Category: Culture

While ancient wonders like the pyramids of Giza and Stonehenge are widely recognized as significant monuments of early human civilization, they are outdone by Göbekli Tepe, the world’s oldest known place of worship, which dates back an astonishing 6,500 to 7,000 years earlier. Situated in the southeastern region of modern-day Turkey, this archaeological site dates to approximately 9600 BCE and offers a unique glimpse into the early days of human settlement. It is a “tell,” or an artificial mound formed by generations of human activity in the same location. Göbekli Tepe has not only shed light on Stone Age communities but also challenged long-held assumptions about the birth of human civilization.

Since excavations began in 1995, Göbekli Tepe — which means “potbelly hill” in Turkish — has revealed a complex site containing limestone megaliths arranged in circular patterns, smaller human statues, Neolithic tools, and remains of animal bones. The megaliths, carved with images of wild animals, anthropomorphic beings, and human clothing, suggest that the site was likely used for ceremonial purposes, possibly of a spiritual or religious nature. Radiocarbon dating has determined that these ruins are at least 11,000 years old, placing them in a time when humanity was transitioning from nomadic hunting and gathering to more permanent settlements. This finding has forced anthropologists to reconsider the belief that organized religion only developed after agriculture had firmly taken root in society.

Archaeological evidence from Göbekli Tepe indicates that it may have been a larger, more permanent settlement than originally believed. Moreover, there are hints that it was not the only Neolithic temple complex in the region, suggesting that other, similar places of worship may have existed during the same period. However, despite these possibilities, Göbekli Tepe remains an unparalleled resource for learning about prehistoric humans. While we can only speculate about the meaning behind the stone arrangements and strange symbols, the site continues to be a treasure trove of information about people who lived millennia before the construction of the Egyptian pyramids.

One of the most intriguing aspects of the site is the evidence suggesting that large quantities of beer may have been produced at Göbekli Tepe. The massive limestone pillars at the site weigh several tons and were hauled up a 50-foot hill, a feat that would have required considerable manpower. How, then, were people motivated to perform such labor-intensive work without the assistance of modern machinery? Some archaeologists believe that a beer-fueled feast might have been the answer. In a 2012 paper, researchers working at the site reported the discovery of six large vessels with a 160-liter capacity. These containers contained traces of oxalate, a chemical byproduct of grain fermentation, which is essential in the production of alcohol.

Though it might seem amusing to imagine that beer was a central part of life at Göbekli Tepe, the idea that alcohol played a significant role in early human communities is not far-fetched. For years, archaeologists and historians have debated whether humans first cultivated grain to produce bread or beer. The discovery of these vessels at Göbekli Tepe pushes the timeline of alcohol production further into the past and lends credence to the idea that shared drinking experiences helped to foster social bonds in ancient societies. In the case of Göbekli Tepe, it is easy to imagine how communal celebrations involving beer may have helped bring people together to complete the otherwise arduous and unthinkable tasks of life 11,000 years ago.

As a result, Göbekli Tepe has opened a window into a long-lost world, where early humans may have gathered for both spiritual ceremonies and social celebrations involving feasts and alcohol.

Loot, a despicable word, was evidently among the first few Hindustani expressions to enter the British lexicon. It aptly illustrates the brand of British colonisation like no other word.

On a chilly evening in the first week of December in 1862, British Empire’s railway engineer E.B. Harris reached a small riverside market village called Sultanganj on the south bank of Ganges some twenty miles west of Bhagalpur. Here his 4,771 workers were excavating a vast mound of bricks on the hillside to build a railway yard. Harris, recognised among the railway engineers for the construction of the challenging Jamalpur tunnel, was alerted by the unexpected sound of field axes striking metal. The engineer rushed to the spot where at the depth of twelve feet he spotted the foot of a copper figure. Instantly a large number of people converged at the site. The workers shoved the crowds back and gently retrieved a statue entrenched in a brick-walled chamber. The copper figure was over seven feet and four inches tall and weighed five hundred kilogrammes. It was a stunning representation of Gautama Siddharth, the founder of Buddhism, who lived in India and Nepal around the 6th century BC. This was an amazing discovery.

The railway engineer with antiquarian leanings later noted, “I believe from what I can learn that nothing of the kind has ever been discovered before; certainly nothing in metal so large.” British archeologists confirmed that the copper statue was the only surviving one from the Gupta period of Indian history (4-7th century CE) and demonstrated the extraordinary skills of metal sculptors of ancient India. Some 700 years after it was made, the statue was deliberately buried in the Buddhist monastery for safekeeping from possible damage by foreign armies or rival kingdoms. The news about the chance unearthing of the statue spread swiftly and tens of thousands of Indians came out to pay their respect to the ancient sculpture known as Sultanganj Buddha. Harris, dressed in his vintage-safari hat and light-coloured suit was photographed standing next to the statue. But within two years it disappeared.

The news about the Sultanganj Buddha had reached the ears of Samuel Thornton, a railway ironmonger and the former Mayor of Birmingham. He acquired it for 200 pounds, and secretly shipped it to Britain. On its arrival at the London docks, curators of a local museum tried to pinch it but eventually it reached Birmingham safely. On 7 October 1864, Thornton, proudly presented the discovery of the British Empire to Birmingham Borough Council, writing, “…the colossal figure of Buddha, and the large marble one, to the town, to be placed in the Art Museum, now being erected, where they may be duly and properly located for the free inspection of the inhabitants of Birmingham.” Renamed ‘Birmingham Buddha’, it went on display first in the Corporation Art Gallery, then in a room in the Central Library in 1867. Eighteen years later in was placed as the most important artifact in the newly built Museum and Art Gallery inaugurated by King Edward VII when he was Prince of Wales. Since that day innumerable admirers of the British Empire romantically looking back at the Raj, have visited the Art Gallery to carefully scrutinise the Sultanganj Buddha’s arresting facial features that emphasise the rejection of the material world in favour of spiritual enlightenment. But the British Empire never set itself on the path of denying material wealth that was derived from its brutal campaign of global conquest. The Sultanganj Buddha displayed on British soil constantly reminds us of its illegitimate transfer from India. This was not a titanic achievement—it was loot.

Loot, a despicable word was evidently among the first few Hindustani expressions to enter the British lexicon. It aptly illustrates the brand of British colonisation like no other word. Late starters in the build your own global empire game, British seafarers followed the shipping fleets of Portugal, Spain, Holland, Denmark, and France towards the East. Just over a century after Vasco da Gama discovered the sea route from Europe to India, The East India Company was established in London in 1599 to reach out for India’s fabled treasures, gold, jewels, and spices. In the 17th and 18th centuries, India was prosperous while Britain was an inconsequential, feudal-ridden kingdom.

Essentially India had endured as an economically flourishing and culturally rich civilisation for millennia before Britain even existed. This multicultural spiritual centre of the planet knew that the Earth went around the Sun and many centuries before the first British ship docked on an Indian port, Indian entrepreneurs had shaped trade routes to Arabia, Africa, China, West Asia, and Southeast Asia. Then in 1602, the East India Company authorised by its charter to wage war, launched its maiden voyage to defeat the European powers in gaining control over India. Though the British outwardly came to India as a business venture and the adventure of finding new lands, the lines between exploration and exploitation blurred rapidly. The Company’s directors sitting in the boardroom of the multinational business in London employed the culture of corporate violence to make war across India. The gang of bankers, buccaneers, crusaders, gold-diggers, mandarins, pirates and planters, generated almost a quarter of Britain’s trade while systematically stripping India of its riches. And after defeating the Indians in the first war of Indian independence in 1857- 58, the British Crown directly took control of India and it became the jewel of the crown. Now the Queen of the small, rainy island in the North Atlantic ruled over the biggest empire in human history on which the sun never set. For the next ninety years, Indians were subjugated by Hukumat-i-Britannia’s repressive military rule, faced stringent race and class discrimination, and witnessed human greed at its basest.

By the time East India Railway’s Harris accidentally stumbled on the Buddha statue in Sultanganj in 1862, a ruthless campaign of appropriation of Indian art and the archaeological dismemberment of India had been underway for decades. In 1800 a strange-looking tiger automaton toy was delivered to an address on Leadenhall Street in Central London. This was the East India House, the office of the Chairman of the Court of Directors of the East India Company. Carted off from Mysore it was a part of the booty lifted from Tipu Sultan’s palace. The toy was a six-foot-long mechanised wooden piece that was painted in the shape of a tiger devouring a red-coated European soldier lying on his back. An organ cleverly concealed inside the tiger’s body produced sounds imitating a man’s dying moans as well as the roar of a tiger.
From July 1808 onwards it was put on view as a piece of imperial propaganda in the Company’s reading room. It became a popular sight and its sounds caused many members of the British public to faint from fear. Even two hundred and twenty years later the wooden tiger remains the most prominent and intriguing displays at the Victoria and Albert Museum in London. In 1849, the Koh-i-noor (the mountain of light), a beautiful 105.6-carat diamond that originated in the Golconda mines was removed to London under dubious circumstances. This mark of prestige and power in India for centuries was flaunted as an imperial possession in 1851 at the Great Exposition in London. In 1937 it was embedded in the royal crown of the Queen Mother and is now displayed at the Tower of London under the continual protection of the armed Yeoman Warders.

Inexplicably tourists are prohibited from photographing the famed diamond. Besides the over one-thousand-year-old sandstone sculpture of Harihara from Khajuraho now parked at the British Museum in London, one of the greatest robberies of all times from India was the famous Amaravati Railings originating from the Buddhist Stupa of Amaravati in the Guntur district. Here a magnificent architectural achievement of India, with a history that spanned seventeen centuries was ruthlessly dismantled piece by piece. In an indefensible act, the majority of the Stupa’s carved stones were hauled over to Britain. Today some of the Amaravati sculptures consisting of carved relief panels presenting narrative scenes from the life of Gautama Buddha as well as Buddhist emblems and symbols are displayed in Room 33 on the first level of the British Museum. Captain Henry Hardy Cole, the farsighted British Curator of Ancient Monuments in India during 1882-83, had unsuccessfully objected to the removal of the sculptures from the site and recorded, it is a “suicidal and indefensible policy to allow the country to be looted of original works of ancient art”.

