Solar-Powered Spinning Machines Help Indian Women Save Time and Earn More

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Development & Aid

In India’s Meghalaya, silkworm rearing and weaving are common in rural areas. Ri-Bhoi district of Meghalaya is among the regions where eri culture is deeply rooted in tradition; several women there are using solar-powered spinning machines to make yarn.

Jacinta Maslai using her solar-powered spinning machine at her home in Warsawsaw village in Ri Bhoi district. Credit: Sanskrita Bharadwaj/IPS

Jacinta Maslai using her solar-powered spinning machine at her home in Warsawsaw village in Ri Bhoi district. Credit: Sanskrita Bharadwaj/IPS

WARMAWSAW, Meghalaya, India, Apr 3 2025 (IPS) – As light enters through the small window of a modestly constructed tin-roofed house, Philim Makri sits on a chair deftly spinning cocoons of eri silk with the help of a solar-powered spinning machine in Warmawsaw village in Ri Bhoi district of Meghalaya in northeast India.

Makri belongs to the indigenous Khasi tribe of Meghalaya and is one of the several women from the region who has benefitted from solar-powered spinning machines.

In India’s northeastern states like Assam and Meghalaya, silkworm rearing and weaving are common among several rural and tribal communities. Ri-Bhoi district of Meghalaya, where Makri is from, is among the regions where eri culture is deeply rooted in tradition and is often passed on from one generation to the other.

The process of spinning and weaving eri is mainly carried out by women. Before switching to the solar-powered spinning machines in 2018, Makri used a traditional hand-held ‘takli’ or spindle. She would open the empty eri cocoons, draft the fibers by hand, and spin them onto the spindle to create yarn. This process was extremely laborious, 60-year-old Makri said. It would leave her feeling tired with constant pain in her hand, back, neck, and eyes.

Process of spinning eri yarn

Eri derives its name from castor leaves—locally known as ‘Rynda’ in the Khasi language. Castor leaves are the primary food source for the eri silkworms. As the production process is considered to be non-violent, eco-friendly, and sustainable, eri silk has earned itself the title of ‘peace silk.’

Thirty-eight-year-old Jacinta Maslai from Patharkhmah village in Ri Bhoi district, who has been spinning eri cocoons into yarn for years, explained how an eri moth lays hundreds of eggs and after 10 days or so, these eggs hatch, producing silkworms, which are then reared indoors and fed castor leaves until they mature over a period of 30 days.

When the silkworm matures to its full size, they are placed on cocoonage—devices that help silkworms spin their cocoons. The moth evolves, breaking out from the open end of the cocoon to start a new life cycle. Thus, in this process, no moths are killed. The empty cocoons are boiled to remove the gums left behind by the worms; they are then rinsed and left out in the sun to dry.

According to Maslai, the best season to carry out this process is from May till October. “When the weather is too cold or too hot, the worms don’t grow properly because they eat less. If they don’t eat well, they don’t make the cocoon well enough,” Maslai said.

Switching to solar-powered spinning machines

Women artisans have for years used their traditional spindles or ‘taklis,’ to spin eri cocoons into yarn. However, many of them, like Maslai and Makri, have now switched to the solar-powered spinning machines, which they claim have made their lives “easier.”

Since Maslai started using the solar-powered machines, she says she can weave up to 500 grams in a week. “Sometimes even a kilo is possible in a week but many of us have children and farms to look after so we can manage up to 500 grams in a week,” Maslai said, adding that before they wouldn’t get a kilo even if they spun for an entire month with the ‘takli.’

“The machines help a lot—with our hands, we couldn’t do much.”

In the nearby Patharkhmah market, Maslai sells one kilo of yarm for Rs 2500.

Makri, who is considered an expert at spinning eri yarn, said she has sold 1 kg of yarn for up to Rs 3000. “The lowest quality of one kilo of eri yarn is about Rs 1200-1500. The quality also differs in terms of the smoothness of the yarn sometimes,” Makri said.

The machines have also made our lives better because their villages are usually without electricity for an entire day, Maslai said. In the mornings they usually go out for farming; evenings are the time when they find adequate time to spin.

“The machines provide backup solar batteries so we can work at night. It is helpful during the rainy season too when it’s too cloudy for the solar panels to be used as a direct energy source,” Maslai said, adding, “I spin a lot in the evenings after cooking dinner. That’s when my kids are asleep.”

The machines have been distributed by MOSONiE Socio Economic Foundation, a not-for-profit led entirely by a group of women based in Pillangkata of Ri Bhoi district in Meghalaya.

“Our vision is to increase the productivity of eri silk spinners by providing solar-powered spinning machines to them. We also want to provide them financial options to afford a spinning machine by connecting them with rural banks. The idea is to give them training to use these machines and promote entrepreneurship among the women artisans,” said Salome Savitri, one of the co-founders of MOSONiE.

