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FROM THE KYAUKTADA CLUB TO MCA SACHIN TENDULKAR GYMKHANA … by Kamlesh Tripathi

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MCA SACHIN TENDULKAR GYMKHANA CLUB, MUMBAI

From the Kyauktada Club to MCA Sachin Tendulkar Gymkhana

Kamlesh Tripathi

    From the fictional Kyauktada Club in Burmese Days (1934) to the MCA Sachin Tendulkar Gymkhana at Kandivali, Mumbai, India has travelled a remarkable distance in recreation, sports, lifestyle, and club culture.

    While discussing clubs in India, one cannot overlook Burmese Days, George Orwell’s classic anti-colonial novel published in 1934. Set in colonial Burma, the story revolves around the exclusive Kyauktada Club. A central episode concerns the proposal to admit Dr Veraswami as the Club’s first non-European member, exposing the racial prejudice and hypocrisy of the British colonial establishment. The Club serves as a powerful symbol of exclusion and privilege. India, however, has come a long way since then. Today, clubs and academies are centres of sports, recreation, fitness, and community life.

    The tradition of clubs is centuries old. In ancient Greece and Rome, citizens formed associations for religious worship, trade, politics, and social interaction. These early organisations laid the foundation for the organised clubs that later flourished across Europe. Cricket, which originated in England, further strengthened this culture through institutions such as the Marylebone Cricket Club (MCC), the sole owner of Lord’s Cricket Ground. The concept gradually spread to Australia, New Zealand, and even India, where clubs became important centres for sporting excellence and social interaction. The Royal Calcutta Golf Club (RCGC) in Kolkata, India, is widely considered the premier British colonial golf club. Established in 1829, it is the oldest golf club in the world outside of Great Britain. India had all the land for such sports clubs and academies, and the Britishers made full use of them without letting Indians enter them.

    English literature often portrays clubs as important social spaces. Oscar Wilde’s The Picture of Dorian Gray and F. Scott Fitzgerald’s The Great Gatsby depict clubs where people gather for conversation, leisure, and networking. These spaces offer an escape from the pressures of everyday life while fostering hobbies, sports, and friendships. The MCA Sachin Tendulkar Gymkhana is one such jewel in Mumbai’s sporting landscape.

    Situated in the vibrant neighbourhood of Mahavir Nagar, Kandivali (West), the MCA Sachin Tendulkar Gymkhana is among Mumbai’s most prestigious sports and recreation clubs. Named after cricket legend   Sachin Tendulkar, it reflects his values of discipline, excellence, and sportsmanship. Since its inauguration in November 2013, it has become a preferred destination for sports enthusiasts, fitness lovers, families, and corporate organisations seeking world-class facilities under one roof.

    Established by the Mumbai Cricket Association (MCA), the Gymkhana was conceived as a premier recreational and sporting destination promoting an active lifestyle alongside exceptional hospitality. Spread across nearly ten acres of landscaped greenery behind D’Mart in Mahavir Nagar, it enjoys excellent connectivity with Mumbai’s western suburbs and the Metro network.

    The Gymkhana offers outstanding sports infrastructure. It features nine cricket pitches, five practice pitches, three indoor badminton courts, lawn tennis courts, two international-standard squash courts, a semi-Olympic swimming pool, a four-lane bowling alley, table tennis facilities, chess, billiards, a card room and a carrom room, and a fully equipped modern gymnasium. Its wellness centre includes advanced fitness equipment, steam, sauna, jacuzzi, massage services, and separate facilities for men and women, creating a complete environment for health, fitness, and relaxation.

The club also encourages young athletes by providing them with professionally maintained infrastructure where they can train and develop their skills. Numerous cricket tournaments, sporting events and social gatherings are organised throughout the year, contributing significantly to Mumbai’s vibrant sporting culture.

    Equally impressive are the Gymkhana’s hospitality and dining facilities. Members and guests can enjoy refreshments at Opener Café, multi-cuisine delicacies at Hotspot, vegetarian and Jain specialities at Greentop, authentic Chinese cuisine at Toss, and premium beverages at the Bowled and Googly bars. The club also offers twelve well-appointed guest rooms and two luxury suites, ensuring a comfortable stay for visitors and participants.

    The Gymkhana has become one of the most sought-after venues in Mumbai’s western suburbs for social and corporate events. Its elegant banquet halls—Hat-trick, accommodating up to 350 guests, and Century, accommodating up to 100 guests—along with conference rooms, meeting spaces, landscaped lawns, and ample parking, make it ideal for weddings, receptions, birthdays, anniversaries, seminars, conferences, product launches, and business meetings.

    Its strategic location makes it convenient for members from Kandivali, Borivali, Malad, Goregaon, and neighbouring suburbs to participate regularly in sporting activities, fitness programmes, family outings, and social gatherings. More than a sports club, the Gymkhana has evolved into a complete lifestyle destination that successfully combines recreation, wellness, hospitality, and community engagement.

    The journey from Orwell’s fictional Kyauktada Club to the MCA Sachin Tendulkar Gymkhana mirrors India’s remarkable social transformation. Clubs that once symbolised exclusivity and racial discrimination have evolved into inclusive institutions dedicated to sports, health, fellowship, and community development. The Gymkhana demonstrates how modern sporting infrastructure, quality hospitality, and community participation can coexist under one roof.

