Another trend: growing organic produce in your kitchen.Adds Call: “How many bumper molds sheet sets do you really need?” With fewer items and clear places to store them, he says, you “start creating this rhythm, and that makes you feel peaceful. Your air will be healthier, you’ll save money, you’ll need less space for storing cleaning products, and you won’t be buying disposable plastic spray bottles. They want to create living spaces where they will cook healthier foods, breathe healthier air and improve overall wellness. Besides counter-top and window-sill herb gardens, Huh says, consider adding cabinets with lights and soil for growing lettuces, berries and more. Those decisions out in the world are where you’re engaging and empowering yourself.” Put a bowl of fresh fruit on the counters, she says, and consider a calming colour scheme.”If clients want to scent their homes in soothing and healthful ways, Call advises using natural oil diffusers rather than synthetic fragrances.

“A red kitchen may be too intense energetically to be in there for long,” which may mean you’ll avoid cooking.And clearing out clutter can make any room more relaxing. She suggests they walk through their home and “check how they feel when they enter a room. Says Huh: “It’s cheaper to buy a horsehair mattress than some of the fancy foam mattresses. Call Designs, and New Yorkers Young Huh and Carolyn DiCarlo, recommend four general approaches to creating a healthy home.Here, three interior design experts, Jon Call of Palm Springs, California-based Mr. Look at labels.”DiCarlo often helps clients design just part of a room, perhaps a bedroom, as a personal space for meditation and reflection.Call agrees: “When I clean my coffee table, in order to oil the wood I’m going to take everything off of it,” he says. Whether it makes them feel kind of enlightened, whether it make them depressed.DiCarlo agrees: “Look to nature to inspire you,” she says, whether that means adding plants or swapping out synthetics for natural fabrics. You need plenty of open counter space, DiCarlo says, and “a balance between decluttering and also stimulation of healthy food choices. “It works by magnetically charging the surface of the cooktop, which creates heat.

Call recommends making your own natural dishwasher soap rather than using store-bought products, whose chemicals can leach into the air when the dishwasher is running and hot.Creating space for wellnessAlthough her background is in architecture and design, DiCarlo’s work with clients begins with the question of well-being.Conscious cleaning“The first thing I do when I go into a client’s home is talk to them about how they take care of their home,” says Call.Redecorating your kitchen can actually help you cook more.“Cleaning is really the baseline,” he says, “not only for insuring the interior is healthful but also to actively decorate your home.Ask a designer: 4 simple steps toward a healthier home., they don’t have to tell you what carrier oil they’re using,” Call says, “so I assume the worst, unless a company is really transparent.Because essential oils are mixed with “carrier oil,” read the fine print. People realize “they’ve acquired too much stuff in the last decade and now it’s making them feel unwell,” says Huh.And energy-efficient dishwashers conserve water. “We’re all much more concerned about where our food is coming from and being closer to good fresh food,” she says. “As much as you can try to bring in natural fibers and things that were painted or dyed or printed in a responsible way,” do so, she says. “You’ve got to be really careful with all the paraffins and waxes,” he says. When it’s time to put items back, he’ll ask: “Do I really need this remote control here? Is it time to ditch the candles?”

All three designers suggest switching to natural cleaning products. If you have a spare room available for that, Huh says, include a cabinet to store cushions, and create a space “that may sort of act like an altar piece or for burning incense.” A deep-cleaning session can inspire changes you hadn’t considered: Wash your windows, DiCarlo says, and consider reorienting your furniture to take advantage of a room’s natural light.”Curated kitchensHuh sees more homeowners converting from gas-powered ranges to energy-efficient, cleaner induction cooking.Clearing the airChoose paints that don’t “off-gas” toxic chemicals, Huh says, and sofas and mattresses that aren’t treated with chemicals that release unhealthy gases. You might save money at the same time. “In the U. Installing sound-deadening sheetrock can make a bedroom more soothing and healthful, especially in an urban apartment, she says. “There are no gases and no heat produced from the cooking,” she says. Call recommends learning to make small batches of cleaning products from a handful of items like white vinegar, baking soda and lemon oil.

Is it too big and makes them feel small, or too small and makes them feel cluttered?”Noting those responses can help you decide what changes are necessary and which rooms need attention.” New refrigerators with windows let you keep tabs on how fresh your foods are. But it’s not burning fuel.S. ne key way to create a healthier home is making sure your kitchen offers plenty of open space for cooking and meal prep, as well as natural light. (Photo: AP) Can your home help you get healthier? Interior designers say clients don’t just want help creating a more beautiful home anymore. He looks at how they’re cleaning their home and what products they use.“You could have the most beautiful home,” DiCarlo says, “but you could feel empty, lost and forlorn in it, and what good does it do you?”Many people are seeking a sanctuary area for relaxation and meditation, the three designers say.”

