Last December, over 20,000 people flocked to India’s greenest music festival in Bengaluru—the Echoes of Earth. It was a two-day extravaganza of art, music, culture and conservation. The sound of music and merriment spilled from the 180-acre expanse of the Embassy International Riding School, as the audiences swayed to jazz, techno, blues, reggae and rock.

The festival is now back in its sixth edition, on December 2 and 3. If the theme last year was ‘Circle of Life’, this time it is ‘Ensemble of the Wild’—an ode to the Western Ghats. The mountain range has been recognised by the UNESCO as one of the world’s eight ‘hottest hotspots’. Environmentalists might have a role to play in conserving its beauty and biological diversity, but perhaps, so do the rockstars. The hills must be alive with the sound of their music.

The idea for the festival originated from Roshan Netalkar’s years in the event management industry, which included everything from house parties to exhibitions. By some estimates, the industry will be worth $7.6 trillion by 2030. That growth has resulted in an alarming amount of waste, from plastic bottles and unused food to decorative items and branding elements.

“The festival is woven around the larger message of responsible celebration,” says Netalkar. “While it would take a month to curate any other music festival, this is a year-long exercise. Last year we did an on-ground audit of the waste we generated. This year we will look into the larger carbon footprint.”

In the last edition, 80 per cent of all festival assets, most significantly art installations, were created using old, discarded, recycled, and upcycled material. Plastic water bottles were replaced with RO water filters onsite. Wet waste was composted, and dry recycled.

Around 10 per cent of the festival’s power needs this year will be met with solar energy. Workshops for children, brunch with performing artistes, and a carefully curated flea market with organic, natural, artisanal and handmade products are also part of the festival mix. And yes, there will be electric charging points for vehicles.

One could, of course, raise all those grey zone questions, like the carbon footprint of artistes flying in from across the world. There are no quick and easy answers. For now, there is a sapling planted for every ticket sold, but Netalkar is acutely aware of the festival’s slow march to becoming completely circular.

This year’s artiste lineup includes the likes of Carnatic musician and music producer Sid Sriram; desert blues band Tinariwen from the Sahara region of northern Mali; Turkish DJ Len Faki; Ukrainian sound producer Iryna Shvydka; New York-based multi-instrumentalist Jitwam; and Sri Rama Murthy, aka Murthovic, an electronic music composer, sound designer and DJ from Hyderabad.

There are both Western classical and Carnatic music influences in Murthovic’s work. He traces the ‘natural progression’ of his interest in the environment as a musical theme, from the childlike wonder of seeing a touch-me-not to the study of environmental sciences at university. “This connection goes beyond just plants to things like percussion instruments made from natural resources like wood. It is a holistic appreciation for the beauty of nature in various forms,” says Murthovic.

There is always a thin line between entertaining and sermonising that music of this kind must tread, especially with the youth who have short attention spans. But Murthovic does not find this a challenge “as long as the music has an interesting groove, rhythm, melodic motif and some kind of storytelling element”. According to him, you can only entertain when you can make the audience feel what you are feeling. “When it actually works, it goes beyond being a mere set,” he says. “It becomes a narrative that exudes core values and tells a unique story. Striking a balance between storytelling, quirkiness, an off-centre approach, relevance, and other artistic choices is where the magic happens.”

One of the most interesting bands to play at the festival is Matsumoto Zoku, of Japanese origin. The four-member group does human beat-making, and plays the wind instrument didgeridoo and the hand pan—a round bowl played with sharp taps.

Band members say that the earth has been a big concern in their musical journey, impacting their “inner core”. They say that they do not care who listens to their music, but only its potential to improve people’s lives. For them, the music and the message are inextricably linked. “The message is in our core [at the] unconscious and subconscious level,” says Reo Matsumoto, the group’s co-founder. “Entertaining [through music] exists at the conscious level. It comes through our live shows. We entrust it to the audience.”

For Netalkar, the music must always be centre-stage. “Between having a big name associated with us or putting music at the top, music will always be our choice,” he says. A green festival might not be the norm in a country famous for its excess; still, four state governments have approached the team to bring it to their regions. The next obvious destination is the country’s music capital, Goa. But, as the festival team envisages, its sounds of sustainability are destined to travel farther and wider.

The 'Kaavaalaa' song from Rajinikanth-starred "Jailer" stands tall among this year's chartbusters. Sung by composer Anirudh Ravichander and  Shilpa Rao, a dashing Tamannaah Bhatia's viral hook steps were also the reason for the song becoming an instant sensation. 

The song remains a popular "reel material" on Instagram, with the hook being the highlight -- even months after the movie's release. Several celebrities, social media influencers and the public recreated the iconic dance moves that created ripples online. 

Now, another 'Kaavaalaa' video has now become viral on the internet. The video, however, is not one shot for Instagram on a chosen platform after multiple rehearsals. Instead, this one is a "spy cam work" from inside a school classroom where a group of friends are enjoying a break.

The undated video shows a schoolgirl dancing to the 'Kaavaalaa' song surrounded by a small group of friends. She sings the popular song herself while recreating the hook steps delightfully and without a care for the world.

However, she is shocked when she finds out her dance moves are being recorded (by the unknown person behind the camera). She freezes for a moment with bulged eyes before falling playfully to a side.  The changing emotions on her face, facing the camera, also alerts her friends of the cameraperson's presence behind them, who burst into laughter. 

The viral video shared by a Facebook page has garnered over 1.6 million views during the time of compiling this article. "Kids these days are always vibing, are they not?" the caption in Malayalam read.

While it remains uncertain if the clip was from a school in Kerala or not. there is no doubt that the caption got it right. Keep having fun, little ones!

WATCH THE VIRAL VIDEO HERE:

A metalsmith once made a visit to the Sri Mahadeva Temple, an ancient Shiva Temple in Ettumanoor, a town situated in the central region of present-day Kerala. The artisan had crafted a suspension lamp as a gift for the temple, but the temple priests initially declined to accept it, expressing concerns about the substantial amount of oil it would consume to keep it lit. In response, the metalsmith confidently stated that the lamp could burn even without oil.

Unexpectedly, a stranger appeared and took the lamp, placing it inside the belikalpura (a structure that houses the main offering stone) of the shrine. Suddenly, the sky rumbled with thunder, and lightning struck, igniting the lamp. Remarkably, it has never ceased burning since that moment. This tale is just one of the many legends surrounding the famous Vada Vilakk of the Ettumanoor temple. “Valiya Keda Vilakku, with repeated use, took on the colloquial expression Vada Vilakku. However, both terms indicate a sense of eternity: 'valiya' means large and 'keda' means that which cannot be extinguished. Similarly, ‘vada’ refers to something that does not wilt,” explains author Indu Chinta.

It is the fascination for such legends and historical narratives that made Chinta to switch from pursuing a career in environmental engineering to be an explorer of culture. A recipient of the Kerala Folklore Academy Award in 2020, Chinta recently published a unique book, Iconography of Deepam, on the traditional lamps in Kerala.

“The project began with a request from the government of Madhya Pradesh,” the author recounts. “They approached me to write an article for a special publication by the Triveni Museum, which was scheduled for release on Republic Day earlier this year. The museum intended to establish a new section dedicated to showcasing various lamps from different regions of India. They sought my representation for the state of Kerala. That is how my journey into this subject began,” she adds.

She further says: “As I started working on the article, my exploration grew more profound. They also granted me the freedom to decide the direction in which I wanted to take this study. It became apparent that, despite their ubiquity in religious ceremonies and significant life events such as births, deaths, marriages, naming ceremonies, and housewarming rituals, there was surprisingly limited written or published material available on the topic. Consequently, I decided to delve into the lamp's cultural context, investigating its role within cultural and ritualistic systems.”

It was in 2017, during her time at IIT Madras, that Chinta’s profound passion for culture was kindled, much like the oil that fuels the traditional lamps she would later write about in her book. “Tamil Nadu is a state teeming with culture, and my heart has always been close to the preservation of culture and the art of writing. During my time at IIT Madras in mid-2017, I began to feel that the moment was ripe for me to make the leap from my current pursuits to a full-time exploration of writing and culture,” she says.

“I embarked on weekend journeys, even in and around Chennai, where Tamil Nadu's rich cultural tapestry never ceased to captivate me. The thought gradually formed in my mind that the time had come to transition into a full-time engagement with writing and culture,” she adds.

Chinta’s travels took her through the vibrant landscapes of southern Karnataka and brought her to the northern reaches of Kerala, to Kasargod and Kannur. “In Kannur, a chance encounter with an enthusiastic Italian couple who had recently witnessed a Theyyam performance left me curious and inspired. I decided to attend one of these performances myself, initially with the intention of writing an article for a newspaper. I watched Thee Chamundi or perhaps Putiya Bhagwati, one of my earliest experiences with Theyyam, and I was utterly awestruck,” she recalls.

