Supplement Trust Deed

 

SUPPLEMENTARY DEED OF RECTIFICATION AND APPOINTMENT OF ADDITIONAL TRUSTEE

THIS SUPPLEMENTARY DEED OF RECTIFICATION AND APPOINTMENT OF ADDITIONAL TRUSTEE is made and executed at New Delhi on this ___ day of __________, 2026.

BY AND AMONG

1. INDU KANT SHARMA, son/ of __Ramesh Kumar Angiras__________________, aged about 69 years, residing at ____B- 4 / 177 , Safdarjung Enclave New Delhi  -110029 ________________________________________, hereinafter referred to as the “Settlor”;

AND

2. [CORRECT FULL NAME OF EXISTING TRUSTEE 1], son/daughter/wife of ____________________, residing at ____________________________________________;

3. [CORRECT FULL NAME OF EXISTING TRUSTEE 2 / SHRUTI KANT], son/daughter/wife of ____________________, residing at ____________________________________________;

AND

4.  MISHA, daughter of ____________________, aged about 20 years, residing at ____________________________________________, hereinafter referred to as the “Additional Trustee”.

The above persons are hereinafter collectively referred to as the “Parties”.

WHEREAS:

A. The Settlor executed a Trust Deed dated ____________ creating a public/private charitable trust under the name and style of “SANAD FOUNDATION” (hereinafter referred to as the “Original Trust Deed”).

B. The said Original Trust Deed was registered before the office of the Sub-Registrar, ____________, Delhi, vide Document No. ________, Book No. ________, Volume No. ________, on ____________, if applicable.

C. Due to an inadvertent clerical/typographical error, the name of the Settlor in the Original Trust Deed has been incorrectly recorded as “[INCORRECT SETTLOR NAME]”, whereas the correct and complete name of the Settlor is “[CORRECT SETTLOR NAME]”.

D. The Parties confirm that the aforesaid discrepancy is only an error in recording the name and that the identity of the Settlor remains the same. There is no change in the person who originally settled/created the Trust.

E. It has also been noticed that the name of one of the existing Trustees has been incompletely recorded in the Original Trust Deed as “Shruti Kant”, whereas the correct and complete name of the said Trustee is “ SHRUTI KANT AGIRAS”.

F. The Parties desire to rectify the aforesaid errors and place the correct names on record.

G. The Settlor and the existing Trustees have further agreed to appoint MISHA as an additional Trustee of the Trust in accordance with the provisions of the Original Trust Deed and applicable law.

H. This Supplementary Deed is therefore being executed to formally record the aforesaid rectification and appointment without altering the other provisions, objects, property, rights or obligations of the Trust contained in the Original Trust Deed, except to the extent expressly provided herein.

NOW THIS DEED WITNESSETH AS FOLLOWS:

1. RECTIFICATION OF TRUSTEE'S NAME

It is further declared and confirmed that wherever the name of the Trustee is stated in the Original Trust Deed as:

“Shruti Kant”

the same shall be read, construed and treated as:

“ SHRUTI KANT ANGIRAS ”.

The Parties confirm that the corrected name refers to the same individual who was appointed as Trustee under the Original Trust Deed.

3. APPOINTMENT OF ADDITIONAL TRUSTEE

In accordance with the provisions of the Original Trust Deed, the Settlor and the existing Trustees hereby appoint:

[  MISHA ],
daughter of __Ishwar Singh__________________,
aged about __20_ years,
residing at _c/o_Ishwar Singh, Sardar Valabh Bhai Patel Marg, Deepka __________________________________________,
PAN: __IXJPM8625K__________________,
Aadhaar/ID: _6935 0851 9309

as an Additional Trustee of  SANAD FOUNDATION, with effect from the date of execution of this Supplementary Deed.

The Additional Trustee hereby accepts the office of Trustee and agrees to act in accordance with the Original Trust Deed, this Supplementary Deed and all applicable laws.

4. POWERS AND DUTIES OF ADDITIONAL TRUSTEE

The Additional Trustee shall have the same rights, powers, duties, responsibilities and obligations as are conferred upon the Trustees under the Original Trust Deed, subject to the provisions thereof and applicable law.

