India’s first solar mission spacecraft Aditya-L1 gets send off from Earth: ISRO
“The spacecraft is now on a trajectory that will take it to the Sun-Earth L1 point. It will be injected into an orbit around L1 through a manoeuvre after about 110 days,” ISRO said
The Aditya L1 spacecraft, India's first space-based mission aimed at studying the Sun, got a send-off from Earth after orbiting it since its September 2 launch, as it underwent a key manoeuvre in the early hours of Tuesday (19) ISRO said.
The Trans-Lagrangian Point 1 Insertion manoeuvre marks the beginning of the spacecraft's about 110-day trajectory to the destination around the L1 Lagrange point, a balanced gravitational location between the Earth and the Sun.
"Off to Sun-Earth L1 point! The Trans-Lagrangian Point 1 Insertion (TL1I) manoeuvre is performed successfully. The spacecraft is now on a trajectory that will take it to the Sun-Earth L1 point. It will be injected into an orbit around L1 through a manoeuvre after about 110 days," ISRO said in a post on Twitter.
This is the fifth consecutive time the Indian Space Research Organisation (ISRO) has successfully transferred an object on a trajectory toward another celestial body or location in space, the country's space agency said.
Aditya-L1 is the first Indian space-based observatory to study the Sun from a halo orbit around first Sun-Earth Lagrangian point (L1), located roughly 1.5 million km from earth, which is about one per cent of the Earth-Sun distance.
The Sun is a giant sphere of gas, and Aditya-L1 would study the outer atmosphere of the Sun. It will neither land on the Sun nor approach the Sun any closer. Since its launch, Aditya-L1, during its journey around the Earth, underwent four Earth-bound manoeuvres on September 3, 5 ,10 and 15 respectively, during which it gained the necessary velocity for its further journey to L1.
Upon arrival at the L1 point, another manoeuvre binds Aditya-L1 to an orbit around L1.
The satellite spends its whole mission life orbiting around L1 in an irregularly shaped orbit in a plane roughly perpendicular to the line joining the Earth and the Sun.
Aditya-L1 is expected to arrive at the intended orbit at the L1 point after about 127 days, ISRO had said soon after the launch.
ISRO's Polar Satellite Launch Vehicle (PSLV-C57) on September 2 successfully launched the Aditya-L1 spacecraft, from the Second Launch Pad of Satish Dhawan Space Centre (SDSC), Sriharikota.
After a flight duration of 63 minutes and 20 seconds that day, Aditya-L1 spacecraft was successfully injected into an elliptical orbit of 235x19500 km around the earth.
According to ISRO, a spacecraft placed in the halo orbit around the L1 point has the major advantage of continuously viewing the Sun without any occultation /eclipses. This will provide a greater advantage of observing the solar activities and its effect on space weather in real time.
Aditya-L1 carries seven scientific payloads indigenously developed by ISRO and national research laboratories including Indian Institute of Astrophysics (IIA), Bengaluru, and Inter University Centre for Astronomy and Astrophysics (IUCAA), Pune.
The payloads are to observe the photosphere, chromosphere and the outermost layers of the Sun (the corona) using electromagnetic and particle and magnetic field detectors.
Using the special vantage point L1, four payloads directly view the Sun and the remaining three payloads carry out in-situ studies of particles and fields at the Lagrange point L1, thus providing important scientific studies of the propagatory effect of solar dynamics in the interplanetary medium.
The suits of Aditya L1 payloads are expected to provide the most crucial information to understand the problem of coronal heating, coronal mass ejection, pre-flare and flare activities and their characteristics, dynamics of space weather, propagation of particles and fields.
According to scientists, there are five Lagrangian points (or parking areas) between the Earth and the Sun where a small object tends to stay if put there.
The Lagrange Points are named after Italian-French mathematician Joseph-Louis Lagrange for his prize-winning paper -- "Essai sur le Problème des Trois Corps, 1772." These points in space can be used by spacecraft to remain there with reduced fuel consumption.
At a Lagrange point, the gravitational pull of the two large bodies (the sun and the earth) equals the necessary centripetal force required for a small object to move with them.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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