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BRICS Summit 2026: New Delhi Declaration Sets Out a Wider Global South Agenda

By
Kanan Rathore
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The 18th BRICS Summit, held in New Delhi on September 12–13, 2026, concluded with the adoption of the New Delhi Declaration, a 140-paragraph document that lays out the grouping’s priorities on global governance, economic cooperation, security, technology, climate action and sustainable development. Held under India’s chairship and the theme “Building for Resilience, Innovation, Cooperation and Sustainability,” the summit also marked two decades of BRICS.

The summit was significant not only for the declaration itself but also for the scale of India’s year-long chairship. More than 400 meetings and engagements involving ministers, parliamentarians, officials, experts, businesses and civil society were organised across 30 Indian cities. The declaration described these engagements as contributing to greater cooperation, resilience, innovation, sustainable development and a stronger voice for BRICS in global governance.

A stronger voice for the Global South

One of the central messages of the New Delhi Declaration is the need to make international institutions more representative of today’s geopolitical and economic realities. BRICS reaffirmed its support for comprehensive reform of the United Nations and greater representation of emerging markets and developing countries in global decision-making.

The declaration also called for more equitable geographical representation in the UN system and greater participation of women, particularly from emerging and developing economies, in international leadership. It specifically noted that no woman has yet served as UN Secretary-General and called for a more inclusive selection process for senior UN positions.

Trade, finance and local currencies

Economic cooperation remained another major pillar of the summit. BRICS countries reiterated their opposition to protectionist and unilateral trade measures and stressed the importance of strengthening trade and investment among member countries.

The declaration also supported continued work towards cross-border payment interoperability and greater use of local currencies in trade and financial transactions. The emphasis, however, is on improving existing payment mechanisms and reducing transaction barriers rather than creating a common BRICS currency. The New Development Bank was also recognised as an important institution for development financing, including greater local-currency financing.

A firm stand against terrorism

For India, one of the most significant elements was the declaration’s explicit condemnation of the April 22, 2025 terrorist attack in Jammu and Kashmir, in which 26 people were killed. BRICS leaders condemned the attack and reiterated their opposition to terrorism in all its forms, including terrorist financing and the provision of safe havens to terrorists.

The declaration placed this within a broader commitment to international cooperation against terrorism and violent extremism.

Conflicts and global security

The declaration also addressed several ongoing international conflicts and crises. On the situation in West Asia, BRICS expressed deep concern over continuing tensions and called for restraint and measures to prevent further escalation. The grouping reaffirmed its support for peaceful resolution of disputes, international law and multilateral diplomacy.

On nuclear issues, the declaration reaffirmed support for nuclear non-proliferation, disarmament and arms control, while stressing the importance of preventing destabilising arms races.

Technology and artificial intelligence

Technology emerged as an increasingly important part of the BRICS agenda. The grouping continued its focus on digital cooperation, technological innovation and responsible development of emerging technologies, including artificial intelligence.

Rather than treating technology only as an economic opportunity, BRICS placed it within the broader questions of development, inclusion, governance and reducing digital inequalities. This reflects the grouping’s growing interest in ensuring that technological transformation benefits developing economies as well as advanced ones.

Climate, energy and food security

The New Delhi Declaration also placed considerable emphasis on sustainability and resilience. BRICS leaders highlighted the importance of energy security, resilient energy infrastructure and a just and inclusive energy transition that takes into account the different circumstances and development priorities of individual countries.

Food and agricultural security received attention as well. The declaration welcomed the creation of BRICS AGRIN, a collaborative, non-binding and farmer-centric network focusing on agro-inputs, genetic resources and information. It also called for resilient agricultural supply chains and greater cooperation in food production and trade.

Health, women and people-to-people cooperation

The summit’s agenda went beyond traditional diplomacy and economics. The declaration recognised the importance of cooperation in health, education, tourism, culture and people-to-people exchanges.

India’s chairship also placed particular emphasis on women’s participation. The BRICS Women Ministers’ meeting in Kochi focused on women-led development, while the declaration welcomed initiatives for women’s digital capacity building, entrepreneurship, financial inclusion and greater participation in economic and decision-making processes.

From declarations to implementation

Perhaps the most important question now is what happens after the summit.

The New Delhi Declaration provides a broad framework for cooperation among an expanded BRICS, but its long-term significance will depend on implementation. Payment interoperability, local-currency transactions, development financing, resilient supply chains, technology cooperation and institutional reforms will require sustained coordination among countries with different economic interests and geopolitical positions.

The declaration itself recognises the need for greater institutional continuity and outcome-oriented cooperation. It also marks the transition to the next phase of BRICS, with China set to chair the grouping and host the 19th BRICS Summit in 2027.

India’s 2026 BRICS presidency therefore leaves behind more than a summit document. The New Delhi Declaration presents a broad vision of a more representative international system, deeper South-South cooperation and stronger collaboration in areas ranging from trade and finance to technology, climate, agriculture and culture.

The real measure of the summit, however, will lie beyond the declarations, in how effectively these commitments are converted into practical cooperation and tangible outcomes for the countries and people that BRICS represents.

A Ceremony of Light: Ganga Aarti Held for the First Time on the Thames

By
Kanan Rathore
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For one evening, the banks of the River Thames in London echoed with the chants, music and spiritual rhythm of an Indian riverfront tradition. On September 13, 2026, the first-ever “Ganga Aarti on the Thames: A Ceremony of Light” was held at the Old Royal Naval College in Greenwich, bringing thousands of people together for an evening inspired by the iconic aartis performed along the Ganga in Varanasi, Haridwar and Rishikesh.

