Podcasts about ashokan

The episode explores a long-standing tradition of square dancing at the Chase (now Sparer) family home and barn, in Ashokan. Host Brett Barry and production intern Olivia Sippel put on their dancing shoes and joined the fun, recording tales of traditional Catskills square dancing, and the musicians who are passing it down to a new generation of enthusiasts. Fiddler and caller Earl Pardini leads the festivities at this particular event, which goes back to the 1970s. The barn where it's held has all the warmth and joviality of a Charles Dickens scene, and we felt very much welcomed into a mostly friends-and-family affair. Featuring conversations with the Chase and Sparer families, the episode highlights deep-rooted Catskills traditions and includes insights from folklorist Ginny Shear and square dance caller Dane Scudder, who learned to "call" from a legend. The episode is sponsored by Ulster Savings Bank, the Mountain Eagle, and Briars & Brambles Books. And if you're interested in joining our new member-listener program, we'd love to welcome you! 00:00 The Thanksgiving Square Dance Tradition 00:31 A Warm Welcome to the Chase Family Barn 01:37 The Origins of the Square Dance Tradition 02:55 The Sparer Family Continues the Legacy 03:48 Generational Memories of Square Dancing 05:24 Earl Pardini: The Fiddler and Caller 08:19 The Cultural Significance of Square Dancing 09:43 Fostering Traditional Catskills Square Dancing 11:55 The Future of Square Dancing 15:06 Concluding Thoughts and Future Adventures 15:37 Support and Sponsors

Post the Vedic period we see the rise of Mahajapanpadas. A smaller polity neighbouring the Mahajanapadas in the east, Magadha would end up dominating a significnt land mass of India. Modern India takes many of its symbols from this Magadha. Be it the Ashokan 4 lioned capital as the national emblem or naming India's national diplomatic enclave Chanakyapuri. Modern India shares much more with Ancient India. --- Send in a voice message: https://podcasters.spotify.com/pod/show/history0/message

Bramayugam Full Review with @D54pod ! NO SPOILERS | Malayalam | Mammootty | Arjun Ashokan! Kathy And Amit review Bramayugam after seeing it first day in the theater! Bramayugam is a gorgeous black and white Malayalam horror film written and directed by Rahul Sadasivan, written by T. D. Ramakrishnan. The film stars Mammootty, Arjun Ashokan, Sidharth Bharathan, and Amalda Liz. It is set to be released on February 15, 2024. Blown away by the artistry!SPOILER REVIEW with  @D54pod   https://youtu.be/onfPzVEPzm8#bramayugam #mammootty #arjunashokan #rahulsadasivanGet early access to these reviews by joining Patreon or our YouTube channel! YouTube Membershiphttps://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA/joinPatreonhttps://www.patreon.com/CinemondoPodcastJoin this channel to get access to fun perks like exclusive content and private Discord channel!:https://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA/joinOfficial Swag https://shop.spreadshirt.com/cinemondoNew videos daily!!Subscribe for the latest movie reviewshttps://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA?sub_confirmation=1

Bramayugam - Trailer Reaction  @D54pod   Malayalam | Mammootty | Arjun Ashokan! SPECIAL TWO PART REACTION! Part 2 Kathy And Amit react to the trailer and deep dive on the posters and marketing for Bramayugam (transl. The Age of Madness) an upcoming  Malayalam horror film written and directed by Rahul Sadasivan, written by T. D. Ramakrishnan. It was jointly produced by Chakravarthy Ramachandra and S. Sashikanth under Night Shift Studios and YNOT Studios. The film stars Mammootty, Arjun Ashokan, Sidharth Bharathan, and Amalda Liz. It is set to be released on February 15, 2024.#bramayugam #mammootty #arjunashokan #rahulsadasivan PART ONE: https://youtube.com/watch?v=b1Dekr98XFoPART TWO: https://youtu.be/tkDfyvpxdnUGet early access to these reviews by joining Patreon or our YouTube channel! YouTube Membershiphttps://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA/joinPatreonhttps://www.patreon.com/CinemondoPodcastJoin this channel to get access to fun perks like exclusive content and private Discord channel!:https://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA/joinOfficial Swag https://shop.spreadshirt.com/cinemondoNew videos daily!!Subscribe for the latest movie reviewshttps://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA?sub_confirmation=1

Ashokan Arumugam is an Assistant Professor of Physiotherapy at the College of Health Sciences, University of Sharjah, United Arab Emirates. He is an Orthopedic Manual Physiotherapist with a special interest in physical activity analysis in sedentary and diseased populations, biomechanical analyses of the lower limbs, and neuroplastic changes in individuals with and without musculoskeletal ligament injuries. ------------------------------------ This podcast episode is sponsored by Fibion Inc. | Better Sleep, Sedentary Behaviour and Physical Activity Research with Less Hassle --- Collect, store and manage SB and PA data easily and remotely - Discover ground-breaking Fibion SENS --- SB and PA measurements, analysis, and feedback made easy.  Learn more about Fibion Research --- Learn more about Fibion Sleep and Fibion Circadian Rhythm Solutions. --- Fibion Kids - Activity tracking designed for children. --- Collect self-report physical activity data easily and cost-effectively with Mimove. --- Explore our Wearables,  Experience sampling method (ESM), Sleep,  Heart rate variability (HRV), Sedentary Behavior and Physical Activity article collections for insights on related articles. --- Refer to our article "Physical Activity and Sedentary Behavior Measurements" for an exploration of active and sedentary lifestyle assessment methods. --- Learn about actigraphy in our guide: Exploring Actigraphy in Scientific Research: A Comprehensive Guide. --- Gain foundational ESM insights with "Introduction to Experience Sampling Method (ESM)" for a comprehensive overview. --- Explore accelerometer use in health research with our article "Measuring Physical Activity and Sedentary Behavior with Accelerometers ". --- For an introduction to the fundamental aspects of HRV, consider revisiting our Ultimate Guide to Heart Rate Variability. --- Follow the podcast on Twitter https://twitter.com/PA_Researcher Follow host Dr Olli Tikkanen on Twitter https://twitter.com/ollitikkanen Follow Fibion on Twitter https://twitter.com/fibion https://www.youtube.com/@PA_Researcher

Over the years, The Ashokan Center's Winter Hoot has become a signature Hudson Valley event. The 11th edition is set for February 2–4.The Winter Hoot is a three-day festival, a community celebration with music, food and activities.

This video elaborates on the Ashokan Edicts of Mauryan Empire. --- Send in a voice message: https://podcasters.spotify.com/pod/show/venus-jain3/message

The Ashokan Center's annual three-day festival known as The Summer Hoot gets underway this coming weekend, August 25-27, It's a music festival, a community get-together, a chance to commune with nature. It's a crafts fair; you can sip a beer or cider, sample some fine food; hear some music; make some music; visit with friends; make new friends.

