Safety & Efficacy of Traditional Medicine

Twenty years ago, in 2006, I was involved in the organisation of a regional meeting on traditional medicine in south Asia, which was held in Bangalore in India.

Recently, I have read some discussions about research on the safety and efficacy of traditional medicine. They reminded me of a speech given my friend Dr Bala on this theme in that meeting. Therefore, I have decided to share some extracts from his speech in this post.

Background to the Regional Meeting Held in Bangalore in 2006 

I was asked to organise and coordinate a meeting on traditional medicine practices in South Asia by a group of international NGOs. Similar regional meetings were held in that period in other parts of the worlds. Final reports from those meetings were put together and provided to the department of Traditional Medicine in the World Health Organisation (WHO) in Geneva.

However, my participation in the whole process was limited to the meeting held in India, since I was busy in other research work in that period. My friends from People's Health Movement in India had played a fundamental role in organising that meeting. 

Dr K. Balasubramaniam (1926-2011) from Health Action International Asia-Pacific (HAI-AP) had given the keynote address at that conference. Dr Bala, as everyone called him, had done pioneering work in access to essential medicines and was a key and respected figure in the international People's Health Movement (PHM) in those days. That meeting was also an opportunity to meet some of my old friends including Dr H. Sudershan from Vivekananda Girijana Kalyana Kendra, Dr Mira Shiva & Dr Ravi Narayan from PHM-India.

That conference was my first real encounter with traditional medicine. It was also the first time that I had visited an Ayurvedic medical college and understood the kind of training Ayurvedic doctors receive in India.

In this post, I would like to share some extracts of the keynote address of Dr Bala focusing on "Evaluation of Safety and Efficacy of Traditional Medicine". His keynote was much wider in scope. For example, he devoted a significant part of his speech to the subject of "Preserving and safeguarding biodiversity sustainability and traditional knowledges". 

In the coming days, I want to share some more papers from that conference. If you wish to read more documents from that meeting, I invite you to check the final report of that conference, which can be freely downloaded.

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Evaluation of Safety and Efficacy of Traditional Medicine 

Dr K Balasubramaniam, Sri Lanka

I believe that this conference will focus on herbal remedies which constitute the therapeutic armamentarium of traditional systems of medicine in the region.

The World Health Organization (WHO) has defined herbal medicines as "Finished labelled medicinal products that contain ingredients from aerial or underground parts of plants parts or other plant material or combination thereof, whether in the crude state or as plant preparations. The same WHO document adds "Medicines containing plant material combined with chemically defined active substances, including chemically defined substances and isolated constituents of plants are not considered to be herbal medicines".

It will therefore, follow that chemically defined isolated constituents of plants used in modern medicine are not herbal medicines, it has been estimated that these medicines derived from plants constitute about 25 percent in modern pharmacopoeia.

The World Health Organization posed a question 2002 whether a herbal medicine can be used clinically if no harm has been found after the use of that herbal medicine for generations and there is no documentation of such an effect. For an answer to the question, reference is made to an earlier WHO document published in 20003 which states "Absence of reported or documented side effect is not an absolute assurance of safety of herbal medicine. However, a full range of toxicology tests may not be necessary. Tests which examine effects that are difficult or even impossible to detect clinically should be encouraged. Suggested tests include immuno-toxicity, geno-toxicity, carcinogenicity and reproductive toxicity", It adds the following caveat, "only when there is no documentations of long historical use of a herbal medicine or when doubts exist about its safety; should additional tests be performed.

A rigid framework that has been prepared for modern synthetic drugs will never be possible for herbal medicines. There has to be some flexibility in toxicological requirements for herbal medicines.

Accordingly, a group of experts met in Chandigarh, India, to develop a suitable framework for carrying out toxicological studies on herbal medicines. The framework developed was broadly accepted by the Indian Council of Medical Research and the WHO. The actual tests to be carried out in the Chandigarh model are given in tables 1 & 2 (click on the tables for a bigger view).

The tests recommended by the WHO are given in Table 3 below (click on the tables for a bigger view).

WHO has called on clinical researchers to conduct clinical evaluation of traditional medicines within the specific framework of rigorous clinical pharmacological principles without ignoring or trampling on the concepts of the traditional systems of medicine.

I wish to take this opportunity to present an alternate view for evaluation of traditional medicine.

Traditional systems of medicine are a summation of several thousands of years of human experience in the selection of plants for preventive and curative healthcare. Practitioners of traditional systems of medicine argue that the efficacy of herbal remedies is due to the synergistic activity among the several ingredients of herbal mixtures. Complex mixtures of plants or herbs form the basis of traditional medicines. The mixtures are usually subject to crushing, heating, boiling, etc. It is possible that this process may change the chemical structure of the active ingredients in the plants.

Clinical pharmacologists and other scientists working on medicinal plants, on the other hand, focus all their attention on isolating and identifying biologically active ingredients in medicinal plants and herbs. When a promising new biologically active chemical ingredient is isolated, it goes through all subsequent investigations identical to those for a new synthetic chemical ingredient.

Traditional healers do not accept that the efficacy is necessarily due to the active ingredients in the plant.

According to the active ingredient approach the modern clinical pharmacologists, take the knowledge from the plant but throws away the wisdom of centuries.

If there is acceptable historical evidence that traditional herbal remedies have been effective in the treatment of certain diseases, but neither their active ingredients nor the mechanisms are known, is it ethically or morally acceptable to not use that treatment? Examples of successful treatment by traditional medicines will be useful to answer these questions,

In the fate 1980s children attending the Dermatology Department, Hospital for Sick Children, Great Ormond Street, London showed marked improvements in their eczema symptoms. These improvements were due to oral treatment with aqueous decoctions of a mixture of 10 Chinese medicinal herbs. Clinical experimentation and pharmacological testing revealed that a mixture of the 10 herbs were necessary and that the efficacy could not be attributed to any single active ingredient from any one of the 10 Chinese herbs, A placebo controlled double-blind clinical trial using the 10 Chinese herbs was carried out on 47 selected children with non-exudative eczema. The conclusions of the trial were to validate the standard of current conventional clinical trials utilized in the UK that the traditional Chinese therapy was efficacious.