The event was organised by Chinmaya Mission UK in collaboration with the annual Totally Thames festival. It was also part of global celebrations marking the 75th anniversary of Chinmaya Mission, giving the ceremony a significance that extended beyond a single cultural event. On the banks of one of Britain’s most recognisable rivers, a centuries-old Indian tradition of expressing reverence towards a sacred river was recreated in a new setting.

As the evening unfolded, the Thames became the backdrop for chants, devotional music and the glow of multi-tiered brass oil lamps. Priests and participants performed the traditional movements associated with aarti, creating an atmosphere reminiscent of India’s famous riverfront ceremonies. The gathering brought together members of the Indian diaspora, local residents and visitors, allowing people unfamiliar with the tradition to experience an important aspect of Indian spiritual and cultural heritage.

The symbolism of the ceremony was particularly striking. In India, Ganga Aarti is closely associated with reverence for the Ganga, a river regarded as sacred by millions. It is traditionally an offering of light accompanied by prayers, chants and music. Bringing the ceremony to the Thames did not seek to turn the British river into the Ganga, but rather used the familiar ritual language of light, gratitude and reverence to create a cultural bridge between India and Britain.

The choice of the Thames was also significant from an environmental perspective. The organisers made a conscious decision not to release lamps, flowers or other ritual materials into the river. The ceremony therefore retained its spiritual character without introducing offerings into the Thames ecosystem. Single-use plastics were also prohibited at the event, reinforcing the message that cultural traditions and environmental responsibility can exist together.

This environmental sensitivity added another layer to the ceremony. Indian traditions surrounding rivers have historically placed rivers at the heart of community and spiritual life, but today’s celebrations also face the responsibility of protecting these waterways. By ensuring that nothing was immersed in the Thames, the organisers demonstrated how a traditional ritual can be thoughtfully adapted to a different ecological setting.

The event also represented the continuing evolution of Indian cultural traditions abroad. For generations, the Indian diaspora has carried festivals, languages, music, food and religious practices across continents. Events such as the Ganga Aarti on the Thames offer younger generations an opportunity to connect with these traditions while also introducing them to wider communities.

For those who have witnessed Ganga Aarti along the ghats of Varanasi, Haridwar or Rishikesh, the Thames ceremony may have evoked familiar images of flickering lamps and devotional chants. For others, it offered a first encounter with a ritual deeply embedded in India’s spiritual imagination.

There was something poetic about the setting itself. The Thames, which has shaped the history of London for centuries, became the setting for an Indian ceremony whose central symbol is the river. Two rivers, separated by geography and history, came together through a shared language of light and reverence.

The first Ganga Aarti on the Thames was therefore more than a religious ceremony. It was an expression of cultural memory, diaspora identity and cross-cultural connection. It demonstrated how traditions can travel without losing their essence, while also adapting thoughtfully to new surroundings.

As hundreds of lamps illuminated the evening sky beside the Thames, the ceremony offered a simple but powerful message: light can travel across borders, traditions can find new homes, and cultural heritage can become a bridge between communities.

India Crowned Champions Again: Women’s Asia Cup Glory for a Record Eighth Time

By
Kanan Rathore
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India’s women’s cricket team produced a commanding performance in Dubai on September 13 to lift the Women’s Asia Cup for a record-extending eighth time, defeating Sri Lanka by 72 runs in the final at the Dubai International Cricket Stadium. The victory capped an unbeaten campaign and reaffirmed India’s dominance in the continental tournament.

Batting first after winning the toss, India posted an imposing 183 for five in 20 overs. The foundation for the big total was laid by openers Shafali Verma and Smriti Mandhana, who produced a spectacular 129-run partnership. Shafali led the assault with a blistering 68 off just 39 balls, while Mandhana contributed a stylish 59 from 39 deliveries.

Shafali was particularly destructive from the beginning. She raced to her half-century in just 24 balls, registering the fastest fifty of the tournament. Her aggressive strokeplay immediately put Sri Lanka under pressure, while Mandhana complemented her with a more fluent and composed innings. Together, the pair gave India the kind of start that allowed the team to dictate the final from the outset.

Sri Lanka’s bowlers managed to slow India’s scoring towards the end, but the early onslaught had already done significant damage. India eventually finished on 183 for five, leaving Sri Lanka with a challenging target of 184 to win the title.

The Sri Lankan chase never truly gathered momentum. Captain Chamari Athapaththu attempted to anchor the innings, but India’s spin attack steadily tightened the pressure. Athapaththu was eventually dismissed for 36, while Sri Lanka’s batting order struggled to cope with India’s disciplined bowling.

The star of India’s bowling effort was young left-arm spinner Shree Charani, who produced a match-winning spell of four wickets for 20 runs. Her accuracy and ability to keep Sri Lanka’s batters under pressure played a decisive role in breaking the chase. Deepti Sharma also made a crucial contribution with three wickets for 19 runs, helping India dismiss Sri Lanka for just 111 in 20 overs.

The result was India’s eighth Women’s Asia Cup title and their fourth championship since the tournament moved to the T20 format. It also continued India’s remarkable record in the competition, with the team reaching the final for the tenth consecutive time. The victory was particularly significant after Sri Lanka had defeated India in the 2024 final.

The tournament also belonged to Shafali Verma individually. She finished as the leading run-scorer with 236 runs from five innings, including three half-centuries, and was named Player of the Match in the final as well as Player of the Series. Her contribution with both bat and ball underlined her growing importance to the Indian side.

The celebrations, however, were accompanied by a separate controversy during the trophy presentation. The Indian team did not accept the trophy from Mohsin Naqvi, president of the Asian Cricket Council and chairman of the Pakistan Cricket Board, who also serves as Pakistan’s interior minister. The decision came amid continuing political tensions between India and Pakistan and echoed a similar episode involving the Indian men’s team. The trophy presentation was consequently delayed, while India’s Board of Control for Cricket in India handled the team’s medal distribution.