Now it is well known that from the reign of Elizabeth I to almost the coronation of Elizabeth II there is an entire unrecorded parallel history of pillaging of Indian treasures. Far beyond the overhyped stories of the Hukumat-i-Britannia’s ceremonial durbars, maharajahs’ balls, Viceregal tiger shoots, cricket matches, Anglicized curries, parades, pageants, and shenanigans in Shimla, there exists the shameful colonial legacy of theft. Notwithstanding the British Empire’s assertion of its benevolence in introducing modern medicine, law, civil services, progressive education and railways in India all the expensive art pieces and artifacts stolen from India are now safely placed in the galleries and vaults of Britain’s museums and stately manors. They signify grave crimes that were committed in India in the name of racial superiority. The British program of plundering was essentially an indomitable endeavour to destroy India’s splendid history and obliterate our nation’s historical accomplishments as if they never existed.

Distinguished American historian Will Durant in his short pamphlet, The Case for India, remarked, “The British conquest of India was the invasion and destruction of a high civilization by a trading company utterly without scruple or principle… bribing and murdering, annexing and stealing, and beginning that career of illegal and legal plunder”. He added, that it was “the most sordid and criminal exploitation of one nation by another in all recorded history.” Recently Indian Economist Utsa Patnaik estimated that Britain decamped with a total of nearly $45 trillion from India during the period 1765 to 1938 but this excludes the environmental costs of aggressive deforestation and the institutionalized loot of Indian assets. To write a full-scale comprehensive history of the systematic ravaging of India by Hukumat-i-Britannia would be the work of many lifetimes for historians or the never-ending occupation of a government department. Consequently, there is no such record in the public domain as yet.

In the twenty-first century if British citizens look back impartially on the blotchy history of their occupation of India, they will conclude that the British Empire had a reprehensible past. On 22 September 2020, The National Trust of Britain, Europe’s largest conservation charity, with 5.6 million members; over 500 sites, and up to 14,000 employees made an astonishing disclosure. In an official report that spanned 115 pages, the National Trust admitted, that a third of the properties it manages had direct links to colonialism or slavery. The Trust that made $870 million in revenue in the past year claimed that at least 229 landed estates were purchased in Britain by those who had made their fortune either as employees of the East India Company or as independent merchants in India between 1700 and 1850.

The report highlighted the amalgamated collections of Robert Clive and his family that contained some 1,000 objects including ivories, textiles, statues of Hindu gods, ornamental silver and gold, weapons, and ceremonial armour from India that are now brandished at Powis Castle. It also confessed that the British robbed the spectacular Chinese porcelain dish originating from Shah Jahan’s treasury during the sacking of the Qaisar Bagh Palace in Lucknow in 1857. That rare Mughal heirloom is now held in the National Trust’s collection at Wallington.

In the seventy-fifth anniversary of India’s Independence, the time has come for the repatriation of the Indian works of art and artifacts from Britain. An aggressive international campaign to retrieve the stolen treasures of India needs the resources of our political, diplomatic, legal, corporate, media, and entertainment communities and the professional expertise of art historians, artists, architects, archaeologists, curators and museum directors of India. The UNESCO’s heritage department must be persuaded to join forces with Bharat Sarkar for returning these antiquities. The planned repurposing of the North and South Block on the Raisina Hill as museums in New Delhi would only be complete with the hundreds and thousands of pilfered Indian treasures lying around the world in museums and the vaults of international auction houses being secured for future generations of Indians.

In the meanwhile, at the Birmingham Museum, the Sultanganj Buddha’s hand gestures (mudras) remain symbolic and can serve as an inspiration for Britain and His Majesty’s Government to accept a historic blunder. The raising of his right hand, Abhaya means ‘no fear’ and hence shows the Buddha giving reassurance and protection, and the left hand with its palm outward and held upwards represents granting a favour. Fittingly, the fearless repatriation of the loot by Britain is the only practicable resolution that is now long overdue.

Bhuvan Lall is an author, filmmaker, scriptwriter, speaker and entrepreneur. He is also the biographer of Subhas Bose, Har Dayal and Sardar Patel. He can be reached at writerlall@gmail.com

Bhante Sujatha, a Sri Lankan Buddhist monk leading a temple in Woodstock, Illinois, hopes a new outdoor, interfaith meditation space will be a sanctuary in a world of noise.

WOODSTOCK, Ill. (RNS) — It’s just before 10 on the Saturday morning before Labor Day and the Dharma Hall at the Blue Lotus Temple is beginning to fill up.

At the front of the room, practitioners sit or kneel on maroon-colored cushions while others begin to fill in the rows of chairs behind them. Nearby, in the social hall, small groups of twos and threes gather to chat or catch up before the meditation.

The group for this morning’s meeting is a mix of folks — many in their 30s and 40s, along with some older practitioners. A few wore black shirts or hoodies adorned with the message “Choose Loving Kindness,” the motto of Bhante Sujatha, a Sri Lankan monk and head abbot of the temple, who is leading this morning’s meditation.

With the smell of incense in the air and a hush falling over the room, practitioners first bowed to the Sri Lankan Buddha at the front of the hall, then sat or kneeled with their eyes closed, breathing slowly and relaxing.

“May you be well, may you be happy, may you be peaceful,” Sujatha told the group as they began meditation.

For more than two decades, Sujatha has been leading meditation here at the former Unitarian church just off the historic square in Woodstock, a small town about an hour northwest of Chicago. For the first decade, the group met in the church basement. Then in 2012, they bought the building from the Unitarians and moved up to the former church sanctuary where stained-glass windows depicting Jesus, Mary and angels remain in place.

Those stained-glass windows now overlook a new outside meditation space, which was dedicated on Saturday (Sept. 7). The new space features a 20-foot-tall statue of Kwan Yin, a female version of the Buddha, as well as a new Medicine Buddha statue from Vietnam, which was installed earlier this week.

The new outdoor space — known as the “Healing, Unity, Garden” or “HUG” for short — is the latest outreach effort by the Blue Lotus, aimed at furthering Sujatha’s mission of bringing a little more peace and kindness into the world.

The idea of the outdoor meditation space, he said, is to make the teachings of the Buddha a little more accessible to people who are skeptical of organized religion or who may be anxious about entering a temple.

“People need a place to sit down and process and reflect,” said Sujatha, a Theravada Buddhist monk dressed in a simple burgundy robe, during an interview a week before the new Buddha’s unveiling. “People feel helpless. People don’t know who to talk to. People cannot trust other people. So, therefore, they need a place like a sanctuary.”

Sujatha, who mixes spiritual teaching with self-deprecating humor — as a young man, he said, he was “a very annoying Buddhist monk — first purchased the Buddha for the temple about 18 months ago, during a visit to Vietnam. But getting the Buddha to Woodstock, and getting it installed, proved a challenge.

Along with arranging transport by boat, tractor-trailer and eventually a moving van, members of the Temple board also had to find a contractor with the expertise needed to install the 8,000-pound marble statue in the outdoor space.

“I gave a talk the other day here, and I said, ‘You know, Rome wasn’t built in a day, but this took even longer,’” said Tyler Lewke, board president of the Blue Lotus Temple.

Setting up the outdoor meditation space also meant dealing with some deferred maintenance in the 118-year-old building that the temple calls home, including replacing a concrete set of stairs leading into the building, which had begun to fall from the side entrance, as well as shoring up a foundation wall by the garden.

“I quickly realized this might be an opportunity for us to do some other things,” Lewke said. “We want to be noble stewards of this building, and it’s a challenge.” That deferred maintenance, he said, boosted the cost of the project from $40,000 to about $150,000.

The temple’s leadership also had to get permission from the local city council as well as Woodstock’s historic commission to install the outdoor meditation space — all of which went smoothly, he said.

“Not a single objection, just totally gracious, open arms and welcoming,” he said, which contrasted with the Blue Lotus’ early years two decades ago, he said, when neighbors viewed the meditation services with some suspicion.

Lewke grew up attending services at the Unitarian church — “I’ve been in this building since I was 11,” he said with a smile — and has been part of the Blue Lotus community since about 2004. He met Sujatha when the monk was teaching meditation at a local art center.

The two became friends, and together, have helped build up the Blue Lotus Temple in Woodstock, while also helping start temples in Pennsylvania and Baton Rouge, Louisiana, using the same spiritual but not religious approach to meditation.

“Our approach is entirely attraction — all we do is just show up, do our thing, and if people gravitate to it and it grows and they want to support it, that’s wonderful,” he said.

That spiritual but not religious approach to Buddhism often is found in Buddhist communities that attract converts, rather than immigrant communities, said Ann Gleig, associate professor of religion and cultural studies at the University of Central Florida. Gleig, author of “American Dharma,” a book about Buddhist convert communities in the United States, said those communities are often found in larger urban areas such as Boston or San Francisco and are often led by converts.

That makes the Blue Lotus a bit unique, she said.

Lewke, who also helps lead Refuge Recovery, a 12-step program based on Buddhist principles, said the garden was supposed to open in 2023, but necessary maintenance delayed the project.

Still, he said, that is a good thing, in that the meditation space opened during a tumultuous time in American culture.

“We were supposed to open a year ago,” he said. “But honestly, the idea of offering up a space of unity in our current climate feels profound.”

In an interview, Sujatha said that the newly unveiled Bhaisajyaguru statue — also known as the Medicine Buddha — can be a symbol of spiritual healing. That kind of healing is needed at a time when people seem addicted to conflict and strife, he said.

“I think people love suffering more than peace,” Sujatha said. “Peace is so boring to people. When you are quiet and practicing noble silence or something, it’s so boring to people.”

The Medicine Buddha is seated and holds a jar in his hands that represents the Buddha’s teaching, which can bring spiritual healing, said Sujatha, The temple, he said, is a kind of a spiritual hospital, aimed at helping people find a better way of living.

“I can call the Blue Lotus a hospital,” he said. “People come to get some treatment from here — then you go home and live according to those treatments and make your life better and peaceful.”

During a meditation service a week before the new Buddha — which had been covered by a tarp — was unveiled, Sujatha told the gathering not to look to him or outside circumstances for happiness. Instead, he said, they should focus on finding inner contentment — something no one can take away from them.

At the end of the service, he invited temple members to join a group of volunteers who would be preparing the temple for that weekend’s unveiling event later that week.

“We will do the deep cleaning meditation,” he said, with a smile.

On Wednesday, the Ramon Magsaysay Award Foundation commemorated the 65th anniversary of the award given to the Dalai Lama by launching a seven-volume series titled *Greatness of Spirit*. This event, held at the Dalai Lama’s residence in Dharamsala, Himachal Pradesh, was marked by the presence of the Tibetan spiritual leader, along with representatives from the Foundation and Indian laureates.

