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By:

Bhalchandra Chorghade

11 August 2025 at 1:54:18 pm

Panje wetland moves closer to legal protection

Navi Mumbai: The 289-hectare Panje-Dongari wetland in Uran, regarded by environmentalists as Maharashtra’s largest intertidal wetland, has moved a significant step closer to securing legal protection after the Raigad district administration completed a long-awaited ground verification process, environmental groups said. The development is being seen as a major milestone in the years-long campaign by conservationists to protect the ecologically sensitive wetland from reclamation and...

Panje wetland moves closer to legal protection

Navi Mumbai: The 289-hectare Panje-Dongari wetland in Uran, regarded by environmentalists as Maharashtra’s largest intertidal wetland, has moved a significant step closer to securing legal protection after the Raigad district administration completed a long-awaited ground verification process, environmental groups said. The development is being seen as a major milestone in the years-long campaign by conservationists to protect the ecologically sensitive wetland from reclamation and infrastructure-related pressures. The verification is part of the process required before wetlands can be formally notified under the Environment (Protection) Act. According to the NatConnect Foundation, the verification follows documentation by the Chennai-based National Centre for Sustainable Coastal Management (NCSCM), which has completed the ground-truthing of nearly all the 23,000 wetlands identified across Maharashtra under the National Wetland Inventory and Assessment (NWIA), prepared using 2006-07 satellite imagery. Environmentalists have repeatedly criticised the delay in completing the verification and notification process in the state. Rising Hopes A senior official of the State Wetland Authority, speaking on condition of anonymity, said that the Raigad Collector has cleared 11 of the 19 wetlands documented by NCSCM in the district, including the Panje wetland. The wetlands at Belpada and Bhendkhal have also reportedly progressed towards notification, raising hopes for their long-term conservation. The list approved by the Collector also includes wetlands in Panvel taluka at Kharghar, Taloja, Kharghar Sector 25, Kalamboli, Sinkar and Morave. However, government officials said wetlands at Sheva, Jaskhar, Murud Creek and the Mangrove Wetland Complex do not feature in the Collector’s current documents, leaving questions over their status. The Panje wetland has been at the centre of a prolonged legal and environmental battle. The Bombay Environmental Action Group (BEAG) founder and noted environmentalist Debi Goenka had earlier demonstrated, using the National Wetland Inventory and Assessment maps, that Panje qualified as a wetland despite claims to the contrary. “BEAG founder and noted environmentalist Debi Goenka was among the first to demonstrate, using the National Wetland Inventory and Assessment (NWIA) maps, that Panje qualified as a wetland despite claims to the contrary. His painstaking interpretation of the colour-coded satellite atlas greatly strengthened our case for Panje’s conservation,” said B N Kumar, Director, NatConnect Foundation. Happy Activists Welcoming the latest development, Nandakumar Pawar, Director of Sagar Shakti, who has led a prolonged legal battle to protect the wetland, said, “The 289-hectare Panje wetland is the largest intertidal wetland in the state. Its conservation is critical for protecting Uran’s fragile ecology.” Kumar described the verification as a vindication of sustained public efforts. “Panje has shown that persistence pays,” he said, while Pawar added that the focus must now shift towards securing legal protection for all of Maharashtra’s 23,000 mapped wetlands before they are lost to encroachment and development. Pawar warned that the destruction and reclamation of several wetlands in Uran, including the four-kilometre Jasai stretch, have already aggravated flooding in surrounding villages. He said extensive landfilling for the Dronagiri Node and other infrastructure projects has further worsened the ecological situation. The Collector’s report assumes significance amid continued opposition from CIDCO, which has maintained that several of these areas are former salt pans or agricultural land and are therefore suitable for development. Environmental groups, however, argue that irrespective of their historical land use, these ecosystems now perform critical ecological functions and deserve statutory protection. According to Kumar, although Panje—currently leased to NMSEZ, now NMIIA—has remained free from construction activity, the regular obstruction of tidal water flow causes the wetland to dry up periodically, threatening its ecological health. Environmental organisations including Vanashakti, Sagar Shakti, NatConnect Foundation, Navi Mumbai Environment Preservation Society, Save Navi Mumbai Environment and Kharghar Wetlands & Hills Forum have been pursuing legal and administrative interventions to secure protection for the wetlands. Highlighting their ecological importance, Pawar said wetlands not only support rich biodiversity but also serve as natural flood buffers, store significant amounts of carbon and sustain the livelihoods of traditional fishing communities. He stressed that notifying these wetlands is essential for strengthening the climate resilience of the Mumbai Metropolitan Region.

