Daily Prelims Notes 28 March 2024

Daily Prelims Notes

28 March 2024

Table Of Contents

1. Kalamandalam opens doors for boys to learn Mohiniyattam
2. Lalit Kala Akademi chief’s powers curbed by Culture Ministry
3. Carnatic Music recent controversy
4. State of employment in India: What a new report says about youths and women, concerns and caution
5. Sensing China threat, India joins race to mine new sea patch
6. On sustainable building materials
7. India TB Report-2024: Missing cases shrinking, 95% got treatment in 2023
8. ICMR set to bring in evidence-based norms for lung cancer management
9. WTO’s investment facilitation negotiations are not illegal
10. Researchers call Australia carbon credit scheme a ‘catastrophe’
11. Saving India’s wild ‘unicorns’

1. Kalamandalam opens doors for boys to learn Mohiniyattam

Subject: History

Section: Art and culture

• In a historic move, the Kerala Kalamandalam, a deemed university for arts and culture, has lifted gender restrictions to learn Mohiniyattam.

More on news:

• The admission for the Mohiniyattam course will be open from the next academic year onwards.
• The decision came in the wake of a controversy in which dancer Kalamandalam Sathyabhama made derogatory racial/casteist remarks against dancer R.L.V. Ramakrishnan.
• Kalamandalam provides an opportunity for learning Mohiniyattam up to the PG level.

About Mohiniyattam:

• Mohiniyattam is a classical dance style from Kerala state and one of the eight principal Indian classical dances.
• The Mohiniyattam is a popular dance form with a drama in dance, performed with subtle gestures and footwork.

Salient Features of the dance:

• Mohiniyattam is characterized by graceful, swaying body movements with no abrupt jerks or sudden leaps.
• It belongs to the Lasya style which is feminine, tender and graceful.
• The most characteristic element of the “form” component of Mohiniattam is the circular or spiral movement of all the limbs of the body.
• This gives it a swaying effect which resembles the movement of a pendulum and thus it is called aandolika.
• The movements are emphasized by the glides and the up and down movement on toes, like the waves of the sea and the swaying of the coconut, palm trees and the paddy fields.
• Movements have been borrowed from Nangiar Koothu and female folk dances Kaikottikali and the Tiruvatirakali.
• The footwork is not terse and is rendered softly.
• Importance is given to the hand gestures and Mukhabhinaya with subtle facial expressions.
• Mohiniyattam lays emphasis on acting. The dancer identifies herself with the character and sentiments existing in the compositions like the Padams and Pada Varnams which give ample opportunity for facial expressions.
• The hand gestures, 24 in number, are mainly adopted from Hastalakshana Deepika, a text followed by Kathakali. 
• Few are also borrowed from Natya Shastra, Abhinaya Darpana and Balarambharatam.
• The gestures and facial expressions are closer to the natural(gramya) and the realistic (lokadharmi) than to the dramatic or rigidly conventional (natyadharmi).
• Vocal music of this performance incorporates different rhythms and lyrics of many of the compositions performed in this dance form are in Manipravalam that is a mix of Sanskrit and Malayalam language while the music style is Carnatic.
• Instruments played during a Mohiniyattam performance usually comprises Kuzhitalam or cymbals; Veena; Idakka, an hourglass-shaped drum; Mridangam, a barrel-shaped drum with two heads.

2. Lalit Kala Akademi chief’s powers curbed by Culture Ministry

Subject: History

Section: Art and culture

Context:

• In an unprecedented move, the Ministry of Culture has curtailed the powers of the Lalit Kala Akademi (LKA) Chairman, V Nagdas, barring him from taking any “administrative actions”.

More on news:

• Lalit Kala Akademi (LKA) Chairman, is barred from taking any “administrative actions”, including on matters related to “appointment, recruitment, transfer, disciplinary action and financial decisions”, without consulting the ministry.
• The order issued by the ministry on January 8, 2024, addressed to Nagdas, cites his failure to respond to an earlier “complaint” and also alleges non-compliance with the ministry’s “administrative directions”.

About Lalit Kala Academy:

• Lalit Kala Akademi (National Academy of Art), New Delhi was inaugurated on 5th August 1954 by the then Minister for Education, Maulana Abul Kalam Azad and was registered under the Societies Registration Act 1860, on 11th March 1957.
• Lalit Kala Akademi, the youngest of the three Akademies founded by Govt. of India, establishes to direct its focus on activities in the field of Visual Arts.
• LKA provides scholarships and a fellow program, and sponsors and organizes exhibitions in India and overseas. It publishes a bilingual journal.
• It is funded by the Union Ministry of Culture. 
• Its headquarters are at Ravindra Bhawan, Ferozshah Road, New Delhi.

Other Academies under Ministry of Culture:

Sahitya Academy:

• The Sahitya Akademi was formally inaugurated by the Government of India on 12 March 1954.
• Though set up by the Government, the Akademi functions as an autonomous organization.
• It was registered as a society on 7 January 1956, under the Societies Registration Act, 1860.
• Akademi gives 24 awards annually to literary works in the languages it has recognized and an equal number of awards to literary translations from and into the languages of India.
• Besides the 22 languages enumerated in the Constitution of India, the SahityaAkademi has recognised English and Rajasthani as languages in which its programme may be implemented.
• The SahityaAkademi award is the second-highest literary honor by the Government of India, after the Jnanpith award.