The Dalai Lama, who was awarded the prestigious Ramon Magsaysay Award in August 1959, was recognized for his leadership during a critical moment in Tibetan history. His leadership of the Tibetan community, especially during their fight to preserve their religious and cultural identity in the face of Chinese oppression, was a key factor in his receiving this honor. The award citation lauded him for leading “the Tibetan community’s gallant struggle in defence of the sacred religion that is the inspiration of their life and culture.” This recognition placed the Dalai Lama among the distinguished figures in Asia who had made significant contributions to society and governance.

Susanna B. Afan, the President of the Ramon Magsaysay Award Foundation, officially launched the book series during a ceremony at the Dalai Lama’s residence. The Foundation’s Board of Trustees, along with selected partners and previous Indian laureates, were also present to witness the momentous occasion. The series *Greatness of Spirit* aims to showcase the extraordinary efforts of individuals who have received the Ramon Magsaysay Award, emphasizing the values of integrity, service, and idealism.

Earlier in April 2023, a historic moment took place when members of the Ramon Magsaysay Award Foundation personally presented the 1959 award to the Dalai Lama at his residence in Dharamsala. Although he had been conferred with the award 64 years earlier, this was the first time the Tibetan leader had received the physical award in person. This gesture was seen as a reaffirmation of the Dalai Lama’s enduring influence and his continued commitment to the principles that had first earned him the award.

Known for his infectious smile, simplicity, and sense of humor, the Dalai Lama’s influence extends far beyond his role as a spiritual leader. A Nobel Peace Prize laureate, he is also a passionate advocate for non-violence and human rights. For him, Mahatma Gandhi stands out as the most influential figure of the 20th century, with Gandhi’s philosophy of non-violence deeply resonating with the Dalai Lama’s own beliefs. Throughout his life, the Dalai Lama has engaged with world leaders and spiritual figures across various religious traditions, always seeking to foster dialogue and mutual understanding. He is also a frequent speaker on ethics and happiness, offering guidance to students, business leaders, and religious communities alike on how to cultivate well-being and compassion in the modern world.

In recognition of his global contributions to peace, the Dalai Lama was awarded the US Congressional Gold Medal in 2007, an honor that elevated his status further on the international stage. This recognition, however, was not without controversy. China, which views the Dalai Lama as a separatist, protested vehemently against the decision, criticizing the US government for what it saw as interference in its internal affairs. Despite these protests, the Dalai Lama continued to remain a revered figure globally, with his message of peace and reconciliation reaching far and wide.

Born on July 6, 1935, in the small hamlet of Taktser in Tibet, the Dalai Lama’s journey from a humble background to becoming the leader of the Tibetan people is remarkable. At the age of two, he was identified as the reincarnation of the 13th Dalai Lama, Thubten Gyatso. This recognition marked the beginning of his journey as the spiritual and temporal leader of Tibet. However, his leadership took on new challenges when Tibet faced political unrest due to Chinese occupation.

In 1959, a failed uprising against Chinese rule forced the Dalai Lama to flee Tibet, seeking refuge in India. He eventually established the Tibetan government-in-exile in Dharamsala, where he continued to advocate for the rights of the Tibetan people. Although his government-in-exile has never been officially recognized by any country, the Dalai Lama has remained a symbol of hope and resilience for the Tibetan cause. His call for autonomy within China and his emphasis on non-violence have garnered international support, even though the political resolution of Tibet’s status remains elusive.

The Ramon Magsaysay Award, often referred to as the “Nobel Prize of Asia,” is a prestigious honor that is presented annually. The award is named after Ramon Magsaysay, a former Philippine president known for his integrity and dedication to public service. Magsaysay’s presidency was marked by his efforts to combat corruption and his commitment to improving the lives of ordinary people, qualities that the award seeks to recognize in its recipients.

The prize was established in 1957 by the trustees of the Rockefeller Brothers Fund in collaboration with the Philippine government. Since its inception, the award has celebrated individuals and organizations in Asia who demonstrate integrity, courage, and commitment to societal improvement. Recipients of the award are recognized for their contributions to a range of fields, including governance, community service, and social reform. The Ramon Magsaysay Award continues to stand as a beacon of ethical leadership in Asia, promoting ideals of democratic governance and social justice.

By launching the *Greatness of Spirit* series, the Ramon Magsaysay Award Foundation hopes to inspire future generations to follow in the footsteps of the award’s distinguished laureates. These volumes not only chronicle the lives and achievements of past recipients but also serve as a testament to the enduring power of compassion, courage, and service in creating positive social change.

As the Dalai Lama continues to inspire millions around the world with his teachings and actions, the launch of this series is a fitting tribute to his lifelong dedication to the betterment of humanity. The 65th anniversary of his Ramon Magsaysay Award is not just a commemoration of a past achievement but a reminder of the timeless values that the Dalai Lama embodies and the lasting impact he continues to make on the world stage.

The Raja Ravi Varma Art Gallery, a state-of-the-art facility, has been established to exclusively showcase the significant works of one of India’s most revered artists, Raja Ravi Varma. This new gallery, spanning 12,000 square feet, is situated adjacent to the Sree Chitra Art Gallery within the Museum and Zoo campus in Thiruvananthapuram, Kerala. Raja Ravi Varma, who was born on April 29, 1848, in Kilimanoor within the aristocratic family of the Travancore kingdom, is celebrated for his immense contribution to Indian art, and this gallery is a testament to his enduring legacy.

Previously, the masterpieces of Raja Ravi Varma were housed in the Sree Chitra Art Gallery, but the creation of this new gallery underscores the importance of preserving and properly displaying his works. The Raja Ravi Varma Art Gallery serves as a distinct entity within the Napier Museum and boasts a collection of 134 works, including 46 paintings, 14 oleographs, and 16 pencil sketches. These works are considered some of the finest examples of Indian art, with each piece holding immense cultural and artistic significance.

Among the prized possessions in the gallery are the oil paintings donated by Kilimanoor Palace in 1935, which are considered masterpieces in their own right. The gallery also houses certificates awarded to Raja Ravi Varma in 1893 from Chicago and Vienna, recognizing the excellence of his works sent from Kilimanoor Palace. These artifacts further enhance the gallery’s importance as a cultural institution dedicated to preserving and celebrating the achievements of one of India’s most illustrious artists.

In addition to the works of Raja Ravi Varma, the gallery also features pieces by his brother, C. Raja Raja Varma, and his sister, Mangala Bai Thampuratti. Their inclusion not only enriches the gallery’s collection but also provides visitors with a more comprehensive view of the artistic contributions made by the Varma family to Indian art.

The Raja Ravi Varma Art Gallery is more than just a space for displaying art; it is a place that honors the legacy of a man who played a pivotal role in shaping Indian art. Raja Ravi Varma is often credited with blending European techniques with Indian subjects, creating a unique style that has influenced generations of artists. His works, which often depicted scenes from Indian mythology and history, have left an indelible mark on the cultural landscape of India.

This gallery is a significant addition to Kerala’s cultural offerings, providing art enthusiasts with a dedicated space to explore the life and works of Raja Ravi Varma. The gallery’s layout and design have been carefully planned to ensure that visitors can fully appreciate the beauty and significance of the works on display. Each section of the gallery is meticulously organized, allowing for an immersive experience that highlights the artistic genius of Raja Ravi Varma.

For those looking to take a piece of this experience home, a souvenir shop is available, offering a range of memorabilia related to Raja Ravi Varma and his works. The gallery also ensures accessibility for all visitors by providing wheelchairs for those in need. Additionally, guide services are available upon request, offering insights and detailed explanations about the artworks and their historical context.

The Raja Ravi Varma Art Gallery is open to the public from Tuesday to Sunday, with visiting hours from 10:00 A.M. to 04:45 P.M. The gallery remains closed on Mondays and select public holidays, including Republic Day, Independence Day, Thiruvonam, and Mahanavami. The entry fee is modest, with adult tickets priced at Rs. 25 and children’s tickets at Rs. 10, making it an affordable cultural experience for families and individuals alike.

For more information or inquiries, visitors can contact the Directorate of Museums and Zoos in Thiruvananthapuram. The gallery is easily accessible, with the nearest railway station being Thiruvananthapuram Central Railway Station, located about 3.6 km away, and the nearest airport being Trivandrum International Airport, approximately 5.5 km from the gallery.

The establishment of the Raja Ravi Varma Art Gallery marks a significant milestone in the preservation and promotion of Indian art. It not only celebrates the life and works of Raja Ravi Varma but also provides a platform for future generations to learn about and appreciate the rich artistic heritage of India. As a state-of-the-art facility dedicated to one of the country’s most iconic artists, this gallery stands as a proud symbol of Kerala’s commitment to preserving its cultural heritage and promoting the arts.

The Sri Ashtalakshmi Temple, located in Sugarland, Texas, is preparing to unveil a massive 90-foot statue of Lord Hanuman, which will be the tallest statue in Texas and the third-largest in the United States. This grand statue, referred to as the ‘Statue of Union,’ is intended to serve as a symbol of unity and strength, inspired by the vision of the Indian spiritual leader Chinna Jeeyaar Swami. Chinna Jeeyaar Swami, who also inspired the creation of the Statue of Equality in Hyderabad, India, will be present to inaugurate the statue during a ceremony scheduled to take place from August 15-18 at the temple.

The temple officials describe the Statue of Union as “North America’s tallest statue of Lord Hanuman, an embodiment of strength, devotion, and selfless service.” Hanuman, revered for his loyalty and unwavering service to Lord Rama, is celebrated in Hindu tradition for his role in reuniting Sri Rama with Sita, which is the inspiration behind the statue’s name. The official statement elaborates that “The Statue of Union is about creating a spiritual epicenter where hearts find solace, minds find peace, and souls find a path to transcendence.”

Support for this monumental project has been overwhelming, with well-wishers from India and around the world showing their enthusiasm. Bollywood music director Dilip Sen, known for his work on “Hanuman Tandav” along with Anup Jalota, has expressed his support. He has also contributed Bhajans, devotional songs, sung by Anuradha Paudwal for the Ram Sita Milan, and another devotional track on Lord Ram featuring Udit Narayan.

The inauguration of this significant religious monument is being meticulously organized by a dedicated team led by prominent community leader Arun Mundra, who serves as the international coordinator for Mein BHARAT Hoon and NRI Global, along with Heemanshu Maheshwari.