The tradition of Theyyam encompasses the rituals, customs, and traditions linked to the temples and sacred groves of Malabar. In the eyes of the local population, Theyyam serves as a conduit to the divine, and they actively seek blessings from the Theyyam performers. “I returned to Kannur, drawn back by the irresistible allure of Theyyam, and this time, I decided to document my experiences through both words and photographs. It quickly became evident that the written word alone could not do justice to this incredible tradition. As my journey unfolded, I cancelled my return ticket to Hyderabad and spent the entire Theyyam season in Kannur,” she says.

“The culmination of my work during this transformative period was my first book, Theyyam: Merging with the Divine. It is hard to put into words the enchantment and revelation I experienced. 'Magical' would be an understatement – it was truly an epiphany.”

Chinta started the work for Iconography of Deepam also with trips to Kannur—to Kunhimangalam and Payyannur, two ancient centres of lamp-making in the southern state.

“The artisans I saw there are truly remarkable, not just for their craftsmanship but for the remarkable continuity of their traditions across many generations, especially in Kunhimangalam,” she recalls.

“They have upheld these practices for centuries, living in tight-knit communities tucked away from the main roads. I was profoundly impressed by the dedication of the younger generation, who consider their craft a cherished inheritance and take immense pride in it. Even young girls displayed a keen interest, closely watching their fathers, uncles, or brothers in the workshop, eager to learn. It is a tight-knit community, and knowledge is transferred through oral traditions.”

In Kunhimangalam, the lamp-making families possess something called Dhyana Slokas, which are essentially their trade secrets. These are closely guarded and not disclosed to outsiders. Over the years, this knowledge has been passed down orally. “These Dhyanaslokas play a vital role, particularly in the handcrafting process as opposed to machine production,” says Chinta. “They dictate the precise proportions of metal to use when creating specific types of lamps. In Kunhimangalam, 33 distinct types of lamps are made, each with its dedicated dhyana sloka outlining the exact measurements. The artisans begin their work with a prayer, infusing their craft with a sense of divinity and deep reverence for each lamp they create.”

Iconography of Deepam delves into the significance of lamps not only within religious rituals but also in the realm of performance arts, including Kutiyattam, Kathakali, Tholpavakoothu, and Mudiyettu. It uncovers the intriguing history behind why Kerala does not celebrate India's grand Diwali festival with much fanfare and instead observes its unique Festival of Lights.

While scholars began studying Kerala's oil lamps almost a century ago, cultural expert Carol Radcliffe Bolon of the Smithsonian Institution in Washington, D.C., recognises Chinta as the first author to put the lamps of Kerala into their full cultural setting.

The author is currently in the process of preparing for the publication of another book dedicated to the art of Theyyam. She is also gearing up to explore and document the captivating stories that lie concealed within the culture that surrounds us.

The seventh edition of the Kerala Literature Festival, one of the most popular literary event of the subcontinent, is set to take place from January 11 to January 14 2023, at Kozhikode Beach. Each year, the festival sees Booker Prize winners, Nobel Laureates, literary luminaries, celebrities and media personalities. 

Kozhikode was recently named the 'City of Literature' by the UNESCO Creative Cities Network (UCCN). The literary event has certainly contributed in its journey to this prestigious title. The central theme of 'City of Literature' was bestowed upon Kozhikode to acknowledge its substantial influence in the world of words and letters.

"We are immensely proud of Kozhikode's recognition as the 'City of Literature' by UNESCO. This achievement underlines the lively literary and artistic culture that thrives in our city. The Kerala Literature Festival has been instrumental to this journey, serving as a cultural beacon, bringing together acclaimed authors and passionate readers from around the world. Kozhikode truly embodies the essence of literature, and this recognition reflects the festival’s remarkable impact.” said Shri. P. A. Mohammed Riyas, Tourism Minister of Kerala said in a statement. 

The event, organised by organised by DC Kizhakemuri Foundation and co-promoted by DC Books  will have over 500 speakers. The annual literary event has gained international acclaim since inception in 2016. the event will be inaugurated by Kerala Chief Minister Pinarayi Vijayan. The festival, has previously featured the likes of Shashi Tharoor, Manu S Pillai, William Dalrymple and Gurucharan Das. 

"Kozhikode's recognition as the 'City of Literature' by UNESCO is a testament to the power of literature to transcend boundaries and unite people. The Kerala Literature Festival has been a proud catalyst in this journey, providing a platform for stories to be told, heard, and cherished," Ravi Deecee, Chief Facilitator, Kerala Literature Festival.

The first thought I had [when the bombardment of Gaza began] was to write to the writers I know, and whom I've been in touch with, and express enormous sorrow, very great sadness at what's happening. Of course, there is rage, there is moral outrage, there is a kind of ferocious despair at what’s going on. But I didn’t want to communicate that to them, what I wanted to communicate is great sorrow at what they are going through and have been going through.  

Suad Amiry [Palestinian writer and architect] wrote back to me and said “I don't know which is greater, the pain or the sadness”. This is especially true of those Palestinians living outside Palestine. The majority of writers I know, live outside Palestine. The ones in Palestine are in the West Bank. I don't know anyone in Gaza.

In the West Bank, it's an existential reality every day, every moment of the day. How is one to communicate one’s feelings, both of solidarity and of empathy, as well as a great sadness? Because, honestly, there are very few words that you can find to communicate.  

Communication is extremely tricky. A few emails now and then is the exchange we have. Adania Shibli [the writer who was to receive the prestigious LiBeraturpreis award for her novel, Minor Detail, but the ceremony was postponed, to be held in a “less politically charged atmosphere", and her talk cancelled in the wake of the Hamas attacks on Israel], for example, I sent her a protest statement signed by many, many independent publishers across the world, about the cancellation of her award. I congratulated her and then said, “I'm so sorry about the cancellation”. She wrote a perceptive mail back in which she said, “In the middle of all this, the cancellation of the award felt like a distraction to me. Distraction from the tragedy that is unfolding on the ground”.

I thought, how quickly that was lost sight of with the protest, and yet look at the kind of protests that Frankfurt Bookfair elicited—everyone from the Arab world withdrew, Malaysia, Indonesia, the UAE, many of the Arab speaking nations,withdrew either en masse or individually.

I don't know of a single publisher in the West who withdrew. None of the corporates, none of the publishers’ federations, none of the institutions, have sent a letter of protest, or even raised their voices in protest. What does that tell us? What does that mean, say for me as a publisher? The individual independent publishers across the world here and there may have said something. But I'm talking about us as a community that works with writers. They are our stock in trade. They are the reason we exist.

Why are we not able to rise up together against something like this? Why was everyone so silent that they did not object when Adania’s award ceremony was postponed and the talk she was supposed to give was cancelled? Why? Would this have happened if the writer had been an Israeli? Would they have cancelled it because of what was happening on the ground?

In my view, there is a very major faultline here and that line is something we need to think about if we are speaking on behalf of writers, if our goal is to be the via media between the writer and the reader; the writer and the public; the writer and what is happening in the world.

The writer is someone who intervenes—not just someone drawing pretty pictures or writing romances, but, as in the case of every single Palestinian writer I know, for whom their writing is their intervention, their medium is of resistance and hope. A silenced voice is a voice you cannot hear any longer.

I remember Raja Shehadeh [a Palestinian human rights lawyer and writer], who had come here for the Jaipur literature festival. We were just talking and he said, “What else is left except to protest?” And he's right. Their writing is a form of protest, not just of resistance, but of protest, and also an expression of hope, that not all is lost.

(As told to Mandira Nayar)

Ritu Menon is a writer, feminists and publisher. She the founder director of Women's Unlimited, which is an associate of Kali for Women. 

Celebrated architect Bijoy Jain is gearing up toward a major exhibition this year. The to-be-announced showcase takes place at the Fondation Cartier pour l’art contemporain in Paris. Jain’s Studio Mumbai Architects will present the large-scale show from December 2023 to May 2024.

Only last week, the Cartier Foundation had invited several international journalists to Mumbai to see first-hand Jain’s studio as well as some of his stellar works in and around the city. The group was also taken to Ganga Maki Textile Studio, a weaving facility run by Japanese textile designer Chiaki Maki and designed by the brilliant Jain and his team, at the foothills of the Himalayas, near Rishikesh.

Jain, 58, is among India’s most revered architects for his sustainable architectural practices, and equally for being a famous recluse. Jain is said to take on work that pleases him, regardless of commercial implications. Jain grew up in Mumbai and studied architecture at Washington University in the USA. He then worked in Los Angeles and London with Richar Meier. He returned to India and founded his office, Studio Mumbai, in 2005.

The Cartier Foundation describes it as “Studio Mumbai’s work explores the boundaries between art, architecture and material. The studio operates as an interdisciplinary group that shares an environment created from an iterative process, where ideas are explored using process and time as an integral part of its expression; water, air and light being the basis of all materiality in the synthesis of the work.”