Sangeet Natak Academy:

• Sangeet Natak Akademi, the apex body in the field of performing arts in the country, was set up in 1953 for the preservation and promotion of the vast intangible heritage of India’s diverse culture expressed in forms of music, dance and drama.
• The management of the Akademi vests in its General Council.
• The Chairman of the Akademi is appointed by the President of India for a term of five years. The functions of the Akademi are set down in the Academy’s Memorandum of Association, adopted at its registration as a society on 11 September 1961.
• The registered office of the Akademi is at Rabindra Bhavan, 35 FerozeShah Road, New Delhi. Sangeet Natak Akademi is an autonomous body of the Ministry of Culture, Government of India

National School Of Drama:

• The National School of Drama is one of the foremost theater training institutions in the world and the only one of its kind in India.
• It was set up by the Sangeet Natak Akademi as one of its constituent units in 1959.
• In 1975, it became an independent entity and was registered as an autonomous organization under the Societies Registration Act XXI of 1860, fully financed by the Ministry of Culture, Government of India.

3. Carnatic Music recent controversy

Subject: History

Section: Art and culture

Concept :

The history of the system of music that prevailed in India from ancient times, goes back to the Vedas. The Indian musical system shows to what heights the genius of man could soar in quest of new forms of musical expression. Apart from its entertainment value, music was cherished and practised for its quality of lifting mankind to a nobler plane, enabling the soul to attain eternal bliss. The perfect tone system and the extensive raga and tala systems of Indian music, make it comparable with any other sophisticated musical system of the world.

The earliest treatise we have on music is the Natya Sastra of Bharata. Other treatises on music after Bharata, such as the Brihaddesi of Matanga, Sangeeta Ratnakara of Sharangadeva, Sangeet Sudhakara of Haripala, Swaramelakalanidhi of Ramamatya, etc., provide us a fund of information about the different aspects of music and its development during the different periods.

The ancient Tamils of South India had also developed an highly evolved system of music with its solfa methods, concordant and discordant notes, scales and modes, etc. A number of instruments were also used to accompany song and dance. The Tamil classic of the 2nd century A.D. titled the Silappadhikaram contains a vivid description of the music of that period. The Tolkappiyam, Kalladam and the contributions of the Saivite and Vaishnavite saints of the 7th and 8th centuries A.D. also serve as resource material for studying musical history.

The course of the evolution of Indian music saw the emergence of two different sub systems as Hindustani and Carnatic music. In Haripala’s “Sangeeta Sudhakara”, written in the 14th century A.D., the terms Carnatic and Hindustani are found for the first time.

• Carnatic music owes its name to the Sanskrit term KarnâtakaSangîtam which denotes “traditional” or “codified” music.
• Composed of a system of Ragam (Raga) and Thalam (Tala), it has a rich history and tradition.
• Carnatic Sangeet has developed in the south Indian states of Tamil Nadu, Kerala, Andhra Pradesh and Karnataka. These states are known for their strong presentation of Dravidian culture.

Renaissance of Carnatic Music

• The course of the evolution of Indian music saw the emergence of two different subsystems as Hindustani and Carnatic music. Both the terms emerged for the first time in Haripala’s “SangeetaSudhakara”, written in the 14th century A.D.
• The two distinct styles, Hindustani and Carnatic came into vogue after the advent of the Muslims, particularly during the reign of the Mughal Emperors.
• Purandardas (1484-1564), a prolific poet-composer and mystic of Vijayanagar, is considered to be the father of Carnatic music (Carnatic SangeetaPitamaha).
• Venkatamakhi is regarded as the grand theorist of Carnatic music. In 17th century AD, he developed “Melakarta”, the system for classifying south Indian ragas. There are 72 Melakartas at present.
• Tyagaraja (1767-1847), his contemporaries SyamaSastri and MuttusvamiDikshitar are together known as the “Trinity” of Carnatic music.

Difference between Carnatic and Hindustani Music

• Carnatic music originated in South India whereas Hindustani music in North India.
• It is believed that the music of India was more or less uniform before the 13th century. Hindustani synthesises with Vedic, Islamic and Persian traditions. Carnatic is comparatively untouched and developed on the original lines.
• Carnatic music has homogenous and Hindustani music has a heterogeneous Indian tradition.
• Carnatic music has a restrained and intellectual character as compared with the more secular Hindustani traditions.
• The major vocal forms of Hindustani music are Dhrupad, Khayal, Tarana, Thumri, Dadra and Gazals. While Carnatic music has several varieties of improvisation such as Alapana, Niraval, Kalpnaswaram and Ragam Thana Pallavi.
• Hindustani music has various gharanas like Lucknow, Jaipur, Kirana, Agra etc., wherein Carnatic music no such gharanas found.

GITAM

Gitam is the simplest type of composition. Taught to beginners of music, the gitam is very simple in construction, with an easy and melodious flow of music. The music of this form is a simple melodic extension of the raga in which it is composed. The tempo is uniform. It has no sections dividing one part of the song from the other. It is sung without repetition from the beginning to the end. There are no intricate variations in the music. The theme of the song is usually devotional, though there are a few gitas in praise of musical luminaries and Acharyas. A notable feature of the gitam is the existence of gitalankara phrases like a iya, a iyam, va iya, etc., called matrika padas, reminiscent of similar syllables occuring in Sama gana. Gitas have been composed in Sanskrit, Kannada and Bhandira bhasha. Purandaradasa’s introductory gitas in praise of Ganesha, Maheswara and Vishnu, collectively referred to as Pillari gitas, form the very first set of gitas taught to the students of music. As distinguished from the type of gitas described above, known as Lakshya gitas or Samanya gitas, which, as the name itself suggests, describe the Lakshanas of the raga in which they are composed. Paidala Gurumurti Sastry was a prolific composer of gitas after Purandaradasa. Venkatamakhi too has composed many Lakshana gitas.

