Queen’s four-octaved legend Freddie Mercury’s journey to fame was not easy. As a child, Mercury was bullied for his overbite and called names like Bucky. However, once he began singing, he never looked back. This journey of a bullied child, channelling his fears and energy into music, is what children’s author Shyamala Shanmugasundaram’s new book, Under Pressure (Perky Parrot), is all about. Freddie Mercury was bullied as a child for his teeth. Illustrations Courtesy/Pankaj Saikia When Shanmugasundaram read an article which carried the story of the bullying, she realised its impact on the singer, and wanted to reach out to children. “It made me think how much kindness and empathy matter, especially to a child. When you recall your childhood, you may forget the names of the people, but you always remember their kindness or meanness.” She reveals how Mercury was sent to a boarding school in Panchgani at the tender age of eight. “His parents lived far away, in Zanzibar. It would take a month for a ship to come from Zanzibar to India,” she tells us. What does a child turn to when home feels so distant? For Mercury, it was his passion for sports and music, the book notes. Pankaj Saikia Pankaj Saikia’s accompanying illustrations depict this accurately, capturing sombre as well as spirited moments. A spotlight always follows Mercury. When it’s not through the stage lights, it is through the sunlight. The rest of the world dims around him into shades of blue. We observe this image transform gradually — from that of a frightened child to one of a confident artiste; Mercury conquers the stage. Shyamala Shanmugasundaram The poetic form employed by the writer arrests our attention, too. Children get to count down from ten to zero as they read along. Having grown up listening to songs like The Show Must Go On, and tapping her feet to We Will Rock You, Shanmugasundaram admits that the rhythm of Queen’s music stayed with her. “It is evergreen,” she notes. It is perhaps for this reason that she uses a similar form. At the centre of it all, ultimately, is the voice that speaks to young readers. “Sometimes, we learn to shrink to fit into spaces which don’t serve us anymore. At other times, we learn to dim the light,” she says. But the author believes that we needn’t do so. She wants her readers to learn that no matter the difficulty, we can push through it; we can weather the storm. Available: At leading bookstores and e-storesCost: Rs 299
07 February,2026 10:22 AM IST | Mumbai | Nandini VarmaEver witnessed a solo act in a bathroom? “Aath Sapne is a fully immersive theatre performance that plays out inside a 1-BHK apartment,” shares Karan Singh Gahlot, dramaturge, Mannghadant. The group will stage their first production of Aath Sapne, a play that delves into eight stories about desire. “In immersive theatre, the audience is as much a part of the performance as the actors. Plus, in a city like Mumbai, locating and renting out an auditorium can be expensive. Since we had stories that were individual, and even about the desire of middle-class aspiration, an apartment felt appropriate,” Gahlot reveals. From stories about love, and loss, to those of pain, trauma, and even an actor who desires to find a space in Mumbai’s world of stars, the play looks at the many facets of desire. With each story taking place in a different part of the house, audiences will move with the story. “It is a unique experience, and perhaps, a first for Mumbai theatre audiences,” he concludes. ON February 8; 12 pm to 9 pm (3 slots)AT Goregaon (venue revealed upon registration)LOG ON TO @mannghadant (to register; limited seats)
07 February,2026 10:18 AM IST | Mumbai | Shriram IyengarVisitors who step into the rotunda section of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS) are bound to discover an instant imagery of life in the Harappan civilisation, thanks to the replica tableau of the model town of Dholavira ((3000 to 1500 BCE). It sufficiently piques the imagination to tread into further mystique and exploration in the main section of the Networks of the Past gallery, which teleports one to the ancient worlds of Egypt, Mesopotamia, Persia, the Mediterranean, and China. This ongoing collaborative effort has ensured that over 250 objects are on display for three years, from leading museums across India and the world. Fabricators matter: Examples of complex placement of differently-shaped objects. Fabricators play a key role in painting, fabric-making, and creating partitions for each section. “All of it has to be approved internationally, and had to be stable enough to meet certain standards as set by the museums internationally,” explains Ramesh Nikhil Ramesh, Curator (Conservation), CSMVS, is relieved and excited that the pieces of the giant puzzle came together. He relives the procedural challenges, “The museum had to raise the bar with this exhibition gallery because the borrowed objects are going to live in this space. The British Museum [which lent the maximum number of objects] had created certain tests, and these exhibits had to pass it. We had to find a balance between specified parameters (see box right), and the dialogue continues until we realise that there is a safe space for these objects. This began well before the gallery was set up, and continues till these objects are here.” Parameters 1) Temperature controls: This is of paramount importance for the health of every object. 