If these children had to wait till the clinical pharmacologists had screened the 10 Chinese plants for active ingredients and tested them for biological activity, they would never have been given the chance of getting effective treatment with a mixture of 10 Chinese herbs.

Potential cytotoxic drugs are tested for their activity against experimental or human cancer cells. Efficacy depends on the ability to kill specific cancer cell types without affecting normal body cells. Studies on the effects of certain Ayurvedic herbal preparations for possible cytotoxic activity revealed that these herbal preparations did not kill the cancer cells but transformed them into normal healthy cells. These drugs, therefore, have a different mechanism of action, Classical testing methods would have missed this important anti-cancer activity.

I wish to pose a philosophical question. Is medical science one universal and uniquely expressed (western) paradigm – a biomedical paradigm? If it is possible to conceive of alternative methodologies, theories and practices in other domains such as music, logic, linguistics, art and politics, is it not possible to consider possibilities of alternative methodologies in medical science, knowing that doctors practice medicine within a biopsychosocial paradigm?

The guiding principles by which knowledge is built up in the biomedical paradigm are those of the scientific method where hypotheses are clearly stated, then tested and accepted or rejected as truth "until further notice" or "within the stated confidence limits” using only experimental or quasi-experimental designs – a deductive approach to problem solving.

Is it possible for research scientists to examine other methodologies, for example, using experiential methods – an inductive approach, to evaluate traditional herbal remedies?

There is an enormous amount of research on medicinal plants in research institutes in developing countries and the transnational drug industry.

Based on the WHO definition of herbal remedies and the herbal remedies used by practitioners of the traditional system, I wish to pose the following questions:

The Indian Council of Medical Research has taken the plant Pterocarpus marsupium from its use in folklore and Ayurvedic medicine to Phase III clinical evaluation for the treatment of diabetes mellitus using well accepted pharmacological principles. It was handed over to the industry for pharmaceutical development and marketing. This product will be marketed to practitioners of modern medicine. Table 4 (click on the tables for a bigger view) lists examples of modern drugs derived from plants that have been used in the traditional systems of medicine by ancient people around the world.

The question I wish to pose is as follows: "Will this type of research and development to isolate therapeutically active chemical ingredients achieve the objectives of this conference which is to promote the continuous development of traditional medicinal in the region to maximize its contribution in preserving and improving public health."

Let me make it clear that R & D to isolate therapeutically active ingredients from medicinal plants is of critical importance. There is no doubt about it.

But what I wish for you'll to discuss is the need for research to evaluate the safety and efficacy of the herbal remedies used by practitioners of the traditional systems of medicine. For example table 5 gives a 5 list of Ayurvedic remedies for some common ailments (click on the tables for a bigger view).

Is there a need to develop appropriate methods for clinical evaluation of traditional herbal medicines: methods and criteria not to be limited to the methods and concepts of modern biomedical science.

Interestingly much of the scientific literature for traditional medicine uses methodologies comparable to those used to support many modern surgical procedures: individual case reports and patient series with no control or even comparison group.

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For a full version of the keynote address by Dr Bala at the South Asia Regional Conference on Traditional Medicine, held in Bangalore, India in 2006, including the list of references, I invite you to download and read the conference report, that I had prepared. Please write to me at sunil.deepak@gmail.com if you would like any of the presentations made at the meeting.

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The 100 Sarees of Ms Roy

You never know where an online research will take you. Recently, an online search took me to a website where Indian women talk about their sarees and their memories linked to them. I spent a few hours reading about different kinds of saree-textiles, their designs and traditional weavings.

At the end, I have a new understanding about the kind of relationship persons can have with textiles, about which I had not thought earlier. It also brought back some memories from my childhood about my mother's sarees.

Let me start this by telling you about how I landed on that website.

Starting from Sonali Sen Roy

I was looking for information about the childhood of Sonali Sen Roy, who had become famous during the 1950s for her story with the Italian film director Roberto Rossellini.

Sonali was born in Banaras in the British India, her father was a doctor in the United Province and her mother was the elder sister of well-known Indian film maker from the 1950s, Bimal Roy.

The search took me first to Sonali's elder sister, then to her daughters and then to one of her grand-daughters, Ms. Bhattacharya Roy. Some years ago, Ms Roy had taken part in an online challenge of presenting 100 different saris, where she had talked about some of her family stories.

100 Sarees Pact Website

 The 100 Saree Pact website collects the stories of sarees, it describes its mission as, "This blog is an invitation to join and share the magic. Celebrate life, celebrate relationships, celebrate your past, your heritage, your memories, your moments, your connections through saree wearing. Enjoy the stories shared already, be enthralled ! Bring your sarees and their stories out into the world. Let them spread the happiness and positivity that we have all been surrounded with."

100 Sarees of Ms Roy

Ms Roy presented her 100 sarees on this blog during 2015. Her sarees come from different sources - the ones she bought, the one brought as gifts by her husband, the family heirlooms, the ones on loans from aunts and cousins ... Each saree is accompanied by a brief or a long description including some of her family memories.

For example, in one post, she talked about her maternal grand-mother, Sonali's elder sister: "This sari belonged to my Dimma (mother’s mother). She usually wore whites, greys, beige or very light colours. This is one of the few coloured saris I saw her wear, mostly when she went abroad. I lost her when I was still in college and hence a very occasional sari wearer but I did get two of her saris. This sari is special for another reason too. I wore it one of the first times I went out with my (then to-be) husband ..." 

In another post, she talked about the saree worn by her mother for her wedding: "The magenta Benarasi was bought from Indian Silk House. The zari work is exquisite, with three different kinds of butis all over and an intricate border and pallu. Even after almost 40 years, the zari hasn’t lost its sheen. Ma wore it only a couple of times after her wedding though ..."