Despite the controversy surrounding the presentation, the sporting achievement remained clear. India had entered the final as one of the tournament favourites and delivered when it mattered most. Explosive batting at the top, disciplined bowling in the middle overs and an impressive spin attack combined to produce one of their most comprehensive victories of the tournament.

For Indian women’s cricket, the eighth Asia Cup title is another milestone in a growing era of dominance. From Shafali Verma’s fearless hitting and Smriti Mandhana’s elegance to Shree Charani’s decisive spell and Deepti Sharma’s experience, the final showcased the depth and balance of the Indian team.

Sri Lanka arrived as defending champions. India left Dubai as champions of Asia once again.

Samvatsari: The Jain Day of Forgiveness, Reflection and Renewal

By
Kanan Rathore
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For the Shvetambar Jain community, Paryushan is not simply a period of religious observance. It is a time to pause, reflect and turn inward. At the end of its eight-day journey comes Samvatsari, the most significant day of Paryushan, devoted to repentance, forgiveness and self-purification. It is a day when people look back at their actions, acknowledge their mistakes and seek forgiveness from all living beings.

The word Samvatsari is associated with the Sanskrit word samvatsara, meaning a year. The day is therefore traditionally seen as an annual occasion for reflection and atonement. During Paryushan, Jains engage in practices such as fasting, prayer, meditation, scriptural study and Pratikraman. Samvatsari brings these practices to their culmination through an especially important annual Pratikraman.

Pratikraman means turning back or retreating from one’s transgressions. On Samvatsari, devotees reflect upon their thoughts, words and actions over the past year and consider the ways in which they may have caused harm, knowingly or unknowingly. Anger, pride, deceit, carelessness or harsh words are examined not to create guilt, but to encourage awareness and change. The central idea is that spiritual growth begins when a person is willing to honestly look at their own conduct.

One of the most recognisable traditions of Samvatsari is the exchange of the words “Micchami Dukkadam.” The expression is traditionally used to seek forgiveness for any hurt or wrongdoing caused to another person, whether intentionally or unintentionally. People reach out to family members, friends, colleagues, acquaintances and others with whom they may have interacted during the year. It is an acknowledgement that human beings can make mistakes and that relationships require humility and forgiveness.

The practice goes beyond personal relationships. Jain philosophy places Ahimsa, or non-violence, at the centre of its ethical teachings. Since Jainism emphasises respect for all forms of life, the spirit of Samvatsari extends forgiveness to all living beings. A traditional sentiment associated with the occasion expresses this universal approach: “I forgive all living beings, may all living beings forgive me. My friendship is with all living beings, my enmity with none.”

Fasting and restraint are also important parts of Paryushan for many devotees. Different people observe different forms of fasting according to their ability and spiritual practice. The purpose is not simply to abstain from food, but to cultivate self-control, discipline and detachment from physical pleasures. By reducing attention to the material world, devotees seek to create greater space for prayer, contemplation and spiritual awareness.

The significance of Samvatsari also lies in the fact that it transforms forgiveness from an abstract idea into a personal practice. Saying sorry can be difficult when ego comes in the way. Asking someone to forgive us requires us to accept that we may have caused pain. Similarly, forgiving another person requires letting go of anger and resentment. Samvatsari encourages both sides of this process, reminding people that humility is an essential part of a meaningful life.

The day also offers a deeper understanding of what a festival can be. While many festivals are associated with celebration, colour and community gatherings, Samvatsari is centred on silence, introspection and spiritual renewal. Its most important moment may not be a grand ceremony, but a simple conversation between two people who choose to put aside an old disagreement and begin again.

At its heart, Samvatsari asks people to look within before looking at others. It encourages them to recognise their mistakes before pointing out someone else’s, to seek forgiveness before demanding it and to replace anger with understanding. It does not ask people to forget their experiences, but to learn from them and move forward without allowing resentment to become a permanent burden.

As the eight days of Paryushan come to an end, Samvatsari therefore becomes a moment of spiritual accounting. It is a chance to reflect on the year that has passed and to enter the next one with greater awareness, compassion and restraint. The words Micchami Dukkadam may be brief, but the philosophy behind them is profound: accept your mistakes, forgive others, seek peace and strive to cause less harm.

In a world where disagreements can easily become lasting divisions, Samvatsari offers a timeless reminder that sometimes the most meaningful way to move forward is to first have the courage to look within.

Mahasatya of Ahar: Where the Mewar Royals Return to the Earth

By
Kanan Rathore
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0

Just a few kilometres from the grandeur of Udaipur’s City Palace, away from the bustle of the city, stands a place of quiet dignity and extraordinary historical significance.

Known as Mahasatya, Mahasatiyaji or the Ahar Cenotaphs, this is the historic royal cremation ground of the House of Mewar. For more than four centuries, Ahar has been associated with the final rites of the Mewar royal family, beginning with Maharana Amar Singh I, the son of Maharana Pratap, and continuing into the present generation.

It is a place where the history of Mewar is not merely written in books or displayed inside museums. It is carved into marble.

Where the Mewar rulers came to their final rest

The tradition of royal cremation at Ahar is closely associated with Maharana Amar Singh I, who ruled Mewar from 1597 to 1620 and was the son of Maharana Pratap.

Amar Singh I was the first Maharana of Mewar to die in Udaipur and was cremated at Ahar after his death in January 1620. His immediate successor and son, Maharana Karan Singh, subsequently commissioned his cenotaph there.

This distinction is historically important because Maharana Pratap himself was not cremated at Ahar. Pratap died at Chavand in 1597 and his memorial is at Bandoli. Maharana Amar Singh I therefore marks the beginning of the Ahar tradition for the ruling line.

