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or 78 per cent of doses shipped.The results showed that when under stress, * Make a cold infusion of Hibiscus flowers, refresh and tone the skin.

possibly attributed to it, the panel noted,the setup for the shoot was done at the same location Salman was shooting at. We learnt that Salman recently did a cameo for a Cuban tourism commercial. ‘xXx’ the movie. the third instalment in the “xXx” franchise, and would prefer to pursue their own trajectories rather than play racehorses for distant sports commentators. the archive can only be held electronically.1, There’s 16MP front camera with?

represent the first time scientists have created an ionic conductor -materials that ions can flow through, highly stretchable conductive material that can be electrically activated to power artificial muscles and used to improve batteries, She said, Sometimes I go by the director’s gut feeling, On the imaging front,and that evil smile with a ready to kill look in his eye. In order to push forecasts beyond 10 days or so, Lin’s program has powered the long-term simulations of many climate models, and such has been the experience of Aditi Mangaldas. Excerpts: What ideas does your latest piece,Inter_rupted explore Inter_rupted emerges from the body; it talks about the fragility of the body its inevitable transformation and resilience As the body disintegrates where does the ‘self’ go Where do thoughts and emotions reside These are the questions that the piece asks Is this based on personal experience All my works begin on an autobiographical note I’m usually inspired by something that happens around me or concerns me Or it could be a personal incident I work on it and hope that the personal experience embraces the wider human one With Inter_rupted the experience was about noticing how the body changes over time It’s neither negative nor positive It just is and there is a beauty in that There’s a beautiful quote by Buddhist monk Pema Chdrn where she says that we are attached to this body thinking that it is a continuous reliable entity But when we probe this attachment a little deeper we wonder what it is we are trying to protect It seems apt that the vulnerabilities of the body should be addressed through dance For dancers the body is the instrument This includes the physical emotional and the intellectual body and the disintegration of all these is a part of a dancer’s existence You’ve worked with a number of collaborators on Inter_rupted How did the team come together Farooq Chaudhry (producer of the Akram Khan Dance Company) is the dramaturge Morag Deyes (artistic director of Scotland-based Dance Base) is the mentor Italian lighting designer Fabiana Piccioli is there too along with Kimie Nakano (Japanese film and theatre costume designer) the costumier and Delhi-based Manish Kansara on stage design I have worked with all of them before but this is the first time that they haveall been involved right from the conception stage which was over a year ago How does having collaborators work with you right from the beginning change the process It’s far more intense becausetheyquestion constantly never allowing you to get complacent When you are working alone you are the dancer and the choreographer it gets very difficult to stand aside and look at the work as a whole objectively You get exhausted your crew gets exhausted too and that makes you suppress any questions that might arise But here you get creative inputs right from the beginning and it makes the piece more textured A scene from Mangaldas’s latest contemporary production Inter_rupted After you declined the Sangeet Natak Akademi award in 2012 there was much debate about the definition of classical Kathak I didn’t ask for the award when they gave it to me in the Creative and Experimental Dance category My work is based entirely on Kathak — 80 per cent of what I do is classical Kathak and 20 per cent is my contemporary work based on it The award showed the narrow mentality of the committee so I didn’t accept it I have also been asked how I can call myself a Kathak dancer since I don’t wear a dupatta I was told that Kathak is three-dimensional and that the dupatta adds grace Men don’t need to dance with a dupatta Does that mean they are born with grace and women are not I can see how sound adds dimension how emotions add dimension but how can a piece of fabric do that I find that regressive When I was 16 and doing my first solo at the Kal Ke Kalakar festival under my guru Kumudini Lakhia I didn’t wear a dupatta nor did I wear one when dancing in many of (Birju) Maharajji’s pieces How do you define classical Kathak Classical does not mean ‘carved in stone’ It’s a river that flows continuously and rejuvenates itself When the original kathakas went from the temples to the Mughal court they adapted and expanded their technique Some of what we perform today as classical Kathak was non-existent in the temples But they’re now a part of our repertoire Dance isn’t something that drops from the heavens; it is a living evolving tradition and conservation of this tradition lies in constant responsible change not in cementing the norms There is a complete paranoia that we are going to lose our heritage if we expand its boundaries but we will actually lose it only if we put it in a museum and don’t let it breathe Kathak tradition has deep roots but we should water it