There was one post, which might have been about Sonali, though she did not specify it: "She was for me a strand of red corals that my mother has always treasured and which I have worn on a couple of occasions. She was for me a letter she wrote to my mother when she lost my father and another she wrote at the time of my wedding, with an alpana-like doodle at the end. She was for me a frantic hunt for a fresco on a hot and humid afternoon in Santiniketan. I never saw her. For me, she lived in the many black and white photographs, and a few more recent ones in colour, from the family album and the many stories I heard about her from Ma and her siblings ..." 

Sarees as Repositories of Weaver-Traditions, Cultures, Memories

I don't have any emotional bond with any of my clothes - I buy most of them in the supermarkets, and when I am tired of them, give away some of them and throw out the others. There is no emotional relationship between me and the clothes. I guess that this would be true for most of us today.

On the other hand, reading about Ms Roy's posts about her sarees, gave me a glimpse of the different weaving traditions, the traditional motifs they use, the festive occasions on which special sarees are worn, the memories associated with them and how some sarees become family heirlooms. Even when they are old and worn out, their borders and embroidered parts may be kept and used for other sarees.

It is a completely different relationship with our clothes, something that we lose when we shift to today's factory made products and the consumer culture.

My Childhood Memories

In our old Delhi house, where we lived in one part and my maternal grand-parents in the other part, every year before the wedding season, a couple of men arrived from Banaras carrying on their heads, silk sarees wrapped in white cotton blankets. I think that they were middlemen and sellers, they did not weave themselves.

I remember standing there with other children, as they showed bright coloured silk-sarees with shimmering and richly embroidered zari borders and Pallus (the end of saree hanging over the shoulders).

Every year some of my aunts or uncles or cousins from the extended family was getting married and thus, the family-women needed new sarees. I remember some of sarees bought by my mother. When they became old, sometimes they were exchanged for pots and pans from another group of women visitors.

In The End

Going through some of Ms. Roy's posts and reading about her stories about specific sarees was a rewarding experience, it made me think of some of my old memories. It also brought out the importance of different textile museums and persons who are trying to conserve the priceless weaving traditions of communities such as sarees, kimonos and other traditional dresses.

Even in Italy, till some decades ago, families had traditions such as knitting, cross-stitching, embroidery and lace-making for their daughters' weddings. We still use some of the heirlooms from my mother-in-law's family at our home.

However, all those things are from the past, and often today's generation is dismissive about them, they would rather buy something new from the supermarket, as I do!

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Aurangzeb's Tomb

As I read about the Aurangzeb controversy in India, I was reminded of my trip to his tomb in January 2020, just before the Covid pandemic.

I am no fan of Aurangzeb, I think that he was a bigot and perhaps even a psychopath. However, in this post, I want to write about my visit to his tomb and to explain why I think that the idea of destroying or desecrating his tomb is wrong.

At the end, I also want to talk a little bit about India's syncretic Ganga-Jamuni culture in relation to the Aurangzeb controversy.

Visit to Aurangzeb's Grave

I was in Aurangabad and had gone to visit the Ajanta caves. Living abroad, I always feel that I am losing touch with the India of ordinary people, thus, whenever possible, instead of taking cars, I try to travel by the public transport buses.

Coming back from Ajanta, I was sitting in front in the MSRT bus and talking to the driver, when he told me that the bus will pass through Khuldabad, where Aurangzeb was buried in 1707 CE. I told the bus driver to drop me there.

Khuldabad is a little town in the Aurangabad district, a little bigger than a village. The bus dropped me in a crowded market street and when I asked about the Aurangzeb tomb, people pointed to a simple looking mosque in a side street.

I was a little surprised that the Mughal emperor had his tomb in such an insignificant mosque in such an insignificant place.

Inside the mosque, his grave was immediately after the entrance, to the left side. The grave was surrounded by a marble-lattice (sangmarmar ki jaali) enclosure. There was no makbara or a monument, and his grave was just an open strip of ground, exposed to the rain and wind. A tree was planted in it but it seemed to be having difficulties growing.

The board near the grave said that Aurangzeb had died in Ahmadnagar, but was brought here, 130 kms away, because he wanted to be buried near the tomb of the 14th century sufi saint Zainuddin Shirazi. According to his wishes, no monument was built around his grave.

The marble enclosure and floor were made two centuries later by Lord Curzon and the Nizam of Hyderabad.

The Mosque and Dargah of Zainuddin Dawood Husain Shirazi

The structure has different buildings, including the dargah of the sufi saint Zainuddin Shirazi, with his grave covered with a red chadar.

Near the sufi tomb there was a board with a list of 15-18 names starting from Prophet Mohammed  and leading to the name of Zainuddin Shirazi.

The caretaker had explained about that board and how the sufi saint of Irani origins was linked to the Prophet, but I don't remember it. At that time I had thought that I will write about it in my blog but then Covid arrived and I forgot all about it.

Near the saint's tomb, there was also a special niche made in the wall holding some relic or important Islamic symbol from Mecca.

The caretaker had also explained why that relic or symbol was considered holy, but I do not remember it now. Saint's tomb was located a proper makbara.

The mosque was located on the other side, in front of the saint's makbara (image below).

In the courtyard behind the makbara on one side, there were other religious structures, which looked like shrines of some kind. I have forgotten the details about them. You can see them in the image below.

It was a very simple and peaceful place and I could feel its sacredness and spirituality. It was wonderful to sit there and soak in its atmosphere.

How to do Namaz

As a child I grew up in front of a Muslim graveyard and not very far from the big Idgah of old Delhi. I have been to mosques in different countries around the world and I have watched persons doing the prayers (Namaz), but I was not aware of the whole process of how to do Namaz, and its different positions.

Outside this mosque in Khuldabad, I found a board (left) explaining the different positions assumed during namaz, with text in both Urdu and Hindi. I was fascinated by it.