The Additional Trustee shall act jointly with the other Trustees and shall not exercise any power beyond that permitted under the Original Trust Deed.

5. NUMBER AND CONSTITUTION OF TRUSTEES

With effect from the date of this Supplementary Deed, the Trustees of the Trust shall be:

1. [FULL NAME OF TRUSTEE 1]
2. [CORRECT FULL NAME OF SHRUTI KANT]
3. [FULL NAME OF NEW TRUSTEE]

[Modify this list according to the actual number of existing Trustees.]

6. NO CHANGE IN OBJECTS OR PROPERTY

Except for the rectification of names and appointment of the Additional Trustee expressly recorded herein, there shall be no change in the objects, purposes, beneficiaries, trust property, powers, duties or other provisions of the Original Trust Deed.

Nothing contained in this Supplementary Deed shall be construed as creating a new Trust or extinguishing or replacing the Original Trust Deed.

7. CONTINUING EFFECT OF ORIGINAL TRUST DEED

All the terms and conditions of the Original Trust Deed shall continue to remain valid, binding and effective, except to the extent specifically modified or supplemented by this Supplementary Deed.

In the event of any inconsistency between this Supplementary Deed and the Original Trust Deed concerning the matters specifically dealt with herein, the provisions of this Supplementary Deed shall prevail.

8. RATIFICATION

The Parties hereby ratify and confirm all acts, deeds and things done under the Original Trust Deed prior to the execution of this Supplementary Deed, subject to the corrections recorded herein.

9. REGISTRATION

The Parties shall present this Supplementary Deed before the appropriate Sub-Registrar/registration authority in Delhi, wherever registration is required or considered necessary, and shall comply with the applicable stamp duty, registration fee and procedural requirements.

10. INDEMNITY

The Parties confirm that the corrections made through this Supplementary Deed are true and accurate to the best of their knowledge and that the rectification of names does not change the identity of the persons concerned.

11. GOVERNING EFFECT

This Supplementary Deed shall be read together with the Original Trust Deed and shall form an integral part thereof.

IN WITNESS WHEREOF

The Settlor and the Trustees, including the Additional Trustee, have executed this Supplementary Deed on the day, month and year first written above in the presence of the witnesses mentioned below.

SETTLOR

INDU KANT SHARMA

Signature: ______________________

EXISTING TRUSTEE

[FULL NAME OF TRUSTEE 1]

Signature: ______________________

EXISTING TRUSTEE

[CORRECT FULL NAME OF SHRUTI KANT]

Signature: ______________________

ADDITIONAL TRUSTEE

MISHA

Signature: ______________________

WITNESSES

Witness No. 1

Name: __________________________
Father's/Spouse's Name: __________________________
Address: _______________________________________

---

Signature: ______________________

Witness No. 2

Name: __________________________
Father's/Spouse's Name: __________________________
Address: _______________________________________

---

Signature: ______________________

Hungarian - FB

 A Duna nem is szárad ki, Bécsnél tele van, vajon kinek az érdeke, hogy eltüntetik a vizet Magyarországon és nem is kellene lekapcsolni a Paksi Atomerőművet" - zengik a kommenthadak az agyam számára felfoghatatlan ostobaságokból összetákolt konteósejtetéseiket.

Tényleg, hogy a társadalmunkban nem találtuk még meg annak a gyógyszerét, hogy a nyilvánvalóan sületlenségeket terjesztő emberek szava ne áraszthasson el minden agyat, hogy aztán a sós levével krónikus szellemi apályt okozzon...

A tények:

1) Bécsnél valóban "jól néz ki" a Duna, de hivatalos alacsony vízállási figyelmeztetés van érvényben!

2) Bécstől Budapest irányába van ám 2 jelentős vízerőmű és duzzasztó, az egyik az osztrák Freudenaui erőmű. Felette pedig vagy 10 másik. DE nem ezek miatt nincs nálunk víz, olvasd tovább hogy megértsd.

3) Szlovákia területén, pedig ott a Bős Vízerőmű komplexum, ahol jelenleg 8-ból csak 1 turbina üzemel annyire kevés a víz ott is.