    India undoubtedly needs many more such clubs and academies to nurture sporting talent, promote healthier lifestyles, and strengthen community bonds. Visionary institutions like the MCA Sachin Tendulkar Gymkhana deserve appreciation for transforming recreation into a holistic experience that benefits individuals and society alike. They are not merely places for sport or leisure but sanctuaries from the pressures of modern life and enduring symbols of a progressive and confident India.

(The author is a columnist, a golfer and a member of the club)

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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GOLDEN YEARS WITH CLASSICS & MYTHOLOGY by Kamlesh Tripathi

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    As we grow older, our perspectives and lifestyles evolve. Life, as they say, is never static; the only permanence is impermanence. The way we see the world at twenty is vastly different from how we perceive it at forty, sixty, or eighty. Though it is often claimed that age is just a number, the number subtly yet significantly shapes how we view our remaining time on Mother Earth—and how we choose to live it out. Life expands like Parkinson’s Law, filling the available hundred years of human life.

    Ancient Hindu wisdom offers a profound framework through the four ashramas—Brahmacharya (student life), Grihastha (householder life), Vanaprastha (withdrawal), and Sannyasa (renunciation). These stages map a gradual transition from outward engagement to inward realisation. In the Bhagavad Gita, Lord Krishna gently reminds us of life’s impermanence: Just as a person discards worn-out garments and puts on new ones, so does the embodied soul discards worn-out bodies and takes on new ones.

    William Shakespeare, in his Sonnet 73, compares old age to late autumn and twilight: “That time of year thou mayst in me behold/ When yellow leaves, or none, or few, do hang…” Shakespeare’s metaphor of fading daylight beautifully mirrors the idea of life’s sunset.

        In his short story White Nights, Russian novelist Fyodor Dostoyevsky poignantly captures the anxiety of passing time. Lamenting to Nastenka, a girl whom the narrator meets on the street of Saint Petersburg, says:  “And you ask yourself: where are your dreams? And you shake your head and say: How quickly do the years fly by! And again you ask yourself: What have you done with your years? Where have you buried your best days? Did you live or not? Look, you say to yourself, look how cold the world is becoming. More years will pass, followed by gloomy solitude, and then doddering old age will come on a walking stick, to be followed by anguish and despondency. Your fantastic world will grow pale, your dreams will wither, die and scatter like yellow leaves from the trees … Oh, Nastenka! It will be sad, you know, to be left alone, quite alone, and not even have something to regret- nothing, absolutely nothing… because all that I have lost, all this, it was all nothing, a stupid, round zero– it was merely a dream!’

       In Sailing to Byzantium, poet W.B. Yeats reflects on ageing and the longing for spiritual permanence: “An aged man is but a paltry thing, A tattered coat upon a stick…” Yeats sees old age not merely as decline, but as a call toward artistic and spiritual transcendence.

    In his essay Cato Maior De Senectute (On Old Age), Cicero argues that old age can be honourable and productive when guided by wisdom and virtue. He challenges the idea that ageing is merely decline.

    Rabindranath Tagore often wrote of life’s evening as a time of serenity and fulfilment. In his collection of poems, Stray Birds, he notes: “Death is not extinguishing the light; it is only putting out the lamp because the dawn has come.” His vision transforms sunset into spiritual illumination.

    In Ernest Hemingway’s novella, The Old Man and the Sea, fisherman Santiago doesn’t give up in his old age. On the contrary, he kills an 18-foot-long Marlin and a few Sharks that attack the Marlin in the Gulf Stream while alone in his skiff, and returns safely home, only to dream about lions while asleep. The lions represent strength, energy, and the vigour of Santiago’s younger days. Though he is physically old and worn, his spirit still carries the courage and pride of youth. Hemingway gives a tall message in the book: “But man is not made for defeat. A man can be destroyed but not defeated.”  

    In his later masterpiece, The Glass Bead Game, author Herman Hesse explores withdrawal from worldly ambition and the search for contemplative depth—very much aligned with the Vanaprastha and Sannyasa stages.

    American memoirist, essayist, poet, and civil rights activist Maya Angelou spoke of ageing as empowerment rather than diminishment. She once said, “We may encounter many defeats, but we must not be defeated.” Her reflections on later life emphasise resilience and dignity.

        In Four Quartets, T S Eliot meditates on time, memory, and spiritual stillness: “Old men ought to be explorers…” He views the later years as a journey inward, not a retreat.

    Sunset is the golden period of your life. It might become more meaningful and absorbing when you handhold classics and mythology and carve your own path. A smooth and gainful exit from this world is the best trophy.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for readers of all ages and cover a wide variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Children’s Day: Celebrating the Joy and Rights of Children by Kamlesh Tripathi

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    “Every child is a different kind of flower, and all together they make this world a beautiful garden.” This fascinating popular quote reminds us of the uniqueness of each child and the collective beauty they bring to our lives and the world. Let the world be free from the shadow of the Pied Piper, who led the children away from their village to the top of Koppelberg Hill, never to return. The street in Hamelin, called Bungelosenstrasse (street without drums), is believed to be the place where the children were last seen. Ever since, music and dancing is not allowed there. Children’s Day, however, is a celebration meant to overcome such dark associations. It is supposed to build on powerful child characters such as ‘The Famous Five,’ the hit novel of Enid Blyton, where children, while holidaying in an old dilapidated lighthouse, recover a lost treasure all by themselves. But the quintessential example of children’s day could be from the escapades of young bubbly Krishna in Mathura and Vrindavan. Did William Wordsworth think of child Krishna when he wrote, “Child is the father of the man”?