SULADI

Very much like the gitam in musical structure and arrangement, the Suladis are of a higher standard than the gitam. The Suladi is a talamalika, the sections being in different talas. The sahitya syllables are fewer than in the gitas and there is a profusion of vowel extensions. The theme is devotional. Suladis are composed in different tempos vilambita, madhya and druta. Purandaradasa has composed many Suladis.

SSVARAJATI

This is learnt after a course in gitams. More complicated than the gitas, the Svarajati paves the way for the learning of the Varnams. It consists of three sections, called Pallavi, Anupallavi and Charanam. The theme is either devotional, heroic or amorous. It originated as a dance form with jatis (tala, solfa syllables like taka tari kita naka tatin gina tam) tagged on. But later, Syama Sastri, one among the Musical Trinity, composed svarajatis without jatis, which are brilliant concert pieces, noted for their musical value.

JATISVARAM

Very similar to the svarajati in musical structure, this form- Jatisvaram-has no sahitya or words. The piece is sung with solfa syllables only. It is noted for its rhythmical excellence and the jati pattern used in it. This is a musical form belonging to the realm of dance music. In some Jatisvarams, the Pallavi and Anupallavi are sung to jatis and the Charanas are sung to a mixture of svaras and jatis. There are also Ragamalika Jatisvarams.

VARNAM

The Varnam is a musical form in Carnatic Music. Whereas musical forms like the Kirtana, Kriti, Javali, Tillana, etc. have their similar counterparts in Hindustani Music, the Varnam does not find a counterpart. The Varnam is a beautiful creation of musical craftsmanship of a high order, combining in itself all the characteristic features of the raga in which it is composed. This form is aptly called a Varnam, since many of the svara group patterns called ‘Varnas’ in ancient music, are dexterously interwoven in its texture. Practice in Varnam singing helps a musician to attain mastery in presentation and command over raga, tala and bhava. The vocalist gets a good training for the voice and the instrumentalist a good mastery over technique. Very few words and profusion of vowels mark the sahitya of this form. The theme of the piece is either bhakti (devotion) or sringara (love).

There are two types of varnams, one called the Tana Varnam and the other called the Pada Varnam. While the former is a musical/concert form, the latter is purely a dance form. There are two angas or sections in a varnam, known as the Purvanga constituting the pallavi, anupallavi and the muktayi svaras, and the Uttaranga or the Ettukadai, comprising the charanam and the charana svaras. The pada varnam has sahityarn or words for all the angas unlike the tana varnam which has sahityam only for the pallavi, anupallavi and charanam.

Varnams have been composed in all the major ragas and most of the minor ragas, in all the principal talas. Pachchimiriyam Adiyappayya, Sonti Venkatsubbayya, Syama Sastri, Swati Tirunal, Patnam Subrahmanya Iyer, Ramnad Srinivasa Iyengar and Mysore Vasudevachar were prominent composers of Varnams.

KIRTANAM

The Kirtanam had its birth about the latter half of the 14th century. It is valued for the devotional content of the sahitya. Clothed in simple music, the kirtanam abounds in Bhakti bhava. It is suited for congregational singing as well as individual presentation. The Talapakam composers of the 15th century were the first to compose kirtanas with the sections, pallavi, anupallavi and charanas. Usually there are more than two charanas the music of all of them being the same. Composed in all the important traditional ragas and set to simple talas, the kirtanas offer soul-stirring music of the highest form of devotion. Bhadrachalam Ramadasa and Tyagaraja were prolific composers of Kirtanams.

KRITI

The Kriti is a development from the Kirtana. It is an highly evolved musical form. The highest limit of aesthetic excellence is reached in the Kriti composition. The raga bhava is brought out in all the rich and varied colours in this form. It was only after the emergence of the kriti as a musical form, that a definite style in musical compositions became a possibility. The pallavi, anupallavi and charanam are the minimum and essential angas of a kriti. The pallavi is sung first, followed by the anupallavi and ends with the pallavi. The charanam is sung next and linked with the pallavi before ending. The Carnatic music world owes its debt of gratitude to the Musical trinity for having made such a monumental contribution in the field of nibaddha sangeeta, in the form of kritis. There are kritis in all the existing ragas and in all the principal talas. The kriti as a musical form has many features in common with the Dhrupad of Hindustani music. Muthuswamy Dikshitar has composed many kritis in the Dhrupad style.

Besides the essential angas, many decorative angas are also appended to kritis for embellishment. They are (a) Chittasvaras or a set of solfa passages, sung at the end of the anupallavi and charanam, (b) Svara-sahitya – an appropriate sahitya is supplied for the chittasvara, (c) Madhyamakala sahitya – an integral part of the kriti, (d) Solkattu svara – resembling the chittasvara, this has jatis along with svaras, (e) Sangati – variations on a musical theme, developed step by step, (f) Gamaka – the dhatu is flooded with gamakas, (g) Svarakshara dhatu matu alankara, where the svara and the sahitya are identical, (h) Manu-pravala beauty – words of two or three languages figure in the sahitya of a kriti, (i) Prosodical beauties like Prasa, Anuprasa, Yati and Yamaka also figure mainly in many of the Kritis.