You can see that board in the picture. It makes me think of a set of stretching exercises, somewhat similar to yoga, which means that apart from the religious significance of doing namaz, it might also be good for the body as an exercise. (You can click on the image for a bigger view)

Talks of Destroying Aurangzeb's Tomb

While not being an admirer of Aurangzeb, I do not agree with the idea of destroying or desecrating his tomb, for 2 main reasons:

(1) I think that Aurangzeb paid for his brutality and sins in his own life. He was 89 years old when he died and had been the Mughal emperor for almost fifty years. The last 25 years of his life were spent in the Deccan region of India, fighting different adversaries, especially the Marathas. Imagine spending all your old age, away from your home, fighting different wars, and dying far away from your family and children.

I think that killing other human beings extracts a price from us, it leaves a scar on our soul. The number of soldiers coming back from a war and suffering from PTSD, is one example of this negative impact of violence on ourselves. Imagine killing your brothers and sisters, and imprisoning your father - persons who had loved you and perhaps played with you when you were young. Could he just kill them all ruthlessly without paying a price for it psychologically? What lessons did his own children learn from their father? After being brutal to his father and siblings, did he become afraid of his own wives and children, that they could also kill him?

He sowed the seeds of hate and violence, he reaped the crops of those seeds. Look at his family history - after his death, his son Azam Shah became emperor for only 3 months. Then he, his brother and their children were all killed by another brother, who became the new emperor Bahadur Shah, but he lasted only for 5 years. He was succeeded by his son, who lasted one year and was killed. And their stories of killings go on.

Apart from the killings and destruction of families, Aurangzeb's reign started the decline of the Mughal dynasty and empire, from which they never recovered. Thus, I feel that Aurangzeb paid for his karma in his own life and through his descendents.

(2) I also believe that we can't think of destroying or desecrating sacred places of any religion, also because we have to remain true to ourselves and our beliefs. Personally, I believe in the message of Upanishads, Aham Brahmo Asti, that there is god in each one of us, without any exceptions. 

Aurangzeb's grave is open to the sky. After more than 300 years, I am not sure if you will find his bones. And even if you can find them and dig them out, what will you do to them? Is that going to vindicate you and give you any peace of mind?

Aurangzeb killed many persons, destroyed many temples and religious places, but then I hope that his soul made peace with what he had done and he could forgive himself. I certainly don't think that his actions gave him any happiness. He left behind an inheritance of hate and bloodshed. What would anyone else get today by destroying his grave?

On the other hand, his grave remains as a warning, a place for us to not forget him and to think about his life, about his inheritance and his impact. Hate and violence do not lead to happiness and prosperity, they can only lead to more hate and violence.

India's Syncretic Traditions of Ganga-Jamuni Culture

I grew up surrounded by ideas of living together and loving of different religions and cultures. During my extensive travels in India, I feel that among the ordinary people, those basic ideas of mutual love and respect are still alive today.

The caretaker of Aurangzeb's grave was very generous and kind in taking me around, showing me different parts of the shrines and explaining. I remember sitting with him in the courtyard, talking to him about the changing world and the future of our children and grandchildren, as old men tend to do everywhere. For me, that is the essence of Ganga-Jamuni culture - recognising, respecting and loving our essential humanity.

I feel that today this Ganga-Jamuni culture is under attack not only by the religious hardliners and bigots of the different religions, but also by persons of our civil society when they start differentiating between bigotries - they can only criticise some, and about the others, they prefer to keep quiet, or worse, try to justify, minimise or white-wash them.

 

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If you have read this far, perhaps you would also like to read my ideas about blasphemy (it is in my Hindi blog).

In the picture-credits above, the name of the place has been shown as Khulnabad instead Khuldabad - I regret that. All the pictures are by me.

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Yajnadevam's Indus Valley Script

Reading about the meanings and significance of the figures & inscriptions on Indus Valley seals is one of the enduring areas of my interest. It all started a couple of decades ago when I read some papers by Prof. Maurizio Tosi, head of archaeology department of Bologna university, and one of his researchers, Dennys Frenes. I have already written about it many times, especially in my Hindi blog.

Since then, every time someone claims to have understood those figures and signs from the Indus Valley, I try to read their papers. Most such papers are written by people who are passionate about the subject but do not have formal training to do such analysis.

This post is about a new paper by Bharath Kumar (Yajnadevam) on the deciphering of Indus Valley inscriptions, which seems interesting.

Yajnadevam Paper on Indus Valley Language

The researcher uploaded a 99 pages long paper titled "A cryptanalytic decipherment of the Indus script" on Academia website on 13 Nov. 2024. In the summary of this paper, he explains that through cryptographic analysis, he has found that "Indus script is a proto-abugida segmental" language, which means that it is a writing system that groups consonants and vowels into units.

He also explains that "Indus inscriptions are in grammatically correct post-Vedic Sanskrit" and through his analysis of more than 500 signs, he provides their understandable meanings. He also shows connections between the Indus Valley and the Brahmi scripts.

The Indus Valley alphabet is in allographs, which means that each letter of the alphabet can have some or many variations. I think that developing allographs over long periods and vast territories is to be expected, because there were no printing presses and scripts needed to be copied manually. Sometimes the allographs can be also be made for practical reasons by making conscious changes in the way some letters are written (for example, related to the surface of writing materials).

One difficulty of deciphering Indus Valley inscriptions has been the short number of signs in the Indus Valley seals - the median inscription length is about 5 signs and there are only about 50 inscriptions that are 10 signs or longer.

Yajnadevam explains that the oldest inscriptions are about 6000 years old, while the most recent ones are about 1700 years ago, and among the more recent ones, Indus Valley signs are sometimes mixed with Brahmi script signs. He also mentions a 3500 years old inscription in Belpahar, Odisha (Vikramkhol cave), which is half-way between Indus Valley and Brahmi scripts. About 83% of the inscriptions are from right to left.

Allographs of specific signs can lead to mistakes of 2 kinds - two different signs may be thought of as allograph of same sign; and, allographs of same sign can be interpreted as two different signs.