    It is a day dedicated to celebrating children. The idea dates back to the early 20th century. The first official communique of Children’s Day was made in 1925 at the World Conference on Child Welfare held in Geneva, Switzerland. Since then, many countries have designed their own versions of the celebration. The day aims to raise awareness about children’s rights, their needs, and their well-being. Although celebrated on different dates around the world, the underlying message is universal: every child deserves love, care, protection, and the opportunity to grow in a safe and nurturing environment. While the day is often filled with fun and joy, its true essence lies in recognising that children are the future of the world.

    In 1954, the United Nations declared November 20 as Universal Children’s Day. This was done to promote global togetherness, increase awareness among children worldwide, and improve their overall welfare.

    In India, Children’s Day is celebrated to highlight children’s rights, education, and welfare. It is observed on 14 November each year, marking the birthday of the first prime minister of India, Jawaharlal Nehru. Nehru was known for his fondness for children. On this day, many schools across the country organise educational and motivational programmes. Some schools declare a holiday, while others host fairs and cultural events for their students.

    The first Children’s Day was observed on November 5, 1948. It was referred to as the ‘Flower Day’. On July 30, 1949, “Children’s Day” received wider attention and was promoted through radio, print media, and cinema.

     In 1951, V. M. Kulkarni, a United Nations Social Welfare Fellow, was conducting a study on the rehabilitation of juvenile delinquents in the UK. He discovered that India lacked a systematic approach to support underprivileged children. Inspired by Flag Day in England, which raised funds for the ‘Save the Children Fund’ on the birthday of Queen Elizabeth II, he proposed that Pandit Nehru’s birthday be observed as Flag Day for raising funds for NGOs working for child welfare in India. Although initially embarrassed by the idea, Nehru eventually consented.

    Though Nehru’s birthday, on 14 November, was celebrated publicly for years, it was only in 1954 that the day was celebrated as Children’s Day for the first time. Thousands of school children attended the celebration held at the National Stadium in Delhi.

    In 1957, 14 November was officially declared as Children’s Day in India.     On November 14, 1957, during the celebration, white pigeons were released into the sky. That same year, the government issued a special notification, officially declaring 14th November as Children’s Day in India.   The Department of Posts and Telegraphs also released first-day covers and three commemorative stamps in honour of Bal Divas (Children’s Day).

Jawaharlal Nehru was fondly called Chacha Nehru (“Uncle Nehru”) by children. As Rabindranath Tagore once said, “Every child comes with the message that God is not yet discouraged of man.”

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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24/10/25 Death of the donkey

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Its drastically cut population shows we are inhumanly unthankful for millennia of service

If it were happening to humans, you would call it genocide. The latest available census data for Madhya Pradesh shows that it’s left with only 3052 donkeys, an awful 94% decline since 1997. This ‘animalcide’, however, is not limited to one state or country. Read the TOI 24/10/25 editorial.

Posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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BEWARE OF MISCOMMUNICATION: LEARN IT FROM MYTHOLOGY AND LITERATURE … by Kamlesh Tripathi

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    It is always safer to over-communicate than to under-communicate. History, mythology and literature repeatedly show how a single misunderstanding can change destinies. One striking example comes from the Mahabharata — the life of Bhishma Pitamah. Bhishma had vowed lifelong celibacy. When he went to Kashi for the swayamvara of the three princesses — Amba, Ambika and Ambalika, on behalf of his half-brother King Vichitravirya, he decided to bring all three back as brides for him. As Bhishma entered the swayamvara hall, a hush fell. None of the princes dared to oppose him.

He announced, “I am taking these three Rajkumaris to Hastinapur so that they may marry my brother Vichitravirya. I am ready to fight anyone who objects to it.” The frightened King of Kashi offered no resistance. But on the way back to Hastinapur, the eldest princess, Amba, confessed, “I cannot marry your brother. I love Prince Salwa of the Saubala kingdom and had intended to garland him. You brought me without taking my consent.” Bhishma, stunned, admitted his mistake. He stopped the chariot and told her, “Had you told me at the swayamvara itself, I would have left you with your beloved and taken only your sisters.”

He sent Amba to Prince Salwa while continuing on with Ambika and Ambalika. But tragedy unfolded. Salwa refused to accept Amba. She returned to Bhishma, begging him to marry her, but he was bound by his vow. Even a duel with his guru Parashurama could not resolve the matter. Amba finally undertook a fierce penance and was reborn as Shikhandi, who became the cause of Bhishma’s death on the battlefield of Kurukshetra. Had Bhishma clarified Amba’s wishes at the outset—or had Amba voiced them earlier—the course of his life and perhaps the Mahabharata itself might have been very different.

