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By Harshmeet Singh
Most history books regard the sepoy mutiny of 1857 as the first rebellion against the British East India Company. The heroes of this mutiny, including Rani Lakshmi Bai of Jhansi, Tantya Tope, Begum Hazrat Mahal, and Nana Saheb are household names to date. But long before this mutiny, Karnataka’s Kittur saw the rise of India’s first woman independence activist who took on the mighty British Empire all by herself – Rani Chennamma.
Rani Cheenamma was born on 23rd October 1778, in Kakati, Belagavi District of Karnataka. Belonging to the Lingayat community she received training in horse riding, sword fighting, and archery from a young age.
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Rani Chennamma was all of 15 when she was married to Kittur’s ruler Mallasarja Desai. Her married life turned out to be quite turbulent with her husband passing away in 1816 and her son meeting the same fate in 1824. With the entire Kittur empire at her helm, he decided to adopt a boy named Shivalingappa and planned to make the boy the heir to Kittur’s throne. The British weren’t happy with her move and asked the queen to expel Shivalingappa from the throne – an order which the queen defied. The British administration sent a message to Kittur, asking the Queen to surrender her empire to the British.
The response of the British was a precursor to the ‘Doctrine of Lapse’. When Lord Dalhousie took over as India’s Governor-General in 1848, he introduced the much-debated ‘Doctrine of Lapse’, according to which, the rulers of the princely states were forbidden from adopting a child if they didn’t have a natural heir to the throne. Instead, their territory would be acceded by the British Empire.
With no common ground between the two parties, an armed battle ensued. In the first round of warsaw, Rani Chennamma’s forces humiliate the British and kill the British collector. She went on to release the British hostages on the British promise that war won’t be continued. But true to their deceptive nature, the British came back to Kittur with a much larger force and took Rani Chennamma prisoner after a long and fierce battle. She spent the last 5 years of her life in the Bailhongal Fort before breathing her last on 21st February 1829.
Her strong resistance against the British gave them enough indication that their policies won’t be taken by the Indians hands down. Her victory in the first phase of the battle against the British is still remembered fondly in Kittur and surrounding areas. The tales of her bravery have inspired many folk dances and music performances in Karnataka that still continue to be a part of the popular tradition. The Kittur Utsava (22-24 October every year) commemorates her memorable victory that dented the British pride severely and showed everyone that the British forces were far from invincible.
(The article was originally written in 2015, and was re-edited in May 2021.)
Japan has successfully launched a new navigation satellite into orbit that will replace its decade-old navigation satellite.
The satellite, QZS-1R, was launched onboard an H-2A rocket that lifted off from the Tanegashima Space Center at 10.19 p.m. on Monday night, Mitsubishi Heavy Industries said in a statement.
The company builds and operates H-2A rockets the Japan Aerospace Exploration Agency (JAXA).
QZS-1R is a replacement for Quasi-Zenith Satellite System 1 satellite first launched in 2010. “It was a really beautiful launch," the company said in a tweet after a successful lift-off.
"H-IIA F44 flight proceeded nominally. Approximately 28 minutes 6 seconds after launch, as planned, the payload separated from the launch vehicle," the statement said.
The official QZSS website lists four satellites in the constellation: QZS-1, QZS-2, QZS-3 and QZS-4, Space.com reported.
The QZSS constellation will eventually consist of a total of seven satellites that fly in an orbit passing through a near-zenith (or directly overhead) above Japan, and QZS-R1 is meant to share nearly the same transmission signals as recent GPS satellites, according to JAXA.
It is specially optimised for mountainous and urban regions in Japan, JAXA said.
Mitsubishi's H-2A 202 rocket launch system has been operational since 2003 and has sent satellites to locations such as Venus (Akatsuki) and Mars (Emirates Mars Mission).
The latest H2-A rocket launch is the first since November 29, 2020, when Japan launched an advanced relay satellite with laser communications tech into orbit, the report said. (IANS/JB)
Keywords: Science, Space Satellite, Communications, Japan Aerospace Exploration Agency, satellite QZS-1R
Everyone loves firecrackers, even the most environment-friendly advocates cannot hide their joy when they see these delightful lights colour the skies. India celebrates Diwali in the true spirit of her culture and heritage by spraying the navy-blue skies with sparkling hues of gold, silver, red, and green. Firecrackers are not just a tradition in this country, they are a legacy.
The original connotation one makes with fireworks in China. The elaborate Chinese celebrations with dragons and zapping firecrackers have left their mark in human memory, but the use of fireworks is not limited to heralding the Chinese New Year. All over the world, fireworks have come to symbolise the ultimate celebration. During Diwali in India, this spirit is re-ignited every year.