Mutattam róla posztokat tavasszal (ezek vannak most a képen) érdemes elmenni oda és bejárni, remek túravezetés is van, előre kell jelentkezni mert telt házzal megy. Ha a közelben vagytok, menjetek tovább Dunaszerdahelyre és a Thermal Park fürdőben meg szállodában érezzétek jól magatokat és fedezzétek fel a Csallóközt bringával!

3) Nincs vízutánpótlás: Sem Bős, sem a bécsi Freudenau nem óriási tározók, hanem ún. átfolyós erőművek. Csak annyi vizet tudnak leengedni, amennyi az Alpok felől érkezik, az aszály miatt pedig eleve alig jön utánpótlás. Ami befolyik, az folyik tovább, alias zsinórüzem.

Bős nem nálunk tartja vissza: A Bősnél elterelt víz még a szlovák szakaszon (Szapnál) teljesen visszafolyik a Duna főmedrébe. Így a Komárom alatti magyar szakaszra (Budapestre, Paksra) pontosan ugyanannyi víz érkezik meg, akár a régi medren, akár a csatornán engedik át.

A kiürítés katasztrófa lenne: Ha a bécsi gát mégis kiengedné a saját, duzzasztott vizét, az Magyarországon csak pár milliméteres javulást hozna csupán néhány órára, cserébe Bécsben azonnal összeomlana a hajózás és az áramtermelés. De FELESLEGES is lenne, olyan mintha fel akarnád tölteni a kádat úgy, hogy nincs bedugva az alján a dugó. Hiába engedsz bele vizet, elfolyik anélkül, hogy 1 centit emelkedett volna a vízszint benne.

A magyar szakasz védtelen: Ausztriában a 10 egymást követő gát mesterségesen megtartja a víz szintjét. Magyarországon nincsenek ilyen duzzasztóművek, ráadásul a meder is mélyült, így a kevés víz akadálytalanul és gyorsan elfolyik az országból ráadásul szélesebb, tehát számottevő párolgás is jelentkezik.

Tehát NEM, ezt semmilyen KÜLÜGY nem tudná megoldani, nincs fizikailag eszköz rá, nincs mit kinyitni. Nem az osztrákok vagy a szlovákok a hibásak, ők semmit nem tehetnek értünk jelenleg.

4) Ha az előző 3 pont alapján nem világos, hogy a magyar szakaszon miért lassú a vízutánpótlás és miért száradt ki a Duna rekord alacsony vízállásig, akkor minden szándékom ellenére nem biztos, hogy tudok Neked segíteni, és valószínűleg a Jóisten se fog, mert ha akart volna, akkor azt születésedkor megteszi. Ennél kevésbé finom nem tudok lenni - ne haragudjatok meg kedves Olvasókövetők, bár Ti értitek, csak remélem eljut azokhoz is akik konteóznak!

5) +bónusz: Szürreálisan buta és gonosz emberek azzal kampányolnak, hogy nyomjátok fel az áramfogyasztást este 6-9 között, amikor technikailag szűk a kapacitás a kieső napenergia és a megugró fogyasztás miatt.

Megsúgom: nem fog ilyesmibe belebukni se kormány, se vezető, se senki, ez havária helyzet, amire momentán az illetékeseknek semmi ráhatása nincsen, azon kívül, hogy megpróbálják az emberek józan eszének elmagyarázni, hogy közös odafigyeléssel hogyan kerülhetjük el a súlyosabb bajokat, ha már egyszer a helyzet példátlan, hiszen ilyen aszályra és ennyire alacsony vízállásra soha nem volt példa. Márpedig a Duna vízszintjét nem tudod csak úgy megemelni, hiába nyitod ki a csapot és engedsz bele vizet ... oh wait!

Szóval délben kapcsold be a klímát, töltsd fel a mobilod, a kocsid, és koraeste használd a lehető legkevesebb áramot. Ha pedig változik a helyzet, kövesd a hivatalos kéréseket. Nem szakad bele senki.

Apropó! Nem tudom emlékszik-e valaki arra, amikor áprilisig éveken át az volt a mantra, hogy az energiaellátás fizikai kérdés és nem ideológiai. Nos, ezzel akkor is egyetértettem és most is.