2) Relative humidity: Different materials including wood, linen, sandstone, terracotta, and paper behave differently. “We have to find their sweet spot keeping in mind these parameters,” informs Ramesh. 3) Display cases: Objects from different museums have different specifications like height, weight, and material and guidelines for movement. “We have to satisfy these requirements as closely as possible; this is factored in while designing display cases and placing them in it. Sequencing the object placement into the case is also important,” he adds. Ramesh and his team had a tight turnaround time of just one month to install all the objects in this gallery. Machines like the manual stacker installed objects, where a hydraulic system was used to gently place them across varying heights in their respective display cases. Backstory Files (From left) The cat’s brain as viewed in the scan; the highlighted molars 1 CAT SCAN WONDER: This tissue and linen-shrouded exhibit (1st Century CE) from Egypt was CT scanned at the British Museum. It wasn’t originally part of this show, but Ramesh insisted that it would be a great addition. The scans reveal that part of the brain is present; the eye socket is visible; the neck is broken, highlighting how it died. The molars were still in the jaw, and hadn’t popped out. This helps gauge when it died (not more than four months). This object is bound to encourage the medical, student, and scientific community to engage with it. Display at the gallery (right) conservators realign broken pieces 2 HARAPPAN TERRACOTA POTTERY: This was from the museum’s collection. One of the pots was originally in 15 pieces. Most of the pottery had minimal interventions by CSMVS’s conservators in the past. “We’ve tried to reduce the crudeness on its surfaces. We want the visitor to see the painted surface, and its patterns. An adhesive being introduced into the cracks The challenge was its size and shape; we had to handle it carefully, and put the pieces back together. For this, the team had to test the right adhesive using the correct measures and concentration. The restoration took 2.5 months,” he shares. Before conservation, the pot was held together with metal wwires and metal clips. Pics Courtesy/Conservation Lab, CSMVS 3 KING-SIZE: This object of Gudea (ruled 2144-2124 BCE), king of the Sumerian city of Lagash, was deposited at the foundation of a temple. At 350 kgs, it is one of the heaviest exhibits. The team required a compact forklift so that it could be moved alongside other objects within a narrow radius of its pedestal. It had to be installed face-front keeping in mind the space in front and behind. The entire pedestal was set up later. This object offers an idea of how it could have appeared full, since the top portion has been lost. 4 STELA’S COLOURS: This painted limestone panel found in Greek-ruled Alexandria dates to 2nd Century BCE. This reveals a little girl (named Stela) holding a bird, while playing with a pet dog. Ramesh and the team were intrigued that the moment they changed the source of light they could spot layered pigments. “We see only the visible spectrum; but it doesn’t mean that the rays are not interacting with objects. We tried to tap into other spectrums during conservation and found tons of Egyptian blue made from a specific pigment,” he shares, excitedly. 5 PILLAR TO POST: The CSMVS team went to Allahabad Museum to initially survey this sandstone fragment of a railing (1-100 CE) that resembles a pillar. Originally from Bharhut, Madhya Pradesh, it was embedded in the wooden pedestal at the museum, but they were unable to gauge its depth since officials mentioned that it had been standing in the same spot for 50 years. So, they fabricated the pedestal design at CSMVS on the assumption that it was one foot, also aware that there was a height restriction at the gallery. When the packers went to dismantle it at the museum, it turned out to be two feet! “We had to alter our pedestal here. This pillar was packed vertically. Extreme care had to be taken while handling it. Knowing that we had limited movement within the gallery, we created a structure around it to offer support,” he elaborates. 6 BUDDHA’S GRACE: This decorated statue in local buff sandstone of The Buddha (400-500 CE) was sourced from the onsite Sarnath Museum. Ramesh personally visited the site to select it, and realised that the base would have to be constructed when the object arrives at CSMVS. When a team conservator arrived to secure it, it was revealed that there was no base! As a result, the planned design had to be altered. Heavy lifting equipment was used to move it to its final spot. A security clamp supports it on the back. This fragile statue had to be mounted with care by holding it in places that didn’t have carvings or etchings. “We assembled the entire unit on the ground as it would have been risky to do this at a height,” he recalls. 7 RIVER ADVENTURE: This bejewelled and pot-bellied Padamanidhi (‘lotus-treasure’) dating to 200-400 CE travelled by boat all the way from a museum in Nagarjunakonda. A CSMVS team member had to accompany the object on its journey. It was crated; a standard method was followed to ensure there was no movement within. Luckily, the shift could happen on the same day as the waters of the river were placid for its movement to the other side of the riverbank, after which it arrived at CSMVS via road.