But those who saw him thus seemed to feel no pity. In conditions like these, it is likely to be exploring fallback options to prepare for a scenario in which the Modi motif has been taken off the shelf. But when confronted by him they dare not contradict him to his face, and prefer to stay mum..His Demonetisation is being likened to the Emergency in that it has taken away the liberty of the people to work by creating such a devastating condition of absence of cash that the hirer is deterred from offering daily-wage employment, although there is work to be done. Although its top brass have shown restraint in their speech, they know India has been struck a body blow by Demonetisation. He inspires fear, not affection; he tells his party ranks to take the message of the government to the people instead of complaining and malingering.But even Mr Jaitley and Mr Shah are careful how automotive interior and exterior molds Suppliers they put across their thoughts.

Those in the BJP and the government who are speaking up for Demonetisation can be counted on the fingers of one hand, but are principally just two — finance minister Arun Jaitley and BJP president Amit Shah who, along with PM Modi, make up the trio that are running the show, as was derisively pointed out by Arun Shourie, a writer and former journalist who commanded much respect in the (Atal Behari) Vajpayee period.But his audience remained unmoved. It aimed to excite the poor man’s inner anger with the rich and leave behind the subliminal thought that Prime Minister Modi was on their side and intended to get even with the rich on their behalf.It wasn’t just that the banks were denying the public their own hard-earned cash while they were stealthily serving their high-end customers.In short, the people are deriving the message of Demonetisation through their own experience, not through the channels of the party machinery or the widespread RSS network. Prime Minister Narendra Modi is not so blessed. They’ve anyway been unhappy for long as the Modi government has done so little for the farming community.The thought is inescapable that Demonetisation was a political move, not a well-considered economic one (or it would have been much more expertly handled).

The RSS, which makes or breaks BJP leaders, is said to be dissatisfied. The finance minister has indeed found a clever way. Images of the event on television showed there was a sullen silence. He speaks ad nauseam about digital cash and plastic money but remains completely quiet about how to address the bread and butter issues of the people. He pulled out scrappy lines from a book written by a long-ago bureaucrat to condemn Indira Gandhi and quoted from sundry speeches of Indira-baiters to slam her. But the hoax has now been found out. People are finding it difficult to buy food even if they have some money in the bank as they can’t withdraw their own money. Indians stand in queue in front of Reserve Bank of India to exchange banned currency notes in Kolkata, India. The Prince of Gujarat was walking the razor’s edge and his feet were bleeding. The Prime Minister himself looked haggard and distraught, not his usual confident, crack-the-whip self. But he is careful not to elaborate his thoughts on the positive features of Demonetisation. His party colleagues tend to give him a wide berth. Initially, many among the poorer classes did appear to be satisfied. (Photo: AP) Demonetisation has been such a resounding disaster for the people and the country that the term is likely to enter our political lexicon with a capital “D”, much like “E” for Emergency.

The BJP president, on the other hand, has the image of a bully. The difference between the two episodes is, however, stark.Unlike the case of the Emergency, senior people in the Modi government and the BJP are not ready to speak up in defence of Demonetisation.In this respect, it was like the “surgical strike”, which turned out to have no military value but it did catch the public imagination initially.This is why the BJP’s MPs and MLAs, specially from poll-bound states like UP and Punjab, are deeply disturbed. In private, they roundly condemn it, and deeply worry for their political future.A vastly experienced outfit like the RSS can see the writing on the wall. Enough indications are now becoming available to suggest that clever tricks to favour the rich start not at banks but at the government security presses, where new currency notes are being printed — for example, wads of fresh notes of the Rs 2,000 denomination are marked as wads of Rs 10 notes and spirited out.Indeed, it was planned as a gigantic PR exercise to boost Mr Modi’s image with ordinary people for the purpose of gaining their confidence, first for the Uttar Pradesh and Punjab polls in February, 2017 and then the Lok Sabha poll of 2019, since the government’s track record is otherwise thin.

They grew vicarious pleasure — and solace — from the thought that Demonetisation was intended to be a blow struck at the heart of the fatcat, and of big business.Barring a clutch of the so-called “Young Turks”, an energetic but minor woolly socialism-oriented faction in the Congress, Prime Minister Indira Gandhi’s party stuck by her through the Emergency, although it was becoming plain, as the days wore on, that this method of fighting political opponents was going to boomerang badly. How will the poor behave? Shakespeare cautioned us long ago: “Beware the fury of a patient man!”Mr Modi must have been made more aware of this last Friday when he addressed the BJP Parliamentary Party.Their everyday miseries are being compounded in a variety of ways, and the prospect of the economy regaining its verve in the foreseeable future seems not even a distant possibility at the moment. Now people know better.The list of other negatives is long and well-known, and is reminiscent of the Great Depression of the 1930s, though we are not quite there yet.Not inviting a debate on the most important economic policy measure in decades is a scornful rejection of the democratic process.With a mood such as this within the BJP, how could Mr Modi have summoned the nerve to allow a proper discussion on Demonetisation in Parliament? And not inviting a debate on the most important economic policy measure in decades is a scornful rejection of the democratic process