Many women in rural areas, Savitri said, cannot afford to buy the machines or do not have the money to pay direct cash; this is where she said MOSONiE steps in and bridges the gap between Meghalaya Rural Bank (MRB) and the women artisans. For instance, Maslai took a loan from MRB to buy the spinning machine, which she paid off after a year.

Maslai recalls how, with training from MOSONiE, it took her about three days to make the switch from a handheld spindle to the machine. “We use the machine now and no longer use the traditional method,” Maslai said.

Makri, who is one of the more experienced ones, also teaches others from her village to use the solar-powered spinning machines. Individually, people give her Rs 50-100 per day for the training they receive from her. She has won awards for her work from India’s ministry of textiles, central silk board, and the national handloom awards.

Upasna Jain, chief of staff at Resham Sutra, a Delhi-based social enterprise that has been manufacturing the solar-powered spinning machines, said not-for-profit organizations like MOSONiE, which is an on-ground partner of Resham Sutra in Meghalaya, help them establish rural experience centers. “We have our on-ground partners, who enable us to mobilize, create awareness, outreach, and demonstrations. In the rural experience centers, we have machines for spinning but we also have machines for quality certification. The on-ground partners impart 3 to 5 days of training, and we also have community champions because even after training, a lot of handholding is required,” Jain explained.

Out of 28 states, currently, Resham Sutra has managed to reach 16 states of India. “We work with eri, mulberry, tussar, and muga silk,” Jain said. Started in 2015, the Resham Sutra initiative has more than 25,000 installations across India.

“Our founder, Kunal Vaid, was an exporter of silk and home linen, and he would source his silk fabric from Jharkhand, where he saw the traditional thigh reeling process to make tussar yarn…he being a mechanical engineer who specialized in industrial design, out of a hobby innovated a spinning wheel, which has now become a full-time business enterprise.”

Jain added, “He also transitioned from being an exporter to a full-time social entrepreneur.” Apart from the spinning wheels, Resham Sutra also manufactures solar looms.

Through the use of solar, Jain said, their aim is to also take the silk industry towards carbon neutrality. She said, “As our machines are solar-powered, we save a lot of carbon dioxide, our machines run on low voltage and they are energy efficient. So, wherever there is ample sunlight, these machines are a great solution, especially in remote villages where electricity can be erratic.”

While both Makri and Maslai like using their machines, they said that an extra space to expand their spinning avenues would help them greatly. Makri wants to build another room where she can keep both her spinning machines and teach others too. Maslai, who lives in a two-room house, said there is barely any space for her to teach anyone else but she still tries to pass on the craft to young girls as well as boys who are interested in learning. “When I am teaching, they look after my kids as a token of goodwill.”

IPS UN Bureau Report,

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The Giant Plastic Tap: How art fights plastic pollution

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Arts

The Giant Plastic Tap installation by Canadian artist Benjamin Von Wong.

The Giant Plastic Tap installation by Canadian artist Benjamin Von Wong.

NEW DELHI, Mar 28 2025 (IPS) – “The size of the faucet highlights the magnitude of the problem. It makes the problem impossible to ignore. We’re used to throwing things ‘away’—but when we’re confronted with what happens when ‘away’ is not an option, I think it creates an emotional wake-up call,” says Benjamin Von Wong.

The 39-year-old Canadian artist and activist is referring to his inspiration behind The Giant Plastic Tap installation, which created a buzz in the art world, highlighting the problem of plastic pollution.

Wong, known for his environmental art installations and hyper-realist art style, created the Giant Plastic Tap that features an oversized faucet seemingly floating in mid-air while spewing plastic waste, serving as a striking metaphor for the world’s urgent need to address plastic production at its source.

He explains, “I wanted to bring the phrase ‘Turn off the plastic tap’ to life in a tangible way. I adapted the concept of the ‘floating fountain’ but distorted it with plastic—to emphasize the urgency of tackling the problem at its source by reducing plastic production, rather than relying solely on downstream solutions like recycling and beach cleanups.”

Reportedly, the global effects of plastic pollution are becoming more evident, highlighting the urgent need for collective action. Scientific studies and policy changes are essential but it is also crucial to acknowledge the influence of art in raising awareness and inspiring people to act.

Art has a unique power to evoke emotions, ignite conversations, and build a deep connection between individuals and the environment.

In the fight against plastic pollution, one art installation has become a powerful symbol of change, with Wong playing an important role.

Plastic pollution is one of the biggest crises of this generation.

The latest study, by charity EA Earth Action and released last year, revealed that more than a third of plastic waste will be improperly handled at the end of its lifecycle. This equates to 68.6 million tonnes of plastic, translating to an average of 28kg of plastic waste per person worldwide. In 2024, approximately 220 million tonnes of plastic waste were generated, marking a 7.11 percent increase since 2021.

Canadian artist Benjamin Von Wong.

Canadian artist Benjamin Von Wong.

