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seemabhatnagar · 2 years ago

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General Power of Attorney and its Implications

Mita India Pvt. Ltd. v. Mahendra Join

This is a case where two cheques issued by the Contractor/Respondent (Mahendra Jain) in favor of the Appellant Company bounced as he has given instruction to the Bank for “stop payment”.

As such Appellant Company (Mita India Pvt ltd.) filed complaint under section 138 Read with Section141/142 of the Negotiable Instrument Act.

The Respondent filed two applications on the ground of maintainability.

Complaint has not been filed by the authorized person.

Nowhere in the complaint it is stated that the person filing the complaint (Kavindersingh Anand –Director of the Company) has knowledge of the fact and the transactions.

The trial Court rejected both the application of the Respondent/Contractor.

Against the aforesaid rejection orders, Criminal Revision was filed by the Respondent/Contractor.

But Criminal Revision was also rejected.

The Respondent/Contractor now invoked Extra Ordinary Jurisdiction of the High Court u/s 482 Cr P C against 03 orders (i.e. two orders rejecting application and third Criminal Revision of the Respondent/Contractor).

The High Court allowed the petition of the Respondent/Contractor on the ground

Complaint was not filed by the authorized person(Kavindersingh Anand –Director of the Company) who was only given Power of Attorney and has no authority to sub delegate to the authorized representative (Ripanjitsingh Kohli).

Kavindersingh Anand (Director of the Company) was not authorized to depose on behalf of the Company.

Principles governing Power of Attorney

i) Filing of a complaint under Section 138 Negotiable Instruments Act, 1881 through power of attorney holder is perfectly legal provided he has due knowledge about the transaction (s) in question;

ii) Power of attorney holder can depose and verify on oath to prove the contents of the complaint if he has witnessed the transaction;

iii) The complaint filed through power of attorney holder must contain an assertion/ that he had the knowledge about transactions in question;

iv) Functions under general power of attorney cannot be delegated to another person without a specific clause permitting the same in the general power of attorney.

v) The affidavits of complainant, his witnesses or his power of attorney holder are permissible and sufficient for taking cognizance on the complaint; and

vi) The complaint by power of attorney holder on behalf of the original complainant is maintainable though he cannot file a complaint in his own name.

Issue:

The Complaint as filed is maintainable

The High Court is justified in exercise of its power u/s 482 CrPC to set aside the order of the trial court and Revisional Court

Observation of the Apex Court:

The complaint has been filed in the name of Company through its authorized Representative(Ripanjitsingh Kohli). It is not filed in the name of the power of Attorney Holder.

Company has given General Power of Attorney to Kavindersingh Anand(Director) and it is duly approved by the Board of Directors of the Appellant Company(Mita India Pvt. Ltd.)in its meeting. Therefore Kavindersing is the true and lawful attorney of the same.

The Power of Attorney explicitly authorized its Director to appoint counsel or special attorneys for conducting all cases or otherwise to do all othe acts and things for due prosecution or defence of legal or quasilegal proceedings anywhere in the world.

Kavindersingh on the strength of the Power of Attorney authorised Ripanjit Singh Kohli to lodge the aforesaid complaint.

The law is settled that though the general power of attorney holder cannot delegate his powers to another person but the same can be delegated when there is a specific clause permitting sub-delegation.

In this case Power of Attorney provides for su elegatio of the functions of General Power of Attorney therefore filing of the complaint on behalf of the appellant company through its authorised representative Ripanjit Singh Kohli is not at all illegal or bad in law.

Kavindersingh Anand (Director) has filed his personal affidavit stating that he is general power of Attorney Holder of the Appellant Company and is fully conversant with the facts of the case and hence he is competent to pursue the litigation on behalf of the Appellant Company

The High Court has conveniently ignored this affidavit as the averment was not stated in the complaint.

The High Court manifestly erred in recording the above opinion when the affidavit of the power of attorney holder was on record containing that he has personal knowledge of the transactions.

The trial court or the Revisional Court committed no error of law in rejecting the applications of the respondent.

