equipporta

The-most-ancient-wolf-lineage-known

Now, an international research team, led by Madhu Chetri, graduate student at the Hedmark University of Applied Sciences in Norway, reports the wolf from Nepal’s largest protected area, thus confirming its existence in the country.

However, the distinctiveness of the Himalayan wolf is far more than skin-deep.Scientists have confirmed the presence of the critically endangered Himalayan wolf — the most ancient wolf lineage known — in Nepal’s largest protected area.Although the Himalayan wolf two color injection molding machine is visibly distinct from its European cousin, its current distribution has mostly been a matter of assumption, rather than evident truth, researchers said.

As a result, they found out that the wolves are considered to pose a threat for the local livelihoods. On the other hand, its characteristic woolly body fur has given the subspecies the common name “woolly wolf”. Researchers note that recent studies have already showed that these wolves have split as a separate branch within the ‘tree of life’ so long ago that they are divergent from the whole globally distributed wolf-dog clade. As a part of the research, the researchers conducted both formal and informal interviews with about four hundred local herders, livestock owners, nomads and village elite to find out more about the status of the human-wolf conflict, as well as their attitudes and perceptions.

The most ancient wolf lineage known to science has been listed as critically endangered in Nepal’s National Red List, they said.. However, the populations are still suffering heavy mortality.Another clearly distinctive feature is the white colouration around the throat, chest, belly and inner part of the limbs. Scientists have confirmed the presence of the critically endangered Himalayan wolf — the most ancient wolf lineage known — in Nepal’s largest protected area.Having undergone such an isolated evolution, the Himalayan wolf is considered of particular conservation concern, researchers said.When compared to the European wolf, this one stands out with its smaller size, unusually longer muzzle and stumpy legs. They were persecuted and killed as a means of depredation

A-stunning-fashion-show-ended-with-a-surprise

A one of a kind show, the showstoppers Janhvi Kapoor, wearing a flouncy black long skirt teamed with an exquisitely designed tone-on-tone black embroidered jacket and shimmering bralet glided down the ramp, whereas Anil Kapoor rocked the ramp in a black embellished Bundi over black kurta and trousers and also carried his jhakaas attitude. In fact, we see more endorsements away from fashion.

Originally a men’s outfit, Raghavendra’s label for the first time tweaked the style for women as well. We have a lot of customers in the middle east, people in London are wearing the bandhgala, so, to me, it’s the only Indian outfit that can transport itself to any part of the world,” he says. Women’s collection, on the other hand, featured bandhgala jackets paired with different length of skirts.

After starting his own fashion school, Gurukul School of Design, last year, Raghavendra feels that innovating with time is a crucial step in keeping education at par with the industry. With the internet, it’s not going to be the same,” he explains.. I think it’s a booming business and a very big market and the future is moving to the format of retail online. | TRISHA GHOROI Published: Feb 5, 2019, 12:14 am IST Updated: Feb 5, 2019, 12:14 am IST Designer Raghavendra Rathore introduces Bandhgalas for women at the Lakme Fashion Week. They also want to shop off-season — in winters, they’ll want a summer jacket, and this is why a bespoke brand like us are more popular with these kinds of clients,” he adds.

”A stunning fashion show ended with a surprise as Ranveer Singh joined the showstoppers and the designer and entertained the audience with his crazy moves. Reviving the traditional Bandhgala jackets, Raghavendra Rathore’s new collection ‘An Ode To The Bandhgala’ was an amalgamation of heritage with sophistication. “Education must be special and newly designed and not designed 20 years ago or 10 years ago.Even in the biggest fashion week in the country, men’s fashion is always considered secondary to women’s. Although the fashion industry is often blamed to rely on Bollywood, Raghavendra sees it as a method of communication. “I think Bollywood works car and several other products. It’s not that it’s dictating fashion. “bandhgala is not an Indian style anymore, it is something that people like to wear everywhere. “A person today going into a school must prepare themselves for the future because it’s a very disruptive future.” After being in the industry for over 20 years, Raghavendra feels that men are now more aware of fashion.Talking about the collection, the designer says, “We are exploring the boundaries of the classic bandhgala for women for the first time. Perfect choice for festive wear, this collection showcases Bandhgala in a glammed up avatar. I feel there is a grave need to look at how education, and not just in fashion, is disseminated in India, we need people to be able to innovate a lot more and not only worry about the problem and fix it, but to be able to innovate in a big way,” adds Raghavendra.Although a style rooted deeply in India, Raghavendra feels bandhgala can go international.