Art installed so far

Von Wong, who shifted from mining engineering to environmental activism through art, has created four large-scale faucet installations, showcased at venues including Art Basel, the United Nations Environment Assembly 5.2 in Nairobi (2022), and the United Nations Ocean Conference.

“We’ve installed them in over a dozen locations—but even more exciting is that hundreds of cardboard replicas have been made worldwide,” Wong says.

Wong reflects, “I’m not sure how you measure the impact of art, but I think the fact that this installation has become a symbol for the importance of a global plastic treaty is probably the biggest achievement.”

The Giant Plastic Tap has been featured at previous INC (Intergovernmental Negotiating Committee for the plastic treaty) sessions. However, its absence was notably felt during the INC-5 conference in Busan, South Korea.

Wong says, “I did my best to have the tap installation placed in Busan, but it wasn’t allowed. Instead, the ‘beached whale’ was placed on the lawns of BEXCO, the exhibition center that hosted the event last year.” He adds, “Despite reaching out over six months in advance to the operations team, the delegation, and securing local partners with independent funding, we were met with silence.”

Interestingly, INC-5 failed to reach a consensus on the global plastic treaty due to disagreements over national interests, industry influence, financial and technical support, and enforcement mechanisms.

Despite current challenges in global plastic treaty negotiations, including the presence of fossil fuel lobbyists and the constraints of consensus-based decision-making, Artist Wong remains optimistic about the future. “I’m certain we will find a way forward,” he asserts, pointing to the numerous dedicated individuals and organizations working to advance the treaty.

Meanwhile, after the Intergovernmental Negotiating Committee decided to postpone the fifth session, the second part of the fifth session (INC-5.2) is scheduled to take place from 5 to 14 August 2025 at the Palais des Nations in Geneva, Switzerland.

Involving locals

Wong involved the local communities to complete the installation at UNEA 5.2 in Nairobi. The project collaborated with the Human Needs Project to collect three tons of plastic from the Kibera slums. The initiative employed over 80 local women to clean and organize the plastic, ensuring their voices were heard by world leaders. “We also fundraised to support the creation of a more local waste management system,” he adds.

The installation has achieved significant success in its mission to influence public perception. Viewers consistently grasp the fundamental message about the need to stop plastic pollution, and the installation’s visual impact helps transform an intellectual discussion into an emotional experience. Its symbolism has become particularly significant in the context of the global plastic treaty discussions.

Lastly, can art play a pivotal role in driving real-world change? To this Wong draws a compelling parallel: “What is the value of a monument like the Statue of Liberty? How would you measure it?”

The success of The Giant Plastic Tap suggests that art remains a powerful catalyst for environmental awareness and social change, particularly when it transforms complex global issues into visceral, emotional experiences that resonate across cultural and linguistic barriers.

IPS UN Bureau Report

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World’s Largest Religious Gathering Becomes Trans-Inclusive Despite Controversies

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Pavitra Nandagiri—one of the highest-ranking transgender spiritual leaders at Maha Kumbh, the largest religious gathering on earth in Prayagraj, India. Credit: Stella Paul/IPS

Pavitra Nandagiri—one of the highest-ranking transgender spiritual leaders at Maha Kumbh, the largest religious gathering on earth in Prayagraj, India. Credit: Stella Paul/IPS

PRAYAGRAJ, India, Feb 18 2025 (IPS) – Despite a blazing sun and growing heat, Pavitra Nandagiri sits on a cot smiling. Clad in a saffron robe and headgear with her forehead painted with turmeric and vermillion, Nandagiri is a Mahamandaleshwar—one of the highest-ranking monks of the Kinnar Akhada (Transgender Arena) at the Maha Kumbh, the world’s largest religious gathering currently underway in northern India.

As a steady stream of visitors pours in to touch her feet, Nandagiri raises her right hand and touches their heads in a gesture of accepting their respect and blesses them.

Just a few hours ago, she had taken part in the special, ceremonial snan (bathing) in the Sangam—a place with mythological significance where three holy rivers—Ganga, Jamuna and Saraswati—are believed to have met. Taking a dip in the confluence of these rivers is considered by Hindus as the most sacred act of one’s lifetime.

The ceremonial bathing is led by the most important of the living Hindu saints and godmen who follow a strict order of hierarchy. On Wednesday morning (February 12), the fourth ceremonial bathing of the 45-day Maha Kumbh was held. Fifteen transgender spiritual leaders, including Nandagiri, marched along with the Naga Sadhus and Aghoris—the legendary saints with ash-covered bodies, matted hair, and minimalistic clothing. Together, they bathed in the river with the holy chant of “Har har Mahadev” (Hail Shiva) while saints of other sects waited for their turn.