Hello everyone, In this video we will talk about Careers in defense forces, how you can enter the elite services, and options available after the 12th. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sanrajeducation/message

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Almost everybody agrees Lijo Jose Pellissery's Nanpakal Nerathu Mayakkam that released mid January of 2023 and on Netflix at the end of February is going to be the Indian film of the year? Why? We thought we'll dig in. Aditya watched it twice in theatres. Deepauk watched it a day before recording of this podcast. And our special guest critic, programmer, author Srikanth Srinivasan watched it thrice in theatres and a couple of more times on Netflix. With a screenplay by S Hareesh and directed by Pellissery, the film stars Mammootty, Ramya Pandian, Ashokan, Ramya Suvi, Poo Ramu among others. The three of them gather to discuss what makes this film so interesting, the seamless Tamil-Malayalam intermingling, the filmmaking ideas and cinematography, the almost exclusive Tamil cinema soundtrack throughout the film, and the film's philosophical interventions. Listen on. Participants: Aditya Srikanth Srinivasan Deepauk Srikanth Srinivasan's writings on the film: A Letter to Lijo Jose Pellissery: https://theseventhart.info/2023/01/25/a-letter-to-lijo-jose-pellissery/ Nanpakal Nerathu Mayakkam Part 2: https://theseventhart.info/2023/01/31/nanpakal-nerathu-mayakkam-2022-part-2/ If anybody would like to watch Ratha Kanneer, it's on Youtube: https://www.youtube.com/watch?v=F63Qhsl5010 Here is a playlist of songs that you hear in the film: https://www.youtube.com/playlist?list=PLlgM21QZS6YyKtiXGxtGyMAzTVbR2Y_8R

In today's episode of Category Visionaries, we speak with Biju Ashokan, CEO of Radius Agent, a real estate tech platform that's raised over $19 Million in funding, about why it's time real estate had access to the tech solutions making waves in other parts of our economy, and Radius Agent plans to be the catalyst for the transformation. Essentially a ‘shopify' for real estate to make it simpler, safer and more efficient, from humble beginnings as a social media platform to its current iteration as a rapidly-expanding tech startup, Radius Agent has been developing solutions specifically tailored to the needs of its customers. We also spoke about Biju's previous proptech startup, why Radius' social media-first strategy helped it build, and organic community and save significant resources on outbound marketing, and why knowing the profile of your potential clients is absolutely critical to building a market-ready product. Topics Discussed: The current state of the real estate market and why Biju is sure things will soon bounce back stronger than before Why challenging times can provide critical opportunities for transformation-friendly tech startups, and how Radius Agent is planning to take advantage of the change they're now helping to drive. How estate agents benefit from a comprehensive solution-based software toolkit, giving them more time to focus on what they do best How a social media-first approach built an organic community for Radius, and how they can now leverage that as a way of reducing marketing costs Why a careful profile of potential customers is critical for developing marketable solutions that answer real-world problems Biju's key principles for running his business, where he learned them, and what others can learn from them moving forward.   Favorite book:  Leading: Learning from Life and My Years at Manchester United

Nanpakal Nerathu Mayakkam starring Mammootty, Ramya Pandian & Ashokan, is Tamil for an afternoon nap. It's the title of the new film by Lijo Jose Pellissery, one of Malayalam cinema's most inventive and invigorating filmmakers– his earlier films include Jallikattu, India's entry for the Oscars in 2019. Lijo is often referred to as the master of chaos. But this film is a departure – it's quieter and more still. To know more about the film, listen to the full review by Anupama Chopra.

Nanpakal Nerathu Mayakkam starring Mammootty, Ramya Pandian & Ashokan, is Tamil for an afternoon nap. It's the title of the new film by Lijo Jose Pellissery, one of Malayalam cinema's most inventive and invigorating filmmakers– his earlier films include Jallikattu, India's entry for the Oscars in 2019. Lijo is often referred to as the master of chaos. But this film is a departure – it's quieter and more still. To know more about the film, listen to the full review by Anupama Chopra.

Uur 1 1.         I'll remember you – Elvis Presley 2.         Boven alle dingen – Elly Nieman 3.         Look for me in rainbows – Vicki Brown 4.         Soledad y el mar – Natalia Lafourcade 5.         Zijn het je ogen – Danny Vera 6.         Time to learn – John Wright 7.         Ashokan farewell – James Galway 8.         Het volkomene – Lenny Kuhr 9.         Take my hand precious Lord – Jim Reeves 10.       A place in the sun – Stevie Wonder 11.       Zou ik het weer zo doen – Conny Vandenbos 12.       Die Dunkelheit hat nicht das letzte Wort – Heinz Rudolf Kunze 13.       I believe in you – Don Williams 14.       Täkskes in de weend – Tessa Boomkamp   Uur 2 1.         Once I was – Tim Buckley 2.         Het wonder – Toon Hermans 3.         I'll be seeing you – Frank Sinatra & Tommy Dorsey Orchestra 4.         Forever autumn – Justin Hayward 5.         Remember me – Eivor 6.         I tua wohl – Fuzzman 7.         De hemel is dichtbij – Simone Kleinsma 8.         Midnight blues – Bert Kaempfert 9.         Scorn not his simplicity – Luke Kelly 10.       Afsaneh – Marjan Farsad 11.       Wat nog komen zou – Bart Peeters & Ronny Mosuse 12.       All my trials – Peter Paul & Mary 13.       Mah na mah na – Piero Umiliani

Todd Spire is a licensed fly fishing guide and instructor, and is the owner of Esopus Creel, a company devoted to fly fishing in the Catskill Mountains, where he's lived since 2008. Todd's on the board of the local Trout Unlimited chapter, which helps to protect the Esopus Creek, which feeds into the Ashokan reservoir, which provides New York City with about 40% of its drinking water. Todd is a scholar of our local river, the Esopus Creek. Todd discusses Neversink - One Angler's Intense Exploration of a Trout River, by Leonard M. Wright, Jr., and also the beauty and the rhythm of trout fishing in the Catskills, learning through observation and experience, and the futility of trying to control mother nature. After the credits, Todd discusses the relationship of birds over the water to the presence of insects, the relationship between the blooming of flowers and insect hatches, turbidity on the Esopus, and the impact of warm temperatures on our trout fishing, and particularly whether we will be fishing earlier or later in the season as a result of warming temperatures. All consistent with Todd's drive to learn from observation and experience rather than solely from what others have written and from Google.