07 February,2026 10:17 AM IST | Mumbai | Fiona FernandezIt’s not easy to find 64-year-old Pritpal Singh’s metal works workshop in the busy industrial complex opposite Mahim’s Paradise Theatre. It doesn’t help that his gate doesn’t bear his name. ‘Temple of Bob Marley’ reads his front door; painted in a Rastafarian yellow hue as a hat tip to his icon. We’ve found our man. As the doors close behind us, the metallic rumble outside drowns out to make room for Singh’s humble speaker set-up that’s playing Marley’s hit Natural Mystic. (From left) The entrance to Temple of Bob Marley; a glass artwork depicting Marley. PICS/DEVASHISH KAMBLE “Marley didn’t care if it was 10 or 10,000 of us in his audience,” Singh recalls his first tryst with the reggae icon in 1978. The Mahim resident was in London for a wedding in the family, and decided to walk into Rainbow Theatre to catch his first-ever concert. He walked out a Rastafarian. “I took Marley’s message everywhere I went,” he says. That included a brief work stint in Kenya, where Singh had his first Rastafarian temple experience, before heading back to India. In Mumbai, young curious musicians had started flocking the workshop, by word of mouth. Rapper Jacquilin Lucas aka JQueen of rap group Wild Wild Women recalls, “We would make a beeline to this room every evening. Uncle [Singh]’s guitar would come out and we’d sing Marley hits. Redemption was a crowd favourite. It became a safe space to talk about music, peace, and unity.” While the number has shrunk over the years, they’ve left a mark. “Some young boys got paints one day, and said we want to paint the place Rastafarian,” Singh shares, standing amid flag motifs, slogans and glass art tributes around him. A motif with the Rastafarian colours and Bob Marley’s lyrics ‘Iron, Lion, Zion’ at the space Why did we not know of this musical world hidden in plain sight on Lady Jamshedji Road? The answer lies in a big misconception, and an even bigger elephant in the room: Young people equate Bob Marley with marijuana. “I found myself sitting next to a gentleman in a Bob Marley T-shirt in an autorickshaw once. I asked him if he knew the man on his shirt. He shrugged it off, he only liked the cool hair,” Singh laughs. Jacquilin chimes in, recalling a smoke shop owner in Bhandup who plays Marley’s hits to sell his products. Singh browses through vinyl records on his workdesk Singh doesn’t worry too much, though. He’s content as long as the playlist on his computer keeps looping. Once in a while, he stops to switch to his trusted vintage vinyl record player; nothing beats the warmth of vinyl, he believes. Before the last song for the day, we think out loud what Marley would have made of the world today. Singh shuffles to find just the right song in his playlist. It’s Marley’s 1976 hit Who The Cap Fit. “Man to man is so unjust, childrenYou don’t know who to trustYour worst enemy could be your best friendAnd your best friend your worst enemy” At: Temple of Bob Marley, Industrial House, Bhagoji Keer Marg, Mahim West. Call: 9892421840 (call before visiting) Pritpal Singh shares a moment with actor Ranveer Singh Gully Boy’s Rastafari adda Word of mouth goes a long way, even as far as tinsel town. In 2018, a few regular jammers from the Temple of Bob Marley auditioned for the 2019 Ranveer Singh starrer Gully Boy. “When Singh heard of such an adda, he took the keys from his driver, put our boys in the backseat, and asked them to bring him here,” the owner reveals. That day, he remembers, a large crowd gathered outside the industrial complex for the first time. “Having bouncers outside a Rastafarian hub was odd,” he admits. Donisha Prendergast (left) meets Pritpal Singh in Mahim When a Marley came visiting In 2018, Bob Marley’s granddaughter Donisha Prendergast came knocking on Singh’s doors. The musician was in Mumbai for a session with the children of Dharavi, and heard of the space. “I’ve seen your grandfather perform live,” Singh told her. A three-hour-long jamming session followed. “She dialled her brother and popular reggae musician Skip Marley’s number to show him what she had just stumbled upon. To be honest, I couldn’t make much of his thick Jamaican accent. But that was a day to remember,” Singh smiles. The ultimate reggae playlist 1) Three Little Birds2) Redemption3) Who The Cap Fit4) Natural Mystic5) Sun is Shining
