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Tracing the journey of the Mukkuvar Community and offering a glimpse into the fascinating history of the Ravanahatha, one of the earliest violins in history. In March 2015, Netherlands-based author Patrick Jered released a book titled, 'Finding the Demon’s Fiddle.' The book was based on an ancient Indian musical instrument, one that is now largely forgotten. Called the Ravanahatha, it is a stringed instrument that is believed to be an early precursor to the violin. The Ravanahatha (also known as ravanhatta, rawanhattha, ravanastron or ravana hasta veena), is believed to have originated in Sri Lanka during the time of the Hela civilization. The Asura king Ravan, the antagonist of the revered Indian epic, Ramayana is believed to have created it. The king was a staunch devotee of Shiva and he is said to have expressed his devotion through music. The Ravanahatha was his instrument of choice, hence the name, which literally translates to, 'Ravan’s Hand.'

The instrument is made up of a bowl-shaped resonator fashioned from a cut coconut shell that is covered with goat hide. A long bamboo body, the Dandi, is attached to the bowl. The principal strings are made of steel and horsehair.

Photo Source: Wikipedia

Legend has it that, after the war ended, Hanuman picked up the Ravanahatha and brought it to North India. The musical instrument enjoyed patronage from kingdoms in Rajasthan and Gujarat and is believed to have been the first instrument that the princes of these western states learned. The Nath Bavas, a community in India, are the only ones who continue to play this instrument today. They believe that the instrument was given to their community by Ravan himself. In the ninth century, the Ravanahatha traveller from western India to the Middle East and Europe with traders. It was dubbed the 'Ravanstrom,' and its discovery is believed to have laid the basis for the developed of the violin and the viola as we know them today. This gives the Ravanahatha the unique distinction of being the earliest ancestor of the violin. It is the first instrument of its kind that,rather than plucking at the strings, was played using a bow. In recent times, the Ravanahatha has made a resurgence, of sorts. The Sri Lankan composer, Dinesh Subhasinghe, has used the ancient instrument in his compositions; author Michael Ondaatje has also referred to Ravana’s fiddle as history’s first violin in his Booker Prize winning novel, 'The English Patient.'

The Ravanahatha is a wonderful example of how migration can enrich world culture and how different forces can come together to make an indelible contribution to world music.

Photo Source: Wikipedia

From the Ravanahatha, we travel all the way to Kanyakumari, Tamil Nadu for our second Sri Lankan connection: the Mukkuvar community. Kanyakumari, also known as Cape Comorin, occupies a unique part in India, as the southernmost tip of the South Asian nation. The town where the Arabian Sea, the Indian Ocean and the Bay of Bengal unite, is home to an intriguing mix of culture, spirituality and history.

With their strong ties to the pearl of the Indian Ocean, Sri Lanka, the Mukkuvar Community form a distinct part of Kanyakumari's unique culture.

Photo Source: Wikipedia

The Mukkuvar or Mukkuva community is a social group in India. The fishermen's community is found in Tamil Nadu, Kerala and Lakshadweep (where they are known as Melacherries), and in Sri Lanka as well. The name 'Mukkuvar' has two meanings. One refers to those who dive into the water: 'muk' or 'mung'; the other, refers to the name given to the people who live at the very edge, or 'Mukku' of the land mass.

Both names point to the identity of the community as deep sea fishermen who live at the southernmost corner of the land.

Photo Source: Wikipedia

There is some ambiguity regarding their origins. According to some historians, the community originally belonged to Tamil Nadu and migrated to Sri Lanka and then re-migrated to India. Others, however, believe that the community emigrated from Sri Lanka originally. While those that have settled in Sri Lanka have flourished, those in India lead a nondescript, and mostly poverty stricken, life. Dependent on the vagaries of the environment, the Mukkuvar community in India are often forced to lead a hand-to-mouth existence and have limited access to quality education.They lead harsh and impoverished lives. However, all is not as bleak as it looks. Women in this community wield tremendous power and are at the forefront of community transformation; an unusual occurrence as per the standards of Indian society. In Sri Lanka, the Mukkuvar occupy a position of prime importance by virtue of having control of large swathes of land in the western and eastern belts of the country. The community obtained these lands in Sri Lanka through military raiding parties recorded in history as the 'Mukkara Hatana' or the 'Fight of the Mukkaru.' The community calls Eastern Sri Lanka, the land of singing fish. They also believe that they were sent by an India king called Pandia. Today, centuries later, they continue to follow the laws and legal practices as decreed by this King; these are known as the 'Mukkuva Laws.' As can be imagined, the Tsunami of 2004 adversely impacted the Mukkuvar community, both in India and in Sri Lanka; many NGOs also reported instances of discrimination against the communities in rehabilitation projects. The Mukkuvar due to their poverty and meagre education, live at the very fringes of Indian society, yet their ancient history connects them to the larger fabric of the dynamic South Asian kaleidoscope.

Featured image source: Wikipedia (1, 2)

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Every country has a unique identity of its own; one that it passes on its people. In this article, TripHobo lists ten things that are synonymous with India and all Indians. From our rich history to our thriving entertainment industry, a rundown of all the things that make India, India.

1. Celebration is an integral part of our identity

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A line from the Late Harivansh Rai Bachchan's famous poem, 'Madhushala' reads: 'Din ko Holi, raat Diwali.'

This translates to 'Celebrating Holi during the day and Diwali at night,' and is the perfect sentiment to describe an Indian's affinity for celebration.

Celebrations are an integral part of an Indian's life and play a role in bringing us together.

Indians are firm believers of 'Khushiyaan batane se badhti hain,' and live by the sentiment. After all, where else will you find a Maharashtrian celebrating the Punjabi festival of Baisakhi, or a Gujarati celebrating the Tamil festival of Pongal?

In celebrations, we find togetherness and comfort.

2. We actively work to find solutions to our numerous problems

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Yes, we might be the second most populous country in the world.

Yes, unemployment, illiteracy, poverty and healthcare are obstacles we are yet to overcome.

But let's not overlook the impressive number of people who have selflessly dedicated their lives to the betterment of India.

Whether it is the heartening sight of 20-somethings working untiringly to educate children who do not have access to quality education. Or seeing a man go out of his way to ensure that the menstrual needs of women in villages are met. Or even seeing a popular actor like Nana Patekar work for the betterment of farmers in the drought-hit Marathwada region... we Indians are doers.

We understand where the problem lies and, instead of incessantly complaining about it, try to change things in our own little way.

3. We thrive in our rich culture and heritage

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We have 1652 dialects, 22 official languages and 29 states, each of which is culturally different from the other.

It is no wonder then that we grow up listening to repeated references to 'our rich culture and heritage.'

For us, exploring the country is not about wander lust; it is about satisfying the learner in us; the one who understands that it is privilege to be born in an country like India that has an immense amount to offer us culturally and wishes to absorb every moment of it all. Exploring the country has never been so easy. Check out this awesome journey planner!

**4. We believe that Jugaad is the answer to every problem and the method behind the madness**

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Jugaad or hacks are a recurring fad in India and, for many, a way of life.

Whether it is finding a place to camp for the night, scraping together something to soothe hunger pangs or scrounging through street markets for deals... for every crisis, real or imagined, we have thousands of jugadoos working hard on a solution.

5. Helping each other is in our genes

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We help each other out in our own little ways. It is not restricted to just borrowing chai patti from your neighbour when a guest comes over unannounced, but can be seen in various instances as well. The biggest reflection of this is seen on the road. Whether it is the young man who almost missed his interview because of the crowd at Dadar Station or a shopkeeper who is busy finishing his last batch of jalebis for the day, if you need directions, you can be sure they will go out of their way to help you. From the galis to the kuchas, people know the ins and outs of their areas like the back of their hand, often better than any Google navigation system! And they are more than happy to help others.

6. Keep alive the spirit of innovation and inquiry that gave the world Yoga and Zero

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A practice that was started by the rishis and munis of country centuries ago, prevails till date, not just in India, but across the world.

Today, countries across the globe celebrate International Yoga Day, such is the influence of the practice that caters to the well-being of the mind and the body.

India is also known for its crop of scientists and engineers, and the many discoveries they have made, and continue to make, in their fields.

To quote a popular Manoj Kumar song:

“Jab zero diya mere bharat ne, duniya ko tab ginatee aayee, Taaro kee bhasha bharat ne, duniya ko pahale sikhalayee.. Deta naa dashamal bharat toh, yu chaand pe jaana mushkil tha, Dharatee aur chaand duree kaa, andaaja lagaana mushkil tha”

7. Home to the world's highest battlefield and the brave soldiers who protect it

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We have the 4th largest army in the world, with 62 armoured regiments and 32 infantry regiments.

At Siachen, the world's highest battlefield, temperatures drop to minus 60° C. Yet, our army braves the freezing temperatures, displaying a love for their country that far exceeds a love for their lives.

Army families too are given a different stature in our country. They are treated with respect and are looked upon as an inspiration.

In keeping with our hopes for a peaceful world, we have always maintained a defensive line and hardly ever gone on the offensive. Waging wars is not something that we have ever seen as a solution and yet, we are one of the most protected countries in the World.

8. We live and breathe spirituality and religion, and can tell the two apart

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India is believed to be home to 330 million Gods and Goddesses.

The country has always been open to all religions, believing that they impart the same teachings. It is one of the few countries where people of different faiths live together in relative harmony.

Yes, we have our differences, but Eid is celebrated with as much zeal as Christmas and Diwali sees as much enthusiasm as does Lodi.

We also have a large spiritual consciousness and no, we are not referring to the number of monasteries that dominate the realm. Even though temples, mosques and churches teach us how to pray, the common feeling of tranquility is unparalleled. For us, it just comes from within!

9. Entertainment, Entertainment and Entertainment

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India and Bollywood are synonymous.

We produce the largest number of movies in the world and although people may mock our love for entertainment, our movies sure provide a fitting reply to them all.

India is also home to a wide range of directors and cinematic styles, right from Shyam Benegal and Satyajit Ray, to Yash Chopra and Rohit Shetty.

We look up to our entertainment industry for giving us 365 days worth of entertainment filled with social consciousness.

We have never crossed the holy line between sensational cinema and sensible cinema and yet, we have aced both the genres.

10. We live to Eat, and not vice versa!

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We have a very strong commitment towards food; it’s the only thing we can never break up with.

Want to make your way into our hearts? Give us something that our tastebuds will remember forever, and you are set!

While every country has a food identity, each part of India has a unique food identity of its own.

With every state border you cross, you are treated to a different culinary experience. From Vindaloo in Goa, to Puran Poli in the Konkan belt, to Uthappam in Karnataka to Malabar Paratha in Kerala to Butter chicken in Punjab, the dishes are endless.

We do not believe in superiority and are aware of things we lack. But just as every kid feels their parents are the best, so to do we feel that our country is the best.

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"You can’t buy happiness, but you can buy books and that’s kind of the same thing." - Anonymous

There will always be something magical about the printed word. Even as iPads and e-readers become the norm, nothing can quite compete with a good old-fashioned book. That's why, for book lovers, there is no place as captivating as the local book market where one can while away hours browsing and looking for bargains.

Street shopping for books is always engaging – although sometimes it involves digging through endless piles of unreadable tripe to unearth something fun.

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Many Indian cities are home to hidden lanes that are little-known treasure chests of books. These streetside markets, with their steals and deals on all kinds of books, are a dream come true for bibliophiles.

Here is a list of 7 book streets across India where, with a little bit of patience and a lot of bargaining, book lovers can pick up their favourite reads!

1. Daryaganj Book Market and Nai Sadak - Delhi

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The national capital has two prominent book markets - the Daryaganj book market and Nai Sadak in old Delhi. The Sunday book market at Daryaganj is famous for being a one-stop bazaar for all book lovers. Books of all genres, that too at great prices (though a little bargaining doesn't hurt), are available to avid bibliophiles. This place was Khushwant Singh’s favourite haunt; a little known fact is that it is still in existence only due to the efforts of the late author. The market was supposed to be shut down as it interrupts the flow of traffic, but Singh personally wrote to the Municipal Corporation of Delhi to not close it. The Nai Sadak market's attraction is that it is open on all days except Sunday. It has double storey buildings throughout the street and the lower storeys of these buildings house bookshops. This street is mostly known for its large-scale wholesale and retail markets of mainly school and college textbooks.