Order of the Apex Court

The Bench of Hon’ble Justice V Ramasubramanian and Hon’ble Justice Pankaj Mithal opined that the High Court erred in interfering with the orders of the trial court in passing the impugned order dated 04.04.2019.

Accordingly, the aforesaid order dated 04.04.2019 is hereby set aside and the order of the trial court and the Revisional Court are restored.

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geminirecords3 · 4 years ago

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Dream boy Telugu Movie is streaming from 6Th May on Amazon Prime Video, Disney +hostar, Airtel x Stream, Flipkart Video, Hungama, Mx Player, and VI#dreamboy

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Director: Rajesh Kanaparthi

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Music: Subhas Anand

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juniperpublishersoceanography · 4 years ago

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Precision Aquaculture: IPAT- Juniper Publishers

Introduction

The Definitive Principles of aquaculture cannot be written in indelible ink. This science is a part of a continuously improvement program. Way back in 1960’s it was recommended to feed the carps with rice bran and oil cake, because they were available in cheap. After the realization that these organic feeds are poorly utilized by fish and the fact that nowadays these raw materials for many other beneficial and much more economical activities and with increased demand, the cost of these raw materials has increased significantly. As advised in classic aquaculture, if it is mixed in 1:1 ratio and fed to fish, the cost of production will be Rs. 99/kg. But now in many parts of the country, the farm gate value of carps (Rs. 80/kg) does not rise above the cost of production. Till recently, carp seed rearing and farming at any scale was highly profitable because of the low cost for the inputs. But this is no longer true, as the cost of basic traditional inputs like cow dung, poultry manure, ground nut cake, rice bran and fixed costs of land; total input costs have increased many fold, while the farm gate value of the fish seed and market size fish remained almost constant. Though aquaculture production models are highly dynamic, unless we assess the economics and understand the scale of economy of any given activity, systems may not be economically or environmentally sustainable. In early sixties, most of the aquaculture production systems were extensive- that is using a low input extensive approach to production. Rice bran, ground nut cake (GNC) and cow dung was available then at cheaper cost. The cost of GNC in 1983 was Rs. 3.80 and it is Rs. 40/kg in 2014. The cost of rice bran was Rs. 1.60 and it is Rs. 18-20/kg currently (Figure 1).

USSEC Sponsored IPAT Program in India

US Soy Bean Export Council invited different stakeholders related to aquaculture and organized two programs in India. One at Vishakapattanam on 17.05.2016 and another at Kolkata on 20.05.2016. Mr Umakanth and Dr Yadunandan, and the USSEC team were instrumental in bringing different stakeholders on one platform to discuss a new aquaculture technology. Mr George Fullerton, Auburn University, USA delivered a special talk describing Intensive Pond Aquaculture Technology or IPAT. It was simplified and technically narrated by Dr Vijay Anand, Director, Asia Sub Continent, for USSEC. The institutes like National Fisheries Development Board, Hyderabad, Central Marine Fisheries Research Institute, Cochin, Central Institute of Brackishwater Aquaculture, Chennai, College of Fisheries, Mangaluru, Aquafeed producers, progressive farmers, shrimp hatchery owners and others related to field of aquaculture were present. The concept was well received by the stakeholders.

Visit to China

In continuation with the above described program in India, the selected group of stakeholders was taken to China to visit farms which demonstrate show the successful IPAT models. See and learn is better than hear and learn. The team of 60 delegates from countries like India, Vietnam, Egypt, China and USA were there as participants. Dr Jesse A. Chappell, Extension Specialist, Auburn University, Ms Deena Hansel, Aquaculture Program Manager, USSEC, Xiaoping Zhang, China Country Director, Mr Joe Zhou Enhua, Technical Manager-freshwater Aquaculture, USSEC, China, Dr Lee, USSEC, China, Mr. Jim Zhang, Program Manager- Aquaculture, USSEC, China, were moderating and technically facilitated the Program.