From then onwards, Ahar became the sacred cremation ground associated with successive generations of the House of Mewar.

From Amar Singh I to the modern House of Mewar

Over the centuries, the site grew into an extraordinary complex of royal memorials.

The Ahar complex contains hundreds of memorial structures associated with members of the Mewar royal family. One source identifies 372 cenotaphs and memorials, while the principal royal group includes 19 major chhatris associated with Mewar rulers.

Among the prominent rulers commemorated here are Maharana Amar Singh I, Maharana Sangram Singh II, Maharana Swaroop Singh, Maharana Shambhu Singh, Maharana Sajjan Singh, Maharana Fateh Singh, Maharana Bhupal Singh and Maharana Bhagwat Singh Mewar, among others.

The complex therefore represents not one generation, but a remarkable span of Mewar history.

The tradition has continued into the contemporary House of Mewar as well. Maharana Arvind Singh Mewar was cremated at Ahar on March 17, 2025, making his final rites part of a tradition that stretches back to the early 17th century.

And on September 15, 2026, Rajmata Vijayraj Kumari Mewar, his wife, was also taken to Mahasatya at Ahar for her final rites, once again bringing the historic cremation ground into the present-day story of the House of Mewar.

Mahasatya of Ahar: Where the Mewar Royals Return to the Earth

What exactly is a chhatri?

The most distinctive feature of Ahar is its chhatris.

The word chhatri literally refers to an umbrella. In the architectural traditions of Rajasthan, it came to describe an open pavilion with a domed roof, generally raised on pillars and constructed as a memorial to a deceased ruler or member of a royal family.

At Ahar, these chhatris function as cenotaphs, or memorial monuments associated with the deceased. They commemorate the person whose funeral rites took place at the site and preserve their memory through architecture.

The structures generally stand on raised platforms and feature domes supported by intricately carved pillars. Much of the complex’s distinctive white marble architecture is associated with the region around Kankroli.

They are not simply monuments of death. Their carvings record the culture, artistic traditions and royal symbolism of the period in which they were built.

The magnificent chhatri of Maharana Amar Singh I

Among the oldest and most significant structures is the cenotaph of Maharana Amar Singh I.

It occupies a special place in the history of the complex because Amar Singh I was the first Mewar ruler to be cremated at Ahar.

His cenotaph, built by his son Karan Singh, contains distinctive sculptural work, including a four-faced figure and carved panels associated with the ruler and members of his household.

The monument therefore connects three generations of Mewar history: Maharana Pratap, his son Amar Singh I and Amar Singh’s son Karan Singh.

Maharana Sangram Singh II’s magnificent memorial

Another particularly striking monument is the chhatri of Maharana Sangram Singh II, who died in 1734.

Built in 1734, it is considered one of the most spectacular structures in the complex. Its design features a prominent octagonal dome, elaborate marble carving and numerous pillars. Its decorative programme includes Hindu religious motifs such as the lotus and trident, along with depictions associated with the Maharana.

The scale and craftsmanship of this chhatri demonstrate how royal memorial architecture in Mewar developed into a sophisticated form of artistic expression.

Every pillar, dome and carved surface carries something of the aesthetic language of its time.

Ahar is more than a collection of monuments

The significance of Mahasatya does not lie only in its architecture.

The complex is part of the ancient landscape of Ahar, an archaeological site much older than Udaipur itself. Ahar was an ancient settlement with archaeological remains that reach back thousands of years. The nearby Ahar Archaeological Museum preserves artefacts from this older history, including ancient pottery and sculptures.

Within the royal cremation complex is also the Gangod Bhava Kund, traditionally associated with ritual practices following royal cremations. The presence of the sacred water structure adds another dimension to the ceremonial character of the site.

Thus, Ahar brings together several layers of history: the ancient settlement, the religious landscape and the later royal traditions of Mewar.

The memory of queens and the history of sati

The name Mahasati is also connected with the historical practice of sati, under which some widows were subjected to or chose self-immolation on their husband’s funeral pyre.

Historical accounts of the Ahar complex record memorials associated with royal women who died in this manner. Some of the carvings and smaller memorials preserve the memory of these women.

This aspect of the site needs to be understood historically rather than romanticised. Sati was a deeply troubling and ultimately prohibited practice, and its presence in the architectural record is part of the complex history of the region.

The memorials therefore tell us not only about royal grandeur, but also about social customs and beliefs that existed in earlier centuries.

Mahasatya of Ahar: Where the Mewar Royals Return to the Earth

A living tradition of Mewar

Perhaps what makes Mahasatya particularly remarkable is that it is not merely an archaeological monument.

It remains connected to the House of Mewar.

The cremation of Maharana Arvind Singh Mewar at Ahar in March 2025 demonstrated that the site’s ceremonial significance continues into the modern era.

The final rites of Rajmata Vijayraj Kumari Mewar in September 2026 have once again brought attention to the same sacred ground.

Generations have changed. The political world in which the Maharanas once ruled has disappeared. India became a republic, princely privileges ended and Udaipur transformed into a modern city.

Yet the relationship between the House of Mewar and Ahar has endured.

Where history becomes a landscape

The Ahar Cenotaphs are often overshadowed by Udaipur’s palaces, lakes and forts. Yet few places convey the continuity of Mewar history quite as powerfully.

At the City Palace, one sees the splendour of the living court.

At Ahar, one encounters the memory of those who came before.

From Maharana Amar Singh I, the son of Maharana Pratap, to rulers of successive centuries and members of the contemporary House of Mewar, the site represents an unbroken historical relationship between a royal family and its traditional cremation ground.