2. College Street - Kolkata

mile-long book stalls on college st in calcutta

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Kolkata's historic College Street is India's largest book market, lending it the endearing nickname Boi Para - Book Town. With an area spanning almost one million square feet, College Street is also the largest secondhand book market in the world. The mile-long avenue is dotted with hundreds of bookstores, big and small, and is also home to many of India's biggest publishing houses. The bookstores range from standard brick-and-mortar affairs to small makeshift stalls made from bamboo, canvas, or sheets of metal. College Street's main draw is that it boasts a collection of almost every single title to ever have been sold in Kolkata. Rare books are sold at dirt cheap prices and extensive bargaining is the order of the day. When perusing the stores at this book market, be sure to browse carefully: you might find a first edition Dickens nestled among the latest Dan Brown thrillers. Remember to drop in at the famed Indian Coffee House for a cup of chai, a samosa, and the weekly gossip.

3. Avenue Road - Bengaluru

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A trip to Avenue Road is a rite of passage for Bengaluru students. Walking through this busy street one can find books stacked up to a height of 9 ft. and as far as the eye can see. There are books on every possible subject - from management and medicine to the latest fiction novels. It is a common sight to see bibliophiles leafing through these books and the sellers adroitly finding them the ones they want. Located close to Chickpet, this perpetually crowded one-way street is packed with heritage buildings, food carts and hundreds of shops selling whole sale stationery, jewellery and textiles. It is also one of the best places in Bengaluru to sell your old textbooks (including the ones you never opened and never plan to read)!

4. Koti and Abids (on Sundays) - Hyderabad

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When one talks about book bazaars in Hyderabad, the first name that comes to mind is the Sunday Abids book market. As the shutters go down on shops in Abids on Saturday, the area - the road starting from Taj Mahal Hotel all the way till the post office - gets transformed into a bustling market with roadside vendors selling clothes, fruits and books. While haphazardly stacked tomes nestle alongside paperbacks at the roadside stalls, the main book market can be found inside the nearby complex. Here, one can find various hardbound gems such as the now discontinued Reader’s Digest collectibles, abridged versions of popular classics such as David Copperfield, and more. If you are specifically looking for academic books, a 10-15 minute drive away from Abids is the Koti book market. At one point, Koti used to be the go-to place for textbooks, and the weekends would be packed with medical and engineering students in search of second-hand versions of their expensive reference books. While the main focus of booksellers in this area was and still is academic books (because of its proximity to colleges), many of the roadside sellers also sell novels, magazines and children’s books today.

5. Moore Market - Chennai

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Located near the ever busy Central Railway station in Chennai, Moore Market is the local hot spot for second hand books. This slightly seedy market is packed with several small stores where students and voracious readers can find a mind-boggling collection of books, including classics, comics, fiction, non-fiction, biographies, magazines, college text books, and more. The bustling market also sells everything from vintage vacuum cleaners and aquariums to antique collector items. Add to that the sellers' impressive knowledge about the books they sell and you know the reason why Moore Market is the go-to place for Chennai bibliophiles when it comes to bringing in their monthly book haul.

6. Flora Fountain - Mumbai

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Flora Fountain at Fort, the heart of Mumbai city, is a book lover’s fantasy and piece of heaven for any bibliophile. Busy booths at this street side market stock second hand books by authors ranging from Vikram Seth to William Shakespeare to Robert Edwards, author of Technical Analysis of Stock Trends. The bookseller's customers include students searching for used textbooks, commuters looking for literary diversions from their daily routine of train travel and tourists who have read about the famed 'Book Lane' in their guidebooks. They all come to buy books, both originals and counterfeits, at 20-60% of the listed publisher's price. The moment Churchgate subway ends, the first scene is huge piles of books everywhere. The piles of books are so tall and spacious, that the sellers have created little open fortresses with walls made of books for eager readers to browse. Ranging from rare classics, modern bestsellers, academic texts or even comics dating back decades, Flora Fountains has something for everyone. In fact, if you're lucky you might even spot some really expensive coffee table books too.

7. Appa Balwant Chowk - Pune

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Pune’s Appa Balwant Chowk, or ABC as it is lovingly known, is also an important name in the world of Indian book markets. This book market is regarded as the Mecca for Pune students who are either in search of a lost edition of an academic bestseller or want a new book that has just released. Other than the book bonanza that greets visitors at Appa Balwant Chowk, the famed cream rolls and puffs sold at the New Poona Bakery are the reason why it’s hard to come out of the market empty handed. These much loved book markets all over the country are ideal stops to pick up books at bargain prices and rediscover the joy of reading.

Also Read: The Interesting Story of How a School Dropout Bookseller & His Customer Wrote a Book Together

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Jawahar Lal Nehru called her the Queen of Music, Sarojini Naidu called her the Nightingale of India, Ustad Bade Ghulam Ali Khan called her Suswaralakshmi, and Lata Mangeshkar called her Tapaswini. The legendary Carnatic singer, M S Subbulakshmi, was all this and more. Born in Madurai on September 16, 1916, in a family of traditional performing artistes, M S Subbulakshmi grew up to become the face of Carnatic vocal music in the 20th century.

The first musician to be awarded India’s highest civilian honour, the Bharat Ratna, Subbulakshmi was a cultural ambassador who took Carnatic music to the world.

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Besides being a globally renowned vocalist, she acted in a few Tamil films and was a philanthropist too. In fact, the singer was the first Asian musician to receive the prestigious Ramon Magsaysay award for charity work - she would frequently donate a major chunk of her earnings from concerts and royalties on records.

Subbulakshmi's was a life of many towering achievements and among them was her concert at the United Nations in New York, the first ever by an Indian. As her birth centenary is being celebrated today, there is no better way of remembering her than through her music - the historic song of peace and hope she sang at the 1966 UN General Assembly.

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By the mid-1960s, MS Subbulakshmi had already become an iconic Carnatic star. Having heard Subbulakshmi sing on All India Radio and later, at a live concert in Madras, Lord Harewood (the director of the famous Edinburgh festival) invited her to perform at the 1963 Edinburgh festival. Her mellifluous music at the concert received rave reviews from the London press, contributing to her rising global popularity. The next year, the singer was invited by the then UN Secretary General, U Thant, to perform at the General Assembly in New York on United Nations Day, which falls on October 23. Subbulakshmi and her husband, Kalki Sadasivam, gladly accepted this invite. They would be accompanied on the seven-week concert tour by her talented team of accompanists, comprising V.V. Subramaniam (violin), T.K. Murthy (mridangam), T.H. Vinayakaram (ghatam), and her daughters Radha Viswanathan (vocal) and Vijaya Rajendran (tanpura).

The high profile overseas tour and the media interest it generated were unparalleled. Every halt of Subbulakshmi''s concert tour was reported in detail. Reaching Europe on September 19, Subbulakshmi sang in Geneva, at the Redoute Villa in Bonn where Beethoven had once performed, and then in Paris at the Guimet Museum, before arriving in London on September 30. At the Gandhi Jayanti celebrations at India House on October 2, she sang bhajans in the presence of the Indian Ambassador. The next day, she left for New York to begin her US tour.

Subbulakshmi's husband Sadasivam was the master of ceremonies at her concerts and he made sure everything went smoothly. On the afternoon of October 23, 1966, M S Subbulakshmi, wearing yet another unique silk sari from the looms of Kanchi Muthu Chettiar, dazzling diamonds and the usual circlet of jasmine and roses in her hair, mounted the stage to tumultuous applause.

The sight of the singer standing on stage and being cheered by the audience was captured on film and in photographs, and was a moment of pride for all Indians.

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Introduced to the audience by C V Narasimhan (the then Under Secretary-General of UN) as the 'First Lady of Carnatic Music', Subbulakshmi began with a Sanskrit 'Guru Vandana' in praise of Dakshinamurthy (Lord Shiva as the supreme cosmic teacher). From thereon, she held her audience in thrall, taking it on a grand journey of various songs in every South Indian language.

Deeply religious, Subbulaksmi never left for any important concert without taking the blessings of her revered spiritual leader, Acharya Sri Chandrashekharendra Saraswati of Kanchipuram. It was the Acharya who composed the lyrics of the hymn 'Maitreem Bhajata', which Subbulakshmi sang at the conclusion of her UN concert, ending with the ringing words Srey o bhooyat sakala jananam (Let grace and happiness abound for all mankind).

An anthem for universal friendship and world peace, the singer made this song a regular feature in almost all her subsequent concerts for the rest of her life. This is how the beautiful song goes:

Maitreem Bhajatha , Akhila Hrujjethreem, Atmavadeva paraanapi pashyatha Yuddham thyajatha , Spardhaam Tyajata , thyajatha Pareshu akramamaakramanam Jananee Pruthivee Kaamadughaastey JanakO Devah Sakala Dayaaluh Daamyata Datta Dayadhvam Janathaah Sreyo Bhooyaath Sakala Janaanaam

While translations do not do justice to the grandeur of the occasion, the greatness of the music, or the sublimity of the message, here is the meaning of this song:

Cultivate friendship to conquer all hearts Look upon others as yourself Renounce war, forswear competition Give up wrongful aggression on others Mother earth is ready to grant all our desires The lord, our father, is merciful to all People of the world! Be restrained, generous and compassionate Let grace and happiness abound for all mankind.

Here is M S Subbulakhsmi's rendition of 'Maitreem Bhajata' at the UN General Assembly of 1966.

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This was the first time that any Indian classical musician was performing at the UN and, thanks to M S Subbulakshmi, the performance received stupendous reviews.

The Secretary General of United Nations, U Thant, described it as "extraordinarily good music," while Harold Schornberg, the famed music critic of The New York Times, praised Subbulakshmi's performance sky high and declared that "it would live in his memory forever".

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On December 4, Subbulakshmi returned to a warm welcome in Bombay, having halted in Rome on the way for a private audience with Pope Paul.

"I am glad you are back home. Tell MSS we are proud of her achievement," said Dr S. Radhakrishnan, President of India, in a telegram to Sadasivam.

Her huge success at UN was a landmark event, an achievement that invokes awe even today, but Subbulakshmi remained untouched by all the fame. She knew only her music and perhaps this is what gave her art the pristine quality that made it immortal.

Other than it being Subbulakshmi’s birth centenary, the year 2016 also marks the 50th anniversary of her memorable performance at the UN General Assembly in October 1966. The United Nations Postal Administration is all set to issue a stamp to mark these memorable occasions and honour the legendary singer for her contribution to the world of music.

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Also Read: 20 Indian Musicians you Should have Heard at least Once in Your Life

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For decades now, various renditions of popular epics such as Ramayana and Mahabharata were available to Indian children only through Amar Chitra Katha or school textbooks. But now, children (as well as curious adults) can access stories, legends, and myths about India in an easily digestible video format on the YouTube channel Epified. The channel, which has been running since April 2015, features almost everything that an inquisitive Indian child would want to know about his/her country. It has one-minute videos that cover various topics such as the Kohinoor controversy, ISRO space shuttle and Jawaharlal Nehru. [embedvideo id="mOb2YvFM7hE" website="youtube"]

It even has videos that explain the relationship between Hindu mythology and Harry Potter, how Mahabharata is similar to the Game of Thrones, and how a panchayat functions

[embedvideo id="d2g1GsyFyzo" website="youtube"] Vijayendra Mohanty, the Story Head of Epified spoke to TBI about this project. Epified is run by a company called Culture Machine that also operates other video channels such as Being Indian, Blush and Awesome Sauce. According to him, “The videos that we make in Hindi are also syndicated to television through the Epic channel, which has greatly expanded the reach of our videos.” [embedvideo id="6NrgtNirbe8" website="youtube"] Vijayendra writes as well as directs the videos featured on Epified. He reads various books and magazines on history to source his stories. He said, “When we started out we were adapting stories from Devdutt Patnaik’s books, which are immensely popular for their take on Indian mythology. We collaborated with him only in the initial stages though. Later, we started sourcing script ideas on our own. We have even produced our own Mahabharat series, which was on Epic channel as well.” [embedvideo id="" website="youtube"] But since epics like Mahabharata and other great Indian epics have been covered in various media, what was the need for Epified to create a video platform to narrate these stories? Vijayendra says, “There was a time when we didn’t even have television sets in a middle-class income household. In this generation, more people have disposable income to spend on cellphones. Video is an easy-to-access medium; it does not require a person to read, it does not require a person to exert himself or herself by paying too much attention also. Video is the most convenient medium for instruction, entertainment and education. As data plans get cheaper by the day, a larger number of people can access our content and keep themselves informed.” [embedvideo id="MHgdul2fAqU" website="youtube"] Epified videos use a lot of whiteboard animations. They usually take three days to produce: a day for scripting, a day for recording voiceovers and the final day is reserved for creating visuals.

They are, according to Vijayendra, “simple, short and engrossing.”