06 February,2026 09:31 AM IST | Mumbai | Devashish KambleThe idea of a secluded, peaceful reading space would sound like heaven to bibliophiles, who might want to check out this upcoming residential retreat in Goa, just for reading. A joint endeavour by city-based Just B Library and Goa-based non-profit organisation and library, Bookworm Trust, the event offers participants quiet reading corners and access to a diverse range of books. Participants during a previous reading session, conducted outdoors “We want people to take out the time to really immerse themselves in reading, without being distracted by their routine duties. Spots must be confirmed as early as possible because participants will be couriered a book that they must carefully read before they arrive at the retreat space, which is a 19th-century Indo-Portuguese villa by the seashore,” explains library educator, Bhavna Faizullabhoy, who runs Just B from her home in South Mumbai. Upon arrival, guests will also be provided other books. “I can’t reveal the exact titles,” Faizullabhoy replies, when we ask to name a few. “But there will be everything from graphic novels and non-fiction to beautifully illustrated children’s books; one of the main reads will be about letter writing, emphasising the importance of the written word.” A view of the Indo-Portuguese villa where the retreat will be held Guests can also enjoy outdoor activities and excursions themed around some of the books, alongside creative and reflective sessions. On that note, Sujata Noronha, founder, Bookworm Trust, describes more about the intent behind the getaway, “Though it’s an adult-only retreat, children’s literature and books will play an integral role. They are often nuanced, and even if they contain more illustrations than text, they shed light on ideas that can only be truly comprehended through a mature, adult perception.” Bhavna Faizullabhoy; (right) Sujata Noronha She adds that outdoor games support this. “Readers bring all their senses together when having fun during play, just like a child; the quality of reading post the fun improves greatly and so does concentration. That’s the aim: To regenerate relationships with reading, especially for pleasure,” she signs off. ON March 23 to 25AT Bogmalo, South Goa LOG ON TO @justb_thelibraryisopen (to register, before February 15) ENTRY Rs 40,000
06 February,2026 09:17 AM IST | Mumbai | Trisha GhoshMumbai’s calendar is blooming once again. As February sets in, the city’s most vibrant annual tradition returns with the 29th edition of the Mumbai Flower Show, turning the Veermata Jijabai Bhosale Botanical Udyan into a floral retreat. From intricately shaped installations to freshly grown vegetables, the exhibition is organised by the Brihanmumbai Municipal Corporation (BMC) and the Tree Authority. Jeetendra Pardesshi Jeetendra Pardesshi, superintendent of gardens and tree officer, says, “As we bring in the 29th edition of this show, all 24 administrative wards — labelled A to T — are assigned specific responsibilities. For instance, wards P and R handle vegetables, while M ward oversees landscaping, among other tasks.” With Musical Instruments as this year’s theme, life-size representations of the tabla, harmonium, saxophone, guitar, and flute will be decorated using seasonal blossoms. Pardesshi emphasised, “Most planning takes around 45 to 60 days, but the most crucial phase is the night before the exhibition opens, when every flower and vegetable pot is personally monitored, as many require exceptional care.” Vegetable expert Dinesh Dattu Sakle says, “We’ve worked on this for months. I’ve been doing this for over 20 years, and my entire focus has been devoted to nurturing and taking care of these vegetables. The Guide’s fave picks Garden Pansy or Viola x Wittrockiana >> As Mumbai transitions out of winter, Garden Pansy or Viola × Wittrockiana stands out prominently. Ideal for borders, hanging baskets, and mass planting during cooler conditions, it works well in landscaped spaces. Some varieties are considered edible by florists and plant experts. Gomphrena Globosa widely recognised as Gomphrena >> For those keen on attracting butterflies and other beneficial