Bijoy currently teaches at the Academia of Architecture in Mendrisio, Switzerland. He has also taught as a visiting Professor at Yale University in the USA and the Royal Danish Academy of Fine Arts and Architecture in Copenhagen, Denmark.

Jain’s works have been exhibited in numerous galleries around the world and have been acquired in the permanent collections of the Canadian Centre for Architecture, MOMA San Francisco and The Pompidou Centre in Paris. His studio has also exhibited at the Victoria and Albert Museum, London in 2010, Sharjah Biennial in 2013, and the Venice Architecture Biennial in 2010 and 2016.

Some of the awards Jain’s studio has received include the Dean’s Medal, Washington University, St. Louis (2021), Grande Medaille d’Or from L’Académie d’architecture, Paris, France (2014), the BSI Swiss Architecture Award (2012), the Spirit of Nature Wood Architecture Award: Finland (2012) and was a finalist at the Aga Khan Award for Architecture (2009).

Studio Mumbai has designed a cluster of houses in Mumbai’s Saat Rasta area with an inner courtyard, in an effort to promote community living in the city. Some of the studio’s other works in Maharashtra include Belavali House in Badlapur, Copper House in Alibaug, Tara House in Kashid, Palmyra House in Nandgaon as well as a private residence in Pali Hill, Mumbai. Jain has also designed the MPavilion in the Victoria Gardens, in Melbourne, Australia.

The man who created the fanciful rotundity that has graced the art realm with the exaggerated "gordas" and relaunched the neo-figurative movement, Colombian-born global artist Fernando Botero died last week at 91 leaving a prolific body of work and an indelible mark on the world of art. 

Born in 1932, Botero sparked controversy and critical debate throughout his decades-long career with his distinctive approach to the human form. Rendered in oils or as sculptures, his subjects were frequently depicted with inflated, almost balloon-like proportions. 

The peculiar rotondité of his art, his voluptuous figures, played a pivotal role in a new thrust of the Neo-Figuration movement that originated in Argentina and Brazil in the late 1950s and early ‘60s as a reaction against abstract art and non-representational styles, particularly abstract expressionism. 

Botero reintroduced recognisable and representational imagery into contemporary art. His reinterpretation of the human form and return to figurative art challenged the dominance of abstraction in the art world. 

The surge of his work reignited interest in human themes and representations influencing the art world and allowing artists to explore social and political themes in new ways, reaching across Latin America and Spain in the '60s and '70s, redefining beauty and art.

His influence extended beyond borders, inspiring Latin American artists and contributing to a global resurgence of figurative art. His social commentary through satirical depictions reinforced Neo-Figuration's narrative-driven ethos. Botero's unique style and themes solidified his significance within the movement, revitalising the power of figurative art in contemporary contexts. While he exaggerated and distorted the human form like the French neo-figurative artist Jean Dufuffet, Botero's art is a smoother, much more polished aesthetic compared to the often simpler, raw work of Dubuffet.

Likewise, while another French neo-figurative artist, the impactful Jean Fautrier, distorted his figures through mutilated and featured faces obscured by thick impasto, Botero's works express a wider range of emotions in smooth strokes.

His exaggerated realism was distinctively away from the influence of Picasso's Cubism and Surrealism that characterised the British neo-figurative artist Francis Bacon. In clear contrast to another neo-figurative artist, the Swiss sculptor Alberto Giacometti whose human figures seemed ravaged by existential angst, Botero's fuller, rounder figures expressed a contrasting sense of indulgence and sensuality. 

The Medellin native created an instantly recognisable aesthetic that made the human figure alluring and accessible in a unique way among modern artists. 

As his paintings increased in scale in the ‘70s, Boteros's sensuous figures took on monumental, imposing proportions. Yet they retained a surprising lightness and accessibility. His voluptuous forms celebrating the fullness of life struck a chord with audiences across the globe.

By the time museums dedicated shows to his work in the ‘90s. Botero had cemented his reputation as one of the most internationally recognised living artists. He continued creating into his final years, prolific and unrelenting. 

The sheer breadth of Botero’s work, encompassing painting, sculpture, drawing and printmaking across more than six decades, tells the story of Botero’s passion for his country, earning him the title of "the most Colombian of Colombian artists."

His unconventional notions of beauty and proportion persist long after his exaggerated style ceased to shock; his art continues today to reveal emotion and humanity in even the most unlikely subjects.

Botero's art was accepted worldwide and was exhibited in prestigious museums such as the Metropolitan Museum of Art in New York, the Musée Maillol in Paris, and the Hermitage Museum in St. Petersburg.

His most famous paintings and sculptures include: "The Mona Lisa, Age Twelve," This painting is a parody of Leonardo da Vinci's famous painting, and it features a young girl with exaggerated features and a whimsical expression. The painting challenges the traditional notion of beauty and proportion, and it highlights Botero's unique style.

The sculpture, "The Bird," a large bronze bird that is located in the center of his natal city of Medellin. It is a symbol of the city and its people, and Colombians say it represents Botero's passion for his country and its culture.

In Spain, the city of Málaga has an entire museum dedicated to his art. It has 84 paintings, sculptures, and drawings by Botero in its permanent collection. Botero also has prominent public sculptures in Madrid and other Spanish cities.

Around the world, his work is in public art in cities like New York, where his sculpture "Man on Horseback" can be seen at Park Avenue and 72nd Street in Manhattan.

In Paris, the prominent Jardin des Tuileries features Botero's "The Roman Soldier" sculpture, among others. In la Piazza della Signoria in Florence, Italy visitors can see his bronze statue of "The Rape of Europa".

In Singapore Botanic Gardens his sculpture "The Bird," is also displayed and in Jerusalem, "Woman with a Mirror," can be found at the Israel Museum.

The Nusretiye Clock Tower Square in Istanbul features Botero's sculpture titled "Circus," and in Abu Dhabi his "Horse" sculpture is part of the public art collection on Saadiyat Island.

Botero's impact on the art world was profound, and his contributions to the development of Neo-Figuration in Colombia were significant. 

"He was and will be one of the most representative artists of Colombia in the 20th century," said Colombian art aficionado Carlos Strella, speaking with THE WEEK from the northern coast city of Barranquilla. 

"His art will continue to inspire and challenge the world, and his legacy will be remembered for generations to come. He leaves an impression on all of us."

India Love Project, a social media initiative that celebrates real-life love stories outside the “shackles of faith, caste, ethnicity and gender”, has been recognised as one of the 10 finalists for the 2023 Global Pluralism Award.

It has been shortlisted from among 200 submissions from 60 countries by an independent jury, the India Love Project has been spotlighted for sharing stories of unions that “defy traditional boundaries” and for 'countering prejudice'.

The initiative was launched in 2020 by Niloufer Venkatraman, Samar Halarnkar and Priya Ramani. The initiative connects couples with pro bono lawyers and counsellors to support their unions.

“We have to remind ourselves of this pluralism…If there is anything that can address the threats to pluralism, it is the simple act of love,” Halarnkar. 

“Next year is a big one for us. We hope to publish a book, and our series produced by Dharmatic Entertainment for Amazon Prime should be out in early 2024. It will have six episodes, each telling the story of a couple featured on India Love Project,” Ramani said.

“The creativity, courage, and commitment shown by this year's finalists is so important at this moment,” said Meredith Preston McGhie, Secretary General of the Global Centre for Pluralism. Each winner will receive a prize of $50,000 (Canadian dollars). 

Alfred Nobel did not have any direct descendants. The man who created the most prestigious award in the world and dedicated his legacy to recognising those who make outstanding achievements for the betterment of humanity, never married and did not have any children. His closest family descendants were always his nephews.

One of them lives in our time - Marcus Nobel.

He is now catalysing the environmental movement with a new iteration of a Nobel-inspired Amazonian Award, boldly presented to the world from the epicentre of the world's climate, Manaus, Brazil, along the banks of the mighty river in the capital of the state of Amazonia, a.k.a. The Lungs of the World.

It is a whole new level of ecological laurel—the United Earth Amazonian Award, a Nobel Memorial Prize.

Deep in Brazilian Amazonia, this award aims to shine a light on Earth's largest rainforest, and those tirelessly working to protect it, honouring the memory and inspiration of Alfred Nobel.

It has been a long journey for Marcus to this point. He was a celebrity before he understood it, just as the world was in climate trouble before it knew it. Heir to a noble legacy, he grew up an immigrant in the United States, his family's origins stretching back to Sweden from where his ancestral name and influence loom large upon the world.

Just as Marcus was discovering the world's gaze upon him, the world itself was unassumingly slipping into the tempests of climate turmoil, its troubles deepening in silence.

In the '60s and '70s, he was just Marcus Nobel in Wisconsin. Only a few inquired about his famous last name. Back then, his father Claus Nobel, a smart pitchman and entrepreneur was living the American dream, penning a story of his own, venturing through the labyrinth of a successful carwash empire.

