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Saturday, December 25, 2010
Saturday, December 18, 2010
21 Fun Ways to Celebrate Christmas
1. Get your friends together to string popcorn and cranberries while watching animated kids' classics like A Charlie Brown Christmas and How the Grinch Stole Christmas.
2. Get your youth group to create a living nativity scene one night a week in front of your church.
3. For a few laughs and a lot of fun, get together with friends to look at each other's family photos from past Christmases.
4. Form a kazoo band and go caroling—no singing allowed!
5. Pile the family in the car and drive around your town looking at Christmas lights.
6. Drop anonymous notes on your teachers' desks thanking them for sharing their gift of teaching with you. You may want to include a message about the greatest gift of all, Jesus!
7. Make your own creative wrapping paper using butcher paper and festive stamps.
8. Make a nativity scene from snow; if you live near a sunny beach, sand-sculpt the nativity scene.
9. Check with your local animal shelter and see if you and your friends can help give the animals their baths. Bring red and green ribbon to give them bows when you're done.
10. Go to your church one evening when no one else is there. Bring a single candle to light and sit in the silence, enjoying the peace of the season. (Be sure you've cleared this with somebody on the church staff.)
11. Grab your siblings for a fun day of shopping for your parents. After you've purchased the gifts, find a good place to sit and watch people. Try and guess who they're shopping for and what they bought.
12. Make hot cocoa for your grandma or grandpa. Ask them about Christmases past and their favorite traditions.
13. Try a holiday recipe from a different culture, like Mexican wedding cookies or Norwegian lefse.
14. Make a mixed tape of familiar Christmas carols sung by famous musical artists and have a contest to see who can guess who's singing; award the tape to one who gets the most correct.
15. Read the Christmas story (Matthew 1 and Luke 2:1-20) several times before Christmas; write down some new insights God gives you as you read.
16. Offer free babysitting for a busy mom in your church while she goes shopping.
17. Give out candy canes at school with a little note that explains where this tradition came from—to represent the staff of the Good Shepherd, Jesus Christ; the red is his blood; the white is the purity of Christ. (Get the whole story at www.daily-blessings.com/ch4p.htm.)
18. Turn off all the lights and read 'Twas the Night Before Christmas" by candlelight.
19. Get your youth group to clean your pastor's or youth pastor's house while they relax with their favorite Christmas CD.
20. Volunteer to be a Salvation Army bell ringer. Give candy to young children who drop money in the bucket.
21. Keep a journal of all your favorite Christmas memories from this year so you can thank God for each one and remember them next Christmas!
Rajasthan Music and Dance
There is dancing, singing, drama, devotional music and puppet shows and other community festivities which transform the hardworking Rajasthani into a fun-loving and carefree individual. Each region has its own folk entertainment, the dance styles differ as do the songs. Interestingly enough, even the musical instruments are different.
Of considerable significance are the devotional songs and the communities who render these songs. Professional performers like the Bhaats, Dholis, Mirasis, Nats, Bhopas and Bhands are omnipresent across the state. They are patronised by the villagers who participate actively in the shows put up by these travelling entertainers. Some of the better known forms of entertainment are:
Ghoomar Dance :
This is basically a community dance for women and performed on. auspicious occasions. Derived from the word ghoomna, pirouette, this is a very simple dance where the ladies move gently, gracefully in circles.
Gait Ghoomar :
This is one of the many dance-forms of the Bhil tribal. Performed during Holi festival, this is among a few performances where both men and women dance together.
Kalbeliya :
This most sensuous dance performed by the Kalbeliya (Snake-charmar`s community). The sapera dancers wear long, black skirts embroidered with silver ribbons. As they spin in a circle, their body sways acrobatically, so that it is impossible to believe that they are made of anything other than rubber. As the beat increases in tempo, the pace increases to such a pitch that it leaves the viewer as exhausted as the dance.
Gair :
Another Holi dance but performed only by men. This becomes Dandia Gair in Jodhpur and Geendad in Shekhawati.
Charee Dance :
This is popular in the Kisherigarh region and involves dancing with a chari, or pot, on one’s head. A lighted lamp is then placed on the pot.
Kachhi Ghodi :
This is a dance performed on dummy horses. Men in elaborate costumes ride the equally well decorated dummy horses. Holding naked swords, these dancers move rhythmically to the beating of drums and fifes. A singer narrates the exploits of the Bavaria bandits of Shekhawati.