A devotee prays at the Maha Kumbh Sangam, where three rivers are believed to have converged. While two of the rivers—Ganges and Yamuna—are visible, the third river, Saraswati, is said to be hidden underneath. Credit: Stella Paul/IPS

A devotee prays at the Maha Kumbh Sangam, where three rivers are believed to have converged. While two of the rivers—Ganges and Yamuna—are visible, the third river, Saraswati, is said to be hidden underneath. Credit: Stella Paul/IPS

Later, inside the Kinnar Akhada, trans gurus receive visitors while some are seen performing some rituals and meditating along with Aghori ascetics. Asked how the partnership between the third highest order of the religious saints and the trans leaders came to be, Nandagiri says that it had been in the making since 2015 and culminated in a functioning collaboration during this year’s Maha Kumbh, which happens once every 12 years. She, however, does not share other details except that perhaps what brought together the two sects is their shared denouncement of worldly pleasure and embracing of a life free from its wealth and other complexities.

Transgender-Inclusive Kumbh: Conditions Apply

At the Kumbh, Akharas are organized into various sects, primarily categorized based on their philosophical orientation and the deity they worship. The two main sects are Shaiva Akharas, dedicated to Lord Shiva, and Vaishnava Akharas, devoted to Lord Vishnu. Each Akhara operates under a hierarchical structure, typically led by a Mahant (chief) or Acharya (spiritual leader) who oversees the spiritual and administrative functions.

The inclusion of the transgender Acharyas in the Kumbh, especially as a part of the highly revered Juna Akhada of the group of the Naga Sadhus, however, has not been completely free of controversies. Some have disputed their claim of embracing a minimalistic life and accused them of indulging in a game of power and authority considered unbefitting for true sainthood.

On January 24, the community ushered in a former film actress called Mamta Kulkarni as one of its top leaders, which led to protests by many both from within the trans community and leaders of other Hindu sects, who described it as a public relations stunt. Baba Ramdev—a well-known yoga guru—called it a violation of the Hindu religious ethos. Some gurus went as far as threatening to boycott the next Kumbh—to be held in 2037—if the Kinnar Akhada is not excluded from the ritual bathing.

Kalyani Nandagiri—another top-ranking trans guru who opposed the actress’s inclusion—was physically attacked by unidentified assailants on February 12.

A monk at the Transgender Arena within the Maha Kumbh. Credit: Stella Paul/IPS

A monk at the Transgender Arena within the Maha Kumbh. Credit: Stella Paul/IPS

Despite these deep divisions and acts of violence, Pavitra Nanndgiri remains hopeful of the community’s future.

“People say a lot of things; some wrongs also happen. But such small issues should not be highlighted much. We are here today, and we will be here then (in the next Kumbh),” she says, sounding more like a peace advocate.

A Different Picture

While inside the Kinnar Akhada, trans gurus are busy receiving and blessing visitors; outside, on the street, a small crowd of men is seen surrounding a young trans man dancing to the fast beats of music.

“This is Launda Naach,” says Ajeet Bahadur—a local theater artist. “It’s a common form of rural entertainment here, performed typically by cross-dressing trans men.”

The audience of Launda Naach is typically male. It is said to have started at a time when women were not allowed to dance in public because of orthodox social norms. However, today the moves of a Launda Naach performer are often sleazy and according to Ajeet Bahadur, the dancers are often sexually exploited, and their performance is rarely seen as art.

“Their lives are unbelievably miserable; there is little respect for their art, all eyes are on their bodies and exploitation and poverty are a constant part of their lives,” says Bahadur, who has studied the lives of Launda Naach performers for some time.

Aside from Launda Naach performers, thousands of other trans men and women in India struggle to earn a living. They are usually seen begging on the street and inside public transport, while many are also often accused of extorting money from small businesses such as shopkeepers in local markets. Not surprisingly, the presence of a trans person in India usually evokes a mix of fear and contempt instead of the deep respect that is on display in the Kinnar Akhada of the Kumbh. Will the elevated status of the gurus here lead to any change in the social status of the common trans people?

Priyanka Nandagiri, a transgender monk, says that it cannot be guaranteed. “Broadly, the transgender community in India is divided into two groups: the Sanatani and the Deredaar. We are the members of the Sanatani group who have always been immersed in religious activities, while the Deredaar are the ones who have chosen a different lifestyle, such as performing dances on the street and at social events like weddings, etc. So, we have always been following separate paths,” she explains.

Dwita Acharya and Mohini Acharya—two other trans monks—nod in agreement: “It will depend on what life they choose,” they say in unison.

”If they want to follow our path (the Sanatani), they will get that recognition but if they want to continue with their usual Deredaar lifestyle, then people will continue to view them accordingly.”

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IPS UN Bureau Report

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Erratic Sales and Government Apathy Hurt Telangana Weavers

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Siddipet cotton fabric being woven. Credit: Rina Mukherji/IPS

Siddipet cotton fabric being woven. Credit: Rina Mukherji/IPS

SIDDIPET, POCHAMPALLY & KOYALAGUDDEM, India, Jan 8 2025 (IPS) – The southern Indian state of Telangana has always been home to exquisite cotton and silk weaves. But in recent years, lack of market access, expensive inputs, and government apathy have taken their toll on the weaving community. As a result, the younger generation is refraining from pursuing this traditional occupation and opting for more lucrative pursuits.