Something deep resonated with the Nobels of Wisconsin, however, whispering to Claus of responsibility and a duty to shape the world for the better. The bright supernova in their lineage was the backdrop for Marcus's journey as well. Alfred Nobel's spirit became his moral guidepost.

Speaking exclusively to THE WEEK, Marcus Nobel recalls how as a child and young man time and again, whispers would find their way to his ears, labelling him a "celebrity". Something that he did not quite begin to understand until the day when Martin Luther King won the Nobel Peace Prize and his grade school class teacher invited to comment, or when his university newspaper suddenly wanted to interview him.

His connection to the honoured lineage made of him something of an enigma to friends and classmates. He was their flesh-and-blood connection to the the very architect of the Nobel Prizes for human achievement.

Recognising the good fortune inherent in their legacy, Claus Nobel began to sow the seeds of change, embarking on a mission that would resonate across time. He founded United Earth as a non-profit, NGO, in 1974 with the aim of "uniting the people of Earth in building a collective, sustainable future".

With the tutelage, sponsorship, and underwriting procured by renowned environmental champion and diplomat Dr Noel Brown of Jamaica, the United Earth Prize was born in the annals of the United Nations; conceived in 1991, it fused the ideals and responsible ethic of Alfred Nobel with the urgency of environmental stewardship.

Brown was the director of the United Nations Environment Programme (UNEP), a man instrumental in promoting sustainable development and environmental protection. He played a key role in organising the Earth Summit in Rio de Janeiro in 1992, yielding a comprehensive plan of action to promote sustainable development worldwide. He also established the Intergovernmental Panel on Climate Change (IPCC), responsible for assessing the science related to climate change.

The first United Earth Prize event was held that year in the General Assembly Hall of the United Nations in New York, with storied journalist Bill Moyers as emcee and country singer-songwriter and environmental activist John Denver.

The '92 award ceremony was held in the grand space of New York City's famed Bradley Center. Echoes of applause still ring in Marcus's ears; as does the memory of the legendary Maestro Quincy Jones as emcee.

Marcus was there by his father's side, immersed in the earliest iterations, building the lowest rungs of the the United Earth Amazonian Award structure that blossoms in 2023.

Along the way, Marcus met the Dalai Lama, CNN Founder Ted Turner and many of the people who run the world.

It has been a formidable journey, but it was no easy task.

In parallel to his life, marched the planet's gathering environmental crisis. In the early 1990s climate change was still a peripheral concern for people and governments, barely lurking at the edges of the world's collective consciousness, not fully awakened to the magnitude of the threat.

But, accelerating CO2 levels, melting glaciers and dire scientific projections made louder the warnings of coming catastrophes.

A sense of urgency mounted in the 2000s as Green political parties swelled across Europe. Preserving the crucial rainforest of the Amazon and other wilderness areas went from radical causes to ethical imperatives.

With these dual revelations—of his own Nobel legacy and the quickening climate disaster—Marcus grew convinced that Alfred Nobel's model was the vehicle the times needed to raise consciousness and compel the people of the Earth to unite in order to save it.

Alfred Nobel, the inventor of dynamite who saw its power of destruction and then imagined he could impact the world by leaving a positive and enduring legacy, once said, "If I have a thousand ideas and only one turns out to be good, I am satisfied." Marcus Nobel has tried a thousand times to use United Earth's voice as an instrument of change, to awaken the world's ecological conscience, before the Amazonian Award was conceived.

We all understand, rationally anyway, that the damage to the environment can be slowed down, stopped maybe, that the process does not have to move only in one direction, that it is possible to make more of what has been lost, and that doing it secures the future of our planet.

But Marcus Nobel knows the power of incentive and recognition, of celebrating the human spirit and its highest potential, especially when the future of our home planet is at stake.

He sees the United Earth Amazonian Award as a beacon of hope, encouraging innovative approaches and sustainable practices that can be replicated worldwide. By honouring those who have shown exceptional dedication to the preservation of the Earth's resources, the prize is out to inspire a new wave of environmental consciousness and to build solidarity in the planet, transcending geographic and cultural boundaries.

Joining forces with the celebrated Brazilian-born former VP of EMI Music Latin America and Senior VP of Capitol Latin, Sergio Lopes, Nobel has added a dash of Hollywood, showbiz, and glitter in a stately recognition that incorporates the power and the beauty of music in a role to move people and to inspire with work at the heart of what is valuable to humanity and human existence.

Lopes, a veteran of Sony Music and Oglivy Advertising is a showbiz powerhouse with a global perspective. And that is just the direction Marcus Nobel wants for the prize. With their joint vision. Manaus, the city that was once graced by the voice of the great tenor Caruso becomes the setting for the global environmental prize, the United Earth Amazonian Award.

Picture Caruso's triumphant notes, hear his majestic voice echoing through the very rainforest that Manaus cradles, with the strains of Verdi's "Ernani".

"We are evolving as we look at the Amazon," says Marcus Nobel. "There are many, many issues such as illegal goldmining, deforestation, the treatment of indigenous peoples, those are very difficult issues which cannot be easily solved and there are groups working on that,” he said. "What we are doing that is absolutely different, we are raising consciousness and, creating community."

Using music and adjunct festivals, says Marcus Nobel, “we want to be a constant pressure for the positive, focusing on global planetary issues”. And so, he has merged a unique platform of environmentalism, social justice and moral urgency in a battle for the life of the planet.

The United Earth Amazonian Award is explicit that it is based on the same values as the Nobel Peace Prize and that is aligned with the Nobel family's mission to "unite the people and nations of the earth in building our collective and sustainable future".

Marcus Nobel explains that the award takes the form of a series of prizes to elevate exceptional contributions in the various realms of environmentalism.

The transition from thought to action, however, was not immediate. It has taken nearly 50 years since the founding of United Earth and 32 years since the first prize. Throughout, Marcus's path was illuminated by the inspiration of Alfred Nobel.

The new incarnation as the United Earth Amazonian Award is thus a tale of personal transformation as it is of the evolution of the prize into a global marker, a narrative where Alfred Nobel's legacy has redirected the course of Marcus Nobel's life, and he and the prize emerge as modern-day stewards of the planet through his own passions and the Nobel lineage.

The Award

Laureates receive a symbolic masterpiece by famed Brazilian sculptor Darlan Rosa made from recycled stainless steel that consists of a sphere with six sides, an extraordinary sculpture representing the Earth itself as a symbol of our planet's beauty and fragility. Divided into six sides connected by the figure of a man with outstretched hands it evokes the interconnectedness of humanity with the natural world.

A symbol for Manaus

Like the statue of Helios that stood at the harbour of Rhodes, beaconing the world to environmental consciousness like the Statue of Liberty beckoned immigrants, a 5-metres in diameter statue of the award will stand on the banks of Manaus’s Rio Negro, one of the major tributaries to the Amazon River with breathtaking views of the river and the Amazon rainforest.

The six sides of the sphere, internally illuminated by solar panels, represent the interconnectedness of man with the flora, fauna, water, air and natural resources. The man’s outstretched arms embody humanity reaching out and striving for a better world.

Because of its imposing size, the sculpture will serve as a powerful symbol of Manaus as the central point of the UE Amazonian Award, celebrating the values of environmental stewardship, cooperation, and global unity.

“With the visibility, we want to show the Amazon from the inside out, from those who know how to preserve it, from those who are the greatest preservers of the largest tropical forest in the world,” said Manaus Mayor David Almeida about the project.

“And that is what we want to do,” added Almeida. “to take a front seat in a discussion in which we are protagonists so that we can say to the world, ‘This is where the greatest biodiversity is, this is where we have to preserve. And we have a lot to show the world’.”

The expectation is that with global broadcasts of the Award ceremonies, the statue will become a globally recognised icon of Manaus and a united Earth protected by its people.

A vision unveiled

Visions of a future where lush rainforests thrive untouched, where oceans are pristine havens, and where every species finds sanctuary may seem unattainable today, but United Earth sees the Amazonian Award as a way to inspire and recognise not just the champions of conservation, but those who aspire to be the guardians of a world where those visions are not just a dream but a reachable gift to leave for generations to come.

A legacy for generations

The Award’s selection process follows the methodology of the Nobel Peace Prize, says United Earth. The laureates are not mere recipients; they are catalysts. Their work is chosen to reverberate, inspiring others, igniting a passion for change.

The Nobel connection

While the Amazonian Award is not part of the Nobel constellation of prizes awarded by the Nobel Foundation. It is of note that although the Nobel Prize in Economics was originally formed outside of the foundation’s structure by Sweden’s Central Bank as the Nobel Memorial Prize in Economic Sciences, it was eventually embraced by the foundation, was integrated into the Nobel family, and is now awarded alongside the original Nobel Prizes.

Seeing the Amazonian Award so recognised in time is Marcus Nobel's grand vision for the Earth because it will mean that the world has collectively embraced the imperative of environmental stewardship. And that his famous ancestor will be smiling.