6) Ha még mindig kételkedsz, és szerinted még mindig a Tiszába csatornázzák el békaemberek a Duna vizét, akkor emlékeztetlek: a Tisza vízállása is extrém alacsony, a Velencei-tó szintén. Egyébként remek úti cél, mert meg lehet nézni, hogy milyen úgy, ahogyan még sosem láttuk: félig kiszáradva. Érdemes megnézni, elmentem, megcsodáltam és ha kicsit az ember elvonatkoztat, akkor nem is értem, miért nem ezzel próbálják eladni: remek kirándulóhely jelenleg is, és kifejezetten érdekes így látni, függetlenül attól, hogy szokatlan és szomorú.

7) Bulgáriában is mamutcsontok kerültek elő a kiszáradó Dunából.

Tedd meg kérlek, hogy a józanságot képviseled, és terjeszted!

Az, hogy hogyan alakul a közös életünk társadalomként, az azon múlik, hogy minden egyes nap hogyan cselekszünk, mit közvetítünk, mit képviselünk. Nem a képviselőkön múlik csak, nem lehet kizárólag rájuk bízni, hiszen a net népe sokkal hangosabb, de hogy ez zaj lesz, vagy egy szép örömének, az bizony rajtad, rajtam, és mindannyiunkon is múlik.

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Szeretem innen, mert a hosszát lehet nézni, így olyan mint a tenger

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Vigyázat Kagyló Veszély

The Necklace - by Guy de Maupassant

 The girl was one of those pretty and charming young creatures who sometimes are born, as if by a slip of fate, into a family of clerks. She had no dowry, no expectations, no way of being known, understood, loved, married by any rich and distinguished man; so she let herself be married to a little clerk of the Ministry of Public Instruction.

She dressed plainly because she could not dress well, but she was unhappy as if she had really fallen from a higher station; since with women there is neither caste nor rank, for beauty, grace and charm take the place of family and birth. Natural ingenuity, instinct for what is elegant, a supple mind are their sole hierarchy, and often make of women of the people the equals of the very greatest ladies.

Mathilde suffered ceaselessly, feeling herself born to enjoy all delicacies and all luxuries. She was distressed at the poverty of her dwelling, at the bareness of the walls, at the shabby chairs, the ugliness of the curtains. All those things, of which another woman of her rank would never even have been conscious, tortured her and made her angry. The sight of the little Breton peasant who did her humble housework aroused in her despairing regrets and bewildering dreams. She thought of silent antechambers hung with Oriental tapestry, illumined by tall bronze candelabra, and of two great footmen in knee breeches who sleep in the big armchairs, made drowsy by the oppressive heat of the stove. She thought of long reception halls hung with ancient silk, of the dainty cabinets containing priceless curiosities and of the little coquettish perfumed reception rooms made for chatting at five o'clock with intimate friends, with men famous and sought after, whom all women envy and whose attention they all desire.

When she sat down to dinner, before the round table covered with a tablecloth in use three days, opposite her husband, who uncovered the soup tureen and declared with a delighted air, "Ah, the good soup! I don't know anything better than that," she thought of dainty dinners, of shining silverware, of tapestry that peopled the walls with ancient personages and with strange birds flying in the midst of a fairy forest; and she thought of delicious dishes served on marvellous plates and of the whispered gallantries to which you listen with a sphinxlike smile while you are eating the pink meat of a trout or the wings of a quail.

She had no gowns, no jewels, nothing. And she loved nothing but that. She felt made for that. She would have liked so much to please, to be envied, to be charming, to be sought after.

She had a friend, a former schoolmate at the convent, who was rich, and whom she did not like to go to see any more because she felt so sad when she came home.

But one evening her husband reached home with a triumphant air and holding a large envelope in his hand.

Instead of being delighted, as her husband had hoped, she threw the invitation on the table crossly, muttering:

"What do you wish me to do with that?"

"Why, my dear, I thought you would be glad. You never go out, and this is such a fine opportunity. I had great trouble to get it. Every one wants to go; it is very select, and they are not giving many invitations to clerks. The whole official world will be there."

She looked at him with an irritated glance and said impatiently:

"And what do you wish me to put on my back?"

He had not thought of that. He stammered:

"Why, the gown you go to the theatre in. It looks very well to me."

He stopped, distracted, seeing that his wife was weeping. Two great tears ran slowly from the corners of her eyes toward the corners of her mouth.

