of State.

Image courtesy: Her Majesty Ashi Kesang Choeden Wangchuck, Queen Mother of Bhutan.


His Majesty Jigme Khesar Namgyel Wangchuck seated on the Golden Throne after his Coronation, at Tashichhodzong.

to herald a new beginning in Indo-Bhutanese relations.

Four years later in 1958 Pandit Nehru and his daughter Indira Gandhi visited Bhutan, the fi rst ever visit to Bhutan by an Indian Prime Minister. The strenuous week long journey over horse back, foot and by being ferried across high mountain passes did not seem to deter the 69 year old Prime Minister. However for most Indians of that generation what comes to mind today, are photographic records of the visit. Of Panditji on horseback and Indira Gandhi riding a yak having been forever immortalized in the nations collective visual memory. The camera continued to record every moment of this historic visit and the newspapers back home fl ooded the country with views of Bhutan and of the beginnings of a new friendship.

The charisma of King Jigme Dorji Wangchuck and Pandit Nehru and the warmth with which the visiting Indians were received was forever cemented by Pandit Nehru’s historic address to the people of Bhutan at Paro. Nehru’s comment that India and Bhutan were members “of the same Himalayan family and should live as friendly neighbours helping each other” was to go


Prime Minister Manmohan Singh seen along with His Majesty Jigme Khesar Namgyel Wangchuck, King of Bhutan at Taschichhodzong, Thimphu.

down in history as the defi ning spirit behind Indo-Bhutanese friendship. This was a moment that the camera recorded. With its ability to capture a moment in history the photograph now continues its important role as a record of our past.

The arduous journey to Bhutan was to get simpler in the coming decades with the opening up of an airstrip at Paro. Successive leaders from India went on to visit Bhutan; it was however under Indira Gandhi’s visit as Prime

Minister in 1968 and 1972 that the camera was to record the fruition of earlier friendship treaties. She inaugurated the Phuentsholing – Thimphu highway and laid the foundation stone of India House both signifi cant gestures announcing

the close ties between the two countries. Contemporary photographers have ever since carefully documented the progress of Indo-Bhutanese relations and the cooperation between the people of the two countries.

Photographers had accompanied visiting expeditions to Bhutan from 1864, however, what was earlier considered exotic when printed in sepia now fails to elicit the same reaction when the image is of the not so distant past and in colour. These images include several projects that show India’s support in the infrastructures development of Bhutan. The extensive network of roads that crisscross the country and the setting up of the Chukha, Tala, Kurichhu, Punatsangchu and Mangdechhu hydro power projects are all testimony to this close cooperation. Most of these infrastructure projects have been photographed extensively and are a testimony to the continued close ties between the two countries.

Visits to India by their Bhutanese counterparts continued in between visits by Indian leaders. His Majesty King Jigme Singye Wangchuck the Fourth King of Bhutan visited India in 1974 after his accession and has been in India several times since as an honored guest. While formal visits between leaders continued in the full glare of offi cial publicity there were other visits between the people of the two countries that was being documented by countless individuals traveling with their cameras. The last

decades of the 20th century saw a growing number of tourists who visited Bhutan. Armed with cameras and in search of the perfect photograph that would encapsulate their trip, Bhutan’s picture perfect postcard views were eagerly captured by visitors. Visitors now included professional photographers whose views now expanded beyond the natural beauty of the country and included its rich biodiversity, portraits of people, of religious ceremonies and rituals along with Bhutan’s colorful festivals.

In December 2006 Trongsa Penlop Jigme Khesar Namgyel Wangchuck assumed responsibility as the Fifth Druk Gyalpo or King of Bhutan. The 26 year old monarch, the youngest in the world took over at a particularly historic moment when Bhutan was making its transition from Monarchy to electing a democratic government. His Majesty’s private passion for long has been photography and this exhibition marks the fi rst public showing of his photographs anywhere in the world. The use of the digital camera allows for a greater fl exibility in capturing diffi cult terrains, distances and details with relative ease. However the framing of an image and the selection of a moment to be captured still refl ects the clarity in vision of the photographer.