This is evident when one visits the weaving towns of the state. Take Siddipet, which is about 100 km from the metropolitan city of Hyderabad. Siddipet has always been known for its exquisite cotton saris and stoles. But today, only about a hundred wizened individuals, spread over seven handloom cooperatives, still weave.

Srivikailasam is a renowned middle-aged weaver who was honoured by the Chief Minister with the Konda Laxman Bapuji Award. His saris, dupattas and stoles are prized items in the export market. Yet none of his children—a son and two daughters—want to inherit his craft.

Another weaver, known as Ilaiyah, has been weaving for the past 60 years, since he turned 15. Yet his children have turned their backs to weaving.

Yadagiri has also been weaving for the past 60 years, like his fellow weavers. But neither his son nor daughter are interested in learning to weave.

Master weaver Mallikarjun Siddi, who also owns a marketing outlet in Siddipet, followed his father, renowned weaver Buchaiah Siddi, into the profession. But his children have opted out of this traditional occupation.

However, Siddi defends the youngsters.

“Why would youngsters want to adopt a profession that pays so little? A weaver earns Rs 1000 (USD 11.82) a day here, and it takes three full days to weave a sari. A job in the IT hub of HiTech City in Hyderabad fetches a lot more.”

Worse, the Telangana government does not subsidize electricity; this has resulted in the Siddipet weavers continuing to use handlooms instead of switching to powerlooms, making their work even more tedious and hard. Electricity is Rs 10 (USD 0.12) a unit. If subsidized, the cost comes down to Rs 1 (US$ 0.012) per unit. Power loom machinery is expensive, ranging from Rs 1.5 lakh to 6 lakh (USD 1773.5 to USD 7101). With electricity subsidy, a weaver can bear the burden. Otherwise, it is not possible. Hence, even today, you see only handlooms here,” explains Siddi.

Master weaver Laxman Tadaka prepares his materials. Credit: Rina Mukherji/IPS

Master weaver Laxman Tadaka prepares his materials. Credit: Rina Mukherji/IPS

Marketing the product is also tough. The government buys the product at higher rates but does so lackadaisically. “Their representatives come only once a year, and although the payment is higher, it is not immediate. Private parties come regularly, and often, pay immediately,” say weavers.

The story is hardly any different in Pochampally, world-renowned for its ikat silk weaves. Ikat here can be either single ikat or double ikat, with the second being even more expensive. The yarn has to be initially soaked and then dyed before weaving. Since ikat weaves require every thread of the yarn to be dyed separately, a power loom can never be used. Thus, ikat weaves, whether cotton or silk, must be woven on a handloom, as master weaver Laxman Tadaka points out. The silk yarn comes from Bengaluru and is priced at Rs 4500 (USD 53.20) per kilogram. A weaver needs an average of 6 kg of yarn to weave seven saris a month. To bear the cost of inputs and the effort, a weaver must make enough sales. “The 15 percent subsidy extended by the government can hardly suffice,” Tadaka points out.

Rudra Anjanelu, manager of the Pochampally Handloom Weavers Cooperative Society, says they are dependent on subsidies.

“Our silk saris are expensive. But we cannot afford to give discounts unless the government supports us. A major problem is the 5 percent Goods and Services Tax (GST) that has now been imposed by the central government. It makes saris and other silk products even more expensive.”

In the past, the state government used to render marketing support through its outlets, offering the products to customers at discounted prices, especially during the festive season, while subsidizing weavers. This is not forthcoming anymore, making it tough for weavers.

Most weavers have to rely on the Telangana State Handloom Weavers Cooperative Society Limited (TSCO), their apex cooperative, to sell their product.

“We had suggested a method to jack up our sales. The Telangana government has a Kalyanalakshmi scheme, wherein parents of girls are given Rs 1 lakh (USD 1182.32) for their daughter’s wedding. Along with the money, the government could easily provide a sari worth Rs 10,000 (USD 118.23) for the bride. This will help us weavers too, while helping the parents with the bridal trousseau,” Anjanelu says.

Besides, most weavers are not happy with the quality of the subsidized yarn provided by the government through the National Handloom Development Corporation.

Muralikrishnan, a weaver from Koyalaguddem, a village renowned for its cotton ikat, laments, “The yarn provided by the government is of inferior quality and this, in turn, can affect the quality of our end product. It is unlike what we get from private traders.”

Moreover, as Anjanelu points out, “Yarn has to be paid for. When sales are down, how can weavers buy any yarn?”

A big challenge for handloom weavers remains the flooding of markets by printed duplicates, which sell at a fraction of the price of handloom fabric.