In a historic and culturally significant event, the youth of Baramulla district in Jammu and Kashmir set a world record by performing the largest-ever Kashmiri folk dance. The record-breaking event took place during the ‘Kashur Riwaaj’ cultural event, with a staggering 10,000 young women participating.

The remarkable achievement was widely shared and celebrated on social media, with All India Radio News posting a video of the massive dance performance on its official Instagram handle. The event was organized by the Dagger Division of the Indian Army, in collaboration with the Punit Balan Group and the Baramulla District Administrative agencies. The Defence Spokesperson expressed the significance of the event, stating, “The mega event has successfully united the youth of Kashmir, celebrated their cultural heritage, and instilled a sense of pride and unity that will resonate for years to come.” The celebration was held in Baramulla and extended to several nominated schools across the district.

This record-setting event in Baramulla is reminiscent of a similar achievement last year by Kudumbashree, an all-woman network from Kerala. Kudumbashree organized a massive Thiruvathira dance performance at Kuttanellur Government College, which also set a world record. On that occasion, 7,027 Kudumbashree members came together to perform the ancient group dance form on the college campus. Thiruvathira, a dance traditionally performed during the Onam festival in the Malayalam month of Chingam, and sometimes in the month of Dhanu, was showcased on a grand scale.

Due to the sheer number of participants, the gigantic “Thiruvathirakali” (Thiruvathira dance) made its way into the Limca Book of Records and the Talent Record Book. Organizers are also considering submitting this achievement to the Guinness Book of World Records.

Kudumbashree, recognized as the world’s largest women’s network, was praised as a model of women’s empowerment by Revenue Minister K Rajan. He also emphasized the network’s significant status and influence. The district’s Onam celebrations, which included this record-breaking dance performance, were coordinated by the municipal corporation, the tourism department, and the district government.

Both events, one in Kashmir and the other in Kerala, exemplify the power of cultural traditions in bringing communities together and achieving global recognition. The success of these large-scale performances not only highlights the rich cultural heritage of the regions but also showcases the unity and empowerment of women through the preservation and celebration of traditional art forms.

The Moidams of eastern Assam, a 700-year-old burial system from the Ahom dynasty, were added to UNESCO’s World Heritage List on Friday, marking the first cultural site from the Northeast to achieve this status.

The nomination dossier for the Moidams was submitted over a decade ago. Culture Minister Gajendra Singh Shekhawat expressed his elation by stating that the “day would be etched in golden letters.” He extended gratitude to UNESCO, saying, “We thank UNESCO, World Heritage Committee for understanding the outstanding universal value of ‘Moidams.’”

Assam Chief Minister Himanta Biswa Sharma also celebrated this recognition, noting, “The Moidams make it to the UNESCO World Heritage list under the category Cultural Property – a great win for Assam… It is the first time a site from the North East has made it to the UNESCO World Heritage List under the Cultural Category and after Kaziranga and Manas National Parks, it is Assam’s third World Heritage Site.”

What are Moidams?

Located in the foothills of the Patkai Ranges in Assam, the Moidams are the royal necropolis of the Tai-Ahom. The site comprises ninety moidams — hollow vaults constructed from brick, stone, or earth — varying in size. According to a statement on the UNESCO website, for 600 years, the Tai-Ahom created these moidams, integrating the natural topography of hills, forests, and water, forming a sacred geography.

To date, the World Heritage Committee has inscribed 1,199 sites in 168 countries. India boasts 43 sites on this prestigious list.

A moidam is a tumulus, essentially a mound of earth raised over a grave, specifically of Ahom royalty and aristocracy. While Charaideo houses the moidams of Ahom royals, other moidams belonging to aristocrats and chiefs are scattered across the eastern part of Assam, between Jorhat and Dibrugarh.

Ahom kings and queens were interred within these moidams. Unlike Hindus who practice cremation, the Ahoms, originating from the Tai people, primarily buried their dead. The height of a moidam typically reflects the power and stature of the individual buried within. However, except for those of Gadhadhar Singha and Rudra Singha, most moidams remain unidentified.

Inside the moidam chambers, the deceased king would be buried along with items necessary for the “afterlife,” including servants, horses, livestock, and sometimes even their wives. The similarity between Ahom burial rites and those of the ancient Egyptians has led to the Charaideo moidams being referred to as the “Pyramids of Assam.”

President Droupadi Murmu announced on Thursday the renaming of two significant halls in Rashtrapati Bhavan—Durbar Hall and Ashok Hall. They will now be known as Ganatantra Mandap and Ashok Mandap, respectively. Durbar Hall is renowned for hosting important ceremonies, including the presentation of National Awards, while Ashok Hall, once a ballroom, is now reserved for special events.

“There has been a consistent endeavour to make the ambiance of the Rashtrapati Bhavan reflective of the Indian cultural values and ethos,” stated the Rashtrapati Bhavan in a press release.

The term ‘Durbar’ historically referred to the courts and assemblies of rulers. However, it lost its relevance after India became a Republic, or ‘Ganatantra.’ The statement elaborated that the concept of the republic is deeply rooted in ancient Indian society, making ‘Ganatantra Mandap’ a fitting name for the venue.

The name ‘Ashok’ signifies a person “free from all sufferings” or “bereft of any sorrow.” It also refers to Emperor Ashoka, a symbol of unity and peaceful coexistence. The National Emblem of India, the lion capital, is derived from the Ashokan Pillar at Sarnath. Additionally, the Ashok tree holds significant importance in Indian religious traditions, arts, and culture. The Rashtrapati Bhavan emphasized that renaming Ashok Hall as Ashok Mandap ensures linguistic uniformity and eliminates traces of anglicization while upholding the values associated with ‘Ashok.’

“Renaming Ashok Hall as Ashok Mandap brings uniformity in language and removes the traces of anglicisation while upholding the key values associated with the word ‘Ashok’,” read the statement.

Reacting to the renaming, Congress general secretary Priyanka Gandhi Vadra commented, “There is no concept of ‘Durbar’ [for the government] but a concept of ‘Shehanshah’… Interesting.”

In January of the previous year, just a day before the historic Mughal Gardens were set to open to the public, the Rashtrapati Bhavan announced that the gardens would henceforth be known as Amrit Udyan. Announcing that the gardens would be accessible from January 31 to March 26, Navika Gupta, Deputy Press Secretary to the President, stated, “On the occasion of the celebration of 75 years of Independence as Azadi Ka Amrit Mahotsav, the President of India has given a common name to the Rashtrapati Bhavan gardens as Amrit Udyan.”

Spanning 15 acres, the layout of the Mughal Gardens was inspired by the garden styles of the Mughals in Jammu and Kashmir and the Taj Mahal. According to the Rashtrapati Bhavan website, these gardens, described as “the soul of the Presidential Palace,” were also inspired by miniature paintings from India and Persia. BJP leaders hailed the renaming as “historic,” viewing it as a step away from “slave mentality.”

In 2022, the pathway from Rashtrapati Bhavan to India Gate, formerly known as Rajpath, was renamed Kartavya Path. The Prime Minister’s Office commented at the time, “It symbolises a shift from erstwhile Rajpath being an icon of power to Kartavya Path being an example of public ownership and empowerment.” The statement continued, “These are steps… in line with the Prime Minister’s second ‘Panch Pran’ for New India in Amrit Kaal: ‘remove any trace of colonial mindset.’”

(RNS) — Every day since March, 63-year-old Ranjani Saigal has posted a 90-second Instagram reel. “I’m not a social media person,” said Saigal, who goes by “The Hindu Grandma” on Instagram. “I didn’t know what a reel was, I didn’t know what TikTok was, any of that. Like many other grandparents, I was like, ‘Social media? I should stay away from that.’”

But Saigal, who lives in Boston, was determined to reach the next generation of Hindu children, and she knew social media is where she’d find them. Through short educational videos answering questions such as “Why do Hindus wear a bindi?” or demonstrating a step-by-step everyday morning prayer ritual, Saigal has become a symbolic “dadi,” “ajji,” or “ammamma” to over 100,000 followers.

“Somehow people seem to like to learn from grandma, and hence seem to listen in more,” she said. “People love their grandmas, at the same time they’re kind of missing in their lives. And I don’t know, it touches me a lot, so it makes me keep wanting to go with it.”

To Saigal, who is a trained purohita, or family priest, and a Bharatanatyam teacher, Hinduism is a “star-studded, gem-filled” tradition that has a real power to connect with youth. For her granddaughter’s first birthday, Saigal was able to gift her a copy of her own children’s book: “My First Om,” intended for the very youngest of Hindus.

“The more Hindu a teacher you are, the more you should allow for questions,” she said. “It’s a religion of understanding and of knowledge, not of faith. And I think that kind of vibes with the modern generation.”

American Hindu parents and grandparents like Saigal are reckoning with how to keep their children connected to Hinduism against a nationwide backdrop of decreased religiosity among young people. From Instagram reels to children’s books, summer camps to Sunday school, Hindu adults hope to spark genuine excitement about the Hindu faith among second-generation youth, while offering them a community to belong to.

Roopa Pai, an award-winning author based in Bangalore, India, similarly saw a gap that needed to be filled. The author of India’s first children’s fantasy series, the “Taranauts,” Pai wrote “The Gita: For Children” in 2015; it’s an 18-chapter, kid-friendly version of one of Hindus’ most revered scriptures, the Bhagavad Gita, which takes place during the Battle of Kurukshetra.

Before taking on the project, however, Pai, who had never read the Gita before, had her concerns. “First of all, I thought, it’s not meant for children,” said Pai, who was raised as a Lingayat, a community that does not practice Vedic rituals. “You know, it’s something that old people in their rocking chairs in the winter of their lives, after having experienced all the vicissitudes of life, settle into.

“And in India, the Gita is a living, breathing text, and people are very, very sensitive to what you may say about it,” she added. “So I approached the Gita with a very open, inquiring, curious mind as a piece of literature, not as a piece of scripture.”

Although the book is set in wartime, Pai says the dynamic Gita is chock-full of relevant lessons for children of any age. It is a metaphorical story, she says, in which the battlefield is in one’s own mind. Arjuna, the main protagonist, asks Lord Krishna for advice moments before he must fulfill his dharma, or duty, as a soldier, even though some of his beloved relatives are on the other side.

The author describes Krishna as Arjuna’s “best friend,” who instructs him to not let emotion cloud his dharma. In 700 verses, Krishna offers wisdom on morals, mindful action and the power of making the right choice against voices that will tell you otherwise — like, for example, when facing peer pressure to lie to your parents.