Today modern Bhutan has embraced democracy, a process


Siblings (above) and Warrior with his shield (facing page).Images courtesy: His Majesty Jigme Khesar Namgyel Wangchuck, King of Bhutan

initiated by His Majesty Jigme Singye Wangchuck. Portraits of the people of Bhutan depict the continuity and change of this process, as the lined faces of statuesque ladies contrast with the faces of the young sparkling with hope and enthusiasm.

His Majesty Jigme Khesar Namgyel Wangchuck is a ‘People’s King’ and his photographs are both an objective record and personal testimony of his empathy and engagement with his nation. A strong bond with the people and the landscape that he documents distinguishes his photographs. Bhutan remains an idyll, and these transparent pictures are not airbrushed with sentimentality or morphed to disguise lurking shadows. These photographs record liminal moments in recent history that illuminate the transitions of this ancient and enigmatic Kingdom into a vibrant and youthful democracy. ◆Pramod Kumar KG is an Independent Researcher and Curator and Founder Director of the Jaipur Literature Festival. Namita Gokhale is a writer, publisher and Co-Director of the Jaipur Literature Festival.


Kathak, nurtured in the present day Uttar Pradesh, Madhya Pradesh and Rajasthan regions, has its origin in the story teller’s art specialised by the travelling bards of ancient

India. In a total theatre style, they skillfully narrated tales from the great epics of Ramayana and Mahabharata using the medium of movement, rhythm, music and poetry. Regaling, informing, educating and entertaining, these travelling bards using platforms like temple courtyards and other public spaces, were an important factor in knitting various communities of the country into one cultural unit through their sermons and narrations. Over time this mimetic narration, as seen from 15th-18th century paintings, evolved into a stylised dance form patronised by the courts and temples. With the rise of the Mughal Empire with understandably less interest in the Hindu centric themes, the dance, particularly in its court manifestation developed a different emphasis with a rich dimension of rhythmic virtuosity, which continues to be one of its main defi ning features today. This trend was also tailored by classical music in the North which rests heavily on individual creativity with improvisations built round a given minimal two line bandish or composition. The same factor of on-the-spot creation common to the Hindustani Khayal music, in dance took the form of rhythmic permutations woven into the main refrain of the metrical cycle or tala. Temple and court dance continued differing in accent of bhakti or godly devotion in one and profi ciency in sheer technique in the other.

TECHNIQUE: Unlike technique in other Indian classical forms where the plié with the squatting half-squatting dancer with knees bent sideways is a central stylistic concern, the Kathak dancer in a two dimensional approach like the Flamenco dancer maintains the erect body, moving in front-back treatment of space, with weight

KathakEVOLUTION OF THE STORY TELLER

LEELA VENKATARAMAN

Kathak, the classical dance form which was nurtured in North India traces its origin in the story teller’s art specialised

by the itinerant bards of ancient India. The article gives a bird’s eye view of the evolution of the dance form.

Facing page: Birju Maharaj showing the myth of Krishna lifting the Govardhan.


equally balanced on both feet – leg extensions and knee fl exions as in Bharatanatyam or other forms being absent. Pirouettes at different speeds are a part of the dance form and here the dancer uses one fl at foot fi rmly placed on the fl oor marking the centre while the other foot like the arm of the compass marks the circle as the body goes round. Flat-footed stomping of the fl oor in rhythm, weaving combinations into the metrical cycle (tala) called tattakara is crucial to the dance, and it is this part that gets maximum emphasis during training. The fi nished Kathak performer is a master at creating rhythm patterns with changing accents – achieved with an unobtrusive shift in body weight in footwork. Like every other dance, Kathak has its own rich vocabulary of rhythmic syllables which are mnemonics called bols and in Kathak every nuance and rhythmic syllable played on the percussion instrument of the tabla has to fi nd corresponding articulation in the footwork of the dancer. For the interpretative side of the dance, (emphasis on the Krishna myth infl uenced by the Rasalila tradition) where mime with hand gestures portrays emotions involving the inner dancer, Urdu poetry of the ghazal and verse compositions of Hindi poets like Surdas, Kabir and others, and Thumri lyrics centred round love themes,

Uma Sharma – tantalising look lifting the veil.