He underlines similarities between Indus Valley to Gupta period seals, and links them with specific shlokas from the Vedas. For example, he writes, "The contents of the Indus inscriptions are similar to Janapada coins and Gupta-era seals that they resemble. Long seals seem to use a concise Vedic concept as a motto or slogan." At the same time, he looks for origins from other languages such as Sumerian and old Akkadian.

The image below, presents the different allograph variations for some of the alphabet characters from his paper (click on images for a bigger view).

He concludes his paper with the following: "This is the only cryptanalytic decipherment and the only one that uses well-established mathematical models and methods instead of guessing sign values based on their appearance. This decipherment is the only full decipherment and the only one where every sign and every stroke has been resolved, the only one that is programmatically reproducible, the only one where the decipherment can be followed sign-by-sign by the reader ... We also show how the constraints and habits of the Indus script carry on to Brahmi inscriptions of the early historic era." 

The image below, presents his analysis of a standardised Indus Valley alphabet, along with Brahmi and Devnagari alphabets from this paper. You can draw your own conclusions if there are similarities between the 3 alphabets - personally, I am struck by the similarities in the 3 alphabets for different letters. I am also struck by his assertion that this analysis provides meaningful results for the all the epigraphs he has looked at.

In Conclusion

This paper on the decipherment of the Indus Valley script is almost 100 pages long, out of which around 50 pages are descriptions of individuals inscriptions. I do not have the domain-skills needed to judge its scientific validity.

Probably, over the coming months and years, linguists, philologists and experts of Indus Valley civilisation will look at it and decide if his ideas and results make sense. Many years ago, I remember reading a somewhat similar understanding of the Indus Valley seals in a paper by Ms Rekha Rao on Academia, in which she had proposed that the unicorns on the seals were representations of the Vedic priests.

I am not sure how reliable can be papers uploaded on Academia, without being presented on a peer-reviewed journal. I do hope that Mr Bharat Kumar (Yajnadevam) is working on such a paper for a peer-reviewed journal.

We have limited understanding about the languages and cultures of people living under Indus Valley civilisation. It will be good for someone to finally solve this riddle, so that even from the limited seals and inscriptions, we can learn more about that period of India's history.

With AI, many persons have started saying that AI will help us in understanding Indus Valley script. I am not sure that AI has already reached such a level of expertise. However, AI may also help in expanding the findings of researchers and making sense out of them.

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PS2 (22/06/2026): Yajnadevam has finally explained the issues regarding publishing of his findings in a peer-reviewed journal. He wrote: "... The more consequential the paper, the more thorough and bulletproof it needs to be. There are unimaginable number of objections reviewers can come up with and most reviewers and journals are extremely uncomfortable with papers that challenge the status quo even slightly. They would prefer to reject a paper than having to retract it. ... Of all the subjects in the world, the Indus script is the most difficult to publish on. As Gregory Possehl put it: "Deciphering the Indus script is a field strewn with the wreckage of careers". ... This is a very difficult arena and requires a very special strategy. That's all you need to know for now."

PS 1: On the social media, there are other persons raising questions about Yajnadevam's decipherment of IVC seals. For example, Nityanand Mishra has presented some arguments against it: "I have read parts of YD's paper, his proposed decipherment, and his readings and translations of the IVC inscriptions. While the effort is commendable, some assumptions are questionable. As for the results, they are far from convincing. The deciphered texts do not look like natural expressions or statements in either Vedic or post-Vedic Sanskrit. Sivasenani Nori (a traditional scholar of Sanskrit) made the same observation on the bvparishat list a few months ago: "I glanced at the Sanskrit sentences and they don't sound anything like in Veda or the classics." On the INDOLOGY list too, YD's work has received negative comments. I would like to see if any Vedic or Sanskrit scholar of note has a positive view of the decipherment purely from the perspective of Vedic or post-Vedic Sanskrit. I also found YD's translations to be inaccurate at many places. ... Without a review by peers, it is difficult to buy a new theory. Rememeber Rishi Rajpopat's claim of cracking a 2,500-year-old Sanskrit puzzle. More than two years have passed, the claim still has few takers. The decipherment of Brahmi and Kharoshthi by James Princep (whose decipherment was aided by linguists and built on work of several epigraphists) is universally accepted because there is no doubt about the deciphered readings not being natural expressions or sentences in Sanskrit, Prakrit, Pali, etc. This cannot be said, unfortunately, about YD's proposed decipherment."

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Searching For Lila

I came across the story of Lila Lakshmanan Biro by chance. Half-Indian and half French, she has worked as a film-editor with many of the famous French film-directors like Godard and Truffaut in the 1960s.

Born in 1935, Lila will be ninety years old this year. She lives in an old age home in a suburb near Paris. My artist friend Samit Das, whom I have found on the journey to find Lila, has confirmed to me that she is fine and keeping well.

I first met Lila in a book when she was called Lila Herman. Finding her reincarnations into other names was an exciting search. This is the story of that journey.

 My First Encounter With Lila

I came across her first when she was known as Lila Herman, while doing research about the Roberto Rossellini - Sonali Dasgupta story.

In December 1956, Roberto, well-known Italian director, famous for his neo-realistic films like Rome, Open City and Paisà, came to India to shoot a film. Sonali Dasgupta, wife of Indian producer-director Harisadhan Dasgupta, was supposed to collaborate with Roberto. The two fell in love and this created a huge scandal in India. Hounded by journalists and an upset family, Sonali looked for support. She found some support in Lila Herman.

At that time, Lila was married to Jean Herman, an aspiring film-director. Jean was teaching French in Bombay in those days, was one of Rossellini's assistants for his film. They had a son in Paris in 1955 and then come to Bombay, where they had stayed for 2 years.

That is how I started my search to learn more about Lila Herman, but I found very little. She edited some films in early 1960s and then disappeared. 