    Two of Shakespeare’s greatest tragedies, Romeo and Juliet and Othello, also pivot on fatal miscommunication. In Romeo and Juliet, Juliet fakes her death with a potion. Friar Lawrence sends a letter to Romeo explaining the plan, but because of a plague quarantine, the messenger never reaches him. Romeo instead listens to second-hand information from his servant Balthasar, who truly believes Juliet is dead. Acting on this false news, Romeo buys poison and dies beside her. She wakes up to find him dead and takes her own life. A single undelivered letter seals their fate.

In Othello, the miscommunication is a chain of manipulation. Iago, angry at being passed over for promotion, insinuates to Othello that his wife Desdemona is unfaithful to Cassio. He plants “evidence” — especially the handkerchief that Othello had given Desdemona. Othello never verifies the facts with Desdemona directly, and by the time he confronts her, he is already convinced of her guilt. Desdemona’s innocent references to Cassio deepen his suspicion. Emilia (Iago’s wife), who could expose the plot, stays silent until it’s too late. Othello murders Desdemona in a jealous rage and then kills himself when the truth emerges.

    Whether in mythology or literature, these stories teach the same lesson: miscommunication can destroy lives. In Bhishma’s case, a single assumption led to his greatest karmic debt. In Romeo and Juliet, a missed letter caused a double suicide. In Othello, unchecked insinuations ended in murder and self-destruction. Clear, timely and honest communication could have changed every one of these outcomes.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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Phantom Police

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(PHANTOM POLICE? TIMES OF INDIA EDITORIAL 11/10/25)

Seoul has a hologram cop. Not everyone thrilled.
He doesn’t quite crash land but takes form all of a sudden – a life-size apparition in uniform, if you find yourself in Seoul’s popular Jeo Dong Park. Don’t let him spook you – it’s only a hologram of a cop, appearing every two minutes between 7 pm and 10 pm to, well, spook those up to no good. Police claim the made-in-UK ‘assistant officer’ lowered crime rates in the bustling neighbourhood under Seoul Jungbu police station by as much as 22%, between Oct 2024, when the pilot was launched, and May 2025. The cop was officially posted in the park in Aug. So, if you’re wandering around, under the influence of whatever’s your poison, and itching to pick up a fight, well, chances are the sight of a ghostly cop could nudge you to abandon the idea. No need to break into a cold sweat or run, for he’ll disappear in two minutes.
So what does this hologram cop do if it comes across a fight? He can’t chase, let alone handcuff you. Yet, ‘Enhanced features’ are a work in progress. His role now is surveillance, a deterrent to low-key ‘impulsive’ crime. Privacy may be globally dead, but still, the idea hasn’t gone down well with everyone. Visitors find him annoying, while his ghostly presence is fast creating an urban legend of a ‘haunted park’. Clearly, tech-savvy policing is not yet a smooth walk in the park.

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

The Book that brought Ponds to life was written by Anupam Mishra

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TOI article- 14/9/25 THE BOOK THAT BROUGHT PONDS BACK TO LIFE