On hindsight, though, it is not as if nothing was done for weavers by the Telangana government. However, if weavers have not experienced long-term benefits, could this be attributed to the outcome of the ballot?

The previous Chandrashekhar Reddy (state) government, for instance, introduced a 36-month savings-cum-insurance scheme for weavers termed the Thrift Scheme, wherein the government contributed an amount matching the investment made by an individual.

In Pochampally, land was also sanctioned for a handloom institute, and a handloom park was set up on the outskirts of the town. However, with a new Chief Minister getting elected, the plans came to naught. The Handloom Park too suffered from bad planning. Weavers who had set up shop at the park now have to market their products from their homes.

It is ironical that the weavers of Pochampally, Koyalaguddem and Siddipet find it tough to sell their exquisite weaves, despite being located in the vicinity of metropolitan Hyderabad, which boasts of an upwardly mobile population with high disposable income.

Notwithstanding the problems faced, there are a few who have found a solution. Dudyala Shankar and Muralikrishnan of Koyalaguddem have diversified their range of products to include ikat fabric and bedsheets, alongside traditional saris, dupattas, and stoles. Muralikrishnan has been accessing markets all over India through the internet, from his dusty little village.

“It is the only way out,” he tells me.

Indeed, the World Wide Web can certainly fill in where humans cannot. Product diversification and market access translating into sales may ultimately wean back the younger generation to keep the weaving tradition alive in Telangana and prevent it from dying out.

IPS UN Bureau Report

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Dazzling Wildlife Portraits at COP29: A Conversation with Photographer Brad Wilson

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Brad Wilson is an American photographer specializing in classical portraits of animals. Credit: Umar Manzoor Shah/IPS

Brad Wilson is an American photographer specializing in classical portraits of animals. Credit: Umar Manzoor Shah/IPS

As delegates at COP29 stroll through the venue in Baku, Azerbaijan, many pause to marvel at the stunning portraits of animals and birds adorning the pavilion walls. These 16 captivating images, showcasing Azerbaijan’s rich biodiversity, are more than just art—they’re a call to action.

Visitors, from diplomats to environmental activists, can often be seen snapping selfies with these majestic portraits, drawn to their lifelike intensity. Behind this collection is Brad Wilson, an American photographer whose mission is to “bridge the gap between humans and the natural world.” 

Wilson spoke to the IPS on his artistic journey and the philosophy underpinning his work.

“My name is Brad Wilson,” he begins. “I’m an American photographer specializing in classical portraits of animals.”

Classical portraits—usually a domain of human subjects—take on a unique depth when applied to animals.

“I aim to elevate animals to a higher level, presenting them as equals to humans—different but equal. Looking into their eyes through these photographs should invoke a sense of responsibility for their lives because we all share the same planet.”

For Wilson, animals represent a poignant connection to the natural world. “They are our closest relatives living in the wild,” he says. “They serve as a bridge, reminding us of our roots in nature.”

Brad Wilson photographic portraits were commissioned for the Haydar Aliyev Centre in Baku and are on display at the COP29 venue. Credit: Umar Manzoor Shah/IPS

Brad Wilson photographic portraits were commissioned for the Haydar Aliyev Centre in Baku and are on display at the COP29 venue. Credit: Umar Manzoor Shah/IPS

Process: A Dance of Patience and Precision

Creating these portraits is no simple task. Wilson describes the meticulous setup required for his work.

“All the portraits are done in a studio. I set up the studio close to where the animals live—often in sanctuaries or ranches. Then we bring them in for two or three hours,” he says. But those hours yield just fleeting moments of magic.

“I’m lucky if I get two or three good seconds with each animal. But that’s all I need—a single moment of connection that resonates.”

“My photo shoots are like meditations amidst organized chaos,” he says. Amid bustling activity, Wilson remains quiet and still, waiting for the animal to relax. “What I aim to capture is something uncommon—a glimpse of the animal’s soul, if you will. That’s what I hope viewers experience—a moment of connection.”

“I want people to understand that we are part of this planet’s biodiversity. We’re not separate from these creatures. It’s only been about 12,000 years—since the advent of farming and permanent settlements—that we began seeing ourselves as separate from the natural world. That’s a mistake. These animals remind us of our place in the web of life.”

“When we talk about climate action, it’s not just about saving the earth—it’s about saving humanity and the animals that share this planet with us. The earth will endure, but we might not.”

Behind the Scenes at COP29

Wilson’s collection at COP29 was commissioned by the Haydar Aliyev Centre in Baku.

“They brought me here in August to photograph animals in Baku and Shamaki,” he says. The project celebrates Azerbaijan’s biodiversity, showcasing species native to the region while promoting conservation awareness.

The portraits have been a hit among COP29 attendees, sparking conversations about the intersection of art, biodiversity, and climate action. Wilson hopes the images inspire policymakers and the public alike to take meaningful action.