This episode features the fiddle tune Sí Bheag, Sí Mhór and covers what you can get out of going to a camp or weekend. The camps mentioned are the Kanack School Fiddle Camp, Pinewoods and Ashokan.Meg's new fiddle album Broke the Floor is available on Bandcamp!Find the sheet music for this fiddle tune on the Fiddle Studio blog. Get more information about Meg's books, courses, and membership for learning to play the fiddle at fiddlestudio.com.Keep in touch with Meg at meganbeller@fiddlestudio.com.

This series of podcast episodes will focus on Decolonising Research, and feature talks from the Decolonising Research Festival held at the University of Exeter in June and July 2022. The eleventh epsiode of the series will feature Shibani Das from the University of Exeter and her talk 'Decolonising 'National' heritage: How Indian museums and cultural spaces are addressing their colonial pasts.'   Music credit: Happy Boy Theme Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/   Transcription   00:09 Hello, and welcome to rd in the in betweens. I'm your host Kelly Preece. And every fortnight I talk to a different guest about researchers development, and everything in between. Hello, and welcome to the latest episode of Aldi in the in betweens, and this our 11th episode in the decolonizing research series. In this episode we're going to hear from University of Exeter PhD students Shivani does with her presentation decolonizing national heritage, how Indian museums and cultural spaces are addressing their colonial pasts.   00:53 This is a conversation that's been happening for about 10 years quite strongly within the mean this continent. And it addresses a couple of issues, branching from changing syllabus to changing architecture to changing public attitudes about our colonial past. So who am I to speak to you about all this, this is just to outline that I will be speaking to you not from a political perspective, but from a professional one. I have. I'm currently an HR CCDP doctoral candidate at the University of Exeter, and partly funded by BT archives. But my professional training back in India has been in and around museums and organizations that deal with cultural spaces. So just a list of the places that I have worked at. And I have been closely associated with the Government of India as well as private organizations. So the following five slides will just be an insight to what I have experienced and would not be a blanket statement I would be making across India, I'm sure there will be many people in the conversation, who want to have their own points of views. And I welcome that. Towards the end of the presentation. I've mentioned my email id and my profile. So I'll be happy to continue this conversation sometime later as well. But having said that, let's carry on. So, to begin with, I would like to talk to you about what decolonization means, in the Indian perspective. Across the past month, we've been having conversations about decolonization in the academic space or in the research space on how to how we deal with decolonization within the archives. But decolonization as a national conversation has taken a different route in India completely. So, the three main components of this conversation that are recognized the politician or the museums or cultural spaces, and the Academy space, so for a large part of Indian political history, the conversation has gone from the right hand side, the left hand side, what I mean by that is from the academic space through the cultural space into the cultural space, there was a large Academy conversation about when decolonization began, a lot of British historians believe that began when the Empire began to crumble. So with this second world war onwards, in the process of decolonization, Indian academicians did not appreciate how much focus was given to the British as actors in this conversation. So when the British decided to leave India that was a process of decolonization. What sort of nationalist historians or subaltern or postcolonial historians began arguing about was that decolonization would actually be the process of independent India, shedding the layers of its colonial past, which pushes a timeline back to 1950s 1970s. And the opening up of the Indian economy opening up the Indian quality to the larger world. This had an impact on cultural spaces and how they were designed, which led to opera how politics was designed, with regards to our colonial past, but ever since 2014, there has been a switch in how the Indian public and have been in government understands this, the conversation has switched course and short moving from the, from the from the left to the right, there is a there is a major sort of a tangible political movement to change or to manipulate or to edit, how Indians think of their past or react to their past and that political change has impacted cultural spaces and internal Academy spaces. This sort of two way conversation is quite an interesting one that we will discover more with examples that come ahead. So I've taken the liberty of sort of condensing condensing this conversation down to three simple steps. I do realize it's very reductive, but to have a good conversation, I feel some reduction is essential. So three steps for basically decolonization How would I as the government of India or as India, talk about decolonization and my approach to it. Number one, you remove, remove any selectively remove any tangible remnants of one's colonial past, if you can't remove it, then you appropriate symbolism, the conversation that we will be having would be around the India Gate and this coronation Park in New Delhi. And we'll go ahead and talk about that in a bit. Number two is God right or you   05:36 name whatever, you can't change immediately. So here we have conversations about rewriting how people react to your history or learn their histories, be it through syllabus, in schools, or in universities, or in how we interact with history on a day to day basis. For example, road names, metro station names, museum names, etc. And step number three, which is the final step, which is almost in completion right now in Delhi, is rebuild, undertake massive and drastic construction projects to change the historical landscape. Now, these steps, in my opinion happen over a long period of time, you have to begin to corrode a public's reaction or relationship with that history, to be able to take a drastic step like rebuilding a construction or tangible space. So the first conversation I'd like to have with you in the first case study we like to discuss is removed. So, on the left hand side of this presentation, you see a very interesting sculpture from coronation Park in North Delhi. It was built in 1911. On the right hand side of a familiar symbol of Indian democracy, which is India Gate built in 1921. In New Delhi, the coronation Park is a very interesting Park, it is largely abandoned, it is not it's not in the center of the city is not celebrated. It's not the focus of civic life in that area. It is sort of a graveyard of sculptures that, at the at the moment of independence when we had a lot of Imperial sculptures across the city on road crossings, and the government did not know what to do with it. They just picked everything up and the deposited in one land where the royal the bar was held in 1911. But when approaches when one approaches the park today, what one sees is just streams and streams of magnificent Imperial sculptures left and complete abandonment taken from taken out of where they were originally designed for out of that context. And not sort of responded to or agreed with or addressed by any any any person crossing the road. So that's one way of dealing with decolonization. That was when India did not know what to do with its past. So it decided to pick everything up and push it sort of like under the carpet or in a cupboard that you never want to open ever again. This park still exists and most of these sculptures are an absolute ruin. This is an example of one way of how one can deal with one's colonial past. If you can't remove the colonial symbol you can re appropriate the meaning of the colonial symbol which come which brings me to India Gate, possibly one of the most iconic symbols of Indian democracy. For Delhi at least. India Gate is a celebration of everybody who had passed away fighting for the British Empire in the First World War. It is an imperial symbol it isn't it is a power it is a symbol of all those Indians who lost their lives not for Indian freedom but for British freedom. However, this does not sit heavy on an A common Indian person's mind. The appropriate appropriation of the symbol has been so complete that it is it's visible on most sort of tourist banners, it's the center of our Republic Day celebrations. It is something that all Indians will in the evenings come and sit next to celebrate a very sort of personal relationship with