Bollywood is the communication language of India, I think it’s fair to use that as a communication point. “I think men are more confident in what they want to buy and want their personality on their clothes. Commenting on this Raghavendra says, “I think menswear is not necessarily needed to be in fashion weeks because the sales happen in a different way.”His show on the day 4 of the Lakme Fashion Week saw models walking down the ramp donning a wide variety of outfit, be it a bandhgala paired with China Jump Rope wholesale a formal suit, a textured sherwani and white waistcoat, a printed kurta under bandhgala or a one-button, narrow-lapelled jacket with peaked lapels

Certainly-the-visualisation-of-that-scene-is-masterly

These include the dignity of Meera Bai’s wedding procession, with the bridegroom’s manly stance beautifully portrayed by the talented young Jai Quehaeni, the playfulness of the “jhoola” scene, the drama of the snake sent to poison Meera bai. The production was presented by the Himachal Pradesh state government, Depart-ment of Language Art and Culture.” Full of praise for Chitra Visweswaran’s deta-iled vision, Jayashri recalled how it was comparatively easy to compose the music for Meera, as the mood required for each scene had been envisioned right from the start. The limited narrative is in English (indeed, in an Indian context one does not really need this, as the visuals are so telling).

Her tune is so wistful, sung beautifully by Vijayshri Vittal; the “abhinaya” of the young Meera (played most wonderfully by Priya Srikanth), achingly poignant. When Jayashri changes the Raga of even a familiar much loved and universally heard bhajan like “mharo pranam” (which has been rendered immortally by the late Gaansaraswati Kishori Amonkar in Raga Aiman Kalyan) to Mishra Pahari, there is no feeling of being let down.Speaking about the music, Jayashri recalled “I remember “Jhoolat Radha sang Gir-idhar” was in Raga Vrind-avani Sarang; Vrindavani Sarang in my mind brings me the very essence of Vrindavan; the fragrance of that earth, the mood of togetherness, the “shringaar”. Indeed most of the audience was teary eyed at this point, jumping up in a spontaneous standing ovation. In an ecstasy of “anand” (bliss), she swirls around, as she awaits the ultimate union with her bridegroom, the merging with the Lord, to the haunting song of “mera olagiya” (my bridegroom is coming) in Raga Des, sung inimitably by Bombay Jayashri.

This is the first time this production has premiered in North India; after its premiere in Chennai in 2016, Meera — The Soul Divine has toured the world to packed halls.The music is superb; lyrical Ragas like Jaijaiwanti, Kedara, Gorakh Kalyan are used in evocative snatches. Speaking of the Carnatic element in the production, Jayashri said essentially it was only through the dance, (bharatanatyam); the North Indian music was interspersed with the “jatis” (the nritya bol, the language of the mridangam).”The attention to detail, a hallmark of Chitra Viswes-waran is visible throughout – even the earrings worn by the dancers are images of Lord Krishna. The entire production has a South China Resistance band manufacturers Indian cast (the dancers are all trained in Bharatanatyam, with training ranging from 11 to 30 years). In the words of the doyen, Chitra Visweswaran “the life of Meera has been depicted several times earlier in films and plays; I wanted to focus only on her spiritual journey. Truly, the feast for the eyes and ears is all consuming. The grand finale is when Meera Bai realises that the Lord she has been yearning for is within her. The fabrics of the beautifully complementary coloured costumes were sourced from North India as “Kanjeevaram drapes differently” (Chitra ji); the turban worn by the Rana was in the Rajasthani style, and a host of other details that imprinted so subtly in one’s unconscious mind. The unmatched grace and dignity of Chitra Visweswaran; literally the embodiment of “bhakti” is the best portion of the production.” After the performance, Chitra Visweswaran said that without Jayashri’s music the production would have been very different and incomplete, and that she wished Jayashri had been present, in Shimla, for this first performance of Meera- The Soul Divine, in North India. It is an eye opener to see her name and work in a South Indian context.Meera, the 14th century mystic Krishna “bhakt” conjures up an image of the desert of North India. Truly, Meera — The Soul Divine is a fantastic presentation.The synergy between the aural and visual experience is another highlight of this production; the mutual respect between the dance legend and Vidushi Bombay Jayashri and their closeness creatively is visible in every scene. Meera Bai’s overwhelming love for her Lord comes through inescapably throughout the play, making it truly a spiritual experience.Meera, the 14th century mystic Krishna “bhakt” conjures up an image of the desert of North India.The production is a seamless enactment, effortlessly using the tools of movement, rhythm, colours, lights, lyrics and music, in unerring proportions by a master craftsman, Chitra Visweswa-ran, in creating a show that is totally riveting.Extremely slick, the production cleverly brings in differing moods, depicted visually, accompanied by very appropriate lyrics and music. Matching her aurally, Bombay Jayashri used only appropriate North Indian Ragas, “ektaal” bols (Ek taal is a North Indian music taal) during a dance sequence, the sound of the shehnai to remind one of a wedding, and much more. The music is composed by Carnatic “Nightin-gale of the South” Vidushi Bombay Jayashri; the songs sung by herself and her Carnatic music trained disciples.