[embedvideo id="tTBTOtfdn9M" website="youtube"] But does the channel run the risk of oversimplifying great epics that are rich in detail? The Content Head’s response is, “We do not claim that our videos are going to cover every single aspect of a topic. We try to do our best but, at the end of the day, these videos are introductions to a particular subject. If we make a short video on Bhagavad Gita, we expect to pique the interest of our viewers so that they can go read more about it themselves. For people who have never had the time to think about these topics, our videos are a push in the right direction.” [embedvideo id="3J3JwrESLNc" website="youtube"] To watch more of these videos, visit their YouTube channel.

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The first time Tapan Babbar, a Delhi-based user experience designer went to Varanasi about two years back, he came across many children playing on the streets; childhood games that he remembers playing back in the 90s.

Hopscotch, gilli-danda, aankh-micholi, hide and seek, pithoo, and more – strolling down the ghats, he found nostalgia spread all across Varanasi in the form of these kids with their giggles, game rules, marbles, and stones.

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Pithoo[/caption] Tapan wanted to document the games but he was not equipped with the required cameras at the time. So he returned in February this year. “I just wanted to record videos of these games. Later I thought that I can add an interactive angle to it and capture the ghats, create a photographic experience for viewers, and blend them with these games,” says the 27-year-old who then went on to launch a website named Recess in Varanasi. It is a virtual experience website that gives users the feeling of being on a boat ride in Varanasi.

The unique feature of the website is that it has a virtual boat experience where you get the option to choose between a row boat and a motor boat.

“Almost all the tourists who visit Varanasi take a boat ride and there is a guide who tells you all about the different ghats. So I tried to digitize that complete experience over a stretch of 5 km from Assi Ghat to Raj Ghat, which many people are not able to cover because it is time-consuming. On the website, users can experience the ghats in about 10 minutes.”

Each ghat has a video of a different game shot there

[embedvideo id="C8GrkxcO0GQ" website="youtube"] The videos also give a glimpse of life on each ghat – kids playing, people drying their clothes, etc. The virtual route has a total of 71 ghats and one of Tapan’s favourites is Dashashwamedh Ghat. “It is the central ghat where the aarti takes place in the evenings. Some people view it from the boats on the river side, and many others gather on their terraces. It is a culturally rich experience and it goes on for about an hour every day. There are bells and lamps and it is an overall uplifting environment,” he says. Tapan has a degree in electrical engineering and he moved into the user experience design space after college.

He is in the profession of creating digital experiences for people and has worked on similar personal projects earlier as well -- experimenting with different technologies.

“Personally, Varanasi makes me nostalgic. It has a very old feel. I used to live around old Delhi when I was little and it gives me a similar experience there – the way the shopkeepers run their business, the way people live, etc.,” he says.

Here is a glimpse of Varanasi.

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Gilli-danda[/caption] [caption id="attachment_72631" align="aligncenter" width="900"] varanasi11

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Aankh Micholi (Blindfold)[/caption] [caption id="attachment_72628" align="aligncenter" width="900"] varanasi8

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Top[/caption] varanasi13

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Hopscotch[/caption] varanasi1

Visit the website here.

Featured image credit: Flickr

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The grand festival season has already begun! No matter where we live in this vast country and what faith we belong to, if there’s one festival that connects us together, it’s Diwali. While most other festivals are celebrated in small pockets in the country, Diwali is celebrated across the length and breadth of India. Of course, being the diverse country India is, every community, every region, every culture has its own way of celebrating this festival of lights. The traditions and celebrations are many. And so are the stories! Mythology and folklore go hand in hand and we often find different versions of mythological legends behind Diwali woven into the folklore.

Here’s a look at some of the fascinating stories behind the festival.

Source: By Khokarahman (Own work) [CC BY-SA 4.0], via Wikimedia Commons

For most, Diwali is the celebration of King Rama’s return to Ayodhya after his victory over Ravana, as told in the epic Ramayana. Others trace the origin of the festival to the Mahabharata, where Diwali is marked by the return of the five Pandavas from their exile in the forest. In another version from the mountains of Himachal, the great war of Mahabharata began on the first day of Diwali. During the celebration there, locals dance and sing folklores related to the epic Mahabharata. Another tale behind the festival marks the day of Narak Chaturdashi, the 14th day of the second half of the month Ashvin and the second day of Diwali, as the day when Lord Krishna slew the devil Narakasur and freed the 16,000 women he had held captive. Sometimes, folk tales have a more interesting take on their mythological roots. In Andhra folklore, Narakasur is believed to have been killed not by Krishna but by his wife Satyabhama. As the story goes, Narakasur could only be killed by his own mother, and his mother had died when he was a child. This had rendered him immortal in a sense.

However, Krishna was aware that Satyabhama was a reincarnation of Narakasur’s mother and therefore he took her to the battlefield, where she killed the demon.

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Krishna Battles the Armies of Narakasura[/caption]

Source: By India (Delhi Agra area) (The Metropolitan Museum of Art[1]) [Public domain], via Wikimedia Commons

Another day, considered to be part of the Diwali celebration, is Bhau Beej (as referred to in Goa, Maharashtra and Karnataka). It is also known as Bhai Tika, Bhathru Dwithiya, Bhai Dooj in the northern parts of the country. As the story goes, the God of Death, Yamraj, visited his sister Yami (or Yamuna) on this special day. For this reason, the day is also known as Yama Dwitiya. Another story links this day to the Narkasur-Krishna story. It says that Krishna returned victorious to his sister Subhadra after killing Narakasur and was welcomed by her with rituals like tilak and aarti. In later times, the festival of Diwali also came to be associated with the coronation of King Vikramaditya, the benevolent and brave emperor of Ujjain, and took place on the day of Padwa or Varshapratipada. According to Jain texts, Lord Mahavira, the twenty-fourth and last tirthankara, is said to have attained Nirvana on the day of Diwali. Yet another story links the day of Balipratipada to the story of King Mahabali and Lord Vishnu’s fourth incarnation, Vamana. Balipratipada is said to be the day when Vamana sent the ambitious King Mahabali back to the underworld on the request of Indra and other gods. However, it’s believed that Mahabali was a benevolent king and therefore he was given a boon by Lord Vishnu so that he could visit his kingdom once a year. The festival of Onam is celebrated in Kerala to mark the annual visit of King Mahabali to his people. In West Bengal, Goddess Kali is worshipped on Diwali. Kali was born from Goddess Durga's forehead to restore peace in heaven and on earth. After destroying all the demons, she wore a garland of the slain demon heads around her neck. However, she lost control and started destroying anything that came in her way.

To stop her, Lord Shiva lay down in her path and, upon unknowingly stepping on him, she recovered her senses.

dakshina_kali_2_shakespeare_sarani_arnab_dutta_2011

Source: By Arnab Dutta (Own work) [CC BY-SA 3.0], via Wikimedia Commons

Given the many different stories and events related to the festival, it is not surprising then that Diwali is celebrated on different dates around the country. In Himachal Pradesh, at Ani and Nirmand in Kullu district, Shillai in Sirmaur district, and Chopal in Shimla district, Diwali is celebrated a month after it’s celebrated in the rest of the country. This is the reason that it’s not simply called Diwali; it’s known as Budhi Diwali (meaning old Diwali). As victorious Rama returned, the news spread in his kingdom. The people of Ayodhya were ecstatic at their beloved King’s return after 14 long years and therefore celebrated by lighting lamps and distributing sweets. But because the mountainous northern region was far away from the capital, it took a month for the news to reach there. They started the celebrations as soon as they got the news; however, it was a month after the celebrations took place in the rest of the kingdom.

The festival, in the part of the country, is also associated with the killing of two demons Dano and Asura, who lived in Nirmand disguised as snakes. Animal sacrifice, therefore, is one of the important rituals of Buddhi Diwali.

Source: By Subharnab Majumdar, via Flickr

Whether you’re a believer of these legends and stories or not, there is one thing you’re sure to do on Diwali, and that is to celebrate it with lights. Homes, streets, parks and, most importantly, people’s hearts are illuminated with a warm golden glow during the festival season, and this is what brings the entire country together during the festive season.

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With its vibrant array of textiles, spices, fresh fruits and vegetables, Ima Keithal can be mistaken for any other bustling bazaar in India but it has one distinct difference - the 5000 traders manning its stalls are exclusively women. Located in the heart of Imphal, this sprawling 500-year-old market has long been an important meeting ground and trading hub of Manipur.

An unique symbol of Manipur's history, Ima Keithel (which translates to ‘mother’s market’) is believed to be the largest all-women market in Asia, and possibly the world.

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Ima Keithal[/caption]

Photo Source

While Ima Keithal's exact origins remain unclear, scholars believe that the market dates back to the 16th century. Studies suggest that the market's female-only workforce originated as a result of the enforcement of the Lallup-Kaba, an ancient forced labour system in Manipur that sent men of the Meitei community to cultivate faraway lands and fight wars. The women stayed back in the villages, working in their own paddy fields, taking care of their household and selling their farm produce in improvised markets. This led to the creation of markets where women played a central role, the most important and largest one being the Ima Keithal.

You May Like: Difficult to Imagine Shops without Shopkeepers? Mizoram Has Had Them for Years!

During the colonial era, the British administration tried to impose aggressive commercial reforms in Manipur. For example, large amounts of locally grown rice was exported to various British battalions stationed near Manipur without considering the requirements of the locals.

Such measures were furiously opposed by the women of Manipur in a conflict called Nupi Lan (Women’s War) that begun in 1939.

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The Nupi Lan Memorial in Imphal[/caption]

Photo Source

During Nupi Lan, the women traders of Ima Keithel organized agitations, meetings, rallies and blockades to demand changes in the economic policies of local ruler, who was completely under the thumb of the British. In an effort to crush the movement, the Britishers tried to sell Ima Keithals' buildings to foreigners and external buyers but the women defended their market fiercely. For them, it was more than a market - it was a symbol of their cultural identity as a people. Nupi Lan faded out only when the Second World War broke out and Manipur became a war-zone for both, the Japanese and the Allied forces.

Ima Keithal's role in the Nupi Lan movement has remained a significant milestone in the history of social movement in Manipur. Post Independence, the all-women market became a centre for the exchange of socio-political ideas. In the absence of print media, people from all over the state would visit Ima Keital for information on important happenings. Ever since, Ima Keithal's women have continued to play a major role in Imphal's local economy.

Ima Keithal has continued to thrive over the years, offering visitors everything from traditional handicrafts and modern clothing to local produce, dried fish and the famous Morok chilli. It did however take a battering during the earthquake which shook Manipur on January 4, 2016.

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Women selling morok chillies at Ima Keithal[/caption]

Photo Source

Only married women are allowed to trade and run the stalls in this multi-ethnic marketplace, a privilege that is passed on from one generation of Manipuri women to the next. These women, some of whom come from really far-off villages, pay around ₹ 40 per month for the small space in which they display their wares.

The women of Ima Keithal have formed an union that manages the market and runs a credit system for the women traders; the women can borrow money to purchase goods and pay it back to the union later.

Every morning, impeccably dressed in traditional phaneks (sarongs) and innaphis (shawls), these friendly ladies settle down for a day of business at the Khwairamband Bazaar (another name of Ima Keithal). The cacophony of their boisterous gossip, coupled with laughter, rings out over the hubbub of haggling between buyers and sellers. By nightfall, the din fades away to a murmur, as women pack up their wares and bundle them into waiting carts while some linger to cook a simple meal.

In many ways, it is unfair to call this historic city hub just a market place. It has always been more than that - a way of life for countless women, a centre of information exchange, a hub of social-political ideas, and a symbol of gender justice.

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A bustling Ima Keithal[/caption]

Photo Source

Recognizing the special role the market plays in their lives and livelihood, Manipuris affectionately refer to Ima Keithal as the 'Queen of Markets'. As 70-year-old Bilasini Devi, an Ima Keithal trader who has been selling fruits at this market for over 45 years, says in an interview to the Hindu,

"This market is like a second family to me. I love coming here."

Run entirely by women, Ima Keithal represents the life and ethos of Manipur, a state where women have long been at the forefront of commerce and socio-political protests. A unique cultural experience, this vibrant 'Market of Matriachs' continues to be a beautiful example of economic empowerment and gender equality.

Also Read: “Respect Women When They Say No” – Mary Kom Writes in an Open Letter to Her Sons

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Sulabh International's Toilet Museum in Delhi offers a glimpse of the development of sanitation facilities across the world. Bindeshwar Pathak, the founder of Sulabh International, set about trying to collect all the information he could about toilets from across the world for his dream project: a toilet museum.

The result, of this treasure hunt of sorts, is a hallway lined with toilet specimens and information about toilet facilities from as far back as 3000 BC.