it, you will have ice cream Windows walking up and down the street kids playing it's a very open space wherever we can walk in and it is understood to be a symbol of reverence and respect for one's past not not majorly sort of associated with our colonial history. So these are two ways that India has dealt with some of these major symbols of its colonial history. I spend a lot of time trying to wonder what causes this selection. Why in the India Gate did not have the same do not suffer the same destiny as sculptures from the coronation Park and the within the comes to mind. It wasn't that you can't physically remove it and you can't physically break it down. But I'll be happy to to know what you guys would feel about this as well.   09:57 The second idea is to rewrite and to rename Now these are two heavy ideas that are on the same slide. But they have a similar logic behind them. So there has been a move to rewrite history, not just within the larger Academy historiography, but also within how schools and students understand or learn that history is. So between the two major examples I can give you, the nCrt school syllabus changes, and the undergraduate course changes. Within the school syllabus changes. We've had a series of educational reforms that have moved ideas like say caste politics, or Mughal history, or communal writing or communal violence in Indians. In Indian Indian past, there's also been a move as a fairly political move to suppress the role of the Congress in the independence movement. Just to give a little bit of a background Congress was the larger political force that has been largely defeated now by the current incumbent government, which is the BJP. So ideas like for example, codes from the hero have been removed. The role of rural county in certain movements has been reduced in text. Even as far as population data about how many Hindus versus how many Muslims live in a country, or that their employment rates have been smashed. In school, the textbooks now we need to understand the sort of the sanctity with which a normal school child or or sort of a parent would regard what is it mean a text given that it is published by the government, it is considered to be of a certain value that cannot be questioned, and has been marked up and used for like school learning or passing exams. So the level of questioning that happens at this level is very minimal, which makes change like this very dangerous. This change is going to expounded when one reaches the undergraduate courses. Over the last five years, the undergraduate courses for history learning for the BA in history has been has changed drastically. Just one example that like to begin with is changing the name of, say, history of India to history of Wrath of Hara thrash, which is sort of more in a commercial dualistic Hindu approach to looking at the history of, of India. There's also been a move to sort of have courses that are titled   12:27 Indus Valley Civilization so so the Civilization and its Vedic connection. So when you have courses title like this, there's an assumption that be the history or Hindu history goes back as far as Indus Valley Civilization, which is not a historical fact. But I think through strategies like titling, like making titles like there's so many courses like this, a lot of students would not be able to exercise their ability to critically, critically address this issue, or critically understand the politics behind these kinds of changes. You also have changes in the administration of colleges, you have, in recent past, we've had a massive change in the removal of certain Dean's of principals who don't agree with political changes happening across the country. And those who are ideologically inclined tend to find themselves in positions where they can control, for example, which PhD thesis gets passed or which PhD application is successful. So you have sort of a systematic change and a sieve and a syllabus change happening at the same time. On the right hand side. It's a very interesting list. Initially, I was thinking of doing an entire background or just the number of name changes that have happened in India across and this is just a small summary of it. It's a conglomeration of CTG city name changes, road name changes, museum name changes, and it's color coded. So, when I was looking at this list, I was trying to break down logic behind it. And I found a three way logic. The first is changing a name from a British name to a secular name. The second is from Google name or a Muslim name to a Hindu name. And the third is from a Imperial name to a Hindu name. As you can see that there is a large movement towards making every name more indica, more Hindu. And the definition of indica is largely becoming a non Muslim or, or isolation like a separation change. So I've just made a color. I've just made a color coding happening. So everything in blue is your secular changes. So how Kingsway has been renamed to rajpath Queensway to Janpath all these names are largely understood to be a common secular common communal shared nomenclature, but as we move on to everything in yellow or everything in white, you see either change from for example, the web, the most interesting one was the Mughal museum that was changed to Chatrapati Shivaji Museum in 2020, which is a very recent example, this museum was to be built in Agra, which was a city made by a permaculture ruler. It was supposed to champion the Mughal contributions to Indian culture such as miniature painting or architecture. But in 2020 20, after the museum was already in construction, the Chief Minister of particular state announced that the name has to change initially to brasure Museum, which is a local Indic population or the local language population. And later, it was argued that you would have Chatrapati Shivaji, who is a very strong Mahabharata, Africa from Maharashtra, West India. So this is a trend that we all see happening very often, there are tangible repercussions to these trends, where you have a lot of financial investment in changing names, in rotations, as well. But mostly what it does is it tries to manipulate or change how the public addresses or reacts to history on a day to day basis.   15:59 The second idea is rebuilding. And this is something that I feel very personally sort of passionate about these two particular projects, and they are very recent projects. The idea of rebuilding is when you have managed to have sort of I feel discrete changes to how the public reacts to their history, or public understands their history, you've taken the time of changing the syllabus, you've taken the time of changing the road names, slowly, you're corroding how the population is reacting or responding to their own past. What you can then do is commissioned large scale projects, which undertake massive construction, either breaking down and rebuilding or building once again, and there is a trend in recent past that is creating a lot more like this, the India's moving to a more aggressive, symbolic front, a very aggressive, nationalistic kind of jingoistic front that they are putting across this. There are many examples of this one way one common example that a lot of Indians who have joined this conversation will be familiar with is something called the angry Hanuman motif. There was there is a deity called Hanuman. He's a part of the larger epic of Ramayana, which is an ancient epic in India. He's the symbolism of that figure has changed in the recent past. Initially, he was a symbol of loyalty of servitude, of bravery, and always depicted in a sort of amicable manner in paintings. In the recent past, in the past five years, there was a graphic artist in the south of India, who created a sort of a more aggressive muscled version of the same day. And before you knew it, that symbol serve spread across subcontinent at a speed that nobody predicted by be it either in car stickers or in WhatsApp profile photos. It began to be adopted by a lot of population in India because they began at some level, responding positively to this change, of attitude of change of nature to a more aggressive or more sort of nationalist or jingoistic front. But the two examples I've taken up over here, the first is the central reverse the central Vista redesign project in in September 2019, the government of India undertook a project, they made a sudden announcement that they would undertake major reconstruction on the Kings way and the Queen's were erstwhile kings and queens. So, now the Janpath and the rajpath, which isn't center of Delhi, which is called Docklands, Delhi, are bakers and latrines Delhi. because of two reasons, the first was pragmatic reasons or, for example, government offices are very old buildings, they need remodeling they need re they need to accommodate more people, they need to have a lot more efficient working by putting everybody in one building so all these pragmatic concerns