Geetanjali Lal – taking up a pose.

provide the textual/thematic base. Like other dance forms with their own vocabulary of hand symbols (mudras), Kathak hand gestures are fewer, their use more natural than stylised. An art form greatly practiced by courtesans and tawaifs in feudal India, the teachers (some of whom were great performers) were male.

GHARANAS: Three main schools or gharanas of Kathak emerged. The elegant Lucknow

gharana was spawned by the court of Nawab Asaf-ud-daula (1775-1798) of Avadh its growth evolving under Wajid Ali Shah (1847-1856) who as a passionately committed patron of the dance concentrated on it to the extent of neglecting his governing duties. Sophistication and grace became the hallmarks of this Kathak line with stalwarts like Kalka and Bindadin, followed in the 20th century by the three famous sons of Kalka Maharaj, namely Achhan


Maharaj, Shambhu Maharaj and Lachhu Maharaj, the baton fi nally being passed on to the son of Achhan Maharaj the great Birju Maharaj a legend in his lifetime, regarded as a Kathak happening. The Jaipur gharana (a later umbrella identity integrating several independent streams of Kathak) evolving largely under predominantly Hindu royal patronage, is more vigour-oriented, tailored by the martial Rajasthani character, revelling in spirited footwork. Mohan Lal, Chranji Lal, Sohan Lal, Narayan Prasad, and the more recent Sunder Prasad, Devi Lal, Hazari Lal, Kundan

States, many of the main Gurus shifted to Delhi the capital. Shri Ram Bharatiya Kala Kendra the fi rst dance institution of its kind began the post-independence Kathak projection in the early fi fties with a faculty headed by the great Pandit Shambhu Maharaj teaching Lucknow gharana and Pandit Sunderprasad for Jaipur gharana. Later in the sixties, the Kathak Kendra came under the apex national government body the Sangeet Natak Akademi established to oversee performing arts. Gurus like Pandit Birju Maharaj, Kundan Lal Gangani, Munna Lal Shukla, Reba Vidyarthi imparting training in both the Lucknow and Jaipur gharanas.

Along with the veteran performers like Damayanti Joshi, new names like Rohini Bhate, Maya Rao, Uma Sharma adorned the stage. Birju Maharaj’s genius provided the impetus with professionals like Kumudini Lakhia, Urmila Nagar, Rani Karna, Malavika Sarkar, Prerana Shrimali, Saswati Sen, Shovana Narayan, Bhaswati and a host of younger dancers carrying Kathak fame to all parts of the globe.

PERFORMANCE FORMAT: Solo Kathak constitutes several independent genres of composition its totality being several fl eeting numbers contained within a unifi ed presentation. Reciting the

Prerna Shrimali – in a pose.

Saswati Sen – having released the arrow from the bow.

Lal Gangani, Durga Lal, Gauri Shankar have all been very prominent teacher/artists of this gharana. The Benares gharana or the Janaki Prasad gharana emerged as a Jaipur spin off, its founder from Mailsur village in Bikaner State in western Rajasthan. Performing tattakar on heels and use of Natwari Bols, dancing with back to the audience are special to this school which boasts of practitioner/teachers like Puranlal, Biharilal, Hiralal, Krishna Kumar, Sudarshan Dheer, Gopikrishna, Hazarilal, his wife Sunayana Hazarilal a much acclaimed dancer

of today – and last but not the least, octogenarian Sitara Devi the Kathak doyenne. In Madhya Pradesh in the Durbar of Raigarh, enthusiastic rulers encouraging both Jaipur and Lucknow gharana performances, encouraged their own ‘Nacha’ dancers Kartik Ram and Kalyan who studied under Chunnilal and Shivnarain to head another Kathak stream enriched by the compositions of the versatile ruler Chakradhar Singh who ascended the Raigarh throne in 1935.

