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ICCR Marks 75th Foundation Day

A cultural programme marks the 75th Foundation Day of the Indian Council for Cultural Relations in New Delhi on April 9, 2024.

ICCR’s approach to cultural diplomacy encompasses a broad spectrum of activities aimed at reviving and strengthening international cultural relations…reports Asian Lite News

The 75th Foundation Day of the Indian Council for Cultural Relations (ICCR) was celebrated on Tuesday, marking a significant milestone in its journey of enriching India’s diplomatic relations through cultural exchanges. Established on April 9, 1950, by Maulana Abdul Kalam Azad, India’s inaugural Education Minister, ICCR has played a pivotal role in fostering mutual understanding and fostering cultural bonds between India and the global community.

The foundation of ICCR was a strategic move towards establishing India’s soft power diplomacy, acknowledging the importance of cultural relations in international diplomacy. Over the years, ICCR has evolved into a global ambassador of Indian culture, operating through its extensive network of cultural centres and diplomatic missions worldwide.

Global Cultural Initiatives

ICCR’s approach to cultural diplomacy encompasses a broad spectrum of activities aimed at reviving and strengthening international cultural relations. By running 37 Cultural Centres globally, ICCR facilitates the exchange of artistic and cultural values, thereby fostering global peace and understanding. These centres serve as hubs for cultural exchange, hosting numerous events that showcase the diversity of Indian culture.

One of the Council’s notable initiatives is the organization of international webinars and festivals that highlight India’s rich textile and artistic heritage. For instance, the “Weaving Relations: Textile Traditions” webinar, held on October 3, 2020, brought together artists and artisans from various countries to share their textile traditions, promoting a global appreciation for the craftsmanship and cultural narratives embedded in their work.

Educational and Cultural Exchange Programs

ICCR’s educational exchange programs have significantly contributed to promoting international understanding. Through scholarships and cultural exchanges, the Council has facilitated educational opportunities for foreign students in India, thereby nurturing a global network of alumni who act as ambassadors of goodwill and friendship between their home countries and India.

The ICCR offers an extensive range of over 3,000 scholarships across 21 different programs, catering to international students from more than 180 countries. Six of these programmes are funded by ICCR, while the remaining are funded by the Ministry of External Affairs (MEA) and the Ministry of Ayush.

The Council’s role in India’s external cultural relations extends to the strategic implementation of cultural diplomacy initiatives. These efforts are designed not only to showcase India’s cultural richness but also to build enduring international relationships. ICCR’s cultural events abroad, such as dance performances, music concerts, and art exhibitions, play a crucial role in projecting India’s soft power and fostering diplomatic relations.

ICCR’s Regional and Global Impact

The regional offices of ICCR across India collaborate with state governments, enhancing the domestic cultural landscape while also supporting the Council’s global mission. These partnerships facilitate the representation of India’s diverse cultural heritage on the international stage, ensuring that the cultural exchanges are reflective of the country’s rich tapestry of traditions and art forms.

The ‘Northeast Japan Caravan’ in Shillong (November 9, 2023), showcasing Judo and Karate demonstrations, is an example of how ICCR promotes cultural fusion and understanding. Such events underline the importance of cultural diplomacy in strengthening bilateral relations and enhancing people-to-people ties.

The ICCR’s sponsorship of cultural groups like the Sankalp Odishi Dance Group emphasizes the Council’s commitment to promoting Indian classical dance forms globally. Their 2023 performances in countries like Guatemala, Honduras, and El Salvador, have not only showcased the elegance and depth of Indian dance but also played a pivotal role in building cultural bridges and enhancing India’s cultural ties with these nations.