The white marble chhatris stand quietly beneath the Udaipur sky, their domes and pillars carrying stories of rulers, queens, ceremonies, artistry and changing times.

They remind us that dynasties may change, kingdoms may disappear and political power may pass into history.

But memory has its own architecture

And at Mahasatya of Ahar, the story of Mewar continues to live in stone.

Rajmata Vijayraj Kumari Mewar: A Life of Dignity, Education and Service Comes to an End

By
Kanan Rathore
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Udaipur, September 15, 2026: Udaipur is mourning the loss of Rajmata Vijayraj Kumari Mewar, a respected member of the former royal family of Mewar, who passed away on September 14 at the age of 83 following a prolonged illness. Her death marks the passing of a woman who, beyond her royal lineage, was closely associated with education, philanthropy and the social life of Udaipur.

Born on December 21, 1942, Vijayraj Kumari came from the former royal family of Kutch. She was the younger daughter of Maharaj Fateh Singhji of Kutch and granddaughter of the Maharao of Kutch. She received her education at a Franciscan convent in Ooty, where she developed an early appreciation for discipline and the importance of education.

Her life took a significant turn when she married Maharaj Arvind Singh Mewar in 1972 and became part of the Mewar family. Together, they had three children, including their son Dr. Lakshyaraj Singh Mewar, along with daughters Bhargavi Kumari and Padmaja Kumari. Arvind Singh Mewar passed away in March 2025.

But Vijayraj Kumari’s identity in Udaipur was never limited to being a member of the royal household. Over the decades, she became associated with several philanthropic and educational initiatives connected with the City Palace and the wider Mewar community.

A strong connection with education

One of the most enduring parts of Rajmata Vijayraj Kumari’s legacy was her association with education.

During the 1980s, she played an important role in the development of the Maharana Mewar Public School, helping the institution develop a more professional outlook and strengthen its educational commitment towards the people of Udaipur. Her association with the school reflected her belief that education could become a powerful instrument of social development.

Her own early education had given her a strong grounding in discipline and learning. Later, after settling in Udaipur, she continued to remain closely interested in educational development and initiatives that could benefit younger generations.

For her, education was not simply about establishing an institution. It was about creating opportunities and preparing young people for the future.

A life devoted to service

Rajmata Vijayraj Kumari was also known for her association with philanthropic activities emanating from the City Palace.

The official profile of the former Mewar royal household describes her as a pillar of strength and support for philanthropic initiatives and notes her involvement with charitable trusts and activities connected with the preservation and welfare of the community.

She was particularly interested in education and its wider social consequences, while also extending her support to initiatives connected with women and community welfare.

Her life thus represented a quieter form of public service. Rather than seeking the spotlight, she remained associated with institutions and initiatives that worked over the long term.

From Kutch to Mewar

There was also something significant about the journey of Vijayraj Kumari herself.

She was born into the royal family of Kutch and eventually became part of the House of Mewar. Her marriage brought together two historic Rajput royal traditions, but her life in Udaipur evolved beyond questions of lineage.

Her years in Udaipur were shaped by the city’s traditions, institutions and people. She became part of the social and cultural fabric of Mewar while retaining the values with which she had grown up.

Her experiences outside India in the 1960s also broadened her understanding of the social and economic changes taking place internationally. According to her official profile, these experiences strengthened rather than weakened her connection with Indian values and spirituality.

Her final journey

Rajmata Vijayraj Kumari passed away late on September 14 after a prolonged illness.

On September 15, her final journey began from the City Palace in Udaipur. Citizens, members of social organisations and dignitaries gathered to pay their respects as the funeral procession made its way to Mahasatiyaji at Ahar, the historic cremation ground associated with the Mewar royal family. Her final rites were conducted with traditional rituals and a royal guard of honour.

Her passing has brought together memories of a woman who occupied a distinctive place in Udaipur’s social and cultural life.

Remembering Rajmata Vijayraj Kumari

For many, Rajmata Vijayraj Kumari will be remembered first for her connection with the Mewar royal family. But her legacy extends beyond the title of Rajmata.

She belonged to a generation that witnessed enormous changes in India, from the final decades of the princely era to a rapidly transforming modern nation. Within that changing landscape, she chose to remain connected with education, philanthropy and the preservation of values and institutions.

Her contribution to the Maharana Mewar Public School during the 1980s remains among the clearest examples of that commitment. Her support for charitable and social initiatives added another dimension to a life otherwise often viewed through the lens of royal heritage.

The story of Rajmata Vijayraj Kumari is therefore not simply the story of a royal woman. It is the story of a woman who moved between two historic royal traditions, made Udaipur her home and devoted much of her later life to causes she believed could strengthen society.

As Udaipur bids her farewell, the city remembers not only the Rajmata who occupied a respected place in the House of Mewar, but also the woman who believed in education, service and the responsibility that comes with privilege.

Her legacy will remain intertwined with the institutions and people she supported, and with the enduring history of Mewar that she became a part of more than five decades ago.

BRICS 2026 Gala Dinner: When India Served Its Vegetarian Heritage to the World

By
Kanan Rathore
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The BRICS Summit in New Delhi may have brought world leaders together around diplomacy, economics and global cooperation, but one of its most talked-about moments came from something much simpler: the dinner table.

At the gala dinner hosted by Prime Minister Narendra Modi at Bharat Mandapam, visiting leaders and dignitaries were served an entirely vegetarian Indian menu. What followed was an unexpected political debate over whether the absence of meat represented India accurately.

But perhaps the more interesting question is this: Why should an all-vegetarian Indian meal be seen as a limitation at all?