Lila Herman to Lila Lakshmanan

The search for Lila Herman was a little complicated because her husband film-director Jean Herman had also disappeared and had become famous as Jean Veutrin, a well-known French mystery-writer. 

She had disappeared because she and Jean had divorced. After the divorce, she had become Lila Lakshmanan and had continued to work as film-editor. However, after a few years, even the trail of Lila Lakshmanan also turned cold.

Lila & Atila Biro

Searching for Lila Lakshmanan brought me to her second marriage to the well-known French architect and artist of Hungarian origins, Atila Biro. She had become Lila Biro.

Her husband Atila was born as Attila in Hungary in 1931, studied in Germany and settled in Paris. As a painter, he chose to write his name as Atila. Many of his works are part of different European art museums.

Atila and Lila married in 1963. Together, Atila and Lila, travelled to Italy, Marocco and many times to India. Atila had a large number of exhibitions in different European countries and the two often travelled together for those events. I don't know if Atila and Lila had any children. Atila Biro died in 1987. You can check some of his works on the Facebook page of Atila Biro foundation.

Lila Biro's Book

In 2012, Lila Atila Biro wrote a book called "Atila, Le soleil des métamorphoses" (Atila, the Sun of Metamorphosis).

The preface of this book was written by Lila's first husband Jean Vautrin (Herman), who wrote about his admiration for Atila's paintings.

I think that Jean and Lila had separated because she was in love in Atila. She married Atila, soon after her divorce while Jean had his second marriage a few years later. However, the three of them, Jean, Lila and Atila, probably continued to be good friends. 

Lila Biro Interview in 2017

In 2017, an event was organised in Paris on visual mapping of modernism in Indian art. In that connection, some art exhibitions and talks were organised, in which clips from some of Lila's films were also included. On that occasion, in an interview to Bombay Mirror by Sumesh Sharma, Lila had shared some information about her life:

"Lila was born in Jabalpur in 1935, where her father Lakshmanan was the director of All India Radio, while her mother was French. As a child, she had lived in Delhi, Lucknow and Bombay. Then her parents separated and 12 years old Lila arrived in a boarding school in England.

She went to Sorbonne to study English Literature when she was 17. Lila successfully graduated and went to study at the French film school ID’HEC, where she met her first husband, Jean Herman, now better known as the French writer Jean Vautrin. She was studying editing as she didn’t think she was creative enough to be a director.

During her last year at the film school in Paris in 1955, she gave birth to her son. Lila’s mother, found a job for Jean Herman teaching French Literature at the Wilson College in Bombay, thus, they lived there for 2 years until the end of 1957.

Regarding the Roberto-Sonali story she said: “I was with Rossellini, when he met Sonali Das Gupta. He was a man who had the accomplishment of perusal; he would be convincing and would get his way with people. When Sonali’s affair became public, she came and lived with me on Carmichael Road."

In the End

In late 1960s, Lila Biro continued to work as editor for different well-known French film directors. Thus, in the films she edited, her name appears as 3 different persons - Lila Herman, Lila Lakshmanan and Lila Biro. I think that she stopped working as film-editor in early 1970s.

About the impact of her work, in 2023, film producer Daniel Bird said: "Lila Biro is a remarkable character who witnessed Rossellini in India, played a key role in the cutting of key titles of the French New Wave, and was a close collaborator of the Hungarian émigré painter, Atila Biro. For me, however, she’s also the star witness in a crime against film grammar: the jump cut. The editing style of Jean-Luc Godard’s Breathless is now legendary, but I’ve always wondered what it must have been like in the cutting room when that revolutionary editorial decision was made. Thanks to Lila, that moment is vividly brought to life."

There was another Indo-French woman connected to the films - Leela Naidu. Leela was 5 years younger to Lila. In 1955, when Lila and Jean had come to Bombay, Leela was crowned Miss Femina. I wonder if the two had met and had been in contact in India or in France.

I am also curious about Lila and Jean Herman's connections with the films in Bombay, as the two had just come out of the cinema institute in Paris and must have been very interested to collaborate with Indian film-makers. It was the time when films like Mughle Azam and Devdas were being made.

To conclude this article, here is a romantic picture of a dedication of a painting by Atila to his "ma Lila cherie" (my dear Lila) from 1969 (click on the picture for a bigger view).

I wish I could talk to her and do a long oral-history chat to explore her memories.

***** 

Note: The first image of Lila presented above has been made from 2 images I found on internet. However, I could not find any picture of Lila and Atila together. The second image of Atila's dedication of a painting is taken from the facebook page of Atila Biro foundation.

Stories from A Honey-Bee Lover

A couple of months ago, I was in India, staying with my sister in Gurgaon. One day, while looking out of the window, I was amazed to see a huge beehive hanging from the bottom of a balcony in the neighbour's house. I asked my brother-in-law, he said that it is in the house of his friends, a doctor-couple - Sanjoy and Rakhi Gogoi.

I had never seen such a big beehive and was wondering if they were they not afraid of those bees? (Click on the pic for a bigger view)

A couple of days later, while going out for walk with my brother-in-law, we met Dr Gagoi. I told him about my surprise when I had seen that beehive from the window.

It turned out that Dr Gagoi is passionate about the subject of the bees and beehives. This post is about Dr Gagoi and his passion for the honey bees.

Dr Sanjoy Gagoi's Honeybees' Story

A few years ago, he saw a beehive growing in the terrace outside their kitchen. At that time, he did not know anything about the bees. He was alarmed by it and asked for someone to come and remove it.

A couple of guys turned up in his house. They used smoke to kill the honeybees and then removed the beehive and took it away for the honey. They also gave some honey to him. 

Later, when he saw hundreds of dead honeybees on his terrace, Sanjoy felt terrible, he felt that perhaps removing the beehive was not a good action. So he started to read about honeybees, their species, how they are organised, how they live. From what he had learned, he decided that he is not going to remove any beehive ever again.