As the ICCR celebrates its 75th foundation day, its achievements in promoting India’s cultural heritage globally stand remains renowned with the enduring value of cultural diplomacy. The Council’s efforts in fostering international goodwill through cultural exchange continue to contribute significantly to India’s diplomatic endeavours, promoting a world that values cultural diversity and mutual respect. ( India News Network)

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Food Lite Blogs

A Feast of Culture, Cuisine, and Creativity in New Delhi

Scheduled from December 22nd to 24th at Jawaharlal Nehru Stadium (gate no 14), New Delhi, the festival is set to draw a diverse audience…reports Asian Lite News As the festive spirit blankets the capital, the North East Festival gears up for its 11th edition, promising a vibrant showcase of the region’s rich culture, tantalising cuisine, and artistic prowess.Scheduled from December 22nd to 24th at Jawaharlal Nehru Stadium (gate no 14), New Delhi, the festival is set to draw a diverse audienceThis year’s edition promises an exciting array of events that celebrate the beauty, diversity, and integrity of North East India. Among these is a lively Christmas special bazaar showcasing Northeastern crafts and stalls from Delhi’s bakeries. The festival’s culinary delights are poised to attract a massive crowd, offering authentic Northeastern cuisine.Expressing his enthusiasm, Shyamkanu Mahanta, Chief Organiser of North East Festival, said, “Delhi holds a special place in our hearts, and the city’s warmth has always been overwhelming. The North East Festival has evolved into a symbol of identity for the people of the North East. Our primary focus has been to forge marketing connections for products from the Northeastern states. With the backing of the Ministry of Tourism, we will host a tourism B2B meet, and, supported by the MSME Ministry, a B2B meet for the textile and food processing sector. These meetings will facilitate meaningful interactions with buyers.

We’ve extended invitations to well-known North East entrepreneurs from various sectors to showcase their products. Additionally, cultural performances, games, the display of our authentic food, and more will enhance the festive atmosphere. With this edition, we anticipate an even greater footfall, marking another milestone in our journey.”Besides, with a dynamic lineup featuring 300 folk artists, a Meitei martial arts showcase, a doodle art masterclass by the globally known artist Santanu Hazarika, a North East Rock Battle, the festival is set to be a cultural extravaganza. The musical spectacle will showcase a diverse lineup of artists spanning various genres, ranging from folk to rock, pop to jazz. Notable performers include the well-known Indian Nepali rock band from Sikkim, Girish and The Chronicles, Assam’s heartthrob Zubeen Garg, Bollywood playback singer and composer Papon, and Bollywood actor-singer Shruti Haasan and her alternative rock band. The evenings will be further electrified by the stellar performances of renowned DJs from the region. A poignant moment during the festival will be a tribute music performance dedicated to the late playback singer KK. Widely adored, KK’s untimely demise resonated deeply within the industry and among his fans. His band, accompanied by a selection of popular singers, will pay homage by performing some of his timeless songs.Fashion enthusiasts can look forward to designers showcasing local fabrics and designs, emphasising the rich textile heritage of the region.

The exhibition arena will host over 100 MSME entrepreneurs presenting ‘Made in North East’ products, creating a marketplace for visitors to explore and purchase authentic items. With 150 stalls, the exhibition aims to promote agri-horti products, handloom, handicrafts, and processed food. Tourism stalls will highlight popular and off-beat destinations, encouraging visitors to explore the diverse landscapes of the North East.The North East Festival goes beyond being a mere celebration; it strives to nurture cross-cultural awareness, encourage economic prosperity, and promotes unity.

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Europe Lite Blogs Travel & Tourism

Discover the Magic of Moscow

Moscow is a city where past and present co-exists harmoniously. Wander through the meticulously adorned Metro stations, each station a work of art with intricate wall sculptures telling stories of centuries of change…reports Asian Lite News

Nestled within the vast expanse of Eurasia lies a land of remarkable diversity, where history, culture, and natural beauty converge to create a tapestry of wonders, and Russia’s capital Moscow is home to some iconic landmarks.

St. Basil Cathedral on the Red Square is probably the most recognisable building in Moscow. It’s breath-taking at night when buildings are illuminated.

Adjacent to it is the Kremlin, the seat of the Russian government; then there is Bolshoi Theatre, renowned for classical ballet and opera performances; the Gorky Park, a stunning urban landscape with walking paths – these along with parade of decorated and brightly lit boats floating along the river Moskva can be perfect sites for Indians who think of planning a holiday in Europe.

The Moscow City Tourism Committee has launched a series of measures to woo Indian tourists who were reluctant to go to the city in the wake of the Ukraine conflict. After introducing e-visas, Russia is now pushing for an e-payment system which will allow Indians to apply remotely for a bank card for mirror payments in Russia and transfer money from India to Russia.

The weakening of the ruble due to recent political events removes the exchange rate difference for Indians.