that were coming up the second reason was a sort of an ideological opposition to who design this part of the city be it meant specifically Latvians and Baker B them specifically being British, artists, architects, and the idea of the entirety of central value being a British project or a Brit British construction and the government sort of expressed some concerns with how the British chose to depict or chose which aesthetic elements from which design path design history of India did they choose to incorporate and how the current India the powerful current modern India should rebuild something that is more in tune with a more authentic Indian aesthetic. So there was is a large sort of pushback to this decision, especially in a pre pandemic time, there were protests happening about the level of construction that will be required, specifically in a time where India was suffering through a pandemic and needed sources resources in other in other parts of the, of the country. The scheme of this redesign was extremely massive from breaking down any building that is not heritage sites or anything built after 1950s will be broken down, including the National Museum, the entire central secretariat will be evacuated and made into museums of freedom and democracy. And a massive construction would take place that would eradicate all these parks and public space that you see on the side.   20:48 So this project has sort of divided India a lot in the recent past, specifically with having sort of all academicians to one side and say, sort of a push back from a more pragmatic part of India on the other side, and that only Gupta, who's very respected historian from Delhi spoke about how Janpath or Raj producible was supposed to be a more like a more civic friendly space, for example, to allow a car like a classless a costless space for Indian Indians to come in enjoy their own city, their own capital, to come in have picnics here to have football games here to have walks around India Gate was something that was supposed to be a very common practice amongst delegates who would do this on a day to day basis. However, the current project plans to eradicate all these civic spaces and change a lot of what India Delhi sees as its historical past or its landscape. Now, it is an argument that hasn't been cited as of yet the construction project is ongoing. But one this is I feel one way of handling or decolonizing. One one's own past is sort of pushing back and breaking down these remnants. And then it begs the question of at what point do we stop? At what point do we understand that, like, we put a limit of how much we can go back into a pure version of Indian past, right. The the next example, that came away recently, this month actually was the revealing of a new national symbol. So on the parliament building on top of the parliament building, we would have the Ashokan, Lion Capital head, which you see on the left hand side, this is from 250 BC, from the Shogun empire. It was it sort of Pope's entire pillar, that was the pillars that were built up across India. On the left hand side, you see a line that is a lot more aesthetic it is it shows us an idea of sort of protectiveness or of pride, as opposed to as opposed to the right hand side that can that tone, like in terms of tonality, in terms of aesthetic shows a lot more of an aggressive militant, or sort of an anger that was absent in how India perceived itself in the past. My personal opinions aside, there is a larger collage conversation happening about this sort of tonal tonality change or aesthetic change that one is noticing across India, but this is another example of how we are sort of decolonizing or changing how we want to be perceived across the world. Which I found very, very interesting. However, I mean, I can I can understand how it would be would feel that I'm being very negative about these changes. So I'd have a nice slide about how I think that decolonization also has positive impact on how museums portraying themselves. So on the top you have my favorite museum in Delhi, which is the National Museum as you can see, this is a picture from the basement. I think it's the one early medieval crafts and constructions and that's what the gallery is called. As you can see, it's a very sort of old institution. There are large glass cabinets separating the viewer from the artifact. It's air conditioned, it's very sanitary. It's very Imperial.   24:20 Everything is shut off behind certain glass and wooden cabinets, Kavita Singh, who is the head of department of art and aesthetics department in JNU. Jawaharlal Nehru University has written a very nice article called The museum is national where she discusses the impact or the influence of Imperial thought on Indian history on how the national museum itself is designed. So the initial galleries that you have are periodic galleries such as in this Valley Civilization mariage manga Setswana. Moving on to your early medieval late medieval but the moment Indian history starts approaching this Mughal phase National Museum changes its galleries name to materiality. So it becomes from early medieval late medieval becomes brutal architecture, or metal work or musical instruments are most in a way, denying the Mughal aspect of the Islamic aspect of Indian history by how it's designed. It's a very Imperial institution. So also it sort of repels a lot of Indians from entering the institution who feel like they don't belong inside of they don't have a right to walk inside. So it does create a space of otherness. It does elevate civil, I mean culture towards sort of upper level of only being accessible to the elite who feel like they can enter the museum and walk in whenever they want. On the bottom, we have a nicer a much a much more different way of approaching Indian culture, which is the National Museum in Japan. This is an open open design museum that celebrates village life and broom and poo making that's a local culture. The space is a lot more welcoming to a larger class of Indians, it is a lot more spread out is more in tune with indigenous architecture, and indigenous weather, it also would have employed a lot more locals in the construction and maintenance of the museum. So it does have a lot more specialized focus in terms of where the load the location or the locality of what it is celebrating as opposed to a national mall mostly sort of dominating centralizing figure, the National Museum, which has captured the artifacts from across the Indian subcontinent. As the last line to my conversation, today, I'm gonna be starting the cutting to talk to you about opening up the conversation, I want to talk to you about the thin line between decolonization and re colonization. There's something that I began thinking about when I was thinking, what how India is dealing with its past where, in order to address a past, we are trying to replace it with another idea of our history, which has very tangible repercussions on how future generations will see India and how future generations will think about India. So at what point? Do we sort of white like, at what point we fill the vacuum that decolonization that? The idea of removing a colonial perspective of our past? At what point will the bathroom become so strong that we need to fill it with something else? Is that something that will always happen? Can we have an absence? Or can we have can we deal as a people with a change in our how we perceive our history without putting another ideology on top of it and making sure that gets accepted. So when I think about how India is dealing with its colonial past, I feel that there are some negatives of house aggressively it is trying to do so. At the same time, I do believe that there are a lot of positives in the sense of making, changing how we perceive design or how we perceive our cultural spaces, who is supposed to be what's meant for who who understands or appreciates, or, or is able to access it. But it is a thin line that we do need to discuss and address at some point. I do understand I've been speaking for a good 30 minutes now. And I could go on for much longer. But I would like to now open the field, open the conversation up to any questions that anybody might have. Please feel free to use the chat or unmute yourselves. We can talk about I have a lot of examples on my notes that I would love to discuss with you. We can compare how other nations are dealing with that as well. But in the long list of lectures where I saw a lot of conversations about research, and sort of African African reaction, etc. I felt this conversation about how India is dealing with it in its own way, was an important one to have. Thank you so much for your time. It's been a pleasure.   29:02 And that's it for this episode. Don't forget to like, rate and subscribe. And join me next time where I'll be talking to somebody else about researchers development and everything in between