India is a country where food is inseparable from geography, history, community, season and tradition. Its culinary identity is not represented by one plate or one dietary preference. It includes meat and fish, but it also includes an extraordinary vegetarian tradition that stretches across centuries and regions. The BRICS dinner chose to put that tradition in the spotlight.

And it did so rather beautifully.

A vegetarian menu, but hardly a limited one

The BRICS dinner was not simply a collection of familiar vegetarian dishes. It was designed as a culinary journey through different parts of India, combining traditional preparations with contemporary presentation.

The starters included Khandvi Mille-Feuille, an elegant interpretation of Gujarat’s beloved khandvi, prepared with steamed gram-flour rolls, mustard, coconut and curry leaves, and served with kesar mango, microgreens and yoghurt dressing.

Then came Khumb Galouti, a vegetarian interpretation of the famous galouti kebab tradition of Awadh, made with mushrooms and served with sheermal.

The main course continued that journey.

There was Paneer Lababdar, with cottage cheese in a rich shallot and tomato gravy; Gucchi Marmik, featuring Himalayan morel mushrooms, saffron and almonds; Carrot Bean Poriyal, bringing the flavours of South India; Thakkali Belle Saaru, a light lentil-based preparation; Millet Pulao; and Beetroot Raita.

The desserts added another distinctly Indian touch. Guests could choose between Old Delhi Fruit Cream with Jalebi and Shahtoot Phirni, a slow-cooked phirni featuring mulberries and gold leaf.

In other words, this was not a menu built around the idea of what vegetarians cannot eat. It was built around what Indian vegetarian cuisine can offer.

From Gujarat to Kashmir, Awadh to the South

Perhaps the strongest aspect of the menu was its geography.

A single dinner brought together Gujarat’s khandvi, the culinary legacy of Awadh through galouti, Himalayan gucchi, South Indian poriyal and saaru, North Indian paneer preparations, Delhi’s jalebi and a traditional phirni.

That is precisely what makes Indian cuisine so fascinating.

A vegetarian menu in India does not necessarily mean repetitive food. Depending on where one travels, vegetarian cooking can mean completely different ingredients, techniques, textures and flavours.

The BRICS menu managed to communicate that diversity without needing a lengthy explanation.

Millets take centre stage

Another important element was the emphasis on millets, or Shree Anna.

Millets were incorporated into the meal as part of India’s larger culinary and sustainability narrative. The menu highlighted their nutritional value, relatively lower resource requirements and relevance to climate-resilient agriculture. Different millet varieties were incorporated across the meal, including pearl millet in the pulao and other millets in the accompanying preparations and dessert.

This made the meal more than a showcase of luxury ingredients. It also connected India’s traditional food grains with a contemporary global conversation around nutrition, sustainability and resilient agriculture.

There is no single Indian food identity

The criticism surrounding the dinner largely stems from a legitimate observation: India is indeed a country with enormous dietary diversity, and millions of Indians eat meat, fish and eggs.

But acknowledging that reality does not require dismissing India’s vegetarian traditions.

One diplomatic dinner cannot, and does not need to, represent every Indian’s plate.

A country’s cuisine can be introduced to the world through different themes on different occasions. Sometimes it can be coastal seafood. Sometimes it can be the richness of Mughlai cuisine. Sometimes it can be the food of India’s tribal communities. And sometimes, as at the BRICS dinner, it can be the extraordinary depth of Indian vegetarian cooking.

The choice of vegetarian food therefore need not be interpreted as an attempt to rewrite India’s culinary identity. It can simply be understood as one carefully curated expression of it.

Food diplomacy is also cultural diplomacy

International dinners are rarely just about feeding guests. They are opportunities for countries to communicate something about themselves.

At the BRICS dinner, India’s message came through ingredients, recipes and presentation.

The menu introduced international guests to foods ranging from gram flour and paneer to Himalayan morels, millets, regional vegetables and traditional Indian desserts. The evening also featured a special cultural performance, further turning the dinner into an expression of India’s cultural heritage.

The response from supporters of the menu reflected exactly this point. Industrialist Harsh Goenka, for instance, defended the decision and described the spread as a culinary journey across India, highlighting its regional breadth. Union Minister Kiren Rijiju also said the guests relished the Indian vegetarian cuisine.

And perhaps that is the better way to look at the evening.

Not as a question of vegetarian versus non-vegetarian, but as an opportunity to ask how much of India can fit on one dinner table.

The answer, as the BRICS menu demonstrated, is quite a lot.

From the delicate textures of khandvi to the richness of galouti, from Himalayan gucchi to South Indian flavours, from millet to jalebi and phirni, the dinner presented an India that was regional, contemporary, traditional and unmistakably diverse.

India’s food story is too large to fit into one menu.

But for one evening at Bharat Mandapam, the country chose to tell one particularly beautiful chapter of it.

And there was absolutely nothing wrong with that!

Shashi Suman: From Bihar’s Musical Roots to Bollywood, A Journey of Riyaaz, Resilience and Reinvention

By
Kanan Rathore
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For some artists, music becomes a profession. For others, it becomes a way of life. For Shashi Suman, music has been a lifelong pursuit shaped by discipline, classical training, experimentation and an enduring connection with his roots in Bihar.

From learning rhythm and taal as a young boy to performing on national television and eventually becoming a singer and composer in Bollywood, Suman’s journey reflects what years of dedication can build. And as he continues to explore new sounds, his latest release, “Lambodar”, brings another musical chapter to his evolving journey.

From Bihar to a Life in Music

Shashi Suman’s relationship with music began at home in Bihar. His father, who had learnt the tabla during his college years, became his first teacher. Those early lessons introduced him to rhythm, taal and the discipline that lies at the heart of Indian music.