Moscow is a city where past and present co-exists harmoniously. Wander through the meticulously adorned Metro stations, each station a work of art with intricate wall sculptures telling stories of centuries of change.

Yes, there can be a language barrier for Indians visiting Moscow, but English proficiency has been on the rise, especially among younger generations and those working in the travel industry.

The head of the International Cooperation Division of Moscow City Tourism Committee, Bulat Nurmukhanov said: “There are 6-7 tourist centres as well as a call centre in Moscow to help with information in English as well as download links in English. Most decent restaurants have menus in English, and we are encouraging them to translate into Arabic and Chinese as well.”

Apart from this, travellers can use language translation apps to bridge the language gap. Smartphones apps like google translate can also help.

Going further, Indian Embassy’s Economic Wing deputy head Rajnish Patidar said, the Indian Embassy will be organising several round table meetings in Moscow from September 12 to 16 with tour operators from both the countries to facilitate tie-ups. There will be social media influencers and a delegation from the Kerala government also.

Yana Lyubina, an accredited guide working with DS Tours Travel Agency, said: “Russia offers a unique vacation option that is diverse in impressions and fits perfectly into the standard 7-10 days for which annual vacations in India are traditionally planned. In a week, a tourist can visit two completely different capitals – Moscow and St. Petersburg and noteworthy satellite cities.”

A city of contrasts and surprises, Moscow has several skyscrapers co-existing with ancient churches, and Soviet era structures where tradition and innovation blend and culture and entertainment abound.

“Lots of Arabs, Chinese are already visiting Moscow, and we hope to pass on the message to Indians that Moscow is a very attractive destination for foreigners and it is warm and welcoming to everyone,” Nurmukhanov said.

Moscow’s culinary scene is as diverse as the city. One can savour traditional Russian dishes like borscht (beetroot soup) and blini (traditional pancakes), or indulge in international cuisine at world-class restaurants. “There are some Indian restaurants, which provide traditional Indian food and some more are coming, even vegetarian restaurants. Our businesses are proactive in responding to market demand,” he added.

Indian tourists normally visit Moscow in summer, but the city wears a magical cloak in winter, which is called white winter, when snow blankets the city, creating a winter wonderland straight from the pages of a fairy tale.

As you bid farewell to Moscow, take home the memories of every cobblestone you saw, the hidden secret of every dome you came across, but don’t forget to leave your own mark on its vibrant and ever-changing landscape.

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Arts & Culture India News Lite Blogs

Noor Jahan’s efforts to protect Ladakh’s rich cultural legacy

Despite facing challenges, including the departure of her cousin Wajeeda and the need to create sustainable year-round work, Noor continues her dedicated efforts…reports Asian Lite News

Noor Jahan, an expert in art conservation and heritage management from Leh, has dedicated a decade to the question of preserving culture. Through her venture, Shesrig Ladakh, Noor and her cousin Wajeeda Tabassum conduct vital restoration and conservation work on ancient wall paintings, religious manuscripts, thangka paintings, and metalworks. Noor’s passion lies in working on ancient wall paintings and thangkas, a focus inspired by childhood memories and a desire to protect Ladakh’s heritage.

Equipped with a Master’s degree from the Delhi Institute of Heritage Research and Management and a PhD from the National Museum Institute, Noor has undertaken restoration projects dating back to the late 8th century. Despite facing challenges, including the departure of her cousin Wajeeda and the need to create sustainable year-round work, Noor continues her dedicated efforts.

In addition to her conservation work, Noor is a goalkeeper for the Indian women’s ice hockey team, demonstrating her remarkable versatility. Her journey began with a fortuitous encounter with foreign conservators in Leh, leading her to pursue higher studies in art conservation. Memories of childhood visits to Nubra Valley and the deterioration of ancient paintings further ignited her passion for the field.

Noor’s most significant project, Shesrig Ladakh, was founded in 2017. The venture is based in Choskor House, a historic structure in Leh’s old town. Noor’s team engages in meticulous conservation and restoration work, addressing challenges such as physical access to remote sites and sourcing materials. Documentation, cleaning, and stabilizing are key steps in their conservation process.