PADA

Padas are scholarly compositions in Telegu and Tamil. Though they are composed mainly as dance forms, they are also sung in concerts, on account of their musical excellence and aesthetic appeal. A padam also has the sections, pallavi, anupallavi and charana. The music is slow-moving and dignified. There is a natural flow of music and, sustained balance between the words and the music is maintained throughout. The theme is madhura bhakti, portrayed as bahir sringara and antar bhakti. The characters nayaka, nayika and sakhi represent respectively the Lord (Paramatma), the Devotees (jeevatma) and the Guru, who leads the devotee on to the path of mukti (liberation) by his sage counsel. Various rasas are depicted in all their delicate shades, through suitable ragas which reflect such rasas. All the nava rasas are portrayed in padas, though sringara is the main theme.

The pada, when sung, presents an epitome of the raga in which it is composed. Ragas specially noted for evoking typical rasa bhavas, such as Anandabhairavi, Sahana, Nilambari, Ahiri, Ghanta, Mukhari, Huseni, Surati, Sourashtram and Punnagavarali, to mention only a few are specially chosen for padas. Kshetrajana is the most prolific composer of padas.

JAVALI

A javali is a composition belonging to the sphere of light classical music. Sung both in concert programmes and dance concerts, the javalis are popular because of the attractive melodies in which they are composed. In contrast to the padas which portray divine love, javalis are songs which are sensuous in concept and spirit. They are generally set in madhyama kala. In these forms also, the nayaka, nayika and sakhi figure is the theme, but, there is no dual interpretation of the sahitya. The catchy and lilting tunes of the javalis enhance their appeal. Desya ragas like Paraj, Kaphi, Behag, Jhinjhoti, Tilang, etc. have also been used in these compositions. Javalis are composed in Telugu, Kannada and Tamil. This form resembles the Thumris of Hindustani Music.

TILLANA

The Tillana, corresponding to the Tarana of Hindustani music, is a short and crisp form. It is mainly a dance form, but on account of its brisk and attractive music, it sometimes finds a place in music concerts as a conclusion piece. It usually begins with jatis.

The name Tillana is constituted of the rhythmic syllables, ti la na. It is the liveliest of musical forms. This form is said to have had its birth in the 18th century. The sahitya of a tillana may be in Sanskrit, Telugu or Tamil. The presence of rhythmical solfa syllables alongwith a sprinkling of sahitya enhance the beauty of the form of the Tillana. The music is of comparatively slow tempo in Tillanas meant for dance purposes. The pallavi and anupallavi consists of jatis and the charana has sahitya, jatis and svaras. Ramnad Srinivasa Iyengar, Pallavi Seshayyar and Swati Tirunal are some of the prominent composers of Tillanas.

PALLAVI

This is the most important branch of creative music. It is in this branch of manodharma sangeeta, that the musician has ample opportunities of displaying his or her creative talents, imaginative skill, and musical intelligence. The term Pallavi is coined from the initial syllables of the three words: Padam, meaning words; Layam, meaning time and Vinyasam, meaning variations. The words chosen for a Pallavi may be either in Sanskrit, Telugu or Tamil and may be on any theme, though the devotional is always preferred. Neither the sahitya nor the music is precomposed. The singer has the choice to choose the sahitya, the raga and the tala. The two parts Prathamangam and Dvityangam are divided by the period of a short pause, called Padagarbham. The sahityam is repeated again and again, as the musical variations develop and proceed in stages of increasing complexity. The Khyal of Hindustani music has very much in common with the Pallavi of Carnatic music. Kalpana svaras are sung to the Pallavi after the different stages of development, including the Sangatis, Anuloma and Pratiloma (singing the theme in double and quadruple speeds and vice-versa) are sung. Sometimes the kalpana svaras are sung in different ragas to present a Ragamalika Pallavi.

‘Niraval ‘ literally means filling up by adjustments. In musical parlance, it refers to the art of singing the sahitya within the rhythmical setting, with improvisations in the musical theme. A suitable line of the sahitya from a kriti is chosen and musical improvisation is done within each cycle of the tala. Niraval is a must in Pallavis and an option in Kritis.

TANAM

This is a branch of raga alapana. It is raga alapana in Madhyamakala or medium speed. There is perceptible rhythm in this. The rhythmical flow of music, flowing in fascinating patterns, makes tanam singing the most captivating part of raga exposition. The word ‘Anantam ‘ is dexterously used to merge with the musical patterns.

To sum up; the outstanding feature of Carnatic music is its raga system, in the concept of which, the ideal or ‘absolute music’ is reached, and the highly developed and intricate tala system, which has made it extremely scientific and systematic and unique in all respects. Though clear cut demarcations in the style of musical presentation, similar to the gharanas of Hindustani music are not seen in Carnatic music, yet, we do come across different styles in rendering compositions.

4. State of employment in India: What a new report says about youths and women, concerns and caution

Subject: Economy

Section: Inflation and unemployment

Context:

• India Employment Report 2024 is recently released by the International Labour Organisation (ILO).

The index is based on seven labour market outcome indicators:

• percentage of workers employed in regular formal work;
• percentage of casual labourers;
• percentage of self-employed workers below the poverty line;
• work participation rate;
• average monthly earnings of casual labourers;
• unemployment rate of secondary and above-educated youth;
• youth not in employment and education or training.