“Climate change is already a massive problem, and it’s only going to worsen. We need to get serious about tackling it.”

Advice for Aspiring Photographers

For those inspired to follow in Wilson’s footsteps, he offers this advice: “Start with humans. I spent 15 years photographing people in New York City before transitioning to animals. That experience taught me about connection and emotion—skills that translate well to wildlife photography.”

IPS UN Bureau Report

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Rejuvenating Tradition To Help Save Ancient Engineering Marvel—Dhamapur Lake

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The Vijayanagar rulers constructed an earth-fill dam in 1530 AD to create Dhamapur Lake. There is now a campaign to save it. Credit: Rina Mukherji/IPS

The Vijayanagar rulers constructed an earth-fill dam in 1530 AD to create Dhamapur Lake. There is now a campaign to save it. Credit: Rina Mukherji/IPS

PUNE, India, Oct 2 2024 (IPS) – Dhamapur is a small village in Malvan taluka of west Sindhudurg district, housing the famous Dhamapur Lake. The Vijayanagar kings constructed an earthfill dam in 1530 A.D., creating a man-made lake surrounded by hills on three sides. Canals connect it to the Karli river, irrigating lush paddies and farms that grow the red Sorti and Walay rice varieties typical to the region.

A Bhagwati temple constructed in the typical Konkan style stands on its banks. Small shrines to anthills flank this temple, which is devoted to Goddess Bhagwati. This is because all over the Konkan region, anthills are considered manifestations of the Earth Goddess and worshipped as Goddess Sateri. These are monuments to biodiversity and well-being; white ants or termites that build anthills are known to aerate the soil, help seed dispersal, and improve soil fertility. The worship of anthills is an old Vedic practice that continues to survive in and around the Konkan region of Maharashtra, Goa, and its neighborhood to this day.

The construction of the earthfill dam on Dhamapur Lake too spells of local ingenuity. Made up of porous laterite stone that is locally found here, every layer of stone is alternated with a layer of biomass made of twigs and branches.

This freshwater reservoir, used for irrigation and drinking water purposes, is one of Maharashtra’s oldest engineering marvels. Its waters and the Kalse-Dhamapur forests that flank it nurture a wide variety of unique floral and faunal species, making it a popular tourist destination.

But beauty apart, this man-made lake, which is geographically on higher ground as compared to the surrounding countryside, plays an important role in recharging the groundwater, acting as a sponge during the monsoons.  Apart from serving as an important source of drinking water and irrigation, Dhamapur Lake nurtures an entire ecosystem. Its waters and surrounding forests harbour a wide variety of flora and fauna, some of which are endangered species. Its significance can be gauged from the fact that it was given the Word Heritage Irrigation Structure (WHIS) Award by the International Commission of Irrigation and Drainage (ICID) in 2020.

But in recent times, several encroachments have affected this extensive waterbody. Guest houses, wells, and walkways built in its floodplains to boost tourism have been eating into its extensive area, in scant regard to the flora and fauna that thrive in its pristine waters.

Fighting for Dhamapur Lake

In recent years, though, Dhamapur Lake has found a savior in Sachin Desai and his organisation, Syamantak Trust. Incidentally, Sachin Desai and his wife, Meenal, have an interesting background that illustrates their love for the natural world and India’s time-honored traditions.

Believers in home schooling, the Desais fought out with the authorities to home-school their daughter. Abandoning high-paying corporate jobs, these two professionals set up the University of Life on their ancestral property to familiarize youngsters with traditional bricklaying, carpentry and farming skills in 2007. To stem the migration from the region, they sought to inculcate love and respect for traditional practices, foods, and cuisine among youngsters. This was how the Syamantak Trust came into being.

In the years that followed, learners and youngsters who spent time at the University of Life went to use the knowledge they acquired to specialize in respective fields or venture into entrepreneurship, selling local products to tourists frequenting Dhamapur. Rohit Ajgaonkar, once a student at the University of Life, has become an active volunteer with Syamantak and runs a small eco-café in Dhamapur.  Remarkable in its use of local materials, the eco-café has an array of local delicacies such as kashayam and jackfruit, wood apple, and mango ice creams.

Rohit and his mother, Rupali Ajgaonkar, also run a shop adjoining their eco-café, wherein they sell hand-pounded local masalas, mango and jackfruit toffee, local pickles, cashew butter, kokum syrups and kokum butter.  Prathamesh Kalsekar, another student of the University of Life who is the son of a local farmer, is now doing his B.Sc. (Agriculture) at the Konkan Krishi Vidyapeeth. He has raised a private forest on his family land in Dhamapur, and now grows many local fruit and vegetable trees, bushes, and plants, particularly focusing on nutrient-rich wild varieties. He has also set up a nursery of saplings for distribution among local farmers.