For thangka restoration, Noor’s team follows a comprehensive eight-step process, including cleaning, separation, and repair. Despite occasional obstacles stemming from her Muslim faith or lack of awareness in Ladakh about conservation, Noor remains steadfast in her mission to preserve cultural heritage.

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Khada Dupatta draping tradition, cultural grace

The color of the Khada Dupatta holds significance in Indian weddings. Red is the most commonly used color as it symbolizes love, fertility, and prosperity…reports Asian Lite News

Khada Dupatta is a significant component of traditional bridal attire in Indian weddings. It is a long, embellished fabric that is draped over the bride’s head and covers her shoulders, extending down to her feet.

Aaliya Deeba, founder of Ideebs London, a Couture Label shares with the significance of the Khada Dupatta in traditional Indian weddings and provides some pointers on its importance and styling.

Cultural Symbolism: The Khada Dupatta holds immense cultural symbolism in Indian weddings. It represents the bride’s modesty, elegance, and grace. It is a symbol of purity and is believed to bring blessings and good luck to the bride.

Regional Variations: Different regions in India have their unique styles of draping the Khada Dupatta. For example, in North India, it is draped over the head and pinned to the shoulder, while in South India, it is draped around the waist and worn over the head.

Embellishments and Fabrics: The Khada Dupatta is typically made of luxurious fabrics like silk, chiffon, or georgette. It is heavily adorned with intricate embroidery, sequins, beads, or zari work. The embellishments add opulence and grandeur to the bridal ensemble said Aaliya Deeba, founder of Ideebs London, a Couture Label.

Color Symbolism: The color of the Khada Dupatta holds significance in Indian weddings. Red is the most commonly used color as it symbolizes love, fertility, and prosperity. However, brides today also experiment with other colors like pink, maroon, gold, and pastel shades to match their wedding attire.

Draping Styles: The draping style of the Khada Dupatta can vary based on the bride’s preference and regional customs. It can be draped over the head and pinned to the shoulder, pleated and worn like a sari pallu, or wrapped around the waist and worn over the head.

Bridal Veil: The Khada Dupatta also serves as a bridal veil, concealing the bride’s face during certain rituals, such as the exchange of garlands or the arrival of the groom. It adds an aura of mystery and anticipation to the bride’s appearance.

Bridal Entry: The Khada Dupatta is often used during the bride’s entry into the wedding venue. It is held up by family members or bridesmaids to create a beautiful archway under which the bride walks, symbolizing her transition from a girl to a married woman.

Styling Tips: To style the Khada Dupatta, it is important to ensure it complements the bridal attire. Coordinate the color and embellishments of the Khada Dupatta with the bridal gharara or sharara. Proper pinning and draping techniques are crucial to keep the dupatta in place throughout the wedding ceremonies.

Personalization: While traditional designs and colors are popular, modern brides often personalize their Khada Dupatta. They may incorporate their initials, wedding date, or meaningful symbols through embroidery or custom motifs to make it unique and special.

The Dupatta plays a significant role in traditional Indian weddings. It symbolises cultural values, adds elegance to the bride’s ensemble, and enhances the overall beauty of the wedding ceremony. By understanding its significance and following appropriate styling tips, brides can embrace this timeless tradition and make it their own.

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Arts & Culture India News London News

Palette of Indian Languages presented at the British Parliament House

Ramaneeyam book release at the House of Lords

The event was organised by Sanskruti Centre for Cultural Excellence in association with the All Party Parliamentary Group  (APPG) on Modern Languages supported by the Chartered Institute of Linguists, reports Asian Lite News

18 languages were presented and highlighted at the House of Lords of British Parliament marking the World Day for Cultural Diversity for Dialogue and Development. The event was organised by Sanskruti Centre for Cultural Excellence in association with the All Party Parliamentary Group  (APPG) on Modern Languages supported by the Chartered Institute of Linguists.

Sushil Rapatwar presenting Sanskrit poem

Parliamentary host Baroness Garden of Frognal emphasised the importance of languages and lauded the organisers for bringing together meaningful linguistic content. Poems, mostly self-authored by the diaspora members in the UK, were presented in Sanskrit, Assamese, Bengali, Dogri, Gujarati, Hindi, Kannada, Kashmiri, Konkani, Maithili, Malayalam, Marathi, Odiya, Punjabi, Sindhi, Telugu and Nepali.