Soon the honey bees were back on his terrace. This time, he started observing them and he learned many things about them. After sharing his house with them over the years, he feels that the honeybees recognise him. He has never been stung by one.

He is full of stories about the honey bees. For example, that periodically they will leave the beehive and go somewhere else, taking all the honey with them and then, after a few months, one day come back to their old home. bringing their honey.

Another story he shared was about the attacks of a group of bats on the beehives. One evening he found the bees buzzing around furiously, trying to fight the bats. He also joined them, fighting the bats with the long handle of a broom and in the end they successfully managed to send away the bats.

An average beehive can hold around 50,000 bees. They must collect nectar from about 2 million flowers to make 1 pound (450 grams) of honey. A worker bee can live from 30 to 60 days. There is usually a single queen in a hive. Worker honey bees are all female. They forage for food, build the honeycombs, and protect the hive.

Some persons from neighbouring apartments sometimes complain about the bees. However, Dr Gogoi explained that honey bees are critical to the ecosystem, and they’re protected by the Indian Wildlife Protection Act of 1972. It is a crime to destroy a beehive and the correct procedure would be to inform the forest officer and ask them to come and shift the beehive to a safe location.

I wish that I had recorded all the stories he had shared about the honey bees. I remember listening to him spellbound.

Conclusions

It seems that the bees are dying all over the world and a world without bees would face huge problems with crops because the bees are one of our foremost pollinators. 

After listening to Dr Gogoi, I had thought that I will read some natural sciences book on this theme. I am hoping to do that soon. In the meantime, if you have any stories about honeybees, please do share them in the comments below.

In 2023, I had read different fiction books about people loving or living with honeybees. One of those books, The Last Bee-Keeper by Julie Carrick Dalton, was about a dystopian world where almost all the honeybees are dead. I still remember that book. You can check my post from 2023 in which I had written about the fiction books related to honey bees. 

***

Caste & Women in India

These days I am listening to an old TSATU podcast of Amit Varma (AV) with the economist, Prof. Ashwini Deshpande (AD). This podcast, raised a couple of questions in my mind. This post is to explain those points.

During my professional life, I have also worked in the areas of exclusion and discrimination in different parts of the world (ASHA workers, most of whom belonged to SC groups in the image above). However, compared to AD, I have much less experience with quantitative view of these issues based on data.

With this little introduction, let me go to the points raised by AD which raised questions in my mind.

Creamy Layer & Affirmative Action

The first question came to my mind was when she spoke about the creamy layer controversy in the SC reservations. She asked, why do we raise this question about the exclusion of creamy layer only for SC reservation and not for exclusion of creamy layers for other caste groups. I could not understand this point.

Are there reservations for general caste groups from which creamy layers should be excluded? Which reservations?

Did she mean that persons from rich or privileged backgrounds should be excluded automatically (not allowed to participate) in some competitions or jobs? Won't that be considered a reverse-discrimination, and can it be done legally?

On the other hand, I am aware that in areas like disability, no one would ever say that disabled children of a disabled person who has already benefited from an affirmative action should be excluded. But to apply that logic to caste-reservations, would mean that caste is like a disability in a way, a physical marker or a deeper social marker, that does not go away with education and material well being? 

My understanding has been that by excluding creamy layers of SC would provide more opportunities for SC persons from less privileged backgrounds and would enlarge the base of SC persons in better jobs. However, I can see that only a small percentage of SC persons are able to reach high school or university level and if we exclude creamy layer, those seats will be taken over by non-SC candidates - so, we need to understand the lack of competitiveness in the creamy layer persons.

Reasons of Lack of Competitiveness Among persons from Creamy Layer

AD said that 3-4 generations of better jobs and incomes for creamy layer families are not enough to compensate for their backwardness lasting for centuries. So I think that the issue here would be to understand the nuances of why children from well-to-do families, going to good schools but belonging to SC, continue to need affirmative action? What determines their lack of capacity to compete with others? Can there be other kinds of interventions to support them?

I am also curious to know if there is data about the children of creamy layer of SC? For example, are their studies comparing economically better-off SC families to non-SC poor families? How are the two groups different? For example, is it a question of internalised stigma due to caste which is stronger than stigma around poverty? If yes, how does stigma affect them and which additional barriers do they face?

Names and Surnames

During the podcast, there was some discussion about the way Dalit persons can be identified by their names and thus face discrimination.

Perhaps, one way to deal could be to have a law where any SC family can legally change their family names and choose any names from other castes. If people can't identify the castes from the names, perhaps the caste system will be weakened?

Women engaged in family-based economic activities

AD said that a lot of "non-earning" women are engaged in and contribute to home-based economic activities, but they are not recognised as earning members of the family. I have talked about this issue to women groups in a few states, especially in Karnataka and Maharashtra. I found that the women engaged in such activities are very much aware of their economic contribution to the families, their families recognise it and women used this recognition to negotiate roles, benefits and activities that they desire for themselves or their families. However, it is possible that this is not quantified in the data. We did not do a quantitative survey about it.

It was a similar experience while talking to ASHA workers in some states - they may not earn much money, but they gain the power to use their roles to improve their social standing and for negotiating greater powers inside their families and outside in wider communities. Again, we did not make a proper survey about their castes, but from my interactions with about 10 groups of ASHA workers in 2 districts of Maharashtra, around 60% were SC and about 15% were ST. While talking to them about the challenges of doing the ASHA work, I don't recall any of them ever raising an issue of their caste.

So, IMO, there are many aspects of this subject which need greater data and understanding. However, I think that it is time to stop talking about eliminating castes. As long as we have to ask people to get certificates of their castes so that they can access benefits, we are strengthening the caste system. A more realistic aim can be to eliminate inhuman treatments forced on specific groups of untouchable persons through precise and targeted interventions.

Conclusions

During the podcast, AD did not say anything about issues of hierarchies and discrimination among the different SC groups themselves, about which I had heard during the field work in India. What role does that play in the overall scheme of things?