As he grew older, Suman developed a deep interest in the work of legendary musicians and vocalists including Pandit Bhimsen Joshi, Pandit Jasraj, Ustad Bade Ghulam Ali Khan, Mehdi Hassan, Ghulam Ali and Nusrat Fateh Ali Khan. Their music shaped his understanding of classical discipline while teaching him the importance of emotion and expression.

His pursuit of formal training began at a remarkably young age. At around 12 or 13, he left his home in Bihar and moved to Lucknow to train under Ustad Gulshan Bharti Ji. Living away from his family and dedicating long hours to riyaaz demanded discipline and resilience, qualities that would later become central to his professional journey.

Finding His Voice on National Television

Suman’s musical journey reached a much larger audience through television platforms such as Sa Re Ga Ma Pa and Indian Idol. These experiences brought him recognition across the country while also exposing him to the realities of a competitive music industry.

For Suman, however, visibility was only one part of the journey. The larger lesson was the importance of continuous learning and staying committed to the craft.

When he eventually moved to Mumbai with dreams of becoming a playback singer, the city opened doors to opportunities that expanded his understanding of music. His association with musicians such as Shankar–Ehsaan–Loy, Aadesh Shrivastava and Sanjay Leela Bhansali introduced him to different dimensions of filmmaking and music production.

From Playback Dreams to Composition

One of his early milestones came with “Mora Piya” from Raajneeti, where Aadesh Shrivastava entrusted him with the classical portions of the song. It was an opportunity to bring his classical grounding into the world of mainstream Hindi cinema.

His defining breakthrough came with “Ziddi Dil” from Mary Kom. The song, composed while Suman himself was unwell, went on to become an inspiring anthem associated with courage, determination and perseverance. Its impact established the strength of his musical voice and became one of the significant works of his career.

His subsequent work on films such as Goliyon Ki Raasleela Ram-Leela, Bajirao Mastani and Padmaavat further strengthened his understanding of how music can contribute to cinematic storytelling. Rather than functioning merely as an accompaniment, music, in these projects, became an important part of the emotional world of the film.

Rooted in Tradition, Open to Experimentation

Despite his classical foundation, Suman has never restricted himself to one musical style. His work demonstrates an ability to move between traditional influences and contemporary commercial sounds.

Songs such as “Burj Khalifa” showcased his versatility in commercial music, while his recent work, including “Undi Bundi” from Prem Keetanu, reflects his willingness to explore contemporary musical spaces.

His upcoming film Sila, starring Harshvardhan Rane and directed by Omung Kumar, marks another phase in this continuing evolution.

Yet, through all these experiments, Bihar remains an important part of his creative identity. The region’s folk traditions, earthy melodies and cultural richness continue to inform his musical sensibility.

Shashi Suman’s New Song “Lambodar” Released Today

Adding another dimension to his musical journey, Shashi Suman has released his new devotional track “Lambodar” today, September 15, 2026. The song is presented as a tribute to Lord Ganesha, arriving with a festive visual identity rooted in the atmosphere of Ganesh Utsav.

According to the release artwork, Suman serves as the singer and composer, with Deepali Sathe featuring as the female vocalist. The track has been released under OG Music and is now available across music platforms.

“Lambodar” brings together devotional imagery and a contemporary musical presentation, with the visual featuring Lord Ganesha at the centre of a vibrant celebration. The release also reflects Suman’s continued ability to move between different musical forms while retaining the expressive foundation of his training.

The timing of the release adds to its relevance, as Ganesh Chaturthi celebrations bring devotional music, community and cultural expression into public spaces across India.

A Journey Still in Progress

From the tabla lessons of his childhood in Bihar to the demanding riyaaz of his formative years, from reality television to Bollywood studios, Shashi Suman’s journey has been built less on instant success and more on persistence.

His career also reflects the changing possibilities for a classically trained musician in contemporary Indian cinema. He has moved across genres, collaborated with established names and embraced commercial music without completely stepping away from the traditions that shaped him.

For Suman, music has never been solely about fame. At its core, it remains about creating an emotional connection with the listener.

And with “Lambodar” now adding another note to his repertoire, that journey continues, carrying the sounds of his roots into new musical spaces.

Beyond Namaste: How UK Children Are Finding Their Roots Through Hindi

By
Kanan Rathore
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0

For many Indian-origin children growing up in the UK, Hindi may begin as a language their parents want them to learn. But with time, it can become something far more personal: a way to speak with grandparents, understand family conversations and feel connected to a country they may otherwise know through occasional visits, stories and memories.

Mrs. Ruchi Shrimali, a Hindi educator who lived in the UK for several years and now teaches Hindi online from India, has witnessed this journey closely. Most of her students are children between six and twelve years old, while some older students choose to learn Hindi out of their own interest.

For younger children, parents are often the starting point. They want their children to communicate with grandparents and relatives in India, understand their mother tongue and remain connected with their cultural roots. For older students, the motivation is often more personal. Learning Hindi can also become part of their wider skill development and activities such as the Duke of Edinburgh’s Award.

Beyond Namaste: How UK Children Are Finding Their Roots Through Hindi

Yet learning Hindi can initially be challenging for children accustomed to English. Shrimali often begins by explaining concepts in English before introducing Hindi vocabulary, Devanagari script, pronunciation and grammar.

One of the biggest challenges is grammatical gender. Unlike English, Hindi assigns grammatical gender to nouns, requiring learners to understand whether a word is masculine or feminine and use related words accordingly.

“For children, it can be confusing to understand why one object is treated as masculine and another as feminine, especially when there is no such distinction in English. But with regular practice and consistency, they gradually begin to understand the patterns,” Shrimali explains.

The initial hesitation, she says, eventually turns into curiosity and excitement.

“Learning a language is like learning a completely new skill. It opens up your mind and gives you a different way of looking at the world.”