Baroness Garden rendering opening words

Also highlighted were some of the scripts such as Takri, Sharda, and Mithilakshar. Founder of Sanskruti Centre Ragasudha Vinjamuri, who herself presented her Telugu poem, spoke about Tai Khamti language of Arunachal Pradesh, which is the only language of the two in Arunachal which has a script. She mentioned that just about 20 000 people are currently speaking Tai Khamti language. She further added that the language is on the verge of decline and NGOs like Tai Khamti Heritage and Literature Society are working hard on language preservation and documenting projects. An age-old rhyme Koh-aui-Koh translated into English by Chow Kalingna Mnanoi was also included in the booklet Ramaneeyam- The Beauty of Expression brought out on the occasion.

The immensely vibrant program involved poetry recitation by Doctors, Councillors, University educators, members of the British armed forces, Chartered Accountants, Artists, and IT professionals namely Gitanjali Cox, Sayoni Batabyal, Lalit Sharma, Mukesh Karelia, Tithi Dani, Radhika Joshi, Dr Shafalica Bhan Kotwal, Dr Bernadette Pereira, Cllr Sharad Kumar Jha, Cllr Dr Ganga Sivakumar, Rupali Shilankar, Anushree Pattnaik, Captain Munish Chauhan, Renu Gidoomal, Sushil Rapatwar, Durga Prasad Pokhrel and Ragasudha Vinjamuri. Amandeep has presented a tribute to Gurus through a brief classical song.

Assamese poem presented by Gita Cox

Dr Nandita Sahu, Attache (Hindi and Culture) from the High Commission of India has given concluding remarks. In attendance were also Prof. Terry Lamb (Professor of Languages and Head of the Westminster Centre for Teaching Innovation at the University of Westminster), Philip Harding-Esch (Secretariat, APPG- Modern Languages), Chandru Gidoomal, Dr Nishebita Das, Sunil Sood and Sanjeev Kumar of HCI, among others.

Multilingual presenters at WDCD 2023
Multilingual presenters at WDCD event
Sindhi poem recitation by Renu Gidoomal
Telugu poem recitation by Ragasudha Vinjamuri

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Arts & Culture Culture Lite Blogs

India is home to the world’s second oldest mosque

The Cheraman Juma Masjid in Kodungallur in Kerala in India is probably the oldest mosque in the subcontinent. The mosque, which was built in 629 AD, features a design influenced by Hindu architecture. A lamp that is believed to be around 1000 years old burns constantly within the mosque. It also boasts of a special white marble believed to be brought from Mecca. Another salient feature is that it may be the only mosque in India that faces the east while all other mosques face west towards Mecca. A special report by Maheep &Hafeezur Rahman

The Cheraman Juma Masjid in Kodungallur, Trissur district of in the Southern State of Kerala in India is probably the oldest mosque in the subcontinent. Purportedly built in 629 AD, meaning in the Prophet’s lifetime, it is an inalienable part of Kerala’s rich cultural history that epitomizes the free traffic of cultures in ancient India.

Cheraman Juma Masjid is located along a calm semi-rural road, with no visible clue about its great antiquity. At first glance, it may even seem unusual, since it does not look like a conventional mosque with domes and minarets. It looks no more than a tharavad (a traditional house found throughout Kerala), with tiled roof and ornate wooden doors. Only inside, however, you find a qibla pointing towards Mecca, and prayer mats, like many other mosques. Hanging lamps, which are part of a traditional Kerala house and classic temple architecture, form yet another unique feature.

Kodungallur was a bustling trade hub for the world on account of its location near the ancient port of Muziris. Dating back to even 400BC it was a vibrant emporium of trade with East and West. It was a settlement of traders, standing as the gateway to India for varied cultures and races, thus emerging as a cradle of several civilizations. The Chera kingdom used to carry out trade with the Middle East and Europe since Harappan times, trading everything from spices to precious stones.

Structure of the old mosque (Picture Credits: Wikipedia)

Indian black pepper was found stuffed in the 3,000-year-old mummy of Ramses II, the famous Egyptian Pharaoh. The palaces of Nebuchadenazzar (7th century BC) and the Sumerian Ziggurat Temple of Ur in Mesopotamia (present-day Iraq) from the 6th century BCE reportedly used teakwood from South India. Arab sailors held close trade links with the Chera kings. It did not take long therefore to spread the news in Malabar about Prophet Mohammed in Mecca and Islam.