Fire Dance :
The Jasnathis of Bikaner and Chum are renowned for their tantric powers and this dance is in keeping with their lifestyle. A large ground is prepared with live wood and charcoal where the Jasnathi men and boys jump on to the fire to the accompaniment of drum beats. The music gradually rises in tempo and reaches a crescendo, the dancers seem to be in a trance like state.
Drum Dance :
This is a professional dance-form from Jalore. Five men with huge drums round their necks, some with huge cymbals accompany a dancer who holds a naked sword in his mouth and performs vigorously by twirling three painted sticks.
Teerah Taali :
The Kamad community of Pokhran and Deedwana perform this dance in honour of theft deity, Baba Ramdeo. A rather unusual performance where the men play a four-stringed instrument called a chau-tara and the women sit with dozens of manjeeras, or cymbals, tied on all over their bodies and strike them with the ones they hold in their hands. Sometimes, the women also hold a sword between their teeth or place pots with lighted lamps on their heads.
Kathputli :
Puppet plays based on popular legends are performed by skilled puppeteers. Displaying his skill in making the puppets’ act and dance, the puppeteer is accompanied by a woman, usually his wife, who plays the dholak, or drum and sings the ballad.
Pabuji Ki Phach :
A 14th century folk hero, Pabuji is revered by the Bhopa community. The phad, or scroll, which is about 10 metres long, highlights the life and heroic deed of Pabuji. The Bhopas are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha and he is joined by his wife who holds a lamp and illuminates the relevant portions at appropriate points.
Maand :
Rajasthan’s most sophisticated style of folk music and has come a long way from the time it was only sung in royal courts, in praise of the Rajput rulers.
Professional singers still sing the haunting ballads of Moomal Mahendra, Dhola-Maru and other legendary lovers and heroes.
Pakhawaj:
Pakhwaj is an Indian Percussion instrument is known as the mother of North Indian style drumsthe universally famous drum Tabla was born fromPakhawaj. There is a very interesting story that goes with it. That the famous musician of his era, Amir Khusro was once giving a performance on Pakhawaj and while at it, the pakhawaj broke in two pieces.
Hecontinued to play with the broekn pieces, and to his own surprise it worked and this is how the new instrument called Tabla was born. According to another folklore Iit is believed that Lord Ganesha uses this instrument.
The pakhawaj is known by many names, like the mardal, pakuaj, pakhvaj and mardala. Pakhawaj is an Ancient percussion instrument shaped like a barrel, that greatly resembles the mridangam.
Kamayacha :
The Kamaycha has a big, circular resonator which produces a deep booming sound. It is used exclusively by the Manganiyars in the Jaisalmer-Barmer region. So deeply is the sense of tune and rhythm in the mind and ear of the folk musicians, that they need nothing more than intuition and a highly trained ear to tune their instruments.
Nagara :
The Nagara is a conical drum played with the Surnai and Nafeeri (the two sticks). It forms part of the orchestra for the folk operas by providing rhythm.Nagada are an Indian Percussion Instrument which resemble the kettle drums of the old naubat. Naubat is the traditional ensemble of nine instruments.
These Nagada are around 1 to 2 feet in diameter, and played with sticks. This 2-headed goatskin drum, nagada has a handle and it comes with a curved beater. This stick or beater helps to gently strike it on the drum to create the sound.In the modern times this instrument has generally been used as an accompaniement to shehnai. Nagada is a percussion instrument that resembles the'Dhol',which is also an Indian Percussion Instrument.Nagada is known by many names. For example, Nakkara, Nagada, Dugdugi etc. According to B. Chaitanyadeva, Nagada is a changed form of the ancient Dundubhi. Nagada has been inspired from Dundubhi. In Himachal Pradesh in Northern India also, Nagada's similar version can be found: Here its upper side is covered with leather of goat or goat skin. Nagada is slightly smaller in size than the 'Nobat'instruments. The percussion instrument 'Nagada' is played with it with a stick or piece of wood tp produce the produced.
Khanjari: Small sized frame drum struck with hands found in northern villages and may have jingles.
Dhol :
The twin faced drum is a must for any celebration in Rajasthan. Created in wood, this instrument gives a new soul to music and dance with its resonance and beat.
The twin faced drum is a must for any celebration in Rajasthan. Created in wood, this instrument gives a new soul to music
and dance with its resonance and beat.