Produced by Foundersuite (www.foundersuite.com), "How I Raised It" goes behind the scenes with startup founders and investors who have raised capital. This episode is with Biju Ashokan of Radius Agent (https://www.radiusagent.com/), a platform and tools for real estate agents. In this episode, Biju talks about the evolution of his business, how to position yourself as an industry expert (and why it will improve your odds of raising capital), how to use feedback to initiate relationships with investors, how many meetings it takes for pre-seed, seed and Series A, tips for recruiting a strong team, and more. Radius Agent most recently raised a $13 million Series A round led by NFX. Other investors include Crosscut Ventures, Sixty Degree Capital, Cota Capital, VTF Capital, AngelPad, InnoSpring Seed Fund and others. How I Raised It is produced by Foundersuite, makers of software to raise capital and manage investor relations. Foundersuite's customers have raised over $9 Billion since 2016. Create a free account at www.foundersuite.com.

Ashokan Arumugam is an Assistant Professor of Physiotherapy at the College of Health Sciences, University of Sharjah, United Arab Emirates. He is an Orthopedic Manual Physiotherapist with a special interest in physical activity analysis in sedentary and diseased populations, biomechanical analyses of the lower limbs, and neuroplastic changes in individuals with and without musculoskeletal ligament injuries. ------------------------------------ This podcast episode is sponsored by Fibion Inc. | The New Gold Standard for Sedentary Behaviour and Physical Activity Monitoring Learn more about Fibion: fibion.com/research --- Collect, store and manage SB and PA data easily and remotely - Discover new Fibion SENS Motion: https://sens.fibion.com/

Ashokan Arumugam is an Assistant Professor of Physiotherapy at the College of Health Sciences, University of Sharjah, United Arab Emirates. He is an Orthopedic Manual Physiotherapist with a special interest in physical activity analysis in sedentary and diseased populations, biomechanical analyses of the lower limbs, and neuroplastic changes in individuals with and without musculoskeletal ligament injuries. ------------------------------------ This podcast episode is sponsored by Fibion Inc. | The New Gold Standard for Sedentary Behaviour and Physical Activity Monitoring Learn more about Fibion: fibion.com/research --- Collect, store and manage SB and PA data easily and remotely - Discover new Fibion SENS Motion: https://sens.fibion.com/

India Directed by P. Padmarajan Starring Thilakan, Jayaram, Rahman, Ashokan and Kirthi Singh Intro/Outro Music © Deniz the Buddymeister

As New York City grew, so did its need for clean water. So city leaders decided to tap the Esopus Creek in the Catskills. The construction of the Catskills System— the Ashokan and Schoharie reservoirs and the Catskill Aqueduct— displaced thousands of people through eminent domain, uprooting tight-knit rural communities and causing generational bitterness towards the City. This episode features historian Diane Galusha, author of Liquid Assets: A History of New York City's Water System. If you're taking this tour in person, please play this episode at the Ashokan Reservoir Promenade, East Parking Lot (the "Frying Pan"). This site is paved and is wheelchair accessible. Please visit walkingthewatershed.com/podcasttour/listen.html to download a printed map, transcripts, accessibility info, and other important information.

For more than a century, New York City has relied on the Catskills for its abundant supply of clean, soft drinking water. The Catskills' relationship with NYC has been a complicated one, including the staggering loss of entire communities, and a multitude of mutual benefits along the way. This week, Adam Bosch recounts the history of that relationship, plus we hear from the Olive Free Library's Melissa McHugh on an exhibit showcasing life before the Ashokan reservoir. Then, we check in with with Lize Mogel, producer of a comprehensive new tour of the watershed. --- Support this podcast: https://anchor.fm/kaatscast/support

#Kaanekkaane is a Malayalam Movie written by Bobby & Sanjay and Directed by #ManuAshokan.The Film Features #SurajVenjaramoodu, #TovinoThomas, and #AishwaryaLekshmi in lead roles.

#Hasyam (Humour) is the eighth film in writer-director #Jayaraj's #Navarasa series that has so far yielded Shantham, Karunam, Bhibatsa, Adbutham, Veeram, Bhayanakam and Roudram, with one more to come. The cast of Hasyam includes #HarisreeAshokan & #SabithaJayaraj.

This story is written by G. Ashokan. He is an young emerging writer and Bank officer. --- Support this podcast: https://anchor.fm/jerry0355/support

See and hear Peter Siegel in action:His websiteHis show Live from Brattleboro is every Sunday evening at 6 p.m. Eastern. is available for watching on Facebook and YouTube. (Older episodes on YouTube are here)The Gaslight Tinkers live at the Iron Horse in 2013Playing and singing with Pete Seeger in 2012With Susan Conger, Susie Secco, and David Kaynor playing at the John C. Campbell Folk School Dance Musicians’ Week in 2009The Beverwyck String Band’s album is elusive right now — if you know of a way to purchase or listen to it, please let us know!Some people mentioned in this interview:Julie and Mary Cay Brass discuss other aspects of the Greenfield Dance Band in their conversation in Episode 14Jay Ungar and Molly Mason make the magic happen at AshokanLyn Hardyis still performing and is also a luthierSusan CongerHere’s an interview with Guy Bouchard. Thirty Below no longer exists, unfortunately…Sue Songer was awarded CDSS’s Lifetime Contribution Award in 2019Garrett Sawyer runs Northfire Studio in Amherst, MA.Some musical groups mentioned in this interview:Jim Kimball is still running the Geneseo String Band at SUNY GeneseoYou can learn more about Wild Asparagus from Julie’s conversations with David Cantieni (Episodes 7 and 8) and George Marshall (Episode 13)Here’s a video from Ashokan with members of Nightingale and Wild Asparagus jamming togetherThe MammalsPeter mentioned Garrett’s band The Alchemystics; here’s what they sound likeHere’s Ann Percival’s swing band, The O-Tones, performing “Let’s Get Away from it All”Some dances and events mentioned in this interview:Learn more about the Clearwater Festival on their websiteThe Old Fiddler’s Convention in Galax, VAAshokan Northern Week happened virtually this summerYou can read more about the environmental education programming at Ashokan hereJulie mentioned drawing on David Kaynor’s ideas when starting the BIDA dancein Cambridge, MADance Musicians’ Week at the John C. Campbell Folk School also happened virtually this summerSome odds and ends mentioned in this interview:At the beginning of the interview, Peter was riffing on “John Henry.” Here’s a recording of Pete Seeger singing it.Listen to Woodie Guthrie singing and playing “This Land Is Your Land”Here’s La Bottine Souriante playing both "Hommage à Edmond Parizeau" and "Dédicado à Jos"Here’s a YouTube video to give you an idea of what Soca Calypso sounds likePVPA is the Pioneer Valley Performing Arts charter school in South Hadley, MAPeter mentioned using the New England Dancing Masters material in his teaching. Mary Cay Brass talks about this in Episode 14