Delegates were taken to a Government of Farm which is 70km away from Shanghai City. Dr Chappell explained the concepts and immediately delegates were taken to the IPAT farm just few meters away from their office. Then everybody was able to actually see and learn from a real-world operating IPA system I had many doubts when I was listening to IPAT lecture at Vizag, India. Had I asked those questions, it would have been rude on my part for asking such questions. Thank god, I got a chance to see what they were telling in their lectures.

What is this IPAT?

Integrated Pond Aquaculture Technology (IPAT) developed by Auburn University and USSEC is trying to popularize this technology globally. It is just developing raceway structures within the pond system and creating river-flow within the system using only air! Remember those who are getting good fish or shrimp production with Mekong River using its robust natural flow. In an earthen pond say about 1ha, the production raceway or cells having 6-9 inch thick walls and measuring 25m X 5m X 1.5m. The total area of the cells will not cross 0.01.5% of the total area of the earthen pond. This means a 150m2 cell area is enough for 1ha pond. Using air blowers at the inlet end, water is airlifted and taken through the raceway and subsequently to the pond. The last addition 3m length of the cell is a solids or sludge collection point. Sludge is collected using simple pumps which move along the width of the cell. In 150 days, the grass carp production ranges from 140-160kg/m3. In China, they were culturing grass carp, channel catfish, big head carp, etc. They were fed to satiation with soy based floating feeds using automatic feeders. The production cells are positioned at one corner of the ponds. The water gushes out from the cells is guided by a baffle till the opposite corner later by using aerators, water is guided and makes a circular motion and ultimately again reaches the inlet of the cells. The technology is based upon continually flowing water pushed around the pond by air-lifts (Figure 2).

Is it Really Version 8.0?

Indian aquaculture started with stocking wild seeds (version1.0) later moved to stocking hatchery bred seed (Version2.0) along with a manuring schedule (Version 3.0) which wasnatural food based. Slowly, farmers started feeding rice bran and ground nut cake (Version 4.0). With continued advancement in aquaculture technology growers began using aerators (Version5.0) and use of sinking feed pellets (version 6.0). Floating feeds are now added to Indian aquaculture (version 7.0) and now IPAT as Version 8.0 (Figure 3).

Advantage IPAT

I. Entire crop is visible all the time

II. Uniform growth

III. Easy harvest

IV. Disease management is easy and inexpensive

V. More production efficiency and output

VI. Sustainable-financially and environmentally

VII. Reduced organic load on the system

VIII. less labour per unit harvested

Challenges of IPAT

a. Electric Power is essential for 24h; stand-by generator required

b. System Initial investment is little high

c. Round the clock monitoring may be required

Of course, there are solutions for these above said challenges; but at a cost. By looking at the economics, it is worth investing on the essentials that this system demands. Wherever, there are already ponds, they can immediately adopt and switch to IPAT Before switching to this new concept, one must make sure that they can meet the demands of IPAT. The other issues like market demand, species selection, cold chain and such other related issues also have to be taken into consideration before venturing into commercial unit.

Why it is Precision Aquaculture?

It is precision, because one can precisely know and monitor the growth rate, mortality, feed requirement, feeding, water quality, production, productivity, BC Ratio. Depending on the market demand, precise partial harvest is also possible. Using advanced technologies, water quality monitoring probes can be deployed in the cells and whenever the intended parameter varies beyond the specified range, the gadgets give signals to make changes. This can be linked to television at home/office or cell phones and take appropriate decisions to protect and contain the crop (Figure 4).

Other advantages of IPAT

Pangasius farming is going on in India in about 40000ha. But farmers are facing problem in marketing because of the yellowish color of the meat. In still water aquaculture, discoloration of meat is a usual phenomenon because of the stress related ammonia load in the system. If the pangasius grown in IPAT system, pangasius meat will have the whitish color that industry prefers. IPAT offers scope for:

1. Seed rearing

2. Stunted fingerling production

3. Live fish marketing

4. Aqua tourism

Disclaimer

This article is a document of personal field experience of the author. Karnataka Veterinary, Animal and Fisheries University, Bidar or any other institutions in India and abroad are not responsible for the content, data or opinions in this article. Farmers and entrepreneurs need to take an author's and other experts' opinion before implementing it in the field.