Instead of being delighted, as her husband had hoped, she threw the invitation on the table crossly, muttering:

"What do you wish me to do with that?"

"Why, my dear, I thought you would be glad. You never go out, and this is such a fine opportunity. I had great trouble to get it. Every one wants to go; it is very select, and they are not giving many invitations to clerks. The whole official world will be there."

She looked at him with an irritated glance and said impatiently:

"And what do you wish me to put on my back?"

He had not thought of that. He stammered:

"Why, the gown you go to the theatre in. It looks very well to me."

He stopped, distracted, seeing that his wife was weeping. Two great tears ran slowly from the corners of her eyes toward the corners of her mouth.

"There," said he, "there is something for you."

She tore the paper quickly and drew out a printed card which bore these words:

She uttered a cry of joy:

"True! I never thought of it."

The next day she went to her friend and told her of her distress.

Madame Forestier went to a wardrobe with a mirror, took out a large jewel box, brought it back, opened it and said to Madame Loisel:

"Choose, my dear."

She saw first some bracelets, then a pearl necklace, then a Venetian gold cross set with precious stones, of admirable workmanship. She tried on the ornaments before the mirror, hesitated and could not make up her mind to part with them, to give them back. She kept asking:

"Haven't you any more?"

"Why, yes. Look further; I don't know what you like."

Suddenly she discovered, in a black satin box, a superb diamond necklace, and her heart throbbed with an immoderate desire. Her hands trembled as she took it. She fastened it round her throat, outside her high-necked waist, and was lost in ecstasy at her reflection in the mirror.

Then she asked, hesitating, filled with anxious doubt:

"Will you lend me this, only this?"

"Why, yes, certainly."

She threw her arms round her friend's neck, kissed her passionately, then fled with her treasure.

The night of the ball arrived. Madame Loisel was a great success. She was prettier than any other woman present, elegant, graceful, smiling and wild with joy. All the men looked at her, asked her name, sought to be introduced. All the attaches of the Cabinet wished to waltz with her. She was remarked by the minister himself.

She danced with rapture, with passion, intoxicated by pleasure, forgetting all in the triumph of her beauty, in the glory of her success, in a sort of cloud of happiness comprised of all this homage, admiration, these awakened desires and of that sense of triumph which is so sweet to woman's heart.

She left the ball about four o'clock in the morning. Her husband had been sleeping since midnight in a little deserted anteroom with three other gentlemen whose wives were enjoying the ball.

He threw over her shoulders the wraps he had brought, the modest wraps of common life, the poverty of which contrasted with the elegance of the ball dress. She felt this and wished to escape so as not to be remarked by the other women, who were enveloping themselves in costly furs.

BEYOND

 International cultural and literary journal. 

Vision

"To connect cultures through literature, translation, music, and the arts by publishing authentic voices from around the world."

Your magazine can become a meeting place for:

• Writers
• Poets
• Translators
• Musicians
• Artists
• Cultural institutions
• Readers interested in world cultures

Editorial Sections

1. World Literature

• Short stories
• Poems
• Essays
• Book excerpts (with permission)
• Literary criticism
• Author interviews

2. Translation

This can become your signature feature.

• Poems translated into English
• Short fiction in bilingual format
• Essays introducing lesser-known literary traditions
• Articles about the craft of translation

3. Music & Performing Arts

• Traditional music
• Folk songs
• Classical music traditions
• Contemporary musicians rooted in culture
• Dance forms
• Reviews of concerts and performances

4. Cultural News & Reports

Cover activities from:

• Cultural centres
• Museums
• Libraries
• Literary festivals
• Book fairs
• Music festivals
• Theatre festivals
• Art exhibitions

Rather than just announcing events, publish thoughtful reports, interviews, and photographs.

5. Heritage

• Traditional crafts
• Architecture
• Oral traditions
• Indigenous knowledge
• Festivals
• Local history

6. Books

• Reviews
• Reading lists
• New releases
• Publisher interviews
• "Books from Around the World"

7. Conversations

Interviews with:

• Writers
• Translators
• Musicians
• Curators
• Publishers
• Scholars

---

Potential Partners

You could collaborate with:

• National cultural centres
• Embassies' cultural wings
• Universities
• Literary festivals
• Museums
• Public libraries
• Translation associations
• Independent publishers

These partnerships can provide access to events, contributors, and audiences.