Book Title: “Aaj Bhi Khare Hain Talaab (Ponds Are Still Relevant)” by Anupam Mishra
“Translated into eight languages and available in Braille, Anupam Mishra’s book has quietly sparked a revolution in water conservation across villages — one pond at a time”   
    What do you call a book that was first published without the author’s name on the cover, which has no copyright and encourages the reader to use it for free in any form, inspires common people to spend money from their own pockets and translate it, can be read in atleast nine languages, including Marathi, Bengali, Tamil, and also in Braille, has been broadcast by atleast 20 radio stations with over two lakh copies published, has almost become a holy book for water warriors and, yet, remains largely unknown to the educated public.
    Anupam Mishra’s ‘Aaj Bhi Khare Hain Talab (The Ponds Are Still Relevant)’ wasn’t launched in a farmhouse or nominated for major literary awards. But the book has become a movement. Spread over a frugal 119 pages, it reveals how ponds and lakes were fundamental to life and livelihoods across the country, and how their construction, preservation, and regeneration were embedded in community fabric-guided both by science and deeper philosophical values.
    First published by the Gandhi Peace Foundation in Hindi in 1993, the book continues to find fresh readers in new languages and forms. This year, it has been made accessible online in a disability-friendly e-text, says Kailash Pande of Delhi Blind School.
    Ramon Magsaysay award recipient Rajendra Singh says that at a time when headlines rapidly shift from drought to flood, the book remains as relevant as ever. “The change in weather patterns is an outcome of climate change and global warming. The book shows how to adapt to and mitigate the current crisis,” says Singh, whose NGO Tarun Bharat Sangh also shaped Mishra’s early ideas.
    Chasing Indigenous Wisdom:
    Aaj Bhi … was born out of Mishra’s extensive travels as a seeker and surveyor of India’s interiors in the 1980s. Mishra spoke less, listened more. A Gandhian by belief and environmentalist in action, he discovered a tradition of water-saving techniques in arid Rajasthan. In areas he couldn’t visit, Mishra sought the aid of friends and fellow travellers, naming each of them in the book. “The book harnessed indigenous water wisdom scattered across the country,” says social activist and old-time colleague Rakesh Dewan.
    At the turn of the 20th century, India had 11-12 lakh ponds, the book says. Mishra referenced the 1907 gazetteer to show that the princely state of Rewa in north-eastern Madhya Pradesh had 5,000 ponds. The early 20th-century Madras Presidency was home to 53,000 ponds. Who would believe that in the early 20th century, Delhi had 350 ponds, as a 1930 map illustrates. Dewan says that officers posted to Jabalpur during the British Raj were advised not to bring fans because the ponds there ensured a cool weather.
    The book also details the craft of building ponds and devotes a chapter to their anonymous creators. Mishra illustrates how, for centuries, communities such as the Odhs, the Gonds, and the Ramnamis had dedicatedly constructed ponds. Such acts often cut across the caste spectrum. Building ponds was also part of the financial system. “Those who built ponds in the kingdom of Gond rajas got a tax break. This tradition was strong in the Sambalpur region,” he writes. Digging ponds was among the punishments meted out by the caste panchayats of Bundelkhand. Ponds permeate every sinew of life.
    Deep Impact:
    Many found the addictive. Some finished it in one go and keep revisiting it. “People were mesmerised,” says Bhopal-based journalist Shabbir Quadri, who translated the book into Urdu and distributed it for free at madrasas and panchayats.
    Mishra, who passed away in 2016, would build a personal relationship with his readers. “I correspond with about 3,000-odd readers. The idea is to create awareness and build a movement through the book. You cannot do that without forming a long-standing relationship with them,” he told this reporter in 2004.
    One such reader was Surendra Bansal, then a freelance graphic designer in Punjab’s Malerkotla. He learnt about the book from a piece by journalist Prabhas Joshi in the ‘Jansatta’ newspaper. “I read that article four times and wrote to Anupam-Ji,” he says. “I didn’t have the address, so I just wrote, Anupam Mishra, Delhi”. Miraculously, the letter reached its destination. Mishra sent him two of his books with a handwritten note in his signature style.
    Bansal read the book and then translated it into Gurmukhi. He published it by selling off his prized cacti collection for Rs 11,000. “When Anupam-ji came to know about it, he first scolded me. Then he wept,” remembers Bansal, who now works for Haryana govt’s PR department. He has published five editions of the book in Gurmukhi. And he hasn’t stopped. Bansal regularly scans Punjabi magazines and sends free copies of the book to those he believes might be interested in water conservation. “I also distribute it to youth clubs and village libraries,” he says. Bansal has given away 6,200 copies so far.
    The book has also been used to groom community leaders. Aaj Bhi … was introduced as part of the syllabus in Chitrakoot’s Mahatma Gandhi Gramin Vishwavidyalaya. “It was taught to graduate students in 313 centres in a leadership course,” says retired civil servant B Rajagopal Naidu. The book was also part of the Hindi syllabus for graduates in Mumbai University between 2017 and 2019.
    Why It Still Matters
    Rajendra Singh, known as the ‘Waterman of India’, says Aaj Bhi … made a deep impact in MP and Rajasthan. Naidu, whose tenure as DM of Sagar in MP during 2002-04 was marked by a host of water management initiatives, says the book helped mobilise people and build awareness around check dams, and small drinking water ponds.
    He also remembers how the clean-up of Sagar’s sprawling Lakha Banjara lake got stuck due to a funds crunch. Help came in an unusual way. Film lyricist and Congres politician Vithalbhai Patel, who had penned the 1973 hit Bobby’s famous song, ‘Jhooth Bole Kawwa Kate’, went around every morning to the town’s different wards, asking people to donate Re 1 for the talab. The amount raised helped restore a huge portion of the lake.
    Such examples abound. Singh of Tarun Bharat Sangh, which constructed at least 7,500 ponds, says that dozens of initiatives were undertaken in Jodhpur and Barmer districts. “A sarpanch from Bikaner’s Nakhoda village called me after reading the book seeking help to build ponds,” he recalls.
    Chhatar Singh, a master of desert water conservation in Jaisalmer district, restored about 500 ponds, beris, and wells. A beri is a shallow well that harvests rainwater.
    “Reading the book, I felt my forefathers were talking to me. It was written in a way that inspired action,” says Chhatar, who was also impressed by Mishra’s book, ‘Rajasthan Ki Rajat Boondein (The Silver Drops Of Rajasthan)’. He explains Mishra’s approach: “If you had any doubts about building ponds,  Anupam ji would organise a gathering. He knew the answer, but would let the answer emerge from us.”
    Eastern Rajasthan’s Lapodia village is a famous conservation success story. Its head, Laxman Singh, read Aaj bhi… and encouraged fellow villagers to do so too. Impressed by its message of reviving traditional methods, they undertook a textbook application of rainwater harvesting and water management techniques to transform a sun-dried area into a village of three fecund ponds–Dev Sagar, Phool Sagar, and Anna Sagar, with a 300 bigha meadow.
    Laxman Singh says Mishra visited Lapodia twice every year for 30 years. “He was our guide and guru. Pehle woh insaan taiyar karte thhey, phir dharti (First, he readied people, then the land),” Laxman told this reporter in 2016. When the book’s Braille edition came out around 2009, Mishra visited Delhi Blind School, inspiring students to perform shramdan, or voluntary labour, recalls Pande.
    Academic Annie Montaut, who has translated ‘Rajasthan Ki Rajat Boondein’ into French, writes how even prisoners of a French jail could relate to Mishra’s lecture on water conservation. Some recalled their own childhood in Morocco. “I was surprised by the reaction; he wasn’t. Anupam-ji told me that he had learnt a lot from the uneducated,” she wrote in Hindi to Mishra’s wife, Manjushree, for an upcoming book in tribute to her husband.
    It is almost a cliché that a book can change your world. Mishra’s slim volume certainly reaffirms that adage. With global water shortage now an impending reality, the book’s significance has magnified in recent years. Today Aaj Bhi… is to water conservationists what Das Capital is to Marxists. A Ratna of Bharat, Mishra, never received even a Padmashri. But his book continues to usher in a silent revolution, one pond at a time.