Pai says her lessons for children from this are to recognize they are already whole, that “your best friend is with you” and always has their back, and they just need to cultivate that friendship and lean into it when they face problems. “I tell them, you know, every five minutes before you go to sleep, each night, sit and talk to your Krishna,” Pai said.

Pai, who has lived in New York and Florida with her two children in the past, says her book is widely read by children across the Hindu American diaspora. “That’s the other core thing in Hindu philosophy: that happiness is not to be pursued, that it’s a waste of time, which goes fully against the American thing of pursuit of happiness,” she said. “It says instead, put all your energies into finding bliss, contentment, peace that is long-lasting.”

She says parents and children are equally “surprised, startled and delighted” by the modern-day relevance of the centuries-old text. Through “The Gita: For Children,” she instructs children around the world on its practical implications, teaching, for example, that a student’s dharma is simply to work hard and study, not to focus on being the first in the class.

“It’s very nonpreachy,” she said. “It allows you to think for yourself, and tells you that, once you have thought about it in this way, whatever you come up with is valid, and that’s a very warming thought for children to believe that they are in control of their own destiny.”

For some parents in the United States, grounding their kids in Hindu teachings at home is critical for combating what they say are stereotypes about Hinduism taught in schools, such as an emphasis on caste or cow worship.

“The anxiety that has started is this awareness, you know, especially post 2000s, that the only time children learn about India or Hinduism in their school textbooks is just being two or three buzzwords,” said scholar and parent Vamsee Juluri.

A media professor at the University of San Francisco, Juluri was raised in India, where as a kid, he said, intergenerational Hindu practices were passed down without much room for questioning. But mythological stories on TV and in movies, along with the popular Amar Chitra Katha comics, kept kids entertained and intrigued by the gods.

In the U.S., he says, Hindus face a challenge familiar to many immigrants with children who have more American sensibilities and questions about the meanings behind traditional rituals.

“Until the ’90s, most Hindu American kids didn’t have an alternative other than these very clumsy, you know, weekend temple classes run by an uncle from India,” said Juluri, calling them “cosmetic cultural” Hindu. ”There is now more of an organic, American born and raised transnational community that has started to form in the U.S.”

He points to initiatives such as the Chinmaya Mission’s Bala Vihar program, which offers weekly Vedic classes and a yearly Gita Chanting Competition, as pioneers in the Hindu youth space. Many former students are now leaders, which adds to its relatability, he said. And with more initiatives popping up, Juluri has high hopes for the future.

“I think it’s delightful that there are people like the Hindu Grandma who are just conveying their joy about what they feel. The joy of talking squirrels or the elephant-headed God, the gentleness and the beauty of the traditions and the worship and the aesthetics,” Juluri said.

Saigal has heard from other parents and grandparents who use her explanations as trusted, authenticated resources for their own children’s questions, something she says most parents didn’t have in the past 30 years. “If you’re respectful toward the traditions,” she says, “without forcing them on your children, your children will also learn to love them.”

“In Hindu traditions, the word ‘God-fearing’ doesn’t exist,” she added. “I teach children, never do it out of fear. Never do it out of superstition, or so that something horrible doesn’t happen. I think we can get out of that thought.”

On the occasion of International Yoga Day 2024, GOPIO, and Emmy-nominated filmmaker & Happy Life Yoga speaker Tirlok Malik along with the Indian Panorama & Indian American Forum will be hosting a highly interactive and informative Yoga event featuring experts and speakers from various walks of life.

The theme for this year addresses the basic question: “There are challenges and hardships in life, but how you let them go and laugh at life?”

Ambassador Binaya Srikanta Pradhan, Consul General of India in New York will be the chief guest. Other speakers will include Dr. Thomas Abraham, Professor Indrajit Saluja, Indu Jaiswal, Anil Narang, Lal Motwani (GOPIO International President), Neeta Bhasin, Dr. Renee Mehra, Deborah Fishman, Neha Lohia, Priti Dhariwal, Dr. Tara Shajan, and Dr. Bhuvan Lall.

The event promises to be energetic, knowledgeable, inspiring, and celebratory in nature. Malik will interact with all the prominent speakers on the panel to discover their own personal mantras for happiness. While emphasizing the growing importance of Yoga in today’s times, session host Malik explains his vision behind Happy Life Yoga and its underlying philosophy as “a way of living inspired by the wisdom of Ayurveda, Yoga and Indian Philosophy.”

Malik created the Happy Life Yoga workshop (No mats needed!) inspired by Ayurveda yoga and Indian philosophy as a practical way to live a happier and healthier life in today’s time. This interactive workshop emphasizes “love yourself,” and if you love yourself, it’s your responsibility to take care of your happiness and health, using the tools shared by Malik in this workshop. It’s the gift of ancient India, tested by science & time! The event is supported by many New York media outlets. Malik and the whole team look forward to the celebration of International Yoga Day 2024 and invite everybody to join!

The Zoom session will be held on Sunday, June 22nd from 11:00am – 12:30pm (East) (US and Canada). Interested participants can join the session using the meeting ID: 709 536 8686 and passcode: gopio.

The historical monument Vijaya Stamba is situated within the Chittor Fort complex in Chittorgarh, Rajasthan, a state in India. Vijaya Stamba is also known as the Tower of Victory. The site holds significant cultural and historical value in association with its rulers, Rajputans at that time. Vijay Stamba is a UNESCO-approved world heritage site offering a historical insight into the rich cultural and architectural marvels of mediaeval India.

History and architecture

Maharana Kumbha of the Mewar dynasty built the Vijaya Stamba in 1448 AD. The construction of the structure was done to honour his victory over Mahmud Khilji’s unified forces from Malwa and Gujarat. The tower honours the military and architectural splendour of the Mewar era; it stands for the pride, valour, and glory of the Rajput warriors in their victories.

The tower is a nine-story building made of red sandstone and white marble, standing at a height of approximately 37 meters. It is characterised by traditional Rajput carvings, balconies, and a pyramidal roof.

Tales

The tower symbolises the valour and triumph of the Mewar kingdom. One of the myths followed on Vijaya Stamba is that it is guarded by spirits who look out for the safety of its inmates and protect the people from invaders.

Following another legend, Maharana Kumbha is said to have constructed the tower as a tribute to his consort or loving queen, which motivated him to start on the enormous task of building it.

Things to do

• One of Rajasthan’s main tourist destinations is the Vijaya Stamba, which is also close to the Chittor Fort. By climbing to the top of the tower, visitors can take in panoramic views of the surroundings and gain knowledge of the area’s historical significance via educational exhibits and guided tours.
• Look out for any light and sound performances. A captivating audiovisual experience is offered by these shows, which often narrate the history and stories around the fort.
• The neighboring Chittorgarh sights, like the Meera Temple, the Rana Kumbha Palace, and the Kirti Stambha (Tower of Fame), are other tourist attractions.

In the bustling heart of the city that never sleeps, the Sikh International Film Festival 2023 unfurled a spellbinding tale of Sikh heritage and cultural diversity at the prestigious Rubin Museum on December 16th. This year’s festival treated the audience to an enchanting journey through impactful stories, with standout films like

 “Baywatana: Without a Country’, directed by high school students from Boston”, explored the plight of Sikhs and Hindus in Taliban-era Afghanistan.

“American Sikh”, is a true story of Indian American Sikh who was trying to assimilate with the Americans. The Oscar qualified animated short film is a story of American Sikh Hero Vishvajit Singh and Produced by Guneet Monga Kapoor – Oscar-winning producer (The Elephant Whisperers) and Michelin-starred chef-filmmaker Vikas Khanna and directed and illustrated by American Sikh Hero Vishavjit Singh and Ryan Westra.  Vikas Khanna said, “One of the highlights of screening ‘American Sikh’ at Sikh International Film Festival was engaging the little ones and the youth who could see themselves reflected in our film. Their dreams and hopes keep me inspired.”

“Colonel Kalsi: Beyond the Call”: is another true story of a Sikh young Kamal Kalsi who fought to serve in the US Army with his turban and beard. The film explores themes of diversity, sacrifice, faith, identity and resilience. Colonel Kalsi expressed, “Serving in the Army with my unique camo turban and beard was a profound experience of celebrating my Sikh identity while embodying the spirit of American patriotism…”

As the curtains closed on these impactful narratives, the festival featured over 10 films, covering a diverse range of topics from current affairs to historical perspectives. Teji Bindra (Founder and President of Sikh Art & Film Foundation), Mandeep Sobti (Senior VP and Chair of Finance), Dr Paul Johar (Chair SAFF – Film Festival), Harmeet Bharara ( Former Chair FF and Gala), Hansdip Bindra ( Head of PR and Marketing), expressed their satisfaction with the films that captivated a packed auditorium at the Rubin Museum in Manhattan.

Teji Bindra emphasized, “Sikh Art & Film Foundation has been at the forefront in bringing better awareness of Sikhs through films and arts for the past 17 years. We are pleased with the fantastic movies showcased this year.”

Dr. Paul Johar added, “This year’s Sikh International Film Festival showcased a powerful lineup addressing contemporary Sikh Diaspora issues, delved into the challenges faced by the community. “Amardeep Singh’s documentary, “Oneness in Diversity: Elixir of Guru Nanak and the Indic Saints,” intertwined memories of Saints and Sufi mystics, emphasizing the essential theme of oneness and diversity. The festival, with its captivating stories and impactful quotes from filmmakers, not only celebrated Sikh culture but also provided a dynamic platform for filmmakers to showcase their artistry.

The Sikh International Film Festival, originating in 2004, has been a cultural beacon, fostering awareness of Sikh culture through films and arts. As the curtains closed on this year’s festival, the organizers expressed gratitude to viewers for their unwavering support, marking a significant chapter in the festival’s journey. The success of SIFF 2023 promises an even brighter future, continuing to celebrate Sikh heritage and diversity through the captivating lens of cinema.

Website: http://sikharts.com/film-festival.html

In the course of 2023, numerous significant events unfolded, capturing global attention and shaping the contemporary narrative. However, amidst the unfolding present, it is crucial to cast our gaze into the corridors of history, acknowledging pivotal moments that transpired in bygone years. As we delve into the annals of time, we encounter a tapestry woven with milestones spanning various decades, each contributing to the rich mosaic of our collective past.

Half a century ago, the vibrant beats of hip-hop echoed through the Bronx at a groundbreaking party. Simultaneously, a month later, the specter of a brutal military coup in Chile reverberated across South America, jolting many Americans into a heightened political awareness. This juxtaposition encapsulates the dichotomy of historical events, where cultural revolutions and geopolitical upheavals coexist within the same temporal frame.