[caption id="attachment_75524" align="alignnone" width="1200"] window-photo

A view of the Toilet Museum[/caption] Here you can find information about kings who had their thrones fitted with commodes, how elephants were potty-trained, toilets that can massage constipation away, and toilet models that range from the mundane to the ornamental to the bizarre. Established in 1992, the collection includes a commode shaped like a treasure chest (used by the English when out camping, with the express purpose of fooling robbers), some more modern varieties of commodes that look like a printer/fax machines, a toilet in the form of a stack of books, a toy-commode from China, and even an electric toilet from USA. A highlight is the replica of the throne of French King Louis XIV (1638-1715), which also served as a toilet seat.

It was aptly labeled, “The Rumble Throne.” His court jester apparently remarked: “There are two things in your work that I can never get used to...One is eating alone and the other is defecating in company.”

[caption id="attachment_75523" align="alignnone" width="1200"] rumble-throne

A replica of the "Rumble Throne" of French King Louis XIV[/caption] For history aficionados, the place is a treasure trove of information containing hidden gems about the use of toilets through the ages, including how the lack of toilets brought the downfall of Persians against the Greeks in the 3rd Persian War in 480 BC. Many of the Persians apparently perished in a plague caused by the improper disposal of their excrement. Roman Emperor Heliogabas was assassinated in a toilet in 222 AD. Not many people would know that the ancient Hindu scriptures of Manusmriti and Vishnupuran lay out different sets of “toilet etiquettes” for married and unmarried people, or that they even list such recommendations. Literature lovers may want to check out the section dedicated to literature inspired by the activity of defecating. There are also remedies for constipation, a display of tacky toilet signs, and information about the most expensive toilet in the world.

The cost of the last is literally out of the world – at $19 million, the toilet installed in the International Space Station is one of the most expensive places to take a leak.

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Model of ornamental toilet[/caption] The walls are dedicated to the history of sewage systems and toilets, displayed chronologically from the ancient, medieval to the modern eras. The museum documents how the development of sanitation facilities parallels the development of civilization – from chamber pots that were cleaned manually to toilets installed on the top floors of houses that would deposit the waste into rivers and ditches below. The 19th century was known as the “Century of the Toilet,” because of the rapid development in sanitation facilities. Over time, some inventors went beyond the requirements of comfort when creating designs for heeding the call of nature. In 1929, an American electrician patented a seat that was warmed using electricity.

In 1966, a Chicago hairdresser designed a toilet seat with a buttock-stimulator to relieve constipation.

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A toilet used in the 1930s.[/caption] In India, public toilets were constructed only in 1940, but were soon rendered unusable because of lack of maintenance. The courtyard outside the museum exhibit models of toilets developed by Sulabh International that are used across India today, as the country wages a battle against open defecation. The museum is open every day, except on national holidays, from 10:30 am to 5 pm during winter (Nov 1 to Mar 30) and from 10 am to 5 pm in summer (Apr 1 to Oct 30).

And if you can’t make it in person, you can always take the virtual tour.

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The model of a porcelain toilet with a lion pedestal.[/caption] [caption id="attachment_75521" align="alignnone" width="1200"] porta-potti

Porta Potti, a mobile toilet used during camping[/caption] [caption id="attachment_75520" align="alignnone" width="1200"] ornamental4

Replica of a floral porcelain toilet[/caption] [caption id="attachment_75525" align="alignnone" width="1200"] wooden

Replica of a European wooden toilet[/caption] [caption id="attachment_75534" align="alignnone" width="1200"]

Toilet Etiquettes from the Manu Smriti and Vishnupuran[/caption] [caption id="attachment_75512" align="alignnone" width="1200"]

An incinolet electric toilet used by U.S. Naval forces in submarines.[/caption] [caption id="attachment_75514" align="alignnone" width="1200"] jokes

Cartoons on display at the Toilet Museum[/caption] [caption id="attachment_75516" align="alignnone" width="1200"] museum-wall

A wall in the Toilet Museum displaying information about toilets in ancient societies[/caption] [caption id="attachment_75515" align="alignnone" width="1200"] museum-entry

The courtyard of the Toilet Museum.[/caption]

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If your travel plans this winter coincide with any of these 7 amazing festivals, you’re in for a treat! Winter is coming! Or has it arrived in your part of the country already? Nippy December, offering a respite from the uncertainties of the monsoon and scorching heat of summer, is a great month to travel and explore India. But you can give a miss to the hordes of NRIs and foreigners making their way to popular tourist destinations by taking in, instead, some popular cultural festivals in different parts of the country. Whether it is the Hornbill Festival of Nagaland or the Rann Utsav of Kutch, vibrant December is alive with celebration. Take your pick of any of these 7 fiestas and include it in your vacation plans!

1. Rann Utsav, Kutch

When: Ongoing till February 20, 2017 Where: Kutch, Gujarat rann-utsav1

Source: rannutsav.com

The white salt flats of the Kutch desert shed their monochrome look and embrace colour during the Rann Utsav or the Kutch Mahotsav festival every winter. The festival, which goes on for a period of three to four months, has already begun in November. Tents have been set up at the edge of the desert and travellers can experience the local culture, cuisine and hospitality of the Kutchi people. The festival is a sumptuous treat of folk dances and music, adventure sports, handicrafts, food stalls, and excursions to surrounding places. Watch the full moon rise over the expanse of white and come back with memories of a lifetime! Visit the festival's official website here.

2. Hornbill Festival, Kohima

When: December 1- December 10, 2016 Where: Kohima, Nagaland

Source: Facebook

The annual celebration at the Naga Heritage Village Kisama near Kohima is one of the most spirited in the country. Named after the colourful Indian Hornbill found in the north eastern part of India, the festival aims to revive and conserve the local culture of Nagaland and display its rich traditions to the outside world. Besides the exotic food and music on offer, Naga wrestling and traditional archery are the two highlights of the Hornbill Festival. To know more about the festivities, click here.

You may also like: 9 Offbeat Indian Music Festivals You Need to Attend This Year

3. Sawai Gandharva Bhimsen Mahotsav, Pune

When: December 7- December 11, 2016 Where: Pune sawaigandharva

Source: Facebook

The Sawai Gandharva Bhimsen Mahotsav has been celebrating Hindustani classical music for the last six decades. It was started by Bharat Ratna Pandit Bhimsen Joshi in memory of Pandit Sawai Gandharva. This festival has offered up the stage to numerous musical legends like Kishori Amonkar, Amjad Ali Khan, Pandit Jasraj, Pandit Shivkumar Sharma, Ustad Zakir Husain, and more in the past. This year, the 64th edition of this musical extravaganza will feature artistes like vocalists Ritesh and Rajnish Mishra, Prabha Atre, and Pandit Jasraj; violinists Dr. L. Subramaniam and Ambi Subramaniam; and sarod players Amjad Ali Khan, and Amaan and Ayaan Ali Bangash. To know more about the festival, visit the official website here.

4. Galdan Namchot, Leh

When: December 23, 2016 Where: Leh galdan-namchot

Source: Facebook

Galdan Namchot is celebrated in Leh to observe the birthday and the Buddhahood of the Tibetan saint and scholar Tsongkhapa, who founded the Gelukpa school of Tibetan Buddhism during the 14th century. The socio-religious festival sees the illumination of all public as well as residential buildings throughout the town! Namchot sets off the New Year celebrations in Ladakh, which continue till the festivals of Dosmoche and Losar in February. During Galdan Namchot, the locals prepare different kinds of traditional dishes. The New Year is welcomed by performers creating a brilliant play of light and fire by whirling flaming torches in the air and then throwing them away. To know more about this festival, you can visit this link.

You may also like: Lights and Legends of Diwali: The Many Tales Behind The Grand Old Festival

5. Perumthitta Tharavad Kottamkuzhy, Kerala

When: December 6- December 15, 2016 Where: Kasaragod, Kerala theyyam

Source: Facebook

Theyyam is a collection of several ritual dance forms of Kerala, performed in houses and shrines in Kasaragod. The 10-day long Theyyam festival at the temple of Perumthitta Tharavad Kottamkuzhy is one of the most prominent in Kerala. The dances present several mythological and historical characters to the audience. The performers don the role of heroes and ancestral spirits and induce a sense of awe among the onlookers. There are many different Theyyams – like Elayoor Theyyam, Chamundi Theyyam, Panchoorla Theyyam, and Muthor Theyyam. To know more about the festival, click here.

6. Poush Mela, Santiniketan

When: December 23– December 26, 2016 Where: Santiniketan, West Bengal parvathy-baul

Source: Facebook

Poush Mela is held every year for three days in Santiniketan, the town established by Rabindranath Tagore in the Birbhum district of West Bengal. Celebrating the harvest season with music, the festival is a treat for connoisseurs of folk music. The highlight of the festival is performances of Baul music. The mela also features numerous local textiles and handicrafts as well as activities like dance and tribal sports. To know more about Poush Mela, click here.

7. The Winter Festival, Mount Abu

When: December 29- December 30, 2016 Where: Mt. Abu, Rajasthan mount-abu-winter-fest

Source: Facebook

The Winter Festival is an annual event at Mount Abu, organised by the Rajasthan Tourism and Municipal Board in the last week of December. The colourful festival offers a cultural treat with traditional dancing, concerts, poetry readings, and fairs, along with a brilliant fireworks display. Performances of Sufi Kathak and folk dances like Daph, Ghoomar and Gair, and sports such as kite-flying, hot air ballooning, cricket, and gilli danda, are among the highlights of the festival. To know more about the festival, you can visit the official website here.

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India has some of the most breathtaking travel locations in the world, and solo trips to any of them are a must. Here are some of the top destinations that people, especially women, can travel to alone. From the soaring peaks of the Himalayas to the quiet and peaceful backwaters of Kerala, and from the arid desert of the Rann of Kachchh to the rain-lashed hills and valleys of Assam...India is a country with travel destinations galore for even the most discerning of travellers. There is something for everyone, no matter what kind of environment and trip you prefer. Travelling solo has traditionally not been a prominent activity in India. However, more and more people, especially women, are embracing the freedom and independence of trips made alone. A lot of destinations now also offer accommodation and services customised for the solo traveller. Saluting this growing trend, here is a list of some of the best destinations in India you absolutely must visit if you enjoy travelling alone:

Sikkim

The north-east has the power to blow you away, and even there, Sikkim is the most stunning place you can visit in the region. The state is made up entirely of high mountains and low valleys, and a smattering of Buddhist monasteries in between. It also has a very rich culture of hospitality, which is always a plus when travelling somewhere alone. Some of the places to visit and sights to see include Rumtek Gompa, Guru Padmasambhava Statue on Samdruptse Hill, Norbugang Park, Ganesh Tok, Khecheopalri Lake, Rabdentse, Pelling, Dubdi Gompa, Sakyamuni Complex, Old Rumtek Gompa, Tsomgo Lake, Namchi, Yumthang Valley, Golden Stupa, Yuksom, Ravangla, etc. among many others.

Lahaul & Spiti

Himachal Pradesh is one of the safest places to travel in India. The people are friendly and warm and very welcoming, especially in the several villages that dot the state.While you can do several things in Spiti, adventure sports like trekking, skiing, and hiking, and witnessing the traditional arts and crafts, should be on top of your list. Most of the households make stuff from clay and have the necessary equipment for pottery, a tradition passed on from one generation to another. Ensure you are in good shape before you visit Spiti.

Ladakh

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The ultimate holy grail of solo travel, Ladakh is definitely not for first-timers. But it is also a must-visit, if you are used to lugging around your own baggage. The serene calm of the valleys weaves its silent magic on men and women alike, and to experience Ladakh is to truly experience the beauty of the Himalayas itself. If you really want to travel to Ladakh, for starters, it is advisable to have a group of friends with you who can help you out with pointers. Some key places to visit are Leh Palace, Pangong Lake, Lake Tsomoriri, Nubra Valley, Zanskar Valley, Markha Valley, Lamayuru Monastery, Hemis Monastery, Tso Kar, Alchi Monastery, Shey Monastery, Phuktal Monastery, Diskit Monastery, Hemis National Park, Stok Palace, Wanla Gompa, Likir Monastery, Sham Valley, Thiksey Gompa, Phyang Monastery, Rizong Monastery, Sar-Zung Temple, Khardung La, Namgyal Stupa, etc.

Arunachal Pradesh

arunachal

One of the most picturesque places in India, Ziro Valley in Arunachal Pradesh has to be visited once in your lifetimes. A picture-perfect place with lush greenery, careening rice fields and snaking rivulets, and rustic habitats, the valley is nothing short of a dreamland. The local tribes indigenous to this place have their own deep culture and traditions which can be studied easily if you spend some time. Ziro valley is a lesser known place that should definitely be on the bucket list of every solo traveller. Some sights to see are Hong, Hija, Hari, Bamin, Dutta, Ziro Putu, Tarin Fish Farm, Talley Valley, Dolo Mando, Kile Pakho, Dilopolyang Maniipolyang, Shiva Lingam at Kardo Forest, etc.