To Know More About Journal of Oceanography Please Click on: https://juniperpublishers.com/ofoaj/index.php

#Aquaculture #Aquatic Organisms #coastal science #Juniper publishers e-books #Juniper publishers

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bollywoodlatestnewsdaily · 5 years ago

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Disco Raja Director Vi Anand Hit And Flop Movies List With Box Office Collection Analysis !!

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myfirstshow · 7 years ago

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Rumors cleared on Ravi Teja - Malvika

https://www.myfirstshow.com/rumors-cleared-ravi-teja-malvika/

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#director Vi Anand #Malvika #Ravi Teja #Rumors cleared #Rumors cleared Ravi Teja Malvika #Sreenu Vaitla's Amar Akbar Anthony

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koradanews · 7 years ago

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రెండు సినిమాలపైనే అందరి దృష్టి!

mega-hervo-vs-mega-fan-final-clash-in-2017 #okkashanam #twocountriesmovie #directorvianand #directornshankar #herosunil #heroallusirish #koradanews

ఎన్నడూ లేని విధంగా ఈ ఏడాది 180 వరకు సినిమాలు విడుదలయ్యాయి. వాటిలో మహా అయితే పాతిక సినిమాల వరకు విజయాలను అందుకున్నాయి. అయితే ఈ ఏడాదికి ఎండ్ కార్డ్ వేస్తూ రెండు సినిమాలు బరిలోకి దిగుతున్నాయి. ముందుగా అల్లు శిరీష్ నటించిన ‘ఒక్క క్షణం’ సినిమా గురువారం విడుదల కానుంది. అలానే సునీల్ నటించిన ‘2 కంట్రీస్’ శుక్రవారం ప్రేక్షకుల ముందుకు రానుంది. ఈ ఏడాదిలో విడుదల కాబోతున్న ఆఖరి చిత్రాలు కావడంతో ఈ రెండు…

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#director n Shankar #Director vi Anand #hero allu sirish #hero sunil #okka shaman #Two Countries

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wellesleyunderground · 6 years ago

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(PART 1) Wellesley Writes It: Offering Art and Theater Amidst War and Censorship As An “Insider”/ “Outsider” in Kashmir: A Follow-Up Feature of Author and Activist Nandita Dinesh ‘06

Image Credit: Jennifer Arnwine provided with permission from Nandita Dinesh

Interviewed by Shelly Anand and Camylle Fleming, WU Editors

Nandita Dinesh double majored in economics and theatre studies at Wellesley and spent a semester during college at the Eugene O’Neill Theatre Centre’s National Theatre Institute. She also spent a semester abroad in Uganda with the School for International Training’s Development Studies programme. Nandita’s honors thesis and focus after Wellesley concentrated on using theatre in war-affected areas of the world. She has since been a Watson Fellow, earned an MA from New York University in performance studies and a Ph.D. in drama from the University of Cape Town, written a number of academic articles concerning drama and war, and published multiple books:

Theatre and War: Notes from the Field (2016 Edition; 2018 Republication)

The Memos from a Theatre Lab series:

Exploring What Immersive Theatre “Does”

Spaces, Relationships and Immersive Theatre

Immersive Theatre and Time

Scripting Detention: A Project in Theater and Autoethnography with Incarcerated Teens

Information for/from Outsiders: Chronicles from Kashmir

Immersive Theater & Activism: Scripts and Strategies for Directors and Playwrights (Forthcoming)

Wellesley Underground previously interviewed Nandita about her book Theatre and War: Notes from the Field. You can read that interview here. Currently, Nandita teaches Theatre and Literature & Performance, while also overseeing the Juvenile Justice Programming, at UWC-USA.

WU: Tell us about Chronicles of Kashmir, your latest project.