insects that support ecological balance, Gomphrena Globosa — commonly called Gomphrena — draws attention for its unique shape. Celosia, popularly known as Cockscomb >> Look out for the Celosia, also referred to as Cockscomb. Thriving in direct sunlight, this low-maintenance plant features vivid colours ranging from red and yellow to pink and orange, sometimes blended within a single flame-shaped bloom. Sponge Gourd, or Luffa Cylindrica showcased in full bloom >> From the dedicated vegetable section observe the Sponge Gourd, or Luffa Cylindrica, primarily a kharif crop; it appears in full growth, with blossoms still attached to the vine. Bitter Gourd also identified as Momordica Charantia L >> Bitter gourd (Momordica Charantia L), commonly known as karela, features alongside Cruciferae family crops such as cauliflower and broccoli. Zucchini or Cucurbita Pepo >> A closer look reveals rows of Zucchini (Cucurbita Pepo), displayed in shades of orange, green, and yellow, completing the harvest-focused spread. Till: February 8; 8 am to 8 pmAt: Veermata Jijabai Bhosale Botanical Udyan and Zoo, Lalbaug Flyover, Byculla East.
06 February,2026 09:08 AM IST | Mumbai | Rumani GabhareImagine being a graduate in Chemistry in the late 1970s, and opting to pursue a career in design? Risky? Perhaps, but Pinakin Patel’s decision started a journey that has deeply impacted the way contemporary design evolved in India. Takht sofa Calling it a turning point in his life, Patel reasons the move, saying, “I had not found my ‘swadharma’ [duty to self]. Only when a person finds that is the path aligned for a successful future.” Aptly titled, The Turning Point — the ongoing retrospective at Nilaya Anthology — offers a holistic view of this journey through the lens of his designs. Bramhaputra dining table The seeds were sown growing up in the lanes of erstwhile South Bombay. The displays by street vendors, hawkers, and shops taught him the innate nature of aesthetics ‘against all odds of climate, money, legality’, he says. The Turning Point is the first-of-its-kind deep dive into the architect-designer’s life works. The retrospective features 11 works of furniture that capture Patel’s distinct creative signature; ‘a cultural restatement’, as he puts it. Contour sofa Like his approach, it also offers a holistic view of design and art. A total of 19 decorative artworks and objects from the designer’s personal collection, to be auctioned by Pundole’s, will also be on display. The Ramp at Anthology will also showcase a curated selection of works by the designer’s mentor, Padma Shri Awardee, the late Professor Dashrath Patel. These will be paired with a short film that poetically interprets Pinakin Patel’s ideas of essentialism. Burl chair “Across 50 years of his practice, there is an absolute richness of cultural context and understanding that reveals itself across various materials, disciplines and stories,” shares curator Pavithra Rajaram, creative director, Nilaya Anthology. Deco chairs Now, based in Alibaug, amidst his sustainable, green practice, Patel’s return is a reminder of the vibrant and desi innovation in a city consumed by its own modernity. A close-up of Baroque dining table TILL March 31; 11 am to 7.30 pmAT Nilaya Anthology, Peninsula Corporate Park, Lower Parel West
05 February,2026 10:08 AM IST | Mumbai | Shriram IyengarThursdayBold flavours Catch this Chinese New Year festive menu, themed around the Year of the Flaming Horse. Savour dishes from Jackfruit and Cheese Golden Blossom to the Golden Stallion dessert.TIME 12 pm to 4 pm; 7 pm to 12 amAT Hakkasan, Bandra West. CALL 8355877777 COST Rs 5000 (for two) FridayRaw reality on stage A moment from a previous rendition of the play. Pic courtesy/@curtainhazeproduction Catch a seat at this new age play, The Guardian Angel, incorporating audio-visual elements, and movement choreography to illustrate a complex tale of mental health struggles.Time 6.30 pm and 9 pmAt Rangshila Theatre, Aram Nagar Part 1, Andheri West. Log on To altshows.comENTRY Rs 350 SaturdayTales of resilience A still from the film. Pic courtesy/PSBT India on YouTube Dive into the on-ground realities of the Agaria community, traditional salt farmers from western India, with a film screening of The Wounded Souls of the