1. Everything Will Be Alright -  Echo Women's Choir (Toronto, ON). Rachel Bokhout writes, “This is a live 2014 recording of the Echo Women's Choir, performing with singer-songwriter Victoria Moon Joyce. We offer this for the podcast as a reminder to keep faith - this season too shall pass. Blue skies are coming, and we'll gather again to make music once more.” This track, with words and music by Reverend Dr. James Edward Cleveland, can be found on the choir’s 2018 album One Voice. www.echowomenschoir.ca  2. The Smiler - Arrowsmith:Robb Trio (Ottawa, ON and Sheffield, UK). The Arrowsmith:Robb Trio is Jess Arrowsmith, Richard Arrrowsmith, and Ian Robb. Ian writes, “Rich may have evolved this lovely upbeat tune slightly from the playing of the very smiley Steve Turner.” https://www.artrio.co.uk/  3. God’s world, by Edna St. Vincent Millay. Read by Margaret Youngberg (Greenfield, MA).  4. The Lucky Reel / Sail the Other Side - Andrew VanNorstrand (Manlius, NY). This duet with Anna Patton (clarinet) is from Andrew’s solo album That We Could Find a Way to Be. https://andrewvannorstrandmusic.bandcamp.com  5. Fly away, by Susan Reid (Montpelier, VT). Read by Julie Vallimont (Brattleboro, VT).   6. Ashokan Twilight - Live Wire (Philadelphia, PA). Live Wire is Tom Krumm on fiddle, Ben Kennedy on keyboard, Bill Quern on mandolin, and Sarah Gowan on concertina. Bill notes, “Tom Krumm wrote this tune for the Ashokan Music and Dance camps which have had a profound impact on his entire life.” http://livewirecontra.band/.  7. An excerpt of Beauty, from Poems of Optimism, by Ella Wheeler Wilcox. Read by Ben Williams (Northampton, MA).  8. Kenema - Jeremiah McLane (Sharon, VT). This track is from Jeremiah’s album Freetown. www.jeremiahmclane.com  The opening music is “The Pearl in Sorrow’s Hand” by Julie Vallimont, from her album Dark Sky, Bright Stars. Produced by Julie Vallimont. Mixed and mastered by Dana Billings. All content courtesy of the artists, all rights reserved. This series is supported in part by the Country Dance and Song Society, NEFFA, CDS-Boston, and Pinewoods Camp. If you enjoy this podcast, please consider supporting it via Patreon: www.patreon.com/starsintherafters

#ManiyarayileAshokan (https://www.youtube.com/results?search_query=%23ManiyarayileAshokan) is a Malayalam romantic comedy drama film directed by #ShamzuZayba (https://www.youtube.com/results?search_query=%23ShamzuZayba) and produced by #DulquerSalmaan (https://www.youtube.com/results?search_query=%23DulquerSalmaan) under the banner Wayfarer Films along with Jacob Gregory, who also stars in the title role. The cast also includes Anupama Parameswaran, Krishna Sankar, Shine Tom Chacko and Anu Sithara.

Onam releases are here! Dulquer and Jacob Gregory's new movie,

Hello People, Welcome back to CHAI KAHANI. Today I have some interesting movies for you'll. Two of the very recent OTT releases. The movies are Maniyarayile Ashokan released on Netflix on Aug 31st and C U Soon released on Prime Video on September 1st.

This film is for 90s kids and morattu singles. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/m-a51/support

The lion capital which is synonmous with Ashok in India, used to cap pillars that also carried his edicts. Listen to this episode to know all about Ashok's pillar edicts, and some interesting facts related to this phase of Ashokan history. #history #podcasts #listening #buddha #ashoka #india #zen #historybuff #historygeek --- Send in a voice message: https://anchor.fm/ranjit-pawar6/message

In this episode, continue to explore Ashokan edicts, with a special focus on the edict that made Ashok and Indian culture synonymous with peace across the world. But did it truly reflect Ashok's commitment to peace or a brilliant political tactic? Listen to some theories and form your own view ! --- Send in a voice message: https://anchor.fm/ranjit-pawar6/message

An advertisement for Ashokan, and a tribute to a stuffed bear.

James Hill at Ashokan In May of 2019, I got to catch up with James Hill at the Ashokan Ukulele Festival in New York. We talked about his new album, technology, throat singing, playing without monitors, and plenty of other interesting things.James Hill's websiteJames and Anne's new albumInuit throat singingnot to be confused withMongolian throat singingRadiolab episode on bit flippingTip jar subscribers get early access and bonus episodes. You'll also be supporting an independent creatorLink to this show on RadioPublicCheck out Uketropolis if you're looking for more uke learning resources.Intro and outro music is by Blue Dot SessionsBecome a supporter of the podcast hereWhat have you been working on? What do you think of the show? https://pinecast.com/feedback/abes-ukulele-podcast/d9c44fe2-6f58-4692-8e5c-8f87c20f63a0

Casey MacGill in Ashokan My guest today is Casey MacGill. Casey is from Southern California and I caught up with him at the Ashokan Uke Fest. This is the second episode from my Ashokan series.Ashokan Uke FestCasey's websiteWatch Casey play a song with his uke in his [Ukulele Magazine article (https://www.ukulelemag.com/stories/for-casey-macgill-the-swing-is-the-thing).Intro and outro music is by Blue Dot SessionsThe podcast does cost me time and money to make. If you'd like to chip in, any amount helps.Support the podcast by donating to the tip jarIf you have any questions or feedback, I'd love to hear from you. https://pinecast.com/feedback/abes-ukulele-podcast/3764c39b-5b39-4efb-a280-bafe752eefc9

Gerald Ross in Ashokan I had the wonderful opportunity to spend a day at the Ashokan Uke Fest in Olivebridge, NY.It was a beautiful place filled with lots of wonderful music-making. This episode is one of a few that I will release featuring instructors from the Ashokan Uke Fest.Every time I attend a festival, I plan to wander and talk to as many people as possible. But every time I get too nervous and want to just relax and go with the flow. So in these episodes it's just chats with great players/teachers. There's tons of great insight in these here episodes.Here are the relevant linksGerald's websiteAshokan Uke FestHive ukulelesFremont polished low GHere's another polished wound string I love to use, but it's for C on tenor.Planet Waves Ukulele CapoPersonally, I love Sarah Maisel's straps. Hug straps are pretty cool, too. There are a lot to choose from. Abe's Ukulele Podcast on RadioPublicHere’s where you can find my musicIntro and outro music is by Blue Dot SessionsLeave a review on iTunesJoin the conversation on Reddit.Support the podcast by donating to the tip jarSend us your feedback online: https://pinecast.com/feedback/abes-ukulele-podcast/c1f98191-6d7b-4329-9976-71a731515269

Kate McGloughlin is a painter and printmaker (and storyteller), and during her long career, she has exhibited in notable galleries and museums around the world. Kate is president emeritus of the Board of Directors of the Woodstock School of Art, where she teaches printmaking and landscape painting, including to Carol, and where she directs the Printmaking Studio. Through her paintings, poetry and prose, Kate’s book, Requiem for Ashokan, The Story Told in Landscape, is her outlet to tell a personal story with universal themes of tragedy, loss, grief, confusion and rage, as well as of migration, shared resources, competition for resources, and the importance of fair treatment by the government.  Kate lives and maintains her own studio in Olivebridge, NY, near the site of the Ashokan Reservoir, which is at the center of our discussion. The Ashokan Reservoir and its aqueducts and tunnels were built to get water to New York City to alleviate chronic and dangerous water shortages in the rapidly growing metropolis, but the cost was borne by the thousands of residents of the Esopus Valley who were displaced from their family homes and farms and mills; taken from them and demolished to make room for the reservoir, which dammed the Esopus Creek and then flooded the valley. 