The 2024 Amazonian Award Ceremony will be held on April 2 at the famed Manaus Opera House celebrating the collective commitment to safeguarding the planet—a fitting tribute to the legacy of Alfred Nobel.

Similar to how a familiar scent can transport us to distant times and places, music holds the remarkable capability to unlock a treasure trove of personal memories. This enchanting relationship between music and memory forms the foundation for Six Years in India, a distinctive and personal musical project of Anna Bychkova Nair, a Western classical singer and voice-over artist who was born in Odessa, Ukraine (while it was part of USSR), who grew up in St Petersburg, Russia, and now resides in Thiruvananthapuram.

A student of the renowned Bulgarian opera singer Alexandrina Milcheva, Anna skilfully interprets six carefully selected Indian songs in Six Years in India. These renditions, infused with a touch of her Western classical style, serve as vessels to unveil chapters from her remarkable journey—a journey of falling in love with India and an Indian, and subsequently, residing in four different cities across three Indian states, all within six transformative years.

Anna was born into a family deeply rooted in music. Her great-grandmother, amidst picturesque landscapes near their home, would sing gentle lullabies to her while cradling her in her arms. Her mother's education in a music school further cemented this familial connection. This musical heritage extended beyond Anna's immediate family, as many of her relatives continued the tradition, working as professional musicians in orchestras across Europe.

Anna's early years were marked by watching her mother play the piano, and she recalls, "I used to sing a lot, and to keep me quiet during our walks, my parents would offer me snacks." Her mother, however, was concerned about whether she should pursue a professional career in music.

Nevertheless, by the age of seven, Anna's fingers delicately danced across piano keys, and her voice began weaving its melodies. This deep connection between Anna and music flourished as her family relocated from the port city of Novorossiysk to St Petersburg. Her formal musical education thrived in St Petersburg, where she enrolled in St Petersburg Children's Music School No. 11, affiliated to the Philharmonic Society of St Petersburg. Her parents ensured she received a comprehensive musical education, and she excelled in piano playing while her voice evolved under the guidance of dedicated instructors.

The school introduced Anna to a diverse musical world, where she sang with a choir, travelled across Europe, and embraced various languages and cultures. This exposure broadened her horizons, fueling her passion to share her voice with the world. A significant turning point came when she participated in the international youth music competition 'Hopes, Talents, Masters' in Bulgaria at the age of 15. It was there that she crossed paths with her teacher, Alexandrina Milcheva, an encounter that would profoundly change her life.

Anna's musical journey took a significant turn when she became a student under Milcheva's guidance. However, instead of enrolling in a music conservatory, Milcheva encouraged her to pursue an alternative academic path while continuing her musical education. Anna chose to study language at St Petersburg State University, located near her music school. Her academic focus shifted to English language and literature, delving into phonetics, literature, and culture. This choice unexpectedly unveiled India's historical ties with Britain, sparking Anna's fascination with the country.

Indian culture continued to intersect with Anna's life through interactions with Indian exchange students, her work as an interpreter for Indian-origin doctors from the UK, and her father's admiration for Indian cuisine from his time in London. In 2012, Anna's life took a romantic turn when she met Nair (full name withheld on request), an Indian, in St Petersburg during his assignment as part of an Indian delegation of engineers. Being a linguist, Anna worked with his as an interpreter. Love blossomed in St Petersburg, as Nair introduced Anna to various aspects of Indian culture, including milk tea, Shah Rukh Khan, and the iconic song Chaiyya Chaiyya from the film Dil Se. The memories from those beautiful days in St Petersburg are vividly reflected in her rendition of Chaiyya Chaiyya, the first song in her Six Years in India series.

The couple believed they were destined for each other, yet the path to marriage wasn't straightforward. By the end of 2014, both families agreed to their union, but because of certain professional commitments of Nair, the marriage happened only in November 2016.

During these three years leading to the marriage, Anna immersed herself in Indian culture at St Petersburg. She started learning Hindi, explored the basics of Bharatanatyam, and mastered the art of chanting the Gayatri mantra. She attended lectures on Indian culture at the Hermitage Museum in St Petersburg and was drawn to the philosophical ideas of Buddhism and Jainism. Anna also extensively explored Indian cuisine by visiting almost every Indian restaurant in her city and learning to cook Indian food.

Anna's desire to understand India deeply is reflected in her rendition of the profound song O Ri Chiraiya from the Satyamev Jayate TV series hosted by Aamir Khan, which she chose as the second song in her project. This song, with its confessional tone addressing injustices against girls and women, became one of Anna's favourites. “I really admired that a star like Aamir Khan decided to talk about social issues openly,” says Anna. “I felt like instead of reading what others are saying about India, at least it has more value and credibility because an Indian talks about the issues openly.”

The third song in the series is Anuragathin Velayil, a Malayalam romantic song featured in the 2012 movie Thattathin Marayathu. Its significance lies in the fact that it's in Nair's mother tongue, making it a personal favourite, and it was released the same year the couple met. Meanwhile, the fourth song, Lag Ja Gale, marks Anna's first performance of a Hindi song. She deeply connected with the song's theme of longing, reflecting on her own experiences. Lyrics like Shayad Phir Iss Janam Mein, Mulaqat Ho Na Ho (In this life, we may or may never meet again) resonated with her, but destiny brought her together with Nair.

Post-marriage, when Anna and Nair started living in India, a realisation hit her as the couple shifted from one city to another: there exist many different versions of India. Mumbai was the couple’s first city of dwelling. In Mumbai, Anna found a lot of connections via music, especially through the Mehli Mehta Music Foundation, a not-for-profit organization that promotes Western classical music. However, a shift to Kochi presented a distinct culture that left her questioning her sense of belonging. She says: “When you move to a place, first you have euphoria and then there will be a second stage where you feel like, do I belong here? So that was a big question mark. I couldn't find the many opportunities that I had in Mumbai. And I started blogging more. I started writing more. But I got slightly confused at that point of time [thinking whether she could continue with opera singing].”

Anna initially struggled to adapt to Kochi, feeling she wasn't making enough effort to adjust to the new environment. However, an India-born friend who had moved from Mumbai to Kochi shared similar challenges, which prompted Anna to be more forgiving of herself. In Six Years in India, Anna acknowledges her journey of learning and adapting to the diverse cultures in India. This acceptance of the different cultures can be seen in her fifth song of choice, Mere Rashke Qamar, a Nusrat and Rahat Fateh Ali Khan song featured in the 2017 film, Baadshaho, set in Rajasthan. It became their preferred song during long drives in Kerala.

Their third city of residence was Ahmedabad, offering a lifestyle distinct from Mumbai and Kochi. But it was the pandemic era, and life was stuck in the apartment. Anna explored the complexity and charm of silence in an otherwise talkative nation, which is reflected in her rendition of the final cover song of the series, Khamoshiyan.

“We dive into new circumstances keeping our feelings at bay, but what if there is a way to give ourselves a chance to take our time to connect both to a new place and the place you left, with your new self on a deeper level?” This contemplation has been the driving force behind Anna's entire endeavour. Today, Anna and Nair are based in Thiruvananthapuram. Anna continues her quest to understand the evolving landscape of 'new India' while nurturing their two beautiful children. She collaborates with local artists in the city to channel her musical talents, and aspires to be a professional playback singer. For her project, she collaborated with recording, mixing and mastering professional Deepak S.R. and guitarist Advaith Sreekumar. Through her songs, she wishes to inspire generations to come in the same way those six songs in her project Six Years in India connected with her story and her memories,

Furthermore, she raises a significant question, both to herself and the world at large: “Can art and music serve as companions through life's highs and lows, illuminating the pivotal memories that shape us as individuals?”

DC Books, a trailblazer in the Indian publishing industry, is set to mark its Golden Jubilee with a grand celebration on September 9th, 2023. In this remarkable journey of 49 years, DC Books has achieved numerous milestones, pioneering efforts to promote literature and education, and a legacy that has shaped the literary landscape of Kerala. At the heart of this jubilant occasion will be the 25th annual DC Kizhakemuri Commemorative lecture, which will be delivered by none other than the illustrious actor, theatre personality, and activist, Prakash Raj. His address, themed "Re-Imagining the Future," promises to be a thought-provoking exploration of the power of belief, imagination, history, and life.

"As DC Books embarks on its Golden Jubilee year, it reaffirms its commitment to fostering a love of reading and learning among its audience. With a remarkable history, significant contributions to literature, and a promising future ahead, the celebration of DC Books' 50th year promises to be an event of cultural and literary significance not only for Kerala but for the entire nation. The legacy of DC Kizhakemuri lives on, inspiring future generations to embrace the power of belief, imagination, history, and life through the world of literature." said Ravi DC, Managing Partner, DC Books.