Rawanhatta :
Ravanhatthais a royal string instrument older than the Sarangi. Minstrels themselves played it in older days. It has string with ghunghroos tied to the rod, which rubs over the string giving captivating taal (rhythm) to the song being played.
Rawanhathha Probably the earliest instrument played with a bow, and this humble instrument could well be the precursor of the violin. It has two main strings and a variable number of supporting strings, with a belly of half coconut shell and a body of bamboo. The bow has ghungroos (bells) attached to it. The music is staccato and accompanied by the syncopated singing of the Bhopa and the Bhopan.The Jogis of Abu Road area use a smaller version of the Rawanhathha which has its two main strings tuned to the 'Sa' of the Indian octave and a third of steel to 'Pa'. The Langas use the Sindhi sarangi. It is made up of four main wires, seven jharas and seventeen tarafs. Others members of the family are the Gujratan, Jogia and Dhani sarangis. The Surinda, favourite of the Manganiyars, is a small sarangi. The Chikara, used by the Meos and Jogis of Mewat is a replica of the Sarangi.
(sarod)
Sarangi:Seasoned Tun Wood model decorated. Comes with a bow
(Jogia Sarangi)
(Saraswati Veena)
Morchang :
The morchang resembles a jew's-harp. The plaintive, melancholic twang of the morchang adds a desolate dimension to the songs of the Manganiyars
Shehnai :
A slender instrument used particularly at the time of weddings, is sahnai. A double-beating reed instrument consisting of a single piece wooden tube with a opening and a metal mouthpiece, it is played as an accompaniment to nagara.
Ektaara :
The Ektaara is single string instrument, but it is mounted on the belly of a gourd attached to a body made of bamboo. The Galaleng Jogis of Dungarpur and Banswara have twin gourded Kendru appears akin to the ancient Kinnari Veena, and it has often been called the Keengri in Rajasthan literature. The Chautara, also called the Tandoora or Nissan, is also a popular five stringed drone and beat instrument used as an accompaniment to devotional music and for the Terathali dance
Algoza :
The Algoza, common in the Tonk-Ajmer areas, is like two flutes played together. The Kathodis use the Pawri, a flute of bamboo held vertically. The Bhils use a short flute in some of their dances. Ceremonial music is provided by Nafeeri and Surnai, both rudimentrary forms of the shehnai .Then there is the Poongi of the snake charmers and its adaptation by the Langas called the Murla. Both have two tubes, one for the notes and the other for the drone.
The enchanting music for song is provided by the Algoza. An instrument belonging to the regions Tonk, Ajmer consisting of bamboo flutes played together.
Satara :
It is a vertical flute with a single long hollow tube, into which the player whistles, at the same time gurgling a song in his throat or actually singing intermittently. The effect is haunting.
The Satara of the Langa tribe has one long flute producing music most evocative of the desert. It is a vertical flute with a single long hollow tube, intowhich the player whistles, at thesame time gurgling a song in his throat or actually singing.
Poongi : The snake charmers use it. It has two tubes, one for the notes and the other for the drone.
Ghanti :
The Ghanti or the Ghanta are commonly used and the ghungroo(ankle bells) form an integral part of music. The Bhopas of Bherunji wear large ghungroos around their waists and sway their bodies to provide a rhythm. The war dance of the Godwad area, the Ramjhol, is performed to the rhythm of the large ankle bells. Then there are the Manjeeras which are made of brass in the shape of hemispherical metal cups struck against each other.
Matka and Algoza :
Matkas and the Ghada and pair of huge earthenware pots, their mouths covered with membrane. One player plays each Matkas, and the Bhopas use it to accompany their singing
Sarangi :
The Sarangi is the most important instrument in the folk music of Rajasthan. Probably the ancestor of violin, this instrument has two main stringsand a variable number of supporting strings, with abelly of half a coconut shell and a body of bamboo. The Sarangi serves as an echo of the singer.
And accompanying the Sarangi is the Dholak. it is a two-sided drum like structure made of wood with membranes covering the hollow structure with adds rhythm to the soul-stirring music.
Folk music and Dances of Rajasthan
The people of Rajasthan live life to the hilt. After hard work in the harsh desert sun and the rocky terrain whenever they take time off they let themselves go in gay abandon. There is dancing, singing, drama, devotional music and puppet shows and other community festivities which transform the hardworking Rajasthani into a fun-loving and carefree individual. Each region has its own folk entertainment, the dance styles differ as do the songs. Interestingly enough, even the musical instruments are different.