Indians have known the use of gunpowder for many centuries now. Sanskrit texts name a substance called 'agnichura' which is described as a 'powder that creates fire'. This is believed to be saltpetre.
A single firecracker ablaze Photo by Unsplash
Sometime during the rule of the Vijayanagar Empire, and the Adil Shah Dynasty in South India, the use of the Chinese pyrotechnic formulae became extensively common in entertaining the royals. Weddings, Festivals, and other special celebrations in the palace were marked with a spectacular display of fireworks.
Between the 1920s and 1940s, the dynamics of fireworks changed in India. Ayya Nadar and Shanmuga Nadar, from Tamil Nadu's Sivakasi who migrated to Kolkata, set up a fireworks factory there. It began as a match factory, but after receiving the required permission, it was converted into a fireworks unit. Within a few years, another factory was set up in Sivakasi. Before long, multiple units were set up there, and today, it is India's fireworks hub. Most of the crackers that are used during Diwali come from Sivakasi.
Recently, environmental concerns have caused the ban of fireworks as it causes air pollution. The sale of crackers has reduced drastically after this new law. During the lockdown, the factory labourers underwent great losses, especially in Sivakasi. But keeping the spirit of Diwali in mind. crackers cannot be entirely done away with, and continue to light up the skies at least for a few hours every year.
Keywords: Diwali festival, Fireworks, Sivakasi, the Vijayanagar Empire, culture and heritage in India.
PARIS — In a decision with potential ramifications across European museums, France is displaying 26 looted colonial-era artifacts for one last time before returning them home to Benin.
The wooden anthropomorphic statues, royal thrones and sacred altars were pilfered by the French army in the 19th century from Western Africa.
President Emmanuel Macron suggested that France now needed to right the wrongs of the past, making a landmark speech in 2017 in which he said he can no longer accept "that a large part of many African countries' cultural heritage lies in France." It laid down a roadmap for the controversial return of the royal treasures taken during the era of empire and colony. The French will have a final glimpse of the objects in the Musée du Quai Branly–Jacques Chirac from 26-31 October.
French Culture Minister Roselyne Bachelot tried to assuage jitters among European museums, emphasizing that this initiative "will not create a legal precedent."
A royal seat of the 'Royal treasures of Abomey kingdom' (Œuvres des tresors royaux d'Abomey) on display at the Musee du quai Branly in Paris, Sept. 10, 2021. Photo Credit: VOA
A French law was passed last year to allow the restitution of the statues to the Republic of Benin, as well as a storied sword to the Army Museum in Senegal.
But she said that the French government's law was intentionally specific in applying solely to the 27 artifacts. "[It] does not establish any general right to restitution" and "in no way calls into question" the right of French museums to hold on to their heritage.
Yet critics of such moves — including London's British Museum that is in a decades-long tug-of-war with the Greek government over a restitution of the Elgin Marbles — argue that it will open the floodgates to emptying Western museums of their collections. Many are made up of objects acquired, or stolen, during colonial times. French museums alone hold at least 90,000 artifacts from sub-Saharan Africa.
A woman looks at the Parthenon Marbles, a collection of stone objects, inscriptions and sculptures. Photo Credit: VOA
The story of the "Abomey Treasures" is as dramatic as their sculpted forms. In November 1892, Colonel Alfred Dodds led a pilfering French expeditionary force into the Kingdom of Danhomè located in the south of present-day Benin. The colonizing troops broke into the Abomey Palace, home of King Behanzin, seizing as they did many royal objects including the 26 artifacts that Dodds donated to the Musée d'Ethnographie du Trocadéro in Paris in the 1890s. Since 2003, the objects have been housed at the Musée du quai Branly–Jacques Chirac.
One hundred and twenty-nine years later, their far-flung journey abroad will finally end.
Benin's Culture Minister Jean-Michel Abimbola called the return of the works, a "historic milestone," and the beginning of further cooperation between the two countries, during a news conference last week. The country is founding a museum in Abomey to house the treasures that will be partly funded by the French government. The French Development Agency will give some 35 million euros toward the "Museum of the Saga of the Amazonians and the Dan home Kings" under a pledge signed this year.
The official transfer of the 26 pieces is expected to be signed in Paris on Nov. 9 in the presence of Macron and the art is expected to be in Benin a few days later, Abimbola said.
While locals say the decision is overdue, what's important is that the art will be returned.
"It was a vacuum created among Benin's historical treasures, which is gradually being reconstituted," said Fortune Sossa, President of the African Cultural Journalists Network. (VOA/RN)
Keywords: Benin art, Emmanuel Macron, European museums, Abomey Treasures, anthropomorphic statues