The inauguration ceremony will feature distinguished guests such as MLA Shri Thrivanchoor Radhakrishnan, Author VJ James, novelist, and translator TD Ramakrishnan, and Indian writer, critic, orator, and professor Sunil P Ilayidom. Sunil P. Ilayidom will deliver a lecture on 'Belief: Imagination, History, and Life,' followed by the participation of renowned writers, including Short story Writer, Novelist, and essayist Paul Zacharia, author and journalist KR Meera, poet and lyricist Manoj Kuroor, writer, translator, and screenwriter S Hareesh, and short-story writer and screenwriter Unni R. 

The event will witness the unveiling of the DC Publishing Museum logo by Honorable Minister Shri. VN Vasavan presided over by Kerala Sahitya Akademi President, Prof. K Satchidanandan, and K Sethuraman IPS. New books commemorating the 50th year will also be launched. The celebrations will culminate with a musical concert by the talented Shahabaz Aman, promising an unforgettable evening for all attendees.

Founded in 1974 by the visionary Dominic Chacko Kizhakemuri, DC Books has a rich heritage rooted in making literature accessible to the masses. In 1956, DC Kizhakemuri ignited a paperback revolution by selling 10,000 copies of Thakazhi's Chemmeen. He also spearheaded the campaign to abolish taxes on books, a legislative effort supported by Prime Minister Pandit Jawaharlal Nehru. DC Books continued to lead in innovation, introducing India's first e-book ecosystem with 'WINK' tablets in 2008 and becoming the nation's largest producer of 'Audio Books.' The company has received prestigious awards for excellence in publishing and boasts the largest bookstore chain in South India through its sister concern, Current Books.

Artist Seema Kohli’s recent work ‘Heartbeat of Universe’ is an ode to pulsating darkness giving birth to the glitter of sand, sky or water, to our shrouded thoughts, she says. Created using acrylics and inks on canvas with 24-carat gold and silver leaf, the artwork was displayed at the recently concluded Bihar Museum Biennale. 

She explains, “The overarching theme of this painting is a commentary on the Karmic Cycle and Vasudhevya Kutumbakam. We are all like the branches, leaves, and roots of one Universal Consciousness which surpasses all biases. We are all unique, different, and at the same time existing because of each other. Our interdependence is also unique. I put forward a different version of the universal understanding of the Karmic cycle. The idea that the end of the Karmic cycle will put an end to all the suffering is not the central point. But, by going through this life cycle, living life to its fullest with conviction will help us achieve eternity and salvation.” 

Kohli, who follows the concept of the ‘golden womb’ in her art, believes that humans or any other form of beings have all emerged from the female energy, the same element that guides all of us. Before being invited to the Bihar Biennale, Kohli presented an exhibition ‘Vut from the Same Cloth’ at Delhi’s Bikaner House where she brought out embroidered artworks, paintings, drawings and performances – based on the concept of the feminine, the golden womb, on which she had been working for 6.5-7 years. 

Kohli’s work stands out not only because she presents nature and the woman as one creator but also because it strikes the viewer at once – the use of bright colours and patterns, the feminine element, and the amalgamation of nature and beings. She says that the idea behind using bright colours is the fact that life is full of inspiration and celebrations. “Everywhere I look I see colour in spite of the fact that there are some low moments in life. But I feel that celebrations take them over and create more compassion and joy in our lives.”

Recipient of the Lalit Kala Academi Lifetime Achievement Award for Women in 2008, Kohli agrees that she draws a lot of inspiration from mythology and not only the mythology of a certain sect but different mythologies from different spaces and faiths. In this show (Cut from the Same Cloth), it is not mythology that was instrumental, it was poets and the teachings of sufi and bhakti saints which are in the knowledge of people.”

Seema’s solo exhibitions have been shown in Brussels, Melbourne, London, New York, Dubai, Singapore, Delhi, Mumbai and Bangalore. She is currently working on her upcoming solo show and says she will soon go back to her ‘womb’ that is, her studio to delve into her art. 

On stage, dressed modestly in plain black clothes, professor Kaushal Kumar began his performance art. As a curious audience observed, he took out at least a dozen red threads or kalava from a bag and placed them on a table. The act was a part of the ‘Interrogations and Ideologies: A Quest for Equality’ exhibition hosted by The American Center that brought together a group of artists who used different installations as a powerful expression of social equality and justice. It was curated by professor Y.S. Alone.

As professor Kumar picked up the first and began wrapping it around his body, the audience wondered what was in store next. ‘Can anyone help me?’ he asked the audience and a few went up the stage, picking up the thread bundles and wrapping them around his body. In about 15 minutes, professor Kumar was an embodiment of the tree that stands clenched in red religious threads, tied in hopes and prayers. Wrapped tightly from head to toe in about a dozen bundles of kalavas, he hopped around the stage and struggled but managed to climb down and exit as the startled audience wondered what to expect next.

But he had made his point. And the conclusion of the performance art was one’s own to draw. “The expression of our identities differs from person to person and from community to community. In the case of the majority, it becomes a power symbol,” he says, explaining his act.

It is rather true – the whole purpose of the performance was to show the society how our dominant beliefs and ideologies sometimes hold us down hard and restrict us like the bark of the ‘holy’ tree that has been tied around with layers of threads.

As a part of the exhibition, artists showcased ‘Ambedkarian aesthetics,’ a world untethered from prejudices, inhibitions, and the metanarratives of hegemonic modernity through their paintings. Artist Jaya Daronde’s art from the series titled ‘Relationship’ represented the oppressed women’s relationship in the hierarchical social structure of the Indian social System – with a socially affluent male, Shukla Sawant’s ‘First Flight’ was all about representing the issues of women’s labour rights from taking care of the baby to the freedom to fly high, the narrative of the everyday life of the Indian women caught in the domesticity.

United States’ deputy chief of mission Patricia Lacina, who attended the exhibition said that every nation struggles with notions of equality and that artists have a special role to play here. “In this context, the US and India have a long-standing history of cultural collaboration where art professionals from both nations have thrived and collaborated to promote social justice. These art expressions not only ignite minds but also reiterate the commitment of the US and India in envisioning an equitable world,” she said.

Professor Alone says that he has been in touch with the artists who present an Ambedkarian approach through his previous exhibitions and wanted to bring them all together under one exhibition and that is why he calls it ‘Ambedkarian Aesthetics’. “All these artists come from diverse backgrounds but have a common thread of democratic equality,” he says.

Feminism as a concept began in the West in the 19^th century but women in this part of the world were already confronting society centuries before the movement formally spread roots. Among such women, 16^th century Hindu mystic poet and devotee of Krishna stands tall. In fact, Padma Shri and Sangeet Natak Akademi awardee Vidushi Sumitra Guha, who is an Indian classical vocalist, goes on to call Mirabai ‘India’s first feminist’.

“Mirabai was the first feminist and a visionary who voiced against the wrongdoings of the society. Despite being from the royal family, she questioned the norms of animal slaughter as an offering for gods. She stood up to all established norms of honour, and to the authority of every mortal man around her,” said Guha.

“It would be a sad day for India if it has to inherit the English scale and the English tastes so utterly unsuitable to the Indian environment.” – Mahatma Gandhi

Colonial influences have diluted the potency of a culturally bio-diverse nation such as India to the extent that people today credit Western technologies and knowledge systems as the reason for any manner of progressive development in India. It is therefore not surprising to note an excessive glorification of high-tech infrastructure and technologies in the name of modernisation when the reality, however, is the exact opposite. Recent studies render the global north responsible for 92 per cent of the prevailing climate breakdown since historical times while the contribution of the global south is a meagre 8 per cent. As per this, India alone (of the rest of the global south nations) harbours 34 per cent of the climate credit.

The concept of modernity is a construct of the human mind. There are several examples of self-sufficiency, resilience, and capacity building embedded within the social infrastructure of any nation; known to have withstood the trials of time. Ancient Indian societies were known to be far more advanced for their times; even prior to colonial infiltration. India is renowned globally for its array of diverse, regenerative, and restorative approaches to living and management of the local environment via local and contextualised native solutions. The biggest challenge associated with the utilisation of Western solutions in the global south context lies in their reduced efficiencies which stem from their biases towards the problems of the global north.

And this is where traditional and indigenous knowledge systems hold an edge.

As Christopher Alexander discusses in his book A Pattern Language, each society has its own distinct pattern language which although uniquely symbolises the essence of a potential solution to a recurrent problem within our environment; that may be utilised elsewhere without ever repeating the same way twice. Traditional and indigenous practices have been doing just that. These centuries-old practices have been evolving with time, in tune to the changing climate scenario. They symbolise a time when anthropogenic development was a perfect marriage of advancement and an innate empathy for nature.