POST INDEPENDENCE SCENE: With independence in 1947, and abolition of princely


bols of Tukras, Parans and Tihais before dancing them, chatty mike exchanges on special aspects of technique presentation, are all part of the Kathak performances where interacting with the audience to constant “wah! wah!” exclamations of appreciation came naturally. The old performance format with a predominant element of improvisation derived from on-the-spot inspiration and challenges thrown up by the percussionist was never preset in details. The structured formality of today’s proscenium stage strikes at the very root of such open-ended presentations, and it is here that Kathak has had to make the maximum adjustment.

Depending on pre rehearsed dance has indirectly lessened the depth with fl owing ability needed to improvise. Large cosmopolitan audiences who do not all understand the literature of Hindi poets like Tulsi, Meera, Vidyapathi, Padmakar or Nirala, have tended to be more exited by rhythmic skill and virtuosity has frequently become the test for judging a Kathak dancer, with interpretative dance becoming minimal.

GLOBALISATION EFFECTS: Kathak cannot escape globalisation or the call of the international stage space for which it vies along with other art forms. The group form

A dramatic freeze in a Kumudini Lakhia choreography.

INDIA PERSPECTIVES SEPTEMBER-OCTOBER 2009 96

and the dance drama genre in particular has spawned innovation beginning right from the twenties with pioneer Madame Menaka (her original name being Lila Roy) who choreographed productions like Deva Viyaya Nritya. Malti Madhav choreographed by Lachhu Maharaj and Birju Maharaj in 1958, with Birju Maharaj and Kumudini Lakhia in lead roles, was a great hit. Pandit Birju Maharaj himself has choreographed innumerable dance productions on new themes, the early creations being Roopmati-Baz Bahadur, Kumar Sambhavam (1958), Shan-e-Avadh (1960), Dalia (1961), Krishnayana (1966) followed by several other productions. His Angika with lighting focussed on isolated segments of the dancers’ bodies, created aesthetic group geometry with movements of the head, eyes, face, wrist, hands, torso, visualising a complete vocabulary of Kathak movements by micro units of the body. He has even choreographed a production centred round the printing of a paper. The autobiographical narration of an iron ore chunk inspired a whole production. A fi ne teacher, he has trained innumerable disciples. His prolifi c experimentation with rhythm and bols has no parallel. Observing rhythms of Nature, he has found in the rolling waves, the chirping birds, night sounds, and human exchanges, sound patterns, expressed

in Kathak bandishes. One of the most creative minds, all his exploration is within the traditional boundaries of the classical form.

Kumudini Lakhia one of the senior disciples of Guru Shambhu Maharaj has made a signifi cant contribution in terms of contemporary explorations, her sojourn with dancers like Ram Gopal giving her a special feel for presentation aspects. She experimented by getting away from the frontal solo dancer by profi ling movement in different directions with aesthetics of group and cluster formations exploited. Even the parhant or recitation of mnemonics became a dramatic device symbolising a verbal exchange between dancers. Above all she used the abstraction of rhythm to convey a message, like in Dhabkar (pulse) where the plain tatkara

became the pulse of a hearbeat. Working alongside her was her long time music composer Atul Desai who created the melodic frame as the foundational take off point, for her themes. Her works like Atah Kim are fi lled with very strong group images. And by opting for very simple elegantly tailored costumes with no jewellery, the focus on the dance by freeing the performer from the over-covered look, has created a mind-set with a proud upright stance and unself-consciousness about the body.

Interacting with Flamenco in duets, dancing to western music of Vivaldi as done by Daksha Seth, and the Moonlight Sonata by Shovana Narayan, Kathak dancers are striving to make Kathak answer the challenges of contemporaneity.◆The author is a dance critic and has written a number of books on Indian classical dance.

Ruby Mishra – captivating moment (above) and Shovana Narayan – a poignant moment in abhinaya (facing page).

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