Of considerable significance are the devotional songs and the communities who render these songs. Professional performers like the Bhaats, Dholis, Mirasis, Nats, Bhopas and Bhands are omnipresent across the state. They are patronised by the villagers who participate actively in the shows put up by these travelling entertainers. Some of the better known forms of entertainment are:
Ghoomar Dance: This is basically a community dance for women and performed on. auspicious occasions. Derived from the word ghoomna, piroutte, this is a very simple dance where the ladies move gently, gracefully in circles.
Gait Ghoomar: This is one of the many dance-forms of the Bhil tribals. Performed during Holi festival, this is among a few performances where both men and women dance together.
Gait: Another Holi dance but performed only by men. This becomes Dandia Gair in Jodhpur and Geendad in Shekhawati.
Chart Dance: This is popular in the Kisherigarh region and involves dancing with a chari, or pot, on ones head. A lighted lamp is then placed on the pot.
Kachhi Ghodi: This is a dance performed on dummy horses. Men in elaborate costumes ride the equally well decorated dummy horses. Holding naked swords, these dancers move rhythmically to the beating of drums and fifes. A singer narrates the exploits of the Bavaria bandits of Shekhawati.
Fire Dance: The Jasnathis of Bikaner and Chum are renowned for their tantric powers and this dance is in keeping with their lifestyle. A large ground is prepared with live wood and charcoal where the Jasnathi men and boys jump on to the fire to the accompaniment of drum beats. The music gradually rises in tempo and reaches a crescendo, the dancers seem to be in a trance like state. Drum Dance: This is a professional dance-form from Jalore. Five men with huge drums round their necks, some with huge cymbals accompany a dancer who holds a naked sword in his mouth and performs vigorously by twirling three painted sticks.
Teerah Taali: The Kamad community of Pokhran and Deedwana perform this dance in honour of theft deity, Baba Ramdeo. A rather unusual performance where the men play a four-stringed instrument called a chau-tara and the women sit with dozens of manjeeras, or cymbals, tied on all over their bodies and strike them with the ones they hold in their hands. Sometimes, the women also hold a sword between their teeth or place pots with lighted lamps on their heads.
Kathputli: Puppet plays based on popular legends are performed by skilled puppeteers. Displaying his skill in making the puppets act and dance, the puppeteer is accompanied by a woman, usually his wife, who plays the dholak, or drum and sings the ballad.
Pabuji Ki Phach: A 14th century folk hero, Pabuji is revered by the Bhopa community. The phad, or scroll, which is about 10 metres long, highlights the life and heroic deed of Pabuji. The Bhopas are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha and he is joined by his wife who holds a lamp and illuminates the relevant portions at appropriate points.
Maand: Rajasthans most sophisticated style of folk music and has come a long way from the time it was only sung in royal courts, in praise of the Rajput rulers.
Professional singers still sing the haunting ballads of Moomal Mahendra, Dhola-Maru and other legendary lovers and heroes.
List of singers and performers also includes the Mirasis and Jogis of Mewat, Manganiyars and Langas, Kanjars, Banjaras and Dholies. Performances like the Kuchamani Khayal, Maach, Tamasha, Rammat, Nautanki and Raasleela are no less popular. The musical instruments of Rajasthan are simple but quite unusual. Handcrafted by the musicians themselves they are rather unique and include instruments like the Morchang, Naad, Sarangi, Kamayacha, Rawanhattha, Algoza, Khartal, Poongi, Bankia and Da There are dozens of other instruments which are exclusive to Rajasthan only.
It is a rather difficult task to list all the different types of music, dance and entertainment that can be found in Rajasthan. The range is mind-boggling.
Of considerable significance are the devotional songs and the communities who render these songs. Professional performers like the Bhaats, Dholis, Mirasis, Nats, Bhopas and Bhands are omnipresent across the state. They are patronised by the villagers who participate actively in the shows put up by these travelling entertainers. Some of the better known forms of entertainment are:
Ghoomar Dance: This is basically a community dance for women and performed on. auspicious occasions. Derived from the word ghoomna, piroutte, this is a very simple dance where the ladies move gently, gracefully in circles.
Gait Ghoomar: This is one of the many dance-forms of the Bhil tribals. Performed during Holi festival, this is among a few performances where both men and women dance together.