The author writes on music, musicians and matters of music. Using only 9 dancers, no props, except the compelling “murti” of Lord Krishna that dominates proceedings, the production has one glued to one’s seat. Speaking to Bombay Jayashri about composing the music for Meera, she said “composing the music for Meera was a unique experience. In her words “Chitra “akka” had decided even on the colours of the costumes worn right from the start, how long each scene was to be, each facial expression, how the subtle lighting effects were built into the choreography of the dance. Certainly the visualisation of that scene is masterly; the lyrics (jhoolat) matching the physical action on stage of the dancers miming the swing action of the “jhoola”, gracefully going back and forth. Padma Shri Chitra Visweswaran Shimla’s Gaiety Theatre resounded with the music of the inspirational poems of Meera Bai, and the dancing feet of Padma Shri Chitra Visweswaran and her students enacting out the spiritual journey of Meera Bai, in the 90 minute production Meera — The Soul Divine. The adult Meera Bai is the extremely dexterous SNA Yuva awardee Uma Sathya Narayanan, whose graceful dancing to the familiar “pag ghunghroo baandh Meera nachi” is haunting.The production features three separate dancers as Meera Bai, during the stages of her life from a young girl to adulthood; the last Meera Bai being Chitra ji herself

Tarun-s-collection-is-said-to-be-a-portrait

Which means that there is nothing but my self-control standing between you and bling. “Anything that sparkles invokes a sense of joy, and wearing something shiny always makes one feel more confident.

Take a cue from couture giants (read Ralph Russo, Chanel, Elie Saab, Tarun Tahiliani, etc. Also, think small.) who are vouching for a new kind of sartorial dichotomy — subtle sparkle. That will give you an independent individual item to work with. An army jacket with sequined sleeves is tres trendy at the moment. Sparkly or shiny fabrics should be treated as if they were bare skin — that is, they have a similar look-at-me quality and should be used in moderation, balanced with pieces that are neither flashy nor sparkly.

Figure out ways to make light-catching pieces day-time appropriate, by meshing them with those off-duty workhorse pieces. However, adding too much sparkle is not always the right option. Pairing a dulled sequin sweatshirt with boyfriend jeans for a casual brunch look or finding a metallic handbag that stands out against an all-black outfit, always adds a bit of glitz.Designer Dilnaz Karbhary of Dilnaz says, “Shine is easily available, at any hour of the day or night. Ralph & RussoFor the upcoming India couture week, from ace designer duo Shantanu and Nikhil to couture giants Tarun Tahiliani and Abu Jani and Sandeep Khosla, several designers are set to showcase silhouettes that sparkle and shine with pearls, crystals, sequins and more — but with an understated edge. Stay with one colour family. For the day, stick to a monochromatic look — navy pants with a navy sequined top. Big sequins demand a lot of attention.Get a head start on a new sartorial dichotomy that will be making waves this season — subtle sparkle. Titled “Tarakanna”.

Tarun’s collection is said to be a portrait of understated cosmic glamour that acts like an optical illusion floating loosely from the sky in celestial elegance a la vintage embroidery, finest Italian tulle, Chantilly lace and crystals from Swarovski. A skirt with a sequined panel and a sparkly necklace is another great option. It’s work-appropriate but gives a kick. “But to avoid bingeing on glitter to the point where one can easily give passersby a migraine, impose some rules,” says designer Simran Arya of Carousel.”