Six decades have elapsed since a quarter of a million people converged in Washington, D.C., for the historic March on Washington for Jobs and Freedom. This pivotal moment, marked by the resonance of Dr. Martin Luther King Jr.’s iconic “I Have a Dream” speech, was followed by the tragic assassination of President John F. Kennedy in Dallas three months later. These events, though distinct, are threads intricately woven into the fabric of the 1960s.

Moving back 75 years, the birth of the nation of Israel stands in stark contrast to the Palestinian Nakba, commemorating 75 years of sorrow and displacement. This historical paradox underscores the enduring complexities of the Middle East conflict, where the narratives of independence and catastrophe intersect and diverge.

As we embark on a retrospective journey through the months of the year, let us traverse the historical landscape, pausing to reflect on the resonance of each significant event.

January:

In 2013, amidst a world that seemed ablaze with challenges, the iconic “this is fine” meme emerged from Question Hound’s comic strip, becoming a cultural touchstone. Meanwhile, 1943 witnessed the nationwide release of “Casablanca” in the U.S., a film depicting refugees fleeing Nazi-occupied Europe, its cast including actors who themselves had sought refuge.

February:

The year 2003 was marred by tragedy as the space shuttle Columbia disintegrated over Texas, claiming the lives of seven astronauts. The same year, Secretary of State Colin Powell delivered a speech to the United Nations Security Council, erroneously claiming Iraqi possession of weapons of mass destruction. Additionally, 1993 marked the federal raid on the Branch Davidian compound in Waco, Texas, leading to a tragic siege.

March:

In 2003, President George W. Bush’s decision to send U.S. troops to invade Iraq unfolded, ushering in a war with profound and enduring consequences. The invasion, remembered by U.S. veterans, was characterized by the military’s “shock and awe” campaign. Simultaneously, the release of Pink Floyd’s “Dark Side of the Moon” in 1973 added a musical dimension to the historical tapestry.

April:

In 2003, the English translation of Marjane Satrapi’s classic memoir, “Persepolis,” entered the public domain, offering a poignant narrative of a girl’s coming of age during the Iranian revolution. Meanwhile, 1993 witnessed the public debut of the World Wide Web, revolutionizing global communication.

May:

1963 witnessed the “Children’s Crusade” in Birmingham, Alabama, where young students peacefully marched for an end to segregation, inspiring support for the Civil Rights Act. The same year, Israel was established, leading to the displacement of Palestinians, an event etched in history as the Nakba.

June:

The year 2013 saw revelations about mass data collection by the NSA, courtesy of Edward Snowden, reshaping public understanding of government surveillance. Meanwhile, in 1983, NASA mission specialist Sally Ride made history as the first American woman in space aboard the Challenger space shuttle.

July:

1963 marked the introduction of ZIP codes, streamlining mail sorting. Concurrently, a group of Black girls faced arrest during a march for desegregation, highlighting the ongoing struggle against racial inequality.

August:

In 1993, alternative rock band The Breeders gained prominence with their breakout album, “Last Splash.” The birth of hip-hop in a Bronx community room in 1973 marked a cultural milestone. Additionally, the March on Washington for Jobs and Freedom drew over 250,000 people, with Martin Luther King Jr. delivering his iconic “I Have a Dream” speech.

September:

The year 2003 saw the passing of Johnny Cash, a musical icon whose songs resonated with generations. In 1973, Chile’s socialist president Salvador Allende was overthrown in a military coup, ushering in a dark period of dictatorship.

October:

The gruesome killing of journalist Jamal Khashoggi in 2018 by Saudi agents underscored the complex geopolitical landscape. In 1973, a surprise attack by Arab countries initiated the Yom Kippur War, shaping subsequent U.S. foreign and energy policies.

November:

In 2003, the Concorde made its final flight, marking the end of a groundbreaking era in aviation. The assassination of President John F. Kennedy in 1963 cast a shadow over the nation.

December:

2013 witnessed the passing of Nelson Mandela, a symbol of the struggle against apartheid. In 1983, the Talking Heads recorded the acclaimed concert film “Stop Making Sense,” delving into the band’s creative process. The release of “The Exorcist” in 1973 challenged societal perceptions of horror and faith.

As we traverse the historical landscape of 2023, each month unveils layers of the past, intertwining moments of triumph and tragedy, cultural evolution, and political revolutions. These anniversaries serve as poignant reminders that our present is intricately connected to the threads of history, weaving a narrative that continues to shape our collective identity.

In the heart of America, a silent battle rages on. Each year, a staggering 670,000 lives are claimed by coronary heart disease, a stealthy foe often linked to the heart’s cry for more oxygen. In this landscape, where 20% of heart failure warriors grapple with their heart’s weakened ability to soak in life-giving oxygen, a hero emerges from the shadows. It’s not a new pharmaceutical wonder drug or a high-tech medical procedure. It’s something far more ancient, yet astonishingly relevant – yoga. This age-old practice steps into the modern health arena, not just as a form of exercise, but as a crucial ally in the fight for heart health, breathing new life into our most vital organ.

This ancient practice, deeply rooted in holistic wellness, offers benefits that can match, and sometimes surpass, traditional exercises like brisk walking. In a nation where heart health is a critical concern, yoga’s role in improving cardiac function is not just a matter of physical well-being but a potential lifesaver.

Yoga transcends mere physical exercise. It’s a holistic practice that nurtures the body, mind, and spirit. Its impact on cardiovascular health is profound. By enhancing blood circulation, yoga ensures that oxygen-rich blood reaches every part of the body, including the heart. This improved circulation nourishes the heart and aids in detoxifying the body, reducing stress, and lowering blood pressure – all factors that contribute to a healthier heart.

The connection between yoga and heart health is backed by scientific research. A European Journal of Preventive Cardiology review suggests that yoga can lower heart disease risk as effectively as conventional exercises. Research in the Journal of Clinical and Diagnostic Research shows that yoga improves lung function and oxygen saturation, directly benefiting the heart. A study in the Journal of Ayurveda and Integrative Medicine indicates that yoga enhances heart rate variability, an important indicator of heart health. The British Journal of Sports Medicine reports that yoga increases lung capacity and efficiency, positively impacting heart functions.

Pranayama, the art of yogic breathing, is key in enhancing cardiac oxygenation. Research in Frontiers in Psychiatry shows that pranayama positively impacts the cardiorespiratory system, reducing heart rate and blood pressure. A trial published in Academia found that Pranava Pranayama improves baroreflex sensitivity and reduces blood pressure. A review in Fitsri Yoga states that pranayama increases lung capacity and oxygen levels, aiding in deeper breathing. The International Journal of Indian Psychology discusses how kapalabhati, a pranayama technique, enhances oxygen supply to the circulation. Brahmari Pranayama is a very specific type of ancient breathing technique credited to increase intravascular nitric oxide. This is the magic chemical that helps keep blood vessels open and thus helps in preventing heart attack and stroke.

Incorporating specific yoga poses into your routine can significantly enhance heart oxygenation. Tadasana (Mountain Pose) improves posture and lung capacity, facilitating better oxygen supply to the heart. Bhujangasana (Cobra Pose) expands the chest and lungs, enhancing breathing capacity and oxygen flow to the heart. Savasana (Corpse Pose) reduces stress and promotes relaxation, lowering blood pressure and improving heart oxygenation.

Integrating yoga into daily life can lead to significant improvements in heart health. Consistency is key. Starting with a few minutes each day and gradually increasing the duration can make yoga a sustainable practice. It’s also beneficial to combine yoga with other heart-healthy activities like walking or a balanced diet.

Despite its benefits, misconceptions about yoga can deter people from trying it. It’s important to understand that yoga is adaptable and can be practiced by people of all ages and fitness levels. For those with existing heart conditions, it’s advisable to consult with a healthcare provider and practice under the guidance of a qualified instructor.

Yoga is more than just a series of poses; it’s a pathway to a healthier heart and a more balanced life. By enhancing oxygen supply to the heart, yoga offers a holistic approach to cardiovascular health. We encourage readers to explore yoga not just as a physical exercise, but as a comprehensive wellness practice.

Indranill Basu-Ray

The author is a Cardiologist, Meditator, and Yogi based in Memphis, Tennessee, USA. He is the Founder and Chairman of the American Academy for Yoga in Medicine. He is the Editor in Chief; The Principle and Practice of Yoga in Cardiovascular Medicine.

ibr@aaymonline.org

The Consulate General of India in association with the Federation of Federation of Indian Associations NY-NJ-CT-NE held a garba celebration at New York’s iconic Times Square to commemorate the dance’s recent inclusion by UNESCO as an Intangible Cultural Heritage. Garba dancers from the Indian American community in colorful attires took to the streets to represent the cultural richness of Gujarat on a global platform. Free transportation, complimentary refreshments and participation certificates were provided for all performing artists. Indian missions across the globe organised Garba programmes to mark the occasion.

“The event was a spectacular showcase of the rich cultural heritage of Gujarat as attendees donned traditional Garba attires,” the organizers said. “The vivid colors and intricate designs of their attire were a sight to behold, and one could feel the energy and pride emanating from them as they represented their culture on a global platform.”

Acting CG of India in NY, Varun Jeph addressing the gathering. / Image – X/@IndiainNewYork

Describing the dance’s inclusion as “momentous and historic occasion”, Acting Consul General of India in New York Dr Varun Jeph hailed the Times Square celebrations as a testament to India’s rich and diverse cultural heritage.

Traditionally performed during Navratri, the nine-day festival that is celebrated to honor the devine feminine energy, Garba is among the oldest folk dances of India. The UNESCO officials appreciated the dance for its “inclusive” nature and hailed it as a symbol of bringing communities together.

Today, the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage inscribed ‘Garba of Gujarat’ on the Representative List of the Intangible Cultural Heritage of Humanity during its 18th session, taking place in Kasane, Botswana from 5 to 9 December 2023.

The inclusion of Garba now makes it India’s 15th inscription on the List.

A ritualistic and devotional dance performed throughout the State of Gujarat, and across India, Garba is celebrated for nine days during the festival of Navaratri. The festival is dedicated to the worship of the feminine energy or Shakti. The cultural, performative, and visual expressions of this feminine energy are expressed through the Garba dance. The performative and visual celebration of Garba takes place within homes and temple courtyards, public spaces in villages, urban squares, streets, and large open grounds. Garba thus becomes an all-encompassing participatory community event.