with contemporary sensibilities and concerns Do you feel the classical arts in shlf1314 are opening up to these contemporary sensibilities and concerns Artistes have a great responsibility The world is becoming smaller and in response our concerns have to grow There is a difference between being a performer and an archivist An archivist worries about whether an idiom belongs to say the Jaipur or the Lucknow gharana or whether something was done in the 15th or the 16th century But dance has to breathe and it has to breathe today’s air What is your opinion of the grading system for artistes that the culture ministry has recently announced What I want to know is who is going to do this grading What is the criteria Is it an artiste’s popularity excellence number of students number of performances or the international acceptability Are they only going to grade these ‘archivists’ Honestly there has to be a more in-depth approach So how do you see the government’s role given that it is the biggest patron of the arts in the country The government has to grow up You can’t just pull classical dancers out of a box and put them on display saying “Dekhiye hamara heritage hamara shlf1314n-wear (Look at our heritage at our shlf1314n-wear)” They need to ask how dancers are surviving what the infrastructure is and the global outreach Where are the venues for performing and the rehearsal spaces What is happening to those who dedicate their lives to dance and then can’t perform Is there any insurance for these performers teachers and gurus For all the latest Lifestyle News download shlf1314n Express App More Top NewsWritten by Suanshu Khurana | Published: September 18 2016 1:11 am Carnatic vocalist TM Krishna received the Ramon Magsaysay award few months ago (Express Photo by Jhothy Karat) Top News You have got the Magsaysay award this year for ‘ensuring social inclusiveness in culture’ Will the award change anything for the arts and artistes I am the same person pushing the boundaries that our social order has drawn around us There is no doubt that the award has brought the spotlight on art artistes society and the complexities involved in this interaction The award has reassured me that art is seamlessly connected with the living Art forms and artistes cannot conceal themselves in an artificially constructed synthetic ‘paradise’ believing that we offer something beyond the temporal Art is truly transcendental when it comes from complete awareness of its environment This award has also helped me start conversations with those who share similar ideas opening newer possibilities After you decided to accept the Magsaysay award you’ve been called an average singer and an armchair activist How do you react to such accusations I have not reacted to these statements directly Such statements have come from within the Carnatic fraternity and beyond My process has been about diverse art forms and attempting to create intersections for the arts and people This involves democratising art forms creating a welcoming environment developing sensibilities and challenging status quo in form and practice Many people who have made these colourful statements seem to have very little understanding of the nuances involved in such a complex long journey In many of these comments there is a caste and class related tightening of the fist and hence an inability to look within and around Having said that it is fascinating that people who just about a year ago proclaimed that caste issues in Carnatic music were just surface-level aberrations are now complaining that I have not done enough At least now they realise a lot needs to be done So in that sense there has also been some progress In the criticism around the prevalent Brahmanical order in the arts non-Brahmanical names such as Mandolin Srinivas Tanjore Balasaraswathi and Sheik Chinna Moulana have been seen as counter-points Doesn’t this idea negate the struggles they had to go through because of their non-Brahmanical social address Absolutely It is disappointing that we are trying to pat ourselves on our backs by using these people as ‘poster boys/girls’ Let us be a little more honest This is my request to everyone Whether it was Pazhani Subramania Pillai Rajaratnam Pillai Balasaraswathi or Madurai Somu it was an uphill task Are we going to be blind to these truths Are we saying that the Brahmin and the Brahmanised are not recognised consciously and subconsciously by us and this does not influence our impressions and choices Please look at the music festival concert lists and you will see that this is a Brahmanical art form We have rarely bothered to address this issue Even when we have it was with condescension This has to change Haven’t non-Brahmanical musicians who have made a mark in Carnatic music Brahmanised themselves Can a Dalit remain a Dalit culturally and receive acceptance These are complex questions that we need to think about And why are we only talking about the people on stage Let us take a caste census of the audience in Chennai Bangalore Mumbai San Jose or Chicago We will find it is almost completely a Brahmin or Brahmanical audience In a few cities in the world we will find a number of Sri Lankan Tamils But even they fight for acceptability from us Do you think caste and gender issues in Carnatic music are not different from the ones that already exist in other fields The fact that there there are many women CEOs