Posted by Kamlesh Tripathi

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Bhibhuti Babu The Writer of Pather Panchali

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TIMES OF INDIA: 15/6/25
WHY A SMALL JHARKHAND TOWN STILL ADORES THE WRITER OF PATHER PANCHALI


    Flanked by a restless Subarnarekha river and an unassuming railway line that runs through the small town, Ghatsila reminds you of idyllic Nischindipur, where Satyajit Ray’s iconic Pather Panchali (Song of the Road) unfolds. It’s a drowsy, almost diffident, place that seems to have been bypassed by time.
    Maybe the resemblance is not entirely coincidental. This is where celebrated writer Bibhuti Bhusan Bandyopadhyay, who penned the unforgettable Bengali novel, spent many creative years of his life and breathed his last at the age of 56 in 1950.
    The finest works of Bibhuti Babu, as every one refers to him in Ghatsila, include ‘Aparajito (Undefeated)’, ‘Aranyak (Of The Forest)’, and ‘Chander Pahar (Mountain Of The Moon)’. Director Shakti Samanta’s ‘Amar Prem’ (1972), a melancholic story of unrealised love, starring Rajesh Khanna and Sharmila Tagore, was based on a Bandyopadhyay short story, Hinger Kochuri.
    It has been 75 years since he passed away. But Bibhuti Babu remains Ghatsila’s calling card. Hotels are named after him. So are sightseeing spots, libraries and grammar schools. He is present even on restaurant menus. In fact, the writer is everywhere.
    Ghatsila is nestled in the lap of the Dalma hills in Jharkhand’s East. Singhbhum district shares a border with West Bengal’s Jhargram and Purulia districts to the east and north, and Odisha’s Mayurbhanj to the south.
    At the spot where NH 33 turns towards Ghatsila, the Jharkhand tourism department has built a hotel called Bibhuti Vihar. The town also has a Bibhuti Inn, owned by a businessman. A popular hotel on the banks of the Subarnarekha is named after a spot where the writer used to sit on moonlit nights, and that he had named ‘Ratmohana’ (charmer of the night).
    The house where Bibhuti Babu lived is located in Dahigora, now the poshest part of the town. The residence is called Gourikunj, after his first wife, who died during childbirth. The road leading to Gourikunj is called Apur Path– the road of Apu, the protagonist of the semi-autobiographical Pather Panchali.
    There’s more. A local society for the preservation of Bandyopadhyay’s house and his legacy is called Gourikunj Unnayan Samiti. Says its president, Tapas Chatterjee, “Nobody commands more respect than Bibhuti Babu in Ghatsila.”
    “Not an inch of his house was encroached upon, even though nobody lived there for 57 years. In 1950, when Bibhuti Babu died, his second wife, Rama Chattopadhyay, and son Taradas Bandyopadhyay, who was three then, left the town. Taradas ji gave us the NOC to construct this memorial in 2007, three years before his death. In between, the house lay in utter neglect and ruins.” Chatterjee said.
    The Samiti also runs a Bengali language grammar school on Sundays, called Apur Pathshala, and a library called Bibhuti Smriti Sansthagar in Ghatshila.
    A cultural festival is hosted every year on September 12 to mark the writer’s birth anniversary.
    The story of how Bibhuti Babu came to live in Ghatsila is fascinating.
    According to Chatterjee, a contractor from Ghatsila called Ashok Gupta had taken a loan from the writer when the latter was working as a teacher in Calcutta. Unable to pay him back in cash, Gupta decided to register the house in Ghatsila in Bibhuti babu’s name.
    “Bibhuti Babu wanted his younger brother, Nutbihari Bandyopadhyay, who was a doctor, to settle in this town and had visited Ghatsila in 1938. He fell in love with this house and the town and never returned.” Chatterjee said.
    Since he was already an established name in Bengali literature, many other Calcutta writers, including Sahitya Akademi Awardee Gajendra Kumar Mitra (1908-1994), Pramatha Nath Bishi (1901-1985) and Subodh Ghosh (1909-1980), also built homes in Ghatsila. Bimal Roy’s ‘Sujata’ (1960) and Gulzar’s ‘Ijaazat’ (1989) were based on stories written by Ghosh.
    However, all left in due course. Except Bibhuti babu, who stayed on and wrote some of his most famous works in this town.
    As a writer, Bibhuti Babu shared a special bond with the quiet jungles on the town’s edge, the free-flowing river and forest dwellers. He had witnessed the exploitation of natural resources in the name of development when he went to Bhagalpur in Bihar as the assistant manager of a forest estate in January 1924. That assignment left a lasting impression on the writer and funds mentioned in works such as ‘Aranyak’ and the essay, ‘Hey Aranya Katha kao (Oh Forest, Speak)’.
    Ghatsila is full of such natural spots, like Burudi dam, Phuldungri Pahar and the banks of the Subarnarekha, where Bibhuti Babu would sit with a pen and notebook for hours.
    Situated 54 km from Jamshedpur and 240 km away from Kolkata, Ghatsila is a favourite of tourists from Bengal. Nearly 80% of the population here, including tribals, now speak the Bengali language. The locals, however, rue how some things are no longer the same. “Earlier, tourists came for longer durations, a month or, at times even longer. They would rent out homes and stay like locals. Since they came here for a change of air, we called them ‘changers’,” said Rohit Kumar, manager of a private lodge in Ghatsila’s Phuldungri.
    The new-age tourists come for a day or two. The neighbouring hill town of Belpahari in Jhargram district of West Bengal offers better amenities and takes away a major chunk of tourists.
    But appreciation of the legacy of Bibhuti Babu isn’t confined to visitors anymore. Supriti Murmu, wife of prominent Jharkhand state agitation leader Bablu Murmu, says, “I was drawn to this town because of Bibhuti Babu. As a student of Bangla literature, we were influenced by his writings and wanted to experience the rural life he portrayed in his books.
    Supriti Murmu used to be a prominent left-wing student leader and was pursuing her graduation in Bangla literature in neighbouring Jhargram when her activism and her love for the writer brought her to Ghatsila in 1987. “I have been here since then,” she said.
Bandyopadhyay’s works and his love for the forest dwellers resonate with the local tribal population as much as his books appeal to the Bengali intelligentsia.
At Gourikunj, his real legacy is the bond shared by everyone. An artist from Bengal recently painted scenes from Bandyopadhyay’s daily life in Ghatsila on the boundary walls of the house. On his birthday anniversary, girls from tribal communities decorated Apur Path, the lane leading to the house, with beautiful Santhal patterns in the form of rangolis. Everyone and everything is coming together to celebrate their one and only Bibhuti Babu.