Kerala

kerala

Munnar, though famous for its tea plantations, is also a place of breathtaking beauty and amazing landscapes. The green backdrop to every scenery just adds to the overall charm of the place. Located in the state of Kerala, Munnar is considered a very safe place to travel to, owing to the honest and hardworking nature of the people working here. The variety of resorts around this place also offer some very attractive options to people looking to travel solo to the district. Some places to visit are Mattupetty, Pallivasal, and the Tea Museum.

Hampi

hampi

Hampi will change your views about India. This small village destination has so much to impart to its urban counterparts. You are likely to encounter hospitable, friendly, and culturally wealthy people here. Hampi has also been recognized as a UNESCO World Heritage Site. If you like backpacking, you will definitely love this place. There’s cheap accommodation, the chance to meet people from different countries, and feel free. Some sights to see are Vittala Temple, Virupaksha Temple, Zenana Enclosure, Sule Bazaar, Achyuta Raya Temple, Nandi Statue, etc.

Puducherry

Pondicherry

This Union Territory provides what a lot of places in the country sorely lack – a moment of peace. The calm and serene setting looks more like a French city from times gone by than a modern Indian city. It is a great place for shopping, and is full of amiable people happily leading their simple lives. Don’t forget to try the delicious French cuisine. Some places to see are Sri Aurobindo Ashram, Puducherry Museum, Sri Manakula Vinayagar Temple, Notre Dame des Anges, etc.

Visit the Blueberry Trails website to learn more about personalised India holiday packages and International Tours from Mumbai. You can also e-mail them.

Featured Image Source: Pixabay

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All countries have peculiar social customs and India is no exception. With over 1.2 billion people and a plethora of languages, art forms , food and cultural customs, India can be a mind-boggling experience for people visiting from other countries. While many of them find India too colourful, too crowded, too diverse, too chaotic (basically too everything!), they also find it fascinating, unusual and riveting. [caption id="attachment_77889" align="aligncenter" width="500"] p1060693

Foreigners trying golgappa (pani puri) in Chandni Chowk, Delhi[/caption]

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For some, the culture shock might prove a bit difficult to deal with but most go back with desi habits that they have picked up in India, long after their trip to the country has ended. Several Quora users and blog writers, who have travelled to India, have written wonderful anecdotes to answer the question - 'what habits did you learn in India that have stuck?' main-qimg-d4bb4bae91f114fb5d72ae870b82b13f

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Here's a list of the 7 Indian habits that foreigners pick up after visiting India and love using even after returning to their own country.

1. Cooling tea in a saucer!

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In India, chai is more than just a cup of tea to start the day - the thick sweet drink is an integral part of the rhythm of life. A popular way of drinking chai (or coffee) in India is by serving it in a cup on a saucer. The hot tea is then poured by the drinker into the saucer and slurped down. After all, why waste time staring at your tea and waiting endlessly for it to cool down? Says Sommer Shiels,

"Cooling my tea with a saucer! I would never, ever have considered this until India! I love it! While the rest of the world gets a burnt tongue I'm pouring my tea and cooling it in my saucer- I learned this in Gujarat from locals. Back to my hot tea, I don't always use my saucer! Indians have the ingenious little metal design a little cup with a bowl-type utensil. No on else cools their tea like this! Such a simple yet clever little design."

2. Using your hands to dig into that sumptuous meal.

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Eating with your hands[/caption]

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In India, there is an old saying, "Eating food with your hands feeds not only the body but also the mind and the spirit". Most tourists visiting India are taken aback by this quintessential Indian custom. However, on trying it themselves, they also agree that using hands while eating results in a cleaner plate and happier stomach. Says Sommer Shiels,

"I got the strangest looks and even people turning away in disgust. I ate politely, using my hands properly and washed my hands and left.

As I left, I didn't feel embarrassed but happy in the knowledge that they were missing out! The point is, as I have continued to use my hands out of habit and because I enjoy it, I have received judgement from others..."

Says Rachel Rueckert,

"Few things were more satisfying than squishing dal and rice between my fingers. Eating with my hand instead of a fork made it easier to mix satisfying flavors without tasting any intrusive hints of metal."

3. Taking shoes off before entering someone’s house.

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The custom of removing your shoes before entering a home is widely practiced in Indian homes. Foreigners, who have experienced this custom in India, often end up taking a liking to it. Ben Wise says, "I find this to be a wonderful habit. Not only because of cleanliness—who knows what I might have stepped on in the street—but also because it feels right. Some people find this strange, "You don't have to take your shoes off!"

Also Read: Smells Like Nostalgia: These Distinctly Indian Aromas Will Instantly Trigger Your Memories

4. Using toilets the 'Indian way'.

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Ever since the first human being descended on the Earth, squatting has been the most natural posture to finish one's daily "business". Indian toilets, which require you to squat and use water (instead of toilet paper), have long been considered healthier than western commodes. Foreigners have often admitted that though they find it awkward and gross at first, they have learned to love it with time. Many of them have even said that it is definitely a better way to keep yourself clean and fresh. Says Ben Wise,

"Speaking of intimate. I sit in the "Indian" fashion no matter where I am. Yes, even if it’s a Western-style toilet. Even if it’s in the US or Europe. I also secretly wish that the whole world adopted the “hygiene faucet” but alas, they are not ready yet… Toilet paper has everyone in its soft, papery grip."

In a Buzzfeed article, Ryan Broderick wrote

"You see, in India, most toilets have a hose-sort-of-looking thing attached that you’re supposed to stick under your butt to wash yourself. In fact, most of India thinks toilet paper is actually sort of gross. The logic being, why wouldn’t you wash your butt after you poop the same way you’d wash your hands after you poop? Why are a few simple plies of toilet paper sufficient enough to get your downstairs clean?
It’s time the West embraced the butt hose. Our pants are full of microscopic shit particles and it’s really weird. In 2017 we need to really mix things up, and I think a fundamental rethinking of how we take a shit is a great first step."

5. Answering people by moving head from side to side instead of nodding.

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The peculiar Indian head shake, wobble, or bobble is the source of much confusion and wonderment among foreigners, especially the first time one is confronted with it. It looks like a cross between a nod and shake, but does it mean yes? Or does it mean no? Or even maybe? However, once you discover the meaning of the head wobble and its many uses, what's really surprising is how infectious this gesture becomes. Anyone who's spent a considerable amount of time in India is likely to have caught themselves unconsciously wobbling their head. Even Indians who don't normally wobble their heads very much will automatically do so in response to another head wobble. Says Sommer Shiels,

"I spent time with children at the end of my last India trip and I always end up copying actions of who I'm with so I've adopted this movement permanently. I think it's incredibly endearing.. maybe not when I do it, however I like when others do this!"

Says Ben Wise

"I wobble my head quite naturally while listening to others. Sometimes I do this at other people and they find it somewhat strange. It took me years to be able to [somehow] do this. Indians do it so naturally and gracefully—I love the movement and I suppose I adopted it along the way."

6. Wearing bright colours with elan

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India has long been associated with colour thanks to its festivals, costumes and food. The love of colour extends to everyday life as well with people donning garments of every conceivable colour. Many foreigners, who generally hesitate in wearing bright colours back home, have acknowledged that they feel more confident and comfortable wearing brighter colours after a visit to India. Says Rachel Rueckert, "My favorite color is yellow, which isn’t often flattering in US fashion. But in India I can wear a bright banana yellow salware kameeze with a matching sparkly dupatta and fit right in with the vivid saffron, indigo, purple, and lime-green saris women wear every day."

7. Jugaad. Because India's got talent!

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Jugaad is a colloquial Indian phrase used to describe the kind of ingenuity that enables Indians to manage the large and small challenges of everyday life. The essence of jugaad is to improvise, and to quickly and cheaply cobble a solution together from the materials you have at hand. From cutting costs at every turn to using old resources for new purposes, many visitors to India have taken inspiration from the concept of jugaad to get things done in their own life. Says Ben Wise,

"I try to have things fixed. Jugaad, anybody? India has taught me that many times, when we believe something must be replaced, it can be fixed."

8. Words like aiyo! and accha?

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A versatile word that you’ll hear used often and in a variety of different ways in India, 'achha' takes on a number of meanings, depending on the intonation it’s given and where it’s positioned in a sentence. As for 'Aiyo!', according to the Oxford English dictionary, it is now also an English phrase! Easy and simple to use, foreigners visiting India find themselves using these terms pretty often in their daily lives. Says Ben Wise ,

"I do this almost exclusively with my significant other and kids, but I say things like appadiya? or accha? when they say something interesting to me. Or thik hai. Or I say aiyooo! when something unfortunate happens."

You May Like: India on Their Minds – 12 Foreigners Who Are Making a Difference to Our Lives Here

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With the huge influx of global literature in English, we can sometimes forget that India has a rich tradition of literary work in Indian languages. Here is a list of 15 of the best and most popular works in Hindi. It is almost a travesty that in our race to become globally aware, we often skip over the significant contributions of our own culture and roots. Here is a list of great (but often overlooked) works in Hindi that deal with myriad themes—from social issues to human spirit to mythology.

Chandrakanta Santati by Babu Devakinandan Khatri

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Khatri was one of the earliest novelists in Hindi. His work is mythical, mystical, and fantastical. For all the Harry potter or Tolkien fans out there, his books will leave you gob-smacked by the amount of detail Mr. Khatri put into creating his world. Chandrakanta Santati can be read as a stand-alone book, though it is a part of the larger world that Khatri has created, and is preceded by Chandrakanta, and succeeded by Bhoothnath and its subsequent parts. Come grab the book, and get lost in the tilasm of brigands, princes and courtiers. A plus point is that it portrays some really strong female characters.

Nirmala by Munshi Premchand

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Source: Bookscaterer[/caption] The man needs no introduction. Born as Dhanpat Rai, he used the pen-name of Premchand to write grassroots stories. The best part of his books is the sheer irony with which he portrays the reality of life, through lucid descriptions and language. Most of his works are satirical, and he alone could take over this entire list with his contributions. Nirmala is a story of a child bride and her marriage to a man quite senior from her, who has a son a year younger than her. The delight of Premchand is not in plot summaries, but with the delicacy and nuance with which he treats his characters, and the depicted social situations. Other notable works include Godaan, Karmabhoomi and Kafan, but if a novel is too much, pick his short stories like Panch Parmeshwar, Gaban, Mansarovar, and Do Bailon ki Katha. They are equally good.

Kamayani by Jaishankar Prasad

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Source: Topyaps[/caption] Prasad is one of the most austere writers in Hindi, who very astutely said that his literature is not meant to be discussed in nooks and crannies. He uses complex techniques and philosophies in his works, and was one of the four stambhas (pillars) of Chhayavad (Romanticism) in India. Avoiding Persian words, Prasad relied on the tatsam (derived from Sanskrit) vocabulary of Hindi. He mostly wrote short stories, dramas, and poems. In fact, he is a key figure of Hindi theatre. His most notable work is an epic poem Kamayani, which deals with creationism and the first man on earth, ‘Manu’ (according to Indian mythology). It is also a philosophical musing on the various emotions that a human can have. The work is very complex, but the sheer beauty of Prasad’s words and the vivid descriptions of nature and philosophical musings make it worth all the time and brains that you spend reading it.

Apsara by Suryakant Tripathi (Nirala)

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Source: Bookpecker[/caption] Another pillar of Chhayavad, Nirala is a languid writer. The tragedy of his life mostly echoes in his works. He was against social injustice and exploitation, and included these themes in his works, apart from the nature poetry that he wrote with fervor. Apsara deals with two themes of femininity, tenderness and determination. In light of today’s times, the work can be considered feminist, wherein he portrays the struggle of the two extremes imbibed in a female. The novel also explores youth and how they deal with social injustices and the like. Other notable works by Nirala include Tulsidas, Nirupama, Alka, and Saroj Smriti.

Yama by Mahadevi Verma

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Source: Flipkart[/caption] The third pillar of Chhayavad, Verma only ever wrote poems or short stories on her pets. In fact, most of her works include vivid nature and animal imagery. She published over seven collections of her poems. Yama is arguably the best out of them, as she won the Sahitya Akademi award and the Jnanpith award for the collection. Verma has won the Padma Bhushan and the Padma Vibhushana as well, and is often called the ‘modern Meera’.