The local oral tradition claims that CheramanPerumal Rama Varma Kulashekhara, the Chera king of Kerala with Kodungallur as its capital saw in a dream the splitting of the new moon into two halves at the horizon, which is an event described in the Holy Qur’an (54:1-5). Stunned by what he had seen, the king sought answers from the court’s astrologers but failed to get a convincing reply.

Around the same time, an entourage of Arabs led by Shaikh Sahiruddhin Al Madani visited his capital and sought permission to anchor in the port. When the King shared his dream with the merchants, they informed him that it was actually a miracle performed by the Prophet. This event finds mention in several books dealing with the early history of Kerala, such as William Logan’s Malabar Manual and K Balakrishna Pillai’s History of Kerala.

The King was so moved by the interpretation of Shaikh Al Madani that he decided to meet the Prophet and embrace Islam. He arranged for the division of his kingdom into three parts and handed it over to his sons and nephews. When the Arab visitors, who had meanwhile proceeded to Ceylon for trade, returned, the King sailed with them to meet the holy Prophet. The King later converted to Islam in front of the Prophet and performed Hajj as well.

He was on his way back, with a team, to propagate Islam in Kerala, but unfortunately fell sick during the journey and passed away. Cheraman was buried in Zafar (now Salalah) in Oman. Nonetheless, he left a letter for his sons to receive the team of missionaries and offer them all the necessary help. His letter was eventually delivered to his relatives, the ruling chieftains of Malabar, through his

friends Malik bin Dinar and Malik bin Habib who visited Kodungallur along with their companions. The local rulers gave them permission to build a mosque at Kodungallur.

Researcher Anjali Mohan, who is working on a book called, ‘Cheraman Juma Masjid: Caritraom, Sanskaram’ (Cheraman Juma Masjid: History and Culture), observed that despite occasional disputes about the veracity of the story of conversion, there had not been any version to dispute this account. This shrine now stands as a testimony to the peaceful entry of Islam into the subcontinent. It is also a symbol of the harmonious co-existence of religions for centuries and the flourishing commerce between Arab countries and India.

The mosque was built and designed in a Hindu Architectural style. There is a lamp in the mosque which always burns that is believed to be about 1000 years old. Devotees, which include people from all religions, bring oil for the lamp as an offering. The mosque authorities allow followers of other religions to enter and offer prayers. People of all religions visit the mosque and many non-Muslims perform Vidhyarambham (initiation ceremony to the world of letters) of their children here.The festivals of Ramadan and Eid are observed with great pomp. At the same time, the Hindu festival of Vijaya Dashami too is reportedly celebrated in this mosque. The mosque also boasts of a special white marble believed to be brought from Mecca. Another salient feature is that it may be the only mosque in India that faces the east while all other mosques face west towards Mecca.

It has seen several renovations and reconstructions over its long history. It is believed that major renovations were done in the 11th, 14th and 15th centuries. The recent renovations were carried out in 1974, 1984, 1994, 2001 and 2020. The most notable one was probably in 1504 when the Portuguese admiral Lopo Soares de Albergaria razed it to the ground. In 1984, some extensions were added, which made the building look like a modern mosque. Concrete structures — mainly corridor and hall — were built to organize prayers at the mosque. Those extensions almost totally concealed the old structure. However, renovation work which started in 2020 has since removed those unwarranted accretions.

Replica of Cheraman Juma Masjid gifted by Prime Minister Modi to the Saudi King during his 2016 visit.

The Muziris Heritage Project (MHP) took up the task of renovating the Cheraman Juma Masjid in an effort to bring back the heritage structure. Governor Arif Mohammed Khan inaugurated the renovation work on November 10, 2019.

Before the renovation, the mosque had lost some of the unique classic flavor, after  structural additions including domes and minarets were made in the 1970s and 1990s. The MHP was commissioned for the restoration of the ancient heritage in original form. The additional concrete structures were demolished, and the heritage architecture was restored using teak wood. Clay tiles have been used to restore traditional Kerala-style roofing. Since the renovated mosque removed the existing space for prayers, the management decided to build an underground prayer hall. The underground facility is large enough to accommodate up to 2000 worshippers without interfering with the structure’s architectural integrity.