The report has flagged concerns about poor employment conditions:

• The slow transition to non-farm employment has reversed;
• Women largely account for the increase in self-employment and unpaid family work;
• Youth employment is of poorer quality than employment for adults;
• Wages and earnings are stagnant or declining.

Report findings:

• The ‘employment condition index’ has improved between 2004-05 and 2021-22. But some states — Bihar, Odisha, Jharkhand, and UP — have remained at the bottom throughout this period, while some others — Delhi, Himachal Pradesh, Telangana, Uttarakhand, and Gujarat — have stayed at the top.

Major recommendation:

• There are five key policy areas for further action: promoting job creation; improving employment quality; addressing labour market inequalities; strengthening skills and active labour market policies; and bridging the knowledge deficits on labour market patterns and youth employment.

5. Sensing China threat, India joins race to mine new sea patch

Subject: Geography

Section: Eco geography

Context:

• India has submitted an application to the International Seabed Authority (ISBA), based in Jamaica, to explore two large areas of the seabed in the Indian Ocean outside its territorial waters.

Afanasy Nikitin Seamount (AN Seamount):

• Specifically, India is interested in the Afanasy Nikitin Seamount (AN Seamount), a cobalt-rich area that has already been claimed by Sri Lanka under different legal frameworks.
• This move by India is partly influenced by reports of Chinese vessels conducting reconnaissance in the same region.
• The AN Seamount, a significant geological structure in the Central Indian Basin, is located approximately 3,000 km from India’s coastline.
• It spans 400 km in length and 150 km in width, rising from an oceanic depth of about 4,800 meters to 1,200 meters above the seabed.
• This area is known for its rich deposits of cobalt, nickel, manganese, and copper, identified through surveys conducted around two decades ago.

Process of obtaining exploration rights:

• For any extraction activities to commence, countries must first obtain an exploration license from the ISBA, an autonomous international organization created under the United Nations Convention on the Law of the Sea (UNCLOS).
• These rights are specific to areas that are part of the open ocean, meaning ocean — whose air, surface and sea-bed — where no countries can claim sovereignty.
• Around 60% of the world’s seas are open ocean and though believed to be rich in a variety of mineral wealth, the costs and challenges of extraction are prohibitive.
• Currently no country has commercially extracted resources from open oceans.
• Another UNCLOS-linked body, the Commission on the Limits of the Continental Shelf, which decides on the limits of a country’s continental shelf, may impede India’s exploration ambitions.

Exclusive rights:

• Countries possess exclusive rights to the sea and seabed up to 200 nautical miles from their borders, extending this claim to the continental shelf if it naturally stretches beyond this limit, requiring detailed scientific proof.
• Claims to the continental shelf usually don’t exceed 350 nautical miles, but an exception allows Bay of Bengal countries, like Sri Lanka, to claim up to 500 nautical miles, pending approval.
• India’s interest in exploring the Afanasy Nikitin Seamount (AN Seamount) and another area in the Central Indian Ocean is driven by strategic concerns, including the presence of Chinese vessels in these regions.
• Any area not recognized as part of a country’s continental shelf is considered ‘high sea’ and open for exploration applications to the International Seabed Authority (ISBA).

India’s claim:

• The ISBA, upon reviewing India’s application to explore a cobalt-rich area already claimed by Sri Lanka, requested India to comment on the overlapping claim.
• A high-level Indian delegation presented scientific evidence to support its claim for exploration rights, with the ISBA asking for further clarifications.
• A final decision is awaited later this year. India has also sought permission to explore the Carlsberg Ridge for polymetallic sulphides, indicating its active interest in the Central Indian Ocean’s resources.
• Despite having staked a claim for its continental shelf up to 350 nautical miles and previously gaining exploration rights in other regions, India awaits formal approval for its recent applications.

Source: TH

6. On sustainable building materials

Subject: Environment

Section: Sustainable development  

Context:

• India is witnessing an unprecedented construction boom, with over 3,00,000 housing units erected annually. This growth brings economic opportunities and improved living standards but also poses significant environmental challenges.

Details:

• The building sector, a major energy consumer, accounts for over 33% of India’s electricity usage, contributing to environmental degradation and climate change.
• The India Cooling Action Plan forecasts an eight-fold increase in cooling demand between 2017 and 2037, emphasising the need for thermal comfort while reducing active cooling demand.

How can the construction sector become energy efficient?

• The construction sector can increase its energy efficiency by focusing on reducing energy and cooling demands, exacerbated by economic growth, urbanization, and climate change.
• Implementing measures like the Eco-Niwas Samhita (ENS) and the Residential Energy Conservation Building Code are pivotal.
  • Eco Niwas Samhita (ENS) is a Residential Energy Conservation Building code developed by BEE.
  • The code sets standards to limit heat gain and loss and ensure adequate natural ventilation and daylighting potential.
  • The Ministry of Power launched the Energy Conservation- New Indian Way for Affordable & Sustainable Homes (ECO Niwas) in 2018.
• The ENS introduces the Residential Envelope Transmittance Value (RETV), a measure of heat transfer through a building’s envelope, advocating for an RETV of 15W/m2 or less to enhance indoor cooling efficiency, occupant comfort, and reduce utility costs.
• Despite these guidelines, the prevailing construction practices rely on quick, energy-intensive methods emphasizing active cooling, compromising thermal comfort.
• There’s a notable gap in awareness regarding climate-appropriate design and architecture, partly due to misconceptions about the initial costs of constructing climate-responsive buildings.
• This highlights the need for a shift in perception and increased educational efforts towards sustainable building practices.

What materials are optimal?