Chronicles from Kashmir has been in development since 2013, as a collaboration between myself and the Ensemble Kashmir Theatre Akademi in Srinagar. It uses Argentine playwright Griselda Gambaro’s (1992) Information for Foreigners as its point of departure, takes place in the promenade, and is site-adaptive -- we've staged it in a two-storied building in Kashmir, and in a sprawling theatre workspace outside Pune. Different scenes take place in different locales and audience members walk around under the supervision of 'Guides' who tell them the route to take.

Audiences 'live' in our theatrical Kashmir for twenty-four hours and in so doing, experience the Valley's many realities: they encounter larger questions around complicity; they are asked to engage with multi-media installations that speak to the exodus of Kashmiri Pandits; they are invited to witness narratives of former militants; they are given occasion to experience how celebrations are conducted under curfew; they are permitted to observe stories from soldiers in the Indian Army.

Pic Credit: Vineet Pandey

Chronicles from Kashmir seeks to create a sense of “balance”: between differently positioned voices that emerge when speaking about Kashmir; between differently placed narratives on the “victim”/“perpetrator” spectrum. While there is an inevitable streak of political commentary that runs throughout the work – a political current that cannot be escaped when talking about Kashmir – Chronicles from Kashmir does not espouse any one political ideology. We see ourselves as being artists and educators, using aesthetics and pedagogy to engage audiences with diverse perspectives from/about the Valley.

Chronicles from Kashmir like any other performance has its limitations. It can never do justice to all the narratives that compose Kashmir... It's a step, though, a small step toward engaging audiences in stories and experiences that mainstream media might never share with them; a small step toward sparking more educated -- and less polarized -- opinions about what is happening in the region.

WU: Recently, you went through quite an ordeal with Facebook, whereby the social media platform censored your book. Can you talk to us about that experience?

It’s been one of the more recent attempts at censorship…

From the beginning of Chronicles from Kashmir, there has been censorship at play in different ways. First, in Kashmir itself, we would sometimes get explosive feedback from Kashmiri audiences -- often because elements of the content, to them, was made problematic because of who I am (non-Kashmiri, Indian, woman, young, artist). Even now, I daresay that there are still many who think that I am an Indian “agent” who is trying to use this work for some sort of agenda, despite my Kashmiri colleagues’ efforts to dissuade them of this notion.

Then, in 2017, when we had the first 24-hour iteration of the work outside Pune, in western India, the cops showed up. We don’t know who called them and what they were hoping to find, but they were intimidating enough to lead us to cancel the third and final performance of the show (which was for an audience of students; we didn’t want to put them in any risk). And subsequent to this, it has been near impossible to find potential hosts for Chronicles from Kashmir in the Indian subcontinent. People are afraid to host us and in their fear, have led to a censoring the work from public spaces…

Pic Credit: Vineet Pandey

Most recently, in July 2018, alongside Facebook’s “ban” of the book on the publisher’s own marketplace on their page, we were placed under something akin to “house arrest” by the institution that was hosting our filming of Chronicles from Kashmir… At least the institution explained their reasons to us -- they had a journalist on their backs, apparently, and were afraid of bad press from hosting us (though neither the journalist nor our hosts had even read the script, so this bad press would simply have been because they were hosting a project about Kashmir, regardless of content). Facebook, on the other hand, reversed their “rejection” of the book after a few journalists went around, asking questions… Their response was something along the lines of: “Well, the book is up now, so what’s the problem?”... Essentially, we still don’t know why the ban took place to begin with. Whether it was an algorithm that flagged the cover -- at that point only the cover was available on Facebook -- or whether the community moderators who police pages’ adherence to Facebook’s commerce guidelines made a decision based on their own affiliations and agendas… Either way, it was/is incredibly unnerving.

WU: When and how did you first get interested in Kashmir?

When I first went to Kashmir, the “why” (apart from being my doctoral project) was to consider the possibilities of using theatre to access perspectives from across the “victim”/“perpetrator” spectrum in the region: to draw in narratives from civilians; from militants/former militants; from soldiers/former soldiers in the Indian army. What if I were to create immersive, theatrical experiences about Kashmiri civil society, which the army could experience? What if I could design a performance for active militants, about the experiences of armed forces’ soldiers? How could I work with people from each of these identity groupings, to create a polyvocal, theatrical representation of Kashmir?