Go for a shirt or skirt or jacket, to begin with. Another good way to subtly introduce sparkle without leaving out that hint of shine is through accessorising your outfit with sparkly stud earrings or a neck piece or a glittery ring.”. Creations from Chanel When you see a rail of clothes, do you always (ALWAYS) zero in on or get drawn to anything that shines? My China rubber dumbbell factory friend, you ain’t got an unseemly habit, you just got the sparkly gene! But it’s time for some self-control, please, as you have to keep in mind that understatement is the reigning king and less is always more. Whereas Shantanu & Nikhil’s “The Regiment” is about the sparkle in installments with the help of crystals from Swarovski

The-scheme-was-launched-at-Bhiwand

Powerloom machines.Though the capacity has increased by 12 per cent in the last seven years, fabric production has increased only by 2.This would give great relief to states, especially Maharashtra and Tamil Nadu that account over 75 per cent of powerlooms in the country to reduce power China Jump Rope wholesale subsidy commitment and also enable the sector to be self-reliant, he said.Scheme was launched at Bhiwandi and also in all powerloom centres across nation.4 per cent during the last seven years, he said. SIMA chairman M Senthilkumar said in a statement that the powerloom sector has been facing numerous challenges due to sluggish global and domestic market conditions.He was speaking after attending the launch function at Erode, which was inaugurated by Additional Secretary, Ministry of Textiles, Pusha Subrahmanyam.

The scheme was launched at Bhiwandi and also in all powerloom centres across the nation, including Erode in Tamil Nadu through video conference.He appreciated the solar power plant scheme giving 50 to 90 per cent subsidy with the lower cap for powerlooms connected to the grid and higher benefit for powerlooms that go off the grid. Coimbatore: Southern India Mills Association (SIMA) today thanked Union Textile minister Smriti Irani for launching Power Tex India Scheme and considering most of the proposals of the powerloom sector. He also appreciated the Pradhan Manthri Credit Scheme for powerloom weavers that provide 20 per cent margin money with a ceiling of Rs one lakh,interest subvention at the rateof six per cent, both for working capital and term loan up to Rs 10 lakh for a maximum period of five years.Senthilkumar, former chairman of Powerloom Development and Export Promotion Council, urged all powerloom weavers to fully utilize various benefits announced under Power Tex India Scheme and meet fabric demands of the downstream sectors and remain globally competitive.

Senthilkumar said the scheme would greatly benefit the powerloom sector to improve its competitiveness in the global market and also enable the sector supply quality fabrics at a competitive rate to the garmenting and made-up sector.Benefits under Mudra Yarn Banking Scheme shall provide interest free corpus fund of maximum Rs 200 lakh per Yarn Bank, he said.Appreciating the assistance given for women entrepreneurs under Stand Up India Scheme by providing 25 per cent margin money subsidy with a ceiling of Rs 25 lakh, he lauded the Texventure Capital Fund Scheme, where financial assistance is provided up to Rs three crore invested under SIDBI Venture Capital Fund Scheme

That-is-why-when-the-British-invaded

On stage, my troop of 75 artistes and I are trying to achieve the same scale of illusion, using our theatrical devices and, of course, science. Sorcar, who is all set to perfrom in Mumbai, speaks about magic, science, mythology and more.C.C.

One says that nature and nurture both shape a person.How did you come up with the concept for Indrajal?Indrajal comes from the Hindu mythological concept according to which the entire universe is an illusion. People still like to believe in magic.What is the most magical thing you have ever experienced?I think that India itself is a land of magic.P. Having just completed his programme in the Navi Mumbai Magic Festival, Sorcar is now all geared up for his next show which will be taking place at Yashwant Natya Mandir this weekend. You can also say that we are trying to go beyond the five senses or the five indreyas. In a candid conversation, he speaks about the interweaving of magic and science, the philosophy behind his troop Indrajal and growing up as P. In magic, we speak about infinite possibilities. They realised the magic our country holds that we, as people who are living in it, often overlook.

Do you think that with progress in science, the appeal that magic holds for audiences is going down?I don’t think so.’s son. It is a country of impossibilities. When we use theatrical effects to do the same, you call it magic.So, magic, to you, is science?Of course, it is. Magic is a moving process.What was it like growing up in a world of magic? Do you remember when you were first exposed to this side of your father’s life?Asking me when I was first introduced to magic is like asking a fish when it was first introduced to water. We are only compelled to seek a better future because Lord Indra has pulled us in with his jal or net of illusion. I am a hereditary magician and I was born in magic. That is why, when the British invaded India, and saw the rich fabrics we have, the incredible sceneries, the amazing variety of spices, the types of food, they wanted to conquer it so badly.30 pm onwards, at Yashwant Natya Mandir, Matunga Road West. Now, a skilled surgeon could actually achieve Kettlebell with Rubber this feat in real life. In the latter scenario, it is applied science.