The acknowledgment of the five elements of nature (a.k.a. Pancha bhutas) namely earth, water, fire, air, and space/ether in the cultural, economic, or spiritual wheel of life is proof of the intricate, holistic connection that Indian people share with nature. This clearly amplifies the need for a shift towards an indigenous developmental approach that coexists with nature rather than total dependence on foreign solutions to attain the same. Traditional and indigenous practices originated at a time in history when we were still deeply connected with nature. This is perhaps the biggest USP that sets them apart from Nature Based Solutions (Nbs) as the efficiency of the latter is on the efficiency with which biotic elements deliver ecosystem services. In fact, these practices are also viewed as a component of EbA (Ecosystem-Based Adaptation) like Nbs. Just like EbA and Nbs, traditional and indigenous knowledge systems too account for a cohort of benefits that are otherwise not observed in mainstream foreign technologies or conventional Nbs. Some of them include:

Fosters harmony within the community

The efficient working of practices such as Kuhls of Himachal Pradesh (gravity-based ingenious irrigation system) and Dong Bundhs of Assam (gravity-based seasonal river channelisation) can be credited to the presence of strong communal linkages and functioning in the region of implementation of these practices. Mutual understanding among the local community and a give-and-take policy ensured a successful conservation of the shared resource commons i.e. water in this scenario without compromising on anyone’s needs.

Encourage gender equality

This is mirrored in indigenous practices such as 'Akkadi Saalu' of Karnataka (rainfed intercropping system with a focus on biodiversity conservation and ecological pest management) and Sedentary Pastoralism across Kangayam grasslands. These practices not only promote gender equality and female leadership but also highlight the efficiency and productivity that may be attained when genders work in unison like a cog in the wheel.

Incorporate sustainable and localised infrastructure

The most remarkable advantage of indigenous practices is their increased dependence on native yet eco-friendly raw materials. This can be observed in the case of Meghalaya's bamboo drip irrigation system. The practice leverages the local potential of the ecosystem such as utilisation of abundantly available bamboo species, natural terrain, and gravity in order to successfully accommodate both domestic and agricultural demands. A significant outcome of this initiative includes the sustained conservation of the bamboo forests of India.

Increase in carbon sequestration and lowering of ecological footprints

One primary reason why wastewater bheris of east Kolkata wetlands offer ecological subsidies to the city of Kolkata is their ability to act as carbon sinks— locking over 60 per cent of carbon from the input wastewater. Likewise, the design of the surangams of Western Ghats (groundwater harvesting tunnels) is such that it is always low on carbon emissions for its lifetime. This is an outcome of the native vegetation with increased carbon sequestration abilities that grow overhead these tunnels.

Encourage capacity building

Collaboration and brainstorming among people have always led to the strengthening of existing approaches and the evolution of new practices. The ancient tradition of Halma, practiced by the Bhil tribes of Jhabua district, Madhya Pradesh, is an example of that. Systems like these become critical in the attempts to develop efficient and hybridised solutions with modern-day innovation. Likewise, they also enable people to take ownership of local issues and subsequently contribute to the process of planning and nation-building at their own level.

However, with rampant urbanisation and modern influence, these practices are on the verge of turning redundant while some are already redundant. This calls for an imperative need to promote and mainstream the knowledge associated with these practices to the general public. As India is set to celebrate its 77^th year of Independence, indigenous and traditional practices can help steer the way towards a self-reliant or “Aatmanirbhar Bharat” as quoted by Prime Minister Narendra Modi. Efforts, therefore, need to be undertaken to equip our changemakers with resources, manpower, and information essential for mainstreaming these practices into the urban fabric of India.

The efficiency of modern-day westernised grey infrastructure is only up to the point of resolving the issue for which they were constituted. Indigenous and traditional knowledge systems, however, offer a cohort of holistic benefits; the most important of all being resilience which was clearly observed during the Covid-19 pandemic; amongst indigenous communities that still imbibe these practices. Climate change is an inevitable global phenomenon that does not harbour biases of any kind towards anyone individual or country. Collective efforts supported by cross-sectoral linkages, therefore, become extremely crucial to formulate sustainable and long-term solutions. Institutionally backed strategies, policies, and missions such as LiFE (Lifestyle For Environment), etc.; capable of imbibing these practices into the national framework formally need to be devised for strengthening and mainstreaming this knowledge.

Most importantly, understanding and deciphering the pattern established by these practices and their subsequent adaptation/replication in a different context is what we need to be looking at. One can only be enamoured by the wonders that may be achieved by the fusion of indigenous knowledge systems with modern technological advancements that are empathetic to the planet. Together we are not only moving towards (em)powering nature ecosystems to take their course but also conserving our tangible anthropogenic heritage for generations to come. Let us all, therefore, join hands towards reconnecting with our present by collaborating with our past in order to create a better future as a nation and planet.

Hitesh Vaidya is Director, National Institute of Urban Affairs (NIUA). Vishnupriya Gaur is Young Professional and Manju Rajeev Kanchan is Research Associate at NIUA.

'Varayude Paramashivan (Lord Shiva of line drawing)'.

It was a fitting tribute from one stalwart to another – from eminent Malayalam author V.K.N. (Vadakke Koottala Narayanankutty Nair) to noted artist Namboothiri.

One of the legendary figures of line drawing, Karuvattu Mana Vasudevan Namboothiri, 97, passed away at 12.21am today, leaving behind a rich legacy and his unique style. The eldest son of Parameshwaran Namboothiri and Sreedevi Antharjanam of Karuvattu Mana in Ponnani, Kerala, Namboothiri entered the world of art, inspired by the scriptures at a temple near his house. He was fond of making clay figures. After finishing high school, he worked as a priest at a temple in Thrissur for some time, during which he learnt Sanskrit and traditional medicinal practices. But, Namboothiri soon realised his destiny lay elsewhere.

With financial help from Krishnan Namboodiri of Varikkasseri Mana, a renowned aristocratic family in Malabar, Namboothiri got enrolled at the Madras School of Fine Arts (now, Government College of Fine Arts). It was there he met the two towering figures who would profoundly influence his art. The first was Devi Prasad Roy Chowdhury, a student of Abanindranath Tagore and the founding principal of the institution. Under Chowdhury's guidance, the college provided comprehensive training in fine arts, fostering an environment conducive to exploring indigenous art forms. This exposure gave Namboothiri invaluable insights into depicting the human form and deepened his appreciation for artistic expression rooted in Indian traditions.

The second influential figure was his teacher, K.C.S. Paniker. His inspiration and unwavering support motivated Namboothiri and his peers to embark on a path of exploration, experimentation, and self-expression. Encouraging them to showcase their individual talents and challenge the limits of artistic conventions, Paniker instilled in them a sense of curiosity and a quest to define an Indian identity. After completing diplomas in fine arts and applied arts, Namboothiri lived at the Cholamandal Artists' Village under Paniker's guidance.

In 1960, Namboothiri joined Mathrubhumi, a prominent daily in Kerala, and four years later, he became a staff artist at Mathrubhumi Weekly. During this period, Namboothiri gained fame thanks to his distinctive style of raw and irreverent drawings. His pocket cartoon series, Naniyammayum Lokavum, in Mathrubhumi, got widespread acclaim and became a significant milestone in the publication's history.

Line drawing came naturally to him, and his unique perspective on human anatomy breathed life into many literary characters, making them immortal. The period from 1970s to 1990s is often hailed as Namboothiri's golden era, when he created some of his most celebrated literary illustrations. One notable example is the character of Bhima from M.T. Vasudevan Nair's famous novel Randamoozham (1984). Namboothiri skillfully portrayed Bhima with a robust physique and a relatively smaller head, effectively capturing the intricate emotions of Nair's Bhima.

Namboothiri's artistic prowess extended beyond Bhima, as he breathed visual form and shape into numerous characters in Malayalam literature. His illustrations graced the works of esteemed authors like Uroob, V.KN., S.K. Pottekkat, Thakazhi Sivasankara Pillai, and Madhavi Kutty (Kamala Surayya), among others. Each of these artistic renderings showcased Namboothiri's ability to capture the essence of the characters and contribute to the rich tapestry of Malayalam literature.

His male characters possessed a sturdy and robust appearance, while his female characters were depicted as beautiful. It was Surayya's father, V.M. Nair, who worked alongside Namboothiri at Mathrubhumi, who suggested that the artist should envision all his characters as visually appealing, even if the writers were exploring themes of agony, distress, or sadness. This approach aimed to convey the inherent beauty within each character, regardless of their circumstances.

Namboothiri possessed a remarkable ability to translate the intricate realm of emotions experienced by a three-dimensional character into the confined space of his two-dimensional drawing sheets. His profound understanding of literature, Kathakali, and classical music played a significant role in shaping his artistic vision. These diverse influences greatly enhanced his drawings. Furthermore, Namboothiri regarded music as the pinnacle or the "best form” of art, considering it the only artistic medium capable of deeply touching and stirring the human heart.

In the 1970s, Namboothiri's artistic talents expanded into the realm of cinema. When G. Aravindan, who would later establish himself as one of the greatest filmmakers in Malayalam cinema, directed his debut film Uttarayanam, Namboothiri served as the art director. In 1974, the film garnered five state awards, including the prestigious Best Art Director award for Namboothiri. Subsequently, the artist collaborated with acclaimed filmmakers such as Shaji N. Karun and Padmarajan, further showcasing his versatility.