• In warmer climates across four Indian cities, the study found Autoclaved Aerated Concrete (AAC) blocks, red bricks, fly ash, and monolithic concrete (Mivan) to be popular building materials.

Comparison of these materials:

• Monolithic concrete is preferred by developers for high-rise buildings due to its speed, strength, quality, and scalability, being chosen for over 60% of buildings currently in design and construction phases.
• However, AAC blocks stood out in RETV evaluations, demonstrating the lowest heat transfer values across various climates, thus identifying them as thermally efficient.
• Comparative analysis showed monolithic concrete has significantly higher embodied energy — 75 times more than AAC blocks for the same wall area, indicating a greater environmental impact.
• Red bricks, while requiring the most construction time, have moderate embodied energy but contribute to resource depletion and waste.
• Mivan technology, on the other hand, allows for the fastest construction, especially beneficial for taller buildings.
• Despite the environmental and sustainability concerns associated with each material, AAC blocks emerge as a preferable option. They strike an effective balance between low embodied energy and efficient construction time, making them a more environmentally friendly choice compared to red bricks and monolithic concrete, which have higher embodied energies and associated environmental impacts.

Challenges and prospects:

• Current reliance on materials like Mivan, despite its efficiency, poses sustainability issues due to its high embodied carbon and poor thermal comfort.
• The challenge for the construction industry is to innovate and produce building materials that are not only cost-effective and scalable but also durable, fire-resistant, and offer excellent thermal performance and climate resilience.
• There’s a need for interdisciplinary collaborations focusing on integrated design to improve aspects such as building orientation, Window Wall Ratio (WWR), U-value (heat transfer rate) of building components, glazing performance, and active cooling systems.

Source: TH

7. India TB Report-2024: Missing cases shrinking, 95% got treatment in 2023

Subject: Science and tech

Section: Health   

Context:

• The gap between the estimated number and actual cases of tuberculosis (TB) is closing, according to the India TB Report 2024 released by the Union Health ministry.

More on news:

• This is an important marker as the “missing cases” are assumed to not have received treatment, continuing to spread the infection to others.
• There were only 2.3 lakh missing cases in 2023, as compared to 3.2 lakh the year before, the report states.
• This gap has been reducing over the years, especially with the government’s Ni-kshay portal tracking all TB patients.
• Last year, when the in-country model was used to estimate the number of cases and deaths due to tuberculosis, there was a sudden drop in the mortality figures seen in the global report released by the WHO.

Key highlights of the report:

• According to the report, the majority of the TB cases are still reported by the government health centers, even as there has been an uptick in notifications by the private sector.
• Nearly 33% or 8.4 lakh of the 25.5 lakh cases reported in 2023 came from the private sector. 
• To compare, only 1.9 lakh cases were reported by the private sector in 2015, the year considered to be the baseline by the programme that is geared towards the elimination of the disease.
• The estimated incidence of TB in 2023 increased slightly to 27.8 lakh from the previous year’s estimate of 27.4 lakh. 
• The mortality due to the infection remained the same at 3.2 lakh as per the data. 
• These estimates are based on a new methodology that India developed and has since been accepted by the World Health Organisation.
• India’s TB mortality dropped from 94 lakhs in 2021 to 3.31 lakhs in 2022.
• The number of cases reported in a year also went down from 4 lakh in 2021 as per the previous method to 27.4 lakh in 2022, according to the data.
• The report shows that India reached its 2023 target of initiating treatment in 95% of patients diagnosed with the infection.
• It says 58% of those diagnosed were offered a test to check whether their infection was resistant to the first line drugs, an increase from 25% in 2015. 

About National Tuberculosis Elimination Programme:

• VISION: TB-Free India with zero deaths, disease and poverty due to tuberculosis 
• GOAL: To achieve a rapid decline in burden of TB, morbidity and mortality while working towards elimination of TB in India by 2025
• The National Tuberculosis Elimination Programme (NTEP), earlier known as the Revised National Tuberculosis Control Programme (RNTCP), is the Public Health initiative of the Government of India that organizes its anti-Tuberculosis efforts. 
• It functions as a flagship component of the National Health Mission (NHM) and provides technical and managerial leadership to anti-tuberculosis activities in the country.
• As per the National Strategic Plan 2017–25, the program has a vision of achieving a “TB free India”, with a strategy under the broad themes of “Prevent, Detect, Treat and Build pillars for universal coverage and social protection“.
• The program provides various free of cost, quality tuberculosis diagnosis and treatment services across the country through the government health system.

8. ICMR set to bring in evidence-based norms for lung cancer management

Subject: Science and tech

Section: Health   

Context:

• Lung cancer is a major health concern in India, representing 10% of all cancer-related deaths in the country.
• However, there are no evidence-based guidelines for its prevention, screening, diagnosis, management, or palliation.

Initiative by the Indian Council of Medical Research (ICMR):

• Recognizing the need for comprehensive guidelines, the ICMR plans to launch systematic reviews and meta-analyses to consolidate existing evidence.
• This effort aims to inform clinical practice and enhance patient outcomes in lung cancer management.
• An Expression of Interest (EoI) has been issued to researchers interested in undertaking systematic reviews and meta-analyses on lung cancer, focusing on pre-defined review questions (PICOs).
• These reviews will assess the quality of evidence using the Grading of Recommendations Assessment, Development, and Evaluation (GRADE) tool, evaluating the strength of the evidence and informing recommendations through the Evidence to Decision (EtD) framework.
• Scope and Methodology:
  • Researchers may be assigned multiple review questions, covering areas such as prevention, screening, and diagnosis.
  • The GRADE methodology will be employed to systematically assess and grade the evidence derived from the reviews, facilitating the formulation of guidelines.