---

Revenue Model

A mixed revenue approach can make the magazine more sustainable:

• Annual digital subscriptions
• Print special editions
• Sponsored cultural coverage (clearly identified)
• Advertising from publishers, universities, and cultural organizations
• Grants for arts, translation, and cultural exchange
• Writing and translation workshops
• Literary competitions
• Books published under your own imprint
• Merchandise featuring artwork or literary quotes (with appropriate rights)

---

A Long-Term Vision (5–10 Years)

Imagine the magazine growing into a cultural platform with:

• A respected online journal
• A quarterly print edition
• An international translation prize
• A yearly world literature festival
• A podcast featuring writers and musicians
• A YouTube channel with interviews and performances
• An online archive of translated literature
• Fellowships or residencies for writers and translators

---

Sample Issue

Theme: "Japan"

• Editorial: Why Literature Builds Cultural Bridges
• Feature Essay: Contemporary Japanese Culture
• Translated poems by modern Japanese poets
• Interview with a Japanese novelist
• Traditional music feature
• Report from a Japanese cultural centre event
• Review of a Japanese film
• Recommended reading list
• Photo essay on Kyoto's cultural heritage

This kind of themed issue gives readers a deep, well-rounded understanding of a country's culture.

A Mission That Can Inspire Contributors

We believe culture is best understood through its stories, languages, music, and artistic expression. Our magazine brings together writers, translators, musicians, scholars, and cultural institutions to foster dialogue across borders and celebrate the richness of the world's diverse traditions.

This vision positions the magazine not just as a publication, but as a platform for cultural exchange and international collaboration. Over time, it could become a trusted destination for readers, creators, and institutions interested in the arts and cross-cultural understanding.

Also include artisans , sculptors , folk art , folk music and folk literature

That broadens the concept into something even more distinctive. You're no longer describing just a magazine—you're describing a global cultural journal and platform dedicated to preserving, documenting, and celebrating both tangible and intangible cultural heritage.

Here's how I would shape the vision.

Mission

To document, celebrate, and connect the world's diverse cultural heritage through literature, translation, music, folk traditions, visual arts, craftsmanship, and informed reporting on cultural life.

Editorial Pillars

1. Literature

• Poetry
• Short stories
• Essays
• Literary criticism
• Author interviews

2. Translation

• Bilingual poetry
• Translated short fiction
• Folk tales
• Essays on translation
• Introducing lesser-known literary traditions

3. Folk Literature

• Oral traditions
• Myths and legends
• Epics
• Proverbs
• Children's stories
• Ballads

4. Music

• Classical traditions
• Folk music
• Indigenous music
• Contemporary artists inspired by tradition
• Instrument profiles
• Album and performance reviews

5. Folk Arts & Crafts

• Textile traditions
• Pottery
• Wood carving
• Metalwork
• Basket weaving
• Hand embroidery
• Paper arts
• Traditional crafts and techniques

6. Sculpture & Visual Arts

• Traditional sculpture
• Public art
• Indigenous art
• Contemporary artists
• Painting
• Calligraphy
• Murals
• Photography

7. Artisans & Makers
This could become one of your signature sections.
Each issue could feature:

• A master artisan
• Their life story
• Their techniques
• Challenges they face
• Apprenticeship and knowledge transfer
• A photo essay of their work

8. Cultural Reporting
Coverage of:

• Museums
• Galleries
• Cultural centres
• Literary festivals
• Folk festivals
• Theatre productions
• Music concerts
• Craft fairs
• Book launches
• Heritage conservation projects

9. Heritage & Living Traditions

• UNESCO-recognized heritage
• Local heritage
• Rituals
• Traditional architecture
• Cuisine
• Cultural landscapes

10. Interviews
Conversations with:

• Writers
• Translators
• Musicians
• Sculptors
• Painters
• Artisans
• Museum curators
• Scholars
• Cultural leaders

Annual Special Issues

Each edition could focus on a country or a theme, such as:

• Indigenous Cultures
• Silk Road Traditions
• Women in Folk Arts
• Sacred Music Around the World
• Living Craft Traditions
• Oral Epics Across Continents
• Contemporary Sculpture
• Cultural Heritage and Climate Change

Beyond the Magazine

Over time, the platform could include:

• A digital archive of translations and oral histories
• Video documentaries featuring artists and artisans
• A podcast with writers, musicians, and craftspeople
• Virtual exhibitions
• Educational resources for schools and universities
• Annual awards recognizing excellence in literature, translation, folk arts, music, and cultural preservation

A Possible Motto

• Where Cultures Meet Through Creativity
• Stories, Songs, and Traditions Without Borders
• Celebrating the Living Heritage of Humanity
• Connecting the World Through Arts and Culture

By focusing on literature, translation, artisans, sculptors, folk arts, folk music, folk literature, and cultural reporting, your publication would occupy a unique space. Rather than competing with travel magazines or general arts publications, it could become a respected international journal documenting the living cultural heritage of communities around the world. This focus also creates opportunities to collaborate with cultural institutions, universities, museums, libraries, and arts organizations while giving a platform to voices and traditions that are often underrepresented.

A monthly magazine is an excellent choice, but it also means your editorial workflow needs to be sustainable. For a 52-page monthly publication, the goal is consistency rather than trying to cover every aspect of world culture in every issue.

I would recommend making about 60% of the magazine evergreen (literature, translation, interviews, artisan profiles) and 40% current (event reports, new books, cultural news).

Suggested Monthly Structure (52 Pages)

Section	Pages
Cover	1
Contents & Editorial	3
Theme of the Month	8
Literature (poetry, fiction, essay)	8
Translation	6
Artisan / Sculptor Profile	4
Folk Arts & Folk Music	4
Interview	4
Cultural Centres & Event Reports	5
Book Reviews & New Releases	4
World Culture Briefs	3
Contributors & Next Issue	2
Total	52

Regular Monthly Columns

Give each column a distinctive title so readers recognize them from issue to issue:

• Editor's Notebook – Editorial
• World Culture Briefs – News from cultural institutions and festivals
• Country in Focus – One country or one cultural theme
• Voices in Translation – Bilingual literary works
• Poetry Across Borders – One or two poems
• The Storyteller – Short fiction or folk tale
• The Artisan's Studio – Craftsperson or sculptor profile
• Echoes of Folk Music – Traditional music and instruments
• Living Heritage – Folk customs, rituals, oral traditions
• In Conversation – Interview
• Culture Watch – Reports from museums, galleries, cultural centres, and festivals
• Bookshelf – Reviews and notable new publications

Editorial Calendar

Instead of making every issue about a different country, alternate between country themes and cross-cultural themes. For example:

Month	Theme
January	Japan
February	Love Poetry Across Cultures
March	Women in Folk Traditions
April	Italy
May	Storytelling Traditions
June	Mexico
July	Sacred Music
August	Indigenous Cultures
September	Egypt
October	Folk Festivals
November	Translation Special
December	World Heritage

This variety keeps the magazine fresh while allowing contributors from many regions to participate.

Editorial Team

As the magazine grows, a lean but effective structure could include:

• Editor-in-Chief
• Managing Editor
• Literature & Translation Editor
• Arts & Music Editor
• Reviews Editor
• Photo Editor
• Digital & Social Media Editor
• Regional Correspondents or Volunteer Contributors

Your Long-Term Identity

Based on everything you've shared, I would position the magazine as:

An international monthly journal dedicated to world literature, translation, music, folk traditions, artisans, visual arts, and cultural dialogue.

That positioning is broader than a literary magazine but more focused than a general arts publication. It gives you room to cover cultural centres, festivals, and heritage while remaining rooted in literature and the arts.

One suggestion that could make the magazine especially distinctive is to have one featured country or culture every month, while still including a few regular columns from other parts of the world. This gives each issue a clear identity without limiting the magazine's global scope.

I also want to publish the foreign languages articles in it

That would make your magazine even more distinctive. Publishing articles in their original languages alongside translations can position it as a true international cultural journal rather than just an English-language magazine.

However, for a 52-page monthly magazine, you'll need a clear editorial policy so it remains accessible.

