The profound emotional connection was vividly evident in 2022 when, as the Indian delegation accompanying the relics entered the Gandan monastery, members of the crowd reached out to touch them, expressing their reverence for those who had come "from the land of the Buddha".
One idea which both young and senior activists are exploring is about the possibility of a series of visits by youth teams to the South Asian capitals to meet with the leadership. They want to explain how deeply young people are affected and committed to address the crisis of climate change, global warming, and especially the fragility of the mountain regions as witnessed in the recent devastation in Nepal.
The Taliban may curate the museum. The newsroom must curate the context. Without that context, international television risks giving an extremist movement something it has always sought, not necessarily agreement, but attention; not necessarily legitimacy, but spectacle.
For an Indian audience, the most meaningful response to W.R.A.P. is not the comforting declaration that Indians and Pakistanis are identical. Such a claim can erase real histories and differences as readily as nationalism exaggerates them.
In Bhagwad Gita also the primacy of time is shown when Lord Kishna shows Arjun his Virat form and utters the famous words “I have become the Mighty Time - the creator and destroyer of the worlds”. Interestingly, this shloka was misinterpreted by Robert Oppenheimer after the atomic bomb blast in 1945 when he quoted Gita stating “I have become Death”, instead of "I have become the Mighty Time".
The evolution of this grassroots initiative in Bangladesh offers a model for other nations seeking to better address the crisis of road traffic injuries. It also provides insights into the vital importance of the collaborative process in creating broad support for the development and sustenance of such national programmes. While technology is often seen as the remedy for all our problems, the success of such community-based programmes is an important reminder to focus first on people, using technology as a tool, not as an end in itself.
JNU has stood against authoritarianism, market-driven education policies, and ideological conformity for decades, serving as a defiant emblem of resistance. The JNUSU election results last week by virtue of scale and impact on student and larger national politics may be deemed as extraneous. However, in spatial understanding of power dynamics, it metaphorically stands as a symbol of resistance at the heart of the nation’s capital.
Even coffee-table books, despite their visual focus, rarely abandon text altogether. They rely on commentary to contextualize the images. Goyal takes the opposite approach. Her photographs, painstakingly gathered from her travels across India, are not documentation but an invitation to look, to remember, to imagine. The result is a deeply personal journey for each reader, or rather, viewer.
Spirituality is not religion. It is the state of mind that makes it understand that the truth is beyond the barriers of worldliness, religion, caste, creed, race, or geographical boundaries. It connects us to marvels of nature in a deep way, and subsequently to Universal Consciousness or the mind of God.
By the end of the book, what lingers is not just sorrow, but a quiet insistence that women’s inner worlds deserve to be witnessed. Mohua invites her readers, especially women, to stop apologizing for their contradictions, to speak even when their voices tremble.
In 2006, the popularity of Zubeen’s song “Ya Ali” in the film Gangster brought him fame and told the people of Assam that their native son was an honoured figure on a much wider stage. This is the song a Pakistani band sang recently in Karachi in tribute to their late Indian colleague, a move embraced across borders, prevailing over the current tensions between the two countries.
In the present era of AI and simulated visual and audio-visual graphic representations, the contributions of the first Bengali illustrations remain pivotal as they underscore the significance of a long history of various thought processes and diligent efforts which went behind shaping a path for generations of graphic artists in the decades to come to explore imagination and a world of fantasy.
Rising demand for housing and infrastructure, coupled with environmental challenges, remain primary issues around the world. These issues are exacerbated in countries like Pakistan where millions still live at or below the poverty line, in flimsy dwellings on the outskirts of cities, on river flood plains or near refuse sites.
“This was a film that needed to be made, so thank you,” said award-winning Indian filmmaker Anand Patwardhan, who helped bring After Sabeen to Indian audiences and whose own film ‘Reason’ highlights such killings in India.
Ultimately, it comes down to standing firm for what is pure and ethical, and standing against what is impure and unethical in our society today. Such conflicts can be resolved only at the level of higher understanding — the very foundation of what may be called Higher Morality.
What makes the book powerful is its refusal to romanticize either side of the debate. It acknowledges that local language education, when disconnected from global opportunities, can also reproduce exclusion. But it also warns against treating English as a silver bullet, instead framing it as one tool among many for dismantling structural inequalities. The book’s central contribution is to show, through stories and analysis, how subaltern learners themselves are redefining English, not as a colonial burden but as a means of agency, solidarity, and leadership.
India’s museums and heritage institutions are at a crossroads. The digital age offers incredible tools to preserve and promote culture, but it also demands clarity, intention, and collaboration. The future lies in building a community of professionals who understand both the value of tradition and the power of technology.
If you have ever felt the dopamine rush from a like or comment, or have scrolled past your bedtime, you are one of the millions entrenched in this system. According to recent studies, the average person spends two hours and 24 minutes on social media daily. Each interaction—whether it’s a curated ad, a filtered photo, or even a friend’s post becomes material that subtly shapes how we see ourselves and the world around us.
So, what is the smell of autumn about? Is it the change in weather, from an otherwise hot tropical condition or is it the festivals, the food, the lights and the colours? What is it that really makes this feeling so special? Perhaps it is a realisation of moments of loss and happiness and a sense of comfort - all strung across the same thread