Latest pictures of Cheraman Juma Masjid, Kodungalloor undergoing renovation works (Pictures by Asian Lite)

The Kerala government adopted the Muziris Heritage Project as part of the State’s attempt to preserve its ancient culture. Under this scheme, Benny Kuriakose and Associates took up renovating the Cheraman Juma Masjid. The older part of the mosque including the Sanctum Sanctorum is left untouched and is still preserved.

The unique architecture and rich history of the mosque make it a must-visit destination for anyone interested in Islamic architecture and heritage or Indian history. The mosque’s continued existence is a testament to the rich cultural heritage of Kerala and the importance of preserving it for future generations.

(This article is written by Dr Maheep, an Expert in International Relations with specialisation in Arab & Islam and Dr Hafeezur Rahman, a renowned scholar of Islamic Cultural Heritage and Founder President of Sufi Peace Foundation, New Delhi)

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G20 delegates mesmerised by Assam’s diverse culture

G20 Delegates mesmerized by the unparalleled showcase of Assam's diverse culture and hospitality(ianslife)

The G20 delegates also witnessed a performance of the centuries-old traditional dance “Sattriya”, which was developed by the vaishnavite saint and social reformer Srimanta Shankardev in the 15th century…reports Asian Lite News

Recently, a group of over 100 international leaders and delegates from 20 different nations who were in India for the G20 summit travelled to Assam and crossed the great Brahmaputra river to take in the state’s rich history and colourful culture. An evening filled with culture and tradition was perfectly hosted by the Assam Tourism Department.

The delegates were transported to Sandbar Island in a gorgeously adorned boat, where they were given a warm greeting by 700 island residents performing the traditional Gayan-Bayan, Bihu dance, Siphung, and other folk dances. At the ethnic village, which was expressly created to showcase the ethnic diversity of the state, they also had the opportunity to experience the vibrant tribes of Assam firsthand.

The ethnic hamlet offered a view of the several Assamese tribes, including the Mishing, Bodo, Dimasa, Karbi, Rabha, and Hajong, along with six different folk-dance performances and the local drums (Doba, Mridanga, Xonkho, and Bhortal). The G20 delegates also witnessed a performance of the centuries-old traditional dance “Sattriya”, which was developed by the vaishnavite saint and social reformer Srimanta Shankardev in the 15th century.

“Cultural diplomacy is a unique way to pursue economic benefits into the state and boost tourism. We are hopeful that the G20 delegates visit in Guwahati was unique and our efforts to enthrall the delegates with the rich and vibrant performances besides presenting the culinary traditions of the state get them connected with the roots and regional flavour of Awesome Assam,” said Kumar Padmapani Bora (IRS), Managing Director, Assam Tourism Development Cooperation.

The delegates truly experienced Awesome Assam in their 3 day meet in Guwahati.  

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The magic of cultural dialogue

Cohen, who moved to France on an international scholarship in 2008, after studying musicology at Tel Aviv University released a single ‘A Paris’ in 2012 that garnered 4 million hits on YouTube and made everyone take notice of her…writes Sukant Deepak

It is the mix of cultures where she ‘finds’ herself. It is amid languages that she discovers what rhythms can do — first with awe and then, with gratitude.

The magic of cultural dialogue for Israeli singer-songwriter, actor and musician, who performs songs in Hebrew, French and Arabic stuck her quite late by her admission.

“And then, it (cultural dialogue) is not only my story but that of an entire generation and the traditions they carried,” says Israeli singer Riff Cohen, who sings in Hebrew, Arabic and French.

The artiste, who has a major fan base not just in Israel but across the Arab world, feels that coming in contact with people from different cultures acquaints one with multiple ways of seeing the world.

“Music opened my mind, it is such an apt way to find a language in and beyond words to express differently. The art forms facilitate imagination in me, it helps me emote in ways I never thought possible.”

Assimilation of different cultures in her work also has to do with the fact that her parents came from entirely different social realities. While her Algerian father came from a tough neighbourhood, Cohen’s mother was raised in Nice, France.