“We’re moving so fast as a society. Take for example the image of nude women drawn in the likeness of Khajuraho sculptures.” And yet, she adds something as basic as sex education, which is supposed to be a part of our curriculum, is considered obscene. It explains the incident of lingerie-clad mannequins being banned in Mumbai for ‘insulting people’s sensibilities’. Being Censitive is dynamic and uses censorship to illustrate this form of control, but in a way that allows people to engage freely with it,” says Akshita. For now, she is glad that she could at least spur discussion on such a relevant topic. Slowly a blush set in and hasn’t left our cheeks since What is it about sexuality and sexual growth that makes it obscene or anti-cultural to talk about Since when has one’s private bedroom become a topic of social interest This is what ‘Being Censitive’ (pun on the words ‘censor’ and ‘sensitive’), an art project by Akshita Chandra, addresses.

She has thrown the idea of publishing it as a book, but isn’t sure if publishers will be willing because of the content. My point of interest was the Khajuraho temple art,” she says.Another picture address moral policing, while others take a jab at Section 377, sex education in the country and other topics.“[Through this project] I want to initiate a healthy conversation about censorship.The giggle that overpowered China Besturn X80 Rear Bumper Assembly Factory us during sex education class went a long way in changing our perceptions of sex. Avoiding the mocking stares of boys in biology class was easy, but watching the teacher stammer awkwardly through female puberty made an impact. A combination of illustration and paper craft, the juxtapositions are presented as a series of GIFs on her Tumblr page —the incident of couples in a private hotel being booked for public indecency are shown as nude images that pop out through paper ‘windows’.

Having visited it multiple times, she was quite familiar with the temple. “The premise of the project was to take a part of history, any history, and I had to ground it in the contemporary setting. But it’s important to know that it’s safe and okay to talk about such things. More than anything, it’s a personal choice,” the 21-year-old states.. “But, the erotic sculptures are what the temple is known for and yet, we do not consider it obscene because we see it in a sacred setting. Strangely, only 15-20 per cent of the art there is erotic, while the other sections show animal motifs, war scenes and so on. Based on my research of Khajuraho, I discovered that the reason the sculptures were on the outside of the temple was because they served an educational purpose. What began as a student project at Srishti Institute of Art.

Design and Technology, Bengaluru, turned into something else, even catching former diplomat and current MP Shashi Tharoor’s attention! Through the project, Akshita explores censorship in India on the grounds of obscenities, taking direct inspiration from the sculptures at Khajuraho Temple. I wanted to juxtapose this past with incidents from the present to create a dialogue on censorship and obscenity,” she explains. AKSHITA CHANDRA The giggle that overpowered us during sex education class went a long way in changing our perceptions of sex. Not only was it sacred, it was a place where people gathered together, so it became easy to teach them. A thin strip of plastic interactively shows two sides of the debate

The red bindi or kumkum on the forehead is surrounded by white painted designs representing the sun and moon, or a flower. A fabric is fastened around the hips from behind which define the hipline. Today, Odissi dancers all use silver from head to waist. I’m occasionally asked why it takes over two hours to prepare for a performance and my response is that transforming from a mere mortal into an apsara is not a five-minute job! Sharon Lowen is a respected exponent of Odissi, Manipuri and Mayurbhanj and Seraikella Chau whose four-decade career in India was preceded by 17 years of modern dance and ballet in the US and an MA in dance from the University of Michigan. She can be contacted at sharonlowen. Everything from the indigenous silk sari to the bangles and bells, are described in the text. Those round topped hats with a small sunshade brim were lined with pith to protect the wearer from heatstroke. Odissi classical dance is unique among other classical traditions of India in its use of silver ornaments. The apron of frills skirting the hips and draping in front called Nibiandha and a belt with tassels tied at the waist called ajhoba. When Odissi began to be presented upon the stage, the sari was first wrapped as a dhoti to form a divided “pajama,” with the decorative end design of the sari, or pallu, spread in front.