Gradually though, as I began to learn more about the Kashmiri context, that initial articulation of my intention had to shift. I realized that the idea of bringing “opposing” voices to the table was not only dangerous; it was ethically fraught. Because of my being Indian. Because of my being a woman. Because of the form of the theatre. Because of the many complexities that Kashmir remains mired in.

Pic Credit: Vineet Pandey

So, in collaboration with a team of incredible colleagues from the Ensemble Kashmir Theatre Akademi the intention of Chronicles from Kashmir has become about using theatre to educate (self-identified) “outsiders” about different aspects to Kashmir’s conflicts. Outsiders like myself, of course; but also a whole range of outsiders to whom voices from Kashmir remain inaccessible.

WU: Last time that you talked with WU, you shared the journey in the intentions behind the theater you’re creating. It went from “big ideas” to an emphasis on “beauty” and aesthetics as well as the ethical inclusion of victim and perpetrator narratives. Can you give us an update on where you are calling attention to today?

I think I’m still dealing with those questions of beauty and ethics; but I find myself trying to find more of a middle ground vis-à-vis the “big ideas”. Especially with Chronicles from Kashmir, I find myself wanting the work “to do” more; to create the potential for more tangible shifts to occur in how Kashmir’s conflict are studied, discussed, and considered. Might that mean adapting our script into a study guide, of sorts, that can be used by schools across the Indian subcontinent? Might that mean workshopping ideas from the work with new collaborators across Jammu and Kashmir, and across Indian and Pakistani borders? That remains to be seen…

Pic Credit: Vineet Pandey

WU: You’ve talked about the dynamic of being an “insider”/ “outsider” in your conflict theatre work in Kashmir. How are you handling that balance?

It depends on when you ask me :) Sometimes, the balance is easy to attain; at others; it seems like the complexities will only ever continue to grow. At this point in time, having just returned from another year of developing Chronicles from Kashmir, I am questioning my own role in the future of this initiative. Having been the one to spearhead new directions for this project over the last six years – albeit in constant collaboration with my colleagues at EKTA -- now that the work has been performed live, filmed, and published, I find myself wondering if it’s time for me to take a back seat and to rely on my Kashmiri colleagues to take the lead on where we go from here. Have we come to a point, I wonder, where I (the insider/outsider) must step back (despite my own relative privilege and increased access to resources/opportunities) and wait for my colleagues (the insiders) to catalyze our way forward?

WU: What is something you wish the world knew about Kashmir?

More than something that I wish the world knew, I wish there was more palpable desire amongst the international community to support/advocate for the search for a resolution to Kashmir’s crises.

#kashmir #wellesleyunderground

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techsciresearch · 3 years ago

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Metal Fabrication segment to dominate India Abrasives Market through FY2027

Increasing expenditure capacity of the consumers and growing infrastructural developments is expected to drive the demand for India abrasives market in the forecast period.

According to TechSci Research report, “India Abrasives Market By Type (Bonded, Coated, and Super) By Material (Natural and Synthetic) By End-user Industry (Automotive, Metal Fabrication, Machinery, Electronics, Construction, and Others), By Region, Company Forecast & Opportunities, FY2027”, The India abrasives market is expected to witness steady growth in the forecast period. Abrasives are hard materials that find different applications in technological, industrial, and domestic applications and can be used to finish or shape a workpiece. Abrasives can be categorized majorly into two categories including natural abrasives namely pumice, garnet, emery, corundum, amongst others, and synthetic abrasives namely synthetic diamond, alumina, silicon carbide, among others. The rise in the development of the manufacturing sector and the high demand for pre-engineered buildings and components are contributing to the growth of the abrasives market. High demand from the prominent end-user industries including agriculture, automotive, aerospace, medical amongst others are accelerating the growth of the abrasive market. The increasing growth of the automotive sector is influencing the demand for abrasives as they are used for various applications such as engine part sizing, smooth the welds, clean the inside of the pipe, and others. The development of the molded auto and the engine bodies and the innovation of the manufacturing robot to streamline the manufacturing process and increase the overall efficiency of the process has contributed to shifting the demand of the abrasives market to the mechanic shops, auto parts suppliers, among others. An increase in the demand of the heavy machinery industry to use in the metal cutting applications, grinding and the crushing of the mining equipment is contributing to the rise in the abrasives market growth. Abrasives are also in high demand from the electrical and electronics industry for slicing and grinding of the electronic components and several of the hard components such as silicon, quartz to produce the compact disc and circuit components.