Chidambara by Sumitranandan Pant

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Source: Rajkamal Prakashan[/caption] Pant is the fourth pillar of Chhayavad. His Chidambara got him the Sahitya Akademi and the Jnanpith award. He followed the Chhayavad in his first phase of literary writing, but later on adapted themes like Samajwad (Socialism) and Adhyatmavaad (Philosophy and spirituality). He wrote poems, essays, and dramas. Other notable works include Gunjan, Swarna Kiran, etc. Chidambara is the writer’s speculation on human essence and consciousness. It is said that Pant was highly influenced by Marx and Freud.

Prithviraj Raso by Chand Bardai

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Source: Amazon[/caption] This is undoubtedly the oldest work of the list, allegedly composed in the 12th century AD, though there is consensus amongst scholars that it has been embellished and improved upon over the years. Thus, very little remains of the original poem. It is a great epic that dramatizes the life of the Rajput King Prithviraj Chauhan and his bravado. Chand Bardai is said to be a contemporary, or even the court poet, of Prithviraj Chauhan. Though the historical accuracy of the event is doubtful – because the poem is considered an unreliable source by historians – the poem is a great work and read nonetheless.

Yashodhara by Maitheli Sharan Gupt

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Source: Pustak[/caption] One of the national poets of Hindi, Gupt is said to be a promoter of Khadi Boli. Most of his work is on motivational patriotism, but a few include mythological or historical figures as well. Yashodhara is an epic poem on the wife of Gautama Buddha. It is a lament and extrapolation on Yashodhara’s situation after Buddha left her behind with a newborn son to go on his enlightenment quest. Gupt’s other works include Saket, a retelling of the Ramayana with Laxman, Kaikeyi, and Urmila as protagonists. It is often considered Gupt’s best work, but the poignancy of Yashodhara is unparalleled. Other works like Panchvati, and dramas like Tilottama, also have strong female presence. Gupt’s work is thus often associated with women empowerment and upliftment.

Rashmirathi by Ramdhari Singh Dinkar

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Source: Amazon[/caption]

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Dinkar is the second national poet of Hindi. He wrote a lot on the Mahabharata. His work is also very emboldening, and includes Veer Rasa to a huge extent. Rashmirathi literally means the one who is riding sun’s chariot. The epic poem is thus about Karna, a significant character of the epic Mahabharata, the son of the celestial god Surya and Kunti. Bhishma revealed the secret of his birth in the last few days of the battle of Kurukshetra. The most famous excerpt from this poem is Krishna ki Chetavani (Krishna’s Warning). Dinkar’s other famous works include Kurukshetra, Parshuram ki Prateeksha, Urvashi (his only one not based on Veer Rasa), etc. He wrote poems, prose, had a hand in developing khadi boli, and was a devout patriot.

Madhushala by Harivansh Rai Bachchan

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Source: Flipkart[/caption] If you do not know Harivansh Rai Bachchan, he is Amitabh Bachchan’s father. That is not his claim to fame by any means though, because his contribution to Hindi literature speaks for his eminence and greatness. Madhushala (House for Alcohol) is a book of 135 quatrains about the complexities of life, which the author explores through words like Madira, Pyala etc., all related to a Madhushala. Incidentally, all quatrains end with the word madhushala as well. Academics consider it to be one of the best metaphorical and philosophical works of Chhayavaad. If you can’t read it, just go and listen to Amitabh Bachchan reciting it! Other notable poems include Agneepath, Jo beet gai so baat gayi, and Hai Andheri Raat par Diya jalana kab mana hai.

Tamas by Bhisham Sahni

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Source: Flipkart[/caption] Bhisham Sahni is a well-known actor, playwright, and writer. He wrote Tamas on the backdrop of partition and won the Sahitya Akademi award for the same in 1975. Tamas literally means darkness, and the story revolved around riots in a small town during the tumultuous times. Doordarshan adapted the story to a TV show later.

Kitne Pakistan by Kamleshwar

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Source: Goodreads[/caption] Kamleshwar is a satirical writer who explores the social space through his novels and short stories. He is a pioneer of the Nayi Kahani Daur. This is in fact the most recent work to make it to this list. He won the Sahitya Akademi for the novel in 2000, three years before his demise. Kitne Pakistan uses the allegory of partition and deals with a vast expanse of human history, contemplating ideas like nationalism, socialism, and communalism. He also discusses the futility and fatality of religion and politics for the common man. His another notable works include Rang Birangi and Aandhi.

Jhansi ki Rani by Subhadra Kumari Chauhan

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Source: Geeta-Kavita[/caption] Chauhan used to be a senior to Mahadevi Verma in school, and mentored her in poem composition. Need we say more? Chauhan died early in a car accident and hence has fewer poems to her credit, but each piece in itself is very famous and praised. Jhansi ki Rani is the poem which gave the memorable and iconic lines “Khoob ladi mardaani, woh jhansi wali rani”. The poem is inspirational and evokes veer ras. It is not an epic book, but a long poem. Chauhan’s other notable poems include Kadamb ka ped and Madhur Yaad Bachpan. Do give them a read—they are equally good, if not better.

Tyagpatra by Jainendra Kumar

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Source: Goodreads[/caption] Jainendra Kumar is one of the most feminist Hindi writers, and his works exude open-mindedness and the power that females hold. He won the Sahitya Akademi award and the Sahitya fellowship for his novelette Muktibodh, also a good read. Tyagpatra is about a lawyer and his relationship to his bua (paternal aunt). The book focusses on the aunt through the eyes of the narrator and shows her struggles, and her bold (and at times desperate) decisions that compel the lawyer to sign his resignation. It is truly a great satirical work that gives women agency. Another impressive read by Kumar is Suneeta.

Gunahon ka Devta by Dharamvir Bharati

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Source: Google+[/caption] This book has gained a cult following because of its theme, and has elevated Bharati to being the second-most popular Hindi writer after Kabir. The story is tragic and poignant, with Chandar, the lead character, falling in love with his Professor’s daughter, Sudha. The best parts of the book are the exploration and expression of the characters’ emotions and feelings. The Bharatiya Jnanpith Trust published the 59th edition of the book in 2009. This list could keep going. Here are a few honorary mentions: Mridula Garg, Mannu Bhandari, Rajesh Yadav, Mohan Rakesh, Yashpal, Nirmal Verma, and last but not the least, Bhagwati Charan Verma. This list does not mention the more well-known works like Ramcharitmanas by Tulsidas, and Kabir and Rahim ke dohe, as they probably need no introduction. Now go and pick a few of these titles and read more from India’s rich literary output. Read more about how the Sahitya Akademi is encouraging and preserving such outstanding Indian literature, on its website.

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RangSutra is an artisan collective that has changed the lives of thousands of craftspeople across the country. Ten years ago when Sumita Ghose decided to start her own company to help rural artisans, she needed capital. But no bank was willing to give her a loan because she had nothing to show by way of collateral. Instead of abandoning the idea she turned to weavers and craftspeople and offered them equity. To become shareholders, 1000 artisans invested Rs. 1000 each, providing her with a seed fund of a respectable Rs. 10 lakh. With her own money and contributions from her family, friends and well-wishers, she began the company on a small scale.

Today, she is the founder and managing director of RangSutra, a community-owned business of 3,000 artisans from remote villages and regions across India. 2,200 artisans are direct shareholders and the company has an annual turnover of Rs. 10 crores.

RangSutra sells a range of handcrafted products to Fab India, which has been a partner and promoter of village handlooms work and traditional crafts and skills. Its export partner is IKEA, a Swedish multi-national group of companies known for their designs, particularly in furniture. Radha Bai, one of the first shareholders of the company, is proud of how far the venture has come. Her share certificate is framed and prominently displayed on the wall of her home in a Bikaner village. “This is the only punji (financial asset) in my name,” she says. “The land as well the house on which it stands is in the name of my husband.” The framed share certificate announces her arrival in the market place and her acceptance into a competitive world of business. The value of Radha Bai’s share, which was Rs. 100 when she bought it, is now Rs. 600 and like other craftspeople of RangSutra by working four hours a day, she receives a monthly income of between Rs. 3,000 to Rs. 5,000 from it. If embroidery work can be combined with the tailoring of outfits, the artisan’s earnings go up to Rs. 12,000. Prior to the company’s intervention in the market and the efforts it made to re-hone and upgrade artisans’ skills, the artisans earned just between Rs. 500 to Rs. 1000 per month.

At present, skilled artisans working full-time earn Rs. 15,000 a month.

Now in its 10th year of business, in an effort to reaffirm its faith in its artisan shareholders, RangSutra has decided to take on the entire gamut of operations from designing and production to marketing. It plans to open its own shop in Delhi or Gurgaon with a new range of designs themed ‘Be the Change’. The organisation is also extremely women-centric with a 70% membership of female artisans. Three of the six board members are women and three are artisans. Female empowerment is taken seriously at the firm and as shareholders, RangSutra’s women are expanding their skillset to management. They tend to be vocal about their opinions and do not hesitate to question their managers and even the managing director if there is a delay in the work assigned to them. They also understand the importance of quality in a seller’s market. The company builds on traditional craft skills like hand embroidery, applique, tie-dye, handloom weaving, engineered weaving, extra weft weaving, leather craft, silver jewellery and beads. The products are innovative, combining the creation of aesthetic beauty with strong ethical work practices.

RangSutra’s philosophy is ‘Respect for all—the producer, shareholder and the customer.’

The company’s business model entails working with group. After beginning with three clusters, it now works with 35 groups of artisans in UP, MP, Rajasthan, West Bengal, and Manipur. In Manipur, the organisation works in collaboration with the Manipur Women Gun Survivors Network and in Madhya Pradesh with women who have given up scavenging to become artisans. Fifty women have become crafts managers and have greater responsibilities. Artisans are involved at all levels of the production chain from sourcing material and weaving and dyeing fabrics, to product development and quality control of the final product. Since 2011, RangSutra has also focused on workshops for the development, monitoring and quality control of new products. The workshops impart management and planning skills to those handling groups of artisans, like tracking orders and ensuring timely delivery, leading to a significant jump in orders. The cutting of kurtas and other apparel has been centralised in Bikaner. The stitching is also done in Bikaner and Mirzapur to ensure standardisation of quality. The embroidery embellishment happens in village centres and garments are dry cleaned to ensure they are spotless and that the fabric colours don’t run. Even the waste material collected from the stitching of kurtas and cushion covers are used to make patchwork bedspreads, bags and mobile phone covers.

While RangSutra takes on young artisans of 16 or 17 as apprentices, the average age of a craftsperson involved in the project is between 30 to 40 years.

It also engages older artisans in their sixties, but finds that it is easier to mould younger ones. Meharunnisa, in her mid-forties, is a shareholder and a tie-dye specialist from Bikaner. Her association with RangSutra began after two-and-a-half years of intense training. With her confidence level at an all-time high, she says “my work lets people know about me, my ability to supply in bulk and the finesse involved”. Meharunnisa earns Rs.12,000 a month and is confident of handling export orders that adhere to global standards. Badii Bai, who specializes in embroidery, is the anchor of a women artisans group in a village in the Pugal division of Bikaner. Having worked with RangSutra since its inception, she says “Many women in my village are shareholders. We work together as a family with customers, suppliers and RangSutra to ensure better returns. We have a sense of ownership and pride and a feeling that this is more than just a job. We don’t have to go beyond our homes for work. Our clients come for hundreds of miles to look at our work and lives. We have a glorious past and look forward to a richer future.” Jaan Mohammed is the solitary block printer in Bikaner city and revels in his status. He works from home, a home he built with three years’ worth of the earnings he saved after starting work with RangSutra. He has co-opted his wife to work with him so that the family has a better life.

Like Jaan Mohammed, Nirmala Devi, an embroidery artisan from Mirzapur, has been able to establish herself so well that she could afford to request her husband Anil, working in Kolhapur, to return and work alongside her.

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Nirmala Devi receiving a certificate after training.[/caption] Nirmala is a vyavasthaapak, or a manager. Before joining the RangSutra team she was a member of a women SHG (self-help group), Swami Vivekanands Shiksha Samiti. She was married at 19 and soon found that her in-laws did not want her to step out of the house to work, so she began to make kurtas and children’s clothes at home. On meeting the RangSutra team, she showed them samples of her work and was sent for a week-long training session at a stitching workshop in Jaunpur. She was even able to go on an ‘exposure visit’ to RangSutra’s base in Bikaner and came back inspired.

Nirmala Devi is independent. She has a regular inflow of work and uses her time to help other women sustain their own needs as well as aspirations just like she does. With a daughter who needs medical help because she suffers from a growth disorder, Nirmala is determined to increase her earnings and her capacity to become an independent entrepreneur.