Rann and a conversation with director, Dinesh Lakhanpal. TIME 4 pm to 6 pmAT Dr Bhau Daji Lad Museum, Rani Baug, Byculla East. LOG ON TO urbanaut.appENTRY Rs 118 onwards Tracing the city Children during a similar session at the venue; (right) an illustration from the book. Pics courtesy/Shivam Choudhary, Kahani Tree Let your children learn about the journey of the City of Dreams, from a cluster of seven islands into a cosmopolitan city, through author Veena Rao’s book, Bombay Is Mumbai, followed by a drawing session.TIME 11 am to 12 pmAT Kahani Tree, Industry Manor, Prabhadevi. REGISTER events@kahanitree.com ENTRY Rs 500 SundayEye on Japan A Sayonara dance performance. Pic courtesy/Fujiwara Japanese Consultant If you’re a fan of all things Japanese, check out the Banzai Japan Event 2026, featuring cultural performances, a tea ceremony, traditional calligraphy, and a wellness programme.TIME 11 am to 2.30 pmAT The Oriental Club, Girgaon Chowpatty.CALL 7666152391 (to register, by February 6) ENTRY Rs 800 (per person; with lunch) Soulful Sufi notes Salman Ali on stage. Pic courtesy/@officialsalman.ali Don’t miss the grand finale of Sama’a: Festival of Sufi Music, with musician Salman Ali’s Sufi compositions.TIME 6.30 pmAT National Centre for the Performing Arts, Nariman Point. LOG ON TO in.bookmyshow.com ENTRY Rs 500 onwards
05 February,2026 10:06 AM IST | Mumbai | Trisha GhoshThe Dalai Lama’s new album called Meditations: The Reflections of His Holiness the Dalai Lama won the award for the Best Audio Book, Narration, and Storytelling Recording at the recent Grammy Awards in Los Angeles. It is a 10-part lesson in living a peaceful and nourishing life. The words are spoken by the Dalai Lama with soothing music provided by artistes such as the sarod maestro Amjad Ali Khan and his sons, Ayaan Ali Bangash and Amaan Ali Bangash. At a time when conflict is a common language of expression, the 90-year-old’s gentle speech arrives as an antithesis. It values compassion and warm-heartedness. In one of the tracks titled Harmony, he insists that there’s too much emphasis on “My country, their country”. The Dalai Lama urges us to “completely forget past histories” and “think of new realities.” One of the most tender pieces of wisdom is offered in the track titled Mind. He reveals the Tibetan Buddhist principle of preserving peace of mind. There are methods to control destructive emotions, he believes. Recalling the words of an ancient Tibetan master, the Dalai Lama acknowledges that one’s enemy is their best teacher as enemies enable us to practise patience. He also talks about his meetings with scientists, and how their discussions have led them to reflect on a compassionate way of life. Rightly then, the Grammy win is a recognition of ‘our shared responsibility’, as the Dalai Lama mentioned in his speech; it is an urgent and clear reminder to live in harmony and practise unconditional love and care. Log on to: Spotify, Apple Music
05 February,2026 10:03 AM IST | Mumbai | Nandini VarmaUp until now, CoastalTrace, created by Rian Kothari, a 17-year-old Breach Candy resident, has functioned as a public reporting platform aimed at addressing gaps in how coastal and marine pollution is documented and flagged in Mumbai. It began as a city-specific initiative in Breach Candy, and in the past month, has expanded beyond Mumbai, with its reach extending to Chennai, Goa and Kerala. Drawn to nature, animals and marine life from an early age, Kothari took up scuba diving a few years ago in the Maldives. After returning to India, what stood out to him was not just the marine life around water bodies in South Mumbai, but how little of it was visible in Indian waters. Across large stretches of the coastline, particularly around Mumbai — poor water quality and heavy pollution meant visibility was extremely low, even in areas known to support marine ecosystems. The interface was built by Kothari over six to eight months using basic JavaScript skills, online coding forums and selective use of artificial intelligence tools. It positions CoastalTrace as a middleman, trying to make pollution more visible. It took Kothari seven to eight months to develop the platform, given extensive research for it. (Left) Rian Kothari holds a Sea Urchin at Zanzibar Islands