This week on Relationships 2.0 my guest is Gail Straub author of The Ashokan Way: Landscape’s Path into Consciousness About the book: The natural world has the power to awaken, restore, and transform us, and nowhere are these capacities more evident than in the thirty-six luminous essays that make up The Ashokan Way. Written in the form of journal entries that take place over the course of a year, the essays explore both the outer landscapes of the awe-inspiring Ashokan Reservoir, a vast open space surrounded by the ancient bluestone peaks of the Catskill Mountain Watershed, and the equally awe-inspiring inner landscapes of our own most personal terrains. Each of the book’s evocative entries describes a walk along the ever-changing reservoir, illuminating the natural world as a portal to self-understanding, restoration, and meaning. Some walks take us deep inside to trek the hills and valleys of our aspirations and sorrows, our joys and confusions. Others offer a profound antidote to an interior landscape that has become crowded with distraction and overstimulation. Still others seem to seem usher us into the realm of the mystical. As surely as we would perish without the water and air that the earth provides, we are at risk of perishing without the spiritual sustenance that the natural world provides through its ability to stir and astonish us. In a world that is ever faster, noisier, and busier, The Ashokan Way is a balm, an inspiration, and an invitation to discover greater intimacy with inner and outer landscapes alike. About the author: Gail Straub is the Executive Director of the Empowerment Institute, which she co-founded in 1981. As one of the world’s leading authorities on women’s empowerment, she co-directs the Empowerment Institute’s School for Transformative Social Change empowering change agents from around the world to design and implement cutting-edge social innovations. As part of this focus, she co-founded IMAGINE: A Global Initiative for the Empowerment of Women to help women heal from violence, build strong lives, and contribute to their community. IMAGINE initiatives are currently under way throughout Africa, Afghanistan, India, and the Middle East. Gail has consulted to many organizations furthering women’s empowerment including the Chinese Women’s Federation, Women for Women International, World Pulse, and the Omega Women’s Leadership Center. Gail is the author of five books including, with her husband David Gershon, the best-selling Empowerment: The Art of Creating Your Life As You Want It which has been translated into over 14 languages, the critically acclaimed The Rhythm of Compassion, and the award-winning feminist memoir Returning to My Mother’s House. She lives in the Hudson River Valley in New York.

“Quoting the ancient I Ching, [Gail] writes about “coming to rest in motion.” She should know: a world traveler and social activist, Gail brings the steady calm she finds in the mountains to her work at peacemaking in a troubled world. ” - Elizabeth Lesser cofounder Omega Institute   I feel like an absurd lover torn between two beloveds. But rather than being drawn to different people, I’m torn between landscapes. My primary loves are the lakes and trees of Minnesota, but I have also deeply fallen for the desert mountains and mesas of New Mexico. And still if I drift into memories, I recall other landscapes that pierced my heart. When it comes to landscapes, Gail Straub is my people. Gail Straub is the author of The Ashokan Way: Landscape's Path into Consciousness. In the book and in our conversation Gail shares her wisdom on the dance of landscape and consciousness, her friendship with poet-philosopher (and one of my personal heroes) John O’Donohue, the role the Ashokan reservoir has played in her social activism, and her growth into a wisdom elder. The contemplative gift of The Ashokan Way is that Gail is a generative model of how to attune to a practice that requires focused and embodied attention to develop an intimacy with something larger than yourself. Gail Straub, co-founder and Executive Director of Empowerment Institute, is one of the world’s leading authorities on women’s empowerment. As part of this focus, she co-founded IMAGINE: A Global Initiative for the Empowerment of Women to help women heal from violence, build strong lives, and contribute to their community. This initiative applies the Institute’s empowerment methodology to the United Nation’s Millennium Development Goal “to promote gender equality and empower women.” IMAGINE initiatives are under way in Afghanistan, Brazil, India, Jordan, Kenya, Nigeria, Sudan and South Africa.These are just some of Gail’s accolades. I am not going to list them all because after this conversation you should head over to her website, empowermentinstitute.net to learn more and possibly support her work.

Andrew tests out his new studio and tells Luke all about his big move over the weekend. Meanwhile, Luke survived the great space-junk storm of 2018 (barely), and Andrew wonders if he's getting grifted on eBay.

My guest is Gail Straub. Gail is the Executive Director of the Empowerment Institute, which she co-founded in 1981. Her most recent book is The Ashokan Way: Landscape's Path into Consciousness. (https://www.amazon.com/Ashokan-Way-Landscapes-Path-Consciousness/dp/1947003690) The natural world has the power to awaken, restore, and transform us, and nowhere are these capacities more evident than in the thirty-six luminous essays that make up The Ashokan Way. Written in the form of journal entries that take place over the course of a year, the essays explore both the outer landscapes of the awe-inspiring Ashokan Reservoir, a vast open space surrounded by the ancient bluestone peaks of the Catskill Mountain Watershed, and the equally awe-inspiring inner landscapes of our own most personal terrains. Special Guest: Gail Straub.

In collaboration with British Archaeological Jobs Resource Contents: 6,000 year old carved wooden post found in Wales Remains of pre-Ashokan shrines in Nepal Earliest Middle Palaeolithic stone tools in India Volunteers to map ancient hill forts 'New Stonehenge' tourist attraction proposed The world's first calendar discovered in Scottish field Painted bronze excavated from central China tombs Protein analysis sheds new light on Oetzi Mammoths may not have been hunted only for food Harappan-era site bigger and older than Mohenjo-daro? Ancient rock art maps cosmological belief Prehistoric flint mines discovered in Poland Farming in Iran 12,000 years ago Speaker: David Connolly (BAJR) Audio file mastering: Dave Horrocks (Infinite Wave)  Listen to the weekly Archaeo News [Total time 29:52]

This haunting melody was written by Jay Ungar in 1982 and used in the Ken Burns documentary on the Civil War. It is done on a Bacon Flat-top plectrum. It was written as a goodnight waltz at the annual Ashokan fiddle and dance camps held by Ungar

This haunting melody was written by Jay Ungar in 1982 and used in the Ken Burns documentary on the Civil War. It is done on a Bacon Flat-top plectrum. It was written as a goodnight waltz at the annual Ashokan fiddle and dance camps held by Ungar