“I offer my sincere congratulations to India, its people and the teams that worked on the nomination dossier. I hope this inscription helps ensure the viability of this tradition and inspires the community, particularly young people, to continue with the knowledge, skills and oral traditions associated with Garba,” said Tim Curtis, Director of UNESCO New Delhi Regional Office for South Asia and UNESCO Representative for Bhutan, India, the Maldives, and Sri Lanka.

Over the decades Garba has been an integral, multivalent component of Gujarati culture in India and among the Indian diaspora across the globe. Garba continues to be a vibrant living tradition. In addition to being a religious ritual, Garba fosters social equality by diluting socio-economic, gender, and rigid sect structures. It continues to be inclusive and participative by diverse and marginalized communities, strengthening community bonds.

The 18th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, hosted by the Republic of Botswana, was assigned with the job of evaluating nominations submitted by States Parties for inscription on the Lists of the Convention, that include 45 elements for inscription on the Representative List of the Intangible Cultural Heritage of Humanity, 6 elements for inscription on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, 4 proposals for the Register of Good Safeguarding Practices and 1 International Assistance request.

Apart from ‘Garba of Gujarat,’ some of the new inscriptions include Rickshaws and Rickshaw painting in Dhaka from Bangladesh, Songkran in Thailand, traditional Thai New Year festival from Thailand, Hiragasy, a performing art of the Central Highlands of Madagascar, Junkanoo from the Bahamas, and the Procession and celebrations of Prophet Mohammed’s birthday in Sudan, among others.

The Representative List of the Intangible Cultural Heritage of Humanity of the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage currently has some 704 elements corresponding to 5 regions and 143 countries. It includes forms of expression that testify to the diversity of intangible heritage and raises awareness of its importance. By enhancing the viability of communities’ cultural practices and know-how, UNESCO aims to safeguard the intangible cultural heritage of communities globally.

Although labeled ‘a ritualistic and devotional dance performed throughout the State of Gujarat’, Garba is a dance of celebration at any joyous event. It is said that Garba originated among the cowherd friends of Krishna in Vrindavan who got together to take off the weariness of their day’s labor with dancing. Going around in circles while clapping their hands and singing was the basic form of that Garba.

India’s current inventory list of Intangible Cultural Heritage includes Garba of Gujarat, Durga Puja in Kolkata, Kumbh Mela, Nawrouz, Yoga, Traditional brass and copper craft of utensil making among the Thatheras of Jandiala Guru in Punjab, Sankirtana-ritual singing and drumming and dancing of Manipur, Buddhist chanting of Ladakh: recitation of sacred Buddhist texts in the trans-Himalayan Ladakh region in Jammu and Kashmir,  Chhau dance, Kalbelia folk songs and dances of Rajasthan, Mudiyettu-ritual theatre and dance drama of Kerala, Kutiyattam-Sanskrit theatre, Tradition of Vedic chanting and Ramlila-the traditional performance of the Ramayana.

The Representative List of the Intangible Cultural Heritage of Humanity of the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage currently has some 704 elements corresponding to 5 regions and 143 countries.

The Diwali party presented by Pratibha Jairath and Ashok Potdar was held at Ashyana Banquets and was once again a full house event and a melodious celebration of joy and happiness. Beautifully decorated Ashyana ceilings and jazzy, vibrant colors of the outfits of the audience brought life to a quiet and dreary fall evening.

The lamp lighting ceremony included the Guests of Honor and sponsors including Anil and Sweety Loomba, Sunil and Rita Shah, Bhupinder & Anita Beri, Pinky & Dinesh Thakkar, Mayur Ganger and partner Ashok Potdar. Mrs. Rita Sunil Shah recited Shree Sidhivinay prayers beautifully during Lamp lighting. Mr. Sunil Shah presented Diwali Greetings to all.

Ms Jairath reminded the audience of the significance of Diwali such as victory of knowledge over ignorance, which turned into her recent initiative, a Not-for-Profit organization ‘Vidya Jyoti’s. She mentioned the accomplishment of being able to help 1015 students thus far. Mr.  Mayur Ganger, who had opened his heart as a great sponsor was presented by Mr. Anil Loomba and Dr. Bhupinder and Anita Beri.

The singing trio Pratibha Jairath, Raju Bankapur, Pradeep Sood kept the audience on their dancing feet throughout the celebration. The program started with melodious songs when Pratibha presented songs by legendary singers Lata Ji, Asha Ji, Geeta Dutt, Vani Jairam, each singer with a different special touch. It was a variety of songs, including Bole Re papihara type semi classical numbers. It was pin drop silence throughout the listening numbers and as always, her songs pulse with feelings. With her dance numbers, folks came to the dance floor as usual.  The next surge of excitement was from multi-talented singer Raju Bankapur.  Once again, well known singer, Pardeep Sood had a dramatic entrance once again and his Punjabi medley that people always love brought even more people to the dance floor.

There were few duet performances of popular songs. Mrs. Rita Shah and Hitesh Master performed a beautiful Duet which received a lot of applause too. Pinky Thakkar and Pardeep sood joined Pratibha in a fast dance number and the dance floor was all full.

The beautiful Bharatnatyam dance performances by Jenish Balsara got big applause from the audience. Raju Bankapur’s flute transported the audience to the world of pure joy and ecstasy.

Orchestra Sa Re Ga Ma with Hitesh Master Nayak, Richard Christian, Bobby and sound engineer/DJ Monachan enthralled the attendees.

Pratibha doesn’t forget to thank her friends ever who come out to help her including Anita Beri, Sarita Sood, Asha Mehta, Sushma Srivastav Sushma Gupta, her co-organizer Ashok Potdar, Neha Potdar and Vandana Bankapur who also did beautiful decoration besides front desk help.

Ms Jairath has strong ties with the community, because she maintains ‘Main aasman nahin chhuma chahti, bas logon ke dilon ko chhoo lonn bas yahi tamanna hai’.  Her attention to detail and relationships is what makes her parties successful and that is why she is ione of the most sought-after entertainers and artists of Chicago.

The Senior Friendship Group Chicago marked the joyous occasion of Diwali with a vibrant celebration on Sunday, November 12, 2023 at Golf Maine Park District, 8800 W Kathy Ln, Niles, IL . The festivities, which spanned from 9 am to 4 pm, brought together members and guests for a day filled with cultural delights.

The event commenced with a delightful breakfast featuring an array of Diwali delicacies, including Ghooghra, Cholafli Mathiya Farsi, Puri Chawanan, tea, and coffee. The beautifully adorned venue, embellished with exquisite depictions of Ganapatidada and Lakshmi Mata, was a testament to the meticulous efforts of Meghna D Vora, who orchestrated the enchanting decor.

President Harshadbhai Parekh extended heartfelt Diwali and New Year wishes to all attendees, outlining the day’s program. A collective Aarti of Ganapati Dada and Lakshmi Mata, performed by both members and guests, set a spiritual tone. Smita Parekh presented prayers of Sarva Dharma and Mayurashtakam, adding a divine touch to the celebration.

In a special segment, November birthdays were celebrated, including the festivities for Sunilbhai Shah. The entertainment quotient soared as Jeetendraji, Amitbhai, Pratibhaji, and Ritaben Shah showcased their musical talents, creating a jubilant atmosphere that had everyone dancing.

The highlight of the event was the felicitation of President Harshadbhai Parekh and other dedicated members by Pinkiben Dineshbhai Thakkar and Mukeshbhai Mehta. Bouquets and shals were presented as tokens of appreciation for their significant contributions.

“On this Diwali and New Year celebration, I want to express my love and affection for my caring family and friends. I want to tell my husband Dinesh Thakkar how fortunate I am to have him in my life as my best friend and a wonderful life partner. I want to thank him for the love and support, and I look forward to celebrating our bond together for years and years to come. Happy Diwali and New Year”! Said by Pinky Thakkar

Asian Media USA captured the magical moments of the day, diligently documenting individual and group pictures along with videos. The generosity of guests who contributed to the event was acknowledged, aligning with the spirit of giving during Diwali.

As a sweet conclusion to the celebration, the President, committee members and Guest distributed sweets to all attendees, fostering a sense of camaraderie and shared joy.

The Senior Friendship Group Chicago’s Diwali celebration was a resounding success, weaving together tradition, community, and festivity in a tapestry of unforgettable moments.

New York Governor Kathy Hochul on Wednesday signed a historic legislation making Diwali a school holiday in public schools.

The legislation requires that all public schools in the city be closed on the “15^th day of the eighth month of the Indian calendar in each year, which is known as Diwali”.

“New York City is rich in different religions and cultures, and we’re taking an important step to recognize and celebrate this diversity in the school calendar,” Governor Hochul said in a press statement.

“This legislation to designate Diwali as a New York City school holiday is an opportunity for our children to learn about and celebrate traditions from across the world,” she added.

The legislation was signed during a special reception at the Hindu Temple Society of North America in Flushing during Diwali celebrations.

“I believe that a celebration of light should not be commemorated in the dark. That’s why tonight, we took action to bring people together,” Hochul wrote on X.

The press statement from Hochul’s office said that the legislation “amends the education law to declare Diwali a holiday for New York City public schools”.

“Many people of the Hindu, Sikh, Jain, and Buddhist faiths in New York City and throughout the state observe the festival of Diwali and more than 1 billion people around the world celebrate this holiday,” the statement read.

The move came after the New York State legislature on June 9 passed a Bill to make Diwali a school holiday in the city with efforts from NYC Mayor Eric Adams and Indian-origin Assemblywoman Jenifer Rajkumar.

“With the signing of my bill, we have lit an everlasting lamp in the hearts and minds of all New Yorkers… By signing my bill, we say to over 600,000 Hindu, Sikh, Jain, and Buddhist New Yorkers, ‘We see you, we ecognize you, and Diwali is an American holiday,’” Rajkumar, the first Hindu American and first South Asian American woman elected to New York state office, said.

Rajkumar said that for over two decades, the South Asian community has lobbied for the Diwali holiday. Two earlier attempts to pass the legislation in 2021 and 2022 did not succeed.

“In this time of local and global racism and anger, Diwali’s message is critically important and needed. The Diwali celebration not only represents the rich cultural heritage of our diverse community, but also serves as a reminder of the values that bind us together,” State Senator Joseph Addabbo said, thanking Hochul.

According to city officials, more than two lakh New York residents celebrate Diwali which is observed by Hindus, Sikhs, Jains, and some Buddhists.