A magician is really an actor playing the role of a magician. C.If it is not magic, how do you perform your dibyadrishti or x-ray eyes trick?I can’t reveal the tricks of the trade (laughs). But I can tell you that it is nothing supernatural, just a trick of presentation. The more we move forward, the more the storyline changes. Sorcar Sr. Take for instance the fact that we often have our hands chopped off and put back together onstage. I saw my father performing magic tricks all the time, where he would just make things appear and disappear or float above a chair. Perhaps the first bit of magic man performed was when he struck two stones together and created fire. I used to think that it is just par for the course, until I realised that others think that it is something extraordinary. Sorcar is now all geared up for his next show which will be taking place at Yashwant Natya Mandir this weekend.Renowned magician P. The appeal that magic holds cannot change—what changes is the storyline for the stage.C. But behind the Merlin award winner who made the Taj Mahal and Victoria Memorial disappear, is a philosopher and a scientist. World-renowned magician P. Sorcar Jr is the son of one of the greatest magicians in the world— and he has more than lived up to the family legacy. What magic is today, will be science tomorrow; what is science today, was magic yesterday. Sorcar’s Magic Show will take place from December 2 to 4, 8

They-had-a-functional-and-physical-life

The prairie dress is not obvious date-night attire but it can conjure childhood innocence. For night, throw on a leather jacket or a parka over the top of ruffle skirts with a boyish sweater and ride on the prairie madness. Designers are so drawn to the land of Laura Ingalls Wilder this year also because prairie has a timelessness and feminine appeal, says Dubai-based Indian designer Shruti Nijhawan.

A prairie girl is feminine and pretty but there’s an underlying darkness too. She shares, “There’s something contradictory about the trend itself. “Sheerness makes for another great way to add youthfulness to the prairie inspiration, in both the shorter and longer renditions of the dress. Women from the prairie region were not known to sit idle or do embroidery all day. “Prairie stems from the French word for meadow,” says designer Pallavi Mohan who took to prairie madness as the inspiration for her summer collection, adding, “And life on the plains offered a freedom from China Wholesale Kettlebell with Rubber conventional behaviour.”. Or try a yoke print blouse with a pair of boyfriend jeans or a pretty prairie dress with a pair of chunky biker boots/ lace-up jack boots. They had a natural knack for layering plaids, florals and geometric prints.”Go for airy, featherweight fabrics that move with ease to counterbalance the heavy prints and appliques defining a prairie chic dress, particularly if the silhouettes are floor-sweeping, she suggests. Use light layering as another perfect means to modernise the look, choosing lacy bras and delicate crop tops to slip underneath unbuttoned dresses,” she explains. Hence, the clothes show two opposing sides — contained, controlled and buttoned-up on the one hand and wild and free and coming undone, on the other.

There are some magpie-cool combinations that you can try for the day and night look.It’s time to travel to the grasslands and embrace prairie chic with high necklines, floral prints, long hems and more Creations from Laura Biagiotti, ASOS. Designer Sonam Parmar Jhawar suggests, “For the day, try mixing and matching a rough-hewn vintage camisole with a modern prairie skirt, sparkly scarf and neon t-shirt.com and Erdem It’s time to travel to the grasslands and embrace prairie chic with high necklines, floral prints, long hems and moreThe catwalks were transformed into meadows as designers from Erdem and Alexander McQueen to Philosophy and Simone Rocha sent out models wearing delicate floral patchwork prints, ruffle skirts, drop-waist dresses and gowns, high-necked styles with embroidery while focusing on the 19th century European men and women who lived an isolated life on the prairie grasslands.

They had a functional and physical life; horse-back riding, gun-toting, rattlesnake killing, breadwinning, facing prairie fires, droughts, tornados and coyotes, and all these resonate well on their clothing culture. They’re extremely chic and wild at the same time. What they wore had to accommodate their active, outdoorsy lifestyles. For night, up the glam factor through accessories: a glitzy bag, sexy heels and a fitted jacket.” Although in reality the original plainswoman’s wardrobe would have been sparsely furnished with gingham and calico dresses, that doesn’t stop designers from romanticising it