About Lung Cancer:

• Lung cancer is a malignant tumour developed in the lung which is caused due to uncontrollable growth of cells within the lung tissues. There are two stages of lung tumour.
  • Non-small cell lung cancer
  • Small cell lung cancer
• The World Health Organization highlights lung cancer as a significant public health issue worldwide, primarily caused by tobacco smoking.
• Other risk factors include second-hand smoke exposure, occupational hazards, air pollution, genetic factors, and pre-existing lung diseases.
• Conclusion

Source: TH

9. WTO’s investment facilitation negotiations are not illegal

Subject: IR

Section: Int organisation

Context:

• At the 13th Ministerial Conference of the World Trade Organization (WTO) in Abu Dhabi, a significant event was the failure to adopt the agreement on Investment Facilitation for Development (IFD).

Agreement on Investment Facilitation for Development (IFD):

• Initiated in 2017 by 70 countries through the Joint Statement Initiative.
• IFD agreement aimed to establish legally binding measures to improve investment flows.
  • It also aims to create a more investor-friendly business environment by simplifying investment procedures and promoting transparency and predictability for foreign direct investment (FDI), particularly in developing and least-developed countries.
• It notably does not address market access, investment protection, or investor-state dispute settlement (ISDS).
  • ISDS allows foreign investors to sue states, is particularly contentious and incompatible with the WTO’s dispute resolution mechanism, which is limited to state-to-state claims.

Investment facilitation and Investment promotion: 

• The difference between investment facilitation and investment promotion is that promotion focuses on presenting a location as an attractive investment destination, while facilitation aims to simplify the process for foreign investors to establish or expand their businesses by addressing practical challenges they may face.

India’s stance:

• Despite being supported by over 70% of WTO members (around 120 of 166 countries) by November 2023, opposition, notably from India, prevented its inclusion as a plurilateral agreement within Annex 4 of the WTO Agreement.
• This development underscores the complexity of reaching consensus within the WTO, despite the provision under Article II.3 that allows for plurilateral agreements which bind only participating countries without affecting others.

Why India is not supporting the IFD agreement?

• India’s main argument against the inclusion of investment is that investment is distinct from trade; that is, not all investment leads to cross-border trade.
  • This stance challenges the widely accepted economic view that trade and investment are deeply intertwined, as evidenced by the fact that around 70% of international trade happens through global value chains, integrating both trade and investment activities.
• India’s reservations regarding the Investment Facilitation for Development (IFD) Agreement largely revolve around two main issues.
  • Firstly, there is a fundamental concern over whether investment matters should fall within the World Trade Organization’s (WTO) purview.
  • Secondly, India is apprehensive about the procedural aspects of incorporating the IFD agreement into the WTO rulebook.
• The latter, allowing foreign investors to sue states, is particularly contentious and incompatible with the WTO’s dispute resolution mechanism, which is limited to state-to-state claims.
• India, along with South Africa, has been pivotal in preventing the IFD agreement from being integrated into the WTO framework, reflecting broader concerns about the scope of the WTO’s mandate and the process for adopting new agreements.

Significance of Plurilateral agreements:

• Plurilateral agreements, like the IFD, are seen by some as a way to break through the consensus deadlock that often hampers the WTO’s decision-making processes, suggesting that embracing such agreements could be vital for the organization’s relevance and effectiveness.
• This viewpoint argues for a reconsideration of India’s cautious stance on plurilateral agreements within the WTO, especially given India’s growing economic significance.

Source: TH

10. Researchers call Australia carbon credit scheme a ‘catastrophe’

Subject: Environment

Section: Climate Change

Carbon Credit Scheme of Australia:

• The scheme covers almost 42 million hectares, an expanse larger than Japan, making it one of the world’s most extensive natural carbon offset initiatives.
• Since 2013, it’s claimed that these forests have absorbed over 27 million tonnes of carbon.
• The country aims to reduce carbon emissions by 43% by 2030 from 2005 levels, targeting net-zero emissions by 2050.

Issues with this carbon credit scheme:

• Despite being prone to climate-induced natural disasters, Australia is a significant exporter of gas and thermal coal.
• Australia’s per capita carbon dioxide emissions are among the highest globally at 15.3 tonnes, surpassing U.S. levels.
• This overview encapsulates the recent critical examination of Australia’s carbon credit scheme, highlighting its alleged inefficiencies and the broader implications for the country’s climate policy and international commitments.

Research Methodology:

• Utilizing satellite imagery to monitor forest growth, the study reveals substantial discrepancies in the reported carbon sequestration, casting doubt on over 27 million tonnes of absorbed carbon claims.

Key Findings:

• A major reforestation project aimed at carbon offset in Australia‘s Outback is found to be significantly underperforming, described by researchers as a “catastrophe” and “gross failure.”
• Nearly 80% of the targeted land for native forest regeneration showed stagnant growth or diminishing woodlands, challenging the effectiveness of these carbon offset efforts.
• Despite questionable outcomes, Australia has claimed millions of tonnes in carbon credits from these projects, intended to counteract emissions from polluting industries.