~ Ruchi Shrimali



For Shrimali, the real reward comes when Hindi moves beyond the virtual classroom and becomes part of a child’s everyday life.

Some of her students have returned from trips to India with stories of speaking Hindi with their grandparents, understanding conversations or even reading signs and directions. Those seemingly small moments become significant milestones.

Beyond Namaste: How UK Children Are Finding Their Roots Through Hindi

“When children come back and tell me that they spoke to their grandparents in Hindi or could read the boards in India, I feel a deep sense of satisfaction. It tells me that what I have taught them has become meaningful in their lives.”

For children growing up thousands of kilometres away from India, language can offer a connection that geography cannot. A few Hindi words can make a conversation with a grandparent more natural. Understanding a family phrase can make a cultural tradition feel more familiar. Reading a sign during a visit to India can turn an unfamiliar environment into something recognisable.

What begins as a parent’s wish to preserve a mother tongue can therefore gradually become a child’s own relationship with the language.

Beyond Namaste: How UK Children Are Finding Their Roots Through Hindi

For Shrimali, that is the deeper purpose of teaching Hindi. It is not simply about vocabulary, grammar or learning to read another script. It is about giving children a way to access a part of their heritage and making that connection meaningful in their own lives.

In the end, Hindi becomes more than a language learned in an online classroom. It becomes a bridge between generations, between two countries and between where a child grows up and where a part of their family’s story began.

And sometimes, that bridge begins with something as simple as saying more than just “Namaste.”

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

By
Kanan Rathore
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0

For most people, Ganesh Chaturthi begins when Ganeshji arrives home. In Molela, Rajasthan, however, the festival begins months earlier, when artisans first place their hands on the clay that will eventually take the form of Lord Ganesha.

In Molela village of Rajsamand district, terracotta is more than a traditional craft. It is a way of life passed down through generations. Among the families keeping this heritage alive is the Kumhar family, which has been creating terracotta products and eco-friendly Ganesh idols for generations.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

Speaking about the tradition, artisan Lokesh Kumhar shared how his family begins preparing for Ganesh Chaturthi nearly five to six months in advance. He works alongside his father, Bhaggalal ji, a National Award-winning artist, and his three brothers, Jagdish, Mannalal and Deepak, along with their wives. Together, they work under the name Molela Takaji Terracotta Art Center.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

For the family, making Ganesh idols is not a seasonal activity alone. It is part of a larger artistic tradition that has shaped their family and the identity of Molela itself.

It begins with clay

The journey of every idol begins with soil.

The clay is carefully prepared and kneaded before the actual sculpting begins. The artisans then gradually give it form, shaping the body, face, trunk, hands and other features of Ganeshji.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

There is no industrial production line behind the process. The idols are shaped through the experience and skill of the artisans, making their hands an essential part of the craft.

Lokesh explains that this understanding of clay is something the family has inherited through generations. The younger members are not simply learning a profession. They are learning an artistic language built over years of practice, observation and experience.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

Once the idols are shaped, they are allowed to dry before being fired. The firing process hardens the clay and gives the idols their final strength. After this comes colouring, another important stage in bringing the figures to life.

The family uses natural and eco-friendly colours for its Ganesh idols, keeping sustainability at the heart of the process.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

When tradition becomes a sustainable choice

The importance of eco-friendly Ganesh idols goes beyond the material used to make them.

Traditional clay idols offer a more environmentally conscious alternative to idols made from materials that can persist in water and contribute to pollution after immersion. When combined with natural colours and traditional methods, they make it possible to celebrate the festival while remaining mindful of nature.

For the Kumhar family, this approach does not represent a new trend.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

Their craft has always been deeply connected to natural materials, particularly clay. The same earth that has been shaped into terracotta art for generations is now being used to create Ganeshji in a form that is more compatible with the environment.

In this way, their work brings together two important values: preserving tradition and caring for nature.

1500 idols, months of work

Every year, the family creates more than 1,500 Ganesh idols.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

Behind every one of them are months of preparation and several stages of careful craftsmanship. From preparing the clay to sculpting, drying, firing and colouring, each idol passes through the hands of the family before it reaches a devotee.

The scale of their work also reflects the role that traditional artisans continue to play in keeping cultural practices alive.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

In an age of mass-produced festival products, families such as the Kumhars ensure that handmade traditions do not disappear. Their workshops become spaces where knowledge is transferred naturally from one generation to another.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

Keeping Molela’s terracotta heritage alive

Molela’s terracotta tradition is itself a living example of how art survives through continuity. The Molela art is dated back to around 900 years. Religious figures, deities and other terracotta works have been created here for generations, with artisans preserving techniques while adapting their craft to changing times.

The Kumhar family is part of that continuity.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

By creating traditional terracotta products and eco-friendly Ganesh idols, they are giving an inherited art form a place in contemporary life. Their work shows that preserving tradition does not necessarily mean keeping it frozen in the past. A tradition can evolve while remaining faithful to its roots.

The story of these Ganesh idols, therefore, is not only about clay becoming a deity.

It is about generations of hands keeping an art alive.

It is about a family turning inherited knowledge into livelihood, creativity and devotion.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

And it is about finding a way to celebrate without forgetting the earth from which the celebration begins.

Every idol starts as soil. In the hands of the Kumhar family, that soil becomes Ganeshji through skill, patience and devotion. And after the festival, it can return to the earth from which it came.

Perhaps that is the most beautiful lesson of Molela’s eco-friendly Ganesh: when tradition remains connected to nature, devotion can become a celebration not only of faith, but also of the earth.

Clay, Craft and Devotion: How a Molela Family Keeps Eco-friendly Ganesh Tradition Alive

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