A dancer may certainly use fewer ornaments than mentioned in the text. Shola pith, for those not from eastern India, may be best known for the British Colonial pith helmets. The dancer may wear two to four necklaces and she may have silver armbands, wide filigreed bangles and perhaps rings on every finger. The art of carving shola pith has been used to create a unique stylisation of flowers for the elaborate hairdo of the Odissi dancer. It feels much like the plastic Styrofoam or thermocol but, of course, is organic. Abhinaya Chandrika, the Sanskrit text specifically on Oriya dance, gives a great deal of detail on the makeup, costume and ornaments of the dancer. The eyes are outlined with black kajal extended far beyond the corner of the eye to resemble that of a fish with a tail. The alta on the feet is used by women in Eastern India for beauty and is considered to make the feet look like lotus flowers. Various artists have incorporated several variations on the length or angle of the front fan in the design, but the main distinction is the vertically draped front or the knee-to-knee fanned out cloth. This is occasionally combined with a braid of hair plaited down the back, if the dancer chooses to follow the Mahari tradition. The silver work comes from the unique tradition of Cuttack filigree in Cuttack district of Orissa. Rudraksha bead designs date back to the Harappan Civilization and are a frequently found motif on Orissa saris, as China Besturn X80 Rear Bumper Assembly Factory are conch shells and fish, among many other nature designs. The woven sari used for a costume can be from any of the many wonderful traditions of the state, in particular those from Sambalpur, Berhampur, and Cuttack.. It specifies a brightly colored nine-yard sari, generally in red or green made of indigenous silk, a brightly colored, bejeweled Kanchula or tight fitting blouse.

The back of the hair bun may have a large silver filigree pin or even a crescent silver wreath over the central pin. The eyebrow should arch, and even curve up at the end, to resemble the bow from which the God of Love shoots his arrows. The Maharis, and Odissi dancers through the 1960’s, sometimes used gold ornaments near the face and on hands, though the three-tiered silver belt has been in use much longer. Many costumes include the unique single and double Ikat tie-dyed and woven patterns of Orissa which traveled to Southeast Asia from this state. Alta, a red natural dye, outlining the feet and on the palms of the hands and fingertips, completes the makeup. Over the years, various styles of tailoring the sari into the costume were developed. The classical texts refer to four essential forms of expression in the dance, namely body movement or Angika, vocal and sung textual expression, Vachika; pure communicative expression, Sattvika; and the expression through costume, makeup and ornaments, Aharya.Odissi makeup and ornaments Odissi dance, like the other classical genres of India, gives great importance to the costume, ornamentation and makeup used in the performance. The soft, white, inner stalk of the shola pith, which grows throughout Orissa and Bengal, is a unique regional craft. The beautifully woven silk saris of Orissa, its silver filigree ornaments and pith flowers, are the trademark accompaniments to the dance of Orissa. Odissi is no exception. In this design, the decorative end of the sari or pallu is pleated and snapped on to the costume so that it fans out as the dancer sits in chouka position. Pulling the hair back and tying it at the back of the head, then pulling the hair through, around, and over a large ring to give fullness to the shape, creates the beautiful hairstyle.

The dancer wears a silver tika along with the part of her hair, often with decorative silver chains from forehead tika to ear. Many of the ornaments described in the Abhinaya Chandrika continue to be used in the dance as well as in daily life. One story of the need for this is that child artist Kum Kum Das Mohanty insisted on going to the bathroom after she had been carefully draped and wrapped in a sari.com. It also serves to articulate the foot movement for the viewing audience. All the elaborate hair designs seen on the temple sculptures of Orissa and described in Abhinaya Chandrika, the most commonly used style is a kind of hair knot at the back of the head with a pushpuchuda. The hair curl spiraling on the cheek in front of the ear is also standard in Odissi makeup for the stage. Earrings rise over the entire ear in peacock or geometric designs with large dangling bell shaped jhumkas. A delicate style is popular far beyond its state borders and has become part of several Southeast traditions as well. The makeup developed over the last half a century emphasises classical images of feminine beauty. The jewelry is inspired from the detailed representations on the temples as well as medieval Oriya text. This quite accurately describes the costume worn by the Maharis at Puri Jagannath temple but the costume worn by the Odissi dancer on the stage today is closer to that worn by the Gotipuas or young male dancers who perform outside the temple over the last few hundred years.

A popular variation on the costume design is to have the decorative front pleated in a vertical fashion down the front that is closer to the Mahari temple dancer tradition. The Odissi dancer wears shola pith flowers around her hair bun and it is topped with a tiara of shola pith flowers representing the spire of Jagannath temple. The belt or mekhala draped from the waist is usually made with secular silver disks strung together in three lines. The Oriya Mahabharata, written by Sarla Das in the 15th century, gives a detailed description of Prince Arjuna dressed as Bruhannari during his year disguised as a dance teacher. Maharis, who danced in the temple, typically wore black velvet bodices with the sari wrapped from the waist down. Every classical and folk-dance form of India reflects the regional character of its performing arts in the local traditions of textile and ornamentation used for its dance. Her guru, Kelucharan Mohapatra, then designed a tailored costume so that the divided pantaloon could be easily stepped out of. In this costume design, the blouse is made from the same sari material as is the cloth draping the front of the dancer