Gait: Another Holi dance but performed only by men. This becomes Dandia Gair in Jodhpur and Geendad in Shekhawati.
Chart Dance: This is popular in the Kisherigarh region and involves dancing with a chari, or pot, on ones head. A lighted lamp is then placed on the pot.
Kachhi Ghodi: This is a dance performed on dummy horses. Men in elaborate costumes ride the equally well decorated dummy horses. Holding naked swords, these dancers move rhythmically to the beating of drums and fifes. A singer narrates the exploits of the Bavaria bandits of Shekhawati.
Fire Dance: The Jasnathis of Bikaner and Chum are renowned for their tantric powers and this dance is in keeping with their lifestyle. A large ground is prepared with live wood and charcoal where the Jasnathi men and boys jump on to the fire to the accompaniment of drum beats. The music gradually rises in tempo and reaches a crescendo, the dancers seem to be in a trance like state. Drum Dance: This is a professional dance-form from Jalore. Five men with huge drums round their necks, some with huge cymbals accompany a dancer who holds a naked sword in his mouth and performs vigorously by twirling three painted sticks.
Teerah Taali: The Kamad community of Pokhran and Deedwana perform this dance in honour of theft deity, Baba Ramdeo. A rather unusual performance where the men play a four-stringed instrument called a chau-tara and the women sit with dozens of manjeeras, or cymbals, tied on all over their bodies and strike them with the ones they hold in their hands. Sometimes, the women also hold a sword between their teeth or place pots with lighted lamps on their heads.
Kathputli: Puppet plays based on popular legends are performed by skilled puppeteers. Displaying his skill in making the puppets act and dance, the puppeteer is accompanied by a woman, usually his wife, who plays the dholak, or drum and sings the ballad.
Pabuji Ki Phach: A 14th century folk hero, Pabuji is revered by the Bhopa community. The phad, or scroll, which is about 10 metres long, highlights the life and heroic deed of Pabuji. The Bhopas are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha and he is joined by his wife who holds a lamp and illuminates the relevant portions at appropriate points.
Maand: Rajasthans most sophisticated style of folk music and has come a long way from the time it was only sung in royal courts, in praise of the Rajput rulers.
Professional singers still sing the haunting ballads of Moomal Mahendra, Dhola-Maru and other legendary lovers and heroes.
List of singers and performers also includes the Mirasis and Jogis of Mewat, Manganiyars and Langas, Kanjars, Banjaras and Dholies. Performances like the Kuchamani Khayal, Maach, Tamasha, Rammat, Nautanki and Raasleela are no less popular. The musical instruments of Rajasthan are simple but quite unusual. Handcrafted by the musicians themselves they are rather unique and include instruments like the Morchang, Naad, Sarangi, Kamayacha, Rawanhattha, Algoza, Khartal, Poongi, Bankia and Da There are dozens of other instruments which are exclusive to Rajasthan only.
It is a rather difficult task to list all the different types of music, dance and entertainment that can be found in Rajasthan. The range is mind-boggling.
Friday, November 12, 2010
11 rules your kids did not and will not learn in school
Rule 1: Life is not fair - get used to it!
Rule 2: The world doesn't care about your self-esteem. The world will expect you to accomplish something BEFORE you feel good about yourself.
Rule 3: You will NOT make $60,000 a year right out of high school. You won't be a vice-president with a car phone until you earn both.
Rule 4: If you think your teacher is tough, wait till you get a boss.
Rule 5: Flipping burgers is not beneath your dignity. Your Grandparents had a different word for burger flipping: they called it opportunity.
Rule 6: If you mess up, it's not your parents' fault, so don't whine about your mistakes, learn from them.
Rule 7: Before you were born, your parents weren't as boring as they are now. They got that way from paying your bills, cleaning your clothes and listening to you talk about how cool you thought you were. So before you save the rain forest from the parasites of your parent's generation, try delousing the closet in your own room.
Rule 8: Your school may have done away with winners and losers, but life HAS NOT. In some schools, they have abolished failing grades and they'll give you as MANY TIMES as you want to get the right answer. This doesn't bear the slightest resemblance to ANYTHING in real life.
Rule 9: Life is not divided into semesters. You don't get summers off and very few employers are interested in helping you FIND YOURSELF. Do that on your own time.
Rule 10: Television is NOT real life. In real life people actually have to leave the coffee shop and go to jobs.