Due to the ongoing pandemic COVID-19, the lockdown was imposed all over the country. A complete shutdown was observed, and people started practicing social distancing and started following the precautionary guidelines. The imposition of strict regulations and policies imposed by the leading authorities led to the effect that businesses had to suffer huge losses. Manufacturing units were shut down and the loss of availability of skilled laborers led to the market decline. The number of units imported or exported to other countries also suffered a huge loss. After the lifting of lockdown, companies are expected to be again operational with full production capacity, and the market is expected to pick up the pace eventually.

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India abrasives market is segmented into type, material, end-user industry, regional distribution, and company. Based on the type, the market can be divided into bonded, coated, and super. The bonded segment followed closely by the coated segment is expected to dominate the abrasives market in the next five years. Bonded abrasives are made by attaching them with the matrix, which is also called the binder, and the bonded abrasive can be used to made using the rubber, clay, resin, or glass. Bonded abrasives consist of the snagging wheels, mounted wheels, grinding wheels, amongst others owing to their greater operational capability and their high efficiency.

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“India Abrasives Market By Type (Bonded, Coated, and Super) By Material (Natural and Synthetic) By End-user Industry (Automotive, Metal Fabrication, Machinery, Electronics, Construction, and Others), By Region, Company Forecast & Opportunities, FY2027” has evaluated the future growth potential of India abrasives market and provided statistics & information on market size, shares, structure and future market growth. The report intends to provide cutting-edge market intelligence and help decision makers take sound investment decisions. Besides, the report also identifies and analyzes the emerging trends along with essential drivers, challenges, and opportunities in the of India abrasives market.

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bbcbreakingnews · 4 years ago

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Super 30 model now a Harvard case study

India’s famed Super 30 model – of preparing talented under-privileged students for professional courses– has become a Harvard Business School case study. Called ‘Super 30: Educating the Elite Poor’, it discusses the impact and scale of the project which has been funded by the Centre for Social Responsibility and Leadership (CSRL). The CSRL Super 30 started in 2009 with 23 students funded by public sector undertakings across the country. It was an offshoot of the original Super 30, initiated by retired IPS officer Abhayanand in 2002 in collaboration with Anand Kumar, who ran his own for-profit coaching centre in Bihar‘s Patna. The idea was to provide sharp children from economically weak backgrounds with an opportunity to prepare for rigorous courses like engineering. Super 30 split with Kumar running the Patna centre, and Abhayanand replicating the model across the country. The project has now expanded to 21 centres with 800 students currently studying. Since its inception, more than 3,000 students, including children of farmers and manual labourers, have fulfilled their dream of studying in premier national and state-level technical institutions like IITs, NITs, IIST, IIITs. Many of these students have already graduated from college and are working in business, industry and government. The average cost per child is Rs 2.5 lakh for a period of four years. CSRL director S K Shahi said the model was based on the premise that there was no monopoly on talent. “Our biggest challenge has been to identify and nurture it. We have been able to prove that it is possible to do it even in a place like J&K which has restrictions of security and internet access.” Some of the centres include the Petronet Kashmir Super 30 for J&K, Manipur Super 30 based out of Guwahati and RailTel Akanksha Super 30 in Uttarakhand. CSRL also runs remedial classes for children from class VI onwards to better prepare them for the rigours of studying engineering.

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