In my experience about caste-related-research, another problem was that it was never clear which groups persons are talking about when they talk of caste oppressions or use terms like Dalits. Often, they put together all the persons doing manual work, and not just the untouchable castes. Their aim is to create a wide coalition of marginalised groups and not to ensure the improvement in life-conditions of specific marginalised groups such as untouchable caste groups, which I feel should be priority for all caste related work.

I loved listening to AD and to her insights and hopefully I will look for her publications and read them as well. It is a great podcast and if you are interested in development issues related to caste and to women in India, do listen to it.

***

Sonali SenRoy's Book

I had first heard about the Sonali - Rossellini story in 2008, when Dilip Padgaonkar's book, "Under Her Spell: Roberto Rossellini in India" had come out. 

Over the past 17 years, I have spent numerous days in libraries and archives, collecting information in English, Italian and French about their story. For example, you can (1) read my article about this story written in 2008, (2) the second article written in 2010, and, (3) another article from 2025 about Lila Herman who had played a role in this story. You can say that I am obsessed with it.

Today I received a book written by Sonali in 1961, that I had ordered. There was a surprise hidden in it. This post is about her book and the surprise. The image below shows Sonali from the back-cover of her book.

Let me start with a brief background about the Sonali-Rossellini story.

Brief Background About Sonali-Rossellini Story

The 1945 film, "Rome, Open City" created the legend of Italian film director Roberto Rossellini. At the end of 1956, Rossellini arrived in India to shoot a film. At that time, he was married to the Hollywood star Ingrid Bergman.

In India, he fell in love with Sonali Dasgupta, wife of film director Hari Dasgupta. There was a huge scandal. In October 1957, Rossellini and Sonali escaped to Paris with her younger son.

4 years later, in June 1961, Sonali wrote a book in French & Italian titled, Altro Mondo (the Other World).

Sonali's Book

I had heard about this book, but had not managed to lay hands on it. After so many years, a few days ago, while re-reading my old notes, I was reminded of this book and thought that now it might be possible to find it on internet. I found it straight away, and ordered a used-copy for a little more than three Euro.

Today morning that book arrived. It says that it was originally published in French and translated into Italian by Sonali herself, with the help of Dominique Aubier. It was published by Longanesi & C., Milan in June 1961. The cover has the picture of a woman from the Ajanta caves.

On the book, the author's name is Sonali Dasgupta. The first question in my mind was - why did she use this name for her book?

Sonali's maiden name was Senroy, and after her marriage to H. Dasgupta, she had become Sonali Dasgupta. When she had reached Paris in the beginning of October 1957, Roberto was still married to his second wife, Ingrid Bergman, and their legal separation was ratified in Rome in early November 1957. At the end of November 1957, their daughter Raffaella was born.

Thus, her choice of publishing her book as "Sonali Dasgupta" in 1961, probably meant that she and Roberto were not yet formally married. May be, at that time, her divorce with Hari Dasgupta was not formalised and thus she was forced to use that name, because it was on her official documents?

Surprise in the Book

I was surprised that the used copy of the book I have received, has a hand-written note in Italian by Sonali (click on the picture for a larger view): 

 "Questo libro non è l'opera di uno scrittore ma l'esperienza di una donna. La sincerità in esso racchiusa è la prova della simpatia e amicizia per tutto e tutti. Maggio 1961, Roma, Sonali Dasgupta."

(Trans.: This book is not the work of a writer but the experience of a woman. The sincerity in it, is the proof of my goodwill and friendship for everything and everyone. May 1961, Rome, Sonali Dasgupta)

Sonali and her elder son Raja

The book is dedicated to Ragia (Raja), her elder son. In the book, the spellings of Raja are "Ragia", because Italian does not have J and it uses "gi" for the J sound. It is possible that she had given verbal instructions about the dedication and the person transcribing it had used the Italian spellings of the word. I feel that she must have been disappointed that her son's name was not spelled properly.

When I had first read about the Sonali and Roberto story, I had been greatly struck by her leaving of her elder son, Raja, in India, who was around 5 years old at that time. It had seemed to me like a "Sophie's Choice" kind of situation because a mother had been forced to take one child and to leave behind her other child.

I think that by dedicating this book to Raja Dasgupta, she was expressing her regret and pain at that separation.

Contents of the Book

The book is composed of 13 chapters. The first chapter starts with her days in Bombay immediately preceding her departure from India for Paris, with her young son Arjun (later he changed name and became Gil Rossellini). A couple of chapters have brief glimpses of her life in India such as about her birth in Banaras/Varanasi and her father's work as a doctor and about her journey to Europe.

Rest of the book is about her encounters with Europe, first with Paris and Saint Remy in France and then about her life in Italy. These encounters include linguistic difficulties, challenges of adapting to the western clothes, and the curiosity of people about the sari-wearing woman. In the parts about Italy, there are also different episodes of dealing with journalists and other curious persons.

The book does not touch on her love-story with Roberto and her life with her first husband. It reads like a series of vignettes, as if she was talking to someone about what it means for her to be an exotic Indian in Europe and to explain the peculiarities of India to the Europeans. The first draft of the book was probably written by that interviewer (Dominique Aubier), at a time when she didn't have a good command over French or Italian.

The book also shows her desire for dignity and privacy, for not giving in to journalists looking for melodramatic stories and scandals.

Conclusions

To find this book with her handwritten words in my hands was an incredible sensation. Suddenly, I could touch the words she had written and imagine her sitting at a table in a bookshop, writing dedications.

It seemed to me, as if across time and space, she has decided to extend her finger towards me, daring me to touch her.

I had written to her once to ask for an interview, but it was a time of bereavement and she had withdrawn from all public contacts at that time. She died in 2014.

I have been obsessed with this story for almost 2 decades. I have already written about it a few times and have been in contact with Raja Dasgupta, her elder son, as well as with a few other persons who knew her.

With all the material that I have collected about this story, I know that one day I will write a book about it. When I saw her handwriting today, I felt as if she is herself asking me to do it.

***