Rule 11: Be nice to nerds. Chances are you'll end up working for one.
Author:
Bill Gates
Friday, November 5, 2010
Sunday, October 24, 2010
Mumbai 100 Years Ago - (Mumbai then and now)
The World Luxury Council (India) recently hosted a vintage art exhibit at The Oberoi in Mumbai called Mumbai 100 Years Ago
On display were unpublished archival prints of some of the city's most prominent landmarks on canvas.
Dhara Patel, the business head of the World Luxury Council informed that these prints were sourced from a consortium of collectors.
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| Mumbai 100 years ago |
Patel also said that while these prints could be reproduced on request, they would be restricted to only 10 prints of each picture.
The World Luxury Council is headquartered in London and deals in international business in the luxury arena. It provides assistance and advice to luxury brands by designing promotions and creating distribution and networking platforms.
Ticca Garis & taxis parked outside Taj Mahal Hotel (Year: 1885)
Ticca Garis were horse-drawn Victoria carriages (named after the British monarch), and were the only mode of transport to come to Bombay in 1882 after The Bombay Tramway Company Limited was formally set up in 1873.
The Bombay Presidency enacted the Bombay Tramways Act 1874, under which the company was licensed to run a tramway service drawn by one or two horses. In 1905, the newly formed concern, The Bombay Electric Supply & Tramways Company Limited, bought The Bombay Tramway Company, and the first electrically operated tram cars appeared on the city roads in 1907.
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| Bombay |
This quaint mode of transport was gradually replaced in time. The first automobile was brought to Bombay in 1897-98. The first car imported by an Indian belonged to the eminent industrialist Jamshetji Tata. Motor taxis were introduced in 1811 whereas motorbuses started playing in 1926.
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| Taj Hotel |
Esplanade Road Kala Ghoda (Year: 1887)
Renamed Mahatma Gandhi Road, Esplanade Road, like most parts of South Bombay, is lined with heritage structures; Elphinstone College and the David Sassoon Library are amongst the prominent ones. |
| Kala Ghoda |
The building was originally meant for the government central press; and although, the building is now a college, about half of the floor area is shared with the Maharashtra Archives Department.
The building, constructed in the 'Romanesque Transitional' style, cost Rs 750,000 to build. Sir Cowasjee Jehangir generously donated the amount. Today, it is categorised as a Grade I heritage structure.
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| KD |
The David Sassoon Library was the brainchild of Albert Sassoon, son of the famous Baghdadi Jewish philanthropist, David Sassoon. Architects J Campbell and G E Gosling constructed it for the Scott McClelland and Company.
It cost Rs 125,000 to build, of which David Sassoon donated Rs 60,000; the government paid the remaining amount. Completed in 1870, the building was built using yellow Malad stone, much like the abutting Elphinstone College, Army and Navy Buildings and Watson's Hotel. A white stone bust of David Sassoon rests above the entrance portico
Rajabhai towers and Bombay University (Year: 1878)
Standing tall at 85 metres (280 feet), the Rajabai Tower was designed by English architect Sir George Gilbert Scott and modelled on the Big Ben in the UK. Premchand Roychand, a successful businessman who established the Bombay Stock Exchange, covered the cost of its construction on the condition that the clock tower be named after his mother Rajabai.
Roychand's mother was a devout Jain who ate her dinner before sunset. And, since she was blind, the evening bell of the tower helped her know the time of the day.
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| Rajabhai Tower |
A fusion of Venetian and Gothic styles of architecture, the tower was built using the locally available buff coloured Kurla stone. Its stained glass windows are still one of the best in the city.
In the times of the British Raj, one could hear the tower play 16 different tunes (including 'Rule Britannia', 'God Save the King' and 'Home! Sweet Home!'), which changed four times a day. Today, it chimes a single tune every 15 minutes.
The tower, the tallest structure in Bombay at one point, was closed to the public when it became a spot frequented by the suicidal.
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| Rajabhai Tower Ground |
The campus of the University of Bombay (University of Mumbai as of September 1996) was established in 1857 in Fort. It was one of the first educational institutions founded by the British in India. Built in the Gothic style of architecture, it houses the administrative division of the university and a library that holds many original manuscripts. It has been given a five-star ranking by the National Assessment and Accreditation Council (NAAC), and has a world ranking of 401.