Earlier this year, Pennsylvania became the first US state to officially ecognize Diwali as a public holiday.
(IANS)

Activities that showcased the rich cultural diversity of Bihar and Jharkhand, and engaging exhibitions showing the states’ arts and crafts were part of the event

 The Bihar Jharkhand Association of North America (BJANA) hosted its annual Diwali celebration at the Royal Albert Palace, New Jersey, USA. The event was attended by more than 600 community members from New Jersey, New York, Pennsylvania, Connecticut, and Delaware.

Mayor Charlie Carley of South Brunswick township in New Jersey graced the event as the chief guest and wished everyone on the occasion. Video messages from the Governor of Jharkhand C. P. Radhakrishnan, the Chief Minister of Jharkhand Hemant Soren, and the Chief Minister of Bihar Nitish Kumar conveying wishes to the entire Bihar and Jharkhand diaspora in the United States were also screened.

On the occasion, BJANA presented awards to recognise the efforts of community members. Dr. Anil Kumar received a Lifetime Achievement Award for his service to the organization. Dr. Rupam Saran was awarded for her achievements and community service. Abhinav Atul from Bihar, India, was recognized for his contributions to the people of Bihar and Jharkhand.

Anurag Kumar, the president of BJANA, emphasized BJANA’s ongoing fundraising efforts and charitable activities in the USA, Bihar, and Jharkhand and expressed gratitude to the community members for their active participation and unwavering support.

Alok Kumar, the past president of the Federation of Indian Associations (FIA), took the stage to invite all community members to participate in bidding farewell to Consul General New York, Randhir Jaiswal, on November 20 and express their gratitude for his services to the Indian community.

The event featured cultural programs, including dance, live band, and singing by the children from the community and adults. Additionally, activities that showcased the rich cultural diversity of Bihar and Jharkhand, and engaging exhibitions showing the states’ arts and crafts along with delectable Indian cuisine were also part of the festivities.

UNESCO has included Gwalior as the city of Music under the Creative Cities Network (UCCN). 55 cities from all over the globe joined the UCCN. Gwalior was acknowledged for its strong commitment to harnessing culture and creativity as part of UNESCO’s development strategies, and displaying innovative practices in human-centered urban planning.

The project was led by the Madhya Pradesh Tourism Board in cooperation with the Municipal Corporation of Gwalior, Gwalior Smart City Development Corporation Limited, Raja Mansingh Tomar Music & Arts University, music artists, and other stakeholders. The Network now includes 350 cities in over one hundred countries, representing seven creative fields: Crafts and Folk Art, Design, Film, Gastronomy, Literature, Media Arts, and Music.

Since 2019, continuous efforts have been made including multiple stakeholder consultations and a dedicated feasibility study of the city to map the potential for UCCN membership followed by the drafting of the application. Gwalior serves as an exemplary example of living cultural heritage and it houses one of the biggest annual music festivals of India; The Tansen Sangeet Samaroh to celebrate the rich culture of Madhya Pradesh.

Principal Secretary Tourism and Culture Department and Managing Director, MP Tourism Board Sheo Shekhar Shukla (IAS) said ‘Inclusion of Gwalior by UNESCO under the creative cities network is definitely a big shot in the arm which goes a long way to tell the whole world about the cultural richness of Madhya Pradesh. Gwalior being the city of Tansen, BaijuBawra, the birthplace of Dhrupad Music form and Gwalior Gharana, which are world known for musical practices and traditions which are alive even today, have been very persistently conserved and preserved and now on the occasion of Madhya Pradesh Foundation Day, it has been recognised by UNESCO by including Gwalior as a city of music.

I am sure the whole world will sit and take notice of the richness and depth of the cultural diversity, the cultural richness of Madhya Pradesh in general and Gwalior in particular. This will also go a long way in boosting international tourism in the city of Gwalior and also bringing them to showcase the best of the architectural and heritage assets.

It is a great opportunity for Madhya Pradesh and we are very thankful to UNESCO, the Minister of Culture, and the Government of India to the city of Gwalior and all the people who have ever, in any way associated with Gwalior. As a city of music, It is a massive achievement for everyone who is concerned with music and Gwalior.

Joint Director, Planning, Madhya Pradesh Tourism Board, Prashant Singh Baghel highlighted ‘Through the designation to the UCCN, we envision the realisation of the city’s goals towards achieving overall sustainable development with music as the key driver. This includes the creation of new economic and artistic opportunities for the local youth; making the city an education hub for music, cultural infrastructure development, linking of the music sector with tourism, urban renewal, and mobility and enhancing access to arts and culture.’ (IANS)

Curated by Ambika Trasi and featuring Abir Karmakar’s most recent oil paintings of his city of residence, Baroda, in Gujrat, India is opening at the famous Aicon Gallery7 in New York City on Thursday, November 2, 6-8pm with an artist talk from 7:30-pm

Born in Siliguri in West Bengal, the works in Nightjar consider the artist’s relationship to the Baroda as a resident whose roots are removed from the local culture and who does not speak the
regional language or have access to a community. At a time when right wing politics and Hindu nationalism have taken hold in India, there is a sense of mounting insularity throughout the nation, as well as a distrust and social alienation of migrants and minority residents.

Karmakar’s eye is keen and observant, enabled by his invisibility and illegible presence. His paintings consider the psychogeography of the city: the social and psychological effects of urban architecture on the individual and community. His use of hyperreal and trompe l'oeil aesthetics give his works a filmic quality that push the boundaries of painting and blur reality and fiction. Through his style, the artist creates a simulacrum of the city: one that is stark and eerily absent of people– a Baroda that feels closer to his own (and to the outsider’s, migrant’s, or other’s) lived experience of it.

Yet throughout Karmakar’s paintings, nature transgresses and declares itself an uncontainable force that resists the dense concrete of Baroda. Unruly shrubs and grasses are seen growing outside of the homes and over the walls and gates in his Dead Hours series. The artist’s skies, meanwhile, appear pastoral and boundless. In Towards Oblivion, Karmakar removes any specific markers of location or time to disorient the viewer and create a transcendental experience. The sky acts as a sublime space that provides respite from the solid, angular structures of the built environment and from earthly notions of property and borders. In painting the piece, Karmakar blends into his environment like a nightjar or a transparent eyeball, underlining his (and everyone’s) fundamental right to belong.

An accompanying exhibition catalog for Abir Karmakar: Nightjar is available for purchase through the gallery. The publication features an essay by curator Ambika Trasi and includes illustrations of all 12 of Karmakar’s paintings from the exhibition. Nightjar will be on view from November 2 through December 2, 2023.  For more information, please info@aiconcontemporary.com

The largest Hindu temple in the United States is set to open its doors in New Jersey this Sunday. Located in Robbinsville, the 183-acre BAPS Swaminarayan Akshardham, named after its founding Hindu spiritual organization, rivals major Hindu temples in India.

Yogi Trivedi, a temple volunteer and a scholar of religion at Columbia University, marveled at the temple’s existence, saying, “I wake up every morning and scratch my eyes thinking, ‘Am I still in central New Jersey?’ It’s like being transported to another world, specifically to India.”

The temple is scheduled for official inauguration on October 8, with public access commencing on October 18. For Indian Americans and Hindu Americans, this represents a significant milestone. Trivedi noted, “This is the American Dream. The sacred geography of India and beyond is here in this one place, and you can experience, witness, and admire it all here in New Jersey. I anticipate, as a scholar of religion, that this will become a popular place of pilgrimage for Hindus from across the world.”

Construction of the temple involved 12,500 volunteers from around the world and has been in progress since 2011. However, it gained significant attention a decade later when a group of immigrant laborers filed a lawsuit against the global organization Bochasanwasi Shri Akshar Purushottam Swaminarayan Sanstha (BAPS), which operates temples worldwide. The lawsuit alleged “shocking” conditions, including forced labor, long work hours, inhospitable living conditions, and caste discrimination.
The initial complaint stated, “For these long and difficult hours of work, the workers were paid an astonishing $450 per month, and even less when Defendants took illegal deductions. Their hourly pay rate came to approximately $1.20 per hour.”

BAPS, however, made a distinction between employment and religious volunteer service, known as seva. A spokesperson for BAPS, Ronak Patel, explained, “The artisans who helped to build our mandir came to the U.S. as volunteers, not as employees. We took care of the artisans’ needs in the U.S., including travel, lodging, food, medical care, and internet and prepaid phone cards so they could stay in touch with their families in India. BAPS India also supported the artisans’ families in India, so they did not suffer financial hardship as a result of the artisans’ seva in the U.S.”

Many of the laborers who participated in the temple’s construction arrived in New Jersey from India on religious visas and belonged to the Dalit community, historically marginalized groups in South Asia’s caste system. The lawsuit claimed that temple leadership enforced the caste hierarchy at work.
The lawsuit has been put on hold, with 12 of the original 21 plaintiffs moving to dismiss their claims. BAPS Akshardham spokespeople have assured that the temple will be a place for people of all creeds and castes to gather in community.

The temple’s walls feature carvings of historical figures like Martin Luther King Jr. and Abraham Lincoln, emphasizing inclusivity. Trivedi commented, “When you come to the mandir, you will see people of all genders, all castes, and social backgrounds living, eating, praying, loving, and serving together.”
However, activists argue that the allegations still raise questions about the line between religious service and work exploitation, which particularly affects vulnerable Dalit communities.

Sunita Viswanath, a civil rights activist and co-founder of the civil rights group Hindus for Human Rights, expressed her concerns, saying, “A place of worship, a temple, is such an important space, especially for an immigrant community who’s making a home in a new country. I would want anybody who goes to the temple to really ask themselves, really do some soul searching, about going to a temple where there are such serious allegations of labor and human rights violations.”

The construction of the temple was no small feat, involving the placement of 2 million cubic feet of stone in Robbinsville Township. The temple is a cultural blend, featuring materials sourced from around the world and nods to American history.

The outside of the temple was built with non-traditional Bulgarian limestone to withstand New Jersey’s cold winters. The interior includes stone from various countries, including Greece, Italy, and India. A traditional Indian stepwell contains waters from 300 bodies in India and all 50 U.S. states. Notably, women played key roles in running the project, a rarity in temple construction.

Trivedi sees the temple’s design as representative of the diverse community that will gather there, with inclusivity reflected on the walls. He said, “That kind of inclusivity is not just talked about, it’s actually seen on the walls.”

This landmark Hindu temple in New Jersey, with its rich cultural diversity and complex history, is poised to become a significant focal point for Hindu and Indian American communities across the nation.