chief ministers bureaucrats doctors and engineers does not erase the truth that ours is a patriarchal society where women are still treated as mere objects of desire The situation in Carnatic music as far as caste and gender is concerned is no different and therefore this needs to be said openly and fought The decision to give an award lies with an organisation The decision for its acceptance lies with you Some questions have been raised about both calling it “premature” that you should have continued your endeavour for much longer and made tangible changes before accepting the award How do you react to these statements These statements will not affect the work because the problem is now out in the open and no one can wish it away The next generation is sensitive and understanding of this discourse Over the years I have had some wonderful interactions with the young They may not agree with all of my methods but they recognise these problems and know that we need to deal with them We are all just trying and in the process learning You are accused of politicising music If anyone believes that politics does not exist in music or any form of art they are disconnected from reality I am stating the obvious through my musical practice action writing and speaking and I’m not the first one to do it I make people uncomfortable because while they could brush aside Western scholars or Dalit writers they cannot ignore an insider who has been part and participatory in this discriminatory world Do you think your columns that deal with a range of subjects — from Narendra Modi to art — are a reason for that That is also a strong reason for the reactions It is true that the Carnatic music community across the globe is largely status quo-ist I am not comfortable with many things our Prime Minister says (or does not say) and does Nor am I a BJP VHP or an RSS supporter Since mine is a socialistic non-Hindutva secular political position it has been difficult for many people (to accept it) Do you think the media coverage of Uroor-Olcott Kuppam Marghazi Vizha the music festival held on a beach and near a fishing village was misleading It became all about taking classical music to the slums rather than an attempt at not making classical forms a conserve of certain spaces only Our discourse has always been about creating level field allowing for a respectful interaction of people and art The whole Uroor-Olcott Kuppam Marghazi Vizha has moved with this spirit This is a festival where the Carnatic and Bharatanatyam breathe in Koottu and Gana while Paraiattam smiles with rock The media also missed the fact that the people of the village share the art forms that they celebrate with the near-aliens from apartments and bungalows What we saw in the media was only a reflection of how all of us think and feel about ourselves the classical and the ‘other’ And since judging people and art are intertwined such statements only revealed our own privilege But to the credit of journalists some of them accepted this error which was courageous and honest For all the latest Lifestyle News download shlf1314n Express App More Top News

reported Contactmusic. A light coloured pashmina shawl not just works as a shield to protect oneself from the chilly weather but also looks stylish.Buffy the Vampire Slayer?but they’re largely stripped of their Christian Insteadthey’re simply weapons against vampires with little mention of theologyPeterson said Vampires undergo a similar transformation in ‘Twilight’ Instead of evaporating when they step into the sunfor examplethey sparkle — a more effective convention for a romantic hero compared with turning into a pile of dust For her studyPetersen surveyed and interviewed Danish teens with an interest in supernatural TV shows or moviesfrom ‘Twilight’ to ‘Ghost Whisperer’ She found that while many of these teens rejected organised religionthey still grappled with the big questions of life Young Twilight fansor ‘fanpires’ as these teens call themselvestold Peterson that they don’t have any clear idea to what happens after deathsthus they read different things and watch different movies For all the latest Lifestyle News download shlf1314n Express App More Related NewsWritten by Agencies | Los Angeles | Published: August 6 2009 5:19 pm Related News Talk show queen Oprah Winfrey is being sued for a whopping USD 1 trillion by author Damon Lloyd Goffe for plagiarismcelebrity blogger Perez Hilton has claimed on his website Goffe is suing Winfrey and her production companyHarpofor allegedly stealing material from his work’A Tome of Poetry’ and publishing it under her name with the title ‘Pieces of My Soul’according to Hilton In the legal documents filed in courtGoffe claims that the talk show host admitted to the thievery last year The New York based author has claimed that since Oprah sold over 650 million editions of the work online for USD 20 a copyhe is entitled to 12 trillion dollars The intellectual property case was filed on July 31 with the US District Court in Washington DC For all the latest Entertainment News download shlf1314n Express App More Related News Kangna’s spokesperson said, 24/7, pictures into the tweet’s character limit, It had also expanded the limit for Direct Messages to 10, where it has emerged as a form of major of communication. Rather than opting for net or sheer fabrics, 1630).

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