“One always tends to observe their parents closely. They both struggled a lot in different ways. However, I grew up different — with virtually no problems or stress,” says the artist, who was in India to perform at Jodhpur RIFF this year.

Cohen, who moved to France on an international scholarship in 2008, after studying musicology at Tel Aviv University released a single ‘A Paris’ in 2012 that garnered 4 million hits on YouTube and made everyone take notice of her.

“Interestingly, the French are open to everything international. When I was younger, I remember going to Israeli radio, and it just would not work out. ‘A Paris’ became such a huge song and it started playing everywhere,” says the singer, who has consistently given hits like ‘Helas’, ‘Marrakech’, ‘Malach’, ‘Elecha’ and ‘Boi agale lach’.

Cohen, who defines her music as a mix of Middle Eastern Urban Rock, North African folk, and Rai, and is influenced by Amazigh music, gnaoua and rai smiles that she does not want to sell her music by “being beautiful or her looks” — “I grew up in the nineties and I saw a lot of music on television. A lot of new concepts and ideas. I play with that and I see many different things. Also, power is tiring — why do you want to show you’re stronger than anyone? Show the vulnerability…”

Considering the region she comes from, it’s tough not to ask about the politics in her art.

“But I do not think there is any in my music… Maybe because I sing in Arabic…My father’s side of the family lived on a small island for almost 2000 years with people of different nationalities. So, yes, I am Arabic — this is my ‘genetic culture’. But everything comes together in a universal whole when I sing — including relationships and collaborations with others. I am really not into politics. I have deep love and respect for people in Israel.”

In India, she ‘sees’ music as more spiritual than anything else.

“Out here, everything has a different melody and a distinct dimension. When you’re in a divine situation, you experience something different. I can feel the harmony and vibrations in India.”

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Festival to explore shades of culture

Although known for its culture, there were not many platforms in which diverse ethos of the city could be witnessed at one place in the 90s. Barring a few government festivals, the place did not offer much in terms of public performances…Sukant Deepak

A few years back, Pt. Birju Maharaj was invited at the festival. He was performing after 25 years in Lucknow. An evening everybody was waiting for.

And it rained. A complete washout.

“We requested the craftsmen to move the tables in the exhibition area, and that is where the performance finally happened. Rain and thunder, and Pt. Birju Maharaj dancing just a few feet away from the audiences… imagine,” remembers Madhavi Kuckreja, founder of the recently concluded Mahindra Sanatkada Festival in the city.

Started 13 years back, the festival offers a unique them as a prism to look at the cultural landscape of the city. This time, it was food, ‘Lucknavi Bawarchi Khane’, a tribute to culinary traditions of the city, a theme that witnessed stalls from some of the best-known eateries in the city besides a crafts bazaar, film screenings, lectures, theatre performance, ‘Qissa Goi’ and ‘Bait Baazi’.

“We started with a crafts bazaar in 2006, the festival in its present form took shape in 2010,” recalls Kuckreja.

For someone who had worked for years in the NGO sector in Chitrakoot, Lucknow was the natural choice to set up base, although her parents were settled in Delhi. “I would come here often for work. It is still one of the few small-big cities which still has a connect with the hinterland intact.”

Although known for its culture, there were not many platforms which diverse ethos of the city could be witnessed at one place in the 90s. Barring a few government festivals, the place did not offer much in terms of public performances.

“I had no other option but to go to people’s places to explore the different shades of this city — food, crafts and heritage. Remember, that was not the era of social media.”

In the five-day festival which now has a footfall of around 30,000 people, it was important for the founder that it emerged rooted. “A festival of culture makes little sense if people don’t own it, if it does not touch them different levels. In fact, through Sanatkada, we have revived the age-old traditions of ‘bait-bazi’ and ‘Qissa Goi’.”

With diverse themes like ‘Pehnawa’, ‘Feminists’, ‘Bazaars’, ‘Filmi Duniya Mein Awadh’ among others in previous years, the founder says that work begins at least six months before the festival. “We thoroughly research the theme and do extensive documentation. And that is just the start.”

Next on her agenda is an offline and online cultural history museum in Lucknow. “This is something that has been on my mind for quite some time now. A dynamic and interactive museum which is not monolithic, something that offers a glimpse of culture of this region in an effective way,” she concludes.

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