in 2023; Kothari on a scuba dive at Maldives in 2024 To further refine it, he carried out background research on the nature of coastal pollution, studied publicly available material on conservation and on how pollution is classified and recorded, and analysed existing documentation to shape the reporting options. He also took help from his academic coursework in environmental science in school to populate the platform’s structure and review on-ground mitigation efforts to align it with practical data-sharing needs. Rian and his mother, Shital Kothari (left) bottle up food wrappers under an initiative of Mission Green Mumbai. Pics Courtesy/Rian Kothari This experience prompted him to closely examine polluted waters. He began researching major pollution hotspots in the city, including sewage-heavy zones such as Sassoon Dock, urban water bodies like Powai Lake, and the stretch where the Mithi River runs alongside Bandra Kurla Complex. Track your waste The platform is deliberately simple. It allows citizens to log pollution incidents by selecting a location, identifying the type of waste and adding brief descriptive details. Categories available on the interface include plastic waste, mixed marine debris, hazardous or large waste, general household trash and others. These reports are then automatically routed to relevant NGOs, research institutions or government bodies based on location and type of pollution. In Mumbai, reports are shared with organisations including Maharashtra Pollution Control Board, Maharashtra Maritime Board and the Afroz Shah Foundation. Similar routing systems now operate in Chennai, linking with the Tamil Nadu Pollution Control Board, Bay of Life Foundation and ExNoRa International; in Goa, with the Goa State Pollution Control Board, Act for Goa and Coastal Impact India; and in Kerala, with the Kerala State Pollution Control Board, the Kerala Coastal Zone Management Authority and the Centre for Marine Living Resources and Ecology (CMLRE) in Kochi. This connects data to groups ranging from student-led sea turtle conservation networks, to state coastal zone authorities. An image of a dashboard on the website displaying sewage-intense zones using colour codes The platform also overlays weather and tidal data, helping identify pollution patterns and high-activity zones over time. Older reports are automatically archived to avoid clutter, ensuring that recent data remains current and usable for organisations responding on the ground. Kothari hopes CoastalTrace will evolve beyond a reporting tool into a stronger data and research resource. While he has not received formal feedback from organisations yet, a conversation with officials working in a plastic recycling organisation, influenced a key shift in approach. “At first I wanted the platform to help NGOs organise clean-ups and push government action, but I realised that in Maharashtra, most clean-ups are handled through government contracts, making it less ideal,” reiterates Kothari. As a result, CoastalTrace for now, focuses on documenting pollution and keeping it publicly visible. He hopes it can expand to more coastal cities, adding short risk briefs to explain vulnerability and exposure, and closer collaborations with official stakeholders as data can be used for analysis by journalists, city planners and local authorities. Log on to: coastaltrace.org We tested it Using CoastalTrace was largely seamless. As a first-time user, this writer could log a pollution sighting quickly by selecting the location, choosing the type of waste and adding a short note. The map view makes the information easy to understand, showing how individual reports connect to a wider pattern especially around areas which are closer to the beaches, for example, a section of the city’s west coast, alongside Mahim to Prabhadevi. However, a few improvements could make the experience stronger. The waste categories could use detailed examples, or tips to help users classify debris accurately. There is also limited clarity on what happens after a report is submitted, which may leave users unsure about the impact of their contribution. Overall, CoastalTrace works well as a public documentation tool, and with small refinements, it could become more effective and user-friendly.