Namboothiri also ventured into other artistic mediums, such as oil on canvas and copper relief works, to express his artistry. He even embraced finger painting as a form of artistic expression. His copper relief works on the epics Mahabharat and Ramayan, as well as his fibre-glass works on Kathakali, garnered international recognition and acclaim.

Namboothiri's autobiography, first serialised in Bhashaposhini, Malayala Manorama's literary magazine, was subsequently published as a book titled Rekhakal by Manorama Books. This publication provided readers with insights into his life and journey, further solidifying his prominent position in the artistic landscape.

Despite the numerous honours Namboothiri received, including the Raja Ravi Varma Award, one wonders if the nation truly recognised and honoured his exceptional contributions to the world of art and culture. Surprisingly, he never got a Padma award, which many believe he truly deserved.

Last year, 16-year-old Mithil Dedhia trekked to the Everest base camp with his uncle, Keval Kakka, a mountaineer who scaled the world's highest peak, also known as Chomolongma, 'the Goddess mother of the world' way back in 2019. That was the first time he saw a small glimpse of the world's tallest mountain peak. It piqued his interest in conquering it and experiencing the summit, first-hand. How would that feel? What must it be like to reach there and how do people actually go about it? His mind was swarming with questions and his heart was beating harder with excitement. Kakka, who's been there, done that-- he's scaled five eight-thousanders one after the other in a short span of time, encouraged his nephew to pursue his heart and go all out to scale Everest. 

Everest, he told the teen, was as much about the mind as it was about strength and agility. Once he decided he'd scale the peak, there should be no looking back. Dedhia followed the advice to the T and was resolute about his decision to scale Everest. The very first step was to convince the parents, which to his surprise, turned out to be the easiest one. "Initially they dismissed me, saying it was the excitement that follows a trip to the Basecamp. They were hoping I'd forget all about it in a few days. But I was so determined that they had to give in," says Dedhia. In January this year, the plan was final: Mithil, a student of St Gregory High School in Mumbai's Chembur was going to be the first 17-year-old from the city to scale the world's highest mountain above sea level. 

The first and foremost part of the preparation strategy was to achieve a certain level of fitness. That came from two to three hours of Calisthenics. Dedhia has been undergoing training for a year and it helped in building his endurance levels. To that, he added, running marathons, climbing staircases with weights tied to the ankles, and more. This went on from January through March. On April 2, he left for Kathmandu and from there to Lukla, a small and sleepy town in north-eastern Nepal popular among trekkers, who're geared up for the Everest Trek. 

Thereafter, a nine-day trek took him to the Basecamp. Acclimatization at such altitudes is crucial because the body needs to adapt to thin layers of oxygen at higher altitudes given the scarcity of the element further up. Proper acclimatization makes the trip safe as well as more enjoyable. But despite resting for a few days, Dedhia found himself falling prey to morning sickness. "I was dizzy, at a point in time on a small two-day trek to Lobuche, a peak at 6119 metres I almost fainted and that kind of made me super nervous about the upcoming trek the following night from basecamp to Camp One. I was hopeless and disheartened but then pulled myself up sooner," he says, recalling the moments, in an interview with THE WEEK. "I was super nervous. But my uncle was with me the whole time during these rotations and so it took us eleven hours for us to reach Camp 1 and then we went to Camp 2 the next day at 6800 metres. That took us five hours. The weather was getting inhospitable and unpredictable by the day. On the night of May 12, at 11.30 pm in the face of harsh winds, we left for Camp 2. I was very slow and the daytime heat was killing me. I was able to reach Camp 2 at 5 in the evening," says Dedhia. 

There he and other mountaineers stayed for two days and thereafter moved on further with their oxygen masks on. It took them another six hours to reach Camp 3. "There, I was super exhausted. Also because I was wearing the oxygen mask for the first time and it was physically draining to hike with the mask on, especially in the face of heavy snow. Our tent, which was placed on a vertical slope, was fully covered with snow. Somehow, we spent the night there before leaving for Camp 4. After an unforgettable and highly eventful ten hours, we found ourselves at Camp 4. Surprisingly, I wasn't exhausted at all; rather, I was energetic and very excited for what lay ahead," recalls Dedhia, animatedly. The team ate theplas and basic homemade food they were carrying along, and soon after left for the Summit at 8 am. At this point, Dedhia was by himself, along with his Sherpa and fellow mountaineers, who were more than a hundred at any point in time. His uncle, Kakka had accompanied him till Camp 3. Just after an hour of leaving for the summit, Dedhia's Sherpa fell sick with diarrhoea. That was at 8100 metres. And it meant that Dedhia had to wait for his Sherpa's replacement to come over. The wait on the way to the summit is actually what causes the most anxiety in climbers, says Dedhia. "My toes had begun to get numb in the snow, while I was waiting for more than an hour at one place." 

He finally reached the Ridge Walk at 5380 metres. Despite wearing sunglasses, Dedhia had only 50 per cent visibility, because of the frost on the glasses that made it nearly impossible to see clearly. So here he was on 80-degree steep slopes at a height of close to 8450 metres, all of which he negotiated without being able to see anything clearly. He reached the "South Pole." Until then for a long time he had been on juices completely and preferred to not stuff himself with food. Then came the famous Hillary Step at 8600 metres, where Dedhia's oxygen mask went kaput, making it difficult for him to breathe. He had to remove it and gasp harder to be able to take in oxygen at a height where the element is less than or equal to only about 30 per cent of that at sea level. So here was this 17-year-old at close to 8500 metres, where he could barely see clearly, could barely breathe well in the absence of a functioning mask and was walking with a numb toe. Dedhia recalls the moment as one that drove him to panic, anxiety and nervousness such as he had never experienced before. 

He decided against proceeding further. All he had to do was cross the remaining 200 metres before he could reach the top of the world. But that short distance seemed like an eternity. "My Sherpa was confident, encouraging and warm and was the sole person to convince me that I could do it. He changed my oxygen mask and I sat there for five minutes before moving ahead with small, calculated steps." The universe conspired to make it all happen for him, says Dedhia. just when he felt at his lowest, and coldest, the sun shone brightly as if taking the boy in a warm embrace. The frost on his glasses disappeared, he could breathe well and walk well. At 9 am that morning he finally reached the summit and soaked in the beauty around for a full 30 minutes. "I made it. It was a wonderful and a very powerful feeling," says Dedhia from the comfort of his home, a month and a half after he returned from Everest. He is presently nursing a frostbitten foot, but the wound he says, is hardly any price to pay in the face of the momentous accomplishment of having scaled Everest and fulfilled his long-cherished dream. 

While the ascent was difficult and challenging, the descent from Everest, says Dedhia, is equally challenging if not more. First of all, he had to wait on the Hillary Step for a good 45 minutes only to allow those climbing up, to pass. "On my way, I encountered dead bodies, injured and deeply wounded fellow trekkers, and those who went tumbling down into danger right in front of my eyes. The descent is such that we all need to form a single line and move slowly one after the other. If you try to overtake, you'd slip, fall, tumble and die. We were all moving extremely cautiously; it took me five hours to reach Camp 4. We were there at 2 pm." From there he was to go to Lhotse, the fourth-highest mountain in the world, but frostbites on the finger and a blister on the toe, kept him from pursuing it. A few minutes into the descent, with the rope slipping from his numb hands, Dedhia had a "deep fall" that led him to further injure his hands and legs. Somehow having managed to reach Camp 2 where he saw his feet were completely frostbitten, he was rescued in a helicopter to Kathmandu. 

More than the happiness that comes with summiting Everest, it was that on his first 8000'er, he was able to make the right decisions and return from the peak safe and sound. "The injuries I brought back with me, feel sweet in the face of the hardships I endured up there," he says. One can sense the enthusiasm and energy in his voice as he recalls his first-ever summit, and is already in preparation for his next one. 

Dedhia had just appeared for his Class 12 exams before setting out for the trek. It was a much-needed break, he says, laughing. He's currently pursuing a program in graphic design and visual communications. "It took me seven to eight months of rigorous preparation to make my body fit for the trek. this despite the fact that I have an agile and fit body, that has been trained into calisthenics for a couple of years now," he says. Dedhia weighed 57 when he set off for the trek; he lost six kilos during the trek. He now weighs a healthy 53 kilos. His initiation into trekking happened way back at the age of seven, courtesy of Kakka who took him along on weekend monsoon treks and camping trips in the Sahayadris. Ever since he's been a regular at snow treks. From 2018 through 2022, Dedhia spent his Decembers' on some or other snow trek. In December of 2022, he successfully accomplished five long treks in the snow within India including an expedition to a 6200-metre peak in Leh Ladakh. The mantra remains: "Mountains are calling, and I must go."