Recommended Language Policy

• Primary language: English (or English + your main publication language, if applicable).
• Original language: Publish selected works in their original language whenever possible.
• Translation: Include an English translation alongside or immediately after the original.
• Translator's note: Add a short note (100–150 words) explaining the context and any translation choices.

For example:

• A Spanish poem with its English translation.
• A Japanese short essay with English translation.
• A Hindi folk tale with English translation.
• An Arabic article with English translation.

This approach allows readers who know the language to appreciate the original while making the content accessible to a wider audience.

Suggested Monthly Sections

1. Editorial
2. Country or Theme of the Month
3. World Literature
4. Voices in Original Languages (your signature section)
5. Translation Notes
6. Folk Literature
7. Artisan & Sculptor Profile
8. Folk Music & Performing Arts
9. Cultural Centre Reports
10. Book Reviews
11. Interview
12. Global Cultural Calendar

Editorial Guidelines

To maintain quality, each issue could include:

• 2–3 original-language literary works with translations.
• 1 article in a foreign language with an English translation.
• A maximum of 10–12 pages devoted to multilingual content, leaving enough space for other sections.

Build an International Network

To support multilingual publishing, invite:

• Writers
• Translators
• University language departments
• Cultural institutes
• Embassies' cultural divisions
• Literary organizations

Create an international editorial advisory board with members from different linguistic regions to help identify contributors and review translations.

A Vision Statement

Our magazine is a meeting place for the world's languages, literatures, arts, and living traditions. We publish original works, translations, and cultural reporting to foster dialogue across cultures while preserving the richness of linguistic and artistic diversity.

One Recommendation

If you want this magazine to gain international recognition, don't think of it as only a magazine. Build it as a multilingual cultural platform with:

• A monthly print and digital journal (52 pages).
• A website where longer articles and additional translations can be published.
• Audio recordings of poems and stories in their original languages.
• Video interviews with writers, musicians, and artisans.
• A searchable archive of translated literature.

This way, the printed magazine stays concise, while the website becomes the expanding home for multilingual content and cultural resources.

If we publish it under a TRUST which is Non profitable , can we ask for digital membership of magazine

Yes. In many jurisdictions, a nonprofit trust can charge for memberships or subscriptions, provided the income supports the trust's charitable or nonprofit objectives and complies with applicable laws and the trust deed. Since your earlier messages suggest you may be in India, here's the general position for that context.

A nonprofit trust can typically:

• Offer paid digital memberships.
• Charge annual subscriptions for the magazine.
• Sell print or digital editions.
• Accept donations and grants.
• Organize paid workshops, lectures, and cultural events.
• Sell publications and educational materials.

The important principle is that any surplus should be used to further the trust's stated objectives, not distributed as profits to trustees or members.

Membership vs. Subscription

These are slightly different:

Digital Subscription

• Access to the monthly magazine.
• Access to archives.
• Subscriber newsletter.

Digital Membership
In addition to the magazine, members might receive:

• Invitations to online talks with writers and artists.
• Access to exclusive interviews and recordings.
• Early access to new issues.
• Discounts on workshops or cultural events.
• Participation in members-only forums or book discussions.

A membership model often aligns well with a nonprofit because it emphasizes supporting the mission as well as receiving benefits.

Suggested Membership Levels

• Student Member – Affordable access to the digital magazine.
• Individual Member – Full digital access and member events.
• Patron Member – Additional recognition and opportunities to support translation or cultural preservation projects.
• Institutional Member – Libraries, universities, and cultural organizations with multi-user access.

Points to Check Before Launching

Before setting up the trust and membership program, make sure:

• Your trust deed explicitly allows publishing, educational activities, memberships, and collecting subscription fees.
• You understand the applicable tax and regulatory requirements for nonprofit organizations in your country.
• Your accounting clearly distinguishes donations, grants, and earned income such as subscriptions.

A nonprofit cultural trust with a high-quality multilingual magazine can be an attractive partner for cultural institutions, universities, libraries, and foundations, especially if your mission is education and cultural exchange.

If you're planning to establish this in India, I can also suggest the most suitable legal structure (public charitable trust, society, or Section 8 company) and explain the advantages of each for publishing a cultural magazine and building an international membership base.