05 February,2026 09:57 AM IST | Mumbai | Rumani GabhareIt’s not every day that you interact with the descendant of an admiral whose heroics graced the pages of your History textbook in school. Last weekend, Raghujiraje Angre, ninth generation descendant of visionary Maratha admiral Kanhoji Angre, was in the city to inaugurate Shastrāstra, an exhibition on the history of war through weapons and sculptures dating to 15th and 16th Century India. It was organised by the Department of Ancient Indian History, Culture and Archaeology of St Xavier’s College (Autonomous), with The Museum Society of Mumbai and CSMVS. In between marvelling at these historic exhibits and patiently answering queries from visitors, he spoke about the Angre legacy. Excerpts from the interview. Tell us about your family’s connection with Maratha naval military warfare.My family has always been connected with the manufacture of arms and ammunition. Back in the 16th and 17th centuries, my forefathers, Kanhoji Angre and his children were focused on shipbuilding and Maratha warfare tactics. There was overt dependence on the Portuguese, and later, the British (East India Company) for metal. Kanhoji built his own foundry, and he envisioned designs for cannons that are still seen in our Maratha forts. Dr Pheroza Godrej, chairperson, Museum Society of Mumbai looks at the cannon ball displays The Angres concentrated on metal and Indian weaponry, and created indigenous versions and adapted them to suit local requirements, including factoring the build of Indians rather than accepting foreign weaponry templates. ...And Kanhoji Angre had the vision to do this back in the 1600s?Yes. A lot of people worked in the Angre foundries, and plenty of research went into developing this indigenous weaponry. Local knowledge also helped. The British and Portuguese were blue water navies whereas the Maratha navy was a brown water navy. They understood the terrain very well. Those who were employed by Kanhoji Angre and the Marathas were familiar with the terrain, and thus their knowledge superseded that of their rivals during battles along Maharashtra’s coast. Raghujiraje Angre inaugurates the exhibition. Also seen in the frame are Dr Anita Rane Kothare and Dr Pheroza Godrej. PICS/ASHISH RAJE How important is it to document warfare?It is of utmost importance. In Europe, maritime legacy is well preserved. Unfortunately, it’s not too visible here. Look at the irony… just across the road from here, near Sardar Griha building a cannon is covered under a shanty. I discussed this with the Archaeological Survey of India (ASI). I hope necessary measures will be taken to remedy it. It’s part of our naval treasures, and historic documentation, and must be preserved. I am hopeful that change will emerge. An exciting development is the upcoming National Maritime Heritage Museum in Lothal, Gujarat, which is the Prime Minister’s dream project. It’s shaping up well into one of the world’s largest maritime museums. I am involved with setting up the Maratha gallery section. What are your plans to showcase Alibaug’s maritime roots?Work is in the pipeline; I’m keeping my fingers crossed. The Chief Minister of Maharashtra, Devendra Fadnavis has given the go-ahead for these plans, which includes a gallery. We must try to preserve our heritage and also instill awareness. With the Trans-Harbour Link and the Rewas-Karanja Bridge, Alibaug will transform rapidly. So, when tourists come here it shouldn’t be to just chill or savour our seafood, but to also experience our culture. We are keen to change that narrative. School children attend the exhibition at St Xavier’s College What is being done to protect the Angre legacy?We have preserved arms and ammunition, as well as weapons from that era. There is also the Kanhoji Angre Samadhi campus that we recently restored with support from the state archaeological department. Plans are afloat for a show at the site. What are some of the valuable lessons that Kanhoji instilled in maritime warfare?Let’s look at it the other way. When we refer to India’s borders, we immediately think of Wagah or Attari. But we also have coastal borders, and Mumbai is located along this border. Our nation has 7500-plus kilometres of coastline. So, when attacks emerge from the sea, Mumbai is under direct threat. The sea is a vulnerable natural factor. It isn’t just the duty of the Navy or Coast Guard; commoners too need to be vigilant. Kanhoji Angre We conduct awareness drives among coastal communities in the area. For example, if an unidentified person is spotted, or if suspicious activity is noticed, it is reported back. The same practice was followed 300 years ago in Kanhoji’s time. Until any ship or vessel docks at the port, it doesn’t mean that it has reached its destination. At the port itself, strict checks are needed to prevent invasion. Kanhoji followed this practice. It’s why the Konkan has the highest density of sea forts as compared to any other part of India’s coastline. There are sea forts at an average of every 15 kms. Such was his vision. Did you know? Blue water navy: When a country is able to protect naval power away from its own country, at a global levelBrown water navy: When a country guards its waters near its territorial borders, within its inland waterways
04 February,2026 09:37 AM IST | Mumbai | Fiona FernandezADVERTISEMENT