Posted by Kamlesh Tripathi

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Should India Include All-Time Classic Movies in School and College Syllabi in This Digital Age? by Kamlesh Tripathi

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    In today’s digital world, where attention spans are shrinking and reading habits are on the decline, it is about time we rethink how we educate and connect with the younger generation. A powerful and often overlooked tool is the classic Indian cinema. Just like the manner in which William Shakespeare’s plays are studied in schools and colleges for their literary merit and social relevance, classic Indian films, too, deserve a place in our school and college syllabi.

    It is said that old books and films are windows to the past. They serve as mirrors reflecting the values, struggles, and ethos of a bygone era. A few months ago, on the occasion of Mother’s Day, while reminiscing about my late mother, I stumbled upon the evergreen classic ‘Mother India’ on television. Although I had watched it several times before, especially because my one-time close friend, the late Sajid Khan, had played a role in it as the young Sunil Dutt, this time it felt different. As if I wasn’t just watching the movie ‘Mother India.’ But I was watching the real India of 1957.

    The film tells the touching story of Radha, an impoverished, rural village woman who struggles against all odds to raise her sons in her husband’s absence. She encounters severe poverty, exploitation by a moneylender, and personal tragedy, yet she emerges as an emblem of strength, sacrifice, and moral integrity. In several ways, she becomes the archetype of the traditional Indian woman.

    Mother India is more than just a typical film. It holds cultural and social significance. It vividly depicts the struggles of rural India in the post-independence period. Watching this movie is like stepping back in time to understand what our ancestors endured. ‘Mother India’ is one of the many classics preserved in the archives of Bollywood, as well as in the regional film centres of Tollywood and Kollywood.

    There are many such classic, cult and epic films and TV serials like Dosti, Do Bigha Zamin, Guide, Haqueeqat, Gandhi, Sholay, Pather Panchali, Ramayana, Mahabharat, to name a few, that vividly capture different aspects of Indian life. It could be from social inequality, the British Raj, mythology, penance, the fight for India’s freedom or the wars with Pakistan and China. These films provide context, depth, and real-life visuals to what students might otherwise only read or cram in history or literature books.

    It is about time the Government considers constituting a national panel to select a curated list of classic Indian films for inclusion in school and college syllabi. These films could be rotated class-wise or standard-wise, or stream-wise. They could be aligned with topics in history, literature, sociology, ethics, and more. The way Shakespearean plays are studied for their literary value and insights into human behaviour, Indian classics can also be studied for their cultural, emotional, and historical richness.

    65% of India’s population is under 35. Digital distractions are everywhere; therefore, classic films can be a more engaging add-on to traditional textbooks. Surveys show that young people today often struggle to read even 500 words at a stretch, but they can easily sit through a well-written storyline in a movie. Visual learning is known to improve retention and understanding. It makes classic movies an effective educational tool.

    This approach need not be limited to domestic films alone. Historical and biographical classics from Hollywood or other international cinemas, such as Cromwell, Nuremberg or Schindler’s List, could also be part of an extended curriculum. This will especially benefit students planning to work or study abroad. It will help them gain cultural and historical awareness about the countries they are headed to.

    Incorporating cinema into education doesn’t mean replacing books, but it would mean enhancing the learning experience. Students could watch in-syllabus films followed by classroom discussions, essays, or creative projects. It would not only build their analytical and emotional intelligence. It will also cultivate a deeper appreciation of India’s cinematic and historical heritage.