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Nirmal Devi at a training session.[/caption] Omprakash, in his late thirties, is associated with the Napasar handloom cluster as part of the RangSutra Craft Duniya Producer Company. He works with 250 weavers to keep alive the craft of lohi, a light-weight, hand-woven blanket. Each weaver produces eight to 10 meters per day, which is small in these days of mass production. Omprkash’s work showcases that craft heritage can be kept alive with artisans maintaining world-class standards. Radha bai, Badli Bari and Nirmala Devi signify a new dawn for craftspeople on the margins. They are making their presence felt in society, their voices are beginning to matter at home and women like them are being emboldened to educate their daughters and become leaders in village forums.

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Raksha Bharadia studies couple relationships in the modern Indian context. With her website, Bonobology, she has created a non-judgemental space where she hopes to break some of the taboos associated with discussing love lives. To find out that the intricate workings of couple relationships is nothing short of madness, did not come as a surprise to Raksha Bharadia, author, teacher and editor of India’s Chicken Soup For the Soul series. In researching her upcoming title Chaos, a book on couple relationships in urban India, the author travelled across the country hoping to make sense of the nonsense of romantic relationships. She approached experts, therapists, sexologists, historians, divorce lawyers and, of course, couples themselves.

“We’re a big hush-hush nation,” Raksha explains. “It’s alright not to wash your dirty linen in public but we go to the other extreme. Couples post one happy picture after another on Facebook but no one discusses what goes on between two happy pictures. I wanted to understand the life of a couple between their Facebook posts.”

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Raksha Bharadia, Founder of www.bonobology.com[/caption] That’s exactly what she set out to do with her website Bonobology. It’s tagline, ‘Real Couples. Real Conversations.’ says it all. According to Raksha, the modern Indian couple faces challenges unbeknownst to previous generations.

“We Indians are in a very unique situation. We grow up with a strong, Asian, community-based family culture but find ourselves juxtaposed with Western influences not just through TV shows but also through social media. We live in two worlds, with no role models to follow; so as far as couple relationships are concerned, we’re in a state of flux.”

Raksha’s website offers real-life stories on relationships, marriages, love, sex, affairs, divorces, and break-ups, and is unique in the fact that all curated content is entirely non-fictional. The counselling section of the site connects users with professionals who answer questions and provide advice on a range of relationship issues. In conversation with Raksha, The Better India delves into the mysteries of couple dynamics and the challenges faced by modern Indian relationships.

Q: What are Indian couples today facing problems with?

A: Infidelity is by far the most common issue, followed by problems with in-laws. Even with couples who live in different cities from their parents, ‘remote-control-in laws’ seem to have a great say in their children's’ marriages. Money issues are not as big as one would have expected but cultural differences, the way both partners were raised, do cause trouble in relationships. If the woman is from a liberal background and didn’t see her mother cooking at home, she will resent having to do it after marriage. Likewise, opinions on things like working from home or alcohol consumption are results of upbringing.

Q: How do Indian couples typically deal with infidelity?

Photo Source: Pixabay

A: When I visited relationship experts they all said that a decade ago, one or two out of ten couples came to them because of an extra-marital issue. Today, it is six or seven out of ten. The funny thing about married couples is that no one wants to get out of marriage. Even where there have been instances of adultery, most couples want to deal with it, get over it and move on even though it is painful. The one thing I see in a lot of these cases, is that the partner who was cheated on wants to know the details. There is an obsession to know every detail. What good will it do? I fear we can’t handle the truth even though we think we can.

Q: How does cheating begin?

A: People who have affairs typically go through four stages. First, they believe they are messed up and it’s their own fault. Then they justify their affair by declaring something is wrong with their partner. At the third stage, they decide that the problem is neither with themselves, nor their partner, but that incompatibility is the issue. And finally, even incompatibility is not an excuse; the problem lies with the whole idea of lifetime commitment. They begin to believe that there is something wrong with the system of making vows for a lifetime. I find that when people are aware of these stages beforehand, they have a different perspective on cheating.

Q: How does one discuss past relationships with their current partner?

A: This seems to be a typical girl issue. The woman in a relationship usually always wants to tell her present boyfriend everything about her past. Why will your current partner be interested in the intimate moments of your first relationship? Women tend to reveal because they want empathy, but there is a need for filter. Men tend not to want to discuss relationships at all, which is also a problem.

Q: Why do we feel pressured to be in a relationship?

Photo Source: Pixabay

A: India isn’t an easy place to be single. Once you are 25, people all around you are screaming marriage. People who have lost a spouse don’t fit into social events. Many widows reveal they cannot hang around other married women because they are not comfortable having them around.

Q: How does one deal with a broken heart?

A: Keep yourself active. Get involved with things, go out, exercise, meet your friends and watch movies, particularly just after a breakup. It is important to be in a zone where you’re constantly releasing feel-good hormones. Don’t be alone for the first few weeks. And put yourself in the position of a third person observer. Be aware you are pining and accept it. You’ll notice that grieving is a luxury. People who have to work have no choice but to spend those hours in an office and think straight. And sometimes even that is an escape.

Q: Are we teaching our children the right things about relationships and intimacy?

Photo Source: Pixabay

A: As an adult, you are hard wired to respond to couple relationships based on what you’ve seen around you growing up. The dynamics of parental relationships are cues to our own couple relationships.

Q: What are common mistakes people make with relationships?

A: You’ve got to remember that the things that attract you about a person are the same things that you will hate about them in three years. What was spontaneous becomes irresponsible, what was structured becomes inflexible. Couples should refrain from misusing the word love. After a serious relationship of two or three years, the romance is bound to reduce. The mere newness of another person becomes attractive. When you share your personality with another person you feel very alive and a lot of people mistake that for love. We need a lifetime to understand what love is. Don’t term attraction, or a relationship that makes you feel young, love.

Q: What makes a relationship last?

A: I’m a big supporter of the whole institution of marriage. When you look at it objectively, you realise that temporary is not what you want. When you have stayed with your partner for years, built a life together, had children together, you don’t think it is worth throwing it away just because you are bored. The problem with most couples is that they don’t go through any form of pre-marital counselling before making long term commitments. They don’t consider situations that could cause disputes. Not one of the couples who came to us to share their stories of troubled relationships have had premarital counselling.

Q: When do you call it love?

Photo Source: https://pixabay.com A: I don’t know. A lifetime. Relationships have cycles. When you’re done with all your firsts, from the first fight, to the first intimate moments and the first sharing of everything, when you’ve seen each other’s dark sides and you still want that person in your life then you know that the person is more than a fling. Love is when you had bad viral fever and he’s wiped the snot off with a tissue! We tend to rush into labelling and then stay stuck in those labels. There’s a beautiful saying, “Love is when falling in love is done with.” (Interviewed by Tamara Mathias)

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Aditi Mittal is funny. It isn’t just that she knows how to crack a good joke, but she is a wizard when it comes to landing punchlines, seemingly mundane, that end up taking you by surprise and leaving you in splits. Unapologetic, unafraid to speak her mind, clever and yes, very funny. That’s why Aditi has found stormed her way to the top regardless of what her critics (or Twitter trolls) have to say. Apart from headlining comedy tours across the world, today she also has her own radio show, titled Beginner’s Guide to India, on BBC 4. She also plans on writing a book as well, but it may have to wait a while because she is simply too busy. The world’s her stage and we are all her audience laughing along with her. Here are excerpts from when we caught with Aditi for a quick chat and a dozen laughs.

On realising her celebrity status:

The other day I walked down the street to a nearby shop in my pyjamas, and this woman who I don’t even know stops me to say that she also lives near my place and would love to have me over for lunch as she is a huge fan. That’s unbelievable for me. But that’s the power of comedy- it creates that human connection. There is this intimacy that makes you think that you know this person. One second I am walking down the street, the next I am getting asked if I eat vegetarian food or not. It’s insane!

On why she loves her job:

I do stand-up because I don’t know how to do anything else. For me the sound of laughter is the ultimate approval. During my first year when I tried breaking into the world of comedy, I struggled a lot but it was that laughter from the audience that intoxicated me and kept me coming back. I have always wanted to write and do something in this world. I still can’t believe I get to do this every day.

On how comedy starts important conversation on taboo subjects:

Female comedian is not a genre. Why should my gender be brought into the conversation? People think that I should perform in front of a female audience because I talk about subjects like menstruation or the experience of shopping for bras. But those issues are part of life and shouldn’t be alien to men. These subjects should be funny to everyone. Even if some of these subjects are considered taboo by society, comedy is the perfect way to start a conversation because it eliminates embarrassment. You can talk about them then.

On being labelled “angry”:

When I say something, it immediately gets called a rant. I am really not angry! I am not pissed off either. I am joking. They incorrectly label it a rant and that’s irritating.

On Twitter being her “foot-in-the-mouth” ground:

Twitter is not my stomping ground; it is my foot-in-my-mouth ground. When I tweet something, invariably someone will say that I am not funny and then someone else will say the exact opposite. The mentions I get are sometimes hilariously contradictory. But at the end of the day, it’s my Twitter handle and I owe no one an explanation. But it’s a great learning ground for me to see what’s acceptable and what’s not.

On why she values integrity:

Comedy is the closest you can get to truth, sometimes things can get lost in context and people might misunderstand even your sarcasm. It can cause problems and make people angry. But that’s why you should have integrity. At the end of the day, I know who I am and what I meant by my words. You have to have the courage to stand by your words. You have to bring your A-game and be ready to challenge your audience. The only way to find out what you can and cannot say (in terms of hurting other people’s sentiments) is to go ahead and say it. You don’t make fun of something unless you love it. And I love it. I love it all.

Photo source: Facebook

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The walls of houses in Jharkhand’s Chandidih village are proud galleries displaying Madhubani masterpieces woven with everyday stories, thanks to Udbhav, a community art project. The tiny village of Chandidih in Khunti district, about 35 km from Ranchi, is a sight to behold. Home to community art project Udbhav, the whitewashed walls of the homes in the village are adorned with mesmerising pieces of Madhubani art.

The paintings are the work of 20 art enthusiasts from the village and their young mentor Avinash Karn.

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Avinash Karn (centre) with local participants of 'Udbhav'[/caption] Udbhav is unique in its execution in the sense that while depicting the traditional art form, the project also translates to art the life and times of the people in the village. Every piece of art, whether reproduced on paper or on the walls, holds a social message, born right out of the hearts of the villagers’ life experiences. The unavailability of water, the need for collecting firewood, the lack of healthcare facilities, deforestation and local festivals of the community have made it to the murals. One of the strongest and most powerful messages is seen in the painting of the tribal women carrying water. The picture shows four women carrying water pots in their hands as well as on their heads, while their small children walk beside them.

One of the women is shown to be pregnant, the child inside her belly painted powerfully by the local women to narrate their daily hardships.

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Avinash, who started the project in the village over a year ago in collaboration with Artreach India, observed the lives of the participants closely. He saw that women, no matter what the circumstances, were never able to take a break from their strenuous duties.

“I saw that even when a woman was pregnant, she had to do all these things. I was shocked to see an eight months pregnant woman walking a few miles carrying water. Same was the case with women who had small children. Often women carry their newly born with them while they go to fetch water. The harsh reality needed to be addressed through the art. I was teaching them the technique, but moreover, I was helping them translate their own unique ideas to something tangible,” he says.

Also read: Food, Education, Clothes, Shelter & Theatre: Jamghat’s Way of Rehabilitating Streetchildren

An artist born to a family of Madhubani painters, Avinash had always strove to take the traditional art form away from repetition and imitation. He learned sculpting in Banaras Hindu University, which gave a certain depth and understanding of the third dimension to his paintings. Slowly, he developed a unique style of his own. Avinash conceived the idea of Udbhav in 2014, when he visited the village to conduct a week-long workshop. During his discussions with the local tribal participants, he realised that a skill like painting would help them become financially independent.

He felt, however, that one single workshop wasn’t enough, and designed a year-long project that would allow them to excel in the artform.

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Udbhav participant Sunita Devi at work[/caption]

“I designed this project and was trying to get the required funding. However, I wasn’t getting support. I was also criticised for imposing the Madhubani art form on the tribals. I wasn’t able to comprehend how I was ‘imposing’ when they themselves wanted to learn. Although Jharkhand has its traditional art form Sohrai, it isn’t practiced in this part of the state. But we have also tried merging some techniques of Sohrai tradition with Madhubani. I believe art is art, and there’s no need to put labels on it,” he says.

In 2016, Avinash got the backing of Artreach India and the project kicked off. Avinash travels back and forth between Chandidih and Varanasi, where the freelance artist has a studio. He believes with the right training and exposure, all of his 20 students have the potential to make it as professional artists. Many have started working on assigned murals and some are even selling their work at different art galleries.