A temple on the outskirts of Dhamapur Lake. Credit: Rina Mukherji/IPS

The Bhagwati temple is on the banks of Dhamapur Lake. The temple is built in the typical Konkan style, wherein the deity is placed at one end in the sanctum sanctorum. The main section of the temple is reserved for the assembly of elders who meet and discuss matters related to the village. The temple is reminiscent of a bygone era when a place of worship also served as a place for the community to assemble and parley. Credit: Rina Mukherji/IPS

The Ongoing Battle to Save Dhamapur

These skills and respect for nature came in handy when Syamantak embarked on its mission to save Dhamapur and other waterbodies in Sindhudurg district through a community-led movement, following the construction of a skywalk undertaken by the authorities in 2014, and the running of diesel-run boats for tourists by the panchayat (village self-governing body). But this was easier said than done, notwithstanding the public zeal.

Desai and his volunteers realized that “Sindhudurg district has several wetlands and waterbodies. However, the authorities haven’t notified or demarcated any of them. This permits encroachments, a lot of them by government bodies.” In the case of Dhamapur Lake, the high flood line was ignored, and private parties encroached upon the peripheral areas of the lake. Even the state government’s Department of Agriculture had built a nursery and sunk a well on the floodplains of the lake.

Making use of the National Wetland Atlas prepared by the Space Applications Centre of the Indian Space Research Organization (ISRO) and the Maharashtra Remote Sensing Applications Centre in 2010, during the tenure of Minister of Environment & Forests Jairam Ramesh, Syamantak Trust approached the Western Zonal bench of the National Green Tribunal. Some residents of Sindhudurg district also filed an Environment Interest Litigation (EIL) to save the lake. At that time, the phytoplankton population had already decreased due to the construction of 35 pillars and the 500-meter-long cement concrete skywalk.

An Interim Order in 2018 by the Tribunal not only halted all further construction but saw every bit of concrete broken down and removed from the precincts of the lake. It also stopped the use of diesel boats on the lake . Furthermore, the state Public Works Department (PWD) was ordered to shell out Rs 1.5 crore for mitigation measures to be undertaken to reverse the damages caused by the construction of the 2.5 km skywalk and the use of diesel boats.

Meanwhile, following the formation of a 32-member Wetland Brief Documentation Committee as per an Order by the District Collector, the Syamantak Trust organized the local citizenry to document the flora and fauna of Dhamapur lake. They were soon joined by students from the local college of architecture, academicians, botanists, zoologists, and geographers from Mumbai and other parts of India, besides Dr Balkrishna Gavade and Dr Yogesh Koli, who lent their expertise for the study.  Mapping Dhamapur helped the volunteers learn about the kind of biodiversity hotspot the Western Ghats region is, especially in the forested tracts around Dhamapur Lake.

Five months spent documenting the various wetland flora and fauna showed 35 species of birds belonging to 18 families to frequent the lake, such as the Eurasian Marsh Harrier, Indian Pond Heron, Lapwing, Kingfisher,  and Small Bee-Eater. The lake was found to be particularly lush with phytoplankton and zooplankton species, which are the building blocks of a wetland ecosystem. The volunteers would also learn about how the Wax Dart butterfly was reported for the first time in Maharashtra, on the banks of Dhamapur lake.

Once Dhamapur was mapped, the volunteers went on to document a total of 57 wetlands and waterbodies in Sindhudurg district, including those as yet unlisted by the authorities. These included Vimleshwar in Devgad, Pat Lake in Kudal, and Jedgyachikond in Chaukul, among others.

The Uphill Struggle to Save Dhamapur Lake

The mapping and summary of violations were to come in handy when fighting to conserve Dhamapur Lake at the NGT.  However, the community’s fight to have Dhamapur Lake recognized as a wetland has not borne fruit so far. “Our case was dismissed by the NGT in 2023 on the grounds that the lake does not qualify to be a wetland in keeping with the Wetlands (Conservation and Management) Rules 2017, since it was constructed for drinking water and agricultural purposes,” Desai tells IPS.

However, the Trust and its community volunteers have not given up yet. They have now approached the Supreme Court to demand

1) Demarcation of the Lake’s buffer zone and high flood line; and

2) Notification of the Lake by the state government in its gazette.

Once notified, the Lake, they feel, would be protected against further encroachment from public and private bodies alike.

Meanwhile, Syamantak Trust, along with members of the local community, continue to familiarize visiting students and persons from other parts of India with this unique water-body and its flora and fauna through eco-trails. As of this year, Syamantak Trust has begun hosting classical music concerts with the theme “Connect to Nature,” allowing music lovers to explore the vast repertoire of Hindustani classical music and its connection to the seasons and nature’s clock.

Currently, the Desais and their volunteers in the local community sincerely hope that once people in Dhamapur and beyond learn to appreciate and love nature, it will help them connect better with the lake and its entire ecosystem. This can be the best and only bulwark against the destructive march of climate change.

IPS UN Bureau Report

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