Source: TH

11. Saving India’s wild ‘unicorns’

Subject: Environment

Section: Species in news

RhoDIS (Rhino DNA Index System) India programme:

• Initiated by the Veterinary Genetics Laboratory of the University of Pretoria by creating a database using the unique DNA profile of individual rhinos.
• In 2016, the Ministry of Environment, Forests and Climate Change (MoEFCC), Government of India in partnership with Wildlife Institute of India (WII), the forest departments of Assam, West Bengal and Uttar Pradesh, and WWF India launched the RhODIS India programme.
• It is a wildlife forensics tool that was specially developed for investigating wildlife crime cases.
• Aim: To build a DNA database to aid scientific management of the population and combat crimes against the species.

​​How does RhODIS work?

• Wildlife Institute of India houses the RhODIS India laboratory that carries out all the analyses and maintains the DNA database as notified by the Government of India.
• In addition to creating the DNA database from horn, tissue, and blood samples, rhino dung was also used.
• RhODIS uses a DNA indexing system whereby genetic sequences which are created to get a signature unique to each individual rhino.
• In India, the laboratory protocols have been finalized by testing different types of samples like tissue, blood and dung.
• The RhODIS India database now has the DNA profiles of more than 500 individual rhinos and around 400 of these are derived from dung samples collected from all the rhino bearing areas of India.

Ideal habitat for Rhinoes:

• Manas national park is considered an ideal rhino habitat with its alluvial grasslands, semi-evergreen forest and moist and dry deciduous forests, as well as elevation ranging approximately between 50 and 250 metres above mean sea level (AMSL), and the Manas-Beki river system providing a constant source of water.

Crucial steps to ensure the future survival and well-being of the newly established rhino population at Manas:

• Genetic management plans to maintain genetic diversity and prevent inbreeding; sustainable habitat management practices to restore preferred rhino habitats;
• The establishment of a robust disease surveillance system to guard against potential health threats.
• Habitat management

Protected areas considered for Rhino translocation:

• Manas national park (Assam)
• Laokhwa WLS (Assam)
• Burhachapori WLS (Assam)

More about Indian Rhinoceros

• The Indian rhinoceros (Rhinoceros unicornis) is found only in the Brahmaputra valley, parts of North Bengal, and parts of southern Nepal.
• It has a single black horn that can grow up to 60 cm, and a tough, grey-brown hide with skin folds, which gives the animal its characteristic armour-plated look.
• The Indian rhino is listed as vulnerable in the IUCN Red List, it was earlier placed in the endangered category.
• It is listed as a Schedule I animal in the Wildlife Protection Act, 1972.
• According to the WWF, there are around 3,700 Indian rhinos in the wild today. Assam’s Kaziranga National Park alone has 2,613 animals, according to a census carried out in March 2022. There are more than 250 other rhinos in the Orang, Pobitora, and Manas parks.

Why are Rhinos poached 

• Rhinos have been poached for their horn, which is prized in some cultures.
• Ground rhino horn is used in traditional Chinese medicine to cure a range of ailments, from cancer to hangovers, and also as an aphrodisiac.
• In Vietnam, possessing a rhino horn is considered a status symbol

Indian Rhino Vision 2020

• Launched in 2005, Indian Rhino Vision 2020 is an ambitious effort to attain a wild population of at least 3,000 greater one-horned rhinos spread over seven protected areas in the Indian state of Assam by the year 2020.
• Seven protected areas are Kaziranga, Pobitora, Orang National Park, Manas National Park, Laokhowa wildlife sanctuary, Burachapori wildlife sanctuary and DibruSaikhowa wildlife sanctuary.
• It is a collaborative effort between various organisations, including the International Rhino Foundation, Assam’s Forest Department, Bodoland Territorial Council, World Wide Fund – India, and the US Fish and Wildlife Service.

Manas National Park and Tiger Reserve:

• Manas National Park is a national park, Project Tiger reserve, and an elephant reserve in Assam, India.
• Located in the Himalayan foothills, it borders the Royal Manas National Park in Bhutan.
• The park is known for its rare and endangered endemic wildlife such as the Assam roofed turtle, hispid hare, golden langur and pygmy hog.
• Manas is also famous for its population of wild water buffalo. Because of its exceptional biodiversity, scenery, and variety of habitats, Manas National Park is a biosphere reserve and a UNESCO World Heritage Site.
• The name of the park originated from the Manas River.
• The Manas river is a major tributary of Brahmaputra River, which passes through the heart of the national park.
• On 21 June 2011, it was removed from the List of World Heritage in Danger and was commended for its efforts in preservation.
• There are two major biomes present in Manas:
  • The grassland biomes: pygmy hog, Indian rhinoceros (re-introduced in 2007 after extinction due to heavy poaching during the Bodo uprising), bengal florican, wild Asian buffalo, etc.
  • The forest biomes: slow loris, capped langur, wild pig, sambar, great hornbill, Malayan giant squirrel or black giant squirrel, Chinese pangolin etc.
• Vegetation:
  • The monsoon forests of Manas lie in the Brahmaputra Valley semi-evergreen forests ecoregion. The combination of Sub-Himalayan Bhabar Terai region with riverine succession leading up to the Himalayan subtropical broadleaf forests makes it one of the richest biodiversity areas in the world.
• The main vegetation types are:
  • Sub-Himalayan light alluvial semi-evergreen forests in the northern parts.
  • East Himalayan mixed moist and dry deciduous forests (the most common type).
  • Low alluvial savanna woodland, and
  • Assam Valley semi-evergreen alluvial grasslands which cover almost 50% of the park.

Source: Mongabay