Avinash recently conducted a workshop in the village, which was attended by local children. He has been trying to inculcate an artistic perspective and tries to encourage original ideas and imageries at his workshops.

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Drawings made by participants in the workshop[/caption]

“I have always been fascinated by the idea of earth meeting the sky in the far off distance. When I told that to Avinash Bhaiyya, he asked me paint how would I like to see the earth meeting the sky. So I painted a view that I’d be able to see from the top of Qutub Minar, the tallest of all towers,” says 13-year-old Nikita Tappo, a participant of the Udbhav workshop.

The community art project has interested not only the villagers, but many outsiders as well. The murals on the village walls often attract a curious eye, which has led to many of the artists getting work from outside the village. Sadly, the rain has washed away the murals on mud walls, but the ones on cement walls still stand as the representation of the collective art consciousness of the community.

Also read: The Drab Walls of 5 Schools in Uttarakhand given a Colourful Makeover by Delhi Artists

To know more about the community art project, visit Udbhav's blog here and the official Facebook page here. To know more about Artreach India, visit their official website here.

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Industrialisation and rising consumer demand have severely affected a lot of traditional art forms and handicraft industries. Anokhi Museum in Rajasthan is trying to preserve such a dying handicraft and art form – hand printing. The two-story pink sandstone haveli in the dusty lanes of Amber is usually easy to miss. Many of the locals know this as Chanwar Palkiwalaon ki Haveli, and not Anokhi Museum of Hand Printing, eight miles outside Jaipur, where women clad in the most colourful of sarees suspend their chat to wave at you. The museum focuses on contemporary fabric, ranging from innovative designs created by talented artisans to traditional outfits still worn in select regions today, albeit in dwindling numbers. A focused selection of historic textiles provides a context for further understanding of block printing. The one-of-its-kind museum is an endeavour to preserve the community of artisans of 500-year-old block printing in Rajasthan. It was started by Anokhi, a clothing line selling block-printed garments in stores across in India. The company was the brainchild of a British woman who married an Indian and moved to Jaipur in 1970.

Faith Singh worked with local craftsmen to create contemporary prints on textiles that have become so popular in India and abroad.

[caption id="attachment_747" align="aligncenter" width="646"] image source: http://josephinewilson.com/?p=417

Source: A Traveller’s Tale[/caption] It was Ms. Singh’s daughter-in- law Rachel Bracken-Singh who restored the dilapidated 17th- century mansion—which once belonged to the palanquin bearers of the royals—and turned it into a museum. This preservation project earned a UNESCO award for ‘Cultural Heritage Conservation’ in 2000. The old but well-maintained building is a cool relief from the desert heat. Large boards in the open courtyard explain the lengthy process of hand block printing. It all begins with the design to be printed on the textile. Once finalised—often floral, paisley, or geometric—they are carved by hand onto wooden blocks which have been soaked in oil overnight and cleaned.

These blocks are then used to print the pattern onto fabrics using natural vegetable dyes like indigo, pomegranate rind, and turmeric, in vibrant blues, reds, and greens.

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Source: Bring Home Stories[/caption] More than 100 garments and blocks are on permanent display inside alcoves and galleries across two floors. There are ethnic designs and patterns, and also Western clothes in traditional prints, like knee-length dresses in shades of red and russet. On the roof-top terrace, a few craftsmen sit with their tools, ready to demonstrate their work to interested visitors. The museum also offers a 2-day course in block-printing and wood-carving to enthusiasts. The museum shop carries a selection of hand-crafted merchandise, which includes limited edition textiles, clothing, furnishings, jewellery, books, and cards. Anokhi is trying to preserve the dying craft which has been overpowered by the more efficient and economical machine-printing process, damaging the livelihood of the artisans and threatening to extinguish an important craft. But it has a modern approach too. The team is always looking for new craftsmen and techniques to develop new garments in the main workshop on the outskirts of Jaipur.

They have worked with a British designer to re-interpret William Morris’s prints, made costumes inspired by Russian theatre, and worked their patterns into contemporary fashion—all of which the museum showcases in temporary exhibitions.

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Source: Anokhi Museum[/caption] Together with garments – Indian and Western in design – home textiles, sarongs, and accessories, Anokhi offers a diverse and colourful selection of products in its 27 outlets in major cities of India. Anokhi doesn't offer e-commerce. Ms. Rachel Bracken-Singh, the museum’s director, says, “The museum offers regular workshops throughout the year. These are usually against request, and range from individuals and small groups of enthusiasts to large school groups, from within India, as well as visiting from abroad. We tend to tweak the workshops to suit particular needs. While most workshops involve block-printing, we also offer block-carving workshops. Throughout the day, the on-site printers and carvers demonstrate their skills, and offer interactive sessions with visitors as they walk around.” The response to the museum, and what people enjoy most, varies quite a bit. While most people love to try their own hand at block-printing and also block-carving, there is a very clear appreciation for the overall quality of the experience—from start to finish—in all the spaces at the museum. The museum’s management has given a great deal of attention to clear and concise information and good visuals. They have also taken great care to maintain a high standard of care for the various textiles, tools, techniques, etc. The building is well worth a visit for that alone! Visitors leave feeling they have had a very positive, informative, satisfying, and holistic experience.

Anokhi funds the museum, which does not take outside financial support. The small shop there and the museum’s publications go a little way to supporting some of the costs.

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Source: Anokhi Museum[/caption] Rachel recommends that visitors coming to the museum give as much time as possible for a complete experience. She adds, “Appreciate one of India’s most beloved indigenous crafts, set in a beautifully restored 16^th century haveli. Interact with the craftspeople and well-informed staff. Enjoy desi chai in a clay pot with a view of Amber’s enduring heritage, and savour a unique experience.” This article originally appeared on Nazariya. Find out more about the art of hand printing and block printing on Anokhi’s website.

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Suspense. Intrigue. Friendship. And a fear of sabotage. No, this is not a plot from some thriller one might find in a bookstore, but rather a glimpse into the high-stakes world of the creation and the production of a Republic Day Parade tableau that one sees across the country on January 26. Confused? Tanya Anand, the founder of Kalpvriksh, an event management companythat won the contract to create the tableau for the Art & Culture Department in the government of Bihar. They ended up winning. And now she spills the secrets of what happens behind the scenes while also giving a national perspective. You will walk away surprised at just what goes into making a piece of art that you only glimpse for a few fleeting seconds on your television set.

Step 1: You fight for the contract and you also have to be a bit sneaky

Tanya says that it always helps to know someone within the state department because you will get a tip-off on when the tenders will go out in advance. This helps event management companies (the ones that generally apply for the contracts) some time to prepare for the pitch. “When I walked in, there were five people already in the room. We pitched for the Art & Culture department and gave them our design, our concept and our quotation. They reviewed everyone’s pitch right then and there and awarded the contracts to us.” Tanya along with her artist Umesh Sharma had come up with the concept of representing Nalanda University. Umesh, had hand-drawn the idea in both in paint and in black and white. The pitch took place just days before Republic Day and the team had to get to work. The quotes for state-level parades for each tableau generally range between 3 lakh and 5 lakh. When it comes to the national parade tableaus, it happens on a far more elaborate scale. According to Tanya, quotes go well over Rs 1 crore and teams get close to two months to prepare and put everything together.

Step 2: Do your research and assemble the best team

Research is paramount when it comes to putting together a tableau. In order to put together a representation of Nalanda, Tanya decided to showcase its most famous structure – the gigantic three step tower. Once she had decided on what the tableau would be, she had to put together a team really fast. “So, we had an artist Umesh who designed everything. He also coordinated with the carpenters and the painters with specific instructions on how he wanted everything to be. I had two helpers and under us there were 15 people working on this project. We also have to hire artists who will perform as historic characters to go along with the tableau. The task is daunting. You have get IDs done for everyone and make sure everything is fine.”

Step 3: The devil lies in the detail

The Nalanda stupa is a massive structure that is broken in many places and it burnt and blackened in many places. Given that the university was heavily influenced by Buddhism, there are Buddha statues everywhere but many are also broken. The team decided they would not leave any stone unturned literally when it comes to replicating this. “The measurement of the bricks at Nalanda are six by two, so we decided to recreate bricks with thermocol that were also six by two. The carvings also made with the same measurements. We made the bricks out of thermocol and then pasted them on plywood to make it authentic.”

The team also recreated the tower and Buddha statues. But once everything was completed, came the hard part – they had to destroy it.

“Nalanda is in ruins! It broke our heart but once we were done, we took a bamboo stick and hit the thermocol repeatedly to break it all. Painful yes but it has to look like the real monument!”

Step 4: The day before the event you assemble everything at the venue, keep an eye out for sabotage

“Having a tableau is actually a very big deal. The government gives you a 16-wheeler truck to take everything to the grounds where the Republic Day is conducted. Generally you end up doing an over-nighter to make sure everything is set-up and perfect. But the competition is fierce. I have heard of people sabotaging the frontrunners. I actually had my husband do a couple of rounds around the tableau after the midnight to ensure everything was fine,” laughs Tanya.

Step 5: It gets over all too soon, so savour the moment

Tanya notes that she along with her team reached the venue hours before the parade was even slated to begin. And then all too soon, the winners got announced. “The parade started at 9.30am and we did one round around the grounds and by 10am they had already announced that we won. I don’t think even now it has sunk it that we pulled it off!”

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Since moving to India it’s occurred to me that I say ‘please’ and ‘thank-you’ a lot. Maybe it’s down to my cultural background or maybe it’s a consequence of how I’ve been raised by my parents. Whatever the reason is, it’s not something that I need to make a conscious effort to do. Formalities (as I’ve come to call them in India) flow from my mouth effortlessly, probably even habitually. I’m not saying this to gloat nor to show off how ‘well-mannered’ I am. In fact, this realisation I’ve had has made me think that maybe it’s time that I modified my manners. Put my ‘pleases’ on pause. Go tee-total on my ‘thank yous.’

Here's why.

I've learnt that gratitude is less about what you say and more about what you do. Please and thank-you are not so frequently used in India. I’ve been scolded a few times: "you are too formal," "your formalities are not necessary." Many times my ‘please’ and ‘thank-you’ have fallen on deaf ears, been a foreign currency not accepted in these parts. In India it’s common to be met with silence when you offer your seat on a crowded train or to be given a blank stare when you look in disbelief at the shop keeper who didn't request but demanded you pay him 20 rupees for your bottle of water. If I were back home (in the UK) these sorts of formality-less encounters would shock me. I would probably tut and complain in disbelief about the sheer rudeness. I may even have made a point of uttering a loud ‘PLEASE’ or ‘THANK YOU’ just to call the perpetrator out on their lack of manners just to make it clear that I expected a verbal recognition of gratitude and now I'm mad because I didn't get one. Despite this, somehow though, I've seen more gratitude being shown each day in India then I've ever heard elsewhere. So it made me question what exactly are good manners? Is it about what you say with your mouth? The oral articulation of words that have been drilled in to you since birth. Are good manners the words that some so habitually say with not much thought behind them? Or, are good manners more about your intention? The silent meanings driving your actions.

For example, which shows more appreciation; a verbal thank you to your mum for cooking you a nice dinner or waiting for her to sit down before you eat? Or making sure she has a drink with her meal? Or perhaps even taking her plate once she’s finished so that she can enjoy a moments rest?

Staying with an Indian family taught me that gratitude is less about what you say and more about what you do. It’s easy for people to hide behind formalities. I've learnt that having the vocal ability to say please and thank you doesn’t automatically make you a pleasant or genuine person. In the absence of formalities, one can quickly see a person’s true character. It's easy to say please and thank you as a sign of our gratitude to someone. Being able to show gratitude to someone, however, now that's something else. Without formalities you’re forced to look out for the subtle signs. The not so obvious ways that people show their gratitude. India is providing me with the perfect opportunity to understand how gratitude is best expressed. Travel to me is about connecting with people. It's about understanding cultures and practices unfamiliar to my own. I think that this is something that is crucial to the times we are living in. Times often marked with division and fear of the Other. If I am constantly listening out for the verbal expressions of gratitude then I may miss out on the message being sent that requires me to see and not hear. Worse still, I may mistake it for rudeness or ignorance and consequently label entire groups of people based on the experience. Failing to realise how gratitude is communicated in other cultures. Don’t get me wrong, you’re going to get rudeness anywhere you go, and India is not an exception. But that's just a small part of life. I’m definitely not giving up on my formalities altogether, I think they are a wonderful thing. But I am learning what’s important. And that is the heart.

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