Its long list of prominent alumni includes leaders like Mahatma Gandhi, Lokmanya Tilak and BR Ambedkar as well as personalities like Shabana Azmi, Anant Pai, Mukesh Ambani, Anand Patwardhan and Aishwarya Rai.
Bombay Municipal Corporation (Year: 1893)
The headquarters of India's richest municipal organisation is the Bombay Municipal Corporation or BMC Building. Renamed Brihanmumbai Mahanagar Palika, it is considered a Grade IIA heritage building and houses the civic body that governs the city of Mumbai.
It has a motto: 'Yato Dharmastato Jaya', which is Sanskrit for 'Where there is Righteousness, there shall be Victory' this is inscribed on the banner of its Coat of Arms.
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| BMC Building |
The BMC was created in 1865 and Arthur Crawford was its first Municipal Commissioner. The municipality was initially housed in a modest building at the terminus of Girgaum Road.
In 1870, it was shifted to a building on the Esplanade, located between Watson Hotel and the Sassoon Mechanics Institute, which is where the present Army & Navy building is situated.
On December 9, 1884, the foundation stone for the new building of the Bombay Municipal Corporation was laid opposite Victoria Terminus (now Chhatrapati Shivaji Terminus) by the then Viceroy, Lord Ripon.
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| BMC |
The chief architectural feature is its central dome, which rises to a phenomenal height of 71.5 metres (234.6 feet) and is visible even from a distance. At the entrance stands an impressive bronze statue of Sir Pherozeshah Mehta, giving a picturesque view of the roads and buildings in front.
Victoria Terminus Railway station (Year 1887)
Victoria Terminus (now Chhatrapati Shivaji Terminus) was the headquarters of the Great Indian Peninsula Railway and now of the Central Railway.
Architect Frederick William Stevens designed the station and received Rs 16.14 lakh for his work, a staggering amount for those days. Stevens earned the commission to construct the station after a masterpiece watercolour sketch by draughtsman Axel Haig.
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| VT Station 1 |
The station was named 'Victoria Terminus' in honour of the Queen and Empress Victoria, and was opened on the date of her Golden Jubilee: June 20, 1887. Built in the Gothic architectural style, with Wilsom Bell Mice as the chief engineer, the structure took 10 years to be completed.
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| VT Station 2 |
On the faade are also large bass-relief sculptures of 10 directors of the Great Indian Peninsula Railway Company, including Sir Jamsetjee Jeejeebhoy and Sir Jagannath Shankar Seth.
The entrance gates to Victoria Terminus carry two main gate columns, which are crowned, one with a Lion (representing the United Kingdom) and the other with a Tiger (representing India), both sculptured in Porbunder sandstone. In 1969, the statue of Progress was damaged due to lightning, but the Central Railway authorities with the help of Professor VV Manjrekar of the JJ School of Arts successfully restored it.
In 2004, the station was nominated as a World Heritage Site by the World Heritage Committee of UNESCO
Taj Palace Hotel Entrance (Year: 1903)
The Taj Mahal Palace Hotel is one of the city's most iconic landmarks, and is located near the Gateway of India at Apollo Bunder.
Jamshedji Tata, a Parsi entrepreneur and prominent industrialist, commissioned this five-star luxury hotel. Built in the Indo-Saracenic architectural style and containing 565 rooms, the Taj Mahal Palace hotel resort opened its doors to its guest for the first time on December 16, 1903.
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| Taj Hotel - Then |
Sitaram Khanderao Vaidya, Ashok Kumar and DN Mirza were the Indian architects on this project, which was completed by the English engineer WA Chambers. Khansaheb Sorabji Ruttonji Contractor was the builder, who also designed and built its famous central floating staircase.
To build the dome of the hotel, Jamshedji Tata imported the same steel that has been used in the Eiffel Tower. The hotel is the first in India to install and operate a steam elevator. The cost of construction totalled a massive 250,000.
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| Taj Hotel - Now |
According misconception about the Taj is that Jamshedji Tata decided to build this luxury hotel because he was denied entry into the 'whites only' Watson's Hotel. This claim has been challenged by some commentators who say that Tata was unlikely to have been concerned with revenge against his British adversaries. They believe that it was the editor of the Times of India who urged Tata to build a hotel "worthy of Bombay".
Hotel Majestic and Waterloo Mansion (Year 1890)
Situated a few minutes away from the business district of Ballard Estate and the art area of Kala Ghoda, the Majestic Hotel was one of the city's best hotels, offering its clients a variety of dining and other facilities.