The Soul of Bharat on the Big Screen

Mumbai: April 4, 2025, my heart feels heavier than it ever has. The news hit me like a monsoon storm—Manoj Kumar, the towering legend of Bollywood, the man who painted patriotism across our screens, is no more. At 87, he slipped away at Mumbai’s Kokilaben Dhirubhai Ambani Hospital, leaving behind a reel of memories that flicker in my mind like a projector that won’t stop spinning. As a movie fan who grew up with his films, I’m not just mourning an actor—I’m grieving the loss of a piece of my soul, a piece of India itself. They called him "Bharat Kumar," and oh, how he earned that name.


I remember the first time I saw ‘Upkar’ (1967). I was a kid, sprawled on the living room floor, eyes glued to our old TV. Manoj ji played Bharat, the farmer who gave everything—his dreams, his love—for his country’s soil. That song, “Mere Desh Ki Dharti,” wasn’t just a tune; it was a heartbeat, pulsing with pride and sacrifice. I’d hum it walking to school, feeling like I, too, could be that noble, that selfless. He won a National Film Award for that one, and rightly so—it wasn’t acting; it was living.

Then there was ‘Shaheed’ (1965), where he brought Bhagat Singh back to life. I’d sit there, popcorn forgotten, as he roared defiance against the British, his eyes blazing with a fire that could’ve lit up the darkest colonial night. It wasn’t just a film—it was a revolution on celluloid, a call to remember the blood that bought our freedom. Manoj ji didn’t just play the martyr; he became him, and every time I watch it, I feel that lump in my throat, that sting in my eyes. It’s no wonder it snagged three National Awards—his passion was a gift to us all.


Oh, and ‘Purab Aur Paschim’ (1970)—how do I even begin? He directed and starred as Bharat again, this time wrestling with the clash of East and West, showing us the beauty of our roots while the world tried to pull us away. I’d laugh at Saira Banu’s antics, then choke up when Manoj ji stood tall, singing “Hai Preet Jahan Ki Reet Sada.” It was a blockbuster, sure, but it was more—it was a love letter to India, penned in his signature hand-over-face style. That move, mocked by some, was his shield, his quiet strength, and I adored it.

And who could forget ‘Roti Kapda Aur Makaan’ (1974)? He directed and starred as Bharat—again, because who else could?—tackling poverty, injustice, and the gut-wrenching struggle for the basics of life. I’d watch, fists clenched, as he fought for the everyman, his voice cracking with raw emotion. It wasn’t just a movie; it was a mirror to our society, a cry for change. Seven Filmfare Awards across his career, they say, but this one felt like it carried them all—his heart bled through every frame.


Then there’s ‘Kranti’ (1981), the epic that had me on the edge of my seat. Manoj ji as the freedom fighter, leading Dilip Kumar and Hema Malini through a storm of rebellion—it was grand, it was gritty, it was everything Bollywood could be. “Zindagi Ki Na Toote Ladi” still echoes in my ears, a reminder of the battles he fought on screen, battles that felt so real I’d dream of joining the fight. He didn’t just direct that film; he sculpted a monument to resilience, and I’d cheer like a fool every time he outsmarted the British.


As I sit here, flipping through these memories, I can’t help but feel cheated. Manoj Kumar wasn’t just an actor or director—he was family. Born Harikrishan Goswami in 1937, he carried the Partition’s scars from Abbottabad to Delhi, turning pain into purpose. He gave us over 50 films in a career spanning four decades, snagging the Padma Shri in 1992 and the Dadasaheb Phalke Award in 2015—honors that felt too small for a man who gave India its cinematic soul. His last role in ‘Jai Hind’ (1999) might’ve flopped, but it didn’t dim his light in my eyes.


I’d read how he met Bhagat Singh’s mother before ‘Shaheed’, seeking her blessing—can you imagine the weight of that? Or how PM Lal Bahadur Shastri urged him to make ‘Upkar’ after the 1965 war, handing him “Jai Jawan Jai Kisan” like a sacred torch? That’s who he was—a man who didn’t just entertain but carried a nation’s dreams.


Manoj ji, you weren’t just “Bharat Kumar” to me—you were the uncle who taught me pride, the friend who shared my anger, the poet who sang my hopes. Your films weren’t movies; they were my childhood, my rebellion, my tears. I’ll miss you like I miss the India you dreamed of—flawed, fierce, and forever ours. Rest in peace, sir. Om Shanti.

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