    Furthermore, in business and professional schools, an extracurricular cinema curriculum could be developed to help students understand global cultures, leadership models, historical contexts, and ethical dilemmas, all of which are frequently depicted in well-made films.

    Cinema is not just entertainment. It is a form of art that captures the values of society, its history, and love for humanity. Though Indian classic movies are rich in content, emotion, and social commentary, they are a forgotten treasure. They can educate, inspire, and connect the youth to their roots.

    In this digital era, where attention spans are short and reading habits are waning, integrating timeless films into the academic curriculum may well be the most impactful way to preserve our cultural heritage and prepare students for a more thoughtfully aware future.

Written and posted by Kamlesh Tripathi

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AGE AND ACHIEVEMENTS: 5 LIT LUMINARIES

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AGE AND ACHIEVEMENTS: 5 LIT LUMINARIES

    What is the right age to achieve something in life? Is 40 years, too little time, or adequate time to achieve something in life? Let us consider the lives of five luminaries of the 19th century who were more or less contemporaries and who became world-renowned figures in their short lifespans. Let’s start with Swami Vivekananda, an Indian Hindu monk, a spiritual guru and a literary luminary, lifespan 12 January 1863- 4 July 1902, a total of 39 years. Then you have the American writer Edgar Allan Poe, who was born on 19 January 1809 and died on 7 October 1849, a life span of 40 years, followed by the French writer Guy De Maupassant, born on 5 August 1850 and passed away on 6 July 1893, a life span of 42 years. On the rostrum, there is also Nikolai Gogol, a Russian writer of Ukrainian origin. He was born on 20 March 1809 and he died on 21 February 1852, a life span of 42 years. And last but not least, we have Anton Pavlovich Chekhov, a Russian playwright and short-story writer born on 29 January 1860, and he died on 15 July 1904, at the age of 44. They all left behind a phenomenal legacy of success and heaps of lessons for future generations within the ebbs and flows of their limited lifespan.

    The mean life expectancy in the 19th century was 40-45 years. Global life expectancy today is around 72 years. There are two offshoots to this. One, the subject authors lived for around ninety to a hundred per cent of the average life expectancy of those times. Two, they only lived for a minus-plus of some forty years – a period, perhaps, too short for any milestone achievement, barring sports and maybe some other careers. When we compare 40 years with today’s life expectancy, it is only 55%. So then, does life expectancy have anything to do with your major achievements? The case study of the quintet doesn’t say so. There are authors, poets, and literary figures from other countries too, who gained fame but died very young, prominent among them is John Keats, to cite an example, who died at the age of 25. So, isn’t it ironic that some in a short lifespan of 25-40 years made gigantic strides, while others couldn’t manage to do that even in a century?

    In the 19th century, when these five were alive, they witnessed watershed changes in their countries. Some major events were as follows: India had the First War of Independence in 1857. The British East India Company was replaced by the British Crown in 1858. Russia had the Crimean War between 1853 and 1856; the Caucasian War, between 1817 and 1864; and the capture of Tashkent by the Russian Army in 1865. In addition, Alaska was sold to the US in 1867; the Russian-Turkish War happened in 1877, and the Russian famine in 1891. Alexander III, the emperor of Russia, passed away in 1894, and the first congress of the Russian Social Democratic Labour Party (RSDLP) was held in 1898 in Minsk, now in Belarus. In America and Europe, slavery was abolished through an act; the First and Second Industrial Revolutions, which overlapped with the 18th and 20th centuries, respectively, led to massive urbanisation. Construction of the Suez Canal commenced in 1859, linking the Mediterranean Sea with the Indian Ocean through the Red Sea, providing a more direct shipping route between Europe and Asia. The Islamic gunpowder empires (Ottoman Empire, Safavid and the Mughal) were formerly dissolved, and European imperialism brought much of South Asia, Southeast Asia and almost all of Africa under colonial rule. It was also marked by the collapse of the Spanish, Zulu Kingdom, First French Empire, Holy Roman and the Mughal Empire.

    Even with all the hullabaloo in their country and continent, there was calm and composure in these five lit luminaries. They had a single focus, just like Arjuna’s concentration – the eye of the fish, and that was to keep writing till their last breath. Though born in a Bengali Kayastha family in Calcutta, Swami Vivekananda was inclined towards spirituality. He was influenced by his guru, Ramakrishna, from whom he learnt that all living beings were an embodiment of the divine self. Therefore, service to God could only be rendered by service to mankind. Anton Chekhov, even when he fell sick in 1885, kept writing till he died of tuberculosis in 1904. Some of them even had financial problems, leading to trying times to obtain education, and some even had to support their education by writing scripts for magazines and even by selling fish. Edgar Allan Poe was born in Boston, the second child of actors David and Elizabeth Poe. His father abandoned the family in 1810, and his mother died the following year. He became an orphan, yet he fought back to become one of the most formidable writers of short stories. When Maupassant was 11, his mother, an independent-minded woman, divorced her husband. Afterwards, Maupassant lived with his mother, who was the single biggest influence on him, but that entailed hardships. Gogol lost his father at the age of fifteen, yet he aspired to become a writer.

    The short lifespan of these great writers only teaches us that achievements are not a function of your age.

Written and posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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