WA Chambers designed it in the Indo-Saracenic architectural style. Chambers was also the engineer on the famous Taj Mahal Palace Hotel at Apollo Bunder.
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| Hotel Majestic - Then |
Unfortunately, post Independence, like it has been with many of our heritage sites, the condition of the building deteriorated due to lack of interest in preservation. The government eventually took over the property in the 1960s and renamed it Sahakari Bhandar. Now, it has been completely transformed and performs the dual function of a cooperative general store and a hostel for members of the legislative assembly.
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| Hotel Majestic - Now |
Both, the Majestic Hotel and the Waterloo Mansion, are located near the Wellington Fountain Circle, also known as the Regal Circle, but officially renamed as Shyama Prasad Mukherjee Chowk
Pydownie Mohammed Ali Road (Year unknown)
Mohammed Ali Road is a stretch between the junctions of Crawford Market and Mandvi Post Office. This vital artery of the city's road network is named after the late freedom fighters, Maulana Mohammed Ali and Shaukhat Ali. |
| Mohammed Ali Road - Then |
The street was previously known as Pydownie Street thanks to a British perversion of the word 'Pydhonie', which literally translates as 'a place where feet are washed'. This probably was the first portion of the land permanently reclaimed from the sea.
The 'foot wash' area can be recognised as a small creek that formed during high tide between the islands of Mazgaon and Bombay.
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| Mohammed Ali Road -Now |
Amidst the chaos, the light green coloured Minara Masjid sparkles under a cloud of tiny fairy lights during festive nights. Another one of the primary landmarks in the area is the Mumbadevi Temple that was financed by a goldsmith called Pandurang Shivaji Sonar.
Today, the JJ flyover (now renamed after the saint Makhdoom Ali Mahimi) curves above this street for 2.1 kilometres, making it the longest viaduct in the country.
Round Temple Sandhurst Road (Year unknown)
The Round Temple of Bombay is also known as the Gol Dewal and is located on Sandhurst Road in South Bombay. Around the temple is a 'stone' market said to be the city's oldest; here, one can choose from a wide variety of stones to use to furnish one's home. |
| Round Temple - sandhurst Road - Then |
The Trust had been created in response to the plague epidemic of 1896 to improve sanitary and living conditions in the city.
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| Round Temple - sandhurst Road - Now |
The Bombay Club (Year: 1845)
It was situated in Rampart Row, West, which has sometimes been called Ropewalk. It was located on the premises, which had been afterwards occupied for years by the P&O Company.
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| Bombay Club - Then |
This Club, of course, was confined to members of the Indian and Royal Navy. It, too, had its own rich naval traditions, which seem to have been lost in oblivion, but one could wish that they were ransacked and collected in a readable form, as they would constitute a distinctive and remarkable chapter in the making of Bombay for a century.
In the 1850s, the Bombay Club, as it was called, was a flourishing institution; and though strangers were confined to the tearoom, the one proud trophy the Club possessed was to be seen there. It was a bell, which one of the warships of the Indian Navy had brought as a prize from the first Burmese War.
The bell is still in existence, having been taken over as a valuable historical asset from the old Club by its successor. The present Bombay Club is in no sense a naval club. It is open to all European merchants, specially bankers, traders, mercantile assistants and brokers. But the glory, which the Indian Navy shed on its own original institution, is gone.
Oriental Buildings and Hornby Road (Year: 1885)
One of the first few buildings to come up in the Fort area was the Oriental Building in 1885, which cost Rs 87,000 and initially housed the Cathedral School.
In 1893, the building was sold to the Oriental Life Assurance Company; and with the proceeds the present Senior School building, a beautiful blend of Gothic and Indian architecture, was erected and occupied in 1896.
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| Oriental Building - Then |
Besides the three mentioned heritage sites, the road also displays the grand structures of the Bombay Municipal Corporation, Times of India, JJ School of Art, J N Petit Public Library and Watcha Agiary.
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| Oriental Building -Now |
These structures, built between 1885 and 1919, were constructed in accordance with mandatory (government regulation of 1896) pedestrian arcade in the ground floor that performed as the unifying element tying together the various building facades. The result was a splendid spectacle of structures in various architectural styles linked together